Introduction to 3D Animation With Blender

1. Course Trailer: modeling and animation are some of the most valuable, expressive skills you can have. And if you can just imagine something, you can make it real. Hi, My name is William Harrison, and I'm gonna be your teacher for learning three D animation with Blender. I came to Blender not as an artist. Like some of the people out there. I came just as a c gener. I've grown up watching movies like Toy Story and then later on Wally and Big Hero six. And I fell in love with this idea of creating an entire universe completely from my imagination. And ever since I learned about this new program, it was new. Back then called Blender, I found and look for every opportunity to integrate it into what I was doing when I was an undergrad. I used it for classes. When I was in grad school, I used it from our research, and later on, when I got a job, I used it there. And let me tell you, every time I've used it, I've turned heads. I'm dropped jaws. I'm impressed, people. And to be honest with you and a lot of ways, Blender has changed My life. I hope that when you watch this, even if you're not an artist, that you will be in. You think of yourself that wearing your find ways to utilize this in your everyday life, even if your everyday life doesn't involve creating art for other people, and there's no limit to what you can do with blender, you can take Power Point presentations and make them more captivating. You can take report visualizations and make them all inspiring. You can make YouTube presentations and whatever format you can even clone yourself. What's up, people? My name is Trey. You can think of me as this guy's older, better looking brother do. I thought we said we were going to do this. You're embarrassing me in front of everyone. We said that if I didn't think things were going well, I was gonna wink at the camera and then you come in, not just barge in the middle of my presentation. I mean, I was on a roll. What are they gonna be? You know me, baby. I gotta give the people what they want, but I let you get back to it now that they're not sleeping before now, that everything is all messed up and you're probably thinking I'm not very professional. Let me tell you what we're going to cover. We're going to start by going over How? See G I and animation are linked just briefly. Next thing we're gonna cover translational animation. That's how things can move back and forth up and down in straight lines. After that, we're gonna cover rotational animation. So what you can do, make thing what you can do to make things rotate and from complex things, You probably didn't realize that you can do from just rotations. Lastly, we're going to cover character animation. We're gonna briefly do some character ringing and character modeling just so you'll have a character, and then I'll show you how to animate it. And I do it in a way that will save you lots of times. So if you have no experience with blender whatsoever or drawing or any of that stuff, don't worry. I got you. I see you inside 2. Updates to this class: So what you just saw, I created almost five years ago and since then some things have changed. So in addition to the class project from back then, I'm including more up-to-date versions that will cover the same things, but in the new version of Blender and that version is been there 3. Now I'm putting these new projects in the beginning. And if you still want to do the other ones, they'll still be here, but they'll be at the end. One of the things that's changed is that we are now bigger than we used to be. And you'll be taught this class by two people. One of them is me, and one of them is Nino. So good luck and enjoy. 3. What you can do with Blender Animation: Now let's talk about two D animation from the perspective of a least, what we've been watching for the last 100 or so years by Disney and Warner Brothers and other companies like that. Initially, when an artist wants to making animation, they start with the single John. They then make another drawing that's slightly different from that. They show that to you in order at a certain rate and was done correctly. You end up with a movie, one take your canoe and go, and this same idea is what we're going to apply and blended. We make a single picture, and then from that picture we can make different pictures and then show them, in a certain rate at a certain order. Now the power of three D is that a lot of this congee automated. We'll talk a lot about that in the future. I know you want to make three D movies, and I'm sure your way of movies like Frozen or Marijuana or, if you're old enough Toy Story. But it turns out you can make movies on just as good quality with blending. Now you're looking at here on the left. This movie is called Cosmos Laundromat, and it was made almost entirely, if not entirely with blended. The movie on the right was called Operation Barbershop, also made in blended. Now, after watching this tutorial, and you're not going to necessarily be able to create something this amazing, but it does give you something to reach for. What you may not be aware of is that you can also do animations and modeling for video games we're looking at here is to really popular video games. The one on the left is Assassin's Creed, and the one on the right is Mario Odyssey, that you can do simulations inside of game engines or you can do them inside a blender. This is just another example to show you what you could possibly do with what you learn. Well, you might not realize, is that even though Blender can do three D animation, it can also do two D animation. And that's what you're looking at. Here. You're looking at Blunder doing two D animations, and you could use this for ah webpage. You could use it for cut scenes to go from one video to the next. There's a lot of different ways you can use this. You can create an entire two D animation if you so please. But I want you to realize that you're not completely confined toe only working in three D when you're doing animations and blended memory overriding progress. So the last thing I want to talk to you about is what they call virtual effects. And that's what you're looking at here. Yes, blunder can do to de things. It can do three D things, but you can also mix live action footage with three D footage, and you can see in this picture here the people in this case are really and in this particular shot, even the background Israel. But the text, the robot, the lights for the robot. All of that is vfx, and this shot is much the same. When the robot comes on, you can see. But that's a mix of three D assets and three D models and animations, along with the live action. Once again, this is not something you unnecessary be able to do from just watching this tutorial, but it does give you an idea of what's possible 4. Blender Interface: So before we get down to the nitty gritty of creating all of this awesome stuff. You're going to first need to download Blender. So in order to do that, you're going to simply go to the blender.org website. Right now we're looking at Blender 3 and it looks like this. If this is sometime in the future, this screen will likely be different. But as long as this isn't wonder 3.83 or 4, and you'll be able to see that on the next screen, you should be fine. So all you need to do is click down load Blender. If there's not a download blender on that home screen, you can just go to Blender.org slash download. Once you see that, you can see here it has all of the different operating systems you might need. All you need to do is click download blender, and then eventually you'll get a pop-up that I'll ask you where you want to download it and then you can just install it like normal installs like any other program. Once again, this is Blender 3, as long as this isn't probably been to 3.8 or 4, which is where in the future from now. And if you're in the future, hello. And if you're from now, it probably does not make a difference as long as it's not blended or 3.8 or 4, you are completely fine too. You look at this class. So now you are all set. So once you have it open, it is going to look like this. This is the splash screen for the current blender. And if you just click anywhere, it will, it will show you the 3D view port. And like I said, the 3D view port is this area here where you can see everything that is 3D. Now on the right side you have the outline. An outline allows you to see a kind of folder tree of everything that's currently in the scene. Now, before we get started on the actual how to use the interface of Blender. Now you may not have a full three button mouse and you may not have a full keyboard with a numpad. And if you do not have those things, and you're going to go ahead to the edit here menu. And you're going to pick preferences. And under Preferences you're going to go to Input. And you can see here, input emulate three button mouse. Now that just means that the NSSE here, the main ones is 0 keys act as numpad ones. So when we are wanting to see front view, side view, top view, typically we use the numpad. Now if you don't have, if you have a laptop or you have a small keyboard and don't have a numpad. Now you can use those numbers in the top. Now let's suppose that you don't have a three button mouse. Now, if you're using Blender, I strongly encourage you to get a three button mouse. But if you don't have a three button mouse, you're going to click this. And then if you hold the Alt and left mouse button, that will emulate that three button mouse. So I'm not going to click that because I do have a three button mouse I can, I encourage you to have, I'm going to go ahead and close that. So now you should be all set for using wonder. So the first thing I'm going to show you how to do is just navigate around this 3D environment. So if I want to rotate the environment around, I'm going to hold the middle mouse button that we push it down, but I'm not going to roll it. And you can see when I'm pressing here, I have the screencast keys on and I can rotate the thing. Now if I want to shift the scenes or mountain, I'm going to hold down the Shift button and the middle mouse button and move my mouse around. And that allows me to shift or pan without rotating. Now if I want to zoom in and out, That's really simple. I'm going to just roll this middle mouse button. Now, if you want to zoom in on something particular, you hit numpad period. And that will zoom in on whatever it is that you have interest to you. Because, you know, if you're if I'm over here and I want to work on with say, the camera over here I don't have is not the center of my scene. Right. So if I hit that numpad period, that allows me to put it at the center of my thing. So but that's the basics of moving around the scene. I have rotate around it, which is pushing the middle mouse button. I have shifting around it which is hitting the shift and middle mouse button, and then zoom in and out, which is the middle mouse wheel. And then last of all, we have just selecting it in the period now, which you have just learned. And it originally was how to select an object noun. So select an object, all you have to do is left-click, and when it turns orange, you know that it is selected. Also, if you look here on the outliner, you can see that it's selected as well. So I can select it in the outliner or I can select it in the 3D report. And if I hold down shift. You can see that I can select multiple objects and the last thing you select is a slightly lighter shade of orange. That's really not that important for you right now, but it will be as you get further in your blender career. So the next thing we're going to talk about is how to interact with the objects and how to change the objects. So right now, everything is selected to deselect everything. I'm going to hold down Alt and hit a. So everything is now dislike if I wanted to select everything and just simply a for select all. So I'm going to hit a, to unselect that I can also, if I want to undo something I think Control Z and that will do it. And that's very similar to any program you use. So let's say I select this cube here by left clicking on it and I want to move it around. All I have to do is hit G to grab. And now I can move this cube around. But because we're working in 3D space, It's really not that helpful to move it freely like this because I don't really know what it is. I'm gonna hit Control Z to undo that. Now let's say that I want to move it around. So I'm gonna hit G, and this time I'm going to add x. Now, x allows me to move it only in the x-direction. I can hit Y and then only in the y or z. In the z. And that just allows you to restrict the movement in a way that makes it more predictable. Now the next thing I'm gonna do, I'm gonna hit G and I'm going to hit Shift C. Now shift the allows me to move it in applying. And so I'm holding the Z constant and moving it on the x and y. So let's do that a little bit different. I'm going to hit one on the numpad or you can hit one and the number is above if you use it emulate number. And that gives me front view g for grams, I'm going to hit Z so I can move it up and I'm going to move it up just so that it's sitting on this axis. So now if I use that middle mouse button and move it around, you can see it's only access. But now I'm going to hit G and Shift Z. And you can see that it's moving on this plane. So anywhere I put it, as long as I have Xizhi, it's going to stay on the same plane that it started on. So I'm going to hit Control Z to undo that, put it in the center. And now you know that G is for Grab. The next thing is to rotate the object. So if I hit R for rotate, you can see that we can rotate it. But once again, it's not that useful. So just rotated in free space, but hit R and then it rotates only on the x, y on the y, and z only on the z. So that's really simple. Ours per rotate. G is for grab and then for Zoom. Guess what letter it is? No, it is not V. It's actually S. So it's Zoom. If you say Zoom, like Zoom. Anyway. If you hit S for scale actually is not retire tomorrow zooming nominal scaling so as Ezra scale, and this allows you to change the scale of the object. Now just like all the others, you could hit S for scale. And then you can hit X, or you can hit Y, or you can hit Z to hold it in those axis. And similarly you can hit S for scale Xizhi and only scale in the x and y and exclude the z and you can use, it's not just the z. You can hit Shift X, Shift Y, whatever you wanna do, that excludes the access that you don't want to scale it along. So that was g flag grab, S for scale and R for rotate. And you can grab those axes separately and do the scaling and rotating on the individual axes. So that covers how to move objects around. But we actually didn't really make any changes to the internal structure or the actual structure of the object. Now we're in object mode, which it says up here. One of the other modes that you'll use in Blender quite a lot is edit mode. Now if I want to look at one to edit mode, I select the object that I care about that I want to go into edit mode with, and I hit tab. Now this was me an edit mode and now I can't see these points and lines. Points and lines here. Now the points are called vertices. The lines are called and you can see them up here depending on what mode where n edges and then you have phases. Now blunder is a mesh modeling software which means that objects are typically made of sets of points, lines, and faces, and they generally don't have internal volume. So you can see that with this cube here, I have these faces and if I select all four corners of a square, I get a face. And if I select just the vertices, I have only a point. Now, which you already know actually is how you can change the shape of the actual object. I can hit. G for grab and move it just the same way and I can hit X and then move that only in the x or y. And then if I tap out of that, now this is what my object looks like. I'm just going to Control Z out of that. Get back to our perfect cube and I can do the same thing. I'm going to tab, I can hit R for rotate Z, so we just rotate about the z. And now we have a new structure tab out of that just so you can see what that looks like. So that was R for rotate. I can also do as for scale and scale up. That allows me to do all of the same things that we did before. Rotate, scale, and grab or shift the actual thing around. Now, let's say that you want to do more than just move the interval individual objects you can do. We're going to teach you what I think is most useful for you now is you can do an extrusion. Now, an extrusion involves that you select a face. So right now we're in vertex select mode. So to get a face, we have to select all of the vertices that are on the fifth that we care about. Now if I go to this top menu here and select Face mode, now, I can select a face, a face by itself. If I want to do an extrusion, face select mode, I select that, hit E for Extrude and I can pull a new base out of that base yep. Pays out of that phase. I meant to say that. And as with any base, you can do that. I can hit E for Extrude. And I can pull these faces out and create completely new shapes and structures based on these faces. So that already allows you to create a lot of different shapes just from the shape of a cube. The second thing you can do is let's say that I want to select this face and I want to create a face kind of inside of this face. So I hit I for insert phase and then allows me to put a face on the inside of a phase. Now if I hit E for extrude, you can see that I can pull a phase out of that one. I continue, I think continue to do this extrusion trick that we've been doing. Now let's say that I want to create a hole in something that's the same shape as the outer shape. I can hit I for insert base, then I hit E for Extrude, and then I can pull down. And now I have kind of an inset, set a whole and wherever I'm looking for it and I can do that in any structure that I want. So you can imagine just with these inset face and then extrude and then being able to move the vertices around, you can create a lot of complex structures. So what I encourage you to do right now is make a chair, make a table, make anything that forces you to use what I just taught you that way when you move on to the more complex parts of this course, it'll be easy peasy, and you will know how to navigate the environment and to do minor changes to meshes. Meshes, Mesh, mesh guy who knows. All right, anyway, good luck and I can't wait to see you. And then next one. 5. Animation Basics: So before you get started and all this, I just want you to have the very basics of blender animation. And Nino is going to go into all of the specifics of what the project is going to be. But I just wanted to give you a little taste of how it works. So the first thing you're going to notice when you're looking at this, the 3D view port that you already learned in the previous video is this timeline down here. Now the timeline down here has both the start and end time. So when you render and you're going to learn what that is later, this will be the total amount of time you render. And when we talk about time in Blender, we talk about frames. And what frame we are on is indicated by this one here, and it's also indicated by here. But if I let click anywhere, you can see that the frame where on changes and you can see that here. But if you look in this scene in the 3D view port, you can see that it actually doesn't change. And that's because we haven't actually done any animations. So if I want to play the animation, I can click this right arrow here and it'll actually show what it is. But if I click it, you can see that this moves. And if I hit the space bar, it will stop. And I've had the spacebar again, it will start again. That can be different depending on how you set up your preferences. But the button, the play button will always work. So that's the frame and that's the timeline. So let's say that we want to move this block and in animation, and we want to just move it either left and right or up and down. So we'll call that translation. So if we want to translate the box and a direction, we use something. We call them blend there and a lot of other angry and a lot of other animation programs called a key frame. And the keyframe just means that we are specifying some value in time. And in time, I mean at a certain frame. So let's say that we want our block to start here at the center. Actually I'm going to move it. So I'm gonna hit G for grab and men x, y. And we're going to move it to the left just a little bit. And now to put a keyframe in time, all I do is hit I for insert keyframe. So I want to insert a key frame that contains the location information. So then when I click that, you can see now that there's a yellow, orange is diamond here on the left, that's an indication of a keyframe. There's also the fact that this information here on the right side is yellow. That means there's a keyframe there. Now if I hit play, you'll notice that nothing happens. And that makes sense because we only told blender that we want one thing to be true in time and that's we want the box to be at this location. Now, if I grab the block and I put it, I just move it and I hit Play. It snaps back to where it was. And that's because our keyframe told it to only be there. So if we want our block to move, we need to tell it to be at a different place at a later time. So we're gonna go to the 100th frame. Then I'm going to hit G for grab. And then y. And I'm going to move it. And this time I'm going to hit I again, and I'm going to lock location. So insert keyframe and then we picked location. So now, now you can see that we have this diamond here on the right on a 100 frames and we have one at one frame. So if we move, if we hit Play or hit the spacebar, now you can see that our box moves. So go ahead and do that, and you have done your first animation. Now let's take this a little bit further. I'm going to just undo everything. So the box is at the center again. Now, This one way to do it, to just do the keyframe and then look at the, look at the timelines. But I'm going to show you the graph editor, which is slightly more powerful way to look at your animations. If that's the type of animation you're gonna do. And I'm going to open up a new window to do that. So to create a new window and Blender, all you need to do is hover over the kind of the border region between two panes. And we're going to do a vertical, actually a horizontal split. This means we're going to put a horizontal line right here. And instead of the 3D view port, which is what we have here, we're gonna switch this to the graph editor. So I'm going to click this icon here. And I'm gonna drag until I find the graph editor. And then once I find the graph editor, now I can see my keyframes, but I can see exactly where the block is in time. So let's go ahead and do those exact same keys. So I was going to say grab on the hip, why I'm gonna pull it over to the, pull it over to the left. I'm gonna hit I for insert keyframe. I'm going to hit location. And then I'm going to drag this all the way over to the end, just so that it's moving the entire time. And then I'm going to move the box, grab y. And it's going to move quite slow now. But that's okay. I for inset and then location, right? So now I can see what my box is going to do over time. So if I click here, then I hit Spacebar for the play button. I can see that my box is moving. But more importantly, I can see exactly where it is in time. So if I want to simply get it to move not as far I can left-click on the key here, grab, and then I hit Y because I only wanted to move up and down. And I can move where it goes. And I can do the same thing for any place on, on the line, right? So also, if I want to change how it gets to the ending right, right now, it slows down as you can see right there. But if I hit G for grabs on this handle here, and I move it, now you can see that it doesn't have this carpet the end, and it moves at a constant velocity and then stops, right? And that's one way you can kind of more intricately control what your boxes doing. So you see now if I move it just a little bit other side, just to show you something interesting, you can see this gonna go pass the point and then come back, right? And this is just, just for fun to kinda show you how things work. Now, let's say that I also want to make the box rotate. So I could do this on a completely different object, but because I want you to see that you can do it on more than on the same object. We're going to do that. So I'm going to hit I for insert keyframe. And this time I'm going to lock the rotation right now. And it's important that you have this selected. If I open this up, you can see here that I have X, Y and Z location and I have X, Y and Z Euler rotation. And I know that looks like it says you are, but It's pronounced oiler. I'm not gonna go into the mathematics history of who Euler was, but he did rotation. Let's just say that he did rotation stuff anyway. So we have locked a rotation in time. But let's say that I don't want to look at, I only want to look at what the rotation looks like. I can simply click this I, and now I only have the rotations. Now. I can move my box just like I did before. And now I'm going to rotate about z. And I'm just gonna randomly rotate it some amount. And I'm going to hit I for insert keyframe. And you can see this is the line that dictates the rotation. Now, if I make everything visible, you can see that there's a line for the translation and aligned for the rotation. Now it actually turns out that we really only locked the rotation for two particular axes. Like we did this in the y, and we did another one in the Euler angle. But that's not that important. But now you can see if we play this, it's going to rotate just a slow, right? And it's also going to translate. Now let's say, and this is the last thing I promise. Let's say that we wanted it to rotate more. Right? So there's a way to make it rotate continuously. And I'm not going to show you that here because I don't want to overload you. But if I hit G and then y, and I pull this all the way down. So now at the same point in time, it will have rotated farther. So that means from my math geniuses and physics genius is out there that it will have to rotate faster because it has to go farther in the same amount of time. So there you have it. Those are the very rudimentary specifics and like the bare-bones principles of, of animation, now I've animated location and I animated rotation. You can animate just about anything in Blender, particularly anything that has a number associated with it. We could have done scale, we could have done color, we could have done just about anything. That's one of the most powerful things about blunder. So good luck on the rest. 6. Project 1: Modeling the earth: Hello everyone. I'm Nino. And today we're going to make some, some animations. So you can consider this tutorial as an introduction to animation. So what we're going to do is we are going to have some simple animations. So translations, for example, movement, rotation or scaling. So that's the first part. And then in this part we're going to make, we're going to make a little space scene. So read one to have the earth rotating around its axis. We want to have a small rocket that this may be flying through space calmly and maybe some rocks or what are they called? I like the space, Rashid. Oh, they are going to be flying past the rocket. So there's, there's some translation animation that we can try and make. So let's get started and we're first going to have to model all of the objects before we can actually go ahead and animate them. So let's go ahead and delete all of those objects. Actually, we don't want to delete the camera or the lamps, so we're just going to delete the default cube as usual. So let's go ahead and delete this. So first of all, we're going to make the world. And for all of you flip out there, you're still watching because we're going to make a sphere. Or at birth we go to start with blades. So, you know, you at least got something I guess. So let's go ahead and first of all, I'm going to enable must create gas keys. So you actually know what I'm doing. So like that. And now we are going to add a plane. But first we're going to go to Preferences Ed owns and less search for import images as planes. So you want to enable this one. So we can simply enable this and click away. And we're going to hit Shift a. And now we've got the option to import the image, images planes. So let's go ahead and click that. I'm going to go to pictures where I saved it. And we're going to import the Earth diffuse. And you can download all those files in the description. So let's go ahead and import this. You can see a nice plane. We can't see what's on there. So we have to go to Viewport Shading rendered. So from the start we are an EV. So it's rendering an EV mode no cycles. But for this, I'm actually going to keep it at EV because it's all about animation and not so much about the texturing and all of that. If we are going to texture the Earth, of course. All right, so we've imported this and we're going to hit Tab edit mode. Then it's very important at then we're going to rotate this plane. So press R, Y, and 90. So the reason we do this in edit mode is because we don't want the, let me find it. We don't want this rotation through change for the object mode. So if you wrote it this in an edit mode, you can see that all of the, the settings are still guy and off. All right? So we do have some rotation going on for X and Z. I'm not sure where that came from. Let me conclude that a few times actually imported it s I have rotated already. I get that. I guess that's fine. So we're going to go into wrote it in the y-direction ones again, you already did this, so don't worry. And then we have a floodplain and we now have to add an edge loop. So hit tab if you are not in edit mode, hit Control R and just add one edge loop right in the middle. So holder over, recite H and left-click and just hit Escape to cancel this. So why do we want this actually? Well, we're going to bend this plane around its origins so that it's going to be a sphere. So we go to bed, it's two times. But we want to subdivide this. So the reason we add this little edge loop is because we actually want a nice H in the center of our plane. And if we simplified this error, so the possibility that this center is going to be a plane instead of an edge. If you know what I mean. If you don't know what I mean, you can just follow me along anyway. So let's go ahead and go to your Properties and let's add a subdivision surface. We go because we need some geometry to bent, right? So let's go ahead and increase this to 62 times. So viewport render and we don't want all of those corners on the sites because It's to actually connect. So we're going to change this from gotten more Clark, too simple. Right? So now we're going to add a nice simple deform modifier and we're going to set this at bent. We go to change the angle to 180, like that. And now we can see that we've got hold of the cylinder. Which perfect because we want to bend this another way. So we're going to add another modifier and we're going to set this at simply four-plus will bend it around these ethics is, and let's make this 360 degrees. So now we've got a full sphere. A country is looking a little bit weird and had Sibley because we still have an option to enable that we're going to disable right now. So let's go to the material properties and let's find where is it, the back face. So it's show Beck phase is enabled. We want this to be disabled. So just click it like that. And now you can see we've got the world lies at round. Yes guys around. So you can see that we've got a little seam right here. And that's simply because for some reason our end, what I just did was I right-clicked this ends breast Shade Smooth. So we lose all of those, separate the faces. And now we're going to get rid of this little edge right here. So let's step, let's press a. And actually let's apply all of the modifies first. So go to object mode. The hover your mouse over your modifiers in a modified DEAP and press Control a to apply starting at the top. Second, third. Now we can see that we actually have some geometry that is round as well. And we are going to press mesh, cleanup and merge by distance. That should do the trick. So you can see in the bottom is removed 300s and 19 vertices. So that's where the plane connected to make a sphere. Those are now all merged. Let's see if that fixed the issue. It did not. So I'm going to press tab again to go into edit mode, select everything, and let's offer on mouseover the right top corner, Italy, she does a little plus icon. Swipe it to the left edge. Let's changed is through. Let's see, we're going to change this to the UV editor. Alright, so select everything and we're simply going to do is zoom in so you can see the h. We're going to press S and X and scale this down just a little bit like this. Because I think the, the line that we saw earlier was just the UVs being a little bit too big for the image. So let's press Tab and see if that's fixed. But yet it is a little bit smaller. So what we're going to do is go to edit mode again and just scale it down a little bit more. And you see that it's still there. So let's scale it down even more. And that does the trick. Alright? So all we have to do is just scale it down a bit. Alright, so remember to save your file and just rename this. Let's call it n through. Nice, I've got gaps. Look enabled, interrupt through. Perfect. And save your file and remember to press Control S once in a while. All right, so next up, we've got the general shader of the earth. And we are actually going to go to the shader editor in the right window. Should change this from UV editor is to shader editor. And you can see the differentiators already there. So the diffuse is the color. So you can see land actually what the are, you can see this iss. I'm not quoting him all of the countries because it might be too graphic skills are not that well. 7. Project 1: Texturing the model: So we are now going to duplicate that this diffuse or select this note, hit Shift D. Just drag it to the bottom and changes from the diffuse to the roughness and open it and just connect that to the roughness. So you can see that E is going to look this up and you can see right away that we've got some nice glossy stuff going on. And you can see that we still have got this little line in some angles, but that's fine for now. So what we're going to do is actually it's colorRamp in-between the roughness and the principal pdf. So hit Shift a and search for color ramp. And just move that in-between of the output and the input. And we're going to move this black one to the right, move the white one to the left. And let's see what we think looks nice. I think something like this will do. We can always change it later. All right, Next up, we are going to duplicate that the closeness once more because we also have a normal map. So just connect this to the normal input right there. And let's change this real quick from the glossiness to normal. So open it. We also need the normal maps and press Shift a and search for normal map. There we go. And let's decrease the strength through maybe 0.5. That's looking great. Something else we need is the illumination map. We've got lots of textures on the Earth that we can use. So I'm guessing it is a texture to door Hill as well, after all. So just going like this entered emission from the principal B is the f. So there it is. And we're going to change this input to the Earth illumination, which basically is the city Life Institute Torah. So you can see it right there. This micro story about there, The Netherlands. So you can see some light maps it there. Then you can always try and increase the emission by adding a math nerd. Let's try that right away. So let's add a map node. Let's change this form. Adds to maybe multiply. Will it work actually? And twisting, so, well, I'd just a little bit. So you can see that we can increase the brightness. But we also lose the core. Which is a little weird. Let's see if we can change this to keep the color. Maybe it gets the RI. Let's play head. No. Just multiply maybe and through we can probably get the color become older way. So we'll recode to do is just add a mix RGB as well. So Shift a and search for mix RGB. Like this. We're going to set this to light and will probably work. Changes to yellow light. It doesn't not work. Let's see what will work. Dark and maybe darken sees the work. So you just want some nice color. Let's see something like this, but it's way too bright. So we can decrease this multiply failure little bit. Something like this. Play around with the color. You can also always go crazy and make it a lot of color if you'd like. I'm just going to i'm, I'm actually just not going to connect this. So what I'm going to do is just going to be elimination through the emission inputs. I like this. So we just get the regular emission shader, right? So at least you know how you can change the color or make it brighter, right? So I'm going to delete those notes. I'm not going to use them. Something else we want to do is actually add a light in our scene. So right now we've got the standard light. You can see the little top right in the, in the object three. So select your lights. We're going to do a light pencil or the Light tab. And we're going to change his son because we want to control the lighting of the Earth with of course a son. So it is at a 1000 strength position a little bit much. We're going to just maybe one or let's see. Let's see something like something like a to me that's looking great. And now we can just move this a little bit more to the center of an object. It will not change the lighting, but it's just easier to have a route. So I'm just going to rotate this, for example, like this. I'm actually going to rotate my growth a little bit because I like looking at water this much. I want some length to be visible. So what I'm doing is just pressing the earth and pressing R to rotate that. Silver like debts are extra rotated in the x-direction. Something like that. What do we want to see? I'm not sure. What's the best part of Earth to see? Maybe we can find Europe. That's one of those lighting going on in Europe. So we're just going to keep it like this. So you can see that we've now got our Earth lit up with the sun. And what we're now going to do is actually make sure that we don't see those lights that well, that are in the shadow mode, for example. So the shadow side of the Earth is at this part. So we want so more contrast if you know what I mean. So what we're actually going to do is go to the shader tab and hit Shift a and recommit to search for a diffuse. Diffuse be SDF. And we're going to add a shader to RGB. And right away. So I'm pressing Shift a to add a new node and then we just search for eye color ramp. And by the way, I've learned this whole process of creating the Earth a while ago from CG geek. Who has, what is it a one minute tutorial on how to create the Earth. But it's a little bit fast. And there are a few things that didn't really work for me, so I hope I explained it right for you guys. So it Brooks and every step is explained. So what we're going to do next is actually connect this, connect this as well. And we want this color. First of all, let me show you what those are going to press Shift, Control Shift, and click on this color ramp. So now we can see what happens. And we are actually going to swipe this black to the right. And let's see. Select the white to the left, all the way to the left, and let's see what we want. So what we're going to do now is actually, I might have explained it wrong before. So what we're going to do, which actually makes sure that there's lights are not on in the bright side of the roof, so to say. So those lights will be off whenever it's in broad daylight. You won't see this much lighting during the day. So we wanted those things to be excluded from the date part of the Earth though. So for example, here, there's too much light and that has to go. So we can fix that by applying this color ramp and adding it to our mission. So what we've got to do is press Shift a to add a little mix shader. And that's not the right one. We got to push a shift in his search for mix RGB. And we're actually going to swipe that in, in-between the elimination and the principal to be SDF. Because that's what we call roll with this, with the shade or right, we want to exclude the light from the light part of Earth. So now we want this color ramp that we just created to be the input of CO2. And we're going to set this to multiply. There it is. And we're going to swap this all the way to one. And let's hit Control Shift and left-click on more principled node. So we actually see what we're doing. There we go. So I guess you that the lighting is excluded from the light part. Maybe it's a little bit too much and we're going to play around with the scholar ramp a little bit. I want those lines to be showing up in Europa so because they just look nice. So let's play around with this. Let's see what we can do. This black is to go to the right. So you can see that we can control the lighting very nicely. Let's see. Stuff like that. That's going to be fine. And what we want to do as well is connect this color ramp to the diffuse shader. Just so we can get a nice, a nice extra color on the bright side of the Earth. So what we're going to do is we're going to press Shift a. And we're actually going to add a layer weights. And we're going to add another mixed RTP. So press Shift a whenever you add a new note. I don't want to say this every single time that I do it. So just remember a shift a brings up this menu to search for new load. So connected to the color one, color theory was going to be black. And we are going to connect to the colorRamp through the effect of this mix notes. And what we're going to do next is add a new mix RGB. So press Shift a mixed RGB aerobic going to do is actually connect this in-between the diffuse inputs and the prince will be STF because we want to change the color. We want to make a little bit of a nice bluish tint around the Earth. So what we're going to do is just add this color to the effect horror of the mixed node. And let's see what happens. There we go is you can now see that on the bright side of Earth, because we added this color ramp to the mix. That makes note of the Fresnel because she had this wild, the color is now only edit through the part where the Earth is the brightest. And now if we change this mix nodes to a bluish color, you can see that we can get some nice chlorine. So what's a good color? I'm not sure, actually. I should have looked up how roof looks before I did this. But I think we can all agree that this looks something like Earth, right? All right, so that's looking great. The next thing we're going to do is actually go through the EAF, render property timid go to enable bloom. And why do we know bloom will bloom. Just make everything look a little bit better. At this nice thing about E for you, we can actually add blue into view port instead of having to edit in the composite area which going to be applied, often rendering in cycles. So cycles, there's no real option to add bloom in the view port, which is, it's a little bit annoying because you, you can't really see what you're doing with the blue until after you're already rendered just seen. So what we're going to do first is kill up the earth and lets us scale is shown as well. And again rise well, so hit the Earth, hold Shift, select this, the sun and the camera. And we're going to press S and just kill everything up. And we actually want this to scale from the ER, this, so we want to scale from the 3D cursor. So we're going to change the transform pivot point to 3D cursor. And I would go to the skill is all. Just so that the Earth stays in the center of our scene and doesn't move somewhere else. Alright, so now we can change this bloom setting a little bit. Let's have a look. You can play around with the settings. That's what I'm doing. There is no real, real easy way to tell what option works best. Because it depends on the scale of your object and the amount of light in your scene. So you can see that we have to have the threshold a little bit high because otherwise our whole are all seems good to be lit up. The radius can be a little bit smaller, maybe something like this. It will look nice if we have a black background with maybe some stars. Alright, so something else we can add to this, Earth is some clouds and we actually have a cloud texture. And because it was already provided. So I'm going to press right mouse set origin, origin should geometry. Of course, that is after selecting the Earth, because we want to scale this from the center and re going to hit Shift D with the earth selected. So press shift D so you make a copy, but escape and press S and just scale this up. Hold shift. That makes it skill a bit smoother. So scaled up just a little bit. And I have to enable the transport before. So we're going to change this back from 3D cursor to the meet point. Otherwise, we can still scale from the bottom side of that which we don't want. So just press S and scale this up a little bit. Like so. And what do we want this to create a new material for this, because this is going to be the clouds and we are just going to go to the right window. So this is the shader window. And move on to look for the option that says that we can copy this material, which is right here. So if you can see it, you might have to swipe. This whole parts are a little bit to the right. So just offering a mouse over this edge and you see the two arrows and just swipe it to the right. It's this little button right here, which is new material. So select your earth and then hit new material, which basically means that your earth material is not copied. And we're going to delete all of this left side. So everything that's left from the principal BST F is going to be gone. So delete this. That's looking nice. We've got a nice white sphere. And now we're going to hit Shift a. And we're going to search for an image texture like this. We're going to connect it through the base goal or actually we're not really going to connect this to the alpha because we only want to see the clouds and not the other parts as well. So if you, if you connect this to the, to the base color, you will see the clauses white and the rest as black. But we only want to see the clouds and we're going to place this an alpha. So and then we're going to open the texture. Let's find it. It's gold Earth clouds. So open it. And you can see that you've gotten now your clouds on top of the Earth. And if you don't, there's some settings that you have to turn on. Let me find it. So open a ride when a little bit more. We actually want to find the material properties. So it's a little sphere on the bottom. Scroll down and we want to change these settings. So what we're just going to do is change the blend mode to alpha blend and shadow mode to all hashed. There we go. So that's you'll do the trick in case you didn't really see the earth below the clouds. And I maybe I didn't deal with and you can even scale this more if you'd like it. I'd just keep this at my head because it has to be close to the Earth, of course. To press Control S once in a while. And this is actually look at grades. You can rotate these clouds if you want. So just select it and press R, for example, Z and just wrote that, that so you can see a little bit more of the Earth, maybe. Something like that is looking fine. All right, so that's it for the Earth. I'm not going to do anything else. It's looking fine. By the way, you can now rotate the sun and you will rotate the change to shadow on the Earth. You can change the time of day, for example. And that's simply because we have all of those nodes to be bonding to light as well. So you can see it's looking nice. You can change the way it looks. And it's going to look particularly nice when we wrote it the earth. Later on. Absolutely try to select Earth. We selected both out. So if you wrote that this now you can see that the shadow stays nice and the same. But you can still see that the, only the dark side of the Earth as being illuminated by the lights in the dark. So for example, this. So that's nice. So we're going to save this and we are actually going to work on the background now. So for in the right window, we're going to change this from the shader editor to the, actually we want to stay in shader editor, but we want to change it from To world. So we want to work on the big crowds. So by default in Blender, the background is always great, which is a very basic goal or end a little bit boring. So obviously in space we've got a lot of darkness. So we're just going to change this to fully black. And it's always makes Earth bulb and it always makes the bloom effect look a little bit better or better. It makes it more vibrant. So to add some styles, we can do some simple things. We're just going to press Shift a and we're going to search for noise texture. And we're going to connect this to the color of the background. There we go. So for how to maybe get some stripy colors and which is just what annoys tissue dose before you add a color ramp. So hit Shift a and search for a color ramp. And it's why were they in between? And you should get some white and black spots. Obviously, we have to move some of these points in the color ramp. So let's do that and move them closer so you get more contrast. Rest of the code does kill this noise that you rip a lot of, a lot. So it's like this. And now we're going to play around with the color MP for more. So let's place the white little bit to the right. And let's move the black to the right until we've got some nice warping stars, something like that. Maybe, maybe it's a little bit too small. You can easily change this by changing the skill. I'm actually, I liked it a little bit like a vet. And you can change the detail. If you want a more or less. I'm just going to keep it at like to you could change the roughness all the way down, for example. In that case, we're going to have to move this black button a little bit to the right. Something like this or do I guess this looks like space, right? Yeah. We got to keep it like this. All right. So next up, we're actually going to position or camera before we're going to make the rocket. By the way, just not going to be anything difficult because this is obviously focused on animation. We're going to hit limpid 0, which brings us through the camera view. And now we're going to have to find Earth. So rare that, that we leave Earth. Well, there is a 3D cursor, so it should be somewhere there. So what I'm doing is just pressing Shift F and it's pressing W, which makes me move forward. But we are not really moving any closer. So what we're going to do is actually go to the camera settings on the right. And we are going to change the clip end to a higher value until we see Europe. There it is. So if we are too far away and clipping is set below, we just can't see anything outside of the clipping area. So if a set on a 100 meters, you can't see the Earth in the camera view if it's further away than 100 meters. So we're just moving this up and we can find Earth. Alright, so let's move it around. And obviously because we increased the skill of Earth, we now have to move our camera way we further. So let's see. We want the earth to be visible. Maybe it's only partly actually. So maybe only a small part of growth should be visible in our renders. Maybe like this. That's looking fine because we want our rocket to be the main focus point and we just wanted to have birth rotating in the background to make it look like maybe our rockets in orbit or something, right? 8. Project 1: Modeling a rocket: So now let's actually go ahead and add our rocket. And what I'm going to do is I'm just going to select my camera. And I'm going to hit Shift S cursor to select. It. Basically means that our cursor is now at our camera and it's just going to be a little bit easier to position our rocket right? So next up, let's make a very simple rockets. And by very simple, I mean, very simple. Let's press shift a little bit, a mesh. Look for a cylinder. There it is. Don't worry about the scale of precision just yet. We're just going to make a shape first. So first step. Let's go into edit mode, which makes you go through the face select mode. We go to hit the top edge. And actually I'm going to change the Viewport Shading back to Seoul it. So we can just see the objects and no shading at all. And let's select the top face, G and Z. Just move this up. Let's try to make a rocket just from imagination. So this will be very wet rocket. I don't know. I'm just roll with it. So what are we going to do? Obviously, the tuple for rocket has to be a test to be more like a cone. Because we all know aerodynamics, right? We're all engineers in their code to extrude this. What I'm doing is just create a simple, simple fun parts into geometry. So it isn't just a simple cylinder, right? So just select the top face and press I to insert. There you go. And let's just extrude this E. Let's press E again, I press S and scale it up like this, G. And let's just move this up a little bit. Like this. You once again like this. Maybe we can scale it down to press S and scale it down by two. Inset e x root, x i, e to x root, you get the pods. Either a sword once again, like this. Let's execute it upwards. We're just making some fun shapes in our cylinder. And this is a very easy way. There's always, I'll deal with the cylinders. It's always more fun if you have some geometry in there. If you have some nice shadows, for example, despise going to have some less shadows. Just sorry, it isn't a simple, very simple cylinder. This is a very easy way to do this. You can just press I, insert E, extrude by inset extra roots S, scale it down. For example, I inset e to extrude. I insert an extruded once again, E and skill that up. Let's first E S to scale. This is going to be a very weird rocket by the way. But I'm just trying to show you what I mean. You can always make changes. For example, if I wanted this to be bigger, I'm going to press to edge, select mode, select Stop edge, and just press S to scale this up. So maybe I thought that it was a little bit too small. So this is looking better. Now let's just make the point. So first three top face, what I'm going to do is just press I to insert a threshed Ruth just a little bit as E and skill, which I want this to be a separate part from this part. And I'll regularly to e to x root all the way to the top. Maybe a little bit more like this, and then kill it all the way down. Something like this. Maybe even further, make sure that you stick with a plane. And you don't actually connect all of those into one. Because we actually want to add edge loops. And you can add edge loops in, for example, like code. And let me show you that the issue, you don't have to follow me along. But if you add a code, actually hit Tab, you can't add any edge loops. And that's simply because the bottom amounts of edges does not match the top amount, Just because this is a simple vertex, right? So that's why you can't add any edge loops in a cone. And that's exactly why I'm leaving to stop open. So our top vertex is Mencius. The amount of vertex is only bought them. Now we could actually add some edge loops. So press Control R and scroll up a bunch of times. Don't worry about the details. Left-click to apply and press Escape. When you're going to hit two and select one of those middle edges or maybe a little bit more to the bottom. Actually, this one will do fine. We're going to enable proportional editing tools or press, or simply select this little button. And we're going to change this from smooth through sphere. We're going to press S and we're going to scroll up because we want this circle, which represents the radius of the proportional edit tool to be a little bit smaller, so it only affects the colon. So just swipe down until that's the case. Well, let me actually, we can have the little beaker like this is looking good. So far like this. You can see that the change is the bottom side as well. So I mean this Barth. So if you don't want that to happen, you have to select an edge that's a little bit closer to the top. For example, this one. And then do the same thing, scale it up. Something like that. And you can always press Shift, set the scale and every axis except these indexes, which I'm doing right now. So you can just get a nice rounded shape. So you can see it a little bit, right? So it's not simply one straight edge. So I'm not sure if it's looks like a rocket or not because I'm not rocket scientists or AI. I'm just not sure. But what you're going to do is go to the normals, nth hits out or smooth. Because that is looking way better. And if you didn't do it just right mouse and press Shift. So I've tried to say words, right? House, appreciate smooth, just like that. And now you've got your main rocket shape. What we're going to do is we're going to go to the bottom side as well. So for step three, select the bottom piece. Now I'm going to move this down. Just a little bit too small, something like this. I go to Paris. I, instead, I'm going to press E to extrude this up, press S to scale this down and actually disable proportional editing to first. And now scale it down and press E. And it just moved it all the way down. So 20, so this is going to be detrusor. So just scale this up like that. That's looking like it to restore, respire to insert for speed. Let's move this up. Don't worry if it goes through a mesh because we're going to scale this down anyway. So press S, scale this down. So it's inside of your object like that, That's looking like a tourist or somehow we've got the main shape of a record rockets setup. And we can even throw in a little bit more detail. So let's press Tab to go into edit mode and just add some edge loops. So scroll up. I'm going to go with three. You can do more, you can do less. And what I'm going to do is add another edge loop. So for schools who are on the top side, I'm going to move this a little bit closer to the other edge loop. I'll go to do the same thing right here. So preschool through R and move it down one more time for the bottom. So this numbers three and double-click on one of those vertical edges. I'll shift, do the same for the middle hold Shift. I'm going to press E, S, shifts it and just skill this inward a little bit. Just so we got some nice compartments in a rocket. All right, So just to add some nice details. Okay? Obviously we're going to have to change this face right here. So if you've got the same shape as me, you might think this doesn't look that they are dynamic. This will get a lot of wind, a lot of air. So I'm just going to select a distal parts and press S and scale down slope like this. Now of course we have to select this phase as well because it's outside of the outer part and press S and just scale it down. Something like this. What I'm going to do next is actually, um, actually, let's press three and double-click on this face. Let's press B and extruding upwards, I press S, I just scale it down until it closes that Let's shape. Of course I did not like a weight that looked, but this is fine. Okay, so we know we've got a rocket, we've got earth, and let's try and position this somewhere inside of our camera. So first of all, I'm going to move this a little bit to the right, which is the x-direction. It gets feeded by the red line. As always the x-direction, green is always the Y and blue is always the set. So press T and X. Like it should be in a camera view. Now you can see the camera so personal, but 0 there, this, we're going to scale this down slope like this. And I'm just going to press G and move it to a place where it fits nicely. Press G and X. I want this to be informed of the earth. So like this, I am scale it down, move it up. It just gets worse, are eroded, it's sideways a little bit. So maybe it moves away from Earth. Thriving to get into orbit, maybe something like this. Let's actually see how this looks and rendered few officers with him at any materials to a rocket, yet. That's looking fine. If you wanted to change the lighting, we can just select our our son. But she wrote a good camera view and now are just wrote that the sun, maybe it gets some nice lighting on the your rocket. This is actually looking like. So we can see the main shape of the rocket three consecutive see are some nice highlights on the bottom. And we can see Earth nice and shiny. 9. Project 1: Texturing the rocket: And what to do next is actually it had a nice material to this rockets. Because even though it's not a texturing tutorial, we can still make it look a little bit nice, right? So what we're going to do is actually RB going to make this ourselves. So are we going to look for a material? We're going to look for one because we want to make use of the blender adults. So go to Edit Preferences and go to the adult section and search for Blender kids. So it's the online library, so enabled this makes sure to hit the three lines and safe references. So you don't have to do this every single time started blender. Now we've got this top little window right here. So we've got some different options. The left one is the object, so you can find objects. So maybe can you find a rocket? Let's see if we have a rocket. We've got some rockets. The ones with the lock on the bottom left are obviously locked. Those are not free. For example, with this one you could download, but this is obviously not a real rocket. This is, I think it's some kind of a product there, maybe this even so the, the, the lemon juice or, or something. So you'll get fired up. Objects right here in the blender kids wanted to derive is the material assets library. So you can now for example, Luke, for metal. I'm not sure. It's a rock made of metal or yet She'll be right. So actually, the school works from plain white metal that's painted. So the materials probably not going to change that much because it was already a white material. So let's head to the shader editor in the right window. And I changed the rules to object. So this is what the object tree looks like for this simple white material, you can see that there are some little textures and stuff, but you can really see it. Let's say three and let's select some faces. So double-click, I'll Shift, double-click, hold Shift, double-click. So for example, I want the important part. It'll be orange or some kind of orange regard to select those two compartments. And we're going to go to the material tip on the bottom right, and we're going to hit the little plus sign. Go to Hidden, you ever go to hit Assign. So what we can do now is go back to rendered view. And I'm actually going to go back to EV. Ev is nice and fast and it still looks pretty all right. So we're going to change this from wide to orange. Something like this. Maybe. That's fine. We go to decrease the roughness a little bit. Something like this. Maybe you want this to be a little bit metal. We can even add some noise on there. So press Shift a search for noise texture. There we go. And we can connect this and the displacement. It's Shift a and search for our displacement. Note. And just move that's in-between. Next up we're going to hit Shift a and add color ramp. And that means that we can tweak. The weight is nervous tissue looks a little bit more. So right away we can't really see much. And first of all, we're going to have to swipe this color ramp from the normal 2D height. So our displacement map actually knows that it's a height input, not a normal input. So now you can see that we've got some nice displacement them there, which looked more like chocolate. Then why did my main might go straight to chocolate? This doesn't really look like chocolate. Well anyway, I'm just going to decrease the skill of this texture all the way like this. And you can see that those lines from our faces repair, which is simply because we have the skill of our displacement map one. So this patient map is mostly finite, 0.1 or lower. So this is still too strong. So we're just going to hold shift. That's why this down until we lose those stripes and because still see some of that texture like this, we can always change the color ramp. So I'm going to move this a little bit to the right. Maybe it goes and move to the left of y to the left. Or actually we're going to move the black all the way to the left and we go to change the color to more of a gray color. And then we'll also make the displacement map a little bit less wrong because the contrast in the colorRamp is just less. And actually I'm going to do the same for the white part because I like how this looks. So what I'm going to do is just select those nodes. Control C. And we're going to go to the shade of that bottom right and select the first material and hit Control V. Let's move it to the left a little bit. And let's connect this displacement to the material output displacement. So now we should also have this texture on the white parts. So let's see why it doesn't work. Might have to do something with the normal map. Let's see. Blender doesn't really like this. There it is. So the normal map just was just messing around a little bit, which is fine. I didn't really see any input from the normal map anyway, so we're going to go with the displacement, but it's too strong. So I'm going to reduce this value even more. Something like that. At this actually looking fine. I think that we will see this better in the renderer. U0 v0 is just trying to fill the road those details, I think. All right, so this is looking fine. So it looks like a rocket thrust to fly away from space. 10. Project 1: Adding rocks in the scene: So our next I'll be going to add some rocks. And I'm just going to do it. It's very simple. Let's find some rocks that are already in the blender kit. So let's fire it. Rocks. There should be some in there, right? That will be perfect. Actually. That's too much. That's weird. That's a random rock. Now that this will work. So you can just drag it into your scene. Like I just did. Wait a little bit. Is it actually a machine already? It's not somehow I missed it. So just wipe it in again. Left-click. Alright, so now it's actually loading. So this is going to be our little, well, it's not a meter, right? That's just going to be some rocks flying by the TV playing hip pocket. So let's make some variations of those rock sexually. So let's press Alt D. So all d, So all of these different from shifty because it makes an instance instead of a duplicate. And it's just, it just means that your file is going to be easier to read by blender issues or render because it has the same details as another object. So it's just an instance object, so it's exactly the same. So blender would see it as another object, right? So if you need a duplicate that you don't need to change, you can simply press Alt D instead of shifty. So I'm just going to rotate this a little bit, so it's a little bit different. Why is the bottom of this rock and not close? Well, I've got to delete those because that's just weird. I'm not sure why. So let's try this one. Let's see if that looks better. If I can actually move that in. So we could maybe work with this one. There it is. This one closed. Please be closed. Yes. Alright. So let's work with this. What is that? It's still faster than if you have to create it yourself, or that will mean that you had to kill a little bit, add another texture. Now you just have to shape and it's all good. So I'm going to move this to the left. I'm going to hit Shift D this time and just wrote it. It's a little bit first step. And that is a lot of geometry. So make sure if you use anything for Blender kids and you want to make your scene diet and simple. So objects in the blender kids are very fast. So this is obviously sculpted with a lot of geometry. So you add some, some, let's say, power to your scene that a blender has hip calculate for rendering, for moving for anything. So make sure that you don't overdo this. But in this case it's a simple scene, so I don't see why not? Let's re-enable the proportional editing tool. I'm going to change this to smooth and go to press G. And scroll up. And just move this around a little bit so we can get a nice different rock than before. Just select some points, move around the screen and select the motor points. So we can change the shape a little bit because we don't want the rocks that look completely the same. I'm going to do this a few more times. I'm not going to explain the buttons every single time you probably get the idea. Something like this. Looking like a weird space rock as cool. That's good, That's good. One more time, maybe make a small scale it up, maybe even move it around, move it around again. Wrote it that the rounded said arrow to that was again. So it's like this, this will be fine. So we want some of this brock to flight boss, I'll rockets. So now we're actually going to start animating. So this is where the fun begins. I go to, go back to the object shading view. I'm going to, first of all, I'm going to parent the clouds to Earth itself so that I don't have to animate both of them. So in the object three on the top right, you can see Earth the fuse and earth diffuse 000 001, which is the duplicate. So those are the clouds. So I'm going to select that and hold Shift and select the earth itself has gone through P. And you have to hover your mouse over the viewport. So hit Control P and cetera. So now that when you select your earth, your clouds will move with it. Right? So we might actually have to skill up the clouds a little bit more. And actually, I think we parented the wrong way. Could hit Control said a few times. So we want the clouds to be parented to the earth. All right? So somehow it didn't work for me the first time. That's weird. Actually. Let me find out whether this. Alright, so for some reason I'm selecting the bottom one and I'm holding Shift and I'm selecting the top one. And it is parenting. The first one I selected. But when I press the bottom one, hold Control, select one. And then it will be it selects for the second one I've selected. Well, It's something I didn't know. So well, we all learned something. So excuse me for that a little bit confused. But at least now you know as well, I guess. 11. Project 1: Introduction to the animation: I use Control to select this instead of shift. And now we're actually going to go, ends up rotate Earth. So we all know Earth rotates around its axis and it rotates around the sun as well. So while the rotation around the sun as the blood triggering two enemies right now, because it's happening very, very slowly. Well, at least 40 feasible ie. All right, so what we're going to do is just select the earth diffuse. We're going to go and increase this bottom window. So this is our timeline. So this is where most of your animation stuff will happen. Because this is where you add keyframes. You edit the keyframes, you remove keyframes. So I will explain a little about how animation works anyway. So we go to start animating. This is the timeline that you're going to use, which is one of the other windows that you can pick from this little button. So it's the same place where you select shader editor or a simplest ratio like UV editor. And the timeline is here as well. It's a one step to the right, which is under any mission. So you've got timeline graph editor, driver, non-linear animation, which I've actually never used. What are used to Moses the timeline, of course, the graph editor. And sometimes it drives us well. And we're going to at least use the timeline in this tutorial. And I can also show you the graph editor, which is a very nice option you can use. So let's set this back to the timeline and you'll get this little window. And by default, blend reset your animation to 250 frames. So the basically mister you have 250 frames to work with. In the default Blender file. You can increase this frame rate of decrease the amount of frames in the third day of the properties, which is the output properties because he frame styles or frame ends. And you can simply increase this. You can see something happening in the timeline as well. So for example, you want, if you want 500 frames, you'll just set this to 500. And now you can see that you have 500 frames instead of 250. So that's one thing you could change here. And those frames basically mean how long your animation will be. So by default, your frame rate there'll be set at 24 frames per second. You could change it to 30, 60, to 100 for the, I recommend just leaving this at 24 or 30 unless you want to make a 60 frames per second animation or even more. But 24 is the minimum for the festival. I. So anything that burns at 24 frames per seconds, I think a movie also runs on 24 frames per seconds, maybe even less. I think it's 24. So 24 is required for your eye to see a smooth moving animation. So I mostly keep this at 24 just to make sure that I don't render anything. I'll put it. So I don't render frame so that I don't really need. So you can imagine that if you render an animation that is one hour long, for example. And you have to render a six additional frames every second. It's going to add up. And it will add up quickly. So it's right to leave the frames per seconds as low as you can. So I'm going to leave this at 24 frames per seconds. Obviously, we don't need five seconds of animation, so I'm just going to maybe set this to two. You wanted to 50. We can always reduce our increased this later on. So remember to hit Control S once in a while. All right, so how do keyframes work? Well, a keyframe basically means that you set a value for a certain element in your scene or a certain property. For example, if you have your location and you want your, for example, Earth to move, you can simply set a keyframe at the current location, which you do by pressing rightmost. And you can select, insert keyframes, which will insert a keyframe for every x axis. You can always also add a keyframe for all new one xs, which are due by rightmost clicking, Insert single keyframe. So then you only have it. For example, for the x-axis. We wanted to, for all of the x's. In this case, we're not that difficult to move earth, but I'm just going to show you how this rose. So right now we've made a keyframe, but you can't see it in the timeline. And that is because you have timeline is sometimes just misplaced. And S4, everything in Blender where you need to find your main location. So you want to find where the action is going on. This works in the shader editor did brushing of 3D viewport that this worked in the timeline UK. You've got press home. So Presto, and it will jump to where the keyframes are. So there it is. So this is one key frame that you just edit and you can zoom in to just have a little bit of a closer look. So this is added at the first frame and you basically just fix the location. So now if you move your talents to the right or you play the animation, your object will stay in the same place because it only has one input. But if you, for example, go to frame 30 or 24, That's 24. 24 is one seconds. And we aren't going to change the location of the Earth. So I'm pressing G and I'm moving this so you can see those values changing in the top right. And actually we're now moving the clouds, but that's fine. So let's left-click to apply. So it's now in a different location. And you can see that because our keyframes axis are now orange instead of yellow. So yellow means that you are in the current frame. Ends at the failures are the same as your key framed failures. And orange means that you move your object, enter those failures are not the same anymore. So if they're orange and you want to fix dislocation, and you can put a white mouse and insert keyframes. So now this becomes yellow and that basically means to edit a keyframe and those values are fixed. Frame 24. So it gets large sheet that if you swipe your mouse to the left in the timeline. So hold Alt, left-click and swipe it. You can see that the clouds are now moving to the left because that's why we're you edit the first keyframe. So that's just how you create a very simple movements. And if you want this animation to take a longer, you can just select this right keyframe simply by dragging your mouse. I'm selecting this key frame and just swapping it to the right. So for example, to 50 frames. And now your movement of the clouds will take 50 seconds or sorry, 50 frames. So that's just what you can do. And you can see the blender automatically adds a nice smooth animation. So it will start slow. In the middle, it will go to fastest. And then the end it will slow down until it's fully stops. So density basic setting in Blender and you'll get changed that as well. But in most cases this is actually very nice and very smooth. So I'm going to delete those keyframes because we don't have a hunt. The location to change for Earth, we want the rotation to change. So I'm going to select the earth diffuse in the right window just to make sure that they don't select the clouds again. And declaratory should go and press Control Z a few times. She would I messed up. So remove the right key frame first and then remove the left one. If you remove the left 1 first, for example, which is, I think what I just did. Then your right keyframe will become the new location of your clouds. And it will stay there after you delete the keyframe. So make sure that the location that you want is to go to be deleted last, which is in my case, first one. So delete the right one. Then lift the level. Alright, so now we'll go to select the earth and the right object three. And we're going to key frame the rotation. So right mouse in the rotation settings and insert keyframes. And if you can't find the transformation details, it is in the Items tab, stop, right? So now we fixed the rotation in the first frame. And well, if we want this Earth, the, or if you want to make it a looped animation, which are going to be a little bit difficult because we've got a moving rocket. So this is not going to be a loop. So for example, it was through this animation to be, for example, five seconds, which should be doable. Then we're going to multiply five by 24, which should be 120. And I hope so. I'm going to go to frame one under the 20 enlightened view ports. And now we can actually wrote the earth. So let's press R and let's press X. And let's just rotate this to anneal value. We don't want the road to distinguish. I want this to be nice, slow. So maybe something like this. Then right mouse on rotation and insert keyframe. And now you can see how it rotates by simply moving your mouse. It's moving very, very slowly. Very slowly, right? That will be actually don't want this to be smooth, like blend and mix it. So it starts slow, goes fast, and go slow again. But we want this to be there. Linear motion because Earth keeps rotating, it doesn't stop. It just goes on and on at the same speed. So this is where we need to graph editor. So if we're going to do, is Move your mouse to the top right corner. It's so easy to cross. Left-click, add reg or to the left. And we're going to change this Editor, Type 2 graph editor. Now you can't see anything. But we are going to select all of those keyframes to press Control a in your timeline. Actually a doesn't work. You just have to press a. So in the timeline select everything is a. Now in your graph editor you can press home and there are your keyframes. So home is up at them that you have to remember. So I'll rotation is one of those lines and I'm not sure which one. So what I'm going to do is actually Dan's or expand this little arrow and move left. So it says Object Transform, so that contains the data of the transformation. So we rotated around the x-axis, which is the Euler rotation. So it's the blue light. And you can see that it only moves a little bit, a very little, a very tiny, tiny space. So we actually want to rotate this a little bit more because it was a very sloped. So we could do two things. We can either move or sorry, we can select this keyframe and just move it to the bottom. So in this way, you can also change the rotation. So for example, like this. And that case you can see that it's a more of a curve and not a linear line. So that means that the rotation speed changes and we don't want that. So what we can do is select that those two points, we can go to q0, we could go to interpolation mode and select Linear. So right now it's one constant motion. So the speed doesn't change. So you can see that if we go to the animation settings or replay it, you can see it's one constant animation. And that's looking great. Alright? So you can see that we miss something. I'll be now F2 key frames right here. We're just simply because this one is not exactly on 110 frames. So let's move this to the right. One frame like that. So now it's all in one place. So hit Control S. Now we've got the rotation of Earth setup nicely and we actually take a look at the movement of a rocket. So we're not going to add any fire or simulations through this rocket in this tutorial, it's supposed to be an intro to animation, so we're going to keep it simple. So what do we want this rocket to do is just move through space, right? So this base there is no drag. So does, doesn't know air to stop the rockets for moving. So it just keeps on moving. Which means that once it has speed editors of space, it will continue going at the same speed until it hits something or until it is being slowed down by thrusters or anything else. But if not, it's just going to fly through. And we are just going to slowly make this rocket flight through the screen, which I think could be fun. So what we want to do is go to maybe frame 80 or maybe two seconds. So that's frame 48. My calculations should be right. And we're actually going to move this rockets out of screen. I want to move this to the left. So press G. I'm actually moving it in the Earth, which is not great. So we're going to scale this down first and press S and scale this down. And press G and X and just move this closer to the camera. Move it up, rest. Why move to the right? Scale it up. A little bit more subtle like this. Just so that it is in front of the earth. So now we've got the skill license setup and we're going to move this out of screen. And that should now be informed of the Earth like this. And we want the point of the rocket to enter at around 48 frames. So what we're going to do is add our location keyframe at throwing 48 because we want to start the rocket from here. So right mouse on the location and insert keyframes. So now blend the rule. Remember that this is the place where it will come from at 48 frames. And let's say vive want this rockets or move through the camera. Let's say in maybe three seconds. Three seconds, good work. So that is 70 frames. Actually, that's not 1772. So we're going to go through 72 right there. Or it's actually it's 48 plus 72, which of course is 122, if I'm correct. So we're going to move this all the way through the frame. So play like this. So it just flies through. It's as easy as that. So move it above to the top right and right mouse and insert keyframes. And now you can see that you've got a new keyframe at 122. And you can see that if you play your animation, it might be a little bit first. The rocket moves through, but it's still fast. It's a way to fester what we're going to do to fix this. Just cones the move of this frame all the way to maybe to a 100th. Let's see if ERF still rotates at that point. So select your earth in the object tree, and it is not moving anymore because we've fixed the right key frame at 120 frames. So we're just going to swipe this to 250. So now on earth will rotate a lot slower but also for longer. So let's see how it looks. I think that's actually a nice speed. And the rocket is flying through a nice speed as well. All right, So select a rocket, I'm, and I'm going to select both of those keyframes and move a little bit to the right because I want the rocket to enter a bit later. Maybe something like this. The next thing we're going to do is change the grid for the rocket as well. Because as I said, when a rocket has its speed in space, it will stay at the same speed until it's slowed down with something. So it's going to be linear as well. So because we just moved this rocket with a CI, we actually move that in every axis and not just one xs. So that's something we're going to have to keep in mind. So we're going to select those two keyframes. Hover your mouse over the graph editor at home. So you can see all of Texas have some kind of a movement. So everything is already selected. So that's fine. So now press key. Interpolation mode, linear. So now all of the motion is linear and it should just move through your screen with a fairly solid one. Speed motion. Ad is looking fine. Alright, so that's a rocket flight through your camera. Something else we can do. Something else we have to do is move those spate of works through the camera, which could be nice. So what we're going to do with this one is actually, I want to move this a little bit in the x-direction, so they are actually becoming smaller to find a way to go. And we're going to even write them, make them go into orbit a little bit. Well note, we get really because it's, it's, it's too far away from Earth to actually see this orbit, right? So it will be weird if those rocks are actually coda route Earth in the camera view. So we're just going to move them in the x-direction and maybe upwards a little bit so they move out of the frame. So let's do that. Let's select one rock first, and let's position it through the bottom of the camera. Summary like they're. So press G and move it. This will make your timeline go back to the start. You can also press this chimp to endpoint with them, which brings you to the first frame. And then let's just input our location keyframe. And we're going to go to the final frame. And we're going to move this the x-direction surface g, x. Let's move that all the way through the x-direction. So like this, and let's reduce it. I move that up a little bit so it moves out of the screen. So that's looking fine. So right mouse, insert keyframes. Right away. We're going to go to the graph editor because it is already, I'll select it. Go to go press a key. Inspiration loads linear. All right, so let's see how that looks. So we can see the rockets move or the first rock is moving through space, and then the rocket costs. 12. Project 1: Details and final render: So next up, we have to do this for the other books as well. But we want the little location in the movement to be a little bit random. So we're going to move this to the right, somewhere like this. And we're actually going to make this one start a bit later. So for example, right here. So 80 frames. So move your, your cursor or your mouse to 80 frames, right mouse, this location there represents the keyframes. So there's a keyframe at 80 frames. We want this to move through and exit at maybe 240. So just move it in the x-direction, so plus g x. And let's, let's press. And let's put Steve, why? Just to make it a little bit. Just make it move in a little bit for not a direction. So that's fine. So right, Moe's insert keyframes. And let's just key in the graph editor. Interpolation mode, linear, right? So now you can see that our objects are moving and they're a little bit different speeds. And they are also at different timings. That'll be fine. So we're going to the same, do the same for the other two rocks. So I want this one to enter maybe from the right, that will be nice. So press G and just move it there. Go to the, maybe we want this one to start. So right mouse, insert keyframes. Now move your mouse to maybe 160. So we want this to move a little bit faster. So plus gx, gy, something like this. Right mouse and insert keyframes ahead, less risky, it's relation mode and linear, right? So now we've got three of those asteroids moving at different speeds. Barely missing or rocket. Looking nice. And we're going to do the last rock. So let's see, when do we want this to start? Maybe even later. Maybe around here. When the older ones already past the record, this work is still come through. So select it, press G. So our keyframe is one for one, right mouse, insert keyframe. And let's go to the end to 150. And she said, and I want this to be all the way to the left to pursue y somewhere like they're right. Mouse key frames, key interpolation mode, linear, right? So let's have a look. How do those objects move? That's looking great. Alright. And the last one. There it is. All right, so those are all moving at constant speeds. Of course we can see them start because we can see outside of the camera view. But when we render this, it will look like they appear from outside of the camera with a constant speed. And that's looking fine actually. So we've got a nice animation setup and we can try to tweak this with. I'm actually quite happy with the result. So what we can do is actually, I want the rocket to go even slower maybe. So what I'm going to do is I'm going to move or select the records and move this lift keyframe to maybe 45. And this right one to 245. So it's just a little bit slower. So if the leg that's going to be fine. So this looking like a great animation. Well, it shows you how to do simple translation. So we've got everything right now. So we've had the rotation of Earth and with the movement of the rockets and the rocks, you could do the same thing with skill. We didn't really have to use it at this point, but it works the same way. So you can press right mouse on the skill, insert keyframes, then the amount of points you get, for example, increase the scale to two keyframes and then over time your skill will grow larger. So I think that makes for, makes perfect sense. So what are we going to do next is we're going to render this out. So we are an E for you show it should be a fairly quick I'm just going to change the render through. Maybe once you ate like this, we've got some nice blue. Then we could even increase the bloom effect. Might look nice to have a little bit more of an atmosphere. So intensity is already all the way up. If you track your at this in a right that you want more density, you can think just press three for example. So 0.1 is not the limit, even though it seems like it is, you can swipe it anymore, but you can still fill in 0.5 for example. So that's just how it works. So maybe something like this looks fine. We've got a little bit of an atmosphere going on. So to render an animation, there are some different steps that you can do. So let's take a look at the render properties first. So all of these settings will apply to every frame you render. So you can, for example, include ambient occlusion, which won't really affect our scene. But you can imagine that anything you can change here will apply to every frame. So let's go to Output Properties. Hey, you've got your resolution will apply to every frame as well. So you've got your frame starts frame, and so this is how many frames your render will render. And then you've got the output. So you will think for an animation that a video output will be Schwab or a movie output. So you can do that. And if you render a movie or animation, I'd recommend you to choose. I am BEG. And set the encoding mpeg 4 and then change the quality issue like I mostly go with perceptually lossless. But if you want a smaller file formats, you can also get away with a medium quality, for example. Then if you have audio which you probably don't, then you have to include it. But we've got no audio, so alright, so while I got it set on the video, I mostly use the PNG option. And I'll explain to you why. If you render an animation and for some reason, and this is when you are in the movie rendering mode. For some reason your blender crushes or your computer crashes, or you compute the religious power, then your whole animation will be messed up. So the hill render is completely uses, which means that you have to start again. And depending on the size of your animation and the length of your animation, That's going to be a bane in. Yes. So await you set this or B and G, all of your frames will be rendered separately as a PNG file, which basically means that you have those B and G false ready after each frame. So for example, if your blender decides to crash after 100 frames, you still have those 100 PNG files. I'm renders and those will not be damaged whatsoever. So at that point, you still have part of your animation and you can just continue from the frame where the crash happened. So this basically means that your PNG rendering is, in my opinion, we see for then doing a figure render is simply because I've had it too often that my blender crushes it during a render, whether it's just a simple frame or whether this is an animation, it doesn't matter. Blender just sometimes crashes. And that's because off, for example, using too much memory. For example, having a subdivision modifier that it's going to be in for in render mode within 20 and viewports display. So it's simply can't handle the amount of super efficient and your render and then it crashes. Or a simple regression for another reason, but it has crashed a lot of times for me. So I just learn to work with PNG files, is that so it saves me a lot of time. So you might think if you have this PNG files, how am I going to turn this into an animation? Because we don't want to use any third party software MRI, we just want to use Blender. So I'm going to show you this. So if you render it out as PNG, so the only thing you change in output is P and G if it's not settled PNG. So choose B and G. You don't have to change any of the settings, It's fine. So now if you select Render Animation, it'll render each frame. And let's see it happen. Let's wait a second. Wait a second. It's, you'll start in a second. There it is. So you can see EV renders very, very quickly. So it only takes 0.6 seconds per frame. So you can see frame 17, 18, 19. Those will all be saved as a PNG files. And those files are data for your animation. I will show you now how this works. So if your rendered out that this polit animation, I know just now by the way that those thoughts are with the BEC, but that's not that's not a problem. So what do we render out this complete scene? And you are its frame 250. You can close this render and you can fail safe. So remember to always save before you close anything. And you can press File New. And instead of pressing general, we're going to go to video editing. So now we've got a video editing file setup. So how are we going to add those damages? Well, we can go to add a very simple image. Asleep wins. And by default, your files will be saved in your C disk. And in TMP was issued a temporary filament. So anything that you render in Blender, and you didn't change your output format. Output file location. It will be in C and TMP. And whenever you render a new animation, your existing frames will be rendered over. So for example, if I render this animation, again, it will simply overwrite those files. So you don't have to give permission. It will simply overwrite those files because they are all temporary. So I'm just going to do this another way because I render two times. So I stopped at Frame 52 to last time so I can filter by date modified. So I'm going to filter by name. Irritating thing about this is that order files that may be in there can be in-between of your file, so you have to hold Shift and select the last frame. And then to continue, you have to hold control and select the first one. And then hold shift to the last one, wishes to homework than 50. And there it is. So now what we've got our animation. And if you entered or if you edit that those false, starting from 250, going to one, then you will have to reverse your frames, which is in the video settings. And then you can simply select Reverse frames and then your frames, we'll go the other way around. So now in my case, my rocket flows backwards. And check this on your rocket to fly the right direction. If it gets stopped bugging for a littles, little, well, so that's sometimes what happens when you refresh your face. It becomes a little bit buggy, especially when you do it a few times. So in that case, you might just have to re-add those frames or change some settings just like what I just did. So for example, just change the stroke. I'm not sure why that Brooks. Just change it, change the back. For some reason it seemed to work. So this is looking fine. So now if you're headed this out, you will still get BG, still get me wrong. You have to change some settings. So in the right top site, you can scroll down and go to Output. And now you can change this from PNG to FF MPH. Go to encoding and change this to MPEG-4. And I go to change the quality to perceptually lossless allow, you might think, well, you're still rendering as an animation now, so it gets still crash, right? Well, chances are blender question while rendering out PNGs that are already rendered is extremely small. So there is no there's no hard to chop for Blender, rendering out simple bean cheese. You can see my memories at one G GPM I ve RAM is 1.7. So those are all just simple. B and g is the blender just has to run the route once again. So there is no chance of I'm going to say ninety-nine point nine percent chance to succeed this render. So there is a very, very small chance of actually expressing your Blender. I've never had it before. A blender crashing when thread through 10, the routes PNGs again into a video file. So this is why I like this method and it is extremely quick. So let's see if I render this out as an animation. So we changed all other settings and now we will actually get them MP4 file. So random animation is going to go extremely quickly and it'll be over before you can say For you can say lender community. Say it slowly. So we can see frame two hundred two hundred fifty. And it's done. Well now you've got your frames turned into an animation. And it's as easy as this. And you might wonder why, where is this located? Well, it's in the TMP folder once again, and you can find it by remembering the loss frame that you rendered. So in this case it was 250. So I'm going to look for an animation with the name 0, 0, 1, 2, 3 wanted to 50, which is this one. So this is my animation right there. Just 11 should use me. Let me swipe to the left. So this the animation that we've just made. So we've got a rocket flight space with the Earth in the background. So you might think it's all of its fast. You can always tweak settings. You can make Earth rotates slower. You can make the rocket flies slower by increasing the distance between the keyframes. So you can change all of this. So for now, I think this shows you how to get started with simple translation animation blender. I think you should be able to figure out how to Brooke a little bit with the timeline and how would you add keyframes? And even a little bit about the graph editor as well. So how to change, for example, from the interpolation modes to linear when you want the linear motion or fantasy if you don't, don't change it. So that's the introduction to the animation. So I hope you enjoyed it and I hope you like this little rocket animation. I hope you can use it for something. So thank you for watching, and I'll see you in the next one. 13. Project 2: Introduction to Robot Animation: Hello everyone. This is virile in the animation workflow right now. Previously we've worked on some translation animation. So it was a rocket flying through space with earth rotating in the back. We also had some, some rocks passing by. So it was all about having movements. So from point a to B rotating. So that's what we discussed in a previous tutorial. So it was the very basics of animation. Today we're actually going to take a look at character animation. So we're going to discuss rigging, we're going to discuss bones and armatures, and we're going to discuss how to move this character. Alright, so to get started, I made a simple robot character design beforehand. So we're not going to discuss the design of this robot, but we're just going to focus on how to Rick character and how to animate it. All right, so what we're gonna do is we're going to make our simple walking cycle. Because it's a very, it's a very basic thing for a character to do. So that's what we're going to discuss. So I let me show you what that character looks like. So this is him. It's a very simple robot. I like to wait loops and loops. Very simple. Little bit droopy, long arms. So this is what we're going to work with. All right, so because we're working with our robots, we have to well, we can work a little bit different than rigging, our normal character. And I'd say rigging on normal characters little bit easier even because there are, there are different ways in Blender to, well, to apply an armature to your character, so to your mesh. And usually you will do this by, well, I will show you this once we've got the bone setup. So the first thing we're going to do is when you're going to animate our character or an animal, or a machine or anything like that. You're going to use bones. So in blender you can add bones by adding an armature first. 14. Project 2: The bones: We're going to go to front view, which isn't a bit one. I go to a height, this backplane for now. So I'm going to select it, press H, and I will turn on my screencast key so you can see what I'm doing. There we go. So we are in front of you and we want to add some boats. All right, so to do this, we can press Shift a and you can see this whole list. And a little bit to the bottom we see armature and are different things we can add. We can add a single bone, we can add a human meteoric, which is basically rig for our human that's already made someone else. We're not going to use this because I want to show you how to make a custom rig. So our human met Eric, I will show you what this looks like. So this is a human-made direct. So by default you will get all of the bones necessary for the arms, the hands delay eggs to feed at all of the facial bones as well. So there's a lot. So for this robot rear-ended going to need nearly all of those bones. So we're not going to use this arbitrary. So the leading this, I press Shift a and let's see what other armatures we have. We can have some animals. We have a bird, cat, horse, shark, wolf. So there's some random animals. And I have got the basic, you've got the basic human metaphoric, which should not include the head. So there you are. You've got the spine and you've got the legs and you've got simple bones for hands. So that's more like what we need, but it's still not what we need, right. So you can see here we've got some spine bones, some neck bones as well. But for this robot, the whole upper body is going to be one bone and so will the heads from the neck up. So that's something we're going to have to take into account. Alright, so let's delete this and let's actually have our 3D cursor move a little bit closer to our mesh. So we want it to be to the center. So I'm going to select my body, my upper body, because the origin is nice and in the center of our character, I'm going to press Shift S and girls to select it. So now that when we add new bones they will appear in the place. All right, so let's get into it. To start off, we have to figure out where the boats. So what a bone does. A bone will be used to control a certain part of the body of the robot, in this case, or of the human or whatever you're making. So you have to decide which bone is going to control which part of the body. Because you can, you're going to parent a body part to a bone. And that basically means that when you move that bone in both modes, which we will get into later, then that bone will move. That's part of the mesh. 15. Project 2: Apply bones in the robot: All right, so let's look at this character and let's see where we need bones. The first one that we need is actually 40 whole upper body to move it and to rotate it left, right from center for BEC. So that's what you're going to need. So we're going to press Shift a and we're going to go to armature and single bone. All right, so the bone is placed in the 3D cursor. And right away we're going to make some changes to our armature. So if you check the right-hand panel, which all the properties, you can see that when you select on bone, you'll get a few other options there. So you've got the armature object data properties, the armature density bone setting, bone properties. So what do we want to do is to turn the whole armature into something that we can see at all times. So we're going to go to Geometry tab, viewport display regarding to highlight the front checkbox. So now your armature is always feasible whether or not it is inside the mesh or behind. All right, so we're going to move this down. So we're going to press we're going to use it. That's fine. So make sure that it's near the bottom of the mesh. Doesn't have to be perfect. And now we're going to go to Edit mode. So most of the bone transformations and most of the bone, the bone edits up recommit to make are going to be done in edit mode. So we're going to press tab. We're going to edit modes. And now we can actually move the separate parts of this bone. So you can see a bone consists of one, was the triangle sort of end to, let's say joins. So if you select the top joint posteriorly, you can move it around. And same thing for the bottom part. So it's basically the two points that will control the length and the location of your bone points. All right. So we want to stop by to be near the neck. So we're going to press G and just move that up to somewhere like this. That's looking fine. And next stop, we want a bone for the neck to the head. So we're actually going to go into little bit more detail there. So I'm going to hide this for now. So press H and I actually want the backbone to start at the bottom of this bone. So I wanted to be fairly accurate with this. So what I'm going to do is I'm going to select the neck. First step was to go into mode and then double-click on this bottom edge, brush Shift S cursor to select it. And now your cursor is in the center of this bottom circle. And pre-step to go out of edit mode doesn't know but one again, press Alt H to unhide your bones at home, just quickly going to hide this back panel. So select it and press H. And now we're going to select the bone. Rest step, select the top part, but Shift S and selection cursor. So now the top part of this bone is exactly on the place where the neck is supposed to start. So that's great. So how do we now at a bone for the neck and the head? Well, it's very simple. You can simply select the top path and press E, which extrudes a bone. So to lock this into the set axis, we could use preset, and let's move this up all the way to the top of the head of the character. So now we've got two bones, one for the body, one for the head. Something else that we want to do is add some bones for the arms and bones for the legs. So there's going to be a fairly simple armature, which is fine for the first time. Alright, so an easy way to do this is by simply selecting this top part of the body bone and press E X, I just swapped it out. So this isn't a completely wrong direction, also a wrong location. It starts to neck. We want this to start at the shoulder. So what we're going to do is select this bone. All be clear, the buret. So now it's no longer connected to a disjoint and we can move it freely by pressing G. All right, so once again, I'm going to fairly, going to be fairly precise. So I'm going to go out of n modes. Select our shoulder joint, press Shift S cursor to select it. Select our bone or armature press tab. And I'll select the left side of this arm bone. Shift S selection to cursor. All right, So now are aware left side, so I'll shorter part is in the right spot. And we are going to do the same for the right parts of this bone. So I'm going to select my elbow joint Shift S goes to select it, reselect the bone per step and at the front point, but shift as slaves into cursor. And now we can simply extrude this. So Prosci x, move it to the right and I'm not going to move it near the elbow joints or sorry, near the wrist joint just yet because I want to be able to see the wrist joint. So I'm going to out of edit mode. Select this joint right here. We want it to be in the center of the cylinder. So the origin is a limit of, so we're going to, sorry, DEP, ever go to select the center of the cylinder which should be this edge right here. If I'm, if I'm correct, we're going to press Shift S. Actually, we can't just yet, we have to select the other side as well. So it's this one. So the reason why we have to select both sides is because otherwise the cursor will be placed here. So on the face, on the surface of the cylinder. And if you select both of them, the cursor will be placed in the middle of those two edges, so in the center. So now we press Shift S goes to select it. So now it's in the origin and you can see that the origin is just away from the 3D cursor. And we can actually fix that right away. So press Tab right mouse set origin, origins, 3D cursor. So now the origin is in the right spot. And now we're going to select the armature per step, select this point right here, shift as selection to cursor. So now we've got the wrist in the right place and we go to extrude this one more time for the hands. So Prosci x m over to the side and this one doesn't have to be that accurate. So that's fine. We've got our left side comfort and actually we want to have this bone. So prestige the armature and select depth. And then we want to guide of parents that this bone through the body bone. Because if we move this bone, for example, we can see that moves away from your body. If you move the body bone, the arm doesn't move with it. So we want this body bone to control the whole character for now, which means that our upper arm has to be parented to the body. So select your your upper arm hold Shift and select the body. It Control P of G2 options. So we've got connected and keep offset. If you're going to select connected your shoulder joint a little bit connected to the joint of the upper body. So that's not what you want. But if we do keep ops offset, then d children joined to always be on the same distance from our body. So that means that if we move the body, the arm will move with it. So let's select that. And now you can see that there is a dotted line in-between those two joints. And now if we move this, or we probably have to go into pose mode. If you move this body, the whole bar will move with it. So that's perfect. Alright, so don't worry about pose more just yet then it's just just to show you guys. So next up we're going to make the leg. And the reason I'm only making one site for now is that we can simply mirror this later born. All right, so first things first, let's select this pelvis bone, especially b and z. And let's move that down. Sorry, I like this. And now we're going to select a bone principled, be clear parents, but g, x and let's move that to the right just outside of the actual leg because we are going to go to place those joints in the same way we did before with the 3D cursor. So first step to go into edit mode. Select your hip joints, Shift S cursor to select it. Then select your bone, hits depth, select the top side, Shift S selection, cursor. All right, a tap again to grow out of edit mode, we go to do the same thing with the knee joint. So select it, Shift S screws to select it, select the bone. Second one, side Shift S selection to cursor. Alright, so that's in the right place. So in edit mode, we're going to select the Bonaparte risky, move that down step. We're going to select this, this, this ankle joint. Press Shift S curves, deselect IT, sector bone, it dep, bottom side Shift S selection, cursor. So that's fine. Then we're going to do this one more time for the foot. So select the bottom side of the ankle. Press E, extrude that down. I just threw about where the food is, something like this. Alright, so now we're going to do the same thing with the hip joint as we did for the shoulder. So we want to parent this with an offset to the pelvis. So select this joints are also select the bone. Select this moon. Gold will be keep offset. All right, so the parenting is done. We can now try and mirror those bones. So how are we going to do this? Well, the rule for bones and armatures is that if you want to mirror it, you have to give it the proper names. So for bones, the name of the bone is very important because Blender will only. Note that that has to mirror or certain parts of the armature if it is named correctly. And named correctly is when you name a bone, for example, I'm going to select the upper left arm regard to name it, left arm dot L. So now blend and low. So this is the left side of a mesh and it knows that it has to mirror it to the right side when we asked him to do so. So I recommend to name all of those bones. So this one's going to be lower arm dot fill. This one is going to be hands dot L. We've got that this BAD, which is the upper leg. For upper leg bill. This one is a or sorry, lower leg length L. And then we've got the foot. All right, so that is the basic thing that we have to do for the bones. And let me just quickly name the order books as well. So this is the body, this is the neck. So that's fine. At before we're actually going to mirror this, we are going to have to add some more bones. And this simply because we aren't going to make some inverse kinematics in this system. Inverse kinematics is basically something that's means that you can add a bone that will control our set of bones. So for example, inverse kinematics is generally used for legs and arms. And it means that if you add, for example, our control bone in the eddy near the elbow or sorry, net of risks. You can actually control, for example, the forearm, upper arm with an inverse kinematic system, which basically means that it will control those bones in a chain. So in that case, when you will move this controller, you will move the upper arm. You'll move to the sort of the lower arm entity, upper arm a little bit as well because they will simply kind of push each other. And I will explain that when you're getting into with a little bit more. So that basically means that we need to add some new bones. So we are still in edit mode, so I'm just a little bit of one. And we want to control the arm with an IK controller. So IKEA's inverse kinematics and we want to do this from the wrist. So we want to have to control in the wrist joint. But we can't simply use this hand-drawn because we want this hand, but to be parented to the actual hint. So you have to add a new bone. So select this backside of the hand or press E. And let's look at, look at through the x axis and make it just a little bit longer so we can always select it later. I'm going to name this arm, I'm sorry, hand, maybe wrist, wrist, IK dot L. So now we know that this bone is our inverse kinematic control. Alright, so something else we have to do is, and that's something that you will learn over time. For inverse kinematics, you will need a pull targets. And a port Eigen basically means that its gifts blender or it gives the inverse kinematics chain a little bit of information of how to joint has to be rotated. Because if you're using an inverse kinematic bone that controls both the lower arm entity, upper arm, then that would mean that you can't really control the rotation of this joint. So if the elbow joints so in order to control a little bit more of deportation of the elbow joints, we're going to add a pull targets. So what we're going to do is select the elbow. We go to press E as y and just extrude it backwards a little bit, something like that. And we're going to select that joint or sorry, that bone hold Shift and select the note of risks. So I went to school the risks, the risks IK controller. But for some reason when I do this and I hold shift, my whole chain is selected. I messed it up for for a while now I'm not sure how I messed that up, but it's supposed to select one joints and then by holding Shift it will select a second. So if everything works for you, you should be able to select the paul targets bone, hold Shift and select the IK bone. If your kinetic chain, the whole chain and you've got the same issue as me. And you will have to do this separately. So I'm going to select only the poor targets. It goes what we are, sorry, LP, key apparent. And we'll just let the IK controller all to be buret. So we don't want these joints to be connected to the, for example, to the rest, ends to the elbow, but we want them to be separate bones. So right away we're going to move this ball targets away from the elbow a little bit. So press G and why I just move that up. Just a little bit, sorry, like this. And something else if we will have to do. And it's very important because otherwise your your armature is going to be a little bit funny or a little bit wonky. And we're going to have to move this elbow joint just a little bit because if you've got this completely straight, so right now it's 180 degrees, this angle between the bones. Then Blender will not know which sides it has to bend too. So it doesn't know whether it has to go this way or this way. So in order to give blender an idea of what it has to do, where do we get the inverse kinematics? We just have to move this elbow up a little bit. So press G, Y, hold Shift and just move it up slightly. And if this is not going to work, so if we still have the issue of blend and not knowing which attests to rotate through, then we can simply move this elbow joints even more. So for now we can try and statistics with this. All right, So to add on actual inverse kinematic system, we can select the controller. And we have to actually be imposed mode for this. So change the edit modes on the left top corner to pose mode. And we can see the bones turn blue. Now, that means that your impulse mode. So we're going to select the IK bone hold Shift and select the lower arm bone. We're going to press Shift I, which shoots at an IK and to active bone. That's fine. All right, so you can see that this bone will now turn yellow and it basically means it's an IK is added through this chain starting from the lower arm with the controller being this IK bone. All right, so if I click on this bone, we go through the Bone constraint properties and you can now see the IK settings. So right away the bone is set to rest I k. So that's completely fine. This is our controller now. And you can see the option for poor target. So that's why we added before. So we aren't going to select this little eyedropper icon, and we're just going to select this pole target bone. So now I've pulled IT to set that armature. Alright, so we still have to select our bone and that's a little bit sad. Lamb. So did we actually named this bowl target? Let's see. No. So we're going to rename this to Paul targets dot L. Now let's reselect our IK. And let's find the poll target dot L. There it is. All right, so right away, you can see that we've got some very interesting rotations and it's looking very, very bad. So this happens because we simply have not, we didn't change any of the settings. So by default, the chain length is set to 0. And if you set it to 0, then the inverse kinematic system will try to, to change the whole armature set. Sort of channeling basically means that how many bones IK will control how long the chain of bonuses. So with 0, it will try to affect every single bone in your armature. So this is what we want. We simply want to control this lower arm and the upper arm. So we need a chain length of two. At there we go. The problem is fixed. Alright, so now when we select this IK bone right here and we move it, you can see that we've got a nice inverse kinematic system going on for r. And that's exactly what the inverse kinematics is nice for. So now when we move the controller, you can see the arm is moving in a nice, nice arm-like mineral. Right? So that's looking perfect. So next up, let me actually show you what the board directors, so when I'm moved this, for example, to dislocation and or pull targets is still in the same space. So I'm actually going to parents this bowl targets through our IK, excuse me. So change the pose mode settings to edit mode. I'm selector pull targets, and then hold shift and select your your IK bone. Like this. I'm going to hit Control B and keep offset. So now when we go back to pose mode, our hour targets with actually move with the elbow, or at least it is closer. So let's see when we move this up through this spot, for example, and we now move over, pull targets. We can see that it controls the rotation of the elbow. So that makes it possible to actually rotate the elbow separately from the whole eye-catching. Alright, so I just press control set a few times to cancel this whole rotation stuff. And then we're going to do the same thing for the leg. So it's the exact same steps. But we're going to have to add a poll target for the need is time. Alright, so first things first, we're going to go to Edit mode. We're going to select this foot, this ankle joints, risky, set. Nothing's happening. There it is. So I move it so it's a little bit longer than the foot. Let's rename this bone right away. So I've selected, it goes to your bone tab and let's name this foot IK dot L. That's fine. Actually we were to name this and call k l like that. Then I'm going to press Alt P right away, clear parent, and go to person number 3 to get into site for you because I actually want the knee pull targets into the y direction. So what I'm going to do is just select the joints E, y and extrude that, collect the bone LP, parent, reselect it, pressed GUI and move that away a little bit. Just like that. And we might actually have to move this pole targets that to the front of the knee. So I'm going to do this. So breast GY and where I should go to rotate this. So our X1, X1 eight, There we go. So that's looking better. I moved it in the wrong direction, That's my bad. So this is going to be bought the poor target of our knee and just like the elbow we are going to give Blender are small indication of how to bend this knee. And I'm not making a game of Thrones reference right now. But we want to bend the knee. So plus g y moved it to the y direction a little bit, just a little bit like this. That should be fine. And let's rename this bolt target too. Paul to knee, knee pull dot L. So now we can make our inverse kinematic system. So go back to pose mode, select your ankle IK hold Shift and select the lower leg shift I to active boat. All right, so now you just select your IK bone. So actually yellow bone. And let's go to the constraint properties. And right away we want to bold targets to be. So it's going to be armature and the bone is going to be what did we call it a knee, paul dot L. So we've got to weird rotation again. So right away we have to increase the chain length to two, like so. And now we can see that if we move this, this IK bones for the controller are the rocks. So a leg works but it is rotating a little bit funny. Let's see. Yeah. So it's moving a little bit funny. So we might have to go back to edit mode as move it forward just a little bit more. Maybe something like this. Go back to pose mode. So let's see what happens now. Let's see. So it's still moving a little bit funny. Maybe I was wrong about the port director. Maybe it has to be in the other side. So I'm going to see why our X 180. Let's see if this works. This doesn't seem to work. So for some reason our bone is twisted. So that has probably it has something to do with the ball angle. So we're going to, actually, what we're going to do is impose mode right now. I'm going to select our IK bone and I'm just going to play around with the bowling ball a little bit. So let's see what happens. So we can see that our knee bend it to the left, right. So if we make this minus 90, they should actually fix it already. So there we go. This knee is now bending like an actual knee. Alright, so sometimes that happens. Sometimes you'll pull angle is a little bit off and that Gould either be because I rotated this Paul targets from the start because I rotated 180 degrees because I moved it to the wrong site. So that's all sometimes mess up your your paul angle a little bit. So sometimes you have to play around a little bit to find the right direction. What I'm going to do is go to edit modes and I'm going to select sport targets and the press G and Y. And just move to the way a little bit more. So we've got plenty of space to move the knee. So I'm going to go back to Bush modes. And let's see. Our knee is moving. Great. But actually we can see that the balls are going to still too close because if we get close to width, then it will try to bend our knees. In a funny way, because we moved the controller in the direction of the board. So go to Edit Mode, select this bought diapers, GY, I just move that away a little bit further. So it's like this, that's going to be fine. All right, so now we've got the bones setup and we want to mirror the whole right side to the left side. So I'm going to press Tab to go to Edit moment. And now we're going to box select all of those bones that we want to mirror or go to press a right mouse and hit symmetrized. And here we go. That's all. You can see. Those bones are automatically named R instead of l. So there's the right side. So if everything is all right, Then this IK should work as well. And it does. So that's perfect. Let's just lake as well. Great. All right. So we've got that fixed and that's a left butt. It's going really, really quickly. All right. So next up we have to do some parenting. And I'm not talking with raising your child. I'm talking about parenting your mesh to your bones. So it's a very easy way to do it is. So what you do, and this is a very repetitive process, is select your your message. You want to burn for simple T head, hold Shift and select your bones. And then change your view modes to pose mode. And then select the particular bone that you need. It's gone through. And then just select bone. And that's it. You can now move your head with the bone. So we're going to do this for every single bone. And let me first explain to you how we can fix this issue that the AI, for example, is not moving with with the head. And they're, all we're simply doing is by selecting elements or objects, layer by holding Shift and selecting the head lost, It's going to be and sub-brand to object and keep transform. So I know when we move the head, everything moves with it. That's perfect. All right, so let's bury the other objects as well. So we've got the body hold Shift, select the armature, goes Boss Mode, select a particular bone. The bone. So now when you rotate this, you can see everything is going to work just fine. Next up the arms. So let's look at your arm ports shift. Good, Boss Mode. Select the bone, chondro be bone. Same thing for the lower arm. Bose most select a bone. What's will be bone? Now the hand. And make sure that you don't select that the IK, but you actually select the hand bone underneath be bone. So now when you move the controller, the whole arm moves. Beautiful. All right, next up we've got the right sides of the robot. And next up we've got the legs. All right, So every bone is now parented or every mesh partisan apparently then I have to double-check one thing because I think I actually parented the IK bone instead of the foot from the left side. So I'm going to press, Let's see, we have to select the object, hit Alt B, barons. And I'm just going to do this process one more time for the left foot. So Control P bone. And now we've got the bones setup just a right. 16. Project 2: Animation: Next stop, we're actually ready to get into the animating part. So you can see the whole mesh works. The whole pose works, everything works fine. So where you move the body, everything moves with it. Except the aisle of the IK Controls, which is a little bit annoying with I like the way this looks. So we're actually going to add a new bone. And I'll explain to you why. I want one controller data moves everything. I also want to be able to move the body well, maintaining the position of the IK controller. So if you know what I mean. So for SharePoint, good postmortem and move the body. I want to keep this nice rotations stuff that's going on. So way and move the body. Now, you can see that the whole lymph system is reacting to it. So actually, alright, So it seems like we forgot something. We are going to have to parent those joins. So the shoulder joint and the hip joints to the body. So those joints are not they're not actually Joyce. Yeah. Just spheres. So that the arm can move around the spheres if you know what I mean. So they are just joints. So those are not actually controlled by the bone. So those are not being are not going to be moved by the actual bone system. So we're just going to parent this to the body. So select all of them. I only Shift, hold Shift and select the body last gospel p as a brand to object with keep transform. So that's fine. I'm going to select the armature, go to Edit Mode. I'm going to select, I'm going to hit Shift a. So you're automatically make a new bone. And actually that's the wrong location. So I'm going to delete this and I'm just going to select the lower part of the body bone. I'm going to press Z and something like this is fine. Select the bone, hit Alt P, get burned and are just going to press G to move it down. Something like this. I've got to person number 3. I'm going to press R and X and precedent 90. And I've just got to move this to about, there are maybe a little bit higher. Something about this. So it's it's the lowest part of the foot. And the reason I'm doing this is because I want this bone to control the whole armature. So if we move this bone, I want everything to move with it. So what I'm going to do is select the body so everything is parented to the body except for the IK entity pull targets. So we have to select the body. The IK of the hands and the poor Tigers. Same on the other side. So make sure you actually flipped the bone. This bone. We also need those to pull targets and we need the IK Angkor controllers. And then lastly we are going to select this bone. It's called for P and keep offset. So now we're gonna go to pose mode and we go to select this bone. We can see that we moved the whole mesh, but when we move the body, we still get this nice jerky motion. If you know what I mean. So that's looking great. 17. Project 2: Create walk animation: Well next up we can actually start animating. But first things first we have to take a look at what happens at the feet. So for example, when I move this control or when I move the body like this, our feet are actually rotating with with the, with the IK controller. But I want those feed to stay flat on the floor. So that can be done very easily. And we only need to do one thing. And that is, we're going to select for the right foot, the IK first, we'll shift and select the bone. So the bone is inside the AK IK and we're going to hit Control Shift she. So we're going to add a constraint and then we're just pressing R, which adds the rotation constraints. So now when we move, for example, this food, the food or stay in, well, it stays on the same rotation as it was instead of being rotating with the shin, for example. And that is, that could be something that you want. But for example, when we move this body, I want the food to stay flat on the floor like this and love like the right foot. So I'm going to do the same thing for the left foot. So select the IK hold Shift, select the bone Control Shift C and press R. So now we've got the mesh setup. So for the arms offer the hands, I'm not going to do it is because I wanted the hands to actually move with the forearm. Of course, it's more robotic. So we're going to leave it like that. So now we've got it completely shut up and we can actually go ahead and start animating this character at regularly to do a walking cycle. So we're going to have to do some research on the how walking Brooks. Let's go ahead and find a wall King cycle site. Feel. We should be able to find maybe a GIF or something that helps us. So let's actually see. So we tried to just roll with it and try to make a walk or cycle with in my opinion, it's always best if you use reference for walking or any kind of motion. So what happens is we can make a little bit of a stylized walk because we've got a robot that character. So we can make it actually quite nice. So what happens is It's very sharable. A birth. I'm still looking it up. So leg goes up and the bends go straight down. And meanwhile, leftward goes off the floor, does the same thing. Goes down. The r's move a little bit with it. So I think we can pretty much do this, this by, by ourselves. So what we're gonna do is we're going to open it dieline a little bit more. So I explained in the previous tutorial a little bit about the timeline already. So in the timeline is where your animation stuff is going on and is actually where your keyframes are being stored. So that is what you are able to use right now. So let's have a quick look at how we're going to do this. So if you don't have this timeline window, you can hover your mouse over the left bottom corner until you get this plus sign and just wipe it up or through rides. I wanted to up. So like this and then switch it to t. Let's see, red is through the timeline right there. So that is 0. And I messed this up a little bit lower ish, right? So next, we're going to take a look at how to animate a walk cycle. Well, there are a few ways to do this. You can, for example, any major character in place walking, and then do the steps later. So then you can get a perfect loop which you can just use to move the character through a scene, for example. Or you can actually have the character move itself. In that case, it's going to be a little bit harder to create a nice loop and you will have to tweak a little bit more. So what are we going to do today to actually make the looped cycle? So it's going to walk in place. And then we're going to take a look at how we can make it look like he's walking through a sheen. So we're going to make a nice walking cycle. And in a walker cycle there are multiple steps that the characteristics. So we all know 11 food's going in front of the other ones. Go a little bit. Back, the arms are swinging in the opposite direction. That's basically how, how a person walks, right? So let's take a look at how are we going to make this? So first things first, I am going to make a tiny tweak in my armature. So I'm going to go to Edit Mode. And what I'm going to do is actually parent, I'll often why my, what are they called? The dipole targets and the IK controllers. I'm going to burn them to, excuse me. I go to burn them through. Why can't I select this? There we go. I'll go to burn this to my main controller. So this is what controls my whole mesh. So I'm going to burn everything through this one. So press Ctrl P, keep offset. So it could pose mode and we move this bone, our whole character moves. So that's great. So I'm going to press Control S. So save it once, once in a blue moon. And now we're going to start animating. So something that we have to check is whether or not our pull targets or a pole angle of the IK is in the right direction. So if I move this arm, you can see that the poor targets and bullying OR NOT setup correctly because our elbow is not moving the way we want it to. So we want the elbow to be there. So our polar angle was awful. So let's see what happens when we change this blue angle, which you can find in the bone constraint property step right here. So we need this to be minus 90. There we go. For the right one, we can take a look. Let's move this. So this one has to be probably plus 90. Nope, also minus 90. Alright, so minus 90. There we go. I'm going to hit those clear transform all well, select everything first, pose, getter as home all. So there we go. This is our default pose. Now when we move the arm, it should work fine. There we go. So let's start with the walking cycle. And the best way to start is with one foot forward. So that's what we're going to do. One foot forward, one foot back. So select the foot IK, add, let's move one foot in front. Let's see. It's still has to touch the ground. So maybe something like this. I'm going to use this particular line is to grant. And it's actually good to meet a little bit easier. Let's go to object mode, shift a mesh blamed for genes that, and just move this down to that line. Let's scale it up. And let's go to the modify properties. Add a modifier, solidify, and let's decrease the thickness a little bit. Like so. And this is just so we can see the line where it's walking on. All right, so next up, let's reselect the armature and go back to both modes. And let's move the back foot, back a little bit, something like this. And we rotate this foot a little bit. Alright, so this is looking great. So now we've got a character that is, well, the legs are in the right spot, but we're still going to move this body, so selective body bone. And I'm going to move this forward a little bit, something like that. And I'm going to rotate it maybe a little bit forward. And I'm going to rotate the head a little bit backwards like this. So this is the highest boast off the lot, the highest. This is our average highs pose of the character. And you will see later you've got a lowest or highest pose, and so on. So next up we're going to move those arms. So let's select the controllers. Let's personally but one. And we're first going to make this a little bit more to the site of the character. Like this. Same thing for the right side. Like so. And let's press number three. And we're now going to move. What is it? The right arm is going to move up front. So limpets and three to go and decide for you. And let's move this arm limited font. And we can actually do this in different ways. You can do it in an ovary expressive way or a very calm, simple way. Depending on how we want our character to walk. I'm just going to make it plain and simple. So something like this should be fine. I'm also going to rotate the hand down a little bit like this. So the other arm is to move back a little bit like so. And let's move this arm or sorry, your hands back a little bit like this. Let's see how this looks in full view and also a little bit wide. So we're going to have to change those poor angles which you see in the back. So select it and move it inwards a little bit. Like so. Same thing for the other one, like this. And I'm going to move this one outwards a little bit like this. So this is looking fine. So this is going to be our first post. And excuse me. And I'm actually going to move this foot forward a little bit like. Like this. So we're not going to pay I and location rotation scale. And this basically, it's a keyframe for location, rotation and scale of all the bones that you have selected, which in this case is everything. So now we've got our first frame. All right, so now what we can take a look at the other poses. So in walking, there are a few posts that you will need to make it look like a walkie cycle. So this is one of them, which is the context, so it touches the ground. The other one is the high point. So this is when one leg is completely up, so at the highest point and then you've got contact again. So those are the two things that you need at least. So let's make the high point and it's maybe frame, well, as with 24, we can always change it. So what do you want to do in this point? Is that it is going to have a stretched and left front leg. And this one and the right leg is going to be up. So let's try to do it first. So the body has to move forward because it is leaning on his left leg at this moving forward. So something like this. I want this foot to be more flat like this and a little bit more down like this, and move the body down a little bit like so. And then this fruit, is it this one? Yes, in this fruit has to be in front. So it is stepping forward. Let's see how much we want this to be forward. Maybe something like this, rotated a little bit to the bec, sort of like this. And in the meanwhile are we're arms are rotating as well. So what happens is our right arm, or sorry, left arm has to go in front when this foot is going to step down. So our left arm has to be a little bit more forward. So it has to be somewhere right there. Let's rotate this one up a little bit. And let's move this other arm. Where is the controller there it is. Let's move this one back a little bit. Just like that. And let's rotate this a little bit like this. Alright, so in the highest point, we can also rotate the head backwards a little bit. Something like that. So press a i, location relations kill. And let's see the first step. So this is the first thing we need for a walking cycle. It's stepping and then it will step down. So instead of actually, well, I will get to that in a second. We can first do the next step. So the next step is to have contact with the other leg. So we go to frame 48 maybe. And we are still impose modes at three ones right here is to lift this leg, contact the floor. So what we're going to do is we're going to move the body forward just a little bit, something like this. So it all goes down a little bit. The whole body moves down. And then we're going to move this leg IK controller. So it touches the ground. And you can see we might have to move this ball targets of it. Where is it? It's this one. So let's move them both. Little bit three, moved him away a little bit. And now let's see something like this. So it touches the ground just barely. That's looking great. And now our left arm has to be informed completely. So let's make that happen. So let's do it's something, we could even do it something like this. And maybe rotate the port angle inverse a little bit. So present bit one and just move it in. Something like this could be nice. And for the other arm, we can move that further back even a little bit. Just like this and move this arm, hands a little bit swell, maybe something like that. Move the head down on it, press a location rotation scale. All right, so you can see we might actually have to change this arm because it's still in the same spot. So I'm going to move this forward a little bit more like this. I locational Edition skill. That's looking fine. This one can be a little bit closer, actually. Just moved them to the left. Alright, but that's fine. Now we want to do the other leg. So the right or the left one goes up. So first things first we need this hypos for the other foot. So we're going to select this body in, let's say frame 38. And we're going to move the body forward like that. Let's rotate this foot. Something like this. Or actually let's make the body move back a bit like this. We're down, stuff like that. And let's move it a little bit more forward like that. And let's move this back leg to the front. So something like this and rotate it. All right, that's looking fine. In the meanwhile, of course, our right arm has to move from one to the front. So let's have it about there. And let's rotate this and a little bit. And the other arm can go back. So it's going to be something like this. Like so let's print the number one and let's move that, pull targets out a little bit again. Like so. There's a location rotation, a skill. And let's move his head back a little bit and press by location potentials. So now we've got a walking cycle that is looking fairly decent. Actually. Actually the body isn't moving right? I want to point it to be more forward and this one like so Something like that. I Location additional skill or an arm down a bit. I think it's way too much. So I'm going say like this. And they're going to move the targets are a little bit to the side as well. So I'll read a location additional skill. Let's see. So I'm going to delete this keyframe real quick because there's something I didn't like. So next up, we're going to do the same thing we just did. Moved his body for forward, rotate this part like this. And if this leg forward. And let's move to the right arm forward a little bit, like so. Let's rotate the hand. Left arm can go back a little bit. So a location rotation scale. Alright, so read now, this is looking fine. Next step is the test and move down. So the leg has to calm down. The body can move forward a little bit more, something like this. And let's have this leg move to the floor like this. And let's rotate this or the back of the foot context grunt first. That's looking great. So this is the liquid forward, right arm has to go forward, and the right arm is this one. So let's move it forward like this. Move the arm and lost the handle a little bit and just move this one back. Like so. A location rotational scale. All right, so that's looking fine. So left foot forward and we start, we end with a lifted forward as well. So that's great. Then what we want is actually to have the first frame match the last frame. So what we're actually going to do is copy the first frame. I'll go to the last and actually just press V. And the reason we do this is because we want this to be a cycle. So we will have to take a look at those in-between frames. Because we have two slight, this character Beck during the movement. Just so it stays in one place. So we're just going to do that. For every frame that we make. We're going to select this this part right here. So there's Poland and control bone and the ridges going to move that back so that our origin. And let's actually make that happen. Let's go to object mode. Let's click the body. Let's hit Shift S, curse to select it. So let's just make sure that our origin stays nicely at the 3D cursor. All right, so that's the center of our head, or will the top of our, of our character. So let's print this one. Let's press gx, gy. So it has to be somewhere like there. Is that the keyframe location, rotation skill. And the same thing for frames 26. Something like this. I locational data skew, the same thing for 37. So think like this. And the last one should be fine. Yes. So now we've got a walking cycle in place. So next up we're going to make this cycle a little bit longer. So we can just copy all of those frames except the first one. You'll see. Move your your timeline indicates a high lipid to the right, a preschool little v. So now it should keep moving in place. We can do is one more time Control V. And so now we've got a fairly long animation and our character is moving, walking. Just fine. 18. Project 2: Render settings: So personally but 0 and see what it looks like. So it's a robot character. So I'm not that concerned about about our actual smooth motion because it doesn't have to be completely smooth. I go to paste the animation one more time. So our nth frame is now frame 183. So we're going to base that in our scene right here. So the ENT is 183. So now it should actually be one big loop. So let's have a look. There we go. So let's have a look and see how this actually looks in rendered view. I'm not sure if it can handle the rendered view. Let's hide the armature. So go back to object mode, select the armature and press H to hide them. And we can actually set this to EV for now. And let's actually rotate this back. Let's press Alt H. So we've got our background back like this. And let's select it and rotate it a little bit so it's more evenly spread across the camera. I'm going to select my ground plane, breast number three, and we can delete that. So now personally but 0. So now our character is walking on the floor and we're going to hide this armature, select the H. And we've got a nice hockey cycle of our little robot that's looking a little bit wonky and that's exactly what I wanted as well. So what I'm going to do is render this out. I will go through the Render Settings real quick. So we've got the render sample set and 512 and we get decrease a lot. I were to select one to eight. Just so it's a little faster go to select a depth of sampling as well. Go to sample based on the noise levels. So it should render the background little bit quicker. And it will spend more time in this reflection right there. And let's have a look. This should be fine. We can even go to the light paths and change the total two for diffusive to push it to Spend, we don't have to respond, but let's leave it at 2, 0. We actually do have, we have glass in the eye. So too should do transmission through as well. Anything above this doesn't really increase your result that much, but will increase the render time, especially in very large Chines. So I'm just going to render out this with the settings. We've got our original resolution of 1920 1080, and of course the frames at a 183 to match the animation. I've got my fall forward set at PNG, which is basically because I hate the rendering of the animations because renders sometimes crashes when rendering a frame. And if you render in a video or movie file formats, then your whole animation will be lost on crash. But if you ever don't BAG ensure your blender crashes, then you can simply continue the frame after the one that crashed because she will keep your PNG files. So that's why I render as being cheap. So let's do it. I will be back after this rendering is done, so we can just have a look at the animation together. I'll write in a bit. 19. Project 2: Final render: Hello, I'm back for a second because I forgot to tell you something because we are rendering in frames. So we're running PNGs. We have to do the compositing before we render, and that's of course always the case. So we're going to render out one frame real quick. So Render Image and shouldn't take too long. A few seconds, maybe. There we go. So it's done because she a little bit of noise. So what we're going to do is simply go to the compositing step. You have to serve. You have to check this little box in front of us notes. Then you're going to go to the view layer properties on the right. And you're going to check de-noising data. So you get a little bit more information and you randomly step called positive typically to hit Shift a and search for the D noise will go into swipe that right in-between the image entity composite output. And then just connected de-noising normal to the normal and the albedo, albedo. And we can press Control Shift, click on the de-noise note, which basically adds a viewer to your scene. So you can see your image in the back and you should be able to press V to zoom out. Yes, there we go. So it's V. Again to say that more clear fee from viewer. And then you can see the results so it is de-noised. There's no more noise looking great, and we can add some glare. Glare. It's always nice to press Shift a and search for layer and swipe dots in-between your de-noise and your viewer for now. So we don't want to use trees for this one. We want to use for glow. That's always a nice one in my opinion. And let's use high. So they can see because we added some nice lights in the scene or you should have the same lights. We get some nice glow effects and let's try to increase the size or even maybe that could be nice. I decrease this. So try and tie line in lines a little bit too much. Maybe eight was fine. All right, so eight is looking fine. So I'm going to render this out now. Before you render a very important, you have to connect this glare to your composite as well. Otherwise you will still not see it. So make sure that every nodes that you have edit and your compositor, the output goes to the composite tab as well. So to the composite node right there. Alright, so now we go to render this out and afterwards I will be back. And the render is done. We are now going to take a look at the result. Alright, so if you render PNGs, you first have to create a new file. So let's create a new file and make it our video editing file. Like this. Alright, right away we can hit Add, Image Sequence, add. Let's have a look at where we shaved the false by default is going into your TMP folder on your CDISC. And all you have to do is select the first frame and scroll down to your last, which is 183, in our case, all shift and select the last frame. At image drip, there is. Now, let's set the frame end on the top right to 183 as well. We're going to change for file formats to the FFmpeg video now, because now they've got really go anything wrong. And we're going to change Albert, cause it to perceptually lossless and the container from a matryoshka to mpeg 4. All right, that's it. I'll have to do now is to render. So just pressed render on the top and render animation. Well, check it out in seconds. I'm not sure why that was. That was the case. Let's have a look. So there appears to be a leaf in one of my frames as this one. Alright? Alright, alright, I messed it up a little bit. Let me do this again. So at image sequence, make sure there's no end of fall in-between of your frames. If there is, you can hold Shift and select the frame that's above. And then hold Control, select one below, then go to your last frame, hold Shift and select it. And then at the imagery. So now that should be fine. Let's render this again. This live, I hope without leafs. So there it goes, done. Let's find it in the TMP folder. So it's called your Start frame two and frame, so it's the one, it's 31. So let's have a look at a little bit jiggly. And that's because this media player is just not always That's move. This is what it looks like. So it looks fine for a row with animation. And you can imagine that if you move the background, It's going to look even better because then it looks like it's actually walking past something, for example, right now it's moving in place so you can't really tell that it's moving forward. But anyway, this is how you actually try and make characters. This Are you make movements, cycles, Dessau, you make a walking cycle, at least for a robot, for a human, this wouldn't look that great because it has to look a little bit more organic. But for, for a robot, this is looking very nice. So I hope you learned something about how are you, again, rig our character and how you can link a mesh, two bones, and how you can use key frames to actually move your character and to create movements like this. So I hope you enjoyed that. And I think that's it for today. So let me know what you think and I'll see you in the next one. 20. Project 3: Modeling: now, the project we're gonna do is to create a solar system. So not necessarily our solar system. But I have a picture here just to give you some ideas about how you might create your own solar system. We're gonna have materials, we're gonna use the camera, and we're gonna do the orbital mechanics completely using rotations in parenting. Are you ready? Let's get started. Now, I want you to go ahead and boot up blender, But before we get started, I want to make sure that you watch those first videos. So you're set up to be able to do everything that we were going toe Want to be able to do so If you have a laptop, it sets it up so you'll be able to use the same keys that I'll be able to use or at least similar ones. And it allows you to be able to select with being let mouse button So you can't do that. Go back and look at that video and then meet back up with me here now. So here we go. We're gonna create our solar system. So a lot of times when you're doing a model, you need a reference, but in this case, we're told something that's really geometrically simple. So we're gonna get rid of my default cube by hitting X and I'm going to add a sphere. So if I hit shift A, I get the admin you an admin, you. I'm going to choose UV sphere, and if you look here on the left, you can see that a UV sphere has been has been created, and I can specify how many segments it hasn't. As I do this, you can look and see that my planet gets more and more simpler, depending on how many divisions I have. Segments and rings do much the same thing that once you click away from this and you start actually using your spear, you won't be able to get back to this. So make sure that this is set to exactly the way you want it. I'm gonna keep Thesiger mints kind of high because this is going to be the center of our universe. So I want to make sure that it looks smooth. So from here, if I hit Tab, this takes us into edit mode. Animal allows us to be able to like individual vergis ease. That's what these little dots are called that make up the object that we're talking about. And I can grab it, like to move him around. I can make these changes, but I can only make them while I'm in edit mode. So right now, I think we're all set. We want to have one planet in the center will worry about scaling and doing other things later. So the next thing I want to do is at an orbital path for our next planet. So when you're modeling and blender, a lot of times you want to create something but other things there in the way. Now the best way to do that is to use high. You can also use layers, and I'll cover layers, maybe a little bit later. But for right now we're going to actually hide this centrepiece. So I'm going to a church and not to worry. It's still there. If I hit all age, it comes back. But for right now it's selected a H because I want to use this center space. Somebody sift a and I'm going to create a circle. Now I'm gonna hit tab to go back into edit moment and s for scale. I'm going to scale it up now I'm gonna hit back to Tad. And now that I'm out of the edit mode for the specific circle I was talking about or that we were just working, working with, I'm gonna hit all age and you can see now that our sphere is back. So if I select the circle and I'm going to go back into edit mode because I want to do specific things to this particular object So I hit Tab to take me back in, I had extrude and this allows me to create I can extrude it up or down, but in this case, I'm gonna hit escape, and then I'm going to hit scale. So this is what gives me of running. So now that it hit Tab, I have a ring that's around my first planet. Now let's put another planet on this ring. So as you're learning to model, something that's gonna be really useful to you is the ability to put things in exact locations. And one way to do this is to use the three D cursor. So this is the three d cursor right here. And I want to shift it to be exactly on the edge of this orbital path. So I'm gonna hit shift s and I'm gonna say selection to actually minutes a cursor to select it. Now that places the three D cursor right there. Now you'll see why that's useful in a second. So let's do shift D for duplicate, which is gonna allow me to create an exact double. And I hit wise on a moving exactly on the y axis, which wasn't really necessary. I'm gonna going to be edit mode. I'm gonna hit a to select the entire thing. I'm gonna hit scale, and I'm going to take it down in size because this planet is going to be smaller than our other plans. Now I want to move it exactly right here. So I'm gonna hit shit as again, and I'm gonna say selection to person, and you can now see that this has placed it exactly at that three d cursor. Now we're gonna do this same exact process again, But this time we're gonna say shift D to duplicate, and we're gonna scale it out. But in this case, I don't actually want to scale it at its center. I don't actually want to scale in the Z, so I'm gonna hit CIT Xe. Strangely enough, that makes it so that it's a little bit flat, so we don't actually want that. So let's scale it again. Now it's bigger. And what's interesting about this is this circle is not about its center, which is fine. All of the orbital mechanics that we're gonna do some are not quite centered on the center of the earth or, in this case, the center of our planet. So it's slightly askew, which is okay, so let's go ahead, and we're going to make sense. This has a larger orbit. We're gonna leave it bigger than our other planet, but we're still going to make it a little bit smaller. That's something I want to bring your attention to is when we did this scale down, you realize that it's scaled at this center here, right, and that's because it's set up to scale at the object center. So if we go here and we see that it's set up to skill at the medium point, which is the middle of all the points that are selected. If we wanted to scale it about a different point. There some other options here that we can talk about later. Now let's create one more. So I'm just gonna select the path. This time I'm gonna hit shift D for a duplicate. I'm gonna hit winter so that it stays this way. I'm gonna select all of them, and then I'm gonna scale it. So this time I'm gonna skill in to be smaller. I'm gonna leave it so that it centered around our planet and I'm gonna take this globe here . I'm gonna shifty and duplicated again. I'm going to just put it in space because it doesn't matter. We're going to put it at a location using a three D person that we were just talking about . So I'm gonna hit shift s to put person to selected. Then I'm going to select the ocular we care about, and I'm going to say ship us again and then say selection to cursor. Now, As you can see, it doesn't quite make sense to have an object this big next to another one. Some guanaco and just scale that down. So now we have three planets, right? But this isn't completely what we want, right? You When you do this for your own project, you can make as many planets as you want. But I want to also make a moon for the planet. So let's just say that this planet here is going to have a move. So I'm going to duplicate again, shift A Actually, let's just duplicate ship D and let's make it a move. So we're gonna make it small. We're gonna go into edit mode by hitting Tad, make it smaller, and that's still maybe kind of big. Let's make it a little bit smaller. Someone hit shift. I'm gonna hit Tab again to go back into edit mode, scale it down a little bit more and let me put it a little bit closer. So when you're moving in three D space Ah, lot of times it's hard to know exactly how things are moving in order to combat that. The best thing to do is to constantly move and then rotate. The good thing about blender is things tend to move intuitively where you think they did. So when I move this in three d space, you can see that it actually goes kind of where you thought it was gonna go. The other thing you can do is to use the arrow somewhere around. That way, you can be sure that it moves in the plane that you think it's Clinton. So that's it. Right now, I would like you to create your own solar system doing exactly what we did. So mostly just shifty to duplicate, using the three cursor to move it around and then placing the rings so that you can actually see the path that it moves on. All right. Good luck. I can't wait to see what you do. 21. Project 3: Animation: not a big ladder, a model. Let's actually make some animation. So the first thing we're gonna do is we're gonna make these planets go around this center point. But before we do that, let's give something some names. So it's always good when you're doing modeling and animation that you give your objects names. That allows you to be able to find them over here on the right side in the tree. Me, I think it's called an object tree, and it allows you to be able to just differentiate them when they're very, very similar things like we're trying to do here. So if we go to this fear or the first fear we could see that is called Sphere, we can see the 2nd 1 is called Spear Points here, 1.3 And as you can see, it's kind of confusing as to what's what. So let's start giving them some names. So in the center of my universe, let's call this thin, teary on Let's spell it will be you because I think that makes more sense. Century on, I'm gonna hit enter, and now I have the name of my sense of planet now for the inside planet. Let's give that a name like Omega FIC. Let's call it will make a 72 since making sixes, actually, something you can eat. So Omega 72 Let's call the next one Tiny. And let's call this one clear. I think I probably could have done a better job with those names, but whatever. So one other planets trusted name and we're gonna call this room three or moon, too. So now that they all have names, it will be easier to specify them now. We could give and you should give names to these orbital paths. But for but in the interest of time, why don't go ahead and leave that? And you can add that on in your own model. So let's go ahead into our omega 72 flight. So the interesting thing, and probably the more useful thing about rotations is that they're typically about a point so things can rotate. If you remember the rotating the rotation video that was before. This can rotate about any access, and we can specify rotation by hitting our first and then the access that we care about. In this case, everything is going to be rotating about the Z axis. But if you look at this object as it moves around, you can see that it moves about its center. Now, if we take the innermost planet and we hit, rotate about Z, you can see that it rotates about its center. And while that is also accurate, what we want initially is for it to move around this center planet, our century on planet. It is a bunch of ways we can do this. The easiest way is to pick something that has a sensor at the point we care about. And then parents are object to it. So when you parent an object, it moves as if they are connected when you pick its parent. So let's say that, for example, this inner circle is the parent. So in order to do that, it's the parent of the smaller planet. I select the planet. First I hit shift and then I saw, like, the inner orbital path, and from there I hit 50. Sorry, control P and set parent to object. Now, if I move this object, if I moved the big object, which is this inner path and I G for crab. The planet moves, but what makes it a parent is that when I move the actual planet G for grab, then only the planet move. So when you make changes to our move around the parent, it affects the child, but not vice versa. So because the orbital path for this planet is centered at its own center, if I hit rotate about Z, we can see that the planet moves as well. And that's really what we're looking for here. So now if you remember, I need to I need a special a special screen here, So I need to open the current editor. So I went to with these little horizontal lines were on the side on the left, I dragged up. That opens another window, and I'm going to pick graph editor The graph other grab editor will allow me to see the motion of my objects from a graphical perspective. So now I'm going to go to the first brain. Actually, I'm gonna open up my panel here. I hit the plus sign I could have also hit, and I'm going to go to the first frame and similar to what we did before I'm going to hit I and I allows me to create that key frame, which is that value in time. So I'm going toe lock rotation. So rotation is locked at zero degrees on the very first spring now similar to the way we did it before. We're going to go to the 10th frame so I can do that by typing 10 here at the bottom. Now on the 10th frame and I'm going to rotate about the so are Z that gonna rotate. I'm just going to type this in 45 degrees. Now that's hard to see because it's a sphere. But in fact did rotate 45 degrees because you can see that the planet moved. And this time I'm gonna do it slightly differently. But it's going to do the same thing. I'm going to hit I, which is gonna lock that rotation in. So now if we scrub back and forth, you can see that our planet moves about this center. Now, if you remember, there is a way to make sure that it continues to move. And in order to do that, if we look at our graph editor, something that's going to make this easier is if I get rid of X Oiler rotation and why oil rotation? Because I'm only rotating about disease so the other two don't matter now I can go down here active, so let the entire channel by hitting a and then from here. If you remember, I go to extrapolation mode and I hit linear. Now if I play, we can see that our planet goes around the center, so that gives us the orbit of at least one planet. So something I don't like is the is the bumpiness of this circle. So there's a few things we could do. We could first we could hide it right. And then if I play it again, hitting all A, you can see that the planet goes around the center. But let's say that I wanted to actually see that. So all h to undo that and I want to get rid of these jagged edges so something I can do with this object selected. I can go to my modifier panel that's here on the right side. It's the picture of the rich. I add modifier, and I do subdivisions surface. Now you can see that that has already made my sphere made my orbital pad much smoother, and I won't go into the specifics of that. But we're gonna go ahead and apply that to our sphere here subdivision surface. We're gonna up in a little bit so that it's moved. Now, when you're doing this, typically when you're modeling, you want to be. You want to be careful with this because you can increase your render times, but we're going. We're going to use the blender render instead of cycles render because we're not this more about the animation than the render. So we way we want it to be as quick as possible. So you made that we made those changes. Now, if we hit play by going down here are hitting out a You can see that it's a smooth object that moves around a smooth pat. You can't, and you won't be able to tell that. Actually, the path is also rotating. So we're gonna go ahead and apply that to these other objects as well. So I'm gonna select this planet. I'm gonna slight it's orbital path. Uh, I'm gonna hit control P object set. Parents object. Now, if I select this bottle on a rotating Z, we can see that the planet moves from there. I'm going, Teoh, add subdivision surfaces. I'm gonna do the same thing for the planet. So now that it's smooth, I'm gonna up this subdivisions by one. So that was even smoother. And to do the animation for this, I'm gonna go to the first frame again. And now I'm going toe Add that frame in the rotation so quick awaited. One quick way to do this is just over at the rotations that's available. That I'm going to go to the 10 frame by just clicking it there. I'm gonna rotate this about Z. I wanted to go in the opposite direction. So the other one did 45 degrees in 10 frames. While we have this 1 to 12 it's up negative. So I 12 negative run after him. Are I enter and I'm gonna go over here. I And now if I play this one, we can see that they it goes in the opposite direction. But in order to make sure that it continues to go without stopping, if you remember, we're gonna go to channel extrapolated and we're gonna hit you in here. Now, if I play, we can see that they go in opposite directions. I think this is actually probably not possible from an orbital much head. It's perspective. Planets tend to go in the same direction, but just to make things more interesting so you can see what it looks like. This is how we're gonna do it. So now let's go back to our very first frame. And I did that by hitting our rewind, but in the all the way to the beginning, and I'm going to select it. So now I want to be able to have this small moon rotate about are bigger planets. So how do we do that? Well, we're gonna use the same idea that we did before in order to get these smaller balls with Sorry, the small plate is to move around the center. We did that through parenting, and we're going to do the same thing here. But before I do that, when I move this planet a little bit closer to the center, so I'm gonna select the planet. Actually, when it's like the moon first, because the second being you select will be the parent. So I'm gonna hit control. People sit parent to object. Now, if I rotate this plan about Z, we can see that the actual moon rotates as well. So now, now. So now we want the planet to rotate about its own access. So in order to do that rebound, select the planet. And even though the planet is parented to the larger orbital path, which is here, if we look at the planet, we can see that that are no keys for. And that's because we put the key frames on the object on its parent, which means as far as the computer is concerned, it's still it's just parented to a moving reference frame. So let's add a key friend here at zero. I'll go over here, I I and then we go to the 10th frame and we're gonna rotate about its center and let's go ahead into something smaller than that was. Do let's do 45 degrees again and see what that looks like. And I'm gonna hit. I think the Senate's are now. I'm doing it just differently so you can see the different ways to do that. And now we struck back before you can see that the planet is moving and the moon is rotating about the planet. And we want to do the exact same thing we did before so that it continues to rotate. Sora barnacle to channel extrapolated moan constant expert started linear extrapolation And then by the boom by that thing There we go. Now, if I play this, you can see that the planets moved in opposite directions, which I realize is probably not accurate. But you can also see that the moon revolves around this of that plan. Now, just to make things look right, let's go ahead and do that for this last piece. So I'm gonna add the subdivisions to go up the subdivisions a little bit because it's bigger. We're going to do the same thing to this planet so that it looks like this up again. I'm gonna make it so that this is the the orbital path is the planet's control. P the object and we're gonna do the exact same thing we did before. We're gonna go to the first frame I rotation and then 10 frame run a rotated about Z just a little bit. We're gonna do this Super So? So we're gonna fight eight degrees here, partly due minus eight degrees minus eight. So at least two of the planet two of the big planets will be moving in the same plane. I just like I did before, and I wanted to keep going. So you guessed it. Winner linear extrapolation so that it keeps going. Now when we hit play, we have it moving around and just like rial. You can see that because it has a longer orbital path that it ends up taking longer for it to go around the center when compared to the other side. You know what, but let's add one thing. Let's make this planet in the center. Let's make it rotate. So I'm gonna do this same thing again here, cause I think it'll just look better that way. So let's first of all, let's give it some subdivisions, and we don't have to parents it to anything. So all I need to do is that I creating their go to 10. The 10 frame put in a different escape. Let's say only five degrees here and let's go ahead. And that a key we're gonna extrapolated linear. Now, when we hit play, everything is moving. So when we put if we decide to put anything on the planet or on the central on century and I think that's what I called it, you'll see that it's actually also spending. So I want you to take this idea, and you don't have to create what I created. But I want you to create something completely different and keep in mind these don't have to move in the same plane. Solar systems tend to move in the same plane, but you don't have to be confined by that. You could have moved this all in different orientations. You could have taken this one and then rotated that to the side and done the same thing. Now, if I hit play, you can see Oh, right, I didn't fix it, but you could have done all of the same things just in different dimensions. So I can't wait to see you. I can't wait to see what you do 22. Project 3: Render: Now that you have all of the animation put in place, let's give a look and see what this actually looks like. So in order to do that, there is a few different ways you can click render here on the right side, or you can hit F 12 which is the way I do it most of the time so you can make sure the window was active. You hit F 12 and this is what it looks like now you can see that it's kind of small, and that's because our resolution over here is set to 50%. So we are doing HD it 1910 1920 by 10 80. But it's only rendering to 50% of it and thats helping with the speed. But we want to actually see what it looks like if we do the full thing. So I'm gonna escape. That's going to take us back to our main window. I hit F 12 again, and yes, it takes longer. But you can see this is what it looks like at its full size. So right now it looks okay. But I mean, it doesn't really look like plant, so the first thing we want to do to make it look a little bit more like planet is to make sure everything is smooth. So in order to do that, you want to select it. We want to stay in what we call object more, which is not edit mode allows you to move things around. It doesn't allow you to make Vertex changes when we talked a little bit about for Texas before. But we're gonna hit over here on the left, under tools, smooth. And we're going to do that for all of these objects we want smooth them out so they look like perfect. It's fears, even our little moon we want to look like a scared. So now if we dio render by hitting 12 you can see that everything looks really smooth. So I know you're thinking Didn't we hit subdivision surfaces to make its move? Yes, we did. And we could have done another division of sub services like if I slipped over here and then I go to our modifiers, we could have added to this, but it would have slowed down our render when we hit smooth. We don't really take a hit and render time. So we're gonna keep this the way it is. And once again, I had f 12 to render. But there are a couple thing, couple more things we want to change. First of all, we can't see the whole thing, So we haven't talked about cameras thus far. But let's talk about cameras. Cameras are what allow us to be able to see the environment, our finished product. So look at the camera. This is what it is over here on the right side, and we can also select it here in the object tree. I hit zero on my numb pad because I have a form of head and you can see that I can't see the entire environment. So we're gonna go ahead and move this out. But with the easiest way to do that, Well, one way to do that would be to hit grab, and I can move it around. But this doesn't allow me to zoom in and out. The easiest way to do this is on this panel here. And if it was, if it's not opened on yours, you can even hit this plus sign, or you can hit the end button and you go lot camera to view. Now, this allows me to treat the camera like the view port so I can make sure that it's centered . So when I have it the way I want, I unchecked that and now it's in the right location. So when I hit at 12 you can see that I can see my entire solar system. The other thing is the light. The light is really strange because this is supposed to be my center or something like a son. But then I had this light up here, and because we're using the blender render engine were somewhat restricted is what we can do with objects in the object actually lighting the environment. So we're gonna do a small little cheat here. We're gonna move the object to be removed the light to just above the planet. So we're gonna use our trick that we did before. We're gonna select just the top of this about hit shift s, and we're gonna say cursor to select it. So now three D cursor is right at the top, and we're gonna select our object by left clicking and say, selection to cursor So now it's sitting right at the top, and we're gonna move that by hitting by picking this blue arrow just a little bit. So it's it. It's just at the top. And we want all of our plan is to be lit from the top and the bottom. So we're gonna shift d while the light is selected. We're gonna hit Z so that it moves only in the Z axis and we're gonna put one on the bottom as well enter to make sure or return to make sure that's in the right place. Now, when we hit at 12 we can see our planet is now lit kind of lit like a normal planet as far as our other planets of it. But now you can see that our center are supposed son is not lit at all. So something we can do to fix that. We're going to go into material. So we have the object selected and it could honestly be selected an object mode or in edit mode. But we're gonna go to the materials, which is this little bouncy ball being here on the right side. You can see that it has no material. So we're gonna give it material about eating new, and we're gonna give it a name. That way we can understand what it is, just like we can objects, names. It's good to give materials names as well. We could enter and let's make this. Yeah, and let's not just make it yellow, but let's make it admit lights. I'm going to crank up its admission just a little bit so that it's constantly giving off his own light and doesn't ever have any shadows. We had 12 you know, I think I wanted to be even brighter than that. So let's up the mission into 2.45 12. And let's also take the speculator ity down and then take the ignition up because we really don't want it to have. It's just quick. Shameless, actually, this will make it so it doesn't have any shadows whatsoever, is just be a sphere. On second thought, let's not do that. Let's do it like this, Yeah, let's keep it like that. Now we have a son at our center, but our other objects don't really have any color, so let's go ahead and give them some color so Let's sit. Let's call this one red and let's make it read, since that's what we called it. So groups, it's everything that she was red here. Now this planet is red. Let's make this one is called this blue. Let's make this planet Blue said I must do the same thing for here. And why don't we just make it something interesting? Also, it's making green. So now we have a blue planet, a red planet. They kind of look like gumballs now, but that's OK. I just wanted a different. We don't believe this is great because the moon, but we're gonna go ahead and give it a name, Gray. We only changed it and take it down just a little bit soon after here. 12. It seems like we have planets and these plants have above a lit side in a dark side the same way they would have if they were actual planets. All right, so go ahead and give your planet's colors and feel free to give them whatever colors you want. You can also color the past. I'm not gonna call it my paths, but feel free to do the path as well. I can't wait to see what you do. Now that you've done all this work, it's time for me to show you how to actually get the video out of blender. So the first thing you're going to want to do is look at how many frames there are. So right now I have mine set up to stop at frame to 49. I can make that 2 50 And that way, all 250 frames will be showing. In your case, you might not need that much, but it in 250 frames my outermost planet still doesn't make a complete revolution. But I want a good example of what it's going to look like some going ahead and leaving it at 250 frames. Another thing I'm gonna leave is this at 50% on this. I know I mentioned that before, but I want this to go relatively quickly, so I left this at 50%. It's up to you only encourage you to do the full size so you can see what this looks like. The next thing you don't want to do is set the output location so right Now you can put this wherever you like. Vast system. You might have system bookmarks. I've never actually set mine up. So documents and desktop must be what it came. Default. But this is going to be this location. If you don't set, this blender is going to put this in the TMP folder, which is I never know where I always have to look for it. So I recommend that you pick a location that you can find easily you hit, accept, And now you want to go to the encoding. So for presets, you want to go to 8 to 6 War? It reads H to 64 MP four and then for the container you want em paid for. So once again, that was the output location. And then here I always like F f M pick video and then under the output and be including I picked the preset for age 264 and picked for an h 2640.264 Now, that's all you have to do. You are ready to actually do your animation. So in order to do that, instead of hitting this render button, you're gonna hit this animation but And you can see right now I'm gonna make this a little bit smaller businesses the size supposed size is supposed to be. You can see that it's doing its thing is actually rendering each individual part. Now I'm gonna let this run and fast board so you don't actually have to listen to me talk. But if you look down here, you can see that it's going pretty fast. And that's because I have it set at 50%. And because this is the blender Orender engine. Had we done this in cycles, we could have done something probably that was equally or probably more visually pleasing. But would it take it much longer? So I'll see what the end of this. So now you can see that my render just ended. So one way we can check to see if it works. We can't go here. It's a play. Render animation and you can see down here. This is what it looks like when it's playing. Now it's not super beautiful, but it does do what we wanted to do. You can see this inter planet here has the moon, and the moon is rotating about that planet, and this out of planet is also rotating about its own orbital path. Now, just to be sure, I can open up, I can actually open up the file. So the name of the file is this. 001-0 to 54 1 through 2 50 and it's a little bit blurry because it's not at the full 1920 by 10 80. But we were successful and creating this environment. So let's go here escape. There was one thing that I didn't like about the way book, and that was the background right now, if we hit after 12 when we do our render, we end up with this great backgrounds. The last thing I'm going to show you how to do is to make this Blackground this background black. So I went to this world tap here and I went to the horizon. I clicked on it and I'd drug it down to make it completely. Now, if I hit this, it looks like actual space space without stars. You have, but it looks like it looks more like space than it did before. So I can fully encourage you to do this on your own, but as many planets and as many dimensions as you want with an environment that's black, like space or any of the color you want and then upload that. Let me see what you've done. 23. Project 4: Modeling the Moon and Stars: now you're familiar with using rotations when we're doing animation. Now we're going to focus on translation. Nobody will allow you to do both translation and rotation on the same object, but I think it's important to know or at least think about what you can do with them separately. So this is the scene we're going to create now. It's a night sky, except the animation that we're going toe ad is a movement of the night sky, so it's going to start with the moon rising from behind the mountains and the clouds moving ever so slightly for to reach its apex so you can create whatever environment you want. You can create whatever mountains and trees, but I'm going to show you how to do all of it. You ready? Let's go now Go ahead and boot up blender and bring up your start up screen. The first thing we want to do when we're creating this image, which is really a image that looks two d, but we're gonna build it in three D, so the first thing we want to do is create that backdrop of the sky. There's a couple ways we could do that we could do hit, shift A and create a plane, or we could go ahead and use this deep all cube that we already had. So I hit Tab to go into edit mode, and I'm going to select these front for Vergis is so you can see inhabit their selected I'm gonna hit X for delete Vergis is, And now you can see we're left with a plane. Not if I hit one on my numb pad and to make sure and get it in Ortho graphic view, I can hit five. And this means there won't be any perspective in the environment. And you can see that I have this plane. But unfortunately, if I hit zero, which is the camera view, you can see that my view is kind of a skew. So let's fix that to start with. So we have an idea of what we're creating. So I'm gonna hit and open up this panel on the right, and if I tab out of objects out of edit view and select my camera and I can see that my camera, location and rotations are all askew, So what I can do is reset to default values for both Marv rotations and my locations. Now you can see that my camera points straight down. But in order to get the face at our canvass, all I need to do is hit. Rotate about X by 90 degrees. So now I can just pull it out. And now if I look at the camera, you can see that it's facing. The camp is facing the canvas at exactly 90 degrees. So you know what? I'm going to pull my camera back a little bit more to give us some space. And if you want to do it exactly the way I haven't my camera, we could just say is is at negative eight precisely if you wanted to do it exactly like I'm doing it. But you don't really have to and I'll show you why. So if I look at my canvas, I'm hit five and put it back in or demographic moaned. You can see that it doesn't cover the entire camera. So if I hit F 12 then I just have this black circle and it doesn't care. It doesn't cover my entire camera area. So in order to fix that, I'm going to tab out and get back into edit mode, Hit a to select all and I'm gonna scale it out. And as soon as I get to the point where I'm just outside in the white will actually in the Z direction I'm going to stop scaling, hit, enter, and then I'm gonna scale just in the X direction. So now I've completely covered my backdrop, right? So if I didn't have 12 now I get a completely black environment. So this isn't completely what we want. Let's give our night sky a material. So let's call it sky. So in order to give it a material went over here to the right and I went to this little ball here, which is the material icon, I clicked it, and then I clicked new. And then I'm gonna call this the sky. So now that this is a guy, I'm gonna pick a color for my sky. Now, yours guy can be whatever you like, but I'm gonna pick this cover here, and I can always tweak it, and I will take it right. So now the question is, why is it all black? Well, it's because there's no lamp where there's no light on it with light if you look at it right at right at the campus. So we're gonna move this forward to give you a little little lie to your scene. But this is not going to be the primary light of our scene, and you'll see why later. But now, if I hit f 12 you can see that the canvas now has the color. But this is not exactly what we want. So we're going to actually pick this light, put it back behind, and we're gonna change this material. So the material right now is a normal material for blend Orender. But we're gonna give it just a little bit of admission. Now, what admission is going to do is make it give off its own light. So that's well, now we can see that we can see that color. Now, let's make it a little bit darker because it is supposed to be a night sky. So in order to make it, doctor, we can pull it down here. Now, if you want to make your color exactly like I have mine, you can look at these numbers here. So read zero green 00.2 and boo 0.5 33 But like I said, it doesn't have to be exactly those numbers. So we looked through. That looks good to me. So now our backdrop is finished. Now that we've completed our night sky or are back canvas, let's go ahead and add a moon. So the moon is going to be really easy. We're going to hit, actually want to make sure that it's about the right location. So I'm gonna select are nice guy or a canvas. I'm gonna hit shit s Sorry, not shift shift. Okay, we're gonna add a circle. So right now you can see that the circle is not at the right angle. So we're gonna hit far for rotate about X 90 degrees. And we wanted to be just in front of our. So if we look from the side by hitting three, you can see that we can't really see it. And that's pretty much the case when you're in this solid mode. But if I goto wire frame mode, you can see that everything has a line. So we're gonna pull this a little bit closer. This line here is the canvas. This line here is the moon and only reason I know that is because we only have two objects if we had a lot more on ways to be impossible to tell from this angle. So I'm gonna hit Z to get out of wire friend mode, and now you can see that the moon doesn't have any material, doesn't have a face. So the easiest way to create a face when something when you have something like this is just like all of the perverted sees and it f that will give us a face. Now, unfortunately, this face doesn't yet have a material, so let's give it a material. So we're gonna go over some our materials. It's already selected, but if it wasn't on yours, it's this ball here on the right. I'm gonna select new toe, Open it up. It's already white. This is the moon. So let's make it. Actually, let's take it not to be pure white, but just slightly off way, and I'm going to increase the emission similar to what we did for the sun. So now by 12 and take a look. Not bad, but you know what I don't want there to be any. I don't want there to be any shadows on this. So in order for shadows and the light not really interact with the objects they were talking about. If you go into the materials panel, if you go to shading and hit shameless. So this is gonna look a lot like two D things when you do shameless, cause there's no real interaction of light. And in this case for the moon, this is what we want. So now I had escaped out of out of the UV editor. Can we go back and hit 12? You can see that it's more of a pure white, which is exactly what we're going for. So we're gonna raise it up a little bit. I'm gonna get 12 to take a look, and I think that moment is a little bit big. Maybe you'd like to keep it like that, but I think I won't mind to be a little bit smaller. So he had 12 again, and I think that looks like a movie. So congratulations. If you got a sky and we got a move, Now that we have this moon, let's go ahead and add some stars, so stars are little points of light. But unfortunately, and blender, we can't really make points of light. Everything has to have some kind of dimensionality to it. So we're going to hit shift A and we're going to add a circle. Now. What I found is that if you're circle has too many courtesies that console the computer down, that's not so much the case for this. But we want to minimize that. If you want to go ahead and see what it looks like. Since it's flipped the wrong direction, you have to look what it looks like from above. But I want to change the verdict. Seize, and we're gonna take this all the way down to eight for Disease. And we have eight, and not less than that, because we wanted to appear like a circle point of light. And we don't have more than that because, frankly, we don't really need more than that. So let's get it to point in the right direction. So we're gonna rotate by hitting our then hitting X and then typing 90. So that rotates it 90 degrees and much like before with the moon it doesn't have a face. So we're gonna make sure that all the British season selected. So if I hit a for select all that once Lex them and then a select off that selects them. And then I hit F and that gives us a face. So let's move that a little bit closer to the campus. And then, as you can see, you can't really see where is. And if you remember what we did the last time we hit Z, now we can kind of see where everything is. And we know that this long line here is the canvas. So we're gonna move this closer to the canvas. You might be wondering, Why are you having it? So big train. Well, I wouldn't be able to see it initially. We're gonna make it smaller, but it's much easier to move around while it's still big. So right now that's what it looks like. If we hit Z again to take us back into our normal solid mode, that's about what we want. The next thing we want to do while it's still big is go ahead and given material. So if we go over here to our side panel and we go to our materials tab. We have sky and we have something called material. So I didn't do a good job of naming it last time. Let's go ahead. Name that. Now let's name it Moon and for the star. We're gonna call that moon for right now just to make it the same. They're gonna hit this plus here, which is gonna make a new material that's exactly like the previous one. So this time we're gonna call it star. So now our materials make sense. And if we wanted to do something in the future with one material or not with the others, we can do that because they are in back two separate materials, even though they're identical in their contents. Now, if I hit at 12 you can see that I have something that might be a moon along something that looks absolutely like nothing we care about. So let's make that something like a star. What we do that I want to move this up because I want the origin to be high. Then we're gonna tab to go into edit mode and then scale it. Uh, now I'm just doing this by I. You wanted to appear as a small point of light like this. So if I hit F 12 it should look like a small point of light. And it is so if I escape, I go back to our point of light. I tab and I period, it takes us straight in it. Zoom straight in. And now our view port is centered at that point. And that's exactly what we want. So we want lots of these. So what we're gonna do is hit sit Deke to create another one, and I'm going to make this one a little bit smaller because some stars appear smaller than others. So I had time again 12 because I want to see what this looks like. And I see that that's OK. It's OK to have to have a star that small or that dim, but this it escape. Let's make one. But still no, I'm gonna shit be again. I'm gonna make those one just a little bit smaller. So I hit Tab to get out of that and I hit. I'm hitting one, by the way, to get back to front view. And once I'm in front of you have been 12 but you don't actually have to do that. You could just sit at 12 because your camera is set. So on second. But let's make that just a little bit smaller. Was it a talk again? And I'm happy with those three different sizes for stock. So it's it escaped to get back into our edit moan. And now I'm just going to randomly in edit moan, uh, duplicate and put it in different places. So this is our smaller. Actually, that's not our smallest. This is our bigger one. I'm just putting it different places. I want this in random places. Otherwise I would do more than one or I do a different modifier modifiers. Allow me to repeat the way that I'm doing copies, but it only allows me to do it in very regular forms. Ie doing things in rows you can do things and helix form. You can do things in a circular form, but doing it completely random, I'm sure, does away. But I'm not completely upon what that is. So if you know, please drop me and don't let me know and let's take our really small in here because we want to make sure we have of a right of different stars. All right, now let's see what that looks like. It was hit our F 12 and apparently I don't see the most. So I believe what it looks like. I have done only the smaller one, so let's go ahead and do some of the bigger ones. This just double check that. Now that you've copied and paste a bunch of these around, let me tell you something that tripped me up for just a moment. So if you look at your individual stars, let's say that you select one. So let's make sure nothing Select this. Let's go. Let's select our stars. We hit Cat to get into edit mode this box select because it's too small. Now if I zoom in my hitting period and I go all the land, Actually, two things are selected, so I'm gonna box hit period go all the way and in this case, it's OK. But now if I do that from out here I saw after I hit period sometimes will happen is that one of these Vergis is actually won't be select. You go in and maybe one or two of these won't be selected. And then when you paste it, what'll happen is you won't paste the entire circle and you won't realize that until you hit F 12 and then you look at it and then your stars aren't there, but they'll appear to be there in edit mode. Let's see if I can get it to do it on its own here. So when a un select everything I had beef or box, select a sect it I select it, go in and you can see here that it did. So there's this Verdecia and this word ISI is not selected. So if I did shit through for duplicate, it makes something that doesn't have any faces. So if I've been render this, this portion here will be invisible. So you want to make sure that's not the case. Something's going to delete that really quickly. So the way that you can make sure this is not happening is when you're out this far and you box select and you hit shift D for duplicate hit period to go in, make sure it's fully selected before you hit Shift D again. Now every time you get shipped D it should look. It should look fine. So watch out for that. Because it definitely cost me some time. So if I had 12 now you can see that I have some stars, but it's not really a starry night like we want it to be. So what I'm going to do, I'm going to cheat a little bit. Instead of making the individual stars, I'm gonna select the entire object and hit shift D, and I'm just gonna bring that down. But But do you see how it left this whole with the sun is so what I'm gonna do is scale it , and then I'm going to grab it with the X and shift it over, and I'm gonna do that shift d again shifted over shift D and that is already in grab moment . I'll hit ex to move it straight over, but that really wasn't necessary. And now our entire campus is covered with stars of hit at 12 but of 12 from here Now I have many more stars to dio. So now we're completely done. We have our starry night Now we just need some land to put under it 24. Project 4: Modeling the Land: Now that we've got the morning stars, let's add some mountains and this is going to be easy. We're gonna start by hitting shift A and before his shift A I'm just going to click anywhere on my camp, right Click anywhere in my canvas so that I have an idea of where this thing about to create is gonna appear. So I hit shit a and I'm gonna pick plain and once again I plan is tilted into the canvas so we don't want that. So we're gonna hit tape about X. And it was a type 90 degrees. So that was our And then I just hit X and then type 90 to rotate it about the X access. Now we want this to be like mountains. So we're going to go ahead and do ourselves a favor by rotating this about the why access by 45 degrees. So I did that by selecting it, hitting our and then hitting the key, why, and then typing 45 that rotated it about the why access by 45 degrees. And now let's get rid of this bottom privacy because we're gonna create something that's gonna look like a mountain range. So we're gonna start with this one off to the side. That's fine to leave that there were gonna movies to a little bit closer, and then when I grab the last one So I'm selecting this with the left mouse button and I'm selecting Bettman also with less left mass button. But only that one. When he hit G for grab, I'm gonna move it closer. And what we let that one be our first peek. So now we're gonna hit E for extrude, and that's gonna extrude a brand new vergis e there so he e we move it around, Then we click left mouse button till place it, then extrude e again and we move it to wherever you want. It doesn't have to be exact here. This is just freehand art that we're doing, and each mountain peak can look a little bit different, right? And completely up to you. So that's my mountain range. And like I said, I did that completely free hand. But now we need to be able to create a complete closed face here. So if I hit at 12 you can see that I don't see anything and much like the stars and the moon, I have to create a face. So after I select any one of these birthdays on the end, even this one or this one I'm going to select the one on the left when I extrude it down and extruded over it is to make this easy. If I connect or a select the last two and hit now I have a closed loop. So if I select just one of the courtesies and I want all the rest of them to be selected as well, I select one. I keep my cursor over the object that I care about, and I hit L and that selects all the rest of the Verdecia. So that's a good way to kind of isolate what you're working on. Its amongst a lot of other objects. So now I want to create that so had kept to create the face. Let's see what that looks like. We're gonna hit at 12 and it's not there. So why isn't it there? Well, it turns out that when we created this because we clicked on the campus, it's precisely on the campus is sharing the same space. And whenever you're working with blender and you see this flickering going on, it means you have two surfaces occupying the same space of lender doesn't quite know which one to render in the view poor. So it's a simple fix. We're just gonna grab it. And I'm why access sausage g And then why would I move it forward? Just a here and now You can see when we hit a 12 Surprise, it's there. But you may not have set up on yours. That I think I inadvertently set upon mine is a material. So we look over here, we go to our materials, and yet we don't actually have a material. So I let's create a new material. Let's call it a mountain or I'm just gonna call mine MNT because I might miss Bell Mountain . I'm not greatest, speller. I'm gonna make it black, but I don't want it to interact with bullet. So do you remember what we said before about how to make it not interact with light? Well, if we're in the blender, render engine, we just hit shade lis. And that way we know that it won't interact with any of the light in the scenes. We want this to be a big, giant shadow and we're gonna go ahead also move that forward just a bit so that it's in front of our stars because doesn't really make any sense for us to have stars in front of the mountains when the mountains were supposed to be on earth. So we're gonna f 12 from there, and you cannot see that we have our mountain range. And I'm okay with that. So to help you out also, I'm going Teoh enable the display. That way you can see everything that I'm typing. If you don't actually hear me say itself from here. Now that I have mountains, I'm gonna go ahead and make some trees and want to make trees much the same way as we made the mountains when it shipped A and I'm going to add a plane and just like before. But before I do that, I'm gonna go ahead and grab ex moving over, so I'll be able to see it. Now we're gonna hit our for rotate X for rotate about the X, and I'm going to hit 90 some typing 90 and you can see that we're giving that same flickering. So in order to get past that, we remember we're gonna hit G and we're gonna move it, GM And why? And then move this. I had just a little bit so that we're in front of the stars and we're not sharing the same space with the canvas. Now that I'm looking straight on it, I want to rotate it so I can get a sharp side towards the top because we're going to make some everything looking kind of trees. So I'm gonna hit, rotate are for rotate. Why? For about the y axis, 45 degrees enter. And now I have this tilson 45 degrees. So let's make what would look like the silhouette of an ever great. So if I select this bottom one and I just grabbing clinic, you say that I get this line here and that's because if we look to the side and I pulled this grab and pull it out, you can see that kind off old right there. So that's not quite we're looking for Hit X. We're gonna get out of that, and we're going to just like we did before we're gonna hit E for extrude to pull this out of the side than it be for extrude again. And then this time, because we want them to kind of meet up exactly in this case. So I select this for to see, and I slept the last of her to see on the right side, and I'm gonna say merge at last. So this makes sure that this Verdecia is in the same place is this? You can see here that I didn't quite put these at precisely the same location, and we'd like them to be centered. So what I'm gonna do is I'm gonna select both of those Burgess sees. I'm gonna say scale in the X. And now, when I skill in the X, you can see that they moved to the side. But they don't quite meet in the center. So in order to fix this so that they meet at one place, what weaken Dio is hit shit and we're going to move cursor to select it right, and that puts it in the center. But actually, we wanted to be there. So let's say it shipped us again with only that selected insight person er sorry cursor to selected. And now when we say scale weaken just picked this one because it's at the correct location , we're going to scale it according to the first or so. We go down here into our selection menu, we can pick three d cursor. So if I say scale in the X, because it's really the only way I need to do it and I scale it down to zero. So it s for scale and then zero and then that Ryan's it up. This is a really good trick for bringing everything on the same plane. So if you want to bring everything to the Y plane on a flat plane or on the Z and a flat plane, you could do this using this trick. And if I have a chance to do it again, I'll show it to you. But now you can see that we have this kind of boomerang shape or treetop. Let's skill that down just a little bit because we don't really have giant trees. Giant trees would mean they're super close when we're gonna make them quite super close. In this case, you can if you like, not a really a big deal. So from here, I'm going to add another one. So we're gonna shit d and we're gonna hold down Z because we wanted to be straight some again. And now I want to make the 2nd 1 smaller. So we're going to use that same trick we did before, where it's like one of our seats hover over, it hit, and sometimes that happens. It doesn't quite know which one to select, but I l So it's like all of the connected burgesses I'm gonna skill. Um, but I'm gonna hit Shift Z so it won't change the Z at all. But you know what? I don't like the way that looks, so let's just scale it like normal. Just a little bit. We're gonna pick the bottom line. L just like all be connected overseas. We're going to scale down just a little bit more, actually. You know, a tree gets bigger as it goes down, so let's scale it. Let's kill this one on the bottle on the scale it up. And let's pick this one here. We're gonna hit. I'm going to steal that one. Not quite as much. And we're actually scaling it down. So the one at the top should be the smallest, and the one of the bottom should be the biggest. So let's continue with that here. 10. To get out of that, we're gonna shift D Z and make sure to bring it straight down, scale it up a little bit. And now let's give them faces. So as I so like that one and I'm selecting it the same way I did before I'm click left clicking. One of the verdict sees that I'm hitting l to select all of the all be connected verses and then f in order to create that face. And I'm doing that for each one of these groups. I hit h there. So I have to do is hit. I'll Cage to undo that, and I'm doing that just one last time. The last thing we need to do for this? Well, not quite the last thing. Let's give it a trunk and trump country really simple Charles R cylinders. But in a soul, what could not actually solders there squares. So while we're in edit mode, I'm gonna create a square, and that's where he was hated. Like it always is. So I'm gonna hit, make sure it's selected, and I can see that it is. Go back to front view by hitting one. Rotate about the X by a number of techniques. Not I'm going to steal it in the eggs away s ex, and that allows us to make this itty bitty little trunk minimum G for grab Z. So it moves straight down, make sure it's dead sensor or dead center ish. And now I wanted to be a little bit longer on the bottom. So instead of scale in it, I'm just gonna grab these bottom courtesies. So I hit. Be for box select G for grab seeming Bring it straight down. And now I have this tree here. So the last thing I need to do is to give it a material. So I'm gonna make it the same material as the mountains. So it's that black shameless material and this grab it also bring it down. So it's a little bit closer. Let's see what it looks like from here. All right, I'm not so happy with this. I think that he sides are a bit too long. So let's make those a bit smaller. So what we're gonna do here, we're gonna select it by hitting be left mouse button in hitting the L button to select everything. We've got a scale it down, but only in the X. We're gonna do that for all of them. And you know what? This is a little long here. Someone make grab these two g z, bring them up, then August get it s scale and then extra cream, and it's gonna make them a little bit smaller. Let's do that for these bottom ones Skillet. And right now you can see that it's scaling kind of weird. And that's because we have miss selected a three D person. I didn't really make a difference before, but let's switch it back to median point now. If we skillet in the X, it kind of acts like we wanted to. So I had scale just now. Then I grab Z after breath, these various ease up this wedding, skill them in some more, and let's do that same thing. So we're gonna first with in this case, we're gonna grab these, Then we're gonna skill them and didn't really get X. But you could have there. No, that's it. Oh, it's grabbing. Let's move it up some. And were you doing this? You can do it however you like. I wasn't quite happy, but honestly, doesn't matter. The point of this is to show you how you can model and do it however you like with. The main point of it is to teach you some animation, but you have to have something to animate. It's not as much fun to animate nothing. So we're just making up some finishing touches. Here, pull this there. That tree looks much better, except for the fact beds, because trunk is sticking out of the top. So we're just gonna grab these emergencies so, G Grab Z, we're gonna pull it back down. And now we have something that's a little bit more like a tree. So that right now this is a little bit long, but loops h again, I tend to do that. Grab Z, bring it down. Now let's see what that looks. So I hit 12. And that, in fact, does look like a tree. Someone escaped. And now let's make some more trees. We're gonna bring entry out here. We're gonna skillet. I asked for scale, make it a little bit bigger, was down in the wind and make it a slightly scared, slightly skinny or so started not why s for skill X to make it slightly skinnier. So if that again slept everything menace feeling eggs to make it skinnier. Grab it, bring it down a little bit. Let's go ahead and make another one. Let's make this one bigger. Grab it, put it to the side a little bit And when we make another big one over here, off to the side And when we make a little tiny one smaller one right here and see how that works So now we have mountains and we have trees The only thing left is clowns. 25. Project 4: Animation: Now we've got almost every piece of this that we want. The last thing I want to add is some clouds, because even at night, the moon does illuminate some clouds, or at least the shadows of clouds. So clouds air gonna be even easier to do than the other aspects of what we did. I'm gonna make sure our three d closer is in a place that we can do. We can see when hit shit A I'm gonna add a circle. And this time my verses air up a 26. You're gonna want something kind of high because you wanted to really look circular. So 26 is gonna work. I take a look at it and see that that's fine. It's got a little bit of fascinating to it. But that's OK, cause we're gonna make it much smaller without a hit. Our for rotate about X, so hit our X 90 degrees and then we're going to scale that. Yeah, it's about what we want now, just like before. We're gonna hit F when everything is selected. So to select every big wanted un select with a and then select everything with a again to make a face and there were limits. It s for scale. And then X we're scaling it in that dimension. And then we're gonna hit shift D to duplicate. I'm gonna eat shit d again to do OK, And now we have a cloud. Now how you make your cloud the exact shape, it really doesn't matter. You can shift around these to make in me any ship that you want. And I think for Mayo many will put more peace here. And that's our cloud. You know, let's change it just a little bit more. So I'm just gonna g for grab. I'm gonna move this down just a little bit. No, I think I hated better the other way. Let's go with this. And I'm going to grab that now Now, because I'm in exactly the front view. I can be pretty sure that this is moving on Lee in the Z plane. So it's not moving towards me or away from me. But if I wanted to be sure that it wasn't doing that, I would hit shit. And then what? And you can see that the X axes in the Y axis and are visible this means I'm not moving it in the why access at all. And this is really helpful for when you're trying to do a lot of things, because when you're moving in three dimensions with the two D screen, this is useful because when you're moving in three dimensions on a two D screen, it's hard to see that third dimension or your angle is a little bit askew. It's hard to see what's happening, particularly in direction what's going right in and out of this claim. So that's an important thing to know. So now we just saw that we can see that our cloud and our campus are cool planner. So we're just gonna grab that, why I want a political or just a little bit so that it's not cool planner anymore. Now let's cover up are moving a little bit hit shift d again. While we're in object mood, we're gonna move it up just a little bit so that we have a cloudy movie night now. 12 you can see that we have clouds here and our moon with our trees and our mountains. So we're just about ready to do our animation now. Feel free to change this, however you see fit. Or you can think of something that's likely to be out and be viewable on a starry night, and you want to create that. So what? Feel free to add it. You can do what you came model like we did for the mountain where you can you circle the Sooners or whatever you like. But now let's get to be animation. Now that we've got everything in place, let's do our animation. But one quick thing. Before we start doing that, you can see that these clouds are different from everything else that's supposed to be in a shadow. And that's because we didn't give it a materials. If we hit at 12 VF 12 there black, and that's because they really don't have any material at all. But let's go ahead and make them the same material as everything else. So we're gonna pick not only pick Mountain for this, we really should give them different names and let's go ahead and do that with all the crowds from here. So now they're both cloud materials and that actually we ended up changing that. So it's called this Mountains again right And so now there are different. Actually, thes air, now called Cloud Slow was fixed these and call them trees. And we're just going to switch these this way. This way. Everything will make sense if we wanted to change any one thing in the environment without changing everything else. So now everything made sense. These air clouds, they have materials called clouds, and let's also go ahead and fix them here in their object names. That will also make things a little bit more clear. If you want to do anything else, and also when we're doing things for the animation, it will make more sense. Sometimes when you're looking at the different objects, you're only seeing their names, and if the names don't make any sense, then it's much harder to. And as I'm typing entry concede Blender is adding in a number at the end, and that's just so that it can have two objects with the same name. I'm gonna do the same thing with stars. Alright, some believe that's pretty much everything now but actually start the animation. So I want the moon to rise. So I'm gonna hit G for grab and I ve so that it stays going straight up and down and I'm gonna bring it below the mountains. And this is gonna but be my initial start point. So you can see here in the timeline if I hit play now, nothing happens. And that makes sense because we haven't created any key friends. That is a couple of different ways you can interact with animations on blender. You can do it with the and L A editor or that's nonlinear animation, or you can do it with the graph editor. But because we're dealing with very simple movements and we care more about the quality of movement than the complexity of there being lots of different movements, we're gonna use the graph editor. So that's right here. And in order to create that extra window, I went on the left side to these slanted lines and I dragged up. So every time you do that, it creates another window. And if I want to get rid of that, I go back to that same place and I pulled down and then you can see a little arrow in the center. It allows me to merge them, and I could do the same thing horizontally that I can do up and down vertically as well. So now that I have the sun down there, I'm going to create a key frame. And there's two ways I can do this. If you remember, I cant hit I and lock location Or I think over here too, where location is and I can hit. Hi, I'm gonna do that cause it's a little bit easier for you to see. So now you can see that we have this key frame locked at this position. Now, after a certain amount of frames, let's pick ah, 100 frames. Actually, let's Yeah, let's pick 100 friends and we're going to move. Grab Z, we're gonna move the moon up to its zenith clients very top, and we're gonna go over here to location or hit I. And now you can see that we have two keys to places where the location of our moon is locked. So go down. So our timeline and we can move about a timeline by using our right mouse button. You can see that the moon rises. Now, what's weird about this is that when it rises and then it stops and you'll have to decide whether that makes any sense for your animation. You might want it to rise and then quit and start again by going the same velocity the whole time. Or maybe you do want to come to a stop. But right now we have this set for 250 frames total. So right now, I'm only going 200. So we're gonna change that end to 100 let's keep it at 110. So now if we did play, we see what that looks like for the moon Cerise. And I have to say that this speed is a bit asked. So let's increase the total number of frames up to 250. And now let's take this key friend here. So it's here. We can't really move it here in the timeline, but we can move the key, appear we select it. So we're gonna take and make it so we can only see the Z key. So I did that by clicking diesel eyes. I hit G for grab, and now I'm going to move it out to the side, so we're gonna take it I'm gonna hit X so that it doesn't actually change how high we move it. We're gonna put all the way out at 90 frames. So now if I hit play down here, it rises ever so slowly until we get to its top point there. And I think this is much better for rising. The other thing that we're going Teoh, is we're gonna delete those keep frames because we don't really need them. And they don't really serve any purpose. So the only Q friends we have are in the Z. We hit play, which is also ill to eight. Now you'll see that we have a smooth rising of the moon and I but we're not done here. This is not all we want. We also want the clouds to part. So we're gonna pick this cloud. We're gonna go to the first frame and that we control what frame. But either clicking with our right mouse button here What? We did it just types first frame or whatever frame you wanna types. I'm gonna first frame down here now on the first frame and you feel noticed. The sun went down the moon. Sorry. Went down And that's because of the first frame. It's not visibly at the moon has not risen yet. So we're gonna grab this, and we're going to kind of put it on this side. Now, we're gonna walk this location, gonna create that key for this one. As the moon rises, we want it to move to the side. So by the time the moon is at its highest point and we want to see where that key is right now, So that key is exactly at 190 frame. So about 190 frames. We would like this cloud. It was like this cloud to be completely just barely clever in it. So I'm actually going to hit X so that it moves straight to the side and we're gonna do it right there. And then I hover over location to it. I now our cloud should move pretty much s slow. It it's just about the same speed as our moon. So if I hit play, we see that the cloud moves just like that. Then the next thing I want to do, I don't really want the clouds to ever stop moving, so I'm gonna get rid of my other other channels and I'm just looking X. And as I look at X, I wanted to keep going. So remember, before we wanted the plan is to keep on rotating. But in this case, we don't want it to rotate. We wanted to just keep moving so I could do that a number of different ways. I could just take this key frame and move it far enough in the pat in the future. So you never see it stop or I can go to channel it struck late mode, linear. Now, if I pull Avis, you can see that it keeps on going the whole time and we want to do that for Bull Cloud. So if we go to our first frame, I could go do that by going down to the bottom of the screen, hitting one, going to the first frame, selecting the cloud that we care about this time. So this is just cloud the next highest 10.1, and I locked the key friends. So I go over to location. I hit I I grabbed this cloud his ex, and make sure it only moves in one dimension and This is the location I put it, so I actually probably shouldn't hit. Actually, I did that backwards. Let's go back to where we were for grab the really I So lock it. Now we're gonna go to the 190th frame, and I'm gonna grab this cloud and pull it over and hit I again. So what you see now is that these two clouds move out of the way of the moon. But you know what? It would look much better if they moved in opposite direction. So it's chained. Let's change that. So let's go back to the 1st 1 first frame. Now it's on the right side. We're gonna block this key frame. Then we're gonna grab it X. So it stays in the same dimension and then go to the 190th keep banging, grab it and put it back over there because it moved back to where it was because we hadn't put the key framing yet. And I'm gonna I again now. It should move. They should move in opposite directions just like that. So if I hit play, we can see the clouds parting. And then the moon coming between just like the other cloud. We'd like this car to continue moving. So what I'm going to do is make it so. I can't see the other x, y, X, y and Z B Y and Z Channel's because I don't really care about them. But I do want to change this channel X Channel, which is the one that moves extracted, eight extrapolated and four to move. Many really Now. It'll keep moving, so we hit play. You can see that clouds continue to move. And just as the sun so sorry. Just as the moon rises, the clouds continue moves, and now you have your animation. And not only do you know how to animate something that's three dimensional, that does rotations, you can also meant you can. Also. You can also animate something that moves in two dimensions. Or you can mix the two. You can imagine that you can create any kind of seen you like with either three D or to the emotion or to the emotion. Because even though Blender is a three D program, doesn't mean that you have to only work in three dimensions. Now that we've done all the animation, the only step left is for us to do the rendering. But before we do the rendering, let's just check it really quickly. So if I look at this from the right view, I can see that everything looks to be moving just the way we thought. But actually, if I stop it, you can see that the stars are a little bit in front of the clouds now hit F 12. Yeah, and we see that that is the case that the stars are out of the clouds, and that's not what we want. So that's why it's always good to take a quick render in the middle of your animation to see if it's what you expected it to be. Because you can imagine. Even though this render may only take a few minutes, it's possible that you do a runner that takes minutes or even hours. If you're doing an animation, it's possible that you could have to render a weekend in order to just get a few minutes of animation. So you want to make sure and check it so that when you animated and when you render, it is exactly what you think it's going to be. So if we weren't doing an animation, I could simply select these clouds and move them forward a bit. But because then locked in key friends, they won't actually move unless I read to the key frames. So that's not actually be easiest way. The easiest thing is going to be it is going to be to move the stars to be slightly beat hind but clouds Because if I turn this sideways, of course you can't see anything. Lip. You remember that from earlier? If I hit Z putting us in wire friend mode and then looking at it from the side, it turns out we can see everything's with my sake by hit B from Box Select. And I flicked just this portion here. I'm gonna go down here to make sure I have all of this star selected and it looks like I do so if I go but side And these here are my clouds Zoom in. I grab I hit Why so g for grab and I'm gonna move these just behind the clouds Snap hit Z and I looked at hit zero to look at the camera view and I hit that 12 you can see it now. Those stars are behind my clouds. So if I let it continue to play escape first so that you can see it from the three D before and everything looks OK now, So we're just gonna monitor one more section 12 to see what it looks like. And I am happy with that. So now I have this set to go 250 frames, but I don't know that I really needed to go 250 frames. But you know what? I'm gonna keep it. I like the effect of be child's continuing to move even though the moon stops and that's not realistic. I'm gonna go ahead and stay with because I like the effect. So from 0 to 250 goes to the mark, right side panel, click be seen, but and in the scene. But now I have my render £2 I have animation. But before I click animation, I'm gonna make sure that it goes to the correct place. So if I click this, I wanted to go to a particular folder. I'm going to make sure and navigate that particular folder. And in this case were tough in about this nice guy program. So that's where I'm going to go. This all looks okay. I'm gonna accept. Now let's check which format it is. So right here we have P and G selected. I'm gonna go. But if I m. Pei and then from there, including I'm gonna go sit presets h 0.264 And that's the Kotick were using. I'm gonna leave all of this the same. I have this at 50% but you want to actually use yours instead of just doing a demonstration . Feel free to put this up to 100%. Or whichever aspect ratio makes sense. If you're doing this for Facebook, it should be one thing. If you're doing this for Instagram, it should be something else. So once I have all of that saved and done in the way that I like now, I'm going to hit animation and this is relatively quick, as you can see. And that's because I am using the blend Orender urine. I'm using the blender rendering engine and not cycles. And also my scene is really simple. I have a much materials that don't really have any real material there. Shameless. So the computer doesn't really have to figure out due to many calculations when it comes to trying to figure out what the scene should look like. So I'm just gonna let this run for now. I'll go ahead and speed it up and you'll see what this looks like when it's finally done. But now it's all done. And if you go to that location on your if you go to the location on your computer where you told it to be, it should be there. But let me also show you how you can check and see what happens. So if you go to the top menu, you go under, render and you say play, render animation. It takes a while, but eventually it will play the animation and you can see from here. It's nice and smooth, and we have our starry, moonlit night. So you did a really good job. I'm excited to see what your version looks like. Go ahead and upload it and let me know 26. Project 5: Modeling: So you finally made it. You learned animation with translation, and you learned animation with rotations. But there's a good chance if you made it this far. And if you really wanted to learn animation, one thing you were really interested in was character animation. I like to think of character animation as the holy Grail of animation. See, it's easy to just animate something if you wanted to just move left or right or go up and down is easier. Figure out how to make a bet, Correct. But if you're trying to do realistic human motion, it's quite sound right here. You're looking at a clip from Operation Barbershop with which was a movie completed and created completely in Blender, and they did a wonderful job of making even cartooning movement look plausible. And that's the whole key. Your I has an idea of what movement is supposed to look like because you've been watching humans move your entire life, so creating realistic movement is hard and we're gonna talk a little bit about that. But I'm gonna give you the tools to be able to do some character animation and the ability to create a really simplified character really quickly, so let's get started. So what's the basis of blender animation or Stevie G. I animation? What bones and reading. Just like with our riel body, we move it, we animated by moving our muscles, which them move our bones similar to real life and blender. We do the same thing. We create motion or the look of motion by situating our bones. And then the body comes along and blender. We do the exact same thing. And this process is called rigging, where we create a skeletal structure for our model. And then we assign parts of our model to those bones. So this is what a bone can possibly look like in blender. So there's Ah, few different options you can pick for. How bones actually looking with their geometry is But this one of the popular farms. And from there it doesn't really matter what your model looks like. It could be humanoid. It can be a monster. It can be an animal, but you create a skeletal structure that matches that. So on the left we have some kind of older or monster, and then we have a cat, and then we have a very humanoid looking rabbit, and in all cases we have a skeletal structure of bone structure. And once we put the bone structure in place, we have toe assign parts of our model to that structure. You can do that a bunch of different ways. Weight painting is one of those, and we'll talk a little bit about that. But we're not gonna go in depth into character animation because it can be its own very long project. But I am going to show you how to do some of your own character animation very quickly and have some cool and interesting projects you'll be able to do. So let's get started. Before we can do any kind of animation, we're gonna have to get a character. So I'm gonna show you the quickest and easiest way to create a character that semi realistic and then get it rigged because just modeling and rigging could potentially take hours. And I want to get you to the point where you can do the animation as fast as possible. So I want you to start a new screen like normal, and you'll have your default cube in this sentence. The first thing you're gonna want to do is pan around and then hit one on the num pad and five so one puts it in front of you five puts it in Ortho graphic view. And this is the view that you're going to use when you're doing much of the modeling. So the first thing we're gonna want to do is reduced acute to a single protects. So to go into edit mode, I select the Cube with my left mouse button. I had Tab and then I select all except for one of my verdict sees. So now you can see this one, Verdecia and I want to move it to the center. And I'll tell you why in a moment. But in order to move to the center, I had shift s selection to cursor and my cursor was set at the center cause we just now started up the file. If I wanted to double check with my three d her so was I can hit and which will open this panel here and see that my cursor is at 000 I can also see that the thing I said I have selected is also at 000 So I'm gonna close that so that we have more space to see. I'm going to go back to front view by hitting one. And I'm already still in Ortho graphic mode because I have five before and I'm gonna grab this point I have selected by hitting G them gonna hit Z to move it up. So the first thing we're going to do when we're creating this character because we're gonna use this special method called skinning along with skinning, we're also going to use the mirror modifier. That way, we only have to do half of our model, and it's really important when you're doing any kind of modelling. If you're gonna have a left on the right side or a top on the bottom and those two sides are symmetric, it's important that you go ahead and utilize the mirror modifier because it'll save you a lot of time and it will make sure there's no discrepancies between the left and the right side. So if I select mirror modifier here, you'll see in a moment when we model what we model on my right will also be on the left. Now the line that demarcates where the center is, is the origin of the object, and that's right here. It's set at the origin of our entire world, so it's easy to make is easy to see where that line is going to be. So now if I have that emergency selected by E. For extrude and now it had to go back into object mode, you can see that it's on both sides of our Z access. So the next thing I want to do is show you skinning Skinning is what's gonna allow us to save a lot of time with modeling and a lot of time from not having to do the rigging. So if you look at this now, you can see that there's a model around this line that we've created. Now I'm gonna hit Z, and it's gonna take us into a wire frame on. The next thing I'm gonna do is add the subsurface modifier that's going to create more Vergis ease without us having to model it. And that's what just kind of in layman's turns. That's what the subsurface modifier does. It gives us more detail as far as giving us increased amount overseas without us actually modeling it. If you look down here at the subsurface modify, you see the view is set the one and the render is set to two. So if I put this up to two, you can see that it increases. The verdict, sees even more off as far as what's around that line that we just created. But in a lot of cases, you wanted to render higher than what you want to model it, because putting it really high when you model will slow the computer down. And that's not something you want to do. You want to be able to move around quickly. So now breaking start creating our skeletal structure. So this is the top bracket, and this is the side of her hip, and we're just gonna quickly create are a stick figure. And I'm doing that by hitting e extrude and just putting it in a place that makes sense to me. If you really wanted to do this well, you to use a reference image, but we're just trying to get to the point where we can do some animation, so we're not gonna spend a whole lot of time on character modeling. So that's the bottom of my hit. I so like this one. I had e for extrude Z to make sure it stays in the center. And then I hit again Z to make sure it stays in the center. And that's kind of a top of my spine. Let's do a collarbone slash shoulder so I e again and drag it off to the side. Now we make the arms I mean hit be again and drag do you one more time and drive And now I'm gonna do the same thing for the next I'm gonna hit you too extreme for the neck Z and make sure it stays in the Senate. And then he again to pull it up the and you can see when I first do the extrusion, how sometimes it looks kind of weird. And if that's the case, you want to just move it past the point where it starts to do weird and crazy things in this case right about there does something funny. So I want to make sure and move it past that point when I'm actually doing the modeling, so I'm gonna go ahead and hit escape and we're gonna do the rest of the head from the side view. Do you get to the side view by hitting a three for side view and I'm saying that's the top of the neck right there. So I'm gonna move this and this is gonna kind of be chin and I'm using the arrows and you don't have to use arrows as long as you're in a completely perpendicular view. That's one where you hit one or three. You can pretty much be assured that nothing will move in and out of the planet in and out of the screen of the computer. So everything remains in the same X location is when you have it, as long as you're completely from side or front or top view. So that's kind of the chin. It's a little bit far out from right there. I'm gonna this and as well extruded one more time and doesn't look like it now, But that's gonna be our head. So if I hit one that takes us back to the center back to our front view, I'm gonna make these legs just a little bit longer. And now you see we have this very rudimentary looking humanoids stick figure, but we don't actually have to stop here. Something that skinning does allow us to do is scale at thes individual Verdecia. So let's say I want to give it. I want to give our stick guy or girl here slightly bigger hits. So I hit control A and I can make this area a little bit bigger. Now they say I want to give our person here a little bit more detail, so I select to Vergis is and I subdivide, So I w subdivide. Now I can select one of these vergis ease and have to make it smaller or bigger. In this case, I'm going to go ahead and make it bigger. I'm gonna give it a big hips because maybe I'm gonna actually try to make this a she. So let's go ahead and make this area also just a little bit digger. And because we're gonna do some animation here, I don't want everything to be completely in a line. You'll see a little bit more about that later, so I'm gonna pull those arms back a bit and let's go ahead and make them smaller somebody hit my control A and that's gonna allow me to shrink these arms down a bit. This is gonna be right at her wrist. So I'm going to shrink this down a bit as well. If I look from the front view, I would say that her arms should be just a little bit longer. Now let's give her or him some kind of rudimentary hands. So I'm gonna zoom in a little bit with the mouse wheel, the e for extrude. I'm only gonna really give it's will say at this point to like a mitten kind of hand. So that's all I'm going to give it for hand in interest of time. You can feel free to give them four or five fingers, but I'm gonna go from here and I'm gonna hit control a and I'm going to start scaling it down. So it kind of looks like a hand type attendance. And now I want to go to the wrist, scale that down, and now it looks a little bit more like a hand. So right here, I see that this whole thing is kind of like a finger, but I wanted to be a little bit flatter. So something that's really useful when you're using this kind of quick way to create a character is that after you hit control A you can scale on a particular dimension similar to when you scale normally. So I'm gonna hit X and you can see that it makes it just a little bit flatter. So scale x Sorry, not scale control. OK, X and we're just gonna open that piece up just a little bit. And I did the same thing in both cases. So now you can see that I have more, uh, open kind of multi finger appendage here. I'm gonna leave this looking kind of like a bum because that's what it is. The next thing I'm gonna do is make this shoulder a bit smaller. That also helped with our mesh up here, and you can see that we looks more like an alien than anything else. So in order to see what the actual mash looks like, I hit Z to come out of wire frame mode and I see that it really looks like alien partially because of this head, partially because there's really no neck. So, just like before I want to add some details. Why? So let the two bird sees that are above and below the place I want to add. And I hit W and subdivide. Now this will work with any model, even though we're doing skinning and didn't have to be skimming if we were just using if we were just modeling anything, even a cube, it wouldn't really matter. We could still use this saying thanks. So now everything looks a bit small so let's make this a little bit bigger for the chest area, so this looks a little bit better. I'm gonna select this. I'm gonna shift it down and scale it up to give it slightly more of a normal neck. I'm gonna make this here and I'm still hitting control a each time and then from the side, I'm gonna bring this down, and now we need to create more of a head instead of this kind of worm, like looking third arm growing out of its head. So I'm gonna go here, it control a and you see how it got bigger and it merged, and I'm gonna move this back of it. I'm gonna do the same thing here. Shift this down. I'm a scale this end. And at this point, really, you're just It doesn't really matter what your personal looks like. You can move this around in whatever way makes sense to you. I'm just giving you the tools to be able to create your own character Here. I was thinking about making a beautiful lady, but that's not quite how this is turning out. But this does look like head, so I'm okay with that. The other thing is, it's a bit ride, so I'm gonna hit control again. This time I had X and I can make this a little bit more slender and there from the side. Sometimes I just play around with the control A to see if it helps or hurts what I'm trying to dio. And in this case, yes, this is looking much better. So when you're doing this yourself, you're just playing around with the Vergis is and doing whatever is working. What you have is not gonna look exactly like what I have by no means so right now you can see that are hit area. Minding mine anyway is weight wide. Someone will pull goes hiss in a bit and see already Our character is looking much, much better. So from here, I'm actually gonna has got too much of an hourglass thing going on. So I'm going to scale this up a little bit. And then if I look from the front and the side and I did that by hitting one and three so one to go back to side here and you want to keep going back from front decided to see what everything looks like. I think the legs are just a it too. Sure. So I'm just gonna pull this bird isi down a little bit, move the knee down a little bit, and that looks much better. Now, let's give ourselves a foot. So when you're doing normal, wreaking your foot many times has a hue and it has a toe. But before you get to the toe, there's the part that goes from the ankle to the floor, and then the toe goes forward. So that's generally what we want. And right now, those feet are absolutely huge. So we're going to just reduce that size by using our favorite control A just the same as we did before. So now we have something that was a little bit more like a foot. That hell is absolutely huge. Too much, actually, The foot itself is completely big. So right now, the verdict sees not just the lines around the Verdecia, but the verdict sees themselves that employing two are too big. So I want to make them smaller, so I'm gonna select them all. And I'm gonna scale it down because I want the foot to be scaled down as a whole, not just the subsurface that makes it up. So right now it looks a lot better. But it's 22 rounds. We're gonna use that same trick that we did before we do scale, and only in the X and widen. It did skill. Sorry. Hit control s We're going to do that same thing in the Why make it just a little bit flatter. Do that same thing with this pregnancy just to make it a little bit flatter. I'm gonna go here, and that leg was really funny. So I'm gonna scale that down just a little bit with control A I can't let it get too small and that he'll with big mounds here. So this is what you're doing in your model? You're just looking at it and trying to find the best way to make it look just a little bit digger. So right now, I don't actually know what I want a bigger hell or not. So I'm going to see what happens when I make it bigger being hips, small hips, Let's go. Small hips. So right now, I think I'm okay with back for really quick, really dirty humanoid character. I think this is really good, but let's try to make this head just a little bit better. I think it protrudes too much in front. So if I select this and I want to make sure that it moves around that point if you remember , I still like the red ISI I hit, period. So he fix that. So right now, I wanted to rotate about this point, but you can see that it does not do that. So, just like before, I taught you to hit period to center it. Now it rotates about that point that I just centered on it. So if I hit three, we see what it looks like from the side and I think this protrudes a little bit too much. So I'm gonna hit, ensure a And if I hit, why, I can pull this in just a bit. So now if I look at it, I would say that the head is maybe a bit. No, I think the head is okay. I'm gonna scoop this up a little bit more, so it looks just a little bit more natural. I'm gonna reduce the size of this new day, and I'm gonna pull this back to give it a kind of straight line for the back of the head. The head doesn't protrude too much. And you know what? I think I'm okay with this. So this may take you, Ah, bunch of times to kind of do and get the hang off. But just with hitting control a and either x or Y to move it around and see what kind of makes the most sense for you, you want to make sure that you have ah, hand here and you want to make sure you have a foot in your foot. Has a hell, Annatto. So this is the hell this toe. You want to make sure that it has those verses. You also want to make sure that it hasn't me and an elbow, because that's what's going to make it. So you can actually move around because these lines are gonna make up your skeletal structure. So let's make that a little bit more evident. But just pulling this a little bit forward, so the knees air just a little bit better. I'm gonna do that same thing with the elbow. I did that before pulling back just a little bit. I'm gonna take this hip and do the same family, push it forward just a little bit. Same thing with this midsection. Push it for just a little bit more. Pull that chest forward just a little bit. Cool the back because I don't want to destroy anything that gives his spine some curvature , and that looks a little bit more realistic. Wouldn't you agree? We're not all right. So I'm really excited to see what you do with yours. Shouldn't take you that long. It took us to do everything. Looks like it took about 20 minutes, but yours could be completely faster or slower, depending on how perfect you want and get it 27. Project 5: Rigging: Now that you've finished your model, are you proud of it? Well, actually, now that I look at mine, I realized the head It's probably just a little bit too small for the body. But right now, I'm not gonna sweat that. My guys just gonna have to have a small head. So as I continue here, our next step is rigging. And that is simply creating bones and assigning be appropriate part of the mesh to our bones. That's what's gonna allow us to move the part or move our character around in a way that makes sense. If you have never done any kind of character animation, you don't know that rigging is probably the most tedious part of it. Like if you're modeling, at least when you're working with the model, you can see that things are changing. You can see how your model is coming to life. Even if you're doing the lighting, you can see how things are changing. But when you're doing digging, there's nothing to really see. It's just work you got to do, and it can take a long time, depending on how you're going to create your model and what kind of model it is, but and there's a big but for us because we use something called skinning, and we use the skinning modifier to do that, and that's gonna allow us to do some really quick riggings. We're gonna let blender you the rigging for us. So now that we have our model right now, you might be in wire frame mode. Right now, I'm in solid mode, solid object mode. If I hit Z I Z, that puts me back and wire frame Modi tab to get into edit mode. So something I didn't tell you before that you want to make sure is the case is that this circle is around your hip joints. So in order to do that, you got that. First I'm gonna go ahead and move it to the side, cause I think it might be somewhere else on your model. So we wanted to be at the center of if it So you want to select that Vergis e and say mark route, that should put it at the center of your model, and that's gonna help out a lot, actually, is gonna make it possible for us to do the correct reading. The next thing we're gonna do is hit. Apply for the mirror modifier. And you could see right now by hit apply. It does not work, so don't flip out. If you're doing that, it won't work. And the reason it won't work is because I'm in edit mode. So if I come out of edit mode by hitting Tab, that puts us an object mode. Now, when I hit apply, it works. So I had tad to go back into edit mo. You can see that both sides of our model now have this skeletal structure. Now have these verses that will be our scale. So structure. So I'm going to go back into edit mode. Sorry. Back into object mode and I'm gonna create I'm gonna hit the button, create armature, and this is what does all the magic for us was gonna make it so we don't have to spend any time really with rigging so hit create armature. And now your model should look like this. I'm still in wire frame moan, but you can see a separate object which is now the armature for our mesh. Now let me show you the magic so far go to object. Sorry, not object. That's where modes menu and go into pose mode. And I select the leg and I hit a bones already had our and it rotates. Same thing is true. If I select part of our sin, I rotate and it moves arson. So now you can kind of see if I wanted to do an animation I could situated like this. How I could move my model around and the way I just did that it's called forward Kinnah Matics. That's where I moved a joint and then I moved the joint down from it and all the way till I get to the in most point where I move that. And that's kind of how we set things. But that's not the best way to do animation many times. But let's say that I want to put my model back in the position it started in I hit impose mode. I could hit a for select all, then under pose clear transform. Oh, that puts it back to read. It s so if you get it in some kind of weird pose, it will still work. What would like to have is to be able to move the foot or the hand and then have the rest of the arm kind of figure out where it's supposed to be. And that's called inverse canna Matic's. So, in order to do that, there's a few things we need to do to kind of set things up. The first thing is to give it a controlling bone. Kind of a handle will call it a target. Actually, most people call it a target. So the first day I'm gonna do is instead of being imposed mode, I'm gonna go into edit mode. Now, when you're dealing with armatures, you can only create new bones in edit mode so you can create bones imposed mode. Even though that would be nice, you're gonna have to go to edit mode now if I go to the wrist and you don't have to trust me that right now this is the place that we want to put this. I need to select this piece that's in the center. So right here these long stick like things are the bones, but they're joined by Verdecia, so if you go ahead and you click around eventually you'll be able to click on this vert asi I'm gonna make sure I'm in front of you. So I hit one and then I hit e for extrude and that's gonna allow me to put time an extreme e ists bone. What? Looks like an extraneous bone, but won't be an extraneous bone later. So I'm gonna do that same thing on the left side extrude that's gonna put it there. I'm gonna do the same thing for the ankle and you're gonna see why I'm doing this in just a moment. I'm gonna extruded again. It doesn't have to be a perfect extrusion. So if you're thinking about this, really think about it, you realize these things kind of look like handles, and for the most part, that's exactly what they are. They're handles for our model. So the next thing we're gonna do is create just a few more magic bones that I promise I will describe to you later. So I select this board now I'm still in edit mode and I hit shift D and that allowed me to duplicate it. But you see this dotted line here This means that this bone has a parent which is down here and we want to get rid of that parents. It's all Tapie for clear parents. We don't want that to actually have a parent, and I'm going to hit shifty again and another bone up here, he said. This time, if I had seven, I'm above. I want this bone to be right at the elbow, and I want this bone to be right behind the back of any. So these bones are freestanding bones that don't have a parent. And once again, to get rid of their parents, hit Ault P for clear pants and I want to do that same thing for our other handles. So all its peak for that one that pokes out clear parent. And once again, I'm going to show you why this is the case in just a moment, Clear pan. And now let's do that same thing on the right side of our model. So don't extrude out. I'm gonna hit. Why make sure it's right along this excess cooling, a weird angle going to do the same thing I did on the right side. But this time I think this hit shift D move it over hit X to make sure it stayed even I could do the same thing on the other side. I want to be in front shift D X to move it straight over and make sure it looks the same on all cases. I don't have to clear the parent in this case because I duplicated it from one that already didn't have. Apparently, this one, in fact, does have recurrence. I'm going to do all two p for clear parents and I have to do that again. Over here. Out P for clear parent. So now your model should have exactly would have before step it should have these four freestanding bones, one behind each elbow and one behind each knee thes. They're gonna make it so that the arms always bend in the correct direction and you'll see that once we set everything us up and then you need these extra bones here, which there you could think of as our handles. So go ahead and do that. And I'm gonna meet you here for the next video, and we'll actually make everything work and you'll see how everything works. Now let's see why we made all those extraneous bones like I said before we were working on creating an armature that can work for inverse can dramatic. So what does that mean exactly? In a way that you can see it. So let's go into pose moment. We do that by making sure that's actually we just go into a mode menu. We picked pose mode, and I already had this set up, but we're gonna do this from scratch, so we're gonna select the bone on its left forearm. Now. I said left because I'm assuming that this is the front. So it has the left, and the left is right here. And if you're wondering why my bone is blue and yours isn't, it's because you're not imposed mode. So if you're imposed mode, then this bone will in fact be blue. So the first thing we're gonna do is we're gonna go to our panel and we're going to go to the bones constraint menu. And that's only here because I have a armature selected and I'm impose mode so I can go to the bone constraint menu, and I can say add bone 10 strain. And then I'm gonna pick inverse Kinnah max. So when it starts off, it's at zero. Which means the root of your inverse Kinnah Matic chain is at the root of what we said before. And that's not what we want. So we wanted to be to. So this means the rule is right here at the shoulder. So let me show you what inverse canna Matics means. If I select that handle that we made before and I hit G four grab. Actually, you know I didn't finish. Let me create a target so armature and then we want this to be our target so we can see if we selected. That is bone 0.8 So I go back to the one that we're working on. I see 10.8 I could have also tight eight and it would have shown me all the ones with a in its title. And now, if I so like that particular target that we made before and I'm moving around, you can see that it makes my arm move around too. But what you can also see is the elbow does really weird stuff. There's no way your elbow should ever do that without you needing to go to the ambulance. So how do we fix that? So we're gonna put it back to its original place. I hit a for Select All. I go to pose like we did before clear transform. Oh, just to reiterate a If I picked this and it moves all the bones behind it, that's what makes it in verse can dramatics instead of forward Kinnah Matics in order to get into this polls, before I would have had the first move this bone and then move that bone and then hopefully I could have got it in the same position. But now I can just move the in bone, and that's what I end up. So once again, I want to go back to my default polls and here we go. But I want to control this elbow. So that's done by adding a poll target, and that's going to control how my elbow is oriented when I'm moving things around. So in order to do that, I'm gonna go to that same bone on the pole target. I need to add this boat, but I don't know which one it is yet, So I'm gonna highlight it, and I see it at this 0.0 bone 0.5 So go back to the forearm bone and it's a armature that we want. And within armatures, we want 0.5 So now you can see that my elbow is pointed kind of weird. There's a chance that when you did this came off absolutely perfect. But is the better chance that it did? So in order to fix that, I'm gonna go to this thing called the poll angle here, and this is to fix our orientation. And I'm gonna make sure that it points right out where I want it, too. And chances are it's some multiple of 90 right? So now if I pick this, if I select are extraneous bone here are hand handle and grab it and moving around you can see that I bone our elbow kind of always points towards here. So if I move that around and then I move this effects where the elbow is, and this allows you to make sure that your arms always doing something that makes sense. So I'm gonna select on Put that in his default polls again, my saying clear transform and I'm going to do the same thing for right side. I'm gonna say add bone can straight constraint can a Matic? I wanted to stop at the top of the hip, so I wanted to be instead of zero. I wanted to be to and I'm gonna check to see what bone this is and I see that it's 0.3 So that means I want the target to be an armature. That is 0.3 And I was sick this down just a little bit, So I make sure it's right at that angle. And what bone is that? So that says, over here, this bonus 0.4 So I go here of a poll target armature, and I go to bone 0.4 and I see it's all weird looking, So I'm gonna fix it again by going to the pole angle, and I see that if I've put it here, I'm turning it. So probably if I just put 90 in here and it does match up on yours, it could be negative. 90. It's possible it could even be 180 or negative. 180. But Now when I grab this bone and move it around, I can move it just like it's a normal dependence. And I'm going to do the exact same thing for the left side. I'm gonna speed it up and allow you to be able to do it on your own, but it's the same process. 28. Project 5: Animation: now that you have everything set up to be either forward or inverse canna Matics, if you remember what that IHS the next thing we're gonna do is I'm gonna show you how to use the tools within blender to be able to do animation. Now, this is the part that could easily take hours in and of itself for me to teach you all the ins and outs of doing animation and being able to manipulate your animations. But just like before I showed you a quick way to rig and create your character, I'm gonna show you the minimum of what you need to do Interesting animations for your character. So the first thing I'm going to show you is something called the dope sheet. And in order to do that, I'm gonna use another window. And this is the first time I think that we've done this. So whenever you want another window within blender, you're gonna go to these slanted lines in the corner. You can see them all over your model. In every place you see them, you can click and drag, and you can open up a new view port. So right now, this one that you're looking at is called a three D view port. But we want the dope sheet. So I'm gonna open up. I'm gonna click here on this icon and I'm gonna open up the dope sheet now the dope. She is powerful because it remembers and gives you a visual depiction off where you put your key frames. And if you remember, when we did rotation and translation, we use key frames to their away from blended to understand a pose or position or rotation at a particular point in time. And from there blender, inter, Pilates between them and just like rotation and translation. Posing a character is the exact same fame. So there's a couple of ways that you can do this. The easiest and most straightforward is to simply move character tour particular location. So we're going to do a waving animation. So all I need to do is put our character in that post. So I'm Look, I hit one to put it in front of you. I'm gonna hit G for grab, and I'm going to grab this piece here. This was the inverse Kinnah Matic target that we made before. So want the in front of you, Jada, Grab and I'm gonna move it up to this location here. Now, elbow is a little bit weird. And if you remember, this target is help. This this is not the target. This is the whole helps control where this Elmo is. So if I move this around, you can see that it fixes that elbow joint. Now, if I wanted to, I could use for were telematics to change this shoulder joint. But I'm not going to because I don't really think that's necessary. So I am happy with this first pose, and what I can do is select this bone and this bone, because these are the two that we actually changed. I could I and I'm gonna lock rotation, location and scale. That's what lock rocked scale means. And if you look down here, you can see that we now have our keys available in the dough. See? So if I only want to see the keys for this armature, I can minimize this. I can close this. This will only show me this part of it, or I can do that. And that will only show me this part of it if I want to interact with all the keys in this armature at the same time. But I want you to go ahead and be able to see at least that we're talking about these two bones. So this is our first location. So we're gonna continue by going to our next location. So the important thing when you're doing animations is to realize that every time you move your timeline, your model is gonna snap back toe what? Whatever the keys you have said. So let's say that I move this down because I was planning on doing something like this, and then I moved my timeline, and you can see that snapped right back to where it waas. So keep that in mind when you're doing this, you want to move to the point in the timeline, you wanna put your key first and then you want to create your key. So we're doing a waving animation. So I'm gonna go ahead and put my hand a little bit out, and I'm gonna say I'm gonna hit I again or lock, rotation and scale and you can see here that it is now a lot what it did not create down here was the bone associated with our poll target this because I didn't move it, so I didn't need to change it. So now if I used my right mouse button, you can see that it weighs now. The power abusing the dope sheet is that instead of creating another location over here and then moving the arm by hitting G and Baba blah, what I can do is I can select just these keys with my left mouse button. And if I selected up here under the dope sheet summary, it will foot all the keys at this frame. So I do that. I hit Shift D for duplicate, and I drag it over to, let's say, the 15 frame. So now you can see that it automatically goes back. And that's one of drinks of doing animation with the computer is because you can copy and paste thes poses and you can create complex movements with a minimal amount of work. Not that this won't get really tedious, and you have to spend a lot of time to do about it. Interesting beings, but it does help a lot. The other thing, we're gonna do is we're gonna change the range. But I wish we play this animation. So right now it plays from start. So that's the first frame to the 250 frame. But we don't really have anything from frame 15 to frame. 250. So I'm gonna change. Are in frame to 15 now when I hit play and this is the play hit. This is the play button here. I can also hit control A and you can see that we're now waving. This is really boring. Why don't we give it just a little bit a little bit of spice? Give him some hip action just so you can see that as well. So I'm gonna select the to hip bones, and this would be forward cinematics because I'm moving the bones that I actually want. I only want these to move, so I'm gonna rotate them just a little bit for the left. I'm gonna hit I rock rotation and scale, and then I'm gonna go to my next set of frames, and I don't rotate them to be other ways. So hit art to rotate, and then I for lock, rotation and scale. So it's always good to find a check. What's happening here? So that looks okay. And once again, I don't wanna have to do anything over, So I'm just gonna go ahead and delete these key frames will be here because not exactly what we had must like all the ones that beginning hit shit d drag them over to the 15th frame just like I did before. And now I'm gonna play it. And you can see we have this kind of marine gay movement along with our model. So you can imagine that you can do a lot with this. I chose to just do something similar so I could have done something like, I make the key frame there. And then by here I change it so that it's here. And now when I play it, it's not going to make a whole lot of sense, but he's kind of moving in, moving his foot up. The same is true. I'm gonna go ahead and delete this because it doesn't make a lot of sense. The same is true. If I wanted to move his entire body. All right. I can take this. I can create the key frame I can also I can select all of these. And I can do that by selecting one bone hitting A and I can move the entire model. And I can lock rot in scale, lock, rotation and scale for the entire model. That's how you would do a running, animation or jumping animation or you name it really anything. That's how you would create it. So now I had this crazy animation because there were no doing before. But now you have the building blocks to create whatever you want. It could be running, it could be fighting, and I'm really interested to see what you do.