Hero Jump - Animation Workshop (Using Maya)

1. PREVIEW: Hey guys, my name is Brian, and I'm a professional three d animator currently working in Toronto. In this class we're going to cover if a few topics, starting with how to set up your workspace like a professional, how to set up useful caught keys to increase your workflow. And I'll be providing you guys with two of the coz I use myself. We're gonna continue that with referencing in a character bringing in your own reference video and then, lastly will cover and break down the process of making a hero jump or a hero leap basically a cool jump. And so I'll be going through that from blocking to animation. I will be showing entire process in between blocking to animation, but I'll talk about the key points. Otherwise the video will go on for several hours. So with that other way, let's just jump in 2. Module 1 Setting Up Workshop: Okay. So before anything else, we want to set up our workspace to work for us. We wanted to be as efficient as possible and to save us as much time as possible, but that I was having to change tabs or move things around. So what we're gonna do is click this button right here. We're in to create four different panels. I'm going to change the top left panel by going to panels perspective and changing it to perspective. The bottom left. I'm going to panels panel, and I'm going to change this into the outline. Er was closed this one and drag this this way. We don't need the outlet it to be that big. The bottom right panel. I'm going to changes to the graphic, thereby again going to panels panel this time grafitti there and for the top, right, Which we still haven't touched. Um, usually my scene. I have a camera, so I'm going to create camera camera and changing the right panel by a Ken, going to panels and going into perspective and setting it as the camera we just created. And I'm just gonna place this and we're pretending the cube is our character. So I was going to set this where I would like it as my camera. And what I'm going to do with this one is go to show, click none to take off. Everything. And all we want to see in the camera view is Polly guns. And now we're gonna change the perspective a little bit too. I'm going to click none by going to show none. And for this one, we want to see the and nerves curves, which will be with the rig which will be will be used to move the rig. You want to see polygons and we also want to see image planes and lastly locators? No. Another thing we want to do is actually save this workspace so we don't actually have to redo everything every time you reopen, Maya. Ah, and to say this, I'm going to right click on the site here on any one of these. Click on save currently out, and I'm going to name this Brian's layout Press. OK. Oh, well, I already haven't created So, um, all you have to do now is just right. Click here and click you the workspace you just created And so, for example, now if you reopen Maya and you have something like this, you can just go here, right? Click and go to the saved workspace that you created. So my case, Brian's layout and we're back. This is back to camera, as you guys can see down here. This is back to perspective. We have a graph further, an outline, A right here. So that's for part one. And also you guys in part two. 3. Module 2 Setting Up HotKeys: Okay, So for this next section, we're gonna be adding some hot keys that are gonna help work a little bit for this. We're gonna go to Windows, setting in preferences and hot key editor. Now, what you want to do is go to the little gearbox right here and duplicate Maya defaults. I'm gonna need this Brian's hot keys to since I already have my own. I'm just doing this is an example. Show you guys. And so our hockey set is Brian's hot keys to We're gonna change. Choose category to custom scripts and building my custom scripts right now. Um, So what you want to do is to create your own, and to do that is you go to runtime Command, appear click on you. And I was gonna redo this pretty much. I'm gonna name this colored key and make sure it's on Mel, because Mel, script and control the the codes. I'm gonna be giving you guys. So now I'm gonna go ahead and click Save runtime command. There were also showed up here, and usually what I do is I have my colored keys set to X now. If the sea now you get consent this to anybody you'd like. Um, X is, as it says down here, X is already assigned to grip snap press. And as an animator, you don't You don't really use this too little eso. That's the reason I said two X and it's very close to s, which is the other have done said keys, because I was gonna go ahead impress, Yes, override this with X and you guys can do the exact same process. But it for this for the second code that I shared with you guys. So once you're done and once you set up your too hard keys for colored keys and, um, hiding of controls, you can go ahead and press, save and close. 4. Module 3 Referencing a Character In: All right. So we set up our workspace, and we set up our hot keys. Next, we're gonna be referencing our character. And now the importance of references character in instead of importing it is that it will be a lot faster and a lot less, um, intensive on your computer. So you just have an easier time seeing what you're animating. Exactly. Ah, and here. So we're gonna reference our character and by going to file, create reference. So we're just locating our rig file, which I will be sharing this room with you guys as well. I'm gonna go to mesh, and we're gonna be using those elder Rick, this is a free rig by, um Crystal Again. I'll have the link for you guys so you can just download it for free. Going to reference in the newest version, and here we go. Now, um, you guys can see architect doesn't have a texture, so I'm gonna go ahead and quickly at the textures depressing control A here to change this to an attribute out of there or change it from the attribute editor. I'm gonna go all the way to the end. The last tap is where the textures are at. I'm gonna click this box right here. Click on the folder. And so we're looking for the Zelda Underscored the fuse. And so I'm just fighting the Rick folder. Going to textures. Zelda. Underscore. Defused. There we go. Okay, now we're missing the texture for the eyes. So again, Same thing going to the very last time clicking on this arrow. Then now we're looking for the I underscore the fuse. Hi. The fuse open. We're just re passing the textures essentially. And now the same thing for the hair on the hair Underscore. Diffuse. And there we go. And if your hair stays black, Um, what you have to do is go to lighting and check off two sided lighting, and that should fix your problem. Will do the same for the side as well. Two sided lighting. And there we go. 5. Module 4 Bringing in a Video Reference: All right. So where this step we're going to be bringing in our video reference. And once again, I'm gonna be providing you guys with the link to this video, if possible, try and provide you with the MP four file as well. But if not, I'll just be linking you to the YouTube channel, um, to the YouTube. You Earl of the videos and you guys can download it for yourself. Um and yes, so too bring our reference in. I'm going to change your perspective by going into panels Ortho graphic. And I'm going to change this to side view. Now, I'm going to go to view in the same panel image, plane import movie and ones were at the folder where the video is. I'm gonna change movie types to all types. Now, bring in our reference, Chris open. I guess you can see it's super small down there, so I'm gonna press are and scale it up. And another thing you guys will notice is that our characters facing the opposite way and we don't want that. So I'm going to go ahead and select the main control on our character, the master Control, and I'm going to rotate her on the Y axis by 180. So now she's facing the right way. You bring her back and I'm just going to set a key, just in case. Just one key on the master and that's it. And that's how you bring in the video efforts. 6. Module 5 Starting the Jump Animation: Okay, So I'm just gonna go ahead and fill out the key poses for this animation for this jump animation. Um, I will share the link to the reference that I'm using to for you guys. I will shut up with you guys. Um, that's actually not me in the reference. So I'm going to share the persons you could channel as well. You guys can go check him out. Um, but before we get started here, I am just gonna talk about a few things. We gotta be here. But this rig, um so one of which is, in this case, where? Let's take a look at the reference first. So in this case, we don't have the arms gripping anything we don't have the we don't have to interacting with anything. They're sort of just flowing with the body on dso. In this sort of case, we need the arms in f k. But currently there in i k. And with this Zelda rig. Um, how you change to f k is to you. Go to this little gear on each arm and you switch f k 20 the FBI kiss. Wish you swish up zero and now your arms are in F K. Another thing that we got to keep in mind is that with this rig usually the center of gravity control is here. In our case, it's actually this little plus sign back here. This this acts as the cog control center of gravity. And the thing that we want to do is that we want to switch. So currently the chests or they torso area is in i k and the acts kind of weird. And so what we want to do is we want to switch this by clicking on the plus signs which this to FDA. And now we have a little more control over our chest area, and we can rotate is individually. Um, another thing to keep in mind is that since we switched us to F k, we don't have a hip control anymore, and so we can select this very bottom circle, not not the box right here, but the bottom circle and isolate hip. And what this does is that it turns the bottom circle into hip control instead, that may have been a little confusing to follow, but just follow along with the steps, say about that. My phone's popping off. Um, Yep. So just wish, you know, switching to FDA and switched this last circle to isolate hit, and you should be good to go. Oh, and one more little thing before we start. Um, I'm just going to click this button right here. And what this does is that it makes us so we can't select geometry. I'm gonna go ahead and actually turn on all the Ben controls. So I'm going to the gearbox on the legs, and I'm turning on then. And what this does is that it shows us these new controls that allow us to actually bend the leg to create better Sylhet for animation. And so I'm gonna do the same for the arms real quick. Select these two gearboxes and turn on bend so we can see these new controls. Um, and now what I'm gonna do is select everything I see. And this should select all the controls, go up to my custom tab, go to create sets, quick selection, and we're gonna name this Zelda selection Hopes selection, and we're gonna click at the shelf. And now when we click, click this button, it will select all the controls that we were selecting before. So in our case, all of the zealot controls and I'm just gonna press it test to set a key. And when I press X if you guys remember I sent my hot key to X for different color Hot key , my press x My heart key turns to green And the reason The reason I do this is, um it's I set my key poses as green. So when I press exit Sessa Greinke, my press pass it says a Recchi. So, for example, if I have one key pose on a frame one and another key pose on frame 10 my in betweens, my friends in between those key poses Moby Red. This just makes it a lot easier when you go back to an animation or even when you take a break or if you take you know, you go for dinner, you go for lunch, you come back. You might forget where your key poses were. Exactly. If all your keys are just read what we need having was green or a different color, this allows you to easier try and figure out what the in betweens are seeking to fix something. You just leave the in betweens so you don't mess up your key poses. Yeah. So the way we the reason we made our, um, selection LaPierre is so that once we get the key poses, right once be making key pose, we just press an X on it or s, or whatever you need. We're gonna set a key on it, and we want to set a key on every single key. Because if you don't want anything shifting on our key posts and yes, so with that out of the way. What? Every time you get into keep owes you just so, like, all set a key. That's it. And now I'm just gonna go ahead and start blocking this out. There Shouldn't really be any other extra information that you guys need to know. You just need to get the poses right and make it look good. Have a nice So what? And I'll see you guys when the blocking is done. I will talk about that a little bit once it's done. So I pretty much finished my blocking here, and, um, I'm just gonna go through some of the stuff I've sort of been keeping my eye on, like stuff I've been trying to do. One of them is to rotate the hip properly. So if the body is coming down or if the weight of the body is shifting if the body, for example is going to let's find oppose. So this post, for example, we have one knee forward one need back. Um, in this case, what you want to do is you have to rotate it. This is the rotation of the hip right now, so we have to hip going up on the left side screen left side because as you guys can see, this, like is going hired like the hip is going higher. So you have to actually rotate the hips since you are controlling the cake that the characters hip isn't gonna automatically rotate Ah, like it's supposed to with proper anatomy and, like proper, like actual body mechanics. So when the light comes up and to the side, you have to mimic that with the hip. So in this case, the Georgian opposed the hip. Was this straight and it just anatomically it doesn't make sense, so you'd have to rotate the hip this way and bring it up bringing down the other side of the hip. And so you just gotta keep small stuff like this in mind as you're doing your poses, just try and keep, like, proper, um, trying to keep it and automatically anatomically try to keep it anatomically correct. Um, try and keep in mind the weight shifts and what not? Ah, for example, have another situation here where? Let's see if you can find it. Yep. So here, for example, we have the character leaning on her. Our screen, right leg, her left leg. So when she's leaning on that leg, if she's completely straight of her, that's a look from the back is her call control center of gravity. If the center of gravity was like in between both legs, which will be here, she would flat up, fall onto the floor. She would just like fall this way because she would have no balance, barely any. Like, wait on this foot right here. And all her weight is on this foot. And so in this situation you pull the cog towards the leg that has all the weight. And on top of this, you'd have to. Since you are leaning to one side, you'd have to rotate the hip accordingly. So I have to hit rotated this way and slightly back just to compensate for her weight shift . And this, actually is this is really important. It, like you can definitely feel weight shifts a lot more when you properly weight the character. Depending on how much weight they're putting on each leg and depending on the rotation of the hip, it's just it's really important to keep that in mind. And so here we have a goal from, Ah, wait on one leg to go back and putting this foot down and putting some more weight on this leg so that, as you guys can see that the hip school from the right side to the left to shift that weight and then they even out once she brings her other foot forward and she now we can have the center of gravity in between both legs because both legs are properly planted and another thing operates. Mention is with this character in particular, um, all I'm doing to to get her from down here, toe all the way up here. I'm actually animating this bucks. So this box is her is called core, but it's not actually her core. Um, what it does is it's like a master control, and it moves the entirety of the character. So it's essentially, like at another master control another one of these. But it's from the core area, like it moves a character from the core. Um, so all I'm doing is I'm animating that all the animation off the translation why? And, um, think it's Z transition? Y and Z is all on this little box right here, but you can find right there. You got to make sure you don't mistake that for the center of gravity, which is back here. So I just grabbed this and I animated this up and over. 7. Module 6 Blocking Analysis: Okay, so this is what we're left with when it comes to blocking. We have something like this. And essentially, what we did is we pay much copied. Exactly. Um, the posters we saw in the reference, for example, here we have the Pacific enjoy here. This is our new triples. So we have a new proposed and we're just trying to figure out the key poses. So the next key pose for me would be this, which is, um I see. So it's the character anticipating. So there's the and this Ah, patient. And so we have to anticipation pose, and, um, in a reference, people, even a little farther right before the jump, we go even lower. Um, try and create a essentially Esther in the body. Um, kind of looks like a sideways W. Or but, um so essentially, you want to create something like an s curve. We're gonna go ahead and trying to flesh this out a little bit better, and we'll try and have, like a, like a proper s, shaped like pushed these out, used the curve controls to, like, make it legs a little more appealing. Make opposed the more appealing and here's you guys concede the character swings his hands forward, and that's a key thing. Um, ex character swings his hands forward before, like his hands reach appear. They're almost final pose before he's actually lifted off the floor, and the reason he does this is to actually create momentum. He's increases increases in momentum for the jump, and his arms helped him carry him even higher and more forward just by swinging them really hard beforehand. And so, for our pose, we have the character lifting off with a single foot, and this is our, um, essentially are jump contact posed, meaning the character still making contact with the ground. But it is a jump pose. So in this particular case, I have to like stretched. Uh, it's not clear, and the reason for this is that you really wanted to register the characters pushing off of the floor. And if you just have the character jump off right away, if it's just here and then which pretend this is the leg and then boom and then boom. It's like if that's if that's like pros. One post to post three. It just feels like the characters, like floating off of the floor. But when you have, it's stretching like I do when you have it. Um, let's say is the pose then this is the pose, then this is the pose, and it's it's just being stretched and not actually lifting off the floor. Yet It feels like the characters a lot more grounded than there is a lot more power into the character once the leg is released. So in the next pose, um, here we have our essentially, this is where you can have the most fun. This is our floating poses. That is the point where the characters, um, trying to figure out how he or she is gonna land. This is where you can do something fun. So I give you character something of a here opposed again. There's still room for improvement in going flesh this out and try and create nice curves along the by. But this is essentially we can have the most fun. You can have the care to do, flip or um, you know, if you like that, you think would be fun. Uh, all the cake is doing here is that they're trying toe balance themselves out because They're at the top of the art. They're here in the jump. Uh, you know, is the jumps arc? They're the very top of the ark and trying to figure out how they're gonna land. So they're shifting the body around, and tryingto, he is hurt. Dynamic is they can, except in our case, that's not very aerodynamic, but it just looks kind of cool. Um, but they're on their also shifting their legs around their arms around for how they're gonna land. So in our case, when our character lifted off with her left foot and so you never want to land on the same food, left it off with it just it just looks weird. So here's a cactus shifting. Um, all right. Like forward keeping a forward, then having that leg come down first. And this is gonna be our contact pose. Contact landing code. So we had a contact lift off over here. Contact, jump, pose, contact, landing pose. That just means it's making cakes and making contact with the ground. And we have we're landing with the opposite leg. We have her stretched out because right after this pose, as you can see, even in our reference, Um, the legs are stretched out, the bodies kind occurred, but it's ready to receive some punishment. Essentially, it's ready to take in the impact of landing. So it's preparing for, like the momentum to to hit, come to stop so stretched legs. And in our next pose, we have our recovery pose, or it's essentially sorry recovery from the jump from the contact, the character squishes down, and what you're doing here is essentially squishing this way. You're squishing both down, and you're also squishing forward from the momentum because you're both falling vertically and your momentum's carrying you forward. So we have the character hitting the floor shifting forward, and then the momentum's carrying her even more forward. And meanwhile, if you pay attention to her arms, she has come out, and once she hits the floor, she brings them forward and tries to control her. Um, most believe, a little bit, just trying. Teoh balance herself out by bringing her arms forward, springing them forward, and in this case, she hasn't fully forward. And lastly, this is our We will be essentially go back to new triples. We recover from the impacts, and she's trying to gain some balance. So have a character going forward in this case and lifting her right leg forward just put one last little bit of re balancing and saying that, You know, she still has, like, there's still some momentum to her movement forward from the jump and she shifts in her other leg forward to And then we're back to a neutral pose. So it started with a neutral pose. We end with Neutra pose or is it? There we go and was the neutral pose. And one thing is, that's good to keep in mind is we did the exact same thing with a ball animation, so it's always good to let's see if you have one with a record number, know how much reference? So it's always good to have the ball and animate that to the action you want to do. It helps you understand it because essentially everything is the ball. If you look at the movement of this, we have the same exact thing we have. Neutral pose right here was called neutral. No school color. We have anticipation and again the inspection go a little bit farther right before the gym , then we have the character stretching up and going into this top of the ark says where the case is that. And so the stretching ends. It's essentially free, free falling, trying to figure out how the case is gonna land stretches back down. This will be the contact post contact, fall, pose, squish like we did. So we're stretched at the contact with squished to observe the impact. And then we have a little recovery with the momentum's carrying the character or the ball forward, but then also down. So it's exactly the same thing. You just have extra limbs on the character to worry about, and then you go back to New Trickles. So started started here, and we're Anne here. And that's exactly what we did here with our jumper an admission. So I'm gonna think through animation. I want to go through our little, uh, what we choose to not blocking, which is essentially getting the key poses and the essentials of what it is we're doing. We're trying to get that neutral pose the anticipation, the contacts, the contact jump pose So neutral at this patient contact jump pose. We have oh, are essentially free fall so get where the catcher's a top of the Arctic freefalling and trying to figure out what they gonna do. They have the contact landing pose. We have our recovery, and then we make away back to a new triples. All right, let's jump into the animation was showing a better one, and I'll try and have the raw footage of that for you guys as well. There won't be any sound because I will probably be playing a music that's not complicated while working, but you will have access to the full raw footage if you like. 8. Module 7 Spline 1: Okay, so we've gone ahead and splint this from blocking. And naturally, we'll left with something like this where the timing is off, the limbs are going all over the place, and it just I just don't want you guys to be encouraged. If you're animation does look like something like this when you go to Sline, because this is just the halfway point you going despite its just the halfway point from blocking. So don't be discouraged. There's there's lots. Lots for us do here. Um, everything is a little floating floating me, meaning it's not sharp. This ice movements. It's not settling out. Settling in. So, for example, um, let's say we have. What we have right now is the animation of this frame. One. This is framed 10 animations. Going like this, I should Let's change us, too. So it's just so it's easier, Let's say, five supreme. Five. The animation is going like this frame here, a frame here, a frame here, and so it's going on 2345 What we want is for most actions to be settling in and settling out. So if there's a frame one frame five, we want friend to to be here. Cream three, for example, here and framed four here, where it starts off slow, picks up speed to get to a frame three and then hits. Frames bore and slows down to frame five. But instead, what we have here is this. So let's take a look at this again. See, everything just flows into the other thing and to the other Post reports, blowing it opposed without actually hitting anything. It's just posed pools, pools, pools. And so let's fix lots to fix. Um, another thing I'm noticing here is that the arms come up way before. So here, for example, we have the arms already up when the case is going down. But in a reference care ah, reference has his arms down until this point. So that's one thing you gotta fix. We have our character sort of just like another thing is, the needs are popping. If you guys can see I overextended opposed. And now when you go from my friend, the news just part. They go from this to this, and that's never good. You never want to have that. So what I have to do is I have to bring this original pose down a little bit. Where? Where It's more like this. So this will be pose once reports to instead of pose, one opposed to I hope this all makes sense. Yes. So the arms air coming down or coming up too fast, And here we arms to be swinging this way and already forward, but instead, our character kind of swinging the arms this way instead of coming down here. That's another thing. We gotta fix the timing. Of course, we have the character just like standing in this pose when really she should be lifting off . And obviously, that jump kind of looks like this. That's another thing we gotta fix as we progress through this plein. Um, yeah. Here. We gotta have the arm just trying balance out. So make its way this way and trying, like, balance out the weight. Because one thing guys got remember is your character her She has How much do you guys think she weighs? Take a wild guess. How much do you think she weighs? The correct answer is zero. She doesn't weigh anything. The only wait she's gonna have is what you give her. So when she's doing all these things. You got to keep that in mind that you got to give her the weight. You've got to make sure that she has a sense of weight. And so when we go ahead and go into the next blind, let's just jump into that right now. 9. Module 8 Spline 2: we have something like this. This is splitting to it is, of course, very rough is again, lots more to do. But we did do a lot of tightening up. So now, for example, we have the characters sort of just like shifting to the side and where you guys will have access to the full spine process that I did. Um, you guys could take a look at how I can take care. It's sort of just like shuffle here, not really shuffled. We just shift weight, and then the other character coming down you have the arms, um, staying down like a reference and then start making their way back. And as as they reach the highest point, just like a reference his arms come down. So we have our arms come down as well, and then we have, Of course, we have the arms swinging forward before the character holy goes into the extending pose. And I'm not a fan of the pacing here. If you guys pay attention to the hip, it's here in this pose. And let's just gonna have onion skin on. Oh, that s okay. So we have onions. Good. Now, so here we have the pose. I'm Frank, 39 frame 40. It's here. But then frame 41. It's here in praying 42. It's here 43. That's not something we want. I didn't catch this earlier, but we have the hip here for two poses when really it should just be one pose right here. So it's a straight lying because they have the character we need. We need needs to be something like this just because we have the character lifting off really fast, But then settling into that final pose, which is it should be around here. Um, So what we have right now is obviously not what we what we want, which is something like this. It just it doesn't make any sense. So we're gonna I'm going to go ahead and fix that in the next line. Um, Yep. So and it's just like it's just a curve here, like the characters doing something like this. I don't know if I'm a fan of that. It needs to be a proper arc, and this is what it would look like in the graph It if, for a translate, why, so we'll say, translate why and That's the horizontal line. Is the graph our translate? Why? It needs to look something like, I wonder if I can make it straight line. No, I can't. So translate. Why, when she left softens to look something smoother than that area. Something like that. So we take these tangents over here, we'll see if our if our tangents were straight, we gotta break them. And we got a drag. This tangent right here. We gotta drag that this way. And so this creates this Sort of like Arc. Okay. Moving on? Yeah, under the ending. Here. Of course. I gotta be a little more cleaning up back here at somewhere. Wait, um, have the arms properly trying counterbalance and the cactus or just like comes up here, hits that pose. That's really move. Eso I gotta make sure she has some weight to her, and she makes it way up. And it looks something like this. And, of course, here it seems like she don't shoot, almost fall down. She's There isn't really a lot of weight supporting her this way. So there has to be. I need to readjust her body's her backs a little more straight year. Okay, let's get into the next plane 10. Module 9 Spline 3: All right, Let's see what we got now. Hey, this is what I'm talking about. Now we're starting to get somewhere. So we made a couple of changes since the last blind. I think it's about Lake 16 17 minutes of work. Um, I've read a little noises. Okay, Let's see what we did. So, um, one of the things they want And it was I changed up the motion of paternal ghosting. Three guys a changed up the motion of the arms a little bit. So now instead of it, um, moving down instantly the second it goes up, it's sort of, like eases into it. So if this is a key, I have not a key here. Another key here. And one key here before. It was just wonky, wonky, wonky, wonky. Not one key. All right, one he So I sort of have it, um, settle into the pose, and same with the coming out. He has concede he it eases out of that poses well, And then again, we have It's swinging before the bodies fully extended. And I try to add some weight here. So a trying to add some curve to the Corser? Yeah, but ah, the same time I try to keep that head up to have her looking at where she wants to jump. And so, with the legs as well, I change up some stuff with the with the legs. Let's see, I had this foot not, uh, rotate. So I had just stay in the position it is and not a rule until it was fully extended. So it stays in the same position until it's fully extended. Then it turns into a role because otherwise weight wise, it doesn't really make any sense. She did. There's no reason for her to go on the tip of her toe when she's still not fully extended like, and I delayed the change colors a little bit and I'll say this for the right leg, and I also delayed the right leg. I had it slowly lift up and then going to more of a kick upwards for that for the moment. Tum increase. Okay, just continue with the legs. Um, actually, no, let's go there. So the torso was another issue I had, So now let's see what that looks like. Only that's a lot of mess limits. Effective givers of this. Okay, so let's try and follow the torso. So before it was pretty bad. Now let's see how that looks. Okay. Okay, there we go. And now it's looking a lot nicer. Now it looks like a nice arc where it starts up slow, then jumps and settles into that, um, that, like, middle pose over here. So the ark should continue back this way? Yep. And then somewhere changes with the leg that I did is so we used blue for right leg. Um, I had the leg stretch outs about two frames beforehand. So here have the leg stretched. Here I have a touching the ground about a frame or two before it's supposed to touch the ground than two friends. Later snaps from this position too close to the ground position. So once, that's not the second. The left leg comes in the wrong color. Left leg comes in from the heel and the second hits the floor in one frame. It snaps down because it's coming down really fast. And as the captive lose full ward, I have the right leg go into a rule. So instead of this, it rules forward with the weight shift of the cake there. And as the cake is coming up, um, I have the select safety is that but of the character of the core, as she's coming up into dispose, I have her lift this way, so away from the camera and I lift up her right leg and Mr let's pretend the leg and I bring that forward into the new position. So I tell her to the side to shift her weight away from the foot. That's raising. Move the Forum foot forward and then the back moves back into disposition and the other light comes forward. There's still some cleaning up to the over here. If you guys concede the that snaps in one frame, it just snaps and you don't want that. So you gotta fix that. Um, in the next blind pass, I think I'm gonna be focusing on some secondary animations. So maybe the forearms on the hands and we're gonna clean up, Um, this, like the last, like, 30 or so framed the neutral going back into unusual work of recovery pose. We're gonna work on that, And if we have time, if we like what's happening, then I might go ahead and animate. Keep as well, though that's if I have time. If not, then forgive me. You guys can, uh, animate the cape by yourself. It's not looking back looking too shabby. 11. Module 10 Spline 4: and all right, I think that's about it. Um, it's actually it's not looking, too, that I ended up getting rid of the cave and there's definitely a lot more I could do with a secondary like the hair. I just quickly put something together. I cook. You said a few keys. Um, same with the fingers and the hands. Um, there's definitely long where I could do with the second there is. But for the sake of this video, I just wanna, um, get out, get out as fast as I can just because it's been actually taking so, so long. So if you made it this far, I just want to say thank you. And I hope this video actually helped you, and I hope it was worth it. And with that other way, happy animating. And I will see you guys in the next video. At least that's what I say on my channel. If you're purchasing this as a course or as a workshop, then I guess I won't be seeing you. But I do upload weekly on my YouTube channel. Apollo tutorials like this just maybe, like 1/10 the size and the details, but I am thinking of doing maybe somewhere videos like this one was a lot more in depth and it's a lot more workshop lesson like so Anyways, alright, hope this helped, and I'm gonna go try and get some sleep now because it's 2 a.m. 12. PLAYBLASTS: