Introduction to Animation in Maya 2022

1. Introduction to Animation in Maya: Are you a beginner animator who wants to learn the tools and techniques for animation inside of Maya? Would you like to learn animation with easy to follow exercises and projects? If that is the case, then I welcome you to next to introduction to animation in Maya 2020 to at the end of this course, you will be able to animate complete sense using universal concepts and techniques. You will understand how to apply all the different principles of animation and utilize the tools inside of money. In this course, we will be covering animation tools in via principles of animation, IK and FK systems, body mechanics, mash and render. I will curves by demonstrating the basics of animation and using some of the most classic examples such as the bouncing ball, the pendulum. And then we will move on to more advanced stuff like a walk cycle, body mechanics, and even become at an image. I have the signed this course for students who want to learn the animation tools inside of mine. A basic knowledge of the Maya interface that gives recommend. We will be using Maya 2020 to and are no records. So make sure you have those softwares up-to-date. Join me in this course. A, you will be animating in no time. 2. Project Setup: Hey guys, welcome to the first video of our series today we're going to start with just the basic project said Look, I'm going to show you a couple of quick things that we need to make sure that we have properly installed here in Maya. Just to make sure that all of the exercises and things that we're going to be doing flow in the best possible way. So as with any project in mind, yeah, we need to create a project where we're just going to contain all the rigs, all the renders, all the textures, everything that we are going to be assigning to the project is going to be inside of this folder. So I'm gonna go ahead and go into File. I'm going to go into project window. I'm going to create a new project. I'm going to call this Maya 22 Intro to animation. I personally like using underscores. It's just something I learned from coders. Say it's a little bit more efficient in certain things about code. I don't know. I've done this for a long time, so that's how I do it. I am going to have this on my, on a specific folder here on my drive. However, by default, Maya is going to install any sort of project inside your project folder, which is usually in documents. So if you're going to documents maya and then projects, you're going to find it here. I don't use this because it clutters my main drive, but you can pretty much have it anywhere. Now this are the names that you're going to get for your project. We're not going to change anything. Just keep in mind that sometimes in certain studios they're going to ask you to have a different naming convention. I've never encountered something like that, but I've been told that that's the reason why this exists. So I'm just going to hit Accept here and then we're going to go file set project. We're going to select that project and we just grid and we're gonna set it just to make sure that everything that we do goes inside the project. Now, as I mentioned, a couple of things that we need to make sure our turn either on or off to make sure that my awards in the best possible way. First of all, if you go into windows, settings and preferences Plug-in manager, you're going to see that there's a lot of plugins that are turned on. And most of them we really don't need or we're not going to use. This will make Maya open and close a little bit more slowly. So I strongly advice to turn some of them off, the ones that they usually leave off our mash, which takes a little bit of energy by forests, which takes quite a bit of energy. Our note as well, where it's hard to know. If you're right, just empty OA, you're going to find Arnold, I have this set to auto mode because I've been using it quite often, but I actually recommend having it off. And just to again, reduce the amount of time it takes to load. And which one, What's the other one? Extra, extra and this one right here. So by turning those off in both loaded and I'll load my is going to work a little bit faster. Then you're gonna go down here to this little dude that's running. This is a preferences and this guy takes you directly to the animation preferences. So as you can see here, all of the animation preferences are here. Some of them are a little bit more directly involved. We're, we're, we're doing and some of them are related to Maya as a whole. Now on this time slider setting, there's a couple of things I need you to do. You're going to go here to the playback option and you're gonna change whatever you have. And usually it's play every frame, you're going to choose to 20 FPS, 24 FPS times 1. If by any chance you forget about this, you're going to see that your animation runs extremely, extremely fast. I recommend this being 24 FPS times one. And then you're gonna go here and update view. And I like having all set to my oblique view. So if I have several viewports, I can see the animation updating on all of them. Some people like having like bigger time sliders. If that's your case, you can go here like that key tick size. We can go two times, three times, four times, five times. And once we set a keyframe down here, the, the bard little red bar is going to be like really big and usually what we want. But let's do two for now and see how that looks. And what else. I think that's it for now. There's another thing here inside the animation options. You want to make sure that everything is set just to the basic. We're going to be talking about this sort of like tangent weight and tangents in and tangents out later on. But in case you want to change that this is where you're going to be finding them. And finally, this is very important on the display settings. If you have a graphics card on your computer, be either GPU like NVDA or AMD, doesn't matter. And B, that works a little bit better. You're going to go here into view port 2 and you're going to change your rendering engine to DirectX 11. Usually it's set to either OpenGL legacy or core profile. This will give you a little bit of a better frame performance. So you're going to be able to see your animations run a little bit more smooth. And yeah, that's pretty much, I think we're not going to be using any sort of like a scrapes or animations or plugins. We're going to work with just the basic Maya things. So make sure you have everything set up. Just do those little changes. Very important. The ones that we talked about down here, this one is also very important. I'm going to turn this thing off for now with scrolled all the keyframe we're going to be talking about that. Sometimes this guy right here is also turned on, which is the playback or cash playback. I always say to shed, but I think it's cached. So the cashflow, but you just turn that off and then we're good to go. Okay. I'm just going to save the same right here. I actually, I don't need to save anything. We're just gonna start from here. So that's it for this video, guys. I'll see you back on the next one. Bye bye. 3. Principles of Animation: Hey guys, welcome back to the next part of our series. There we're going to be talking about the basics of animation inside of Maya. So let's go. Now, before we jump into Maya, I just want to take a quick detour to give you a little bit of an overview of the history of animation's just very brief. One of the first videos that we have is called guarantee the dinosaur. You probably heard about this guy right here. This is considered one of the first shorts in traditional animation. And Gertrude, the dinosaur was made in 1914, so more than a 100 years ago by windstorm a k. Now this is a very interesting thing you can look, of course, the video in YouTube and you're going to be able to find it. And it's very funny because there was no sound of course and dirty. It's actually a pretty nice animation. You can see that the drawing is the animations, the movements, everything looks pretty, pretty good even though the principles of animation and animation as a whole was just beginning. So artists back then knew that by modifying the way or by, by creating a sequence of images that slowly progress through an action. They were able to simulate movement, and this gave birth to animation as we know it. Now, of course, we have this name who created a huge empire with their cinematography and their movies. And they were the first guys to do a long or a feature film. Snow White. So there's no way was the first like long feature film done in traditional animation. Of course, my Disney, he received an honorary Oscar thanks to the achievement though he was able to accomplish not by himself, of course, with a huge team, but it's very interesting because thanks to this, well, we're here today, right? Thanks to the beginnings of animation almost a 100 years ago, we're now animating in computers, right? So the reason I wanted to mention is no white is there were two guys wrap it around. The ancient was no white in the golden age of this and it would like Pinocchio. I don't remember all the other movies but Golden Age, this name. It's like, yeah, Pinocchio, know why Fantasia, Dumbo, Bambi. And the two animators that I'm talking about are called Frank Thomas. I almost forgot. Frank Thomas and Ollie Johnston. And Frank Thomas and Ollie Johnston. These two gentlemen right here, they wrote one book that's considered one of the two Bibles in the animation industry. Again, strongly recommend if you can get your hands on it. It's a really, really great wreath and it's called The Illusion of Life. In this case, coined something called the 12 principles of animation. And the general principles of animation are a series of steps or easier. So if rules we follow to make sure that our animations look as good as they can be. Now, I'm not going to go deep into theory. I don't want to bore you with all the, the, the ins and outs of different principles. There's a lot of information out there as well. But we're going to be taking a look at this principles through examples. We're going to be using this principles inside of our animations. And we're going to be applying them to all the different exercises that we're gonna be doing. Several years later came another guy by the name Richard Williams. And Richard Williams became famous because he was the guy that animated or he was the delete animator in the movie. Who frame brought your rabbits. And, and it was a milestone as well because that was one of the first movies that created a, an environment where real actors and cartoons were working together, right? So it's kind of like the, the beginnings of a live action and B effects coming together. And this guy also wrote a book that's very, very famous called the animators survival kit. We're going to be taking some information from this book as well throughout the exercises. This is a little bit more technically, it's a more technical book. You're going to see exercises in and diagrams that explain how you should or shouldn't animate certain things. But what I want you guys to remember is that all of these things, both for the Frank Thomas and Ollie Johnson's book and this guy. And they're just like, they're not like hard-coded rules. There are suggestions that are there principles that worked really, really well, but we're welcome to modify them. Like the quote says write like you'll learn the rules and then you break them in regards to art, of course. So that's what we're going to be doing. We're going to be learning the basics of animation, and then we're going to be breaking them to create some very, very intensive stuff. So if you can get your hands on any of these two books, that's going to be great. If you're want to become a great animator, you're definitely going to need them eventually, so make sure to check them out. Now, going back into Maya, Of course in the history eventually picture came along. They created like computer graphics. There was a lot of, well, they didn't create computer graphics, but they pioneered computer graphics used for 3D animation, Toy Story, you know, the whole deal. So Maya is of course, one of the industry standards that we use to create things, to create animations. And the way it works is extremely, extremely simple. You're going to create an object and every object inside of Maya is going to have transformations, translations, rotations and scales, and. Down here we're going to have the time slider. Now, if your window does not look like this, you can always just go here and change into Maya Classic. That's the one that I use. Some people like going into like the animation section, which as like a couple of other things here and there. I'm going to be working on Maya Classic just to make sure that we're all on the same page. And if for some reason you're not seeing this guys down here, the time slider, the time range, the code, you can go into Display. And I'm sorry, window display. I always mess this guy. So up here, windows, UI elements and use, make sure everything's turned on and you're going to have everything here. So if you position your mouse in any frame, let's say frame one, you select your object, move it to a point in space, and press the letter S. You're going to set a keyframe and that will save this information, the translation information of the object at this specific time. Frame number one, now if I move my element all the way to my frame a 120 and I move this guy over here, you're going to see that the color changes. It's like a light pink. And when I press S again, it goes into red, indicating that this is a keyframe. There is a set animation at this specific point. And the other point in between, as you can see here, is not going to be a keyframe, is going to be an in-between. That's what they're called. And you're going to see that there's no specific subframe. There is a value there, but there's no specific keyframe, so you're not going to have anything on your timeline. Now, what Maya does, and this is why, why 3D animation is so amazing and it's simplifies a lot of work is instead of us having to go frame by frame positioning the element Maya interpolates the position any creates a gradient in regards to the value that changes the precision from 1 to the other. And if I were to hit play over here, you're going to see how the animation runs at real time. Now to make sure that your animation is running in real time, you need to have this little thing turn on over here, which is your frame count. And that one you can turn on here in the display heads up display frame rate. And this is very important because if you play your animation and you see that you're not getting a consistent or close to consist in 24 frames per second. That means that your computer is not actually running the animation in real-time. And once you render, it might look different. I'm going to teach you ways to avoid that later on, we're going to have animations that are going to be a little bit heavier. And we're going to have to use those techniques because otherwise it will be impossible if you were doing like simulation on like a lot of characters or elements at the same time, we would definitely need to do a something called a play blast watch organ that touch on later on. Now an object we can interrupt any part of the animation. Let's say the point here, 60 moved the object up, for instance, hit S again to create a new keyframe here. And if we play now, maya is now going to interpellate this new position. So it's going to say, okay, you want me to move it here in 60 frames and then down here in another 60 frames. And as you can see, it makes it look very, very cool, right? So this is, this is the secret to animation. We're going to be positioning or objects in different points in space, in different translations, different rotations, different scales. And then we're going to be utilizing all the principles of animation to create something very, very interesting. So for our first exercise, this is going to be very simple just to get ourselves acquainted or get ourselves used to the way these things work. We're going to create a new scene here. And we're gonna do a simple bouncing ball animation. Now we're going to start with a very simple just up and down bouncing ball animation. And then on the next video we're going to do something a little bit more interesting. So you're gonna start by creating a sphere here, and I'm going to change the name of the sphere tube, bouncing ball. Then I'm going to go to the front view and I'm going to move my bouncing bow to the top here so that it's sitting right on top of the floor. There's something very important that we're gonna do. Pivot points are very, very important in animation because the pivot point will, will tell us where the object is going to be animating from. So in this case, I want to move the pivot point of this bouncing ball down. So I'm gonna go to my letter D. And then with my letter V, I'm going to move this all the way down so that it snaps to the last vertices, that one right there. And then I'm just going to press W again and we'll deliver X. I'm going to snap the bolt right there. So as you can see, this bouncing ball has a translation of one and it's right there. I'm going to delete the history, freeze transformation, not center pivot because if we said to people, just loose, well we'll just create it. I'm going to keep it right there. And now we can start animating sphere. So what I'm gonna do is I'm gonna go to frame 1. I'm going to select my sphere. And I'm going to press S, but I'm not going to press S here down here. I'm actually going to move it up. That's saying about there. I'm just going to press S. Now. I'm going to move my points here and I'm going to position this sphere on the frame that I think it's going to just hit the floor. In this case, I'm actually using this chart right here, which you can download. I'm actually going to leave this on your project files. It's this one right here. The bouncing ball animation is a very, very common animation. So I'm going to save this chart. Mean our projects. Whenever you want to save something, you can say with, and you're. Source image folder. And just give me just 1 second. Go. Go. Let's call this bouncing ball animation. So you're going to have that for yourself as well. Or you can just look it up. So I, my frame 1, I'm going to be up here. And then on my A-frame seven, I'm going to be down here. Okay? So I'm going to, I can just write here 0, select the sphere and hit S. So now we have this. Okay? Now the next bounce is on frame 12. So I'm going to go to frame 12, move this guy up not as high as what we had before. So here, probably little bit lower. Here S again to save that information. And then the next point in which I'm going to touch the ground is going to be frame 17. She got a position Azure Sphere there you can see, roll this out to make sure that's perfect. Hit S. And there we go. Then we're going to jump back up. And that's going to be frame 21. Again, not super high, just a little bit higher. That's s. And then on frame 25, we're going to go back to 0. That's going to be S again. And then on frame 28, we're going to do a final jump, small jump. And then on frame 30 one, we're gonna do a final landing right here. There we go. Now, this guy right here is called the range slider, which is going to show us the range in which we're animating. As you can see, we don't need all of this range right here. So I'm just going to grab this little square, bring it all the way down to, let's say like 35. Now if I press this button, I'm going to go back and if I hit play, we got this. Not bad, but not good either, right? Actually the last frame right there, I think I forgot to add the 31 frame. So I'm going to say 0, select the sphere and hit S. So now if we play this out, we got this. So I mean, it's fine, but it's not looking like a bouncing ball. She was looking like a very odd ball just falling into the ground. And the reason why we don't have this working properly, because we haven't checked the curves, the animation curves. So right now my eye, it's doing its job. It's saying, okay, you want your sphere to be here, and then here, and then here, and then here and then here. But it doesn't know how we want to achieve that specific action. So if you go into Windows animation Editors and open your graph editor, you're gonna get this window right here. I personally like to dock this window right on top of my elements, so I'm going to keep it there. But if you want to keep the floating around, that's totally fine. And the animation or the Graph Editor is one of those animation secrets that a lot of people miss or day. You don't really know how to use it properly. So I'm going to be showing you not only in this exercise, in all of the other ones, how to get the most out of this. So I'm going to go into my translation y right here. And this curve right here shows me how Maya is connecting the positions of my sphere. Anytime we see a graph, we need to understand what the x and y value mean, right? So the x value right here is time and the y-value is the change in the value of that specific elements. So the change in the translation Y of our character. So we start at frame one with a value of 13.775, and then we moved all the way to frame seven to a value of 0. And the way we, we go through those values, That's what we're going to be changing. Because right now this is a very like monotonous curve. We call this a lazy curve. It looks fine for certain things, but for this bouncing ball It's looking really, really bad. So what I wanted to do is I'm going to break this curve. I want to make sure that when the ball falls, we see this like Beck snap, right like back. So the thing that just bounces around. So I'm going to grab this thing right here and this, this little button here, a V key. You can also find it on tangents and it's called break tangent. And what break tension does is it allows me to split this little like legs that this guy has. And instead of moving one and moving both of them at the same time, I'm going to be able to move them separately like this. So I'm going to move them in such a way that they create this very sharp light. And what that will do, as you can see here, is it will hold the high values a little bit longer, and it will then very heavily or very quickly accelerate until it hits this point. And instead of softly going up to the next point, will vary sharply, accelerate all the way to this point. Now very important, the positions are not changing, the keyframes are not changing. The interpolation or the way in which the keyframes Connect is what we're changing. Got it. So again, we're not changing the keyframes there remaining exactly the same. Well wishing he is how we get from point a to point B. And this my friends, is why the graph editor is so important. Now this one right here, I'm going to break this as well. Then I grab one of the little legs and what middle mouse? I'm just going to move this up, grab this guy, move this up with the middle mouse. Very important that you use the middle mouse if you tried using any other mouse, actually, single click works nice as well. I usually use the middle mouse. I'm not sure why. It's just I've just done that way for a long time. There we go. Now, if we take a look at the animation, look how a appears now. Cool, right? So now the animation still have looking very soft light just up and down, up and down. It looks a snappier. It looks like it's actually bouncing, like it's like a hardwood floor or something. And this is like a very solid object, is just balancing like back and forth, back and forth. Now we can actually make this thing a little bit nicer. And I'm going to show you how I'm going to go into translate here. And instead of having this element, I want to have this be a little bit flow year. I want this to be a little bit nicer, little bit brother. However, we can't really scale this little crystal right here. And the reason why we can scale this is because this curve is considered a, is considered a non way that tangent. So I'm going to grab this element or this curve. I'm going to go into curves and say weighted tangents. Now, all of the little crystals are going to change into squares. And the cool thing about those squares is that we can actually scale them. So I'm going to scale this guy a little bit here. I'm going to scale this little guy a little bit here. I'm going to scale this guy. Not move it, just scale it a little bit there. And scale this guy a little bit here. Now we need to fix a little bit of the tangents here. But what's going to happen, as you would expect, is that it's going to have a little bit more air because again, we're not changing the key poses. Well, we're keeping the value high, high, high, and then sharply accelerating until we hit this low value right here. It's very important for me that you guys understand the principle of what we're doing here. Because this is the basics of like very, very good animation. If you don't understand why this is happening, just pause the video, go back a little bit and try to, to understand that again, we're not changing the key poses. We're changing how we get from wonky post to the other. And this is thanks to something called the interpolation. We're breaking the tangents were waiting. The curves are the curves. And that's allowing us to create this interesting effect where we're able to give a little bit more variants to the way in which this bulb ball bounces. So now when I hit Play, it holds it just barely, barely but just a little bit more up here on the, on the high points. And you're gonna see that our animation starting to look a very, very nice. So I'm going to stop the b the right here guys, this is just the first step on our bouncing ball. We're just creating this little bows. Make sure that you can get all the way to this point. Because on the next video we're going to be adding a little bit of squash, a little bit stretch. We're going to be moving the ball around and where I'm gonna be showing you some very nice tools to get a nice clean render out with this. So get tried to get all the way to this point, guys, and I'll see you back on the next one. Bye bye. 4. Bouncing Ball Animation: Hey guys, welcome back to the next part of our series. Today we're going to continue with the bouncing ball animation. So let's get to it. This is where we left off. This is the result that we got from the last video. If you haven't seen the last beat on, you thought that the exercise is started here. Just go back, check the last part of the video, get to this point and then we are going to continue from here. So there's a couple of things I wanna do. First, I want to move the ball, right now, the balls just bouncing up and down on the same axis, in this case, the y-axis. I want to move the ball forward. I want to make it bounce forward. And it might seem like the obvious option is to go to the first frame, hit S to keyframe it, and then go to the last frame and move it to the side like this, right? And just hit this. However, if we do that, what's going to happen is the following loop and then boom, all the way to the end of the track, right? So why is this happening? Well, the reason is, right now we've been working with a set keyframe approach. And what the set Q from approach does is it will set a keyframe on every single value, even if we haven't animated that value. So for instance, the translation on the c-axis, which is, which is what we're moving here right now, I'm sorry, the x axis has not been animated anywhere on this points, but it still has a different. So if we were to take a look at the graph editor, you're going to see that on the Translate X, we have a constant value of 0 throughout the time. Remember time and change in value. So 000, 000, 000, 000, and then we rapidly changed all the way to 20, Right? So how can we fix this? Well, there's several ways. The easiest one, just erase all of this guys if we only need a keyframe on the first and the last frame, which is where does it start and where does it end? Maya, we'll do the rest. Maya will do all the job for us as we know. And it will create this, which starts to look something closer to what we're going for. Now, this also means that we need to modify their curve up here to make sure that the movement so natural. So how does, how do things move according to Newton's laws of dynamics. I think it wasn't near them. I'm not sure if it wasn't you that I'm pretty sure it was Newton. There's this law right? In physics that says that every object will remain in motion until an external force acts on it, which in this case will be like air resistance, friction and stuff like that. So I would expect the velocity or the speed of this guy to be faster at first. So I'm going to bring this guy forward. So you're gonna have a lot of speed is going to cover a lot of terrain first. And then it will slowly lose some of the energy until it gets out to the final position, right? So if we modify the curve in this way, now we're going to have this. I still feel like it's stopping quite suddenly. So in order to minimize that, let's bring this down a little bit. And let's bring this down as well. But so we have a smoother transition into a slow in and slow out. There we go. That looks a lot nicer. So now we have two things going for us. We have this very nice bounce thanks to the changes that we did in the curves in the last video. And we have this very nice movement going forward. Now we're going to talk about one of the first principles of animation, which is called squash and stretch. Squash and stretch is a property that we normally see will not normal. We see pretty much air anytime, like in every single motion, in every single thing. We're going to see some squash and stretch. And squash and stretch allows us to exaggerate some of the poses for our characters and create this very night contrast from our basic shape to our contracting shape and are stretching face, right? So squash Of course means pushing down and stretch, of course means like pulling out. And again, as I mentioned, this doesn't only happen, we'd like bouncing balls and stuff. Any single time you're doing any sort of animation, a punch, a kick, a jump. You can use this principle of squash and stretch principle to really push the silhouette of your characters, the deformation of your characters, and create a very nice dynamic effect on your animation. So squash and stretch, super, super important, one of the 12 principles of animation. Now how are we gonna do it though? Well, I know that at the first frame, this one right here, are spheres going to have its scale like pretty much uniform. However, when it hits the frame seven, I would expect this thing to become squashed. Now the problem by or with squashing it like this is that we're losing volume on the side, so it's just becoming smaller without actually going wider on the sides. So I'm going to push this 2.7 and then I'm going to push the x and the c 21.31.31.3. Now, you might see here that anytime I change a value, instead of getting this pink number, I'm getting a red number. Why is that? Well, I have this little thing down here called auto key-frame. And anytime the auto key-frame detects that there's a change in any value, it will assign the keyframe. I'm going to turn it on. I recommend you do as well because we're going to be doing a lot of keys and doing sss. It's a little bit time-consuming. So I'm just going to keep it like this. So very important if we scale in y, we also need to scale in x and NC to make sure that we get a little bit of volume to the sites. Now one frame, one frame before I hit the ground, I'm not going to be squashed. I'm going to be stretched. If I were to play this right now, what's going to happen? This, we're going to be in this basic shape and I'm moving and I'm squashing beforehand, which is not what I want. I'm only going to squash when I hit the ground. One frame before that though, I'm going to stretch. So let's go to like 1.4. And now we're going to say 0.6.6, right? So the sphere is going to stretch. So we're going to have this. And then the gravity. Well, what's happening here is gravity is affecting the bottom part of the sphere a little bit more intensely than the top part. And we get this a stretch effect. So stretch, stretch and then boom, squash. And this change right here, this conscious between these two frames is what's gonna make our animation loop very, very nice. Now one thing I can do here is I can also rotate this a little bit so that direction of the sphere, it's actually going in the direction of the arc. Every single motion, that's another principle of animation we're going to be exploring a little bit in more depth later on. It's the arcs, everything most in this sort of like arc shape. So I'm going to move this thing like this. It's squashes pretty much like straight. And then one frame after this, it's going to squash again, but they still have going like 1.4. I'm going to go 1.3. And then I'm gonna go 0.7.7. Now this or just like semi-random numbers as deserved, the ones that I've used for a long time to teach this exercise. Eventually you're going to have to figure out which of the numbers are working for you and which ones aren't, right? So in this case, we got squash, sorry. Yeah, stretch squash and stretch again pointing Towards the next high point here in which we're going to recover our whole volume. There's always a point like a balanced word like equilibrium point, where we're just not going to fight gravity. We're not pushing gravity out. If, if that's what you can say it and then grab it is not pushing on it. So it's like a complete bounds before we start falling again. And at that point, the scale is going to be completely uniform again. So now if we go to our frame 17, I want to repeat this squash and stretch is 1.21.71.3, but I don't want to have it. What's the word I don't want to be it shouldn't be as intense as what we have here. So I'm gonna go here and I'm going to say 0.8 instead, 1.21.2. So you, how it was important to have the pivot point down here. Because otherwise, if we were to scale like any other sphere here, let's say that the spheres here, when we squash this thing, we would need to then move this thing down as well. And that makes animation a little bit more complicated. So that's why it was very important for us to have our pivot point down there. Now, one frame before this, of course we're going to be stretching. So I'm gonna do 1 a to 0.8.8. And I'm going to be, I'm going to rotate this slightly like this. And then here I'm going to go 1.15, I'm going to say point 85 and 0.25. As you can see, I'm, I'm reducing the amount of squash and stretch because Assad's, I'm going forward, I'm losing a little bit of energy, right? So we have this look at this very nice effect. Now we recover our normal volume and then on the point 25 we're going to squash again. And I know this is the penultimate jump, but there's going to be one final jump here. So I'm going to go 0.9. It's going to be 1.11.11 frame before this, Let's go 1.1.9.9. We're also going to rotate this slightly to the side. Squash. And then here again, let's do 0.91.1. Sorry, this is stretched, so it's 1.1.9 here, 0.9 here. And then we'll just rotate it a little bit. We recover our normal element. And then here I am going to give it the final squash, another 0.9. I think it's good. 1.11.1. And then a couple of frames later, I'm just going to recover my normal volume. So it's just like a final, final squash before finishing the animation. And if we take a look at this, we're gonna get the following. 0.1. Very cool right now, I think that blast like on squashed and when we go from squashed through like normal volume, it's a little bit slow. You can see it here on the timing. Hopefully the decompression On the video is good for you to appreciate it. You can see how it's I can't see it. And that's what I mean. Like I don't want to be able to see it. It should be slightly faster. So I'm just going to, I want to move this keyframe here to another part of the timeline. And to do so, I'm going to press Shift, click on the keyframe, and then just move it like a couple of frames back. That way, instead of taking four frames to recover its volume, it's only going to take two frames and we're going to get this. Awesome, right? So this is said like this is the first exercise in our animation. In our animation like course. So i, i, yeah, I think we're doing a good job here. Sorry, I got lost I lost my ward over there. So here's what I'm going to talk about now, once we have an animation, one of the things that we wanna do is we will not present that nicely. And there's of course, two ways to do it. We can do something called the render, which if you've taken the, the intro to Maya course, you know how to do. We can just assign like a normal Arnold material HDR, light set up and do a very nice like a scene setup here. And we can also do something called a play blast. So a play blast is taking just this element in pretty much compressing a small video to show our client, to show our leaf and to just show the animation before we go into the final render. Because renders, sometimes it can take a long, long time. So there's one quick tip here that I'm going to give to you guys. When we do a play blast, we do it by going into the Time Slider here, hitting the play blast right here. And you're going to select the QT, which is QuickTime element, the QuickTime compression method. We're going to change this to H.264, which is like an MP4. And we're going to do a 100 quality. Now, in order to select the Quick Time 1, you're going to have to download the QuickTime plug-in. And QuickTime is this or was this a player? I'm going to say click on Maya, play blast, quick them was this player that Apple released several years ago. But there was an issue where it wasn't possible to or rather they found an issue or a couple of years ago that has a security breach. On the other thing. And the problem with that security breach is that it's pretty much impossible to fix. So Apple just this continued quick diamond, you can no longer download QuickTime. However, however, there is a way to download the, the QuickTime Codec, which is the H 264. So what you're gonna do is you're going to look for the QuickTime element. Let me check real quick here. Just 1 second. Yes. So this is the side of that I was looking for. It's CEF Castillo.com underscore block. You can also look at like this if you just google how to play a plus H 264 in Maya without QuickTime installed, you're going to find this guy. And this guy takes you to the Apple's website where you can actually download the latest version of quicktime, which is this QuickTime seven. And what you're gonna do is you're going to install the QuickTime thing, but you're not going to install the software. You're gonna go here into the options and you're going to unselect this week then Player features, you're only going to insult the QuickTime essentials, which is the codec that we need. And we this, there's no security breach, there is no problem. And you're going to be able to have the QuickTime movie encoder inside of Maya, which is excellent for us. So if you want, you can do this. Other option, of course, is here in the play blast, which again, I repeat it's right here, right-click here on the time slider, play blast on the option box. You can also export as an AB, however, a VI, however, this one is going to be uncompressed. Even if you try to decompress, we're going to be like super, super dense. So I've had like 5 second animations take like a full gigabyte of space. I strongly advise against this, but if you want to, There's also hand brake, which is a free software that you can use to compress your files and share them around. Quick them Option, way, way better. So I'm going to select this quick them option. I'm going to select H.264. And before I do any sort of render, I want to have a little bit of life to this thing, right? So I'm gonna go into poly modeling. I'm going to create a plane here. Let me change the color of the background things a little bit too. Let's go with this one. Then I'm going to select the sphere. I'm going to go and assign a new material. Let's do a blend material. And let's just add like a, like a traditional light red color material right here. I'm going to go into my rendering tab and I'm going to add a directional light, move it up, rotate and I'm going to press number seven, which is going to turn the light mode. And when light mode is on, I can also turn this little button here, which is shadows. You're going to see the shadow there. Not the best shadow you can see. It's a little bit pixelated, but it works fine. I can also turn on this multi-sample anti-aliasing motion blur and even ambient occlusion on the, on the contact points. So now when I play this, I might not be able to say this at full speed. If your computer slows down, That's completely normal, but you're going to see like a better rendition of the whole thing. I'm going to move this light down so that we don't see it. I'm going to turn the floor off by pressing this button right here. I'm going to add one little sun right here, which is the ambient light. Reduce this to like a point to, so it's very soft and move this guy down as well. And now if I hit play, we got this very, very nice animation. Okay, so now what I can do is I can go again, right-click play blast, option box. I'm going to capture a movie on H.264, QuickTime. I want full quality. I wasn't full-scale and I'm going to use my window. So whatever it is right here, That's what I'm going to capture. I'm going to save this file and by default it's going to be saved on drew movie file folder on your project. And I'm just going to heat the playlist. So what's going to happen now is my is gonna go frame by frame. It's going to render this and it's going to compress it into a movie. You can see, it looks very, very nice. I'm using VLC media player to, to play it out. You can use any player that you want. And this is usually what we sent to clients or to the leads of the project to show them how we're doing, how our animation is going. And they will then give us feedback based on this. Sometimes they don't like seeing like Olga motion blur and stuff that will be asked to turtle turn those off. So just turns them off right here. But yeah, this is the way we're going to be able to present our animations. So that's it for this video, guys. I'm going to stop the video right here. We're gonna do two more exercises in the scene, two more little bands. So hang tight and I'll see you back on the next one. Bye bye. 5. Heavy Ball Animation: Hey guys, welcome back to the next part of our series. We're going to continue with Module 1 and we're going to be doing a heavy ball animation. So this is where we left our, where we left off last time we have this very nice bouncing ball animation. I'm going to turn to lie the shadows. All of those like bells and whistles off for just a second. I'm gonna select my bouncing ball and what I'm gonna do something in that group it, so that this group is cleaning. It has no animations. I'm just going to press H to hide the group. So now if I play this thing, of course, nothing's going to happen. So we're going to be doing a bowling ball bounce. And for that, we always need to find some sort of reference. So let's look for bowling ball bounce and let's see how it bounces. There's a lot of referencing YouTube. Youtube is going to be your friend and take a look at this. Like if we compare this bounce to what we just did, What's the difference that you see? First, the bounces not as high. The distance is not as much. And there's no deformation pretty much. It's a very flat and very intensive balance here, right? So we're gonna get this. I do like the little role that it has. So let's see if we can add that to our little mesh. So here's what I'm gonna do. I'm gonna create a new polygon here, a new sphere, and make it slightly bigger just so it has a little bit more contrast to the other sphere. Let's go to the front view. Let's turn off our grid. Move the pivot point down again, press the letter D and then letter B and snap it to that, to the last vertices. And then we'd let our x, I'm going to snap it to the grid, freeze the transformations. And I'm going to try and see if I can model this as a bowling ball. So I'm just going to grab like 1, 2, and 3. Just delete those guys. Yeah, it looks good. So I'm just going to grab these guys right here, here, and here. Let's extrude this edges. Extrude them down. And I'm just gonna say mesh, feel whole. Then I'll grab that face, that face and that face, I'm going to bevel it. So we get like another edge loop down there. And that way we're gonna get this very nice looking element. I do think we can make this look a little bit better. So I'm just going to select this whole thing. Let's change the scale to like component, which is going to try to make this a little bit rounder. There we go. Same deal with this guy. So to change the component is press R, click and then go into component mode. And that follows a little bit more closely, be the direction of the elements. And that way we can get this like rounder effects. Perfect. Let's add a new material. Let's add a blend material. And I'm going to show you a cool material here that you can use. This, this is something that I only use four for animation purposes, but it looks cool. I'm going to go into the color and I'm going to add a noise texture here. So if I press number six, you're going to see that we get this very cool looking effect. I'm going to go UV and let's do another spherical mapping right here, just so that we get a nice textural pretty much everywhere. And then if we go into the North here, I can go into the color balance and we can change the color so far of our object here. So the Color Game, let's do like, let's look like a dark green. There we go. I like that one. And then this one, It's going to be like a lighter green. And you can play around with the threshold and the amplitude, the ratio like this is just a noise. Know if that's gonna give you like random noise. So I want to get this sort of like marble effect. If you've ever been to a bowling alley, the sort of the thing that you see, right? So now we're gonna go to the front view. It's just preparation. Go to the first frame. And I'm going to position this roughly about there. I'm actually going to turn on my sphere just to see where they're starting. Then I'll make them start at the same position. But I am going to do something here. I'm going to move this back. So this thing is bouncing on a different depth, right? Well, actually it's not that back, it's this back. There we go. Perfect. So now we can press H again on the group and that's going to hide it. We're gonna select this guy, press S. And I'm going to start by doing the bounce on the same place. This is a technique that I really like about animation. And that's the fact that instead of trying to do everything from the beginning, if you do it in phases, like in stages, sometimes it's a little bit easier. We're going to see that once we get into the character animation, sometimes if you animate only the torso and the pelvis first and then the arms and legs and then the head and all the little fingers and stuff that makes it a little bit easier to manage the whole animation process. So I'm gonna go to Frame 7. I would expect this guy to fall in a pretty similar manner to what we have with the other ball. So it's going to be a very, very light, fast fall here. And then we're going to go up, but we're not going to go that fast, right? So I'm gonna go like frame 11 and then frame 14, probably even less like that. So frame 10 is going to be like a bounce there. And then Frame 13 is when we when we fall back down. And then frame 15 is probably going to be another small bounce. Frame 17 is probably going to go down here. Frame 19, one final bounce, and then frame 21, we hit there. So let's take a look at how this looks. Okay. Yeah. That seems close to what I'm going for. I think on the first jump on this one, we can go a little bit higher. Yep, I like that. So that's a good buildup. But as you remember from our previous exercise, There's a couple of things that we need to do here on the, on the axis, on the curves to make sure that they look a little bit nicer. So I'm gonna select this guy, this guy, and this guy, this guy as well. And just break the tangents so that we can start moving these guys up in creating this sort of like sharp curve for the, for the bouncing ball, for the bowling ball. So we're going to move this guy up like this. There we go. And I think I'm going to go in the way the tangents as well, just to give this a little bit more of a flow, the flow, the effect. If you press F, we can frame. So let me select everything and frame. There we go. So now we can control this a little bit better. And now let's see how this looks. That looks really good. So in this case, as you saw, I did not have any sort of guide or reference to know exactly how much of a distance I would need to have in-between the frames. So how did I do it? Of course, practices one of the answers, but the real answer here is, I need to think about how I want the timing to be. Timing is one of those properties and it's another principle of animation that tells us that the distance between the frames is the time it takes to go from one place to another will affect the way the animation looks. The more frames you have, the more time you have, the slower the animation is going to be. And the less frames you have like in here where we only have two frames, the faster the animation is going to be. So compare that to the animations that we have here on the bouncing ball. And you can see that there's enough space here on the bouncing ball to make it seem like it's actually like floating a little bit more for the bowling ball. Since we want a completely different approach, we're going to be having a smaller elements here. One thing that I forgot to do, let's change the nameless go bowling ball. And now we can turn on the other sphere. And if we take a look and compare the bounces, you're going to see that they're bouncing in a different way, which is exactly what we're going for. So the next step, of course, is to move this ball to the front. So I'm going to go to the first frame. That's fine. And then the last frame, I'm not going to move that much. Probably going to move all the way until here only. I'm going to hit S just to set that key frame and we're going to have the same issue or not. Why do we not have the same issue here? Why is it actually moving in the proper way? Now, the reason why this is happening is because when we started animating this guy, we use the auto key-frame and since it's only detecting changes on that axis, it's properly animating only that axis, which is the Translate X. I'm still going to change this way. We did modify the curve a little bit to get some nice speed up first, and then they slowed down towards the, the end of the animation. And we're going to get this. I think the last bounces a little bit too high. So I would expect this bounds to be like a really, really, really close to the the finish line right there. That looks way better. Now, one thing that I did mentioned that I liked was the fact that we could add a little bit of a role, right? Like what if this ball rolls a little bit and we end up like just slightly, slightly farther out. Well, the problem here is that we have this pivot point down here. And if we start to roll this guy, well, it's not going to really work, right? So how can we solve this? This is something that we're going to be taking a look later on when we do some simple rakes. But there's something called a hierarchy. And if I group this guy Control G, Now this group right here is a parent of whatever is inside this, right? So bowling ball will keep doing its animation down here. But this group, I'm going to be able to animate something different in here. So if I center the pivot point here, wherever I move, this guy actually know that the group is going to move there. So in this case, and in this case what we're gonna do is the following. We're going to go all the way down here. And then I'm going to have a couple of extra frames. And let's just roll this guy a little bit, like half a turn and move it. I don't want to confuse you with all the heirarchy and stuff. We're going to be taking a look at that extra size in the next couple of elements. So we're going to have this right here. Another thing we could do is we could have this ball rolling from the very beginning. The only thing is that we need to control the poses. So for instance, if I go into the graph editor and I check the rotations, I now have a rotational right here. If I eliminate this point, the sphere is going to start rotating me from the very beginning. And we're going to get this effect. Now we just need to be very careful because maybe due to the fact that the pivot point is rotating in a different way, we might need to fix a couple of contact points to make sure that the sphere is not crossing the, the floor. So for instance, there, let's go there. Let's go there. And then let's go there. And finally we stop right there. So now we're going to have a bulb that is rolling. So let's turn this off. Now. Same thing, like the role should be natural and right now it has this sort of like slow in, slow out of the effect. So I'm just going to move this things and make it a little bit smoother and a little bit more like a linear role. So now if we take a look at the other thing here, we're going to be able to see that with the little holes there. There we go. So just make sure that the view add that little small role to this sphere. You, you make sure that the contact points need to be changed to the other. We have that nice effect. We won't be able to do that with this as small trick that we did with the other ball because this one is stretching and squashing and that's going to have completely modify a lot of things. But don't worry, we are going to be talking about are where we're going to be using some more advanced rates later on. And we're going to be able to implement those sorts of effects. So now if we take a look at both of them at the same time, we have this. I do still think that that's that role right there is very, very like it stops very quickly. So what I can do here is I can take this guy and let's just give them more time to my giving it more time. Which need to make sure that there's no like weird bounce here with that with the ground floor. Because this is the the first hit there. See you that. So the time will definitely modify the rotations that we need to just check my, my positions here, make sure that the bolus impacting with the ground. There we go. And now it just rolls. Now I'm gonna go here to the, to this section right here. I'm just going to move it down so that it rolls on the same like element. Probably move a little bit forward. So at the role carries it a little bit farther out. And this is one of the things about animations. You're going to be tweaking and moving and checking stuff to make sure that everything looks and works in the best possible way. So for instance, here i'm, I'm, I'm noticing a small little jump here and see that right there. So I need to go into this intermediate frames called in-betweens, and I just need to adjust this guy so it does not leave the ground. You've been there. I'll rather have an extra keyframe just to control that role than have done a little bounce looking very weird. And there we go. So we have a very heavy ball falling with a different timing, with a different spacing, with a different effect. And then we have our traditional bouncing ball here. And you can then go again, go into your lives, your shadows, your elements here, like all the little bells and whistles. Going to another, like a nice shot here. Let's go like something like there. I'm going to right-click. I'm going to play blast. The only thing is I'm going to change this and I change bouncing ball, I'm going to have heavy ball. So that way we're going to have to be the OS in our, in our movies folder. And I'm going to be able to see the two different versions. So we have the normal bouncing ball animation and then we have this very heavy ball animation as well. And that's it guys, this is it for this exercise. Now, as you're probably seeing with the way this course is a structure or a little different than the others that I've recorded for you guys. Now, we're going to be doing a lot, a lot of exercises. So I strongly encourage you to do the exercises, make sure they look good. If there's an issue, try to pinpoint what it is. Is it the spacing, is it the position of the elements? Is it some sort of like maybe a curb that's looking weird? So make sure to try and find what the answer is for your, for your issue. If you need to do the exercises 2, 3, 4 times, do them. They're short exercises are like five to ten minute exercises that are going to give you a very, very nice mileage on your animation career. So we're gonna do one more exercise, we bouncing ball, and then we're going to jump into some more interesting stuff. So hang on tight and I'll see you back on the next one. Bye bye. 6. Floaty Ball Animation: Hey guys, welcome back to the next part of our series. Today we're going to finish the bouncing ball exercise with a new bow. Bow, which is going to be the ball, the ball, so the ball, so I'm gonna go with my sphere. I'm going to make this even bigger because it's going to be like a beach ball. And let's do it a little bit of modelling, right? So I know you guys like modeling. So let's suggest a little bit of modeling. I'm going to drag this guy and this guy. And then I'm going to bevel those that will, those with a small fraction. I'm going to select the faces, they're top and bottom and extrude this n. So when we do number three, we get that sort of effect there. And then I'm going to graph from, let's say, this edge to this edge and this edge to this edge. This one to this one. And this one to this one. We're going to bevel again. I know we're getting angles, don't worry, don't worry. Angles are not bad. If you know what to do with them. They're not bad at all. Now, grab the new edge loop that we just created right there. So it was like I forgot to select this guy right here. So let's just select the whole deal. We go Extrude, bring this in. And then when we do a number three, we're gonna get this sort of effect. And what I'm going to do to get rid of the angles. I'm just going to say mesh and then smooth. And that's going to make this a permanent like smooth. And you can see angles pretty much solve themselves. It's not the previous topology. We can of course clean it up, but for our main purposes, this is perfectly fine. Now what I'm gonna do is I'm going to assign a new material and let's do a bleed as well. And similar to what we did with the other ball, the bowling ball. I want to show you how to do this with a color note here. We're going to use a ramp node. Now, I'm going to turn on number 6 and I'm going to start adding, I'm going to have four points here. The first one is going to be red, the second one is going to be green. The third one is going to be yellow. And the fourth one is going to be blue. There we go. I'm going to change this from dram to your ramp. So it goes from left to right. And I'm going to change this from linear to none. So there's no interpolation. So as you can see, we get this completely filled in colors. And I'm just gonna push this guy's until we get like the four colors right there. And there we go. Let's push the, Let's grab a red and add it here. And we're gonna get this right here. Then. I mean, it's not necessary, but it's going to make it look nicer. I'm going to go to the front view. And I'm going to graph all of these phases right here. And down here, I'm going to grab all of these faces on here, right-click, assign another material. An object can have multiple materials. That's completely fine. I'm going to make this white. So now we have this sort of like a beach ball material, very simple. It's just going to look nice with the rest of the elements. We'll do the same thing that I did with the other bouncing along, going to group the bowling ball. And I'm going to press H to hide both of them. And now let's start animating this guy. So I'm gonna go to my front view, move the pivot point down to the very last vertices. And then move this to the bottom of the grid right there. And we're going to start animating. So let me turn on the bones here to make sure that we're bouncing at the same height. So I'm going to grab this guy. Let's call this a beach ball. And this one's going to be here. There we go. And that's gonna be my first frame. So it's going to be a little bit less dense than the other balls, meaning that it won't hit the floor. At Frame 7, we're prone going to hit the floor at frame ten or maybe 12. So I'm gonna go here. And then it's going to bounce really, really high again, it's going to take quite a bit of time to, to bounce high like here. And then it's going to take quite some time to bounce down like here. Let's take a look at this first bound and see how it looks. It looks okay, but it's not exactly like what I'm expecting. Now I'm going to show you another trick here. What if, what if we copy the exact same frames that we have on the bouncing ball and then somehow scaled him. So I know that my high points are going to be number one. And then it's seven, 12. So seven is my ground plane. 12 is my upbringing. And then I believe it was 1720, 125. So we're gonna go 17, ground plane, 21, plane 25, ground plane. I believe was 28, up, 31, down. We're definitely going to need a couple of more. So I'm gonna go like 34, 33, up, 35, them because we're losing elements. And then probably one last little bounce here, 37 and 39. So if I check this balance right here, this is where we're gonna get just like a traditional, very, very much like a bouncing ball, right? Well, here's where knowing the tools and understanding how to use them will allow us to save a lot of time. So I'm going to go into my graph editor and the first thing I'm gonna do is I'm going to break the tangents. I'm going to grab all the lower tangents and break them. And we're going to start messing around with this. I want this to look very, very flowy. So we're gonna go here. Here it gives you how the transformation there is changing because we're not in a keyframe right now, we're in the middle of the in-betweens. Let's grab everything in the frame. There we go. We've got all occurs in frame. You're going to get a nicer distribution. And of course this one is going to be right there on the ground. There we go. So now if we take a look at the bounce rate, now, this bond is going to resemble pretty much what we have on the original ball, right? And we know that the bounces, right? The only thing that's not right is the timing. We want this to feel floor here, and therefore we want things to last longer, right? So the distance between my keyframes should be bigger to allow for that effect. How are we going to do that very easily? I'm just going to make more room here. I'm going to grab my range later and give myself more frames. I'm going to grab all my keyframes here. And instead of moving them with this middle arrows, which are the ones that we used before. I'm going to grab this outermost arrows and I'm going to start scaling this. So I'm gonna give a double the time. Let's go all the way to 80 frames. Now by scaling them, that time increases. And now if we take a look at the animation, It's going to look way, way flew here, right way, way lighter because there's more time doing the exact same animation. Now the problem here is that by doing this scale, sometimes the frames will not land on an exact frame. So for instance, this one is at 42.5. This one right here is that 50.80 and having like not properly aligned keyframes could potentially cause issues later on. So what I'm gonna do is we're just going to grab all of the frames after scaling them. Let's give it a little bit more skill. And I'm going to right-click and I'm going to hit this button here that says a snap. Snap will do is it will snap the keyframes to the closest like whole keyframe that it has. We will have the exact same proportion, but with more time. And by having more time, this ball looks like it's a lot lighter than the other ones, right? It looks like it's filled with way, way more air. Now, will this ball have compression, will have squash and stretch. And the answer is yes, but probably not as much as the, as the other balls, right? Because it won't bounce like a strongly all the way to the top. So first let's fix the issue of the distance. Since this is flow here, I'm going to actually make it move way more than the other ones. So probably all the way over here. Let's see if the auto key-frame works nicely. There. There we go. Perfect. And same deal that we did with the other ones. I'm going to go to the translate here, press F. And let's just like interpellate this a little bit nicer. So we have a nice transition, perfect. So bong, bong, bong, bong, bong, bong. There we go. We could have been like another little bounce here, but I don't think it's necessary for now. Now for the squash and stretch, we definitely want to go to the first frame here. Squash it just a little bit. I'm going to say 0.9 only. And let's do 1.11.1. And I'm actually going to keep this squash pretty consistent. So anytime it hits the, the, well, let's go here first and let's just hit S. I'm going to go to the high points first. And let's just set this to one because there's no keyframe here to make sure that when it's on the high point, it retains its original size. So there we go. So I don't really think we need that much stretch either. So I'm just going to push this to like, let's say 1.1. And these guys are going to go to 0.9.9. We of course are going to rotate this around, so boiling point. And then we retain our or recover our original volume. Here. We're gonna go to the other side and same deal is going to be 1.1.91.1. Sorry, sorry, sorry. 1.1 here, 0.9.9. So we're going to have going and then doing again here, making sound effects is part of being an animator. So have fun with that. Now I really like making sounds, actually really does help, like get your timing rights and stuff. So don't, don't feel ashamed if you need to do like your sounds to, to understand what you're going for because it's really helpful. So I'm gonna keep the same 1.1.9 effect on, on the, on the squash and stretch on the first two bounces. And the reason I want to do this is there's not a lot of the information, so it keeps most of The main effects. Now here I will definitely start reducing the amount of effects. I'm going to go to like 0.95. I'm going to go 1.05 here and 1.05 here. And then one frame before that, remember we're coming from the squash, so we're going to stretch a little bit. So 1.05.95, there's easier ways to do that. Actually, there's a couple of tricks that we're going to be using later on that have this sort of options. Like automatic. However, I do feel like for this first exercises is always good to understand why we're doing this sort of stuff. Here. I'm not going to add any more stretch. I'm just going to add squash. So I'm gonna say 0.95 and I'll say 1.051.05. And then here I'm pretty much not going to add anything, like maybe a little bit of squash here, like 0.97 there. That will be 1.03 here and 1.03 here. Just slide squash there. And then it's just like the basic shape. So if we take a look at how this looks, we get this. And now if we compare this to the rest of the spheres, to my initial bouncing ball, to my bowling ball. We're going to get a very nice effect. Now here's one small issue that we have. And the problem is that we animated this guy and we didn't move it to the side so that we could see all of the bolts like bouncing at the same time. What can we do here? Well, I know that we need to move this in the c-axis. One thing I could do is I can go right-click and I'm going to say Break Connection just on this channel right there on the C channel. And if I move this to the side like this, now, since that channel is not animated, I can move this in C any, any place I want. And the animation is going to jump or it's going to look exactly the same. So you that. So now let's add a little bit of fur of a proper courtyard for the whole thing. And we get this AT think I'm actually going to move this guy to the back like this. So we see all of them bounce at different speeds. Pretty cool, right? So we have a normal bouncing ball like a, like a rubber ball, and then we have a bowling ball that's very heavy and rotates a little bit. And then finally we have this beach ball that goes all the way to this area and bounces very, very nicely. We can of course, store, turn on the light, the shadows, motion blur, anti-aliasing like everything, turn off the floor so that we don't see it. Let's find some nice, like, like a nice actually like this. Your weight all the way until this thing just goes out of frame. I think that's fun. And yeah, I'm just going to right-click here, play blast. And we're just going to save this as beach ball. I'm going to hit play blast. Wait for the video to be created. And there we go. Perfect. Now remember, all of those videos are being saved to your project file. So if we go into my projects here and we're going to movies, that's not the one. And so on for the YouTube channel, you haven't checked her YouTube channel. Check it out. We upload things every week. So here in the movies, we're going to have original bouncing ball, just like a rubber ball, very cartoony lot of squash and stretch. We have our heavy ball, which is just a bowling ball there. And finally, we have our beach ball. It's very slow, boom, boom, boom, boom. And there we go. With this guys. You should be able to understand the basic principles of animation. You should be able to, to animate pretty much any simple shape like moving, translating, rotating. We're going to be doing some more exercises inside of this first module just to understand the remaining principles of animation. Some of those principles we're going to be exploring later on in more advanced modules. But for now, we're going to jump onto a very cool exercise is called the pendulum. That's the next one hand. And we're going to leave it like this. So make sure to finish this exercise again. And believe me guys, if you don't follow this advice, you're not going to progress as an animator practice, you need to practice. I've done this exercise hundreds of times, literally hundreds of times. So that's why I can get this to work very, very nicely in a, in a fast, fast times n and I can make sure it looks nice, right? But believe me, my first times it was looking very, very bad. Show always do it, do it once to twice, do it as many times as you want. Practice. And I'll see you back on the next one. Bye bye. 7. Animating a Pendulum: Hey guys, welcome back to our next part of our series. Today we're going to continue with the pendulum exercise. So let's go. First of all, we need to do a little bit of modeling just to create our pendulum. And there's a couple of things that I want to explain about the heirarchy that I was mentioning in the past video. So we're gonna do a very, very simple rig. I'm going to start by creating a flat plane right here. And then I'm gonna go to the front view. I am going to create a cylinder, which is going to be the first like arm of our pendulum. Something like this is fine. Control D habit or in their control D, have it right there. And then we're going to add a sphere down here. So this fear is going to be called weight underscore GO, this is going to be ARM. C, underscore. Underscore. Go, there we go. It's going to be Arm. B. Underscore GO are a, first one, underscore GO and finally base underscore GO. So we're working do is we need to modify the way we're going to be animating these things. Because now instead of having just one element, one sphere, like what we had in the past exercises. We have all of these different elements and they need to animate in a sequential way. So what I need to do is I need to parent this guy's in the way that they're supposed to be order. So technically, if I move this base, I would expect this guy to follow, then this guy to follow, then this guy to follow, and finally, this guy to follow. Now, I am also going to move the points to the center place here. It doesn't have to be perfect. We're just in this exercise to show one of the other principles we're going to be working with Drake's shortly, very, very shortly, probably in the next video. And and, and I really need to explain to you what's going to happen here because this is something that's going to be happening in all of the rates that we're gonna be using. So if I take this guy and then select this next guy, the ARM C and P. What I'm doing here is I'm parenting this guy, this guy to this guy. So wherever this guy goes, the other guys, since it's a child of the chain, will follow. And I can continue doing this sort of change here, going through each individual arm and then finally going into the base. And what's cool about this? And we saw that with the spheres that if I animate this first part, everything else will follow with it. And we'll have a nice animation that we don't have to animate every single thing. We'll just animate the highest heirarchy. And then all of that animation is going to be inherited everywhere else. Not only that, but each individual piece on, in the heirarchy will be able to have its own animation. And that's going to allow us to create something a little bit more complex. So one thing that I want to explain to you guys is something called double transforms. If I were to grab a cube, say this guy right here, and I duplicate it. And I make this cube a son of this cube. And I phrase transformation on both of them. Actually, the first transformation before we parent this and this. So now this guy moves both of the queue, right? Now, if I move this cube to this side like a 100 units, this guy is also going to be moving a 100 units. However, he has 0 transformations because he didn't MOOC. He's father, the guy on top of him and did the movement. So that means I can also animate this guy moving and we will create something called double transformations. So if we are called old transformations, it's just like it's an animation in each part of the haircut don't transformation something that's bad in reading. So if I grab both of the elements, you can see both of them are highlighted here in the hierarchy. And I move them. This guy move a 100 units, but this guy moved 200 units because he moved its own 100 units plus the a 100 units from the guide before. Okay? So this only happens with elements that are connected in this way, in this sort of parenting element. And the reason why this is going to be important is because I'm going to be able to grab these three arms, for instance. And if I rotate them, I'm going to be able to create this sort of swing effect. See that very cool. And the cool thing about this is that even though I'm only rotating this 30 degrees, this guy is rotating 30 degrees, but this guy's rotating its own 30 degrees plus the 30 degrees of its father. And then this guy is rotating 30 degrees plus the 30 degrees of its father, the degrees of the grandfather. So this guy is 90 degrees. You can see it's pretty much flat on the ground. Okay? So that's going to be important for us. So keep that in mind. Now let's jump onto the animation. I'm gonna go to my front view. I'm going to turn off the grid. I'm going to grab this box right here, the first box, I'm going to move it printed out here. I'm going to press S, and then I'm going to move it at 60 frames and position it right about here. If I do this, it's just a normal translation, right? However, we know due to physics that objects will drag, right? Like this guy right here, this weight will take a little bit longer to start moving, then the rest of the element and the energy, the movement is going to be transmitted from the base all the way to the arms. So I know that eventually, what's going to happen is if I grab this three arms, once this element reaches its final point, will have something like this, right? So what I'm gonna do is I'm going to grab all of this guys, keep S. And on the first frame, I'm going to grab this guys. And under rotation hits 0. And again. Yes. So now we have this. Now, what would happen when this thing stops? What's going to happen? Well, of course, this weight is going to push the whole arm to the other end. It's going to start swinging. So I'm going to go, this guy's, Let's go to frame 17. I'm going to rotate them so they swing one way. And then let's go to frame 80. Rotate them so that they swing the other way. A little bit less of course. And then frame 90, a little bit less. Frame 100th. A little bit less. Frame a 110. A little bit less. Yeah, a couple more frames here. So let's increase our time slider. Let's go a 120, a little bit less, a 100. A 120, a little bit less, a 130, a little bit less. Harder than 40, almost nothing. And then let's say I'm a 150, we finally arrest. So we go to C. So now if we play the animation, we're going to get this dong, dong, dong, dong, which looks good, right? Like just by having this already looks good. But we're not using one of the principles that we're going to be exploring, which is called follow-through. Now, before we do the follow through though, whether you know this ink here, we have a slow in and slow out, which is also one of the principles of animation. This thing, the swing, starts a little bit too late, like the platform is pretty much stopped. And then this thing happens. And usually I will expect the movement to happen a little bit sooner. So I'm going to grab all of this frames and let's delayed them like 10 frames. And let's see how this looks. Okay, that looks a little bit better. I think it's a little bit too fast now. So let's grab all of these guys, all of these guys and push them like 55, like three frames. Let's something like that. And I mentioned it's a lot of trial and error. Trial and error, you need to find what the specific element is. Now, we also have a little bit of a slow in, slow out on the translation here. Next, we can keep this a little bit more linear so that we don't lose as much momentum. And the stop is a little bit more sudden. So let's do this. Okay, that looks a little bit better. I think we can delay this a little bit more. Let's try that. Remember when we're moving the frames, we always use this middle mouse arrows. We do not use this ones. We use this one to scale the elements, but right now, no need to scale. Okay, so that doesn't look that bad. I do think that we can still keep this a little bit more fast or faster. Sorry for my English, sometimes I use the wrong words and hopefully the concepts are clear. So yeah, that, that seems to worry working. So as you can see, this is swinging very, very nicely. Now, the only issue I have with this animation is the fact that this animation is very tense. Like the wire seems to be made out of a very solid material and it doesn't seem to be flowing like a rope. It's more like a, like a metal wire, right? And if we want to add a little bit more natural duality to it, what we're gonna do is the following. We're going to grab the objects here. And if we take a look at the graph editor, It's quite obvious what's happening here. It's rotating in C barriers modally, no need to break the tangents or change the weight. This is working perfectly. I mean, we could add a little bit of weight and that would make the swing leg a little bit harder to one side, but I think that's fine right now. But what I'm seeing here is that both are the three harms that we have right here are swinging at the exact same time, C, like they're all swinging at the exact same time. And if we think about what we talked about before, the fact that the energy or the movement is transmitted from top to bottom, I would expect each individual part of this chain to be moving in a slightly different time, slightly delayed, right? So what I'm gonna do is the following. I'm going to grab the second arm and a third arm, both of them. I'm going to grab all of the animation frames from here, not the first one, just all of these guys. And I'm going to give it two frames, 12. Okay? And then I'm going to grab the last arm. I'm going to select all of the frames again, and I'm going to give it two more frames. 1 to what we're doing here is we're, we're changing the weight. Did the animation is happening? We're not changing the animation. We're changing the time at which the animation happens. So all of the arms are going to follow the exact same animation. However, there are going to be slightly delayed. And by delaying them, we're going to create this sort of follow through, which is the principle of animation. And this happens with arms, this happens with legs. If your character is wearing a scarf, if you have a tail, ears like a ponytail, like there's a lot of things that use this principle where the outermost part of the object is going to be slightly delayed because the action happens first on the center of mass, which in this case it's up here. So now if we play this, look at the difference. Now when this thing swings, it's going to swing a lot, a lot nicer. See how that, that very natural movies happening there. That's exactly what we're going for. Let me, let me close this and zoom in so that we can see a little bit clearer. Let's turn this on and we get this very, very nice flow here. Okay? So this only happens, or the only reason why we have this is because we're offsetting the different parts of the arm. We're offsetting the top, the middle, and the bottom, just by two frames. Sometimes you even do it just by one frame in certain areas. And it will still give you this very natural look when you have a character, for instance, and he's breathing, not all of the movement from the breathing happens at the same time. You breathe first with the chest, then with the shoulders, and at the end with the head and the arms. So you have, you have this overlap and you have this follow through a factions where not all the actions are happening at the same time. It's the exact same actions, but not all of the same time. Now this step is recommended to be done at the end of the timing stage. So you first do your key poses that first, like the beginning and the end. We then do the timing so that things flow nicely and then we do this breakup, so we get this more natural. Why? Because now if I select everything, you're gonna see that our timeline gets a little bit dirty because we have are way, way, way more keyframes pretty much everywhere. And it's going to be a little bit more difficult to understand what's going on. Of course, if I select each individual one, it's, it's very clear what's happening. But if I try to select everything, it gets really, really messy and people very, very frequently have issues with this. So I strongly recommend that whenever you're going to do this sort of follow through an overlap, you wait until the very end of your animation once you have your poses ready, and then we're gonna do it, okay? Otherwise things are going to get a little bit tricky. And that's it guys. This is the exercise, this is the follow through an overlap with this. We've pretty much covered the basics of animation. We're now going to jump into module 2, where we're going to be exploring the rigs. And we're gonna be doing a lot of very cool different exercises that hopefully you're going to be able to learn a lot from and the, the app. So make sure to keep practicing. If this doesn't work the first time, try it again, make sure you check the very first part of the B2B because this shared key right here, the way we created this, the way where are the place where we position the pivot points? All of those things are really, really important for this example to work. Otherwise, your pendulum is not going to work properly. So get your hands-on Maya and started animating. Make sure you get all of these elements right, and I'll see you back on the next one. Bye bye. 8. Using Rigs: Hey guys, welcome back to the next part of our series. Today we're going to start talking about bricks. So let's get to it. Well, a rig guys ease a sort of construction that we have here inside of Maya that allows us to control the geometry in an indirect way. In this case, we're going to be using this curves that we have right here to modify and to move around the geometry that they are attached to. This is a very simple rig. It's not a skin break that actually is just a normal parents Rick, we we parented all the surfaces of our object onto the bones themselves. And then we're controlling the bones through something called constraints. There's really nothing that you need to know about bringing right now we're going to be focusing on animation. But one thing that you do need to know is that usually when you're animating, you don't animate directly under curves. You're usually going to be handed something like this, which is called a rig. And you're going to be animating the curse right here, which are going to allow you to move things around. And curves are supposed to be like this one right here, thought out in such a way that you only have access to the channels that the rigor once you to move. So in this case, for instance, we can only animate the x channel and only until a certain point, as you can see, it stops at certain angle because that's just how it this Reagan's the sign. So whenever you get the rig, the first thing we need to do is we need to explore the rig a little bit just to know what it can do. So for instance, the biggest curve is usually the one that controls the most things. This case, this one, the master control, will move her crane around her arm around and they will rotate the arm as well. If we want to attach this to a wall or to the ceiling, we can do so. We just need to rotate everything positioned properly and then we can animate from there. The next thing or the next curve that we have is this one right here. And as you can see, we can only rotate on y. So if I start moving this around, we only wrote it and why? And we can only rotate so far until this point where it hits because otherwise we would get some sort of overlap there that might look a little bit ugly. Then we have this other curve right here. That's one that allows me to rotate pretty much 360 degrees, which is great. Then we have this one that allows us to rotate the arm. Again, we have a limit on how far we can push the arm. Otherwise, we start getting some collision there. Same for this arm. We can push it all the way to certain position right about there. This one right here, most of this thing very nicely. This one right here rotates this little like a handle on the front. And then finally this three guys will rotate on the x-axis and then we will open and close our crane. Perfect. Now this screen does not have a material right now if I check all of the geometry has this Lomborg one material. So I'm gonna show you how to create a material for this. It's going to be a complete material, um, and it's actually very easy. We're gonna go into the Arnold section. If you don't have Arnold turn-on, don't worry, you're going to go into windows, settings and preferences Plug-in manager, and you're going to look for empty, okay, which is the blogging mTOR is the is the Arnold plug and you're just going to load that. I usually have this set as a low because that's my preferred render engine when I'm working in Maya. And here on the Arnold tab, we're going to create a new shader. So on the Arnold options, you're gonna go into, let me save this first. And then I'm gonna go here into Arnold. I'm going to create an AI standard surface, which is this one right here. And we're going to call this M has seen material on their score, robot arm. And inside your source images folder, you're going to find a another folder called robot arm, where all of the textures are going to be living. So I'm gonna go here into the color first. Let's plug in the color file and we're going to plug in here, the robot arm folder are going to plug in the color. There we go. And then we're going to plug in, I believe it's the mentalist, so we're gonna do a file as well. And then this file is going to be the maleness. Now for the metal, unless you need to do a couple of things, you're gonna go here and you're going to say Alpha is luminance. And you're going to change the sRGB to wrong, very important like that. Then we're gonna do the roughness. So here file, there is going to be this a roughness map that we have here. There we go. And we're going to insert, and we're going to change this to Roswell, and we're going to change this to Alpha's luminance as well. Finally, we're gonna go all the way down here to geometry. We're going to go into bump mapping and select bump mapping, a file. You're going to see that we have an extra file here which is the bumped today. We're going to change that as a tangent space normals because it's normal map. And then on the file, we're going to insert the file that we have here. The robot arm wrote urban normal. And I believe if you also need to change this one to wrong, because it's just an non-local. See there. You can see that the materials looking nice over there. So now we're gonna go select all by type Geometry. Right-click and I'm going to say assign existing material. And down here I'm going to find this M robot arm. And if you press number six, you should be able to see this. Now to properly see the colors we need to create a light setup. However, I'm not going to create the light setup on the scene because I wanted to keep this as clean as possible. And that means that we're only going to have the materials and the connections ready, but that's it. So I'm actually going to save the scene, save Scene As I'm going to call this robot arm. Are ready. I'm break, Let's call it. So if you want to practice the creation of the material that you're going to grab the robot arm one. And if you want to just work with the rigged, you're going to work on the other one. Now I'm going to create a new scene. And here's where the word important part comes into place whenever we want to animate something. In this case this robot arm, we're not going to be animating directly under 16. Why not? Because if at any point during production we want to modify or do any sort of change to the original rake. We want all of the animations that have been done with that ring to be updated with the new capabilities. And that means that instead of working directly on the like, the source file we're going to be referencing in. If you're familiar with working in After Effects, for instance, it's a very similar process. Whenever you create an After Effects seen, you're not working with all the acids, you're dereferencing the assets and then you do what you have to do within the software without modifying the original acids. So I'm gonna go here into file, and I'm going to go into references, create reference. And I'm going to select this robot arm array, and I'm going to say Reference. And what's going to happen is that we're going to get this thing right here. We all the materials and everything that the same things that you haven't your original scene, they're going to be present right here. So as you can see, are reg is looking very nice. The floor is a little bit big, but that's because of a setting that I change here in this grid. You can just click this option box, Edit, Reset Settings, and Apply and Close. And now we're back to them like normal, normal size. I also moved my animation graph all to the top here just to make a difference. But let's, let's bring it back down. You can just drag and drop it anywhere you want. Sometimes when I have my my camera turned on, it obscures things and that's why I move it up. So now you can see that the only thing that's different from this thing that we have here and the one that we opened before the, the, the source seen is that all of the elements here inside the outliner have this little blue crystal. So there's things that I can't do. For instance, I can't just delete things. See you then trick to delete something. It gives me this warning says, Hey, this is, this is just it's locked. Like you can't do anything. I can of course grab this things and move them around. I can animate and do whatever I want, but I won't be able to modify this. If I want to change this, if I want to do any sort of different thing with this element, I'm just going to go File reference editor. And here on the reference that either I can delete this reference, update the reference, do whatever I want. I'm going to show you a real quick why referencing is so important. So let me save this and let's call this robot arm. And animation. Just like that, I'm going to open my original robot rig. There's one right here. And now, let's say for any reason, I decide to make a couple changes to the controls here. Maybe I want to like flatten these vertices out, like move this guy down. And this guy's like pull them up, right? Like something very silly, right? But it could happen to you. It could happen two, to the construction. Let's say for instance, this, this curve right here, I'm going to go into curves. I'm going to rebuild a curve. I'm going to change this from one to let say 12. Hey, rebuilt. So now this thing has 12 control vertices, as you can see there. And with 12 control vertices is going to be a little bit easier too to create like funky shapes. So let's do like this, sort of like COG wheel or something, something like that. Maybe the art director or another animator suggests that this change. And everyone said like, yeah, that's, that looks good, That's good. Let's work with that. If I save the scene now in they reopen my, my animation scene. You're going to see now that the animation seed has, has that elements, are those elements. Update it. And that means that even if I have animated all of these things before, even if you have done like movements and stop rotations, the changes will now be present here. I can of course change things here, like it is possible for me to change things. But if I change things here, they're not going to be changing on the source file and therefore will not apply to all the other animations. So imagine we're working on the studio and we're doing like 5D friends scenes with this robot arm. We have one and they made her for each scene. And we're all working, we're all doing our job. And then the rigorous says, Hey guys, I added a new controller that allows you to, I don't know, like open this little hatch door here if you want to. In that case, we will just need to update their rigs and whoever needs to use that new controller will be able to use it without affecting all the work that we did before. That's why the reference is so, so important. So now, just to finish off finalize this, Let's do a very quick animation. We're not going to do an animation with this robot arm just yet. Later on we're gonna do some mechanical things. But just to show you how to, how to, how all of this works, Let's go to frame one. And I'm going to select all of this m elements right here, like all of my curves. I'm actually going to go Select all by type NURBS curves. There we go. I'm going to hit S. And then on frame a 120, I'm also going to hit S. And then on frame 16, let's pose this thing. Let's start moving this thing around to create an interesting like effect. So let me, let me maybe let's move this like this. And I'm just going to grab all of those guys and open the claw up. Let's move it a little bit like this. And let's, let's move it like back, like this. I'm going to say Select all by type NURBS curves, heat to add another keyframe. And now if I go to the first frame and I hit Play, we're gonna get this effect, this just screen, just like opening up and then going back into position. Super simple animation that's not anything out of this world is just a, a very, very basic thing. But now let's take a look at rendering because we haven't a very nice materials. So I want to make sure that this thing looks nice on every any situation. I'm going to create a plane here. Let's call this GP, which is ground plane. And I'm going to go into Arnold and I'm going to add a new light, which is going to be a sky dome light. We're going to be doing this quite a bit. So make sure that you understand this workflow. And here on the Arnold settings, I am going to go into the color options and I'm going to add something called an HDR. Now we don't have any HDR, HDR, HDR. So if you're thinking, our Maya basic scores, are this images that contain a lot of information inside of their image. There are special format that has high dynamic range. So we're going to be able to get like very dark shadows and very bright colors. And we can capture that light information and projected into a scene to eliminate everything as if the object was there. So I'm going to go for this urban options right here. Let's see if we can find some sort of like factory or something. I think that will be nice. Yeah, like this construction site, this perfect. I'm just going to download these two kids. You're also going to find this one on your on your folder. I don't want to open it. Just want to download. Is it downloading and opening at the same time? This is just going to go with this control cut. Let's go to our project. And under source images you're going to find this one. So back in Maya, if you select this dome and you're going to the color connections, you're going to input an image, you're going to input that specific image. And now we're gonna get this. I'm going to save the scene real quick. And now if I go into Arnold and he had render, I should be able to see how this thing looks with all the materials and everything. And technically, we should see everything working nicely. The only thing I'm a little bit concerned as a normal map, but I'm hoping that this is going to work fine. If not, it's really just a setting that we need to adjust. Let's give it a couple of seconds. Here. There we go. And there we go. Look at how this thing looks. We can see the metal like refracting or are bouncing the light back into the, into the world. And, and yeah, the rest of the elements or are working very, very nice. And if I were to scrub on the title and make sure gonna go in here, this is an option that we have inside of Arno, which is really cool. You can change this to GPU. The only thing is that you need to have an NVIDIA GPU. I have the ten ideas you can see here. And this is going to make this a little bit faster. So you can see a little bit faster. So one thing I can do the site if I scrub on the timeline, I'm going to be able how I'm going to be able to see how this thing looks throughout the time. So at the first frame right here, it looks like this. Very cool. And as I move forward, this is the dimension that work in this. You see how it's updating there are real-time very cool, right? So of course, it's not completely clean or anything, but at least they can get an idea of how this is going to look as a final animation. We're going to be talking about rendering animations shortly as well. So don't worry, I'm not going to show you just yet. But yeah, this is, this is the main thing that we're going to be talking about bricks. Now, before we jump anywhere else, we are going to be using. This is a disclaimer. We're going to be using R6 that we find online. So if you look here for my free earaches, there's a lot of Ricks online that we can use. And this side right here, rusty animator, and he's a guy that compiles so most of the frameworks that you can find. So I'm going to show you the ones that we're going to be using. We're going to be using this one's right here, by u0, v0, get his skin. I'm not sure from where this guy is. I'm imagining some sort of like a Northern Europe country probably. And this guy has been around for a long, long time and he has all of this Riggs called the ultimate race. These are great rates. Even a very like low spec computer can run them because they're very light and they're very easy to work with, very EC2 animate with, and we're going to be using them throughout this course. So feel free to just drop in appreciation here for the guy because we're going to be using his race. Of course, I cannot unfortunately share the risks of myself. You're going to have to download them just due to the copyright things, but it's very easy. The first one we're going to be working with is this one right here called the ultimate tail, this one. So right here where it says ultimate detailed, I'm just going to download this guy. And we're just going to download from here, direct download. Okay, so that's one of the first ones we're going to be working with. If you check the folder, it says CIP file or a route RAR file. Just open the archive. And this is the scene that we're going to be working with. We're going to be using this right here on our project. And you're going to drop this into your scenes. The only thing about this guys is these are some very old brakes, were using them for a long time because they're great for teaching. And the issue with this rakes and as you can see 2012, That's a long, long time ago. And as you can see guys there, a Maya Binary. So one thing that we're going to have to be careful about this rig is that we need to save the file as a Maya Binary as well. You might find some errors. We're gonna talk about that shortly, but that's, that's one of the risks that we're going to use the ultimate tail, There's another one that we're going to abuse, and this one is actually the one that we're going to start with on the next video. This one is not an alternative break. You're going to look for this as follows. You're going to look for JD flour sack and the JD flowers AKI, so I'm going broke. The artist is called Jordanians. That's why JD. Feel free to donate if you want to donate a little bit. I already have this downloaded. But I'm going to show you very quickly how to, how to get this. So let's say 0 for now, I'm going to say I want this. You'll write your email, whatever you're using, you get your content. And you're also going to get a raw file for this flower sec. So you can see I have a couple of copies there because of that before I am going to open the archive as well. And this one has a cookbook or more files. Actually, this one is a whole Maya project. You can see all of the folder organization there with all the elements. We don't need all of them. So I'm going to show you how to extract the things that we need. We're gonna go here into scenes. And from the scenes folder, we're just going to drag the JD flower sec. There we go. And then from the source images, we're going to grab all of this flower sack textures. And that's it. We don't need anything else from the archives. So now if we go into Maya, let's do Control S to save the scene, Let's open a new file. I can do the same thing I just did with the, with the robot arm file create reference. And we're going to be referencing our very nice a JD flour sack reference. This errors are very common. You're going to get them frequently. And the reason you might get this is some of these risks are actually very, very old. And they're using notes like old notes from render elements and we're not using them right now. So if I check this guy, for instance, if I select the geometry which I will need to find right here, you're going to see that this geometry is just seeing like an old shader that's not there. You can see that that texture, so we're missing, if this happens to you, very easy to fix. I'm just gonna go into windows, settings and preferences. Usually I don't get this error. Usually the textures just like connect themselves because we know where they're supposed to be. But if this happens, just go general editors and you're gonna go into file path editor. You're gonna see here that we're getting some issues. No problem, just click here ray path files. I'm going to tell this guy to look in the source images folder of our project, of course. So right here, set I'm going to repack. Did I did I not copy this case where they're supposed to be? Where are the weird? Let me open the archive real quick. There we go. Actually, no, this is the one that we need control C, control V does one. Let's delete. So just make sure you not source images actually, in this case, right here. There we go. So as you can see here on the image folders, we have a flower setColor and the virus or normal map is just two textures. That's all we have. So now I should be able to repack the files. Let's say a repack report. I'm going to say search subdirectories. I'm going to say RightPath. There we go. Now we've found them and we have this very nice textures here. This issue that you're seeing here, That's the normal map. So I'm going to go into the Hypershade, going to my JD flour sack, color, grab the normal map, and I'm going to change this to wrong. There we go. So now the flower looks completely normal and we're ready to start. So I'm going to stop the video right here, guys, and make sure to grab this rake with. This is the one that we're going to start working with us as he says, simple rig before we jump into some more advanced stuff. And yeah, that's it for this video. I'll see you back on the next one. Bye bye. 9. Keyposes: Hey guys, welcome back to the next part of our series. Today we're going to start with a nice animation using a rig. And we're gonna be talking about the first and most important step, which is key poses. So this is the week that we've downloaded in the past media from Jordanians, this flower salary. Thank you Joe. And we're going to be working with this guy. So what we're gonna do is the following. I'm going to create a cube here. I'm going to scale it. So this is a 30 units on the scale axis. And then I'm going to move it on the y-axis, 15 units down. So minus 50. That way I'm pretty sure that this guy is right on top of the character. And then going to move this guy minus 15 on the x-axis, sorry, on the c-axis. Let's do minus 30 instead. There we go. I'm going to duplicate this, and I'm going to move this 30 units on the z-axis like this. So this is the front of my, of course, because of the blue arrow, There's a C. And what I'm gonna do, as you can imagine, is I'm going to do an animation in which this little sac right here, this flower sack jumps from this box all the way to this other bugs. We're not going to need the grid right here, so I'm going to turn it off. And, uh, before we do anything, let's explore the rig a little bit similar to what we did with the robot arm. We need to understand what this rectus, because as you can see, cursor a little bit more complex it or not as simple as the ones on the, on the robot arm. So the first group, as you can see, we have translation rotation scale, which is pretty cool. This thing, the crisis to Joel Daniel's of course, and the show belly a squash, which in this case it's turned off. That's why we see the 0. We're not going to modify anything for here. We're just going to push this line or this element all the way to where we're going to start with, just going to be right about there. Usually when you see a rake, the bigger the curve, the more important it is. So for instance, this yellow curve right here, as you can see, it moves all the hips, the hips of the little flower sec. This one right here, moves the stomach. And this one right here smokes the head, the whole head. So hips, stomach and hit this little guy right here, moves the leg. This one hopes the other leg. This one, the little ear. This one, the other ear, of course. And then each individual curb on the, on the ears will create a little bit of a band right here. Very cool. We also have this extra like squash and stretch elements that allow me to move this up and down in kids, we want to imagine that k was avoiding like a cannonball or something will be like woof and then create something interesting there. Same thing. Over here. We have this bottom line and we can do something very similar. I guess he's like jumping on top of something. For this particular exercise, we're not going to be using them, but it's important that we understand what they are. So fairly easy reek, of course, if we were to examine all the things that make up this rig itself, very complex thing. It's not difficult per se. You know, rigging. It's actually relatively simple, simple, simple, relatively simple gray, something like this. However, it does think of course, a little bit of time. Now, what we wanna do is as I mentioned, we want to make this guy jumped from this position all the way to this position over here. We're not going to move this curve right here that the main curb that the biggest group, usually the master controller, the placement control, as it's called here, should not be animated. A lot of people make the mistake of animating this control right here. Do not, and I repeat, do not animate this control. This is only used to place your character where you want it to start or where the scene is going to start, and then you animate from there. So how then are we going to move this guy? Because if I tried to grab the hip and move it, I can't move the rig if I grab the head and move it, nothing else is moving. We were creating and breaking the rate. Well, most of the rakes should be able to be moved by combining this collection of several curves. So in this case, if we select both yellow curves and move this like this, we are indeed creating some sort of selection, but the little x there are staying down or are staying back. So if we were to select the two legs and this two curves right here, and we move it. Now we can displace and move this thing pretty much everywhere we want. Okay? So those for, vote for curves are super, super important because you're going to be the curves we're going to be using to create everything the wing. Now, I'm going to create the shelf up here because we're going to hear anything, something called selection sets. And I'm running out of space on my main shelf here. So I'm going to create a new shelf. Let's create here a new shelf. And I'm going to call this next tooth underscore and hit Okay. Now on this new shelf, I want to create something called a Quick Select set. Instead of having to manually select the four curves that I need here. This, this, this, and this. I want to have just one button that allows me to select them in an instant. And it's very easy to create. I'm first, I'm going to select all of them. And I'm going to go into Create set. And I'm going to create this quick select the set. Click. There we go. Just, sorry, normal click, just click that button. That's it. And this one I'm going to call this flower or fs, because the flour sack underscore. And I'm going to call this T because it's the translation. Okay? And I'm gonna say, okay, now we have this quick selection down here in the outliner with all the four curves. And we could of course just select them here, which is a little bit faster. But we can also go into select quickselect set. And you're gonna see this fs underscore t, which is my translation flour, salt, flour, sack translation. And if I press Control Shift and click, I'm going to add that button into my shelf. Now you can see that we also have a quickselect set that has already been made for us, which is the Recall which will select all the curves, which is important because we want to set a keyframe to older curves when we're animating. So I'm also going to add that into the shelf right there. So as you can see, both of them have a short name right there, which is important. I'm going to show you a quick little way in which we can create something a little bit more interesting. So right now we have those icons which are not bad, but let's create something a little bit nicer. What I'm gonna do is the following. I am going to hide this cube for just a second. I'm going to press Alt one to hide my curves. And I'm going to press Alt B to change the color of the background. Let's go for this like a gray like this. And I'm going to use my snipping tool inside of Windows to cut this guy right here, control C. And we're going to go into Photoshop. I'm going to create one new file, is going to be very, very small, supposed to be 32 by 32 pixels. I'm going to Control V to paste the image. And I'm just gonna make this smaller, super, super small. Like this. You of course need Photoshop or any image editing software. I personally really like Photoshop. There we go. I'm going to delete the background. And then on this guy, I'm going to select all the borders like this and we got this. I'm going to save this as a PNG. And you're gonna see the DOM documents. Maya, the version of Maya you're working with preferences, icons and is going to be here. You can see I have that flour sack icon. So I'm going to create another one here called flour sack icon, and let's call this V2. And now what I'm gonna do, if I can, I can right-click, edit the button, go into shelves, and here on the icon name, I can change this into, for instance, is going to be like the normal flora. So I can just like a general element, I can erase the label if I don't want to see the name. And then right-click Edit shelfs. And we're gonna change this to the flower suck icon. This one though, which is like jumping. Same thing. Let's get rid of the film. So I know that this first one is to select all the curves that they're going to move my flour sack. And this one is to select all the curves that are going to select all the animation. So again, not necessary that it looks very, very cool when people look at your shelf and they're like, Oh, you got those cool icons. What are those? That's just a quick selection, but it looks very nice. Now, leaving that aside that we need to think about, how are we gonna get this guy from this position all the way to this position? And here's where the animation process comes into place. We're going to be the binding our animation process into several steps. I'm going to use this thing called the grease pencil right here to create a little bit of a drawing. And when we're thinking about animations, we usually have something called key poses, which are the poses that are the most important for our animation, which in this case is this first one where the little sac is just standing there. We're probably going to have a final one where he's standing normally, but all the way over here, we're definitely going to have a squash where this guy is going to be like completely pressed against the ground. We're going to have a stretch where this guy is going to be launching itself all the way to the, to the highest point. We're going to have the highest point, of course. And then we're going to have the landing, the squash after the landing, and then the recovery where this guy goes back into its normal shape. So all of these things are called key poses. They're the most important poses. Sometimes people call them the extremes because these are the parts of the most extreme in an animation. And we're going to be animating them first. After that, we're going to jump into something called the in-betweens, which is what happens between all of these elements. The intermediate poses. What are we going to do when this guy is going like up here? What are we going to do when he's going down? What are we going to do? Well, he's recovering like all of those things are going to be the in-betweens and that's going to be the next video. So let's jump on to that key poses first, I'm going to go into my frame number 1. And right now, I don't want to worry about timing. We're just going to worry about the poses. So in my post number 1, I'm just going to select all the curves. I'm going to hit S. Okay, That's my first key pose. My second key pose is this guy needs to prepare before the jump. So how am I going to prepare? Well, probably going to bring the whole body down like this. Even though the pelvis, Let's bring it down a little bit. I'm probably going to like do something like this where he bends over preparing all of his body to jump. Now what happens with little ears? Do we want them globally? Yeah, definitely. So maybe the little ears are gonna go down. Let's move them down. I'm actually going to grab all of this curves and just rotate them down so that they're curved like this. On the y-axis. There we go. And we're going to select all the animation and hit S. And then on the frame number 3, what's going to happen is he's going to recover that rotation and he's going to start moving up. Up and forward, right? So let's go to the left view. He's even going up. He's probably going to be looking forward like this. That the center of mass right now I'm going to keep it relatively low like this. And now let's, let's bring the little ears back like this. Like this. I don't want to keep the ears like this for now, but we have this moment right here, select all the controllers and hit S, and we have our first set of key poses. So just like idle pose, preparation, stretch. And then I know that he's going to jump all the way over here. So I can select this guy right here and just move it where I would expect the middle of the jump to be. However, it's going to be a little bit difficult to create this like the basic standard position that we have back here. A quick way to do this is the following. If I go to this first frame and I select all the curves and with middle mouse drag and place them here. Now this frame number 4 is back to this traditional shape. And what I can do is I can select my movement now and just move this whole thing up. And that way instead of having to re-post everything, I had just had the exact same both for the little guy here. So 1, 2, 3, 4, and then I know that we're going to have five. So this guy is going to land over here. And similar to what we have with the bouncing ball, he's going to be falling first like this. So there's going to be a little bit of a stretch or is a stretch? Yeah. And then the frame six, there's going to be a squash. So this guy is going to fall here. It's going to be probably a bigger squashed down what we had before because all of the gravity is working. So this guy folds right there. I'm going to do something similar with little ears. Let's push them forward. And then again, Let's go to perspective. Grab all of these guys and we're going to curve them down. I'm going to turn this thing off, which is the geometry mask. That way I cannot select geometry and I'm only going to be selecting curves, which is what I want. There we go. So like all the curves and hit S. So now we have 123456 and then seven. It's exactly the same as this one, but all the way in this side, right? So same deal. I'm going to grab all the curves. Middle mouse-click seven, grab the movement curves, and just move this guy forward like this, where exactly we're as close as possible to where this guy supposed to be. So as you can see here, let's grab the movement curves right about there. We can even check the exact distance, which is 38.23. So we can say, for Guys, I'm going to say 38.23 or actually no. I'm just going to keep it like that. Just move this slightly forward a little bit concerned about this thing that didn't work properly, but that's fine if this happens to you, just check the rotations and just 0 out the rotation on all of those areas. And your character should be going back to normal, like this. There we go. So we select all the curves. He S, S, S, We want to keep him in every single curve, at every single point here, S, S and S. And as you can see, we've got this little animation. If I were to get this into like seven frames like this and I played this, or I just start scrubbing. We're gonna get this like slow motion of the character doing the job, right? So this is where we're going for. This is the first part of the project guys. Make sure you load this, make sure you input the distances correctly so that it looks as close as possible to the one that I have here. If you want to be a little bit more extreme and you'll want to challenge yourself. You can change or vary the distance or the height of the boxes. And that's going to make you change the general jump profile. So, so just keep that in mind. I recommend you stick with the basics first. And then if you want to do an extra exercise, just modify the values a little bit. So, yeah, this is, this is it for the first part, guys. I'm going to stop the video right here, and I'll see you back on the next part. Bye bye. 10. In between Keys: Hey guys, welcome back to our next part of our series. Today we're going to continue with the animation of our flour sack and we're going to be working on the in-betweens, in-betweens, which are the poses that we have in between our key poses. So first things first, I'm going to save this. And since the file was originally made in Maya ascii, that means that I should be able to save this as a Maya ascii as well. If you're working with a rig that does not or is not same as my ascii, you usually have to save it as a Maya Binary to keep all the information properly on the file. So I'm going to call this flour sack a jump. Am. But, but we won't. That's really weird. That that's the kinda warning that you're going to get. So that means that I can't change the file that broadly means that the flower seconds originally made in Maya binary. So I'm going to save the scene as a module binary. So I'm going to call this flour sack. Oh, okay, it's just flowers. I'm just going to rename it later. I'm just going to be florist have jump. And now we need to think about the in-betweens. So the in-betweens, as I've mentioned before, are the frames that we're going to have in-between all of these key poses. However, to generate that, we need to talk about the timing and timing, as I mentioned in the first module, is one of those things that people struggle with quite a bit. I myself have struggled with, or the one I was starting animation. I even, it is one of the tricky parts and there's no easy way out of this rather than practicing and making sure you understand what you're going for. So what do I mean by this? Remember the timing is how much time passes between one post and another. If there's little time, the change is going to be fast and they have there's a lot of time, then the change is going to be slow. So I need to ask myself, okay, from the first post to the second post, do Y1 this action to be slow or fast, usually a preparation or an anticipation should be slow to give the audience time to understand what's going on or what's going to happen. So what I'm gonna do is I'm going to grab older curves. All the curves don't grab just the movement curves, all the curves. And we're going to select all of these guys with Shift. And then we using the middle arrows right here, I'm gonna give this like ten francs. So now it's going to take 10 frames for those little flower sack to go down into its position like this. And then prepare the jump. Now from this position to this position, should this be fast or slow? Usually fast, right? It's a quick change going from a squash into a stretch, but not that fast, not just like one frame fast. So what I'm gonna do is I'm going to grab all of this guys. I'm gonna give this swan frame. It's going to be 1, 2. So we have an in-between and then boom, we got this. Now we're going to jump, we're going to jump all the way to here. Should this movement for going from the stretch all the way to the middle of the section. Be slow or fast? A little bit fast, right? It's supposed to be a fast action because it's a jump. I am not in the moon. So this wouldn't be like low gravity effect. It's going to be a fast movements. So I'm gonna give this like, let's say four frames. So give me a 12, 13, 14, 15, 16. And usually it seems we want an arc to work here. It's going to be the same from this point all the way to this point. So we're going to say 1, 2, 3, 4, like this. So 16, 17, 18, and 19. That's the stretch right there. And then similar to what we have here, we have two frames right there. So let's give this guy's two frames as well. A little bit of an in-between before we fall here. And then we're going to have our recovery. Now the recovery from this pose to this pose, should the recovery be fast or slow? Always ask yourself that question. Do you want the action to look slow or fast? In this case, we want this to look slow and probably a little bit slower than the preparation that we have back here because this was a quick preparation to do the jump. And then at this position, since there was an ethical jump around a little flour sack, we want this to be a little bit longer. So I'm gonna push this frame all the way to frame 40. So yeah, I'm giving, instead of having just timeframe, say have like 18 frames. So almost double the amount of time. Now, it's time to take a look at the animation and see how this thing is looking. So not bad, right? Just by adjusting the timing, we haven't done any in-betweens just yet, but by having very clean key poses in doing a proper timing, as you can see, we can get this very nice effect where we get this well, flower set jump, looking very, very cool. Now it's time that we start looking at our key poses. And we want our key poses to help us give more life to the whole thing. Because otherwise this just looks buried like just linear, right? This just, he goes down, he jumps, he follows there And then there he is like he's back on his fits, donkey's feet. So we definitely want he's action to look a little bit smoother. And this is where the in-betweens come into play. So There's a very cool thing about the in-betweens. And that's the fact that during the in-betweens, we can actually exaggerate. This is something that could, cartoons need quite a bit when, when they were being made that 2D cartoons, especially when we can create a very intense in-between that's going to push the animation into a nicer place. So imagine that we have a character like this guy going from looking to one side and then looking all the way to the other side. If we were to just like do a very linear motion going from one site to another, we will create a very boring animation. However, if during that in-between, as what you're looking at here, we exaggerate the elements. We're going to create a more intense effect. And it's going to look like he's really, really doing a very intense change. So for us, for instance, we have this guy right here, and then we have this guy right here. What can we do? Well, before we, we fully like a bent over to prepare for the, for the element. What if this guy is just looking straight ahead, right? Like maybe all the way up till here. He's still looking at the other side of the, of the, of the gap, right? So what we're going to have now is we have this element where he looks and then he bends, see that little break there. So instead of just like bending down, he just keeps he's focused where he wants to lend. And then he bends. Same thing here, for instance, on this first frame after the, after the launch, one thing we can do is we can still keep this guy like relatively low like this. Not super low like this, but low, so that then the stretch looks way more intense. So C, C, that is, it's kinda like dragging the animation a little bit, pushing the animation towards this first frame. Now, I do encourage you to grab all of the controllers and add a keyframe for now just to keep things clean. That I know that every time I see a keyframe on my timeline, there is some sort of animation somewhere along the, along the timeline. So we have this. We go there and then boom, we jump. Now during the jump, we can also change a couple of things. For instance, maybe here on the in-betweens. Like here, let's say frame 14. I could push the little belly forward, indicating that he's using a lot of the force from his from his from his belly to propel him forward. I could also grab this little guys right here. Let's rotate them just a little bit. Let's go to the little feet right here and rotate them as well to give them a little bit more like the superhero pose. And this is where we're going to get say, boom, boom, boom, boom. I'm also going to grab, I think the valleys a little bit too much. So let's, let's bring this back just a little bit. Let's grab all of these elements and it's gonna get 1, 2, 3, 4, 5, 6 at this 0.7. That's fine. And then we'll keep going down. For instance, in this position right here on the first squash or the second squash, I would expect this guy to be like this. I would probably spec this are the little guy to still be falling from the squash in, for instance, the ears right here. That would definitely be like dragging in the air. Think of them like like a, like a scarf or something. There'll be, there'll still be falling behind. Then we're going to be doing some very nice things with the ears. Next video, we're going to, we're going to be polishing them a little bit. So we're going to get this. So it's 1, 2, 3. And that's going to make the, the squash Luke quite a lot heavier because we're going to have two frames where this guy's still kinda like stretched out. And then we're going to have one more frame where he just like beef, goes all the way down into the floor. Yeah, I think that looks good. And then we have the recovery, which at this point, I don't think we really need to add anything into the recovery. It looks, it looks okay. So now if we take a look at what we have here, we have this element right here. And as you can see, we get this, this very, very nice effect where the, where the character just like falls into the ground. Now one thing that we can do, usually when you jump and you fall, like here, you're not just going to recover it immediately. Usually have like a, like a little bit of a shock wave, right land and you kinda like stabilized yourself. So what I can do is I can go here to frame 22 and then instead still have just like rising very quickly. I'm going to give it two frames. And I'm going to push this guy a little bit further down like like a second bounce. So it's got to be one fall and then fall again, fall again, and then starts moving forward. That's going to also make the jump look a lot heavier. See that? Because he takes a couple of extra frames there to make sure that this guy is actually like Going, Going back to the, to the upper parts are recovering to his, to his idol posts. Another thing I can do, one thing I'm seeing there is the position of the legs. See how the position of the legs here is changing to the idle. So from here to the idol there, they're a little bit different. So a way to fix this is actually very simple. I'm going to grab this two guys. And then I'm going to middle mouse and click the frame 24 and middle mouse and click frame 22. So what I did there is I copied the frame and that means that those feet are going to remain static. See the moment he he steps there, the feed just like our prepared to to land and stay in that specific spot. They're not going to move. Here's where things start getting a little bit interesting because now we need to start thinking about how to polish this thing in a, in a better sense. And this requires patients. Animation is say, a career and worked for a patient people. So if you're not really, really patient, you're going to have to exercise that muscle because you're going to be seeing the same animation thousands of times and you're going to be polishing things that are so, so small that some people might be very, or might get that annotation to just rush, rush it and don't pay attention to it. But it's very important that you do try to pay attention as much as possible. So for instance here, the little ears or down, down. But here, I don't think they would be completely down. I think at this point they would start going like this to push the post into a more interesting effect. Now, I do have auto key frame turn on. I've been having l to keyframe on for a while now, and that allows me to avoid having to press S every time I want to set a key. As soon as Maya that text that there's a change in a frame, it will automatically update that as a new keyframe. So 1234, which I like five, I like even better because the legs are creating this sort of like a straight line going down. I think at this point I will take this guys right here. And that will push them a little bit back to grade this or like drag on the ears. And then 16. Since we still have that drag, Let's, let's just keep that curvature there. Like that. We could have been like push the pose a little bit like this. So the head is, is, is a little bit delayed. And we have this. And then for instance here, one frame before we land, like rather both here. I think I would like to add a little bit of a movement on the legs. So he's like tippy toes or are getting ready to land. So let's grab all the curves at another animation there. We're going to get this feed land and then boom, we land with all the force. We recover. Here. I'm actually going to like really push this guy down. Almost even if, even if there's a little bit of overlap, that's fine. But that's going to give me a little bit of that blue effect where he's just gonna go back up. Now, I don't think he would recover like perfectly like what we have here. I think it will be a little bit tired after that, after that jump. So instead of having this very neutral pose, Let's keep it like a slouch was like He, he, he just did it right. Probably not. That's bath rather like this. And I'm just going to keep the, the years pointing slightly, slightly forward. This is about also giving a little bit of personality and character to the whole thing, to the, to the character because we don't want everything to look the same scene for this. Like let's lower the mass a little bit. Kind of like if he exhale, right? So, so now if we take a look at the animation, this is where we have. He just remains there. Now maybe at the first frame He's going to be very brave. He has his chest puffed out, write it like this. And he's going to be looking forward like, yeah, I can do it. Really, really think I'm capable of this, let's do this. So now we're going to prepare and boom, we jump. Boom. Now, let's say by any, any recent, I think certain things are a little bit too fast or a little bit too slow. What can I do? Can I still change the timing at this point? And the answer is yes. Like if you feel, for instance, that this preparation, it's a little bit too fast, just need to grab all of the elements here, grab all of the objects here, and just move this thing. Let's say two more French scheming the progression to more frames. And maybe like this bokeh we have right here, we're going to give it two more frames as well. And that we're going to have this. And that might change the feel of the whole thing. It might make it look nicer, it might make it look snappier or faster. That will, of course, depend on the specific things that they ask of you when you're working on this sort of project. But it's very important that we, that we tried to make the best. Now, I really like, as you can see here, this sort of like stretch factor that we get that the n is just a frame. But this frame right here with looks very, very stretch. I think it adds up to the whole animation. I think it makes it look very, very nice. So if we want to add that at the beginning, is just a matter of using one of the other principles of animation, which is exaggeration. If we exaggerate the poses, for instance, this one right here, let's push this stretch a little bit more. That will create a snappier, more cartoonish field because we're going to have one frame where things go like really, really wild. And when you see them altogether, when you see the whole animation and running. Now what we have right here, you're not going to be able to really tell that frame, but subconsciously that image is going to be capturing our brain. And we're going to get that. We're going to sort of feel that. And I know that sounds very abstract, but that's a little bit about the nature of animation. We're, we're kind of like tricking the brain into thinking that, thinking that there's a little bit more information that there actually is. And the Yap, So we're in a very good position here, guys. I encourage you to continue the exercise. Try not to move forward until you get to a point where do you think the animation looks good? Because otherwise, you're not going to get the most out of the projects. And some people like to watch everything and then tried to replicate. I preferred this step-by-step approach. So follow in the best possible way and I'll see you back on the next one. Bye bye. 11. Polish and Render: Hey guys, welcome back to the next part of our series. Today we're going to continue and finish the little flower sack animation that we have right here. So what I mean by finishing is we're of course going to be doing a little bit of polishing. There's just a couple things that we can change to make this thing look a little bit nicer. And then I'm going to be showing you how to render this thing out. And not just as a play blast which we talked about before, but as an actual render that you can see and, and send your friends or share or anything. So all one to turn on the keyframes or the other curves again. And what I wanna do is I want to create a little bit of overlap similar to what we did on the pendulum exercise on the last module. I want to make sure that certain things or that things don't happen all at the same time. The easiest way for me to show you this are the ears. The ears behaving in a very nice way because you're this sort of like appendages that follow the shapes of the main flower sack, right? And up until this point they pretty much follow everything in a very nice way. But here, I wouldn't expect the ears to fall at the same distance or at the same speed as everything else. So let me show you how we can do this and make it a little bit more interesting. So I know that that frame 24, the ears are going to start doing this sort of like bendy like C-shape kinda look right? So what I'm gonna do is I'm going to grab the main ears right here, 1234511, 2345. And I'm going to grab frame 24 and frame 2006, both of these frames. And I'm just going to delay them a couple of frames like this. So now what's going to happen is that the flour sack is going to fall and see how the ears are still like completely straight so that the virus OK, already fell, but the ears are still falling and a couple of frames later, they will fall like this. Okay, so now we can do even a little bit more. I think, I think like let's do a couple more frames, like four frames. There we go. I think this is better. So now the ears are going to fall way later. You can see this effect right there. And when they go back up like this, I also want them to go back up a little bit later. Some also going to grab this frame and let's move it like four frames after this. So what's going to happen now is this, the flour sack? We'll fall a couple of frames later. The ears will create this kernel shape. And then they will start going up, up, up above the flowers. Ok, we'll finish going up in a couple of frames later. As you can see there, the ears are going to finish the animation. See that? So that thing right there, That's exactly what I'm talking about when we were working with the pendulum, that's the overlap and the follow through. We, we want things to follow I little bit after the main animation. So now we've, we see it as a, as a whole. We're going to see this, see that very nice flow effect on the years. And that's thanks to that effect. Now the only issue with doing that, we'd like offsetting things a little bit, is the fact that if I now grab all of the elements, you're going to see that we have some extra frames. So I always recommend doing this step at the very end of animations, because again, otherwise, it might be a little bit difficult to read. The graph editor will always tell you where things are. And of course, if I were to select the ears, It's a little bit easier to understand what's going on. But it's important to understand that now since we've offset that certain keyframes, you're definitely gonna see more keyframes here that are not necessarily happening everywhere on the rig. It's only happening on certain certain areas. I do think that we could even grab the head here. And especially like on this far right here, we could give it a couple of frames. Like maybe one. Let's try two frames and let's see how that looks. Yeah, that doesn't look bath like by, by offsetting the head of the flowers like a little bit, we get this bouncing effect again. We also have the very soft effect on the, on the, on the years. And that's gonna give me a very nice smooth effect on the whole thing. Instead of every action on this animation happening at the same time, we have this offset. We were certain things happening before and certain things happened after. We're gonna be seeing this principle quite a bit, especially later when we work with Fox, Eric that we downloaded before. And in Yeah, that's the, that's the general principle. So as you can see, this is looking very nice. So now let's talk about the, the final elements. So for the final elements or further final polish, which is rendering, There's two options that we have. We can do the same option that we did before with the what was it with the bouncing balls where we turn on like our shadows motion blur the anti-aliasing and everything and do a play blast, which is not bad. Or we can go the Arno route and do an actual light render sequence. So I am going to do a render sequence and I'm going to show you a very nice little trick to give this, this fall here, a little bit more punch. So I'm gonna go here into rendering. I'm going to create a new camera and I'm gonna say panels, look through selected. This is now a new perspective shape camera. I'm going to position this camera in such a way that we capture the animation in the best way. If you turn on this thing right here, this is the resolution gate, this is what we're going to be rendering. And if we go to the first frame, we can see that this is what we have, which is perfect. Now, cameras can also be animated, which is great for us. Because what I can do here is I can start right here on Frame Number 1. Select the camera right here, this camera one, which by the way, I'm going to change the name to shop cam and press the letter S to animate it. Then as the flower such jumps like this, I could like move down, reposition myself in this area for instance. Okay, so we've got this animation where the flowers have jumps. I'm repositioning myself. And then when he falls right here, boom, I'm going to animate the camera. After one frame. I am going to move the camera down. After another frame. I'm going to move the camera up. And then after a couple more frames, I'm just going to reposition the camera like this. And now look how this pretty cool, right? There's just a small camera shake there to emphasize the fact that this guys is falling and creating all of this. And now I think the, the elements should be just like one frame, shorter, like this. There we go. Let's give it a try. Now. There we go. I do think that maybe the D rotations a little bit fast. So I'm going to take this one right here and move it all the way here. So RY those we finished the rotation, we get that the little like earth trembled right there. And as you can see, we get this very, very nice effect. Now imagine adding a little bit of like a rumble or something. We'd sound effects. And little by little this whole, even though it's a very simple and small animation, it starts becoming this very, very intense effect, right? So one thing we can do here, like if we go right about here, which is where did that were? The shape begins, Let's see if I can bring all the weight of the well, I'm not going to move the camera careful here. It's gonna go into perspective mode. Should let me go here. Panels literal selected. Let's go here. I think we, we destroyed the angle, so here. And then this is gonna go down. It's gonna go up, it's going to go down. And then we just recover. Maybe a little bit of extra animation all the way to the end. So the camera is always moving, even if it's a little bit. Just to create some nice effect there, right? And look at that. And we get this bone that I could stomp that the little flower sack is doing, which I think looks, looks nice. Now, in order to render this, we need to do a couple of things. First, light gonna go into Arnold lights, Area Light, not, not every light, sorry. Arnold lights. Let's create a sky dome light. And on the sky dome light, Let's do the same thing we did for the, for the crane or for the robot arm. I'm going to add this peppermint power plant. There we go. Let's save this real quick. Let's take a quick look at how the render looks. So let's render this scene really fast. Let's just wait for this to process. The object is using a Lambert. I know that that's not the surface material, but it should be fine. Usually lambert materials do work well with this element. And yeah, you can see we're looking at the flower cycle. They're very nicely. I am going to turn off the visibility on this guy. So down here on the visibility camera, I'm going to turn all the way to 0. So now we're not going to see it, we're just going to see that little flower sec. I'm also going to go into my options and change this to GPU so that the render is a little bit faster. That looks good. The only issues that this renders a little bit noisy. So I'm going to go into Arnold renderer, turn on adaptive sampling, enable this, let's say ten samples. I think the ensemble shouldn't be more than enough. I want the render to be relatively fast, which in this case, as you can see me this, it's four seconds per frame. So at this resolution, I think that's acceptable. We can even go a little bit higher and the noise like let's go 0.05. And we should get like two seconds render time. Let's do eight samples again just to sticky bit or make a little bit faster. There we go. Now if we go to the final frames, oh, of course we need to change this to the shotgun because we want to see the shotgun like this. So we do a quick scroll right here. We're going to see that this is the animation that work I have with a nicer render, a nicer look, and it's going to look very, very cool. Now, how do we convert this into images that we can export as an image sequence so that we can create a video. Very simple. You're gonna go into Render Settings common. You're going to change the image formats, JPEG for now, 100 quality, that's fine. And I'm going to change this frame animation. I'm going to say name, number and extension. That way we're, we're gonna get is we're going to get flour sack dot 0, 0, 0, 1, 0, 0, 2, 0, 0, 3, all the way until 49. So Start Frame one and frame frame 49. There we go. I'm going to render from the shaft cam. And HDF5 format is fine. Usually if you have a full license from Arnold, you can do something called a batch render. But since we don't have that right here, what I'm gonna do is gonna do a render sequence. So I'm gonna go into this little guy right here, which is the render view, the Maya render view. And I'm going to say render, render, I'm going to run there from the shotgun. Very important that we render from the shotgun. That way, I'm pretty sure that that's the camera that I'm gonna get my Render Sequence From. Otherwise, if I were to do the traditional perspective camera, then you're going to see a perspective animation. So there we go. That's looking good. And I'm gonna say render, and I'm going to say it render sequence in the option boxes. Just very important to render from the specific camera that we want. We want to render to the basic location which is going to be our images folder from our, from our project. And yes, just render sequence. And now what's going to happen is you're gonna go frame or maya is going to go frame by frame, and it's going to start rendering all the elements your computer might slow down during this process, I recommend leave the computer alone, wait for the render to finish and then keep working. Because otherwise, you're just using resources that it would be better spent finishing the renter or faster. So this one right here is going to take a couple of minutes. I'm going to stop the video right here, guys. And in the next one we're going to start with the next exercise. But before we do the next exercise, I'll show you the final render sequence that we have for our render. So hang on tight, finish your exercise. Polish, do the the overlaps and follow throughs, and I'll see you back on the next one. Bye bye. 12. Backflip Animation: Hey guys, welcome back to our next part of our series. We're going to be exploring a very nice concept inside of Maya and animations. And I call this the backflip. We're gonna be doing a backflip for a character. So I'm going to create a reference here, and I'm going to select now, not the flour sack. We're going to start working with the ultimate tail guy right here. So I'm just going to reference this guy in. And as you can see, we have this little ball. It has a little bit of a tail. And we have squash and stretch, which is also a really, really cool. Now, the only issue is this one. As you can see, the shading is black, even though it should be like white and orange. You can change this very easily going into lightning and using two-sided lighting, the issue is that the objects here have their normals rebars. Remember we talked about the normals. Well, normals are flipped. Unfortunately, that's something that comes with the source file. And normally for this guy, pretty much all of the ultimate tailed or ultimate rigs have this issue. It usually happens when we mirror things to the other side and we leave the x axis as negative. Newer versions of Maya don't really have that issue. But since this R6 were made like a long time ago, that means that we do have that. Now one cool thing about this guy is that we can go all the way down here and here on the tail type, we can change to Fox or we can change to Bieber. And if we want to have a little bit more of a funny character, so I'm gonna go with the fox. I think he looks cute and I like the colors. So what I'm gonna do is I'm going to do an animation in which this character does a backflip. Okay? So he's going to start right here. He's just going to be displaced and he's going to rotate all the way around until he finishes a right here again. So here's the deal. I'm gonna go here to the tail options and I'm going to turn that off for now. So this is pretty much just a normal bouncing ball, right? With a little bit more character to it, but it's just a normal bouncing ball. I'm going to grab the first curve right here, which is the movement curve, hit S. I'm going to grab the squash curve, hit S again. And then let's go to frame ten. And what I'm gonna do is I'm going to squash this guy. So he's getting, he's getting ready for to that for the big job, right? Let's really exaggerate the squash because we're only have one, this one preparation. And then after one frame right here, he's going to stretch like this. And now he's going to start moving up, right? So I'm gonna go to frame 20. I am going to say that this guy is going to get back to 0. And now this curve is going to start moving forward like this, right? Actually, on everything I need to do is on frame 10, I need to make sure that this curve remains at 0. Remember always, always, always add a keyframe to both elements. I'm not creating a quickselect said right now because just two curves, so it shouldn't be that much for you. And we got this. So the little guy goes down, he proposed, he stretches and he starts flying up like this very nicely. Now once he hears the high point, I want him to be doing a backflip. So that means that the whole character, it's going to start rotating. I'm going to turn off the screen, Dorothy, There we go. So at this point, I will expect the character could be a little bit further down the job. So something like this. Now what we're going to see is this. Okay, we got this weird mistake here. We don't want that. So here the rotation is going to be 0. And once he started jumping, now the rotation starts changing. See that? Very important. So the reason why this is happening is due to the, what's the word do the auto key-frame. It's not keyframing all the keyframes that we need. So I'm just going to hit S on all of the area right here. And now we got this. So bloop, the guy starts jumping and I probably don't want him to start rotating so fast. So I'm going to I'm going to correct this a little bit, something like this. So that he goes a little bit straight and then he of course is gonna go down. So I need to continue the rotation right here all the way until we hit 360 degrees. And I know that he is going to be going back to the origin. So I'm gonna go with 200 again. I'm going to grab that occur and hit S. Now this is the framework he is lending. So I will expect a little bit of stretch, something like this. And then after one frame, I will expect a squash. And then a couple of frames later, we'll just recover our normal volume like this. And we go. So just hit S as it's got both curves, S, That's the squash, S, That's the stretch. And now if we take a look at the animation, this is where we got the little guy is jumping. He does a flip and he lands back on his feet. So here again, I probably don't want him to start stretching until the very end. So right here or actually no, actually, I want to push his rotational with higher because he seems to be falling really slow. So right about here, What I'm gonna do is I'm going to push the rotational bit like more aggressively so that now he is, He's twist is really fast and he lands on his feet a little bit. Nicer like this. Okay, so the important thing about this exercise guys, this is a very simple exercise because we're going to be doing something a little bit more intense in the next video. The importance of this exercise is that we need to make sure. We understand that in order to rotate a character and do backflips from flips or any sort of like twisting motion. We need to make sure that every single frame after the twist remains like this. What do I mean by this? I cannot go into my main curve here in 0 out this rotation because this character technically has now rotated 360 degrees. And even though this frame right here, it looks exactly like the same as this one right here. You're completely different because this one has an extra 360 degree rotation. So if we were, and this is very common, like let's say, I just keep moving forward. And I say, okay, now what? I wanna do a new bounds and I'm just going to 0 out this guy right here. So if you by mistake or by mistake or by any chance, change this back to its original situation. What's going to happen? This maya is going to interpolate this guy and bring him back to that rotation. If we were to do this from one frame to another, you wouldn't know this, right? Like if I just grab this frame, bring it back here. If I do this, then yeah, this works totally fine because we just do a change from 3620 in one frame. And it's pretty much like if we're back to ground 0 or an underground sewer, sorry, 0. So in this case, the issue is if we were to add more friends because we need whatever the fox is going to hold the flip again and it's going to go back to the origin. So don't worry about having extra rotations on, on the character of having this 360 degrees. The only thing that's telling me is that this Rick has done a complete flip at some point during the animation, but we can continue animating this guy completely normal, do balances over here. And the only thing is that this thing, 360 degrees, is going to be a new constant on the character. Okay? So very important that we do not do any change there. Now, this is not all like if I were to take a look at this guy. The backflips a little bit slow as you can see there. It's like a loop. So what can we do? We can select both curves here. And I'm going to grab, let's see, where is the high point? So the high points, frame 20. I'm going to delete this guy's first. So which are the in-betweens? Let's delete them. And what I'm going to just turn is going to move all of these guys, let's say like four frames. So 1, 2, 3, 4, and maybe one more like there. And then all of those guys, Let's move them four frames as well. So now the jumps going to be a little bit more aggressive. Let's take a look at the animation. Remember, we always need to play that animation. See how this thing looks. I think it looks good. I think we can give it a little bit more height. So let's just grab this guy in, bringing me higher. Yeah, that looks a little bit nicer. Now it looks a little bit fast. So I'm going to give it two more frames here and two more frames here. And we go, Let's take a look. That looks good. Okay, So now, now that we have a good timing and our character is looking, it is looking nice. Now we can start working on the on the changes here. So, so first thing I'm seeing here is that yes, the squashes fine, or actually this is the squash with the stretch is not fine. So so we need to stretch this guy out. Oh, did I not select something? It seems like I mess something up. So if I were to select both of them here, 12 yeah, everything seems fine there. So it's just both of them two frames. And then both of them to form some things when you don't select both curves, that's what tends to happen is you're going to get that sort of errors. Perfect. Now we can go with what we mentioned before. Like, I don't want him to start rotating at first. I want a faster rotational roughly here. So I'm going to rotate this guy back in that way. It's going to be like that, like the flip. It's going to be really aggressive here at the top. And then same thing here. Like at this point, this guy should already be pretty much close to the, to the full rotation so that he can fall very nicely there on he's on his feet. So now if we take a look and we got this, Let's reduce the amount of frames to to like 40 frames. So we'll have to see the whole timeline before we repeat the animation. That looks good. Another thing we could do is we could nothing. It looks good. I don't think we need to change anything just yet. Now we're going to introduce the next concept, which is the tail. And we're going to start adding a little bit more. We're going to start working with a little bit more complex animations. So make sure you have enough time to do the exercise. So I'm gonna go back to the original curve, this one right here, and I'm now going to turn the tail on. And this is something that animators do very frequently, like they won't animate things until you need to animate those things. Because otherwise what tends to happen is you get a little bit confused or overwhelmed by so many controllers. And it's easy to just like start very slowly and then go from there. So what I'm gonna do here, as you can see, the tail can only rotate and scale. So I'm going to rotate the tail here to create like a standard posts where the tail is just like. Slightly bent here on the underground like this. I'm going to grab all of those guys. And I'm going to hit S. Now if we go back here to the frame, I would expect the tail to kinda like straightened out a little bit. Kind of like flowing through the, through the ground like this. And again, grab all of the curves and hit S. So we get this. And as the character is moving down that hill is just pushing back. And then here this is very important detail similar to what we saw with the pendulum. Detail will not follow the action at the same speed. So I would expect the tail to be like this or go from here to here. And then as we start going up, what would happen with the tail? The tail is kind of like a free-flowing objects. So I would expect this tail to follow this in a, in an arch like this. So we go up and as we start rotating, like for instance, at this point right here, the tail would still be following back, right? Like it's being, it should be delayed a little bit and it should follow this sort of like arch that the character is following. However, it will follow it on its own like terms. So as you can see, we're going to have this. The tail goes up, up, up, and as soon as a character starts flipping forward, the tail will continue to flip. The character will fall like here. I would expect the tail to be coming from the top like this, like falling. And then the character falls in a couple of seconds later. That's where I would expect the tail to, to fall as well. So this guy would go here. This guy would still be up here. And this guy up here, this guy up here. So we will fall. And then a couple of frames later, that tail false. And I would definitely expect this tail to, to like flatten out a little bit like this. Okay, remember the overlaps and things that we have. So now if we take a look at the animation, this is what we got. Okay, so we can see the little curve in the arch that the tail does. And not only that, we see that arch and that transition, that a movement also allows us to follow a little bit clearer, in a clearer way how the fox animates, right? So all of this sort of elements like tails and scarves, cloth, all of those secondary animation that we sometimes have are very, very helpful because they allow us to see the motion through, through the lens of other objects if you wish. So yeah, there we go. So, so we got this. I think I think I would like the fox to like here. I would still expect this guy to be coming from the bottom. So like this and then like this, like the fall here, I feel like the fall is a little bit slow, so I'm going to grab all the things here, just probably a couple of frames. There we go. That's a little bit better. Now what we can do similar to what we did before, I can grab this final elements right here, grab all of the points and just offset them one frame, and then grab this guy right here and the one more frame. And that's going to create a little bit more of a flow we feel to the tail. See that? So that's what we're going for it. This is the exercise, the backflip exercise. We're just making this guy do this very, very nice backflip because now we're going to do a very nice mace running effect. So our animation. So make sure to complete the exercise, guys, make sure to practice. This is one of the tricky ones, by the way, modifying the tail and moving it in such a way that it makes it look nice, tends to take a little bit of time. There's one more thing I think we can do that is I can grab all the curves cure for that. Dale, go into my graph editor and I can utilize this thing called the spline. Spline will soften up the elements. You can see here how we have a couple of curves that are looking kinda weird. So if you, if you see those elements, just fix them. Just, just see how that affects and the spline curves as you can see there, it will soften the animation quite a bit. I still think that emissions a little bit slow at the end. It looks a little bit like a mechanical. So I'm going to grab all of those guys and let's just bring them back a couple of frames. There we go. That's a little bit better. All to want to hide the curves. And now we can appreciate the movement very nicely. You can also turn on motion blur, which is also going to be quite helpful too, to give it that nice like cartoon effect of the whole thing. And you can render this thing out. Make sure to, to be saving all of those beetles because there are really, really cool to have us up as a reminder of where you started and how we're going to end with this very cool animation exercises. So that's it for this video, guys. I'll see you back on the next one. Bye bye. 13. Wall Jump Key Poses: Hey guys, welcome back to the next part of our series. Today we're going to continue with our module and we're going to be doing an exercise that's going to pretty much combined all of the things we've learned so far. We're gonna be doing a wall jump. So I'm on that new scene here on Maya. We've already set up our project. Remember, just set project here. So like the project we're working on and set. And I'm going to say File, and I'm going to reference two things. I'm going to reference first, my character, which is this, will automate the tail volume or version 1. Now if you remember here on the main curve, we can change this thing to be a fox, which go, we're gonna be using the little box here. I'm going to go into lightning and change this to two-sided lighting so that we see the colors on detail. Now, at first we're not going to be working with details. We're just going to turn it off for now. There we go. And now I'm going to reference another little scene that I built for you guys, which is this one called wall jumped setup. So we're just going to reference that file and you're going to have this right here. So it's a very simple, Just a couple of pebbles that global modeling here and there. And it's just to get you started with the whole thing. Now, I don't want you to move this guys. Okay. I want you to keep them exactly where they are so that you can copy my exercise. However, I specifically build this things in case you want to practice. You're free to just duplicate, move them around or rotate them, do whatever you want and create your own like little obstacle course for the fox. So I'm going to leave them right there. And one thing I'm going to do some actually going to select all of the attributes or right-click and I'm going to lock select it. Oh, I can't lock select that. And the reason I can make some referencing a file, so I would need to go back to the other file and just reference it. That's fine. I'm just going to grab this guy right here and just set a keyframe for them. So in case I ever buy any recent move them somewhere else. I'm just going to go back to my frame one and I should be fine. So just save a frame there to make sure that the movement here does not change. I'm actually going to grab both of those guys, all this four elements right here. I'm going to go into my display layers and I'm going to create a new display layer. I'm gonna change this to a reference. That way I will not be able to select them and it's going to be a little bit less confusing for everyone involved. Now, I'm going to grab this main curve. Now remember I talked about this main curve before. We never animate this main curve. However, we can utilize it to place our character on the place of the scene where he's going to start. So in this case, I'm going to move the whole character to this platform right here, which is the start platform ones go here. Right about there is seems like a good position. Yeah. And what we're gonna do, the animation that we're planning is we want this guy I'm going to use here that grease pencil to draw. We want this guy to jump, balance on the wall, do a backflip and land facing forward. Okay, the whole challenge of this, of this element. So we're going to combine again, as I mentioned, all of the things that we've done before. So we're going to be using the animation technique that I showed before. I'm gonna go to my left view in this case, or sorry, right, boom. I'm going to grab my main curve and the top curve, which are the two curves that we're going to be using. I'm going to hit S on the first frame and then the second keyframe, I know that we're going to have some sort of what's the word squash. So I'm going to squash the character again, grab both of the curves, and just hit S. And then on frame three, I know we're going to have some sort of stretch. So I'm just going to stretch this guy. Let's rotate him. So it looks like this Jumping forward. There are some other risks that allow you to move the distressing point. This one only allows translation, which is fine. Just keep in mind that every single rate is different. That's why it's very important that we analyze all of them. Now the next pose, of course, we're going to go to like a high point, probably somewhere around here. Well, let's go back on our rotation 200. And he's going to recover his whole shape like this, right? So we got doing, doing, doing jump. And then if we follow one of the principles of animation, which has arts, this guy should be following an arc on the job. So I would expect him to land right about here. So I'm going to go to the next frame, which is frame five. Moping here. Rotate him so that he lands exactly where he's supposed to. And of course, I will have some sort of stretch first. So something like this. On the first frame. And then on the next frame, I will have like really, really intense a squash. Probably a little bit of, let's say he, he grips the wall very strongly with his body, that's fine. So he's going to really, really squash because he's getting ready for that, for the big jump. And then the big jump. So here I will expect to see again a very intense stretch. But again, just rotate this guy so that he is facing the upper side. So I would expect this arch now to go all the way over here. So we're going to follow this arc. Now from here, I am going to go again to frame 8. I'm going to move the whole body of the character right here, and he's going to be doing a backflip. So I need to flip this guy. I will expect him to be roughly about here. Yes, recovering his basic shape. But I want him to go from here to a rotation. And then on the next frame, he would continue to move following the arc, complete the rotation. Remember we talked about this on the last video where the rotation is going to be a complete 360 of this height. That's very, very important. So I would expect you to land right about here with a stretch as well. And then land. For this next post, post then say right about there with a 0 on the translation. So now if we take a look at the animation, we got this. If we just like dude, like a flip book, we got 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. He just like Lance. Now, it's a matter of starting to play with the timing. So remember why this timing? Timing is how much time it takes for one action to occur. The longer it takes does lower the action is going to look. The faster he thinks are. The faster it is, the faster the last time we have, the faster the action is going to look. So I always asked myself the question, this from this first post. For this second post, I'm sorry. Do we want this action to be slow or fast? In this case, I wanted to be sloped. So I'm just going to grab both curves, very important both curves. And I'm just going to push this to, let's say frame 15. So now we'll start this again. So now we've got Bu, the jump. Now from this pose to this pose should be fast or slow, should be fast, right? It's like the release of energy. So I always like to have at least one frame and then if I don't need it, i'll I'll get rid of it later. So I'm gonna have one, 23 just to give it a little bit more transition there, a little bit of an in-between. Now from this post the stretch to the high point, is it a slow or fast moment? It's fast, but not as fast as just the release of the stretch. So I'm just going to give it say like four frames. So 1, 2, 3, 4, and then we've got the post. And usually on a jump you're going to have the same amount of elements from the high point to that, to the next one. So 1, 2, 3, 4, and then push. So we get Boyne jump, Lance and then again, this should be fast. Yeah, probably not even like one frame, like very, very fast. And then I am going to give it a little bit of a pause here just for the stretching factor. So here I am going to repeat this frame. I want to keep this frame just one more frame. So I'm going to go here, middle mouse click and just hit S again. And now I have two times the same frame that's going to give it some sort of like like a stop on the whole thing. It's going to, it's going to look like the character is just like breathing for just 1 second and it's not going to be like an immediate jump. It's kind of like his holding to the wall and then he's going to jump. So now this one is also very fast, That's fine. And then this one, we definitely need a little bit more space, probably like five frames or so, because it's a little bit more distance. So we want this drew and then probably the same distance from here. Do here. Let's lower the amount of polygons so that we can see that my frames, so we can see events are 12345 and then the frame and then 1, 2, 3, 4, 5, and then the frame. And then this one right here. Let's give it just a couple more frames. Because actually here, the next frame or the next couple of friends should be a squash. Squash, right? And then we're going to have a long rest there for the character to catch their breath. So now if we take a look at the timing, we're gonna get this. Okay, Not bad, not great either. There's still things that we can fix, but it's a very good start. So with physician all the main key poses and everything is looking good. Once secret that I tell all my students about animation is the poses. If you make sure that this key poses look the best possible way, everything else is going to be a little bit easier. It of course, needs practice and technique, but it's going to be a little easier. So make sure you always take enough time to make sure that your key poses are as clean and as nice as possible. So what am I going to do here? I'm going to go up this main curve. I'm going to go into my animation tab. And there's this option called visualized created that editable motion trail. And what the editable motion trail will allow me to see is how that curve is moving through space and through time in this case, and what kind of arch it is creating. I'm not sure if it's pronounced Arch or arc. I think it's arc. So what kind of arc it is created? So as you can see, this first arch, it's not bad. I do think that the landing here on the 25, 26, and 28, like all of these guys, they're a little bit too high. So I would, I would expect this arc to be a little bit deeper. So I'm going to grab frame 25, which is the contact. And this guy, I'm just going to move it down. See how the arc updates. Frame 26, That's fine. Frame 27, let's keep it low. And then 28, he starts moving on, which is fine. You can see there that the arc is, is following a nice group. And also here on frame 33, I think they are a little bit like like wrong. So, so this is where we started like moving the character around the posters remains the same. It's only moving the location of the element so that the arc looks a little bit nicer. And as you can see, we get this so nice backflip now here. Well, let's just finish this first and then we'll talk about the in-betweens. So 12, there we go. So now the arcs looks a little bit better, which is, which is what I'm going for. Now as a matter of asking ourselves, what about the timing? Is the timing right? Like do we feel like the character is moving at the right pace? I think the first jump is really good blade do think the second jumps a little bit too fast. So I'm going to grab, again, both curves do not forget, you need to grab both curves. So here I'm actually going to set a keyframe on all of the keyframes just to make sure that every single post has a keyframe is something that I usually do. Again, just to see how there's like a double frame here. So I'm just going to leave one of them because we got stretch squash and then we just go back. So now what I can do is again, grab both curves right here. And we can even do this on our graph editor. So if we go into the graph editor here on Windows animation Editors, Graph Editor. And I like to dock it up here. And we go to the distance here. Like it doesn't matter which keyframe, because I know that frame 28, we need a little bit more space in this area so I can just grab all of this frames. And let's say, let's give it like 12 more frames here. And then grab all of these guys and say 12 more frames here. And that way we're going to get is the following. It's going to be a little bit slower. Okay? Not bad. Not bad at math. I think now it's a little bit slow, just a tad bit. So it's probably just one frame. I'm going to grab both curves. Oh, it seems like I just move one. That's fine. Just going to grab all of these guys. Let's move it once back. And all of those guys and just ones back. And now the squash and stretch, I just need it to move it. 14 worth and a little disguise 14 so that they match. So if I grab both curves at that same time and they should have the exact same keyframes right now. So we take a look again. A little bit better. I like it. I think I think it looks good. Now under falling here, I'm not particularly fond of how how slow he is to flip. And this is, this is a very constant thing that Maya has and that's due to the nature of animation with 3D softwares. Maya only knows that that we want the character to be here at frame 34 and here at frame 40. But it doesn't really know how fast we wanted to churn to be. So Maja just thinks that what we want is for this guy too, just like normally flip. But we would actually like to, this guy to do a quicker flips so that at this point, roughly at frame 37, pretty much already finished his his backflip, right. So there's two ways to fix this. One would be to go here. And we know that the channel that we're modifying AS rotation in X. So if we go here, rotate x, you can see how this curve here from frame 34 to 37 is really, really slow. And we can of course just grab the curve and just like push it in such a way that it makes it, it makes my understand that we want the twist to be a little bit faster. So it's said that he lands on his feet a little bit better. Or another thing that I like to do is go to Frame 37 and just manually say, Hey, Maya, make sure that this character is doing this flip at this point. So now Maya knows that since we have an extra frame there, Let's animate both curves. It knows that it needs to do a faster flip between frames 34 and 37 to make sure that the little fox here lands in a nicer way. So here, I think he, he should pretty much be landing on his field. If we need to just move it slightly forward, that's fine. And then it's squash. And stretch. Sorry, stretch, squash. And then just, he just recovers his form. So let's take a look at the animation now with that extra in-between the data that they're way better, right? So as you can see that the fox here churns very, very fast and allows us to create this very nice Effect where he just bounces on the wall very nicely and then just goes all the way to the top. I think I want to modify a couple of things here. Like, I think the arc is looking good, but I think we can make it better. So I'm going to push this guy a little bit further back, just with x here, there. And then frame 37, of course, we're going to move him back. Frame 40, just, just a little bit further back. So the curves a little bit more that like the bouncing ball curve that we had before for a two and then 52 should be right around there as well. So that should give this a little bit more of a flow. Did look, there we go. We can also go to frame 28 and say, Hey, you know what, maybe at this point, I want him to be rotating a little bit more like a frame 31. I want him to really throw his, his body out. So that twists or the switch is going to be a little bit faster there. Grab both elements in S. There we go. Now if we take a look at this and we get this very nice boss, we could exaggerate the, the bounce here on the, on the wall. So first remember we have 1, 2, and then we have two frames here. We could grab both curves and just give it one more frame, just one more frame. Just so that he holds on the on the wall a little bit more, just a fraction of a second. See that? So just just that fraction of extra second there allows us to make it seem like he's actually like holding on the wall and preparing for the big jump. It's just one extra frame and it completely changes the way that the animation fields. We need to now of course, discuss with ourselves whether or not that's good or bad. Sometimes some of the dimensions will benefit from those extra frames and sometimes other animations want, in this case, I think it really is not benefit that much. So I'm just gonna go back. I think I like this as not be cartoony, cartoony feel for the, for the, for the jump. Now I do think that my jump is a little bit too wide, so I'm just going to again grab this guy right here. Main courageous. We always wanted to curb the arc of the character to be as nice, easy how floated that looks, that's, that's all we want. There we go. That looks really, really clean. Perfect. So I'm going to stop the video right here, guys, make sure to get up to this point. Just do the basic of key poses for the character. No tail, no tail just yet. And, and in the next video we're going to continue with the animation. So hang on tight and I'll see you back on the next one. Bye bye. 14. Wall Jump Timing: Hey guys, welcome back to the next part of our series. Today we're going to continue with the little FOX animation right here. And we're going to be talking about the tail, which is going to be quite a challenge for hours for our setup right here. So first thing I'm gonna do, I'm gonna go to the motion chunks, going to erase it. I know that the curve is now working properly. And now we can go to the triangular curve that we have a first and turn on the tail. As you can see that the tail has no animation, which is fine. I'm going to create a select set for the tail because I think that that's going to be useful for us. So what I'm gonna do is I'm just going to grab 1234. I'm going to go into Create set, quickselect set. I'm going to call this a fox tail. And I'm going to say Add to shelf. So now we have this fox tail and it's just a quick select said. So every time I need to select all of these four elements, I just click this button and we're going to be just fine. So on the first frame, I want to make sure that this still looks nice and relaxed. So I'm just going to grab this guy, move it down, grab this guy up. This guy as well. Just move this guy up. So it looks relax, which is what we want to start with. We're going to just keyframe everything. And now we're going to grab the little guy here. We're going to move to the mainframe here. And of course, detail needs to kind of push back while remaining relaxed, of course. So this is just going to be a little bit of movement there. See how he just like lower.tail there on the jump here, Here's the first part. This still is not jumping just yet. So I would expect this tail to be down here still. So we're gonna get one, two, and then three. And remember what we've been talking about, specially if we go to the, to the frame here, which is where the fox is falling, the tail is just continuing with the movement. So we need to make sure I'm actually going to turn the motion trail back on. And we need to make sure that the tail follows in the best possible way. The same sort of like a curvature that we have on our motion trail. Okay. Not not necessarily because of the motion of terrible because that's the motion that are little fox is following. Okay. So I'm just going to start at like posing the tail like this and see how we create this very nice curve. I'm only animating and x, and there we go. So now we'll just grab everything here and hit S. Now a couple of frames before this, like right about here. I would expect the tail to still be on the ground. And this is one of the things I love about this. What's the word about this rig? And in particular, there's other rigs that allow us to, to move the tail in a in a nicer way. But some of them you need to pay and I don't want you guys to spend extra money, so I'm just going to curb the tail like this. So we're gonna get this, for instance, on this frame right here. I'm going to try to keep the tail like stuck to the ground like this. We get this. There we go. We fall in at this point that the stretch, I would expect the tail and all of the components to still be coming from the, from the top like this. So again, I'm just going to go up everything here and let's make sure that every single part has a, a, an animation. So see, so here for instance, I will definitely push this guy slip forward again. So they said they follow the curvature that the character is following at this point, since we have a couple of frames here, it's for the, for the tail to kinda like relax. I will expect the tail to fall down. And similar to what we'd have with the rope, remember the pendulum exercise, I would expect it to do something like this. So the tail will fall like this, and then he jumps again. So I would expect the tail to still remain like all the way back here. He starts moving forward and the tail ie conscious like follows with the general shape of the, of the law was a little fox here, so we just jump. And here on the movement. I would definitely expect this tail to be creating or helping me sell this movement. Because at this point, for instance, let's go there. So from the first time he starts like twisting because I don't want the tails just like I mean, it's not bad. But see how the tail remains very, very static at this point. At this point I think I would expect the tail to be going to the other side like this. And then here, I would definitely expect the tail to be a little bit more like this. We definitely want this tail to be following the path, kind of like a straight as possible. For the first. There we go. So you can see there's a lot of posts for the, for the tail. I'm going to delete this one. So I'm going to select all of the elements here and just delete. Because I do think due to the nature of this thing, that the tail would only animate until the very end. There we go. So here at the squash like on the first contact details still following. And then a couple of frames after that. That's where the table with just like fall out and out. Of course there's one, we'll do something like this. And then we can do like a small, small coil again while keeping this thing and low here. And then a couple of frames later when he completely relaxes, let's just move the tail down and relax completely. There we go. So now if we take a look at the animation, we're going to get this. Very nice, right? So as you can see, the little tail follows very nicely the movement of the character and look at that amazing flip right there. Very, very cool, right? It waits until the moment where the fox does the backflip and it follows after the fox, right? Remember the little thing that the overlaps and things that we've been talking about. So we have this very, very cool animation on the tail and we're gonna make it even better. So let's do it. So the way we're gonna continue this and polish the movement of the tail a little bit better is first I'm going to grab all of the elements. I'm going to make sure that on every single frame we have a keyframe because we're going to be offsetting things here. And here's where people will get really, really confused and they kind of like they get lost with the overall setup. So, so I'm going to try to make this as simple as possible. And it's just one keyframe pretty much everywhere. And now I need to start thinking about the movement. Like, do I want everything to happen at the same time? No, I want things to be like flowing in a slightly different manner so that the tail looks a little bit more flow the right like more flowy like kinda like a cloth in the wind. So I'm going to grab this one, this one and this one, all of these frames. I'm going to grab all of these frames and let's try upsetting this. Actually, not only those, we actually need to grab the second, third, fourth curves. And we're going to offset them. All of them. All of them we're going to offset 234, all of them. We're going to offset them. One frame. There we go. So now they're gonna follow the exact same thing, but it's going to be happening slightly different. You're going to see how the tape, for instance, there, it gives us a nice little bump there at the end. So now what we can do is we can continue with the three and the fourth section of the tail and as well just offset them one frame. And finally that little tip here, take everything and offset one frame. The reason why we don't offset the first part because that's the one that's connected to the body, and that's the one that follows most of the motion very closely. So we don't want that effect on the whole thing. Look at that. Every nice flow effect all round tail. So if we take a look at the animation curves, you're going to see that what's happening here, if we take if we wait. Yeah, you can see here how they're slightly offset it. This one, this big one is the base current which has more movement than the other ones. But the other ones very, very nicely. They have this offset in certain areas and that's what's giving me this outflow, the bike throughout the element like look at this in slow motion, how it like the character false and then tail false. And then the next section of the tail falls, and then the next section and then the little tail and all of that, all of that is getting this very, very nice offset of the effect here at the, at the very end. So this is the result of the whole thing where we just have this very nice happy little fox that's jumping from one side to the other. And we get this very nice flowy effect with the tail. What's going to be your homework ice, and it is of course optional. There's no way I can just review it, but it's just an exercise that I proposed to you. One of the exercises I like to teach my students is okay, we did this already. We have this very nice backflip and this could be an animation. We're going to be talking about the, the camera animation in the next video and the, and the render setup, which is going to be a, a short video, but we're just going to render a very nice final francs for this guy. But one thing you could do is just grab any of these pieces. Let's get them out of the reference graph like this guy, duplicate it and just position it somewhere else and tried to get the Fox over here for instance, or maybe like rotate this plates like this and make him jump not only in one axis but in several axis. Of course, going to take a little bit longer to do. But it's the same principles that we've been applying so far. So that's it for this video, guys, hang on tight and I'll see you back on the next one where we review the final render setup. So I'll see you back on the next one. Bye bye. 15. Wall Jump Polish: Hey guys, welcome back to the next part of our series. Today we're going to continue with the wall jump. We're going to be finishing this animation. We're going to prepare for render. So let's go. We're gonna get rid of the motion trail. We don't need it anymore. We can of course, press Alt one to make sure that the curves are hidden. And then we play, we can now see how our animation looks. Very nice. Very good for this simple exercise is teaching us the basics of animation. So I'm not sure if we've already talked about all the principles of animation like in order. So let me just bring them out. Principles of animation here. As I've mentioned in the history video, there's 12 principles of animation that relate to all of the things that we normally do here instead of the animation, There's this video right here. I strongly recommend it is by a guy name. What's his name? Alan Becker. It's 24 minute video where he explains all of the elements. Very cool. But if we just take a look at the, at the actual principles, you can see we had a squash and stretch. We've used it in this exercise. We have anticipation, we've use it. We have a staging. Haven't talked about that one. We have a straight-ahead action and post to both. Those are two methods we've used both both in this case, we have follow through an overlap with the tail. We have slow in and slow out. We have the arcs, the secondary action timing, exaggeration. We don't have sold drawing in our case how I would call it solid 3D, where we want everything to be looking nice. And finally, appeal. Appeal is just like the charm, like the charisma of the, of the character. So the one that we haven't talked about and we're going to be taking a look at right now is staging. And staging has to do with how we present the animation. So I'm gonna go here into rendering and we're going to create a new camera. We're going to say panels, look through selected. And I'm just going to frame my character right here. So if I were to frame this, I need to understand what is it that I want to show? Do I want to show the challenge that this guy is going to approach right here. Do I want to show the whole thing like the animation process? Do I want to show the result like maybe he's coming from this angle. There's pretty much an infinite amount of angles through which we can show our animation. However, some of the angles are going to be way better than others. For instance, an angle like this one, it's actually really, really cool. But maybe we want to have a little bit of a closer look with a character and kind of follow him throughout his action, right? So here's what I'm gonna do. I'm gonna grab, I'm going to press Alt one to see older curves. And I'm going to say Select all by type nurse curves. And I'm going to give myself a little bit more time and I'm going to move all of the keyframes, let's say like two seconds, 30 or 60 frames on to the front. So now what I'm gonna do is I'm going to have a little bit of a push in with a camera. So I'm going to start with my camera right here. I'm going to select them, my camera. And then frame 1, I'm going to hit S. And then I'm going to have 60 frames to push the camera into a situation where I feel like it looks nice. It's framing everything nicely and we can see the whole action which is something like this. Then as the animation starts to unfold, I want the camera to be like panning out and probably zooming out a little bit so that we always catch all of the animation. See you there. So I definitely need to probably push my camera out a little bit more. So do something like this so that we prepare the same time as a character. And then we just see the jump, as you can see here, up for probably wouldn't need this to be slightly lower. So we always see the whole animation. There we go. He does a backflip, and there we go. And then finally, let's say from this point like to a frame, a 130, we can do a little bit of a closer right? Two to indicate that a character finishes whole animation. So now if we hit Play, we're gonna get this very nice animation. Now the only issue with this, as you can see, the camera movements a little bit too wild. So we go from here and then through here and we kind of lose track of our little guy right here. So let's start adding a couple of extra frames here. And softening out the moment I do want to have this like frame out, maybe like even like move this guy for a drawback. The movements a little bit slower. And we can see the whole preparation, the jump. I really want us to jump a little bit more clear like this. We follow the backflip and then we fall and we get this close-up. See that? So this is just a very basic camera animation that we can add to our, to our scene. And it's gonna give us a little bit more of an interesting look. I still think it's a little bit too intense. So let's say we don't want this extreme animation. If you want to render this, then you're free to do so of course, but I'm going to go for something a little bit lighter. So what I'm gonna do is I'm going to select my camera again, delete all of this frames. So delete. And I want my final frame to be kind of like a closer right here. Something like this and like on, on one of the thirds of the image. But I want this, as you can see, it's pushing in too fast and I don't want this push in to be as fast. So I'm probably going to go to frame like AD. And I'm going to keep the camera out so that the push is a little bit smoother. So we see this. I still don't love it that the fact that it's doing this, Let's, let's always give them the actual reframed. There we go. So we give it the actual frame. The little fox does this jump. I'll probably change this to something like this. So I don't want to really see the overlap on the, on the element. So yeah, I like this like some small twist. The fox jumps. He does the backflip. Very important that here we kind of frame everything so that when we see the backflip, we see all of the action. And now we do that assuming, now we need to check how this looks in the speed because sometimes even though on the scrub it might look nice, that speed might be a little bit too fast, but in this case, no, it looks, it looks pretty, pretty good. So a 140 frames is roughly what we're going to be animating. And we get this very nice effect. So you can add like a little text message at the end, like we did it or something. But that's just a simple exercise just to show you a little bit of camera movement and of course, the animation of the character. Now we need to talk about the rendering settings. And this is something that we've already done with the little flower. Sec. I answer, just going to go here, lights. I'm going to add a skylight on our source images. We have one very nice source image, this peppermint power plant, which is fine. It's just a, it's just something that we can use. I'm going to go here on the camera visibility. We're going to turn this off. Let me save this in real quick. I'm gonna go Arnold, and we're going to render the scene just to see how this looks. Now it seems we're using bleed materials, which are the basic materials from Maya. Everything's going to be reflective, which is perfectly fine as you can see, this makes it look very, very, very cool. I don't want to add one extra lights. I'm going to go back into perspective. I'm gonna say Arnold lights, Area Light. And I'm going to position this light on top. It's going to be a big area light right here. Let's give a warm tones. I'm going to use color temperature and bring this down so it's warmer. And the exporters got me something, should be something big like like 20. Let's try that first. Let's see how this looks. Way too much. So let's go to like 15. I think it's a little bit too much still, so let's go 12. That's way better. See that. Very nice, like global illumination effect and everything going on. That's, that's exactly what we're going for. And you can see our little fox character right there. Now, let's really go for it like a high-quality render. So I'm going to go here into the system. I'm going to change this to GPU. If you have a g-force NVIDIA graphics card, you're going to be able to do this. If you don't, then that's fine. It's just gonna take a little bit longer with the, with the, with your traditional CPU. I'm going to enable my adaptive sampling, going to lower this to something like 10. I don't think we need more than 10. And that's going to allow us to sample the image up to 10 times or until we hit the threshold of 0.015 on the noise, we should give us a very, very, very little nose. You can see how the noise is getting reduced there. And for an image this size, I think this is perfectly reasonable. So if we were to just like move to like the end here and we take a look at the, look at that nice bounce light into character. Some global illumination working very, very nice. That's one of the low bar. No, everything is really out of the box so you can see the reflection on they are on the path and then jumping all the way to the front. So that's it. We have everything set up here. So I'm just going to change the name of the karma to shop camp. I'm gonna go to my Render Settings, common. Make sure that we're exporting to name, number and extension. This is going to be cold wall jump animation. I don't want ESR clips to JP extra pixels is fine for this sort of exercises. And I went from frame one to frame a 140. And we're going to run them very important to make sure your render from the shaft cam and then HDF5 for H. It's good if you want to do full HD and then just change that celebrate there. And very important, you're going to go all the way up here to the little open render view. You're going to render render sequence, but we're going to make sure that the current camera is set to shotgun. One way I make sure if this is how you go render, render and then just run their wireframe from the shotgun. Any frame is fine just to make sure that it's actually rendering from the shotgun. And as soon as I see that everything is working here nicely. After that, we can just render this sequence right here. So Render Sequence. Now, well, this is rendering. Some of you have been asking, and some of my students have asked about something called Batch Render. So batch rendering is another option that we normally have in the 3D world. And batch rendering allows us to run a separate instance of Maya. So it's kinda like opening Maya under the hood and in doing the render without affecting what we're actually working or are currently working on. Batch Render usually works best when you have a render farm. So if you have like more than three or four or five computers in your home and all of them have licenses for Maya and Arnold. Then batch rendering might be a good option for you because you can use all of them and render. And meanwhile, you can just keep working on your main computer, right? So in my case, I only have this computer right here. So render sequence works exactly the same. You're able to export everything that you want exactly the same using Render Sequence. Actually, if you tried to Batch Render using the default Arnold setup here with your student license, or even in this case when my indie license, you are going to get a watermark, you need to buy an Arnold license to be able to batch writer. But again, batch rendering is not something you need unless you have a render farm. Render sequence works just as fine. And then you're gonna get the whole sequence with all the equality and stuff. And you're actually going to be seeing what's happening. We would batch render, you don't see it, you just see the code running. And there's another thing called render farms. So later on, maybe at the end of the course we'll talk a little bit about this, but render farms are services that you can actually hire to render your scene. So if at any point you're doing like some sort of commercial or work for a client and you feel like your computers running too slowly and the client needs a lot of changes. Render farms are actually really, really good. I'm not sure about this one. That's just the first one. I click their salt ton of them out there. And basically what you do is you upload your scenes, you set up the settings, and then just render you pretty much a higher or a rent processing speed. And they will deliver you the final images so that you can't keep on working in and they'll do the render for you. Of course, this is expensive but not super expensive, but it does have a cost. So that's something that in my particular case, anytime I need to do something like that for a client, I always make sure to include that sort of budget on the, on the price, right? So if I'm going to do an animal like a 1000 frames with a render farm are probably increase the price. Just to say like a random number and maybe extra $200, right? And, and I know that those $200 are going to allow me to use the render farm services and that way I can keep on working on the scene while the render farm, it's doing its job, it's, it's Cloud-based, so you're only going to be downloading the images. And it's a nice, wait two, to get rid of all of this job. There's other ways to do it. You can, of course, rendering engines like Unreal or Unity, you can use Marmot said you can do GPU render, CPU renders like there's a ton with a ton of different ways to do the final renders. This one that I'm showing you right here, the animation sequence is just one of them. So that's it, guys. I'm going to again give you a little bit of homework if you want to try replicating this tray, duplicating some of this objects and doing a different animation. Just to get the hang of this. I've done this a lot of time, so this becomes a little bit easier for me to, to that practice. But for you it's probably going to be a little bit difficult at first. So make sure to practice. Make sure you get all of these exercises from module two ready and you feel comfortable moving on to Module treat because we're now going to be talking about characters. And it's going to be of course, a little bit more tricky. So hang on tight and I'll see you back on the next one. Bye bye. 16. IK FK Setup: Hey guys, welcome back to the next part of our series. Today we're going to start with a very small topic. We're going to be talking about IK and FK. So they say, Okay, what does an FK? Well, we're about to answer that question. First of all, I want you guys to go back here into the Behance page of our good friend. I always forget his name. Bu Gou the Jedi skin. And we're going to download to tour rate. So I'm just going to download one for now, but make sure to download the other one because we're gonna be using it soon. We're going to download this ultimate Walker, and we're going to be downloading this ultimate handy, which has this little guy with two legs and the hand, we're going to be using another one later on. So if you want to download it, right now, you're free to do so, which is this one the ultimate bony? So those are the three that we're going to be using. But for now, I want this ultimately walkers. So I'm just going to download and remember every single time that we download this, these guys are usually in like a RAR file or or like a sip or something. So I'm just gonna go here. I personally use the 706. I'm just going to open the archive. I'm going to Control C, this guy, you navigate to our project. Wherever you have your project Save. And here on the scenes file, we're just going to drag and drop this guy. So now that we have this guy, I'm going to be able to explain what I k and F gate are and how we can use them for our animation. So let's, of course, instead of a project real quick, there we go. And I'm just going to say file create reference. And we're going to reference the ultimate, the walker. This one is an excellent little tool to use. We're actually going to be using him in the next couple of B, this one we do a walk cycle. And the cool thing about this guy is since he has nothing but legs, the only thing we're gonna be focusing on and we don't need to be distracted by the head or the arms or the hands. We can focus only on the legs. And that way we can really, really learn the basics of a walk cycle. So what this on IK and FK I, k and F k is stand for two types of rigging. One which is called inverse kinematic, and the other one which is called Forward Kinematic. So for working the magic and inverse kinematics are ways in which we can control our risks. Usually, you're going to find that most rakes out there have the option to switch between one or the other. Now, one is not better than the other. It's just that they offer different kinds of what will be the word of approaches to the general animation process. So in this case, for instance, this leg right here are in IK MLT inverse kinematics, meaning that if I were to select this crystal right here, which is the, the controller for the whole guy and move it up all of the other parts of the leg, in this case the hip and the knee, would need to transform in such a way that they can follow the food properly. Okay, so we're pretty much, much animating the guy inversely, right? We go to the outermost part, and the outermost part controls all of the inner most areas like in this case again, the knee and the hip. So we decide where the food goes and then everything else tries to adapt itself to follow that specific position. Usually when you're working with I case, you're going to have something called a pole vector, which in this case is the knee. The knee or the blue vector is what tells the whole system where it should be aiming at. So let's say, for instance, I want to rotate this whole phone. I can using the diamond back there, I want to rotate the foot so that it faces out. You can see that the knee is still facing inwards or to the front and we don't want that. That's why we would grab this guy right here, which is the IK pole vector control. And we will move it in such a way that the need now faces properly, which is to the front of the feed. Usually your pole vector should always, especially on the knees, should always be facing to the same side. So we just move this little point here and it will automatically rotate to try and aim or target that there's a specific point. So this right here again is an IK System inverse kinematic. Now, if I were to go here, you're going to be able to see that usually. Yeah, right here, most of the rakes will have some sort of blend at 1 or another. So for instance, we have this IK blend right here. So if I press 0 here and change to either case, you can see that the controllers of the whole system of this walker change. And now if I want to move the food, there's no little crystal to move it. So I will need to grab the hips, move the hips, and then grab the nice, rotate the knees, and then position the feed where I want because there's only rotation. So if I want to position this foot like flying all the way over here, doing it like a flying kick or something. I will need to rotate the hip. I will need to rotate the knee and then I will rotate the foot. So the question is, well, which one is better, right leg is forward kinematics better or as inverse kinematic better? And again, there's no really want particular good answer. Some animators will only animate with IK, so on. We only animated with FK. Some of us, for instance, myself, I like to switch in between them depending on what I want. So usually in my specific case, I usually animate everything we FK because I find it a little bit easier to control with just one single controller. I know that by manipulating this controller right here and the pole vector, I can get everything where I want it to be. The issue with Ikea, you're going to see it later is that we get this sort of rubber banding effects some time. So I'm going to show you how to fix it as well, and that's it. But for instance, there are several occasions in which you might want to animate with an F K because it's just easier to do something like a follow through, an overlap similar to what we did with the tail end and a little pendulum. So I'm gonna do a quick example here on how I would use each of them. Let me just go back real quick here. All the way back. By the way, quick, quick note here. If you go to a little guy running here on the, on the bottom corner and you go to your undo preferences, you're going to be able to set how many rows you want. Usually I think it's set to infinite, which I don't recommend. Because if you've been working on Maya for a long time, like more than two or three hours. Dq is going to be like super, super long and that's going to eat your RAM. So I'll usually do find that and 250 is more than enough. However, if you want to, What's the word increase this because you feel like you need a little bit more of a cushion there. Feel free to just increase it. I just have that. So there we go. Now, let's imagine that this guy is sitting on a like on, on a wall. Kinda like Humpty Dumpty, right? So let's look a wall here. Let's grab this face right here and bring this all the way that it's just going to go with this guy. Let's position. So he's like sitting there. Now this right leg, I'm going to animate using for working in magic. This left leg, I'm going to animate using inverse kinematics. So if this case just sitting here, let's relax him a little bit. So let's just like push him back and he's just like enjoying live there. And this leg, I want this to be swinging. So I know that we're going to have this thing called or I'm going to I'm going to position this leg like this is going to be the first frame. Let's rotate this. And even like the little thing right here, that's probably not going to be that far back, something like this. And then we're going to have a little bit of fermentation here. So I can select all of these elements right here. Ground the press S. And then let's go to frame like 60. And let's do the next rotation which would be like here. And then the knee just like move forth. The food moves forward as well. And the topmost forward. Okay? And then we go back to the first frame. We have all the keyframes set on so we don't need to press S because everything is keying itself. And if we go back to the frame a 120 and press S, and if we play this, now we get this like a very nice like movement of the leg, right? And we already know how to make this into a loop. Now, I think 60 is way too much or it looks very, very slow. So I'm just going to grab everything here. Well, let's reduce it by half. So let's go to frame 30. And this one's gonna go to frame 60. There we go. And we only need 60 frames here. And we press play. We're going to get this right, just like a very nice swing of the foot. Now, of course we know the trick here. We can grab the knee, the ankle, and the tip of the foot, grab everything. And let's offset them by one frame. And then I'm going to grab only the ankle and the tip of the foot. One more frame and then just grab the tip of the foot. And I'll set it one more frame. There. There we go. Now if we give this a little bit more time, let's say like 70 frames. The first one is going to look very, very smooth, right? Because we have that offset. Now here's a trick that I haven't, haven't shown you before. And that's why I like to kinda like hide this little tips inside of video. So I'm sure that you guys are watching the whole thing because later on some of you, I'll be, some of you are going to be coming back to this video because later on I'm going to talk about this and I'm gonna say, remember when we saw this in the EKF KB and you're like, oh, I skipped that one. Yeah, That's why you don't skip videos because there's always, always useful information for you guys. So here we go. I'm just gonna grab all of the curves here. Now I'm going to do something called infinity. So I'm gonna grab everything here and I'm gonna say Curves Pre infinity, I'm just going to say cycle and then Curves post infinity cycle as well. And then we're going to view infinity. What's going to happen now is, as you can see, Maya is interpolating this cycle that we have here because I know that this first frame and this last frame, even though they're offset right now, they all start and end at the same time. So if I were to just connect a cycle, we create this very nice group. So now, no matter how many frames I have, I could have like 200 frames. The character is always going to be doing this very nice string with the foot right? Now here's another cool thing. If I were to grab all of the elements here and make the swing faster by grabbing all of these guys. And just like. Like scaling things down, let, let's see to like 45 or so. It's still respects the fact that it's a cycle and they will continue to do the cycle very, very nicely. So there we go. So this is the right leg. And as you can see, we've done a very, very similar animation to what we did with the pendulum. And FK is really, really good forward kinematics is really good whenever we want to do this flow we fix. Because as you can see here, it is very easy to, to manipulate and modify this elements. Now let's imagine that we want to do the same thing on the other side, right? Like on the, on the left side. It's going to be a little bit trickier because I will need to move this guy down or back, rotate this. So the fetus like up here swinging. And you can see that we can't easily control like the curvature of the feed. I would have this extra controllers here, like this foot roll or this foot brake or sorry, the toe roll. There we go that I will need to animate. So it's an extra controller that I need to animate. In this particular case, you can see that there's a little bit of a bend there. So I will need to grab this guy. I'm probably push it up a little bit. So that would be my first post. Let's go to frame 30. And I know that the full would go all the way to the front and I went into rho to the whole thing here and then bring the toe roll to the other side. And again, if we check the other animation that we have here is this sort of position right there. So on frame 30, I will need to like really pushed the sky to the front like this. And then just go back on frame 16 to this guy right here. So if I check the animation, you're going to see that the animation is not the same C, Why is it not the same? Because Maya, remember we talked about this. Maya interpolates whenever it sees on one post and tries to correct it to the next pose. So instead of just going from this point and doing this very nice curve on the other side. It's just going to try to cross as, as fast as possible to the next position. So what, why do I need to do is I will need to go to frame 15 phrases for instance. And I would say, Hey, you know what, my r, Remember you're, you're coming from this arch right here. I want you to kind of like, like flow down here. I still want you to be like delaying the rotation a little bit, maybe a little bit with the total as well. So that when we see the whole thing, we see this sort of effect, right? So ie this possible, as you can see here, it is possible to an e-mail to animate the exact same thing on both options, a good animator should be able to, to accomplish the same thing no matter what system he has given. However, some systems are a little bit easier to do than other systems. So for instance, again, and we take a look at this, it's not the same, but we're getting there. We will need to polish a couple of more poses, check our timing Turker curves, and something that was very, very easy to achieve with this side using for working nomadic becomes a little bit more problematic using inverse kinematic. On the other hand, if I wanted to do, for instance, like a kick, like let's say we want this character to literally just kick something. Just going to go all the way here, right-click, I'm going to say break connections. And one thing I can do is I can say, hey, you know what frame 1. I want this foot to be like back here. Like just like back here, he just brought the whole foot back. Let's Move total to the other side. And then on the next couple of frames, like the final frame that the kick frame for instance, would be frame 40. And I want this guy to like really just like push this leg and kick the character or like a ball or something like that. It's coming from from the back like this, right? Always make sure to place the than the proper place. So again, we grab this guy s. So now as you can see, we get this boom, of course, right now the leg is doing a very weird. What's the word interpolation there with the knee? Actually, we need to go back, grab the knee. Let's keyframe here on Frame 40. And then I'm on frame right here. There we go. So now we're going to have this boom. And of course we need to go to like the intermediate frames to the in-betweens and we need to clean them as well. So I would expect the light to be coming from this area. And we're going to have poem that he had right there. Doing that. Of course, with the proper timing and everything is going to be way, way easier to do with inverse kinematic then trying to do with four. What can you imagine trying to get the exact same poses there to like modify this and make sure that it's banding proper and everything. So that's why having the option to switch between Forward Kinematic and inverse kinematics, it's a little bit easier than to not have the option, although the initial rigorously, if you're learning reading more often than not, you will be taught how to do both systems for working in my thing is the most simple and easy to understand, but the inverse kinematics really not that hard and as long as you can implemented on just like the legs and the arms, you're going to be golden eagle because Joe's having that option to, to switch between one and the other is usually really, really good. Lex by, by like common construction, legs are usually inverse kinematic and arms are usually forward kinematic. However, again, a good rich should have the option to switch between both of them on both ears. And that's it guys. If you want to do a small exercise, this like a simple twist here and kick over there just to get used to the cell, to the systems of forward and inverse kinematics. Feel free to do it. I'd say it's a really good practice and get ready for the next video because we're going to jump straight into a walk cycle. So that's it for now. I'll see you back on the next one. Bye bye. 17. Walk Cycle Key Poses: Hey guys, welcome back to the next part of our series. Today we're start with the walk cycle. The walk cycle is one of those exercises that it's super, super famous. Everyone has done and walk cycle whenever they're learning to the Earth 3D animation. But since one of the most complicated and it's one of the most tricky wants to get right? So I'm gonna show you my technique to do it and the principles that I like to follow. I ME a new scene here in Maya, whether a project are already set, I am going to of course, creating a reference, which in this case is going to reference the ultimate walker, which is direct their work I'll be using. I'm gonna go here into your lighting changed to sidelining to see both of the elements right there. And now I'm going to go into my right view. So at this guy he's facing forward. Actually, it's actually facing backwards. You can see here like if I were to create a cube, you can see that C is to the other side. It's really not that big of a deal, but if you want to make sure that everything is facing the proper direction, we could grab the main curb right there and just rotate this minus a 180 degrees and it's going to be exactly the same. So inter source images folder and you're gonna go here to view image plane, import image. And you're going to import this a walk cycle, inspiration as a matter of survival kit. And this walk cycle is probably the one that everyone has used all the time or whenever you're learning a walk cycle you'd like or we use to reference this one. This is from Richard Williams that we talked about before. And I'm just going to scale this to the other side. So I'm going to go minus actually, you know what, I'm actually going to keep it like this. I'm just going to bring this back to 0. And the reason I want to do this is usually in movies, television, video games. Walking towards the right means forward movement. And walking towards the left means like backward moment. But the same principles apply no matter where you're walking. So as you can see here, what's going to happen is we're actually going to go through a cycle, meaning that the first boat and the last boats are going to be the same. And then all of the poses that we're going to go through are going to be the same but on the opposite side of the body, right? So there's only four poses that you need to learn in order to make sure that you master a walk cycle. And the poses are contact pose, which is the first post that you're going to see. And in the contact pose, It's the point where both of your feet are touching the ground. Walking is this might sound a little bit stupid, but it's kind of like reality. Walking is falling forward and then catching yourself before you hit the ground. When you're a baby, you learn how to walk in and you fall a lot, but it's just the process, right? Eventually as an adult, you barely rarely or rail the fall when you're walking. But if you were running really, really fast on like an inclined street or like a healer apart, it would be very easy to lose your balance and just fall over, right? So, and the reason is we throw our body forward and then we catch it with our legs. And then we just keep doing it. And we just keep doing it. We keep the regaining our balance and that way we just move forward. So the contact point is the point through the walk cycle through the step in which both of our feet are touching the ground. This is very important. Then we're gonna go into what's called the down pose. And on the down pose, as you can see here, we're going to be having a sort of anticipation. Remember the principles of animation, we're going to have an anticipation that's going to propel us forward into one of my favorite poses, which is the passing position. The past position is when you propel yourself forward and you start dragging your feet all the way through the center line and to the front. Get to the up position and finally to the contact on the other side. So see how this black leg right here, which is the left leg, goes down, then passes over, it goes up, and then contacts the ground. And then the exact same thing happens. But on the other side, this like that just crossed over is now going to be our support leg to propel the right leg forward, pass it, go up and then contact position. Okay. Now, as you can see here, this is already are, this has already been time for us. I know that this is a 20 frame walk cycle. Usually a walk cycle berries in between 2420, sometimes all the way up to 35, 36 frames. That's usually the speed at which we are walk. You're going to have like a full cycle in about that time. If you want like a really fast cycle, you're probably gonna go to like 20, 22. If you want a little bit of a slower cycle, then you're probably going to go to 30, 35, 36. You can of course, change it as much as you want, but that's the general rule of thumb. Now, some people like to go to each specific frame and just do the posts on your character. I'm not gonna do that because if I do that, I'm just going to be copying this another one, I'll show you that I want to show you the method that I normally use for my walk cycles, which does involve this positions, but not them that specific time and you'll see why. So I'm gonna go to my first boss. And one thing that you can see here is that they, they created this sort of like wave that goes the height of the character. You can see that the character goes down, then a little bit up, and then really, really up and then back to like a basic frame. So we need to position our character on the basic frame of reference. So I'm going to have something like this a little bit low here. I'm going to grab my right foot. You can see that the rightful this is forward, so I'm gonna grab my right foot and I'm going to rotate it so that we create this contact position like this. A little bit of abandoned the knee. I never liked having, especially when we're using IKEA's. I never like having everything like be completely stretched out because he gives you this very mechanical look and done now this one right here, I'm just going to move back. We're going to rotate as well. Remember like a little bit of a bend there. And then here on the controllers we have this toe roll that we can use to create like this, sort of like a 90-degree effect back here. There we go. So this right here is my main post. I'm going to go up this curve. Both nice. Which are the pole vectors, this guy and this guy. And even does what it gives is the stretch and squash. We're going to use it later. I'm just going to create the set. So create set, quickselect set. And let's call this a walker. Let me go into our, let's cancel. I'm going to go into our element here. So again, edit or create set, quickselect set. I'm just going to call it a walker. And I know that this quickselect set is the one that we need. It didn't add the button, don't worry, select quickselect sand and you can just press Control Shift and click to add the walker element right here. There we go. So we just hit S on the first frame. Now here's where a lot of my students make the mistake. They will rush and they will try to go all the way to frame 25 and do like, Oh, I already have the timing. Let's just police this guy and frame 25 and that's it. No, don't do that. Not yet. I'm just gonna go to frame three. And what I'm gonna do is I'm going to hit S. So now we have the first and the final post. Now, the second post should be this exact same pose, but on the other side, right, with the opposite leg. So I'm just going to grab this crystal. I'm just going to position this in such a way that it matches as close as possible, that will have to be perfect with as close as possible to the crystal behind it. Now of course, I'm going to do a little bit of total role to bring this guy up. Let's just move this down a little bit lower. There we go. Then I'm going to grab the blue crystal. I'm going to move it forward or rotated, of course. Well, and we're gonna get rid of the total because we don't want that. And we can very easily check if I go into frame 1, I can check how much of a difference I have in-between the elements. Again, it doesn't really matter if they're not perfect. Actually, having a little bit of asymmetrical step is good because he gives the character a little bit more life. But if you want to be like super, super perfect, of course you could just copy the values here and just pays them on the other side. Make sure there's no Oh, wait, no. Actually, we didn't need that one. I felt that was rotation. Make sure there's no extra dimensions right now. We're just rotating on the, on the x axis. Okay? So there we go very easily. We have the first, the second, and the third post. Now what I'm gonna do, I need to make sure that all of the elements have keyframes on all of the posttest. So just hit the walker selection here and just S, S and S to make sure that all of the elements have the one that we need. Now what I'm gonna do is I'm going to grab this post 23 with Shift and I'm just gonna move it one space. And then I'm going to grab the post four and move in one space. So now we have a space in-between this one right here. Okay? Which would be if we take a look at our chart, the most important post right here is the passing position. That's why I love this pose, because it's the most important one. Now there's one thing that I did forgot about my walking cycle. And that's the fact that as I mentioned, when you walk, we're actually throwing our body forward. So we're gonna go to my frame one, just going to push this guy a little bit forward. And I'm going to rotate this so that it looks like he's actually on a strike right there. As you can see, this really doesn't change much, so I'm just going to copy and paste this on the other ones. And we got this. So it's just a little bit of an inclination. You can see it on the guy right here. He's slightly like a rotated forward so that it looks like he's actually like moving forward, not like a robot, but actually pushing his whole body forward. Now we grab all of the elements again. And I'm just going to grab this two frames right here, MOOC than one frame. And then this frame right here, move it one more frame. And if we go to frame 2, That's going to be a little bit easier to organize everything. So the first passing position, as you can see here, what's going to happen is this foot right here. The right foot will be completely on the ground. Completely flat on the ground, no rotation at the total. And this four right here that the left foot be passing right, so it will be crossing like this. So it's kinda like you see this almost 90 degree bath here on the character. Very important. And it's similar to what we've seen with the tail and stuff. You're going to have this thing like going back. Some people like to add a little bit of total to the other side like this. Kind of like leaving the floor behind. And of course, for this to look very, very nice, we need to bring this character up because as you can see on the passing position is when the character starts going a little bit up. So I would expect him to be slightly like this. Okay. So we got contact. Passing, contact, contact, passing contact. Okay. I'm going to go here, save this pose. And now we're going to go to frame or to pose for, in this case, grab the other crystal, which in this case it's the blue one. Bringing it down, get rid of the toe roll, grab this guy. Bring it down, bringing the total to the other side. This guy right here, It's also going to go up, How will I can go to frame 2 and just copy that frame on this guy right here with middle mouse click. So again, let me show you that again. So I know the frame too has the proper height and I want to have this same height over here. So just going to grab this guy right here, middle mouse, click on frame 4 and hit S. And that way we just transfer that information into this frame right here. And we go to frame 2, and we go back to frame 4. You can see that this is what we want. So this is where the crystal is supposed to be. And that means that this guy definitely needs to rotate mobile before were like this and now we can check it. Yeah, they look pretty similar. So we got 12345. Okay, so that's the first poses that we have here on our walk cycle. We got the contact positions and we've got the passing positions. Very nice. Anybody if you, if you do a little bit of a scrub right here, you're already going to be seeing this sort of effect where the character is nicely walking. Now what I'm gonna do is of course I'm going to save before anything bad happens. So let's save this as a walk cycle. There we go. And what we're gonna do is we're going to grab all of the elements, make sure that all of them have a nice keyframe set on all of the frames. So when we see the graph editor, everything has a nice keyframe there. And we're going to grab all of the frames from frame to give them one more space. And then all of the frames from frame 5 and 6 give it one more frame. And the next important part is the down position, which is our anticipation. Remember, we always need to have some sort of anticipation or animations to make sure that people understand what's going to happen. So the cool thing about this is since we're already set up this guy and this guy, the anticipation is going to be really clean. See how, see how the, the, the Reggie's already kinda telling us what he wants. So he wants to go down because I can see that this guy right here is about to do this transition there. So I'm gonna go to frame to grab this guy and just rotated down and bring it back a little bit, not that much. Just a little bit, something like this because I know that he's going to slide back on the next frame. It's going to be one, 23123. Now, another important thing that I know is that this guy is gonna go down. So I'm going to have a little bit of a down position here. There we go. And then middle mouse-click frame fight to make sure that we have the same high there. So it's 1, 2, 3. That means is, as you can see from frame one to two, there's really not that much of a change. Let's push him a little bit lower. And then again middle mouse-click to frame a five and copy that post. So we got 1, 2, 3. And that'll change there that the fact that he's going to really change heights, That's also going to allow me to sell the walk cycle properly. Now you can see here that on the down position, this guy right here is, it's just like preparing for the passing position. Some people like to just use the, again the total to kinda keep this right there so that the little tip is, is doing that sort of effect. We can try that or we can just like keep it completely straight and do this. So you can see right there, we're not going to push it forward or backwards. We're going to keep it exactly there. Because he's just going to do this movement there. And that's it. So just grab all of these guys here, S. And now we go to frame 5 and we need to do the exact same thing, but on the opposite side. So this guy is going to land, he's going to move back. How much back? Well, we can of course check with this. That seems to be good. And then this guy is going to get rid of the toe roll and he's gonna move. Yeah, roughly about there. You can see the changes very rational because we already transferred the height of the character, right? So, so we have 1, 2, 3, 4, 5, 6, and then 7, which is our contact again and again, if we do a quick scrub, you can see how this character is starting to look like is actually walking. Now we just need one more post, which is the, the up position. So for the opposition, I'm going to go to Frame 4, which is the next contact. Just going to grab all of this frames, one frame to the other side. Very important, very important. Make sure you select all of the curves. We want to move everything. So f3 and f4 goes one more frame, and frame 8th also goes one more frame. Because here is where we're going to have our AP position from the passing position to the up position. And as you can see on the up position, what's going to happen is this guy is going to rotate it a little bit so that we get this little jump. We're going to bring this guy up. We can bring this guy back a little bit and rotate it so we get this little jump. And then the fourth year, the one that's doing the passing position, it's probably going to get rid of the toe roll and he just moving forward. It's just like it's kinda like a small kick that's moving forward to, to finish this step because from here we're going to jump into the contact like this. Okay, so from here, up, down position or sorry, passing position, 0 position, and then contact position. So we're gonna go here, do the same thing. We need to. Of course, grab this guy, middle mouse-click to transfer the height. There we go. Now, this guy and it's a little bit forward or backwards, move this guy up. This guy gets rid of the total and he's going to be moving forward. Again. It's kind of like doing a nice, a nice strike, right? So for eight a little bit further. Four, There we go. So now we've got 1, 2, 3, 4, 5, 6, 7, 8, and 9. Going back onto our basic passing position, if I were to reduce my timeline to only nine frames and play this out. You're going to see that he looks like he's running probably the frame rate on, on the, on the video. It's a little bit low, but you should be able to see the transition there nicely. Here's where the cool trick happens and here's, here's the reason why I like to do this method in the way that I showed you, instead of going to the specific frame and getting this strike that by the old interpolation, I like to do this first, then increase my timeframe to, for your friends, for instance, grabbed older curves, grab all of the keys here. And I'm going to scale them, something that we've done before. So I'm going to press this outer edges here, our arrows. I'm just going to scale this animation until we hit about 30 frames. So something like there. Now if we take a look at the walk cycle, look how this looks. Very nice, right? Very soft, very, very flowy. I like all of the poses are doing a very nice effect. And we get this very cool interpolation. And the reason I like to scale of this first is because if I see that the walk cycle is a little bit slow, no problem. Just grab all of this things. Crunch it a little bit lower, let's say 23 frames. And now the walk cycle is going to be a little bit faster. Let's say I need my character to be really slow. Like he's walking on the moon or something. Let's just scale this all the way up to 52 frames. And now the walk cycle is going to be a really, really, really slow, okay? So by doing the poses first and that timing last, I'm going to be able to adjust the timing to work to the specific things that I need. In my case, I think I'm going to go for like 30 frames or something. I feel like that's a very casual, like relax walk cycle. Now, the only problem with this thing is that by doing this scaling that I just did, now my frames are not exactly aligned to the specific, specific frame that they're representing. For instance, this one right here, it's right in the middle of the frame 29. You can see it right there. It's not actually like on the, on the actual like keyframe. If we go into the graph editor and we check like any of this crystals like this last 29 frame, you're going to see that this is actually a 29.69 and that's not what we want. So how do we fix this? Very simple, we just grab all of these guys, right-click and we heat snap. And what's snap will do is it will snap the keyframes to the closest full keyframe that way this guy, for instance, is a frame 30, this is frame 26. Now, you might see that the distance between the frames might no longer be exactly equal. We had that equal at first, but now, thanks to the scale, things might shift a little bit. However, the general feel of your animation shouldn't change. Like you should still see the whole thing flowing in a very, very nice manner right there. And again, as we saw in the last video, the EKF Gabi that we can do an infinite cycle here. So I'm just going to grab all of the curves here. Grab all of that. And I'm just going to say Curves Pre infinite cycle. I just need, sorry. I actually want to do the post infinity cycle. And I can go into view and I can see infinity and you can see how the cycle just continues. So if I were to increase this to a 100 frames and just hit Play, we're gonna get this completely finished walk cycle. This is not completely finished. It's just a way to say, right? And the reason why this is not completely finished is because this walk cycle right here needs a little bit more polish. And I want to show you a couple more tools on how to actually make him move forward. Because right now he's just walking in place. But they're walking in place. This already looks very, very nice. It looks very, what's the word? Very soft, very smooth. You don't see any, any like we're clique or anything. So Morton have very, very good position. In the next video, guys, we're going to be polishing this guy and we're going to be adding a little bit of squash and stretch. And I'll show you how to make him move throughout the scene. So hang on tight and I'll see you back on the next one. Bye bye. 18. Walk Cycle Polish: Hey guys, welcome back to the next part of our series. Today we're going to continue with the walk cycle. So let's get to it. This is where we left off. This is a very nice walk cycle that we have. And as you can see, it looks very relaxed. He looks like he's enjoying a nice like stroll in the park or something. So now it's time to, we add a little bit more oomph to the whole thing, right? We want this guy to look a little bit nicer. So I'm going to start with a little bit of squash and stretch. So if we take a look at the animation keyframes here, you're gonna see that if we select all of the character here, we then have an animation on every single frame, which is fine. We don't want the gate to be squashing and stretching every single time. So I'm going to grab this curve right here. And I'm just going to sure that we have the same sort of like squash and stretch everywhere. So I'm middle mouse clicking every single keyframe that we have, which is three keyframes. So that distance there, remember we talked about this one in the last video where the distance in-between frames might not be the same, but it's completely fine because we're going to get a nice effect. And I made a horrible mistake here. I whiskey framing everything and pretty much losing the whole animation. Don't do that. So I'm just going to grab this guy right here, and that's S, S, S, S, S and S. And let's grab something that doesn't really move, for instance, like this curve right here, or look like a neat right? So if we grab the knee and we'll grab this guy or not, let's just grab the crystal. So let's go here. Okay, So on the down position, we're going to have a little bit of animation here, so we're going to push this squash down. Now of course, this is a stylized walk, right? This is something that you would see on like a cartoon or like a very Keats friendly movie now that something you will see you on the next call of duty. So just keep in mind that depending on how you animate a walk, That's how the whole character is going to look. And we always want things to look as nice as possible. So on the up as well. So let's go for the up position, which is this one. We want a little bit of a stretch because he's using all of his force to create this sort of blue. And then we go contact, which is this one. And then on the down position, we're going to go down again. Then finally, on the up position or should be. Where is it? This one right here. We're going to have another position and then back to normal under contract. And that as you can see, my friends will give us this nice bass. Now, you can see here that since we are not calling the animation exactly at frame 30, we're not getting the cycle that we're going for, which is completely normal. And you might also be able to tell, hopefully the, the frame rate on the video is good enough. You might be able to tell that there's a little bit of a stop here. And the reason why we have a little bit of the stuff is because frame 30 and frame one are the exact same frame. So we're playing the same drawing are the same animation twice. We don't want that. So even though this is a 30 frame cycle, we're going to ignore the last frame. We're just going to play from frame 29. That way, the animation is going to look a lot nicer. There we go. Look at that nice bounce up and down, up and down. Make sure that you're running a 34 FBS. That's very important. And we're in a very good position. Now we can start thinking about some other things that might help us with the, what's the word with the animation. So for instance, we can clean up a little bit of the posttest. Let's say for instance right here. Well, let's start. Let's go in further. Let's go from first contact here. And let's see how this looks. So as you can see, we have this and the only issue with this is the fact that it takes five frames for the for the feet to fully like go into the floor. And that's not something that that usually happens, right? Like usually we press our feet towards the ground very, very fast. So here's where animation curves come into place. Remember, so what is the curve that's making this thing MOOC, of course, x, right? Rotation in next. So if we go into the graph editor and we go Rotate X, we're going to be able to see that transition that we have here on the rotation. See how we start with a very smooth curve and then we go here. This is where we want to. But we can make this go a little bit faster if we move the curve like this. So now, instead of waiting until the very end, we very quickly flatten the foot and then the foot just remains a static, which is what we want. Let's go to the other fit for instance, on this one, the other foot, sorry. So on this foot, same thing. We check the rotation on x and we can see that we want to go from here all the way through here. Now, in this case, for this particular group, we do need to break the tangent because otherwise it's not going to let us move this nicely. So I'm going to break the tangent here. Let me make the outline or a little bit smaller. There we go. So I'm going to break the tangent. I'm going to push this tangent up. So what that's going to make now is that the feed is going to land a little bit sooner, instead of lending all the way into 42019, it's going to land a little bit sooner and it's going to look a little bit snappier. The animation as a whole is going to look snappier. Now, here's where things are going to start. We're, we're, we're going to start having a little bit the Phoenician in-frame 30. We want to make sure that this frame right here are the interpolation of their curves. We're going to make sure that all the curves have the exact same cycle, right? And unfortunately if we visualize infinity here, so View Infinity, you're gonna see that we get this break. Now the only thing I want you to make sure is that this break looks as natural as possible. So I'm going to go to frame one. Copy my animation here. And then middle mouse to frame 30 and copy the animation as well. And I want to make sure that the animation looks cool so that when we create the whole thing here, when we increase the range, we're totally sure that the, that the food is falling. See that? So it's a very, very small, What's the word that detail that we can have. But it definitely makes it feel like he's landing a little bit nicer. Like IE definitely feels like the like the foot is landing, enrolling in a very nice way. And we can do the same thing here with the foot roll. So let's again, let's go one by one. So we go back to her an emissions from our passing position. We get this. And then we can add, for instance, here on the, on the passing position, on the position, sorry, we could add a little bit of a toe roll to the front, like just a little bit. And that's going to create like a little bit of a flip link flip. And then we just learned. So again, just a very subtle detail that's going to add a little bit more life to the whole animation. Same thing here. And let's go to this position right here. And let's add just a little bit of a flip here on the toe. So now the total rolls to the back like that. Like like if it's pushing the ground and then it goes to the front, it curls up a little bit. And then when he lands, it lands flat. And the food lens very, very fast. They're creating this sort of effect. And look at that very nice bouncy guy going through the park. So that's pretty much what we normally do. Now remember we have a 30 frame cycle and we close our cycle at 29 frames because we don't want the last one to repeat. So one thing we can do is if we want to say, Hey, this animation is going to last 10 seconds and we're running at 34 frames per second. Then of course we multiply 30. Let's say we wanna do like ten cycles, right? So 30 times 10, it's of course 300th. I don't even need a calculator for dad. Come on. I'm not that bad at math, so I know that if I go to 299, we're going to be at the last frame before we hit the contact position. And technically, if we play this, we shouldn't see a cut because the animations just going to loop itself. And we're looping at the, at the exact frame that we need to, to loop. So let's take a look at that and now we do see the loop. That's weird. Another thing we can do is just grab all of the curves here. And let's see The point where it stops. Let's go all the way here. Maybe it offsets itself so a little bit. So it's here at frame 305. So if I'm right about here and we just keep running the animation, it will just come back to the beginning without skipping a beat. Maybe one less frame 300, four. And again, if we go here and we play it, we should see a seamless transition, which I think we have. Now. The big question, how do we make this guy walk like on the park and stuff? This technique that I'm about to show you only works for characters that are either in just like a plain cycle. Let your characters just walking down the street, then you're not going to do any other sort of animation on the, on the lower parts of the character or for extras like a secondary characters. Third, tertiary characters that are just on the background walking from one side to the other. If you were to do like a normal, like the main character or like a secondary character that's onscreen or something. In those cases, you pretty much have to manually animate the whole walk cycle. We're going to do one of those exercises next. And and yeah, unfortunately it's a little bit time-consuming, but I'm going to show you a quick way in which we can do the whole, the whole cycle. So here's the deal. If this is just a tertiary character and we just want him to walk like from 1 to the other. One very easy way to do is of course, to animate this main, What's the word this main curve right here? As you can see, well, this one that we can't really animate it because it's the, it's the main curve. But what we can do is we can attach the script to something called a motion trail. So I'm gonna go in here into Create curve tools. I'm going to create a, an epi curve. And let's just create like a random row here, like maybe he's going up and down a hill or something. And the actually let, let me show you the whole thing. So I'm gonna go here into poly modeling. Let's create like a, like a grid. And let's say he starts at one of the corners of the grid. So right about there, I'm going to grab a couple of phases here. Let's say like three or four. I'm going to press V, S and V for B. And I'm just going to press V and middle mouse and drag. And this is going to allow me to create this sort of like he'll heels right here. I'm going to then say mesh smooth to make sure that this is a little bit smoother. There we go. And now I'm going to select this guy. That's a little history for transformation cleaned up. I'm going to select my my life surface here, which will let me flatten it just a little bit. There we go. So on a little bit of television, not that much. Make sure that the character is standing right there. Perfect. So I'm going to select this light surface right here. Freeze transformation like surface. Now I'm going to go into Create curve tools. I'm going to create an EP Curve. Let's create like a little path for a character that he's going to follow. The, what's the word the, the path to order the light surface is going to make sure that this curve is now pretty much following all the elevations of my character. Now the only problem here is that the curb might have the vertices at different positions. So to get the best result, we want to rebuild the surface. So I'm going to go into Curves, Rebuild. And I'm going to say I want 12 space, that's fine. Rebuild. So now as you can see, all of the elements are the same at the same length. Now, what I'm gonna do is I'm going to grab the main curve here, this one. And then this guy right here, that the other curve, I should, I'm gonna grab this guy. And I'm going to press C and move it to this curve right here. There we go. So by pressing C and middle mouse dragging, we can snap him to the beginning of the curve, which is what we want. And now I'm going to select this curve, that triangular curve, this guy right here. And if we go to the Animation options, we're going to be able to go into deem key. And it's sorry, where is it? Constrained motion paths? And I'm going to attach to motion path. Now on the Options here is very important that we utilize the options. I'm going to say that I want to use the time slider in this case because I'm going from frame one to frame 300. Got to take him 300 frames to go from here all the way to the very end. And this is very important. Which axis I want this guy to follow? And I want his front axis. As you can see, his front axis is c. So I'm going to say C. And then I'm going to say that we go and I'm going to say I believe in bursts out because if I hit Apply here, you're going to see that the character is backwards and he's going to be walking backwards. So I need to do inverse front and heat applied because he's tracking or his vector right now is c negative. Now if I hit Play, look at what happens. This guy is going to advance through the whole thing into a 100 frames. Now, of course, what are we seeing here? Well, the distance that he needs to run through is way too much for always way too fast for the amount of elements of yes. And he also has this sort of slow in and slow out. That's very, very common. The first thing we're gonna do is I'm going to change this. So instead of taking this guy, I'm just going to select both of them in my graph editor. This is the main curve and you can see here we have the motion path. I'm just going to make it linear. Both of them so that the transition is always linear and he's just like walking at the same speed. And then of course we need way more, way more frames. So let's say 1000 friends. It's gonna select this guy right here and say a 1000. And that way it would change the animation. And now, that's the only complicated part of this process. We need to make sure that we find the best possible time for the character in order for him to look like he has not slightly, right, like we don't want him to slide right here. I think we're very, very close, as you can see. It's really, really close, like he's lights very, very little. So that means that the best speed for this distance is really close. Let's see if we can find the exact one. Let's try. Let's try it 1200. Because the other thing that we don't want is we don't want him to look like he's dragging right. Like he's walking on like sand or something. So we hit Play here. Yeah, that looks I think that looks pretty close to a normal walk. Like the the the position where he lands he's feed is pretty much the position where he races that. So so we're in a very good position there. Let's go with this guy. Stubbed animation, grab this guy. Let's, let's smooth it out and see if that helps. Because of course, one of the problems is that this curve is not smooth enough for that, for the whole thing, we could try rebuilding it again. Let me see if that works. Let's get curves. I'm going to say rebuild, let's say instead of 12 to 24. And now what I'm gonna do, I'm gonna select this guy again. I'm going to make it live. So like the curve. And I'm going to say mesh conform. Conform. Or curves conform that we have a conform. I don't think we have one. Yeah. I was trying to see if we could just snap it in a better way, but that doesn't seem like it. But yeah, as you can see, like I said, I'm going to press Alt, want to turn this off? And we have this very cute little guy light with just walking down the, down the road. So again, if you need to do any sort of short or you want to tell the story and the characters just going to be walking in the background are just traveling or something. This is a perfectly valid way to just animate a walk cycle and you just follow the character throughout the walk cycle in this way. Of course, if you want to, and if we had like arms and phase, we can add expressions and different movements to the arms. And as long as the feeder just moving in the same speed, we should be completely, completely fine. So that's it for this exercise guys. Make sure to try and finish it all the way up to this point. Because on the next exercise we're going to combine the walk cycle and we're going to add a little bit of a jump. So we're going to transition from a walk cycle into a jump, back into a walk cycle. I'm going to show you how to cheat the process a little bit so that it's quite a bit faster so that we don't have to do everything from the very beginning. So hang on tight and I'll see you back on the next one. Bye bye. 19. Run Cycle: Hey guys, welcome back to the next part of our series. Today we're going to continue with a run cycle. So let's get to it. Today. I'm going to be importing. I'm going to go here actually, I'm going to open the scene and I'm just going to open the walk cycle that we did before. And the reason why I want to show you this is I want to show you how sometimes we can utilize or reuse some of the animations that we have and make our lives a little bit easier. So here's what I'm gonna do. I'm gonna grab this guy right here, and let's delete that guy right here. Let's delete this one as well. And I'm going to save this as a different scene. So I'm going to Save Scene As, and I'm going to call this a wrong cycle. And the first thing I wanna do is I want to eliminate this motion trail and the animation that this thing have. So I'm going to walk into the, into the triangle graph, graph editor, grab everything here. I'm just going to delete. So that way we're pretty much this connecting this from any animation. And that means that when we play, we're only going to have our walk cycle. So I'm gonna grab this guy right here. And I'm going to of course, change the rotation is back to 0. And let's change the position back to the center. Here. There we go. So a run cycle guys, it's pretty much the same thing that we have for a walk cycle. It's just a little bit more intense and it's a little bit faster. Okay. It's usually half the time that we normally have. So what I'm gonna do here, so I'm gonna go to my right view. And let's start animating. So let's go here to the walker, grab all of those guys. Let's go all the way down here. And just to keep it simple, I'm going to go into the graph editor, grab everything and under curves post infinity, I'm gonna say a linear and curves pretty infinity. I'm always gonna say linear. Now, if we see infinity, we go here BYU infinity. You might see that sometimes you get this weird angles right here. This angle's happen when we have an infinity setup and we do a spline like what we did before to soften up a little bit of the animation and we don't want that. So I'm just gonna grab this handle right here. I'm just going to flatten them out. And all of those are flat, so, so we're fine there. Now, on the run cycle, one thing that you're going to notice is that the character is usually a little bit more like front loaded up front, facing forward like this because he really, really wants to get like Far, Right. So, so he's a strikes are going to be longer and therefore his inclinations a little bit, it's going to be a little bit bigger. Now you can see here that this is pretty much going to be a constant. We're going to be changing the height of course, but this is going to be a constant throughout the animation. So I'm just going to middle mouse and animate this position for the sphere pretty much everywhere. So we got this. Now, the first step, which by the way, if you want to, I've included the run cycle Jaipur here, the animation. You can have it here as a, as a guide. So the first step that we're going to do, as you can see, is the contact point or the contact pose. And as you can see, it's a little bit different. Instead of having both feet on the ground, you're only going to have one of them. The character is going to be now a little bit lower. Let's go like right there. It's, it's a big strike. And this one right here is going to be on the back like like this. You can see that the foot is usually flat, so let's keep it flat, foot flat for now. And we already know that this post is going to be the last bow, so we can just copy and paste. Now we can go to this one right here, and we can copy the exact same thing that we have. So it's this like very long strife here. As you can see, this one goes a little bit lower, so let's just go here and copy that position. There we go. That means that this guy has to be pushed forward. And we can just like check in-between this guys to make sure that they're as close as possible. Of course, this guy, we're going to get rid of the total. And we're just going to move this guy into position. A little bit more like this. There we go. That's good. So we get our contact poses ready. Now we have the down pose, which is this one right here. And we are definitely going to push this guy down. And this guy is going to be rotated like this. There we go. So let's copy this guy to this one right here. And now we're gonna go here. And it's just a matter of making sure that this guy has roughly the same relatively the same like rotation and an orientation, right? So from this to this, which is good, we do need a little bit more squash here, just a little bit. So I'm just going to squash a little bit more. There we go. That's, that's way closer. There we go. Then we go into the passing position, which is this one because you can see, again, this foot is just sliding back and this guy is pushing forward. It's going to be very simple. And in this case, because it's, it's pretty much there. We just need to do this a little bit nicer. For instance, that the total, they're pulling us much. Same thing here, like the total here. Probably not as much. And then we go into the up position or the passing position, which here we definitely do need to add a little bit of total to make sure that the fetus is looking nice. I might have been like just move it. This guy moves up as well. A position should be a little bit lower. The down position is the lowest and then up, up a little bit more. And then we'll just go back. So same thing here. Just add a little bit of a photo roll, sorry, not full row, total. Push this guy forward. Like this. And we should have this and this very similar. So now if we take a look at the animation, we get this. All right. So the, the poses are right, but the timing is completely wrong, right? The character is not actually working the way we want him to work. But that's fine because now what we can do is we can just grab all of the curves, grab all of the frames, and then just condense them down to half, which is about 15. Remember, we talked about when we did this with, with the animations. When we do this, one of the things that happens is that the animation's get compressed and the keyframes do not land on the exact like full number. So I'm just going to right-click here and I'm gonna say snap. And that's going to make sure that the name animations now are exactly where they need to be. And we're gonna get this. Run cycles are really fast. It's just part of the way they work. So normally, you're not even going to need as many poses. In this case, we definitely do need them. But sometimes you're going to say like if we go for like I really, really fast bows on, let's say 10 frames and we snap here. You're gonna see that there's gonna be some frames that are so close together that you're not even gonna see it, but the character is going to be moving the legs so fast that you'd really don't need those in-betweens because it's just not necessary. Now we can of course grab everything here. We can go curves per post infinity. Let's do a cycle. And if we take a look at how things look, we're going to get this. And we can do the exact same thing that we did before with, with a character like we can definitely as a curve, as a sort of like Blaine or like some heels and stuff and make him a run for it. But I want to show you something a little bit different because this is going to, this is what we're gonna do with our next exercise. Like, how could we grab this guy right here and make it so that he runs and moves at the same time, right? Some of you might say, well, if we want to, just like animator run, why not just like move this curb around a DSP that we needed. And the problem with doing that is that that's just not the proper way to do it. We actually need to properly calibrate how this character is going to move. Okay, So in order for this to work, we need to understand that which curves are really move the character which in this case are this curve right here, this curve right here, this curve right here, and of course, this little guys right here, the pole vectors. So I'm going to select those 55 curves right here. I'm going to say Create set, quickselect set. I'm going to call this a walker movement. And I'm going to say, OK, so now we have this walker movement. That's the most important one because we were controlling the main areas which actually were just like leaving out one curb, I think. Yes, Just War incurred that we're living up, but that's fine because this is going to allow us to control or show you what I want to show you. So I'm gonna say this real quick. And then I'm going to save this as a new file. I'm going to call this file Save Scene As, and let's save this as run cycle movement. Now, I know that throughout this element or throughout this run cycle, this character is going to move forward. So the best thing I can do is just move him forward. Like if I go here to frame 15 and I go to my right view, I can say, okay, I'm expecting this guy to start here on this point. He's going to land. And then based on the size of the strife, he's probably going to do one more strike, which is the opposite feet. And then, since this is the next buzzword that we're going to use to land. He's going to probably end up right about here. So the next contact pose that we have for the character using this guy's, which is frame eight, right, is the opposite contact both. I note that this guy is probably going to be about here. Got it. So the movement of this guy is going to be right about there. And then the last movement, he's probably going to be about here. Hello, I'm using all of the elements at the same time to move them around. Now if we play this of course, is going to look very weird because he's going to move forward and then back and then forward them back. But that's fine. We have few Bose's. So I just know that for instance, this first pose, we're going to land, but we're not going to land here because under first bows on the first post, Here's where the heel is, right? So I know that on this pose, that heel should be right about there, right where he landed on the first post on this one. So that's where the heel lens and then this one right here. I also know that that's where the heel was just going to move him right there. So it's 123. Okay. And probably a little bit forward. Then for this one right here is where he's pushing. So he's definitely going to be all the way over here as well. So we're going to have 1, 2, 3, 4, 5. See how it looks like he's like going back. That means that we need to move him a little bit more forward. I'm gonna I'm gonna get rid of this guy of the of the grease pencil thing. I'm just gonna go by I so she's going to go here. And if I go to frame 3, I do feel like he's moving backwards a little bit, so I'm just gonna I'm just gonna push him a little bit. Now it's very important that Would you don't use W and move. You need to like literally grab him here and just move him a little bit. So we're going to have this and then this one. Again, we want to match it as close as possible. And then that one's fine. Then we can move it a little bit lower like this. And then we transition into this one right here, which is the next stride, right? See how it looks very, very natural for the strike to go right about there. And then this one, of course, it's going to land on the next one. So this is the position I'm expecting him to land right about here. I'm using the middle mouse button to just like move everything where, where my mouse is. So there we go. Now I know that that's where the word the heel stops like a little bit before that line. So I'm gonna go to the next one, this one right here. I'm going to need to move it all the way over here like this. So that's where I land and that's where my land. Now, this is just one way to do it. I actually really like, especially when we're working with small areas, some people like to do other styles. Some people even animate like the bottom graph. It's not wrong per se. It's just not the proper way to do it. There we go. And then that's like this next stripe, it's probably going to be a little bit forward. So what do you want this for that, for the movement to feel like he's actually moving forward. Say that. So it is a little bit tricky. It is a little bit complicated, but it's not that bad. Once you get the hang of it, it's actually very, very easy. Now, I'm going to stop the video right here, guys, but we're going to continue working from this guy right here. Okay? So what I'm gonna do in case you're having issues with this part of the exercise because I do know that it gets a little bit tricky. I'm going to save the scene as movement. Let's call this run cycle jump start. Okay? Because we're gonna, we're gonna do a jump now from this guy and we're going to continue using this poses right here. Okay, So hang on tight and I'll see you back on the next one. Bye bye. 20. Run, Jump, Walk Key Poses: Hey guys, welcome back to our next part of our series. Today we're going to continue with do you run cycle and the jump that we were mentioning. So let's go. So we have this very nice are run cycle going on for our character. I think it's looking good. We could definitely polish it a little bit, but I think for the blocking stage, it's actually very good. So now what I wanna do is I, when I reference in, I'm going to go create reference. And I'm going to reference in the wall jump setup, remember the 11 that we use for our little square? So I'm going to reference this guy in. I'm going to grab these two guys right here. I'm going to Control G to group them. I'm going to go into modify and center the pivot point. And then I'm going to move this guy, I'm going to rotate this 90 degrees minus 90 degrees to create a running ramp for this character. So if this character is starting right there, I'm going to make it seem like he just starts right there. And what I wanted him to do is I want him to run here and then run a little bit more. Let's actually blink to bring him, give him a little bit more space. I'm going to duplicate this group. Go right here. And you said the distances, right? Because he's going to run. And I want to do one more. What's the word one more preparation here. And the objective is for him to land on this guy right here, jump and length from a running start. This guy we don't need, so I'm just gonna press H to hide it. And I'm actually going to save this as I did on the, on the last time. This is going to be the run cycle JumpStart. And then we're going to save this as just run cycle jumps with. You'll want to see the finished scene. This is going to be at, which is the one that I'm going to be working. So you might be wondering, okay, so I know that this guy needs to get all the way or as close as possible to the border before he prepares his jump and land all the way over here. So how are we going to continue the run? Because right now all of these elements that we have is just one run cycle that we did. And the answer is, we already have the poses. We already have all the things that we need. The only thing we need to continue is making sure that the next post, which in this case is this one right here. This is the next pose or we're going to have after this, we're just going to respect the exact same timing here and just move the whole thing to the other side. I'm going to try one thing. Let me see if it works. I'm going to grab all the curves here. I'm going to shift and select everything. I'm going to right-click, I'm going to copy. And then I'm gonna go here and I'm gonna paste. So what I'm trying to do here, we're actually just going to copy all of this, not, not the first one. So I'm going to go copy, I'm gonna go here, 1, 2, and then here is where we're going to paste. We're actually here, Right? Yeah, so it's 1, 2, and then 3 is 12. And then of course we're gonna go back here to tree. So this third one, I need to make sure that it goes all the way here. Now, some of you might be freaked out by all of these elements, right? Like when we have the interpolations, especially like here, and the legs are going like pretty much everywhere. I'm going to show you one quick trick that I like to use when I'm animating this sort of things. The reason why we see that is since, since we're focusing on the poses, but we already have a little bit of interpolation. It might get a little bit confusing. So I'm just gonna grab everything here and I'm gonna change this to this option right here, which is called stepped tangents. What stepped tangents will do is it will keep the same value until it sees a change. So see here, 18, 19 is the same, and then boom, the change is 20. So in my case, the tricky one was here, right, 1516, and then the change is 17 all the way back here. So that's gonna be, it's gonna make it a little bit easier for me to see what I need to do because I know that this 17 one should be all the way here on the front. So I'm just going to move the whole post all the way to the front like this. And we're going to have 15, 16, 17. So a little bit forward. So let's just keep warming it right about there, I would say. So again, 15, 16, 17. There we go. So now I know that the talent is finishing there. I'm going to use something other than the grease pencil, just going to create a cube. And what I'm gonna do is I'm going to right-click assign a new material. I'm going to assign a Lambert material and paint this like very obvious color like this green. And I'm just going to use this as a sort of guide for myself. So I know that that's where the, where the talent is ending right there. So now I grab all of my movement curves again. Go to frame 18, which is all the way back here, which are still keeps the same pose that we want. And just move it so that it matches the same place that we have. So 178 and you can see that we're slightly lower. So let's just let's just push this guy for whether it goes to 171820, twenties, where he pushes everything up. So again, I'm expecting this to be right about there. So 18, 19, 20. And then. 22 is the next contact. So again, just gonna go all the way over here where I would expect the next contact to be, which is about there. Yeah, that seems possible. And then again, frame 22 is fine. Frame 23, all the way over here. Let's go back to frame 20 to grab it. This guy. Yeah, I'm expecting usually went when we land, we lent slightly further down. So that's fine. Actually like that position there, I think it's fine. And then frame grab all of these guys again. Frame 25, and we're going to move him all the way over here as well. So Frank, 23, 25, still a little bit low. And 3, 25, 26, 27, which is the next like push 27 and 28. That's just the final strike which I would definitely say would be our final. What's it worth? Our final preparation before leisure. I'm right. So, so he goes there, he is going to land there. And how is he going to learn? He's definitely going to land in the same way as a down position, right? So we can just grab this guy right here and go here. And just move this all the way to the border. Now we're going to start something that's not a cycle, right? We're not doing, we're not doing a cycle anymore. We're going to transition into a normal like keyframe animation. So we go from here. We land on the cycle here. Actually I'm gonna, I'm gonna land right there on the border and I'm just going to push this guy a little bit further back so that the one he lands, he lands right there. And now we can actually go back here, grab all of the curves again, I'm going to say Curves Post Infinity Linear and we don't want any cycles. And I'm just going to spline them again like all of this plane. And if we take a look at the animation now, we should see this. Cool right? Now this guy still has the post infinity cycle. So I'm going to go Curves Post Infinity, get rid of the cycle right here is suppose infinity, no cycle. And let's just smooth this out. Yeah, that's fine. It's where there's no curse, post infinity, sorry, linear. There we go. So now it's a matter of taking a look at how the animation looks. And let's see if he actually looks like he's moving forward, which I think he does. Now here, something went wrong on the final post. So I'm just going to, I like making land here. And since this is the final down position, now we can think about like really pushing the pose. Because he's going to jump with just one feet. That's going to be quite an impressive jump, but that's fine. And now we can think about the next ERPO. So we already know what the next bullet says is if, if this is the squash, which again, we can just like push this guy into a squash. So we go squash careful here. So remember what we talked about. Here's where I would probably just add like an extra extra frame just to make sure that the feet lands as nicely as possible there. So the next one is a, is a stretch of course. So I'm just going to push this whole thing For worth like this, stretch this guy. And I would definitely use the foot or the total to make it seem like he is using using his force here, his body to push the whole thing forward is pretty much launching himself, right? So like this here I might even add a little bit of a photo there just to, again, give a little bit more life. Whoa, what happened here? Okay, It's just on that frame. Okay. So there's a couple of issues here with the knee. Here. Let's just bring in this guy as well. Let's let's keep it in line. Okay. So there's another issue here with the knee and just push it forward. And there we go. This guy we don't need anymore so we can just delete and we'll get back back, back, go. Now you can see there's a couple of parts here were the movement looks a little bit too intense, like for instance, from here to here, the jump seems to be a little bit too far, but that's fine. We're just, we're pretty much back into square one even though we have finished our run cycle, we're pretty much in tobacco and square. It regards to the animation because we're doing just a, a nice blocking here. So we have the squash, we have the stretch. Wait, what happened to my squash? They're there. But I have friends of them. Yeah, I do. Let's really push the squash here in if we need to correct some of this elements. Because it's just going to be one frame is going to be one frame that we're going to have. Want to make sure that this is a nice smooth muscle. So there, there, there. And now we're going to jump. So I'm just going to grab the whole character here, move him to the jump, right about here. I would expect the, the left leg to be the one moving forward, including the the knee here. I would expect the total to be gone. And then the right leg room, we usually keep the crystals and everything close, close together. The right way would be like a dragging. Write it a little bit. And I could add a little bit of a total to the other side, like this. So he's barely going to make it, but I think it's fine. So we get this jump and then we keep moving. So I can also grab like the movements here. And just to, to keep it simple, Let's go to my right view again. He's guys gonna jump. He's going to keep moving his right foot forward and then his love for others, the one that's going to be falling. Remember how when we fall, we tend to launch certain parts of our character. Again, squash and stretch. So something like this. We don't have a face or Ahrens, but if he have, I would expect him to do. There we go. And then on the landing, here's where the word landings going to be fun. On the landing, I always encourage my students to land their characters in such a way that you have a very nice, clean like contact landing position first where you keep the stretch like this. Let's get rid of the total there. We could even push this guy for worth. Now we can start like them, this sort of thing. Seem like very nice stretch, very clean because after this, let say a couple of frames, he's going to keep moving forward. He's foot is going to land on the on the actual floor. So I'm gonna land. So it should be a little bit higher. On the front, of course. Like here, near on the front. And the right foot's going to start preparing itself for the land, but it's not going to lend yet. We're going to land a little bit on that on a different frame. So I'm gonna wait like two frames here. And now we land with the other feet, with the right foot. And we continue moving forward, right, because here's where that, where the actual like super big squash is going to happen. Where all of the force and the weight of the character is actually going to be falling down into the ground. Like this, kinda like a, like a superhero landing here. Probably going to grab this guy and move it out or something we didn't need just to just to make sure that there's not that much overlap. There we go. And finally, a couple of frames after that. We could start a walk cycle, of course, but I'm going to keep it simple. I know that the title has the Walkman was going to keep it simple. Let's just, let's just go back to Like, like a traditional, traditional posts like this. It's going to be a little bit out of center, but that's fine. He's like, whew, that was a big jump right? There we go. So now if we take a look at the whole thing, we get this looking good, right? So this is just a blocking guys. This is just the beginning of our animation. Now it's time that we start working on the Polish and we're gonna make sure that all the timing, everything looks nice, everything looks fluid, and we're going to get a very nice Jump. I love this. Make sure to move all the way up to this point again, if you want, you can use the initial run cycle to help yourself a little bit, but I strongly recommend you tried to do on your own. It's going to, of course, give you more practice and it's going to make it a lot easier to learn all the things even if you struggled at first, the source files and all of the same files that are here on the project. There are here for you, for you, for to help you. But again, they're not going to do the work for you. You're going to have to put in the time and the effort. So start working. Get onto least point where we have this very nice jump. And I'll see you back on the next one. Bye bye. 21. Run, Jump, Walk Timing: Hey guys, welcome back to the next part of our series today we're going to continue with the run and jump cycle or not is not a cycle is just an animation, which is this one right here. This is where we left off. This is the final part of our, of our element and the announced time that we started looking at the general flow and the fluidity of things. Okay, so what I'm gonna do is the following. I'm going to go all the way to the beginning. I'm going to grab this curve right here. I'm going to go into animation, visualize, create an editable motion trail. And this motion trail is going to be great. Because remember one of the first rules that we talked about when we were talking about animation. And that is, of course, arcs. We want everything to be a nice clean arc. So right here, I can start to see, oh sorry. I can start to see how things are like looking in a not such a nice way, right? Like the curve here, the movement of the elements here looks very, very wonky and that's what's giving us this sort of like slow look to the whole thing. So for instance here frame 9 and frame 11, and you can see that he's not moving that much. And that's making a little bit difficult to see the fluidity of the movement. Now, we don't want to move the food because we know that the foot is nicely planted, that like we, we don't slide when we walk, but we can definitely start pushing the character a little bit forward, or for instance here, a little bit backwards, okay, to clean up a little bit of this curve, and that's going to make it look a little bit nicer. So for instance here, frame 11, you could just like clean this curb up in a very nice controlled way. So same thing here for instance. Let's just move like forward a little bit. Let's go to frame 4. Let's push it. So, so we're pretty much as moving their curb by smoothing the poses. Same thing here, frame 17. Let's go a little bit backwards. Framing theme, Let's go a little bit forward, is going to allow us to create this very nice smooth transition all along the surface. So here frame 25 is the culprit, so I'm just going to push here. Let's go frame 23. This is also going to break the, the animation. So it's not going to look like a cycle anymore because we're going to have a little bit more like elements here. Now see the distance that we have here. It's a little bit too much like the distance from frame 29. It's a little bit too much here to frame 30. And I can already see that we have a problem here on frame 30, weed the knee. So let's just move this forward. So what I want to do probably is frame 29, all of the movement from through the night. Let's just move the character back a little bit, just a little bit like here. That of course means that this number here is going to be slightly back like here. And then this guy right here is going to be about there, like there. And then we got this Now frame 24. You can definitely move him like Apollo bit like this single deal with Frame 20, 31. And let's give him a little bit more verticality. That way. It looks like he's getting a winning or gaining some height first. And then he falls. Now, same thing here like frame 37. And not so nice. So let's grab all of the movement. Let's go a little bit higher. And then frame 30. 30 is fine, I think. But like the fact that he goes all the way over here makes me a little bit, Hi students, I'm just going to do this. Maybe like this. And then of course, this frame which is where he lands. And through further forward. There we go. So now let's take a look at the animation. Way nicer, right? Like, especially at first, it looks very nice. I think here on frame 20, 22 a, the distance is also a little bit too big. You can see it there. So, and the reason why it looks is we have this very nice uniform effect. And then from frame 20 to 22 features like jumps in a very strong way. I don't want to just like change the timing and orient things. So I'm just going to grab everything here. And again, if let's go to frame 20, and one thing we can do is just start moving him slightly forward as a good frame 20 to just make him jump a little bit more and move the frame all of it back so that the jump here is not as intense. Let's take a look now. I still see the big jump there and you can see it on the distance here of the jump. Like see the distance between frame 15 and 17, and then see the distance between frame 22 and 23. It's a little bit too much, right? So another thing we can do is go back to frame 23. Let's shorten the distance here. Now that of course means that frame 25 is going to be or should be like back here. Frame 27 as well. And I mean, it kind of makes sense to have a little bit more space here on frame 20 night because it's the it's the, it's the frame previous to the jump. So we could actually, we could actually make it so that in this frame right here, he prepares a little bit for the last like spray paint that he's gonna do. Because this is the last spring before he that that's like the last step that he has before he jumps, right? So it's like a preparation of the preparation which is going to look good they think. So we're gonna go here. There we go. I think from 29 we can exaggerate. There we go. There we go. So now that last frame, they are that blast jump. There we go. So you have a smooth everything looks now. Now the only thing I don't like is the timing. We have a very nice positions like all of the, all of the key poses and all of the positions are looking very nice for this exercise. But we're missing a little bit of the timing, right? So again, anytime you have a question about a timing, you need to ask yourself, Do I want that this post or this transition from one post to another to be what's the word fast or slow? Right? And if I were to ask myself that question, for instance, from here or from here to the jump, I would say a little bit slower. So I'm just going to grab everything here and let's try giving it two frames. It's going to go 1, 2, 3, and then he's going to jump. Now I want him to either hold the pose or go even lower. So I'm going to go here. And instead of holding the pose, I'm going to, I'm going to push him down. So it's like the final preparation. I might even use a little bit of the federal or the total here. Too. Like like plant myself on the ground with just like the tippy-toes. Like a final, final, final preparation. And we're going to have preparation or, or strike landing. Let's, Let's push this guy. So stride length, one frame, two frames with preparation. And then boom, we jump, we fly. And let's see how that looks. Okay. It doesn't look like he's stopping and I don't necessarily want him to stop, but it definitely looks a little bit better, right? Because it gives me a little bit of a chance to understand what's going on. Another thing I can do is on the jump itself, like on this thing right here. If I were to grab all of this controllers here, we've got this and this. Let's give it a little bit more, more time. So I'm just going to again, lets just grab everything and think it's going to be easier. And let's just give it one more frame here. You can see that that also helps with the transition of the curve. Now we definitely need to change this thing here. So we go from here to here. We go. So we land. And then boom, we jump. Now on the apex of the jump, which is right about there, are probably would like to do like the Michael Jordan thing where he just like really brings his leg out like this. Now remember this is a stretch. So here we should get back this sort of like intense effect. At this point which is framed 38, this thing would be stable against so 0. And we get this nice jump. Now here, I think we're going a little bit too far. You can see it again in the curve. So let's grab all the movements here. Just list. Let's land leg really, really close to the ground here. So again, this is going to be more like around here. So from there. So we land, land that we recover right about there. So pretty much this, this photo right here, we can go to the point where he lands, which is right here. And we can grab this crystal and we can just snap this, this foot like this. So now that foot is not moving c, so it shouldn't be moving. The reason why it's moving here is because of this guy. So that means that this guy needs to be fixed right over there. So we land. And then we'll end with the other fit food. Sorry. And I don't want to slide back. So I'll rather again, where we were this feed Lance, I think that's a little bit too far out, so let's land him here. I'm just going to snap this guy with S. Now, I make sure that when he lands right there, that's where he's going to stay. Like he's not going to change anymore. She's just like, okay, that was a good jump. Now we can go back here. And again, if we take a look at the animation, this is what we're going to see. Nice. So see how that little extra time there, it really gives a lot of force. I think that time on the jump is fine. A little bit faster, a little bit fast. So one thing we could do is again, grab all of these guys right here. Let's go to frame 38, which is the real guy right here. And I'm just going to give it one more frame here. And then one more frame, 0, one more frame here. That should slow it down just a tad bit. There we go. Now I feel like the launching, it's a little bit slow. So again, let's grab all of the curves here. Let's see where did we have the launching? We have 12, so we have this extra frame. I'm just going to delete that frame. Grab all of these guys, and just move them back to fill that gap. And now we're going to have one to this one thing that was one of the important frames. That's fine. We'll just fix this. There we go. So 123. Very important that this guy has as many frames as we need them out. I usually like to, as you know, add a keyframe on everything when we have an important key frame. And then we have the jump. We get, boom, nice. Now see how also the lending looks very nice because the feet are not landing on. At the same time, like we land first with one feet. Which by the way, I think we could still have this guy like, well that's fine. We can do something like this. So we land with one feet. And then this guy should be almost landing here. And then we blend that with the other feet. I do think that the fetus should land a little bit sooner. So this is going to mess up a little bit of the timeline, but that's fine where it will starting with a little bit of the polishing, where we're going, where we're going to start, adding a little bit of follow through. So remember what we did with the foot on the walk cycle will do the same thing here. Like here's, this guy immediately lands. So I'm just gonna grab this guy right here and just move one frame before that. Going to be 14, 15, he already Lance. Let's play a little bit with this guy right here. So he Lance, lance, lance, lance than lands with the whole body. And then before he recovers like this, let's let's first change this a little bit more time here because he's going to land, but the other one came to recover leaner Lee, I want him to go like around like this. So he's going to land and then go back and then up. See that? Let's take a look at this thing now. There we go. Go. That looks good. I think here again, it's all about polishing. Skip this straight. And we also need to keep this straight. Like this. Let's go here. Like on this one, I'm going to bring it forward so that when we land, we land in this sort of like arch again. Can even go here. Another thing we could do is like here, we could do with the total on the other side. And then black. When he lands, we could have a little bit of toll roads still left. And then after that, he just lands with that with the rest of the tutorial. Like just one frame after that. Again, just a little bit of polishing there. Same deal here, right? L1, he lands on this feat. We can add a little bit of total. And then he lands and the frame after that, the toast land. So again, it's similar to what we've seen with the pendulum and stuff, where things just don't happen at the same time. All time right? Now, the, the animation here at the end is of course, very fastly, he recovers very fast likelihood like a rubber band pretty much right. We don't want that. So again, when he falls like this, I would expect to have a little bit more time, so let's have more time here before he completely recovers. So lets just grab all the curves and see what's going on here. So this, I'm going to grab all of those guys, just keep them more time. And then this rising up, I'm just going to delete that guy. I also want to add more time. Let's see how that looks. Okay. Now it looks like he's hitting a wall, right? Like he's like really just like getting stuck too, like glue or something and we also don't want that. So so I know that when he lands like this, That's probably just timings. Just bring this back a little bit. There we go. Now usually went when we do this sort of jumps. Like I'm not sure if you guys jumped this far before, but you can't remain on the same position a little bit. So I'm just gonna go here. And let's go to frame like 52. And let's just like keeping a really low. So using Lego land is going to stay there and then he's gonna recover. Let's see how that looks in timing. There we go. That's a lot nicer, right? A lot more, more natural for our effect. Great. So, yeah, there we go guys. I'm just going to add one more thing. Other one I do. The one that I run into an extra video. I think this pretty much covers the basics of how to transition from something that was a cycle. Originally, how we transform the cycle into an actual animation, and then how we can transition that animation into any other animation that we can think of, which in this case is this very nice, very nice jump, right? So I'm gonna, I'm gonna just, just for fun. There's another way to say it. Some of you might know it, but I can't say it were PG 13. So to keep it clean, I'm going to do this. I'm going to extrude, Keep Faces Together off and do an offset to create this sort of like dangerous like psi thing. Here. There we go. Actually I'm gonna, I'm gonna say, because I'm gonna show you some cool things about this is going to be a short video because I'm going to leave it for one more video about this, a little exercise. So I'm going to stop it right here, guys, hang on tight. I'll see you back on the next one. Bye bye. 22. Run, Jump, Walk Polish: Hey guys, welcome back to this little extra video. As I mentioned in the last one, I won't show you a couple of things here that are going to be really, really cool. So here we go. This is the, just the basic element. I'm going to just remodel a real quick. Just start with a cylinder right here. I'm going to move the cylinder into position, make it slightly bigger with scale. And I'm going to press the Shift and right-click, Face, click, Shift, double-click on the other sides, Control E to extract these guys out. And she's going to extrude. And I'm going to say Keep Faces Together off. And now I'm going to offset this into a very small number. And I'm going to, what's the word? Use this little square here, the red square to push it and create this sort of spiky thing. There we go. Centrifugally history freeze transformation. And let's rotate this 90 degrees right about there. I mean, if you want to, we could do like a whole endeavor. That's fine. Let's just leave it like this for now. And what I want to show you is, how could we animate this very quickly in a very cool way and then duplicate that animation because you might have know this, probably you haven't tried that before. But if we tried to duplicate an object that has an emission, the animations not duplicate and then they, they're not copied. So I'm going to show you how. So first let's animate this guy. So I'm going to start in frame 1. Let's go to frame 20. And in 20 frames he's gonna do 360 degrees of a turn. So it's going to be quite fast, right? Probably a little bit. Let's go a little bit less fast, like, there we go, that's better. Now as well. We talked about before this animation right now is not linear, so just grab this thing and make it linear. And there we go. So now we're going to have this animation right here, like this guy is going to constantly be rotating through, through 40 frames. It's going to do 360 degrees. And then it's going to stop. Now, I don't want him to stop. I want this thing to continue. So what can we do? Of course, we can go to the graph, rotation, grab this guy and say Curves post infinity cycle. But I'm not going to say just cycle in this case, I'm gonna say curves post infinity cycle with offset. So the cycle is going to repeat itself and it's going to keep adding up. So instead of finishing at 360, we're just gonna keep going, but it's going to be the same cycle. So now, no matter how long this animation is, we're always going to have this thing like just rolling around. Now, if I wanted to add a little bit more like dynamics to this, why not animate a little bit of a wobble here, right? Like, let's start on frame one and we're going to have a, well, we already have this. I'm just gonna go to frame 20 or actually reframe 40. Yeah, frame 10. And I'm going to wobble. Right. I just want to wobble on the, on the y-axis. I'm not sure why it's wobbling everything. Let's go world. There we go. And the c-axis, I'm going into the world modes and we're going to wobble like five degrees to the left. And then on frame 20, we're going to go back to our origin 0. And then on frame 30, we're going to wobble five to the right, like this. So now we've got this right leg, this thing wobbles one side and the other. And again we can go to the Graph Editor, grab our rotate, see. And this thing I'm going to say curves in this case is a cycle. We just want a normal cycle. And we can grab this guy and we can say just like smoother cycle. That's weird. Why do we get that? We didn't offset this one. I think we need an offset. So Curves post infinity cycle without it. There we go. That should work. Yeah, it's wobbling out of control and I'll just go back. It was a cycle that would just need to make sure that this thing is nicely working here. So I'm just gonna go with this curve right here. I'm just going to polish it so that we match the way much the curve as nice as possible. This happens because the first and the last frame are not the same, although they should be. Oh, yeah, I just forgot that. There we go. So now we'll just spline this thing again, or spline here, there we go. And now this is a normal cycle so that this thing is going to be wobbling from left to right To infinity and beyond. Now, what I'm gonna do here is I'm going to grab the scales because we haven't actually made that the skills are right-click and I'm just gonna break connections so that the scale has no connections. I'm going to grab the object now let's call this obstacle. And I'm going to go into edit, duplicate special. And I'm gonna say this thing. I'm gonna, I'm gonna, oh, where is it? I'm going to duplicate this special. And I want a copy. There we go. And it's very important that we duplicate this input graph. Okay? Very, very important. So now when we apply, we're going to have another obstacle. And again, we can break the connection that translates because we're not using them. But it has the exact same animation. They're both moving at the exact same time, which is acceptably, well, we weren't right. Now, we can do it once more. So I'm going to hit apply and just move this guy to the left. And just to give a little bit more visual interests, of course, we could scale them because scale it was not. What's the word compromised by the, by the animation. We don't have any animations on scale. We can move these things around. We can't rotate though because that's going to affect the animation. But now we have this three things doing a very nice cool rotation here. Here's another factor. Another thing we can do, if I grab this guy and I go into the graph editor, I can grab the rotations here and I can offset them a couple of frames. The cycles still going to be respected, but the offset is going to be a little bit different. And now they're not going to be rotating at the same distance. It's the same rate, but technically it's a different distance. One way we could measure that will be too like Ana. I grab a couple of frames and maybe make this guy a little bit like wonky here. Maybe not all the tooth of this like saw blade are the exact same distance, same with this like Anna like that's mode this guy like this. I mean, maybe it's not a completely spherical, It's still going to turn around like if it was a complete sphere or a full sphere. But it's not going to be a one. And now if we take a look at this, you're going to see that they're rotating at different intervals. And again, we do our animation normally, like we, we complete the job normally. And then we can add as many crazy things that we want. And people are gonna think that we were super cool and we add immediate everything based on the, on the obstacles themselves. When in reality is, it's the other way around, right? Like we animated the character first and then we added the obstacles. Now some of you might be wondering, could we add another one of this like back here so that every time he makes a strike, we get that. And the answer is yes, we can just grab this guy. Edit. We duplicate a special again. And again seems movements not compromised nor is scale. We can just grab this guy and here. And that way that could, that guy is going to be just like moving around. And the character should be jumping across the element right on, on each of the stripes, maybe, maybe a smaller one. So we could do like, like really, really small ones like this. So that when he steps on some of this things, it looks like HIS actually like moving across, write something like this. There we go. So now, another big questions that some of you might have. Well, let's see, can we have more of them? Yeah, we can add a couple of more than they might look cool. You don't duplicate because if we duplicate, as you can see, this one just lost all of the connections. So all of this is still have the animations, but this one that we just duplicate it, we, we lost the connections to the input graph and therefore we lose our animation. So anytime you want to do any sort of animation like this, make sure you do a duplicate a special again over here, edit duplicate special. And you need to make sure that you select this duplicate input graph. That way the information that you're getting is going to be the exact same information that you have on the animation. And all of the elements are going to be the same. There's motion trail we don't need anymore and we can use one to turn off our curves as we already know. And we can either play blast or render or do whatever we want with this animation. So that's it guys. That's pretty much it. I think we can add one more animation here to the guy because that's really weird. So let's just looks like bringing him back to like a more traditional stance like that. There we go. Let's take a look. There we go. That looks way, way better. So hopefully you've liked this exercise guys, this is the end of module three. We're now going to jump on to Module 4 where we're going to be seeing a full character animation. So that's going to be quite fun, is definitely gonna take a little bit more time. As you can see, animations are taking a bit longer and longer. The bouncing ball, 10 minutes, 15 minutes, this guy, 30, 40 minutes, depending on how long you take, undoing the poses and little by little animations get more complicated. So now it's time to jump on to a full character. We're going to be using bony as I mentioned before. So get ready and I'll see you back on the next video. Bye bye. 23. Poses and Balance: Hey guys, welcome back to the next part of our series. Today we're going to start with Module 4 and we're finally jumping onto a full character array. So I'm gonna go here file, and I'm going to create a new reference, and we're going to be referencing now the other character which is The ultimate, ultimate bony, but it's not here. Don't worry. Let me just very quickly go for it. Ultimate bony. Boo, boo. There we go. So again, thanks to our friend. Via the skin, we have all of these ones and we're going to be using bony. Say you very famous regular people have used him before. Now what these are are more rigs that are a little bit more bands. We might probably use one of them later on in the final parts of the course. But for now, bony is perfectly fine for this, for this guy. So I'm gonna go here very quickly just on what's the word, unpack, the group, the array. Remember every time we do this, we need to make sure that this thing is set up in the proper position, which in this case is our scenes file. So we'll just drag and drop this ultimate boney there and there you go. Back in my yeah, we can now very easily grab our ultimate Bonnie and just reference, now he's going to have the same issue that all of the other ones have. Which is the fact that since this guy was originally modeled like a long time ago, the mirror functions back then used to flip the normals of the objects. In this way, just go into shading and say, sorry lighting, two-sided lighting and that's going to fix it. Now if it doesn't look like this, sometimes the materials look a little bit more like plastic heat, that's fine. The important thing about this is that we understand that the forebrain works. Now, here's the cool thing. This was a full body rig, meaning that we are going to be able to explore all of the movements in a usual like human figure. And as with the other rigs like the walker, the little fox rig, and all of the rigs that with us before we need to explore a little bit what's going on with this guy, right? So if I take a look here, I can very easily see that instead of having the little diamond that we have with the walker, now we have this sort of like foot control that is going to do the exact same thing. It's going to create the IK effect. And we have the nice as the pole vectors which are going to rotate depending on where the knee is going to be. We also have here a little bit of extra rotation on the undertone if we want to rotate from the tip, this is usually what we use in very importantly, we have this little arrows here that allow us to change the legs from Forward Kinematic to Inverse Kinematics. Remember the video we had a couple of lessons ago where I explained that most of the rakes nowadays have this option to switch between systems. So depending on the type of animation you're doing, animators will be able to switch between them and have a better time working with them. Now, this full Rick has this control and this is one of my favorite controllers, especially when you do a proper break, because this controller will allow you to lower the character. And due to the way everything is pretty much controlled, the feed will not move similar to what we had with the walker. So you can see that this control right here pretty much controls all of the top parts of our character, like all of the upper portions of the character, are going to be moved by this. We then have another like hip control right here, which also moves the controller, but it does not move the whole body only moves the hips. We have a stretchy, stretchy spine, which is important for a cartoony stuff because we can do this sort of stuff. We have an FPGA spines well back here. So if we grab all of those guys and just bend them, we're going to get the traditional spine on the arms. We have our clavicle tree here. Very important. We have our arms in FK right now, and similar to the legs, we can go to this arrows and change them to IK inverse kinematics. So now we have the hand controller and we have this thing right here, allowing us to create this sort of effect. So again, depending which one you like the best, some people like FK, some people like IK, you're going to be able to switch between them a very, very nicely in this ammonia, we have this one right here, which is our head controller. And on the hand, we had some very cool things. So first we have, of course, the rotation of the head. We can rotate the hand around and we have this thing called the orient. As you can see, the head orient right now is set to one and we can set this to 0. What's going to happen now, I believe, is when we move the head, the head is always going to destabilize to the world. So no matter how we move the character, the head is always going to be facing forward. Very, very important if you want to keep the leg literally your head straight. That's one very nice way to do it with that. Again, most of the rigs and now they have that option to change the orientation of the head if you ever encounter a week, this does not have it well, you're going to just have to animate it manually. Now we're going to talk about something very important, as we've mentioned in the past. That's what I mentioned in the older lectures in this series. The key poses are going to be super, super, super important in order to create a believable and a cool-looking movement. So what I'm gonna do is I'm gonna go into the internet and I'm just going to look for dynamic poses. Dynamic poses are probably one of the coolest poses you're going to find. There's a lot of them. There's like martial arts, there's like dance, there's like gymnastics. There's a lot of very cool poses that we can use. And whenever I talk about poses, I like to divide poses into two categories. Valance poses and on the valence poses a balanced both 0s, any post that, given that you have the physical ability. You should be able to keep for, let's say, more than five or 10 seconds. So for instance, this one right here where he's just like going backwards, preparing like a spell or something. You can definitely hold this pose for several seconds without falling over or without losing your balance. However, this one right here where his falling, that's definitely I dynamic on the valence Bose because it's just a pose that's happening through a transition through an action. You can't hold this pose. So there's a lot of Bose's like this one right here that you won't be able to hold for long. And they are, transitional posts are going to be happening in-between. The balance opposes. So right now, what I want you to do, and I'm gonna do this. Well, of course, we're going to start with one post. Let's start with this one right here. This is a very traditional like Khufu posts. I actually recommend that you look for a realistic drawings, not 3D or CGI or, or any sort of things like just like actual people doing the posters. Because that's going to teach you a little bit more about the dynamics of the element. So for instance, let's see, and let's look for a one like a cool one. This one school. There's one right here. So what I'm gonna do is I'm going to do this as a small window right here. And now let's minimize Maya little bit so that we can see both of them. You can use pure ref or any other software to say, well, I want both of you guys are all of you guys to see it at the same time. So what I'm gonna do here, I'm going to save this file first. I'm going to just save the scene, call this poses, and I'm gonna do two poses. Very important there. See how we got that error. The error happened because I'm trying to save the scene as a Maya ascii. Sometimes especially with this ultimate rakes, you need to save it as a Maya Binary to keep some old notes from like a long time ago from breaking. So just make sure to save it as a Maya Binary is completely fine. Now, whenever I see a post, I want to think about the pose in sort of what's the word step fashion? So let me copy this image. Let me open a new file here and foolish up. There we go. So when we analyze the pose, we as humans have three bars are that are super, super important for balance. And that is the head. Right here. Let me do it in any different layer. There we go. So it's the head, the torso, and the pelvis. Now the pelvis, I like to draw it as sort of like Superman underwear like this. And if we find the middle lines, you're going to see that this character is actually twisting his whole body in a very specific way. Now this three main masses, head, torso and pelvis, are connected of course by the spine. And as you can see, this bind creates this very nice S-shape throughout the body. Now it's very important that we take this sort of things into consideration because otherwise, our poses and our whole animation is going to look very stiff. So when they write, have a pose like this. I always like to start by making sure that those three main masses, the head, the torso, and the, what's the word? And the pelvis are looking nice. So I'm going to grab the hips right here and I'm going to rotate it because this guy is facing sideways, so it's going to be like this. And the pelvis is very balanced, as you can see, it's very straight. That's a slightly tilted down like this. This field right here, the left foot, in this case a is like this. I'm gonna move it back because I want to keep him stabilize. The right foot is going to be our feet. Foot, foot, foot. Sorry. The right foot is going to be right here. And we're going to create this very nice coverage right now. Don't worry, the proportions of bony are slightly different than the ones from a normal humans. So things are going to look slightly, slightly different. But the one I want you to, to start analyzing is tried to see where things are. So for instance, I can see that the knee right here is roughly at the same height as the chest. So that means that I really, really, really need to push the feet up like this. Let's rotate it like this. And using same as with the walker, a little bit of of where is it? So in this case it's called toe down. We're just going to like curb him a little bit like this. Now the knee facing in like this, and there we go. Now the whole torso, as you can see, is a slightly rotate it towards the front side, which is way over there. So I'm just going to grab all of those guys right here. And we're just going to rotate the torso slightly. And you can see that there's this sort of like C-shape. So that means that we need to, to give him that curvature as well. So the torso slightly like that. Here we go, Look at that. Now the head of course is looking sideways or actually to the front. Like this. I'm going to change the hands to FK. I like working with a little bit more than IK, sorry, two IK rather than FK. Now this hand, hand-write here is on the front, like this, and it's facing in like this. And this right here is on the back. Probably like up here you can see it's slightly higher than the head. So let's push it higher. And the elbow very important. This elbow is on the other side like this. And the hand slightly bent. So probably need to do something like this. Now see how he is like opening his chest. That means that we can also use the clavicles to push the arms a little bit further back like this. Same with this one. Like we can push the clavicles to push the arm forward. And that's gonna give us a little bit more distance with the arm right here. The elbow, it's on the other side of the elbow. This one right here. It's on the other side. Let's position it where it should be right about here. And now we can go with the hands. So for instance, this guys right here are like curled. This one's not ask curled. And then the thumb is curled. Usually you're going to find that there's one edge in this case is the c-axis. The CX is rotated the whole fingers because they all share the same rotation axis. And then back here or up here, He's like holding like, like I don't have enough fingers to do exactly what he's doing, but it's like this finger is like up and then down, garlic pinching something. And then all of those guys are going all the way in like this. And then the thumb is also like painting something very important. Don't, don't underestimate the importance of this as small details like the fingers. A lot of people make that mistake where they will wait until the very, very end to make sure that they animate or move every single trip. Make sure to post everything from the very beginning. And it's going to be a lot easier to, to finish the whole thing. So there we go. We have the both. It's really close to our, our original concept. We could push wars. The other knee is this one. This needs right about there. The fit seems to be a little bit. For out. There we go. Now it's time to talk about balance because if we see this both, yeah, it looks cool, but if we start taking a look at it, it's actually imbalanced. This post is in balance, meaning that this character wouldn't be able to hold this pose for a long time and he would just fall over. And how do I know that this is imbalance? Well, if I look at from the front, I can see that if we were to create just like a plane here and there by the character in half most of the volume of the character, as you can see, it's on this side and we don't have as much volume here. So that means that the characters are a little bit off center. And that's going to create an imbalance both. That's one of the things about a 3D animation that sometimes gets overlooked. Even though at the end we're producing an image and people are going to see a flat image on the screen. The characters are 3D, meaning that we need to check the posts from every single angle to make sure that it looks good. And that in turn will look good on the file processor on the final screen. So in this case, I'm going to grab this guy right here and it's going to push it slightly to the center like this, so that the whole thing looks a little bit more balanced. I can even grab this guy right here, move it just a little bit like this. Maybe even like just give it a little bit more inclination here. And we can use the arms. So for instance, we can use our right arm as a sort of balanced point. Move him a little bit more to like the center here. And that should give us a nice element. I have a sculptor teacher that talked about something called the plumb line. And the plumb line is this imaginary line that goes from the base of the neck to the ground. So if we go to the base of the neck right there. And whenever you have two feet, the the element or the plumb line should be in-between those two feet when you're only on one feed like this guy right here, the imaginary lines should be on the heel of the foot. So this means that we are a little bit off center. It's not that bad, but we're just a little bit, Let's move this here. I'm going to lower the whole character is just a tad bit. Just said the knees are slightly bent. That's going to give him a little bit more balanced as well. And now we could move the leg closer to the plumb line. Again, just like modify the character so that the pose looks very, very balanced. It's a little bit of a trial and error, of course, but we need to make sure that their post looks the best possible way. See how now it looks like he's falling to the other side. So let's go there. There we go. That looks very, very nice now. So we have this very cool Khufu pose that we are going to be able to transition into it like a kick or a pond or something. Because remember at the end of the day what we're gonna do with now this full body mechanics is something very similar to what we've done before. We're going to place our key poses first and then we're going to jump onto on to the, what's the word on to the next kinda folder or the other kind of posters which are the, sorry, we're gonna do our key poses, then we're gonna do our timing, then we're gonna do our in-betweens. And finally we're going to have our whole animation, the same thing with the walker with a fox and everything. We're going to do the same thing with this character. So the little homework that I'm going to give you guys, because otherwise this would run like completely ludicrous in, in, in time. I'm going to give you the homework to do five of this poses, okay? You're going to look online and you're going to look for a five posters. Word or character is balanced. I don't want any sort of posters where he's jumping or flying or anything. I want the balance poses is something like this and something like this. You can reference video games, you can reference martial arts, gymnastics like anything you want. It's fine. Tried to reference a post that is done by a real human. Or that looks very believable because for instance, this kinda forces that's a completely unbalanced suppose it will be very difficult to hold for a long time. And seeing like actual poses from people, you know, they're doing it. So you know that that's an actual book that someone can hold. So you're going to do five of them. Again, this, the main reason why I want you to do this is not just to invest time, is to make sure that you get acquainted or used to how this rig works. That's an exercise that I actually do most of my rigs anytime I started a new project, I will just like posed or breaks a couple of times just to make sure that they understand what all the controllers do and I'm comfortable and manipulating the whole thing. So that's it for this video, guys. And we're going to have one more video and which we're gonna talk about poses. And then we're going to jump onto our first animation. So hang on tight and I'll see you back on the next one. 24. Transitional Poses: Hey guys, welcome back to the next part of our series. Today we're going to have a small video. We're gonna talk about transitional posts. We're going to continue with the poses that we've been working. There's one thing I forgot to do, so I'm going to start over with this file. Hopefully you guys are seeing this soon enough to not make this mistake, but I'm going to just start a new file. I'm going to say, Don't Save, That's fine. I've done this before. So I'm going to go into my file reference editor and we're going to reference the ultimate ammonia again. That's fine. Remember shading or sorry, lighting, two-sided lighting to have both of them to see everything on the character. And what I wanna do is I want to check if there's a selection set, which there is, as you can see here. So one thing I'm gonna do is we're just going to go into select quickselect set. Let's go to our shelf right here. Again, select quickselect set. I'm just going to hit Control Shift click to add this right here. So the ultimate been there will grab everything. So on frame one, or sometimes I like to even go to frame 0 and I'm frames here, I'm just gonna save a keyframe on all the curves right now. So if I need to go back to my origin original pose, the T-pose, it's a little bit faster. Otherwise you're just going to have to post everything from scratch, but that's fine or you can just 0 everything out. So unbalanced Bose's or transitional poses are posers in where the character or the actor is doing a transition. There is going to transition from one pose to another and he won't be able to hold a pose for long. So let's go again for like at them that, Let's go for dynamic poses here in Google. For instance, this sort of thing, right? Like where he's leaving his gleaning like a somersault are usually like a flying spinning cake or something like all of the poses word the character is not grounded and he's going from one action to another. Those is what we call transitional imposes. So I'm going to look for like a Spiderman pose X. I think those are really, really cool. And let's go for like like a pose where he's like flying or something. I would like to have some sort of some sort of change like this one right here. Like C, where it, where he's about to leap forward, that one's very cool. Or let's see, do we have like a like a flying back flip or something? Here are more pulses trying to find one that works for us in this case, like this one, this one, this one's perfect. It's a very, very intense bows and he's flying. So that's one of the things that I want to show you. So I'm going to keep it like this, like this. And anytime we're working with a transitional Bose's, our main goal in this case is not like what we had on the last video where valences our priority in this case style and the dynamics is our priority. So I follow the exact same thing. I'm only going to focus on the torso, the head, and the hips first. And then we're going to get everything done with that with the hands. So I'm going to change my hands to Forward Kinematic because that's again the system or embarrassing into my system I like. And there's one very cool thing about this rig that I didn't mention that in the first video, which is down here, we can actually turn off the arms and the legs. So this is going to allow us to focus only on the main things of the character first. And make sure that this animations are looking or deposes looking good here, and then we just start adding everything else. So for instance, I'm going to grab the pelvis here. And as you can see, the pelvis in this case is completely rotate it like this. I'm just going to move it and let's move him up because he's flying. This is going to be like up here. And the pelvis is facing like this very weird way here. And then the chest or the torso, as you can see, is doing this like he's going forward. But then he's going backwards. And then if we go to the base of the spine here, he's kind of like going like this. Kind of looks like the pelvis is doing something a little bit more like this. There we go. It's matching a little bit better. I'm going to go this or the shoulders. So we can also grab this thing and the shoulder sort of thing, this sort of movement here. And then the head is facing like like that way, right? Something like that. So we match the C-shape, the very nice C-shape there from Spiderman in such a way that we don't have to worry about the arms and legs just yet. Now if I turn on the legs and the arms, of course, it's going to look super weird. But now it's time that we start modifying each individual parts. So I'm going to start with the left leg and I need to see where to left leg eight, so it's facing forward. It's kind of like facing the camera. And based on the under camera perspective, it's like up here, right? So it'll be like here. And of course like moving forward you can see the knee as well. How's the knee? We got this like 90 degree angle there. So make sure to always pay attention to like the empty space so that you can see how the silhouette of the characters is changing. So I'm going to go link here. And that tells me that this foot's should be like closer to the character. See how there's like an invisible line from the tip of the foot to the tip of the head. So I'm going to try to follow that one. Don't worry too much again, because the proportions of the characters are slightly different, so things might not look exactly the same. The foot's doing this sort of link, weird shade. There's a lot of foreshortening. So that means that the foot is on front of the knee. So you're going to select something like this. There we go. Now the other foot, the right foot is C where the hip S. So if we take a look at the hip, the foot should be right about here. On the front as well. Of course, the knee in this case is pointing to the left. So on this side, the foot is rotated to the right like this. Make sure we modify the knee properly in the best possible way. Now we go. And I love the fun animation guys, especially with this very dynamic movements. All of them animation is making sure that your posts are, your main poses are as nice as possible first, because if we have this very cool poses, everything else on the animation is going to be easier. Now the hands, for instance, so the left hand is crossing the body. As you can see. It's kind of like holding onto a, a web. On this side. It's rotated at Fort Worth and it's making a fist. So I'm just going to grab all of the curves here. Just make a fist. Now I'm going to grab this Tom right here and make a fist as well. And that can modify the position of the face so it matches that concept in the best possible way. So it is definitely higher up, pretty much like here. The clavicle is definitely moving forward like this because it's a very tense arm. So we see the tense element on the web right there. And then this arm and lot of foreshortening as well. So if we're shorting means that it's going away from the camera in a very dynamic perspective sort of way. So this guy is going to be going away from the camera. You always want to keep the curves of the FK close to the arm. You don't want to like move this. Otherwise you're gonna get some weird like effects. And I would expect this to be also on a fist shape because he's handling yeah, he's grabbing the other web right there. So something like this probably. And this is what we get. Well, we get like a little foreshortening here. And we can move the hand like further up so that it matches the scene as close as possible. And again, this is, this type of poses is not about balance of course, because this is completely unbalanced. This is super, super extreme superhero style. So the main thing about this is we're one disposed to be super, super cool, right? We want the style points, the visuals to be really, really intense. Show always make sure that you check knees. Knees are very important. This sort of positions, we want to make sure that the knees are facing the proper way. They're usually going to be facing the same direction that the tip of the foot is pointing to. You want to make sure that there's not a lot of overlaps. You want to make sure that things are rotating and moving in a nice ways, for instance here, then I could exaggerate the torso a little bit more to get this very nice effect. And the end, yeah, eventually we're gonna play as well. We'd like cameras. So if we go to like an 800 camera where things are super foreshortened, look at how intends to perspective becomes right, because the camera is giving us a lot of distortion. Usually this is set to 235. So this is going to be the exercise for this bar. The module guide us in the same way I asked you to do five posters in the last video, five balanced poses. I'm going to ask you to do five on valence posts is fine poses, or five transition poses where the character is going from one section to another one and he won't be able to hold the position for lung. I strongly encourage you to try to do like a backflip or a front flip where you need to rotate the whole character. Because again, similar to what we did with the fox, you're not going to use this main current is only to position that character. You're not going to use this curve to like rotate the whole thing. So the character is going to be doing all of the rotation. And of course you need to accommodate everything. So he fumbles very, very nicely. Make sure you do this guys. This is going to again allow us to get very nice set of mind. We're going to be able to, or mindset. We're going to be able to animate and poses characters a lot quicker. As you can see, it takes me about five to eight minutes for me to do a post. Depending on how complex the process it might take you a little bit longer at first, but eventually you're gonna get more and more speed and animation is going to become more fluid as well. So that's it for now. Hang on tight and I'll see you back on the next one. Bye bye. 25. Hadouken Key poses: Hey guys, welcome back to the next part of our series. Today we're going to start with the very cool exercise. We're doing a Hadoop can animation. So for those of you that are living under a rock and don't know what the Hadoop kinins Hadoop. It is one of the most iconic attacks in fighting games, which is this sort of like fireball that Ryu and other characters can launch from, from their body pretty much right? It's like concentrated energy or something. So if we look at the GIF or GIF image from the Hadoop going, you're going to see that the Hadoop has several important poses. I usually like to say that this pose for this particular exercise has three main poses. The character just like standing posts like let's say like the idle pose. Just like you're getting ready for the attack, which is again something like like this. And then the hands moving backwards and then the launch of the attack like this. So one thing you can do, especially if you have Photoshop or any sort of image editing software, you can download this image. So I'm going to save this image for you on our source images. Let me open the, oh, it didn't save us a GIF. Let me see if we can find another one. Save image. There we go. So if you grab this image and drag it into Photoshop and create a new file, what photoshop will automatically do is it will show you all of the keyframes that we have. So this is our first post. And then I would consider this one to be like the second post. I'm going to move it so that we can see it. Just ignore the effects. And this will be the third post right here. Or the, or the attack is actually launching. So we're going to start by blocking in the posttest here for the character very easily. So one thing I'm gonna do is I am going to turn off this guy. We're gonna go to this first pose, and I'm going to use this first pose as reference to pose our character. We're going to open a new scene here. I am going to file reference editor and create reference. And we're going to reference bony of course, like this. And then I'm going to, I'm going to start posting. So right here we're gonna go lightning two-sided lighting. I'm gonna go to my right view or action that we're just going to keep on perspective. And again, the style of animation that I like to use is focus on the poses first, timing second, and then polishing it or that's in my way to do it. Some people like to do poses and timing at the same time. I find that to be a little bit too complicated for my own personal preference. So I'd like to go with one post first. So let's start by posing this character on this like traditional pose. I'm going to move this to the other side of the screen just to be able to see. And we're going to lower the hips right here. He's facing the camera, so he's facing C. In this case, the left foot is going to be on the backside of the right foot is going to be on the back here. And the right foot's going to be facing forward as well. And on this side as well, then these are going to be on this side of the character. All of this is in frame one. And he's, he's whole weight is pretty much on the left or on the back foot right here. So the front leg is not carrying as much weight. He's a slightly like a harsh so I'm gonna just like Mohammed like this, I am going to change the head oriented to 0 so that he's always facing forward. Now, I'm not going to have to worry about animating the head. He's head is always going to be facing forward. And I am going to change the arms 22 inverse kinematic. Now, this arm is going to start right here are the chest height. The elbow is pointing down. This arm is facing forward like this. And we're going to have a fist. So let's grab all of this elements and make a fist. There we go. And we're going to cover the thumb. Like this, three curves from the thumb. And do it. There are some breaks out there. You might find them later on that actually have a fist like controller or a fist function ready to go. Those are very cool. But it's a matter of the rigor. So I'm rigors do it some rigorous don't so if you're if you ever are working, we don't rig that has the vista function. That's a very, very cool function to use. This elbow is down here, kind of like in a defense, defense position. Grab all of these guys and just create another fist here. And then grab this guy nice and close the fist. Like this. There we go. I usually don't like keeping anything, like completely straight. So I'm going to bend the fifth slightly here just to give a little bit more. Life to it. There we go. Now balance again, pit of the neck, all the way down. It's a little bit forward, so let's just move him back. Because I do want to keep him like conscious like this, so something like that. That works perfect. So there we go. That's our first post. Our character is now ready on the first post, and then we're just going to move on to the second post. So if we take a look at this guy right here, the second pose, as we mentioned, is when his hands are back. So as you can see, not only are his hands back, he's going to move the whole weight of his body all the way down. He's actually going to twist quite a bit with the rest of the elements. I'm going to, first of all, grab all of the controllers here and press S to make sure that we save that frame right here on the, on frame 1. And then on frame 2, what I'm gonna do is I'm going to really exaggerate the pose. Remember exaggerations, one of the biggest things that we can do, and we can start churning him around here. I'm actually going to grab the curves here on the back. And I'm also going, I'd like to really, really push the turn here. Even though this is a little bit like outdoors, like ordinary because he's like really, really moving here. It's going to make them animation look way, way nicer. Now this hand right here, again, if we take a look at that image, is holding like a sphere. So he's going to have to be holding his fear right around here at the stomach level. The elbow is going to be here. Show you the hand goes a little bit further out. This is one of the things about this, the principle of animation called staging. And it's very important if I were to keep the hand here, the sphere would be like having an issue with the silhouette of the character. I'm person number seven here to see this a lot of the character, and I'm going to add one sphere here to symbolize where the hydrogen's going to start. And if I do this, turn off the curves here. This is a very bad silhouette like this. Well, it doesn't look cool, it's not readable. I'm not really able to see what's going on here. However, if I were to move this hand a little bit further out, even though now the elbow is not visible. The Hadoop open, it's going to be right around here, is going to be quite visible. So silhouette, like staging in this case is very important that again, I'm just pressing number seven on my keyboard to turn off all the lights. And since there's no lights, is kinda like having a, a standard shader or like a flat shader here. I'm going to move the clavicle up here because the elbow here is really like up against staging. Staging. We want this thing to look really, really cool, like the whole like preparation of the Hadoop When it's one of the most important parts of the character. So we really, really want him to look nice. I am going to do something like this. Again too, to really emphasize the fact that he is like really preparing for this. Look at that. Press number five again to go back here. And of course the hands are going to open. So I'm going to grab this, this, this, and this. Just open the hands to create this sort of like anergy ball here. See how posing is super-important. There we go. Let's add a little bit more like a brake on the, on the hand. So it's not completely symmetrical. We go back here and here, and here. And there we go. So that's our, our Hadoop and preparation. I mean, this fear is not really important, but it's, it, it looks cool, right? So again, exaggeration, pit of the neck falling in between the feet. There's a good balance pretty much all around the character. All the weight on the character is being hold by this leg right here by them but will be our left, which is perfect. And this gives us the right leg. I'm just gonna go back here. I'm going to select all of my elements in S. And we have first post, which is like our idle second pose, which is our preparation. And then we need the third post and the third, both of course is going to be Wendy attack when the power is released, right? So we go all the way here. This is the post, and as you can see, both hands are in this sort of like half a fist have fist element and all of the weight shifted from the back leg to the front leg. So he is going to move forward. Like the whole character is going to move forward. We couldn't even the slide, the FID little bit here. Rotate around. Move this thing to the front like this, and now see how the spine is looking like. We have this very nice flat S-shaped thing. So he's gonna move forward. He's going to recover the front-facing effect that we have. I'm going to go here and we can just 0 out the rotations to go back to the origin. And now to make this a little bit more intense, I'm gonna just like moving forward. So let's go to the hips. Move the hips like this. And like this. And then this upper ones, I'm just going to push up like this. And even like, really like moving forward like this, this guy is going now, go forward. We could have a little bit of a pivot back there on the, on the, on the leg. Very important that this is completely valence. So we might need to move the knee like this. There we go, look at it again. You can turn off like the arms for now. Just to make sure that this boast looks good. And that's also going to work very nicely. And now the hands, the right-hand, as you can see here on the reference, the right-hand is, it's now on the bottom part of the character. It's going to go to the bottom. I'm also going to push the clavicles forward to give my arms a little bit more range. Clavicles are one of those controls that people have really, really forget about. And then this is going to be the hand very center. So right about here, remember that we talked about not moving the controller so far away. So something like this. The elbow, of course, as you can see, is facing us. So I would expect the elbow be like back here, right about there. And then this one right here. We're going to move. This hand is going to be here, again centered. You can see that it's very flat, very center. So I'm going to also push the clavicle for worth. Elbow, very important as well. But elbow is going to be on this side. There we go. Like this. And then the right hand to little bit of fixing here. The chest. The chest has a little bit of rotation on the top like this. That's kinda bringing the left arm like back. So I might need to bring the clavicle adjust back a little bit so the Hansard closer to where they're supposed to be. There we go. And the head for instance here we can actually like, like move him back so that we get this very nice cool pose. And again, exaggeration. Can we push it forward yet? Probably just a little bit more so that the apex looks like really, really strong. Like don't be afraid to push things later on. If we see that the exaggeration is way too much, we just bring it back, just like try to soften it up and that should be that should be it. So grab the whole thing here. I'm going to hit S again and we get a 1, 2, 3. And then y would be 4. 4 would be back to the basics, right? Like back to our idle pose. So what I can do here is go back to frame one and then middle mouse click on frame for so that we move throughout the timeline where we don't update the timeline and we'll just hit S. So we're going to have 1234, 1, 2, 3, 4. And everything is looking good, like we have this very nice transition. However, of course the timing is not working properly, which is fine. We're going to work on the timing next. But before I do that, I want to show you a nice little trick here. So the change from post to post three is quite extreme, right? Like we go from here to here. And if I were to grab all of the curves and just keep Maya one more frame, you're going to see that the Maya is going to try to do something called a linear interpolation. I believe we've already talked about this, but it's going to be super obvious here. Instead of doing this very nice like arch motion where the character just kinda like directs does fall forward. My is just going to cross the arms through the character like this, super ugly, right? So that's not what we want at all. We want another pose. We would like to have another key pose here where the ball is moving forward in front of the character and we're making this transition into this elements. So I'm going to show you one very cool trick. I'm going to grab this keyframes here and this keyframes here from older curves. And I'm gonna give it quite a bit of space like this. So now there's going to be a little bit more keyframes for Maya to interpolate. It's still going to be a bad interpolation, as you can see here. But we have something that's a little bit closer. So for instance, this one right here looks like a very good keyframe, except for the fact that of course the hands are not where I would like them to be. So I would expect this hand to still be around here. And I would expect this hand to be around here like that. They're just like moving the ball forward. We're actually, I will expect them to start doing a sort of a, a change because this hand is going to end up on the top side. And this change is, this kind is going to end up on the, on the bottom side. So now this both, as you can see, which I was able to find thanks to this extra interpolation, looks a little bit more like the intermediate pose that I'm looking for. Then I grab all the controllers, hit S, and now we can go back to our original like distribution. No timing just yet, just although this thing, so we're going to have post one, post to post three posts for and post five. And if we do this like a flip book, we should be able to see the little motion going back and forth. So all of our things are looking good here before we jump onto timing. Here's where I would ask myself, can I exaggerate this even more? It can it can I push this even a little bit further into like the super stylized thing? So for instance here, I don't see a lot of change. It's very simple. The change here is very cool, but this one right here, I think we can definitely exaggerate a little bit more. I'm just gonna like a really, really pushed this guy like further down like this. And as long as the, as the Hadoop and post looks good here, I know that we're getting away from the original rate but sin or the original reference. But since this is a stylized our rig right here, the bone earache, we can really, really push it. So now we have a little bit too much. So here's where I would start like coming back into a little bit more of a realistic approach. But let's keep this guy closer to the, there we go. So we got 12 and that's a little bit more extreme, which is good. And then we can transition into this sort of things, right? So we go boom, boom, boom. Okay, so 1, 2, 3, 4, and then 5, which is our final pose. So we're ready guys, we pretty much have all of the key poses ready. Now we're going to jump onto the timing and we're going to start seeing how all of this looks when everything starts flowing in it in the same way. So hang on tight and I'll see you back on the next one. Bye bye. 26. Hadouken Timing: Hey guys, welcome back to the next part of our series. Today we're going to continue with the Hadoop open animation. So let's get to it. First of all, I'm going to save this real quick. We just finished the deposes. So remember we're going to save this as a Maya Binary because the notes that the deprecated nodes, the old notes from this character, needs to be preserved. And now we can talk about timing. So whenever I talk about timing, again, I ask the same question. How do I want the transitions to be? Do I want this transition to be fast or slow? One this transition to be fast or slow, but one this transition to be fast or slow. And if we ask ourself the first one for the first question, for this first one, the first transition, I would definitely want this to be a little bit slower. So I'm gonna go to say ten frames. So we're gonna take ten frames for this character to kinda like prepare for the, for the post, which is good. Let's take a look at the timing here. I think maybe even like 20 frames might be, might be good. It's going to be like really slow. And then the actual transition should be fast. So probably like five frames or something. This guy would be like right here in the middle is going to be 1234. Boom, and then the attack just goes out. And then from the attack, I would expect the recovery to eat to be even slower than the preparation. So I'm going to go like frame 50 or something. So we're going to have from frame one to frame 20 is going to be our preparation. And then from frame 24 and 25 is going to be the attack. And then after the attack, I would expect this post to be hold for a couple of frames. So I'm gonna just middle mouse click, let's say frame 30. So we have five frames where he holds the beause. I'm going to talk about something interesting here later on. And then we start the recovering process again, 20 frames. I'm actually going to make this a little bit longer, like 30 frames. And we're going to have this. There we go. So now the Times looking a little bit better, I do think it's looking a little bit slow. So what can we do here? Well, we could of course, like manually changed the frames or we can use the trick that we've used before. Just grab all of the frames and say, let's compare, compact them a little bit like here, and say right-click snap. Now, as you can see, that distance here is going to be smaller. It's going to be just four frames. Now it's going to be 16 frames here. Let's take a look. That's better, right? So bad. And as you can see, it even helps the interpolation because with less frames, it's a little bit easier for Maya to know what to do in between the frames. However, this does not mean that we're, we're clear too, just like leave it like this and that's it, right? We, we need to polish this and start adding the famous in-betweens. So let's go to the first pose, which is from frame one to frame 16. When I worked on this things I like to isolate the parcel I'm working in. So I'm just one that I'm just going to work on this thing right here. So frame one to frame 16. And the first thing I'm noticing is that we have a very nasty problem here with the elbow, the left elbow crossing into the arm. So the main problem occurs right about here. What can we do? Let's just help Maya. Let's grab this guy right here. Let's bring him out. And let's say, Hey, Maya tried to keep the elbow like up here. So now with my is gonna do is it's going to interpolate like this. And they will keep the elbow exactly where we need to see that. So just by adding one extra pose there, it won't change the timing, it won't change the elements. It would just do this. Now, there's another thing here. We've talked about this before. Every single thing, every single element on our objects. It's not the rule that it must follow archs, but it should follow arcs. Arch are really, really good because they allow us to see how thinks MOOC. So if we take a look at the, at the fist here, we can see that we start really high here. We go low in a very nice arc, but then we go Very straight all the way to frame 16. What can we do? What can we do here? We could move this guy down and tried to create this sort of like arc motion Throughout the elements. So when we meet frame 16, it's a little bit nicer. Okay, It's, it's just, it's just one of those things that really help. Now, careful here with the elbow on frame 16 was looking really weird. It was going to position it right around here. Like we also don't want the label to be like moving extremely, extremely in, in extreme ways. So I'm going to keep the elbow open here. Let's go to the first frame and let's bring the elbow again close to the elbow usually want, you want to keep the, the controllers close to the, the objects. It's a little bit easier to control that way. So there we go. So we keep the elbow open as you can see there. And then we'll just go down. We could add an extra frame here, like an extra animation, especially for the hand. Just to give a little bit more of a curved effect. Again, the motion trail is really good because it allows us to see this thing. And now as you can see that just, just adding that extra frame there, it's going to add a little bit more life to the whole thing because it's going to make it seem a little bit more organic, like the movements more organic because we're following this, this very nice arc. And we can use again this two to exaggerate, see the dark trait, to see the arc from the front. Perspectives to make sure that it's nice and smooth. And once we don't need that motion trail and the more we can just delete it, do the same thing for this guy, let's say visualize it that will motion j. Let's see what, what trail he's following. That one's a little bit nicer as you can see it just like falls back and prepare so that once that, once it's good, I think I think that one's working. That one's working nice. I think I would like to open the fingers little bit more here to create this sort of like grappling hook effect or not grappling hook. But it looks very nice window, when the fingers open right there. We get this very nice effect. And yeah, like this B then everything, it looks very, very cool As you can see. And now the movements, a lot smoother ride is starting to look like, kinda like butter. Very, very smooth. Perfect. So now we move on to the next part. We got this, and now we have this four frames. So it's from frame 16, which is the next one to frame 23 where the, where the hydrogen is launched. So it's 1, 2, 3, and 4. Now, here's where we're going to talk about a very interesting concept that I like, that I would like to call like drag or, or we were gonna let me say let me think how it's explained a little bit of a better way. We have our frame 16 here, okay? And our frame 23 here. Right now the action is happening in a very linear way. So the distance between 1 and the next one is very, very close. If we change how things work, I'm going to I'm going to turn my camera. I usually don't turn the camera here, but I think this is going to be good. So give me just 1 second here. There we go. How are you guys? So let me explain this to you. When you have your camera here or when you're doing a punch, Let's say this. My left hand right here is going to do the punch, right? So right now it's right here at my face. The final position is going to be right here, like all the way over here or yeah, like that. So if I just have frame 1 and frame three here, frank, two 0s here at the middle point, the action's going to look very smooth. Ok? It's just going to go 1, 2, 3, 1, 2, 3. However, if I were to say, okay, frame one is here, frame two 0s here, still really close to my head. And then Frank three is all the way over here. Then the action is going to be like 1, 2, 3, 1, 2, 3. It's going to be more like a snappy action because we're, we're moving this in-between pose closer to the earlier posts rather than the later post. And by moving that post closer to this area, by dragging it back, we're going to add a little bit more speed to the whole action. So right now that's what's happening here. Like this pose right here is closer. This one right here, then in this for the first one. So if I go here and I say, hey, you know what? Let's make this back. Let's keep the character like a little bit closer to the 0 plus 12. Then the change is going to be way more intense because we're pushing this pose right here. Actually, I should be focusing on frame 19. We're pushing this pose right here, closer to this pose right here, then at this, this one right here. And that's going to make it look since it needs to cover more distance is going to make it look a lot more intense. Okay? So I like to call that action waiting the animation to one side rather than the other. Okay, So camera out. There we go. So now what's going to happen again here is that we're pushing this guy. We can even like make him hold the Hadoop unlike closer to that, to the belly here. Like like he's really, really like holding the thing. Like back here. And in a matter of an instant, it's going to go here. It's going to be like a very crazy here. Thank you. I might need to add an extra elements you just do to fix the, especially the elbows for instance. And again, we can, we can keep this like really, really close to the body, like the login is right here. And then boom, it's going to be out here. This is going to be 1, 2, and then 3, 4, all the way over here. So let's grab all of the frames. We need to always give everything a frame just to keep it clean. And if we take a look at the action now from frame to frame 23, in this case, we're going to see this. So yeah, it's like a punch. It's like he's punching the air. He's moving something forward because because we're delaying some of the keyframes right there. Finally, we need to check here like on from frame 1984 and 2003, which is just a static posts. Why would we expect here a little bit of an overshoot? So he's going, I'd like just like really, really, really go a little bit over the board. So we're just going to push this thing and the hands like this. So now we're going to have 1920, 23 and then he goes back. So it's like there's a lot of energy going out and I can I got to go with the energy and then just go back and just that little overshoot there. It's going to make him look a lot nicer right there. There we go. Now, from frame 23 to frame 60, which is the next section of our character, we have this issue where it just looks like he's just like going back and again, it's Maya being like, Okay, you know what, I'm just going to interpolate from the post that you're giving me on this frame to the next procedure gave me on the last frame. And we don't want that. We want the transition to be a little bit different. So. What I can do is again, try to find a one post like Frank 34 for instance here and say, hey, you're going to want like move the whole thing back. Bring your arms down a little bit because you're, you're kinda like resting. You're like all of the energy, just release it. It was quite a big sofa of an effort right here. So we're gonna go from here down in the back here. And then we're going to go up. See you again like it's this, is this nice like arched transition where things are gonna go back and down. Like okay, like we just, we just did that. We just launched a Hadoop and that was pretty cool. But now we need to get back to our, our original position like this. So again, just by changing a little bit of the dynamic there, Let's go here and just add S to the curve. We get this too that a lot nicer, right? Just a little bit of a change there and things that are going to start looking a lot nicer. Now, at this point, I would go and I am going to go to each specific part of the animation and see where we can make things a little bit better. So for instance, on the Hadoop can hear, I do want 1234, but see how the hip moves in a very smooth way throughout the thing. Up probably would push this thing like further forward. Just to get a little bit more like boom, boom. And it's very important that we check frame by frame and see that there's no, We like weird interpolation or anything. Now here see how the hip moves back and the fetus moving back at the same time that we're gonna be talking about the delays on the, on the offsets in the next video. But it's very important that we understand that not all the actions are going to happen at the same time. Now there's emotional jail we don't need anymore. I'm going to grab the hip now and let's visualize the motion trail for the hip. Let's see how this looks. So we get, we start here up and we go see very linear, very linear approach here. The we normally do this. No, not really. So if we take a look here, we do have a frame on frame 8. We should have added the frame there. So what we can do is on frame and say, Hey, if we're going to go down, why not create a little bit of a curve here? When going down? A little bit of an arch like this. So we're going to have this arch. And then here as well, like see how we go from frame 16 to frame 19. It might be a good idea to lagger really bring the hips down on the, on the transition to the actual Hadoop going to create this sort of arch like this. Go down, down and then up right on frame 19, we can really go up and meet maybe even like bringing that leg completely there. And same thing here, like on the transition to friend 34. Like why not add another post here on Frame 34 where we create this sort of like element, creating this nice little line. Very important. Again, make sure that we add an animation pretty much everywhere, everywhere that we haven't animations is good to have that keyframe for now just to keep it clean. So now as you can see, the whole movement of the hips, It's going to be nicer. I like it. Let's have another look. Okay, It's looking good, although it does like this pose right here, I think it's a little bit too much like I don't think we really need it. So I'm just going to delete it. And I'm going to grab all of the posts here. And let's just bring this back loop. Bring this back one frame, one frame. Careful there because we I grabbed one frame accidentally and they kinda combine. It's just one frame back. There we go. It's going to be 16, 17, 18. So again, it's kind of like back here. And then immediately boom, we're gonna move forward like this. There we go. Boom. Now it looks like an explosive, like sort of punch might be a little bit too explosive. Not, not the transition I'd like to transition, but the, the recovery is a little bit too fast. So for instance here on the 26, let's just give it a little bit more, a couple more frames. There we go. Boom. Nice, right? So this is what we normally go through when we're doing this sort of like blockings for the animations, we finished the poses, and now we start playing with the timing and we see how everything looks. I do think it looks a little bit too explosive here on this side, like it's almost an instant. And I would like to have a little more definition here. So let's leave the motion trail. That one usually makes things a little bit slower. And I'm just going to grab it like this guys. Let's keep them to frame since that. Because one frame one frame was looking wasn't looking bad. Let's see how we do with one frame. Okay, That's good. So the wireframe does look good. And the only thing is we really don't need to add any key frame there. We just let Maya do its thing and, and that kind of works. But what if we add one more frame like here on the preparation? Let's give it a shot. Oh, that looks good. That those look good. Like we have this frame right here and then we have one extra frame here. And then boom, we get there. So again, as you can see, it's, it's trial and error. We try something, we see if it works. And if it doesn't, we tried to modify the lesson, the elements before we jump onto the polishing of the different things. So I'm going to stop the video right here, guys. And in the next one we're going to start with the polishing phase. It's going to be a little bit longer, but it's gonna give us a lot more or a softer transition. Overall, we're going to be offsetting certain things. We're going to see what things we can move around and we're going to prepare for the final part. So hang on tight and I'll see you back on the next one. Bye. 27. Hadouken Polish: Hey guys, welcome back to the next part of our series. Today we're going to continue with the Hadoop and exercise. So let's get to it. This is where we left off. This is the final result after the timing and the posing that we did. Now it's time that we talked about the the polishing, right? We're gonna be doing a little bit of offsets here and there, just to make sure that everything moves in a very nice way. So just to remind you what offsets are, we normally don't want all or every action to happen at the same time. Actions usually happen in a slightly different times, right? So let's do something very simple. For instance, the fingers here, I know that post 16 Word, the fingers are finally going to be open right from coming from this fist right here to this element right here, the hands open. If we want to add a little bit of offset here, for instance, we could grab the final parts of the fingers. This final points right here. Let's say like all of this case and this frame 16, Let's move it to frame 17, just one frame. So now what's going to happen is the hand's going to be here. And then one frame after that, we're gonna get a little bit of an extra movement there on the, on the fingers. So it's going to be very subtle, but it's definitely going to help. The whole animation is just a simple fact there. Now. There's definitely this frame right here which is looking very, very bath. So I am going to add one extra frame to fix it. We definitely don't want the arm to be like weird or like a weird movement or anything. We go frame 1617 is fine. 18 is fine. 19 is fine. Oh, we can make this better by moving this thing closer to here and then 20. So make sure that the view at any point notice any weird movements. Make sure to just move it, change it. It's completely fine to do so. And we're going to get a nice effect. So Let's go for it enhanced now on the hands. If we take a look at the hands when we have the Hadoop and right here on frame 20, I would expect the hands to be the last thing to heat. Like I don't want every single part of the body to heat at the same time. One thing we can try here is grab this two hands and unframed 20. Just move it to frame 21. That way when we hit this position, one frame after that is when the Hadoop and it's actually going to be coming forward. So let's take a look at the animation now. See, it looks a little bit better. Now of course, it might present new problems. So for instance, right here, we can see that on frame, what is it? 19 and this hand is a little bit further backs, just push it forward like this. And we're gonna get this nice effect. Same deal here when we are coming back. I don't want the hands to becoming back at the exact same time. I would like them to be delayed a little bit so I can just grab the hands, got all of the keyframes here, and let's give it two keyframes of delay. So now the character is going to be coming back. The hands are also going to be coming back. We're, we're gonna reach the final position first. And then a couple of frames later, the hands are going to catch up. Now again, we might find that server or certain frames are going to be looking a little bit weird. So that's where we go in and just like manually fix some of the elements like here, and we get this. So now the hands are coming back slightly delayed from the rest of the body. Now we can delete the body as well. Usually, for instance, that the hip is what's usually handles the whole transformation. So we want to delay certain things. For instance, here, this foot right here is going to do a slide. From here to here. I will do this light at the end. So I'm going to go to this frame right here, and I'm just going to push it forward a little bit like here. So it remains straight there. And at the end, we slide the foot back. Actually, it's this position right here. Now that's fine, that's fine. And we get that. So at the very end, after we've pretty much regain our whole element, that's when we're going to get this. And again, we can just delete it here a little bit. So we get there and the finishes or completes the transition a little bit later, like this. And again, if we take a look at the animation, we get a little bit of overlap, a little bit of follow through. And, and things are looking a lot nicer right now. You don't need to add overlap and follow through everywhere. You should only add it to where it's needed the way it looks good. Now there's a couple of things are a couple of areas where I'm a little bit concern, especially on the Hadoop in itself, like right here. See where this elbow is. Looks very weird. So I am going to go to frame 20. Keep the elbow like here. Reframe a teen is here, Frame 20 here. And then see how in-frame 2040 goes all the way back. That moves the whole thing and it makes a weird transition. I want to keep it straight as possible. And then frame 36. Let's keep it low. So we move low. See how again, Frame 40, 42, it goes like really, really high. Let's just go low again, which is a little bit more normal. And then we go back. There we go. Let's take a look again. There we go. Because I feel like the left arm is the one that changes the most. The right arm looks very nice, looks a little bit stiff, but it looks very nice. And I'm also seeing a weird moment on the, on the left hand. So let's, let's go frame by frame and see where the error is. So that's fine. I mean, it's a little bit intense here. I think this is the frame that looks kind of weird. So let's prepare this a little bit better like this. It's this one as well, this pose right here. So a little bit too extreme. I think since, since that's the one that's on that side like on the front side. And we kinda keep it like slightly slightly bent opposed to the to the right, the one that remains pretty nice. I think that's why it looks a little bit weird. Now, what else can we do? Well, I know that this movement right here is going to be mandate or it's going to be followed with this foot, right? So the foot goes from here all the way to frame 22 here. We could accelerate this a little bit like we could move this guy like one frame before that way the foot lands first and then the rest of the elements lamp. And again, it's such a simple thing, is just a one frame, a to frame thing. But those little things really make up for a nicer effect all throughout the character. It really makes it so that things look a little bit nicer. So for instance, again, like the twist here on this one right here, we go On this twist. Why not accelerate the twist? Maybe like he really twisted deaths that foot first and then he just like slides everything else back. Say. So, so adding those little offset, those little elements are going to make, is going to make. So it's going to make it so that the animation doesn't look like mechanical and flat. That's it normally does because again, we're going to have things happening at different times. And that makes it a very nice animation overall. And I think that said, we take all the curves. That looks like a very nice animation. Again, let, let us see. I'm not fan of the left arm to be honest, like the fact that the left arm remains like bent here. It's giving me so earths and making me like dubious. I'm just going to push it even though it we know it's not in the original, I'm just going to push it. I rather have a a completely straight arm there. I think it looks stronger as well. There we go. Now of course we just add a couple of very nice slides, very nice. We could do it like a small setup here and we will get something cool. I'm going to show you real quick how we could add like a little bit of it's not going to be like the Hadoop going with all DO like flare and fire and stuff, but we can do something similar. So I'm gonna go here into the poly modeling. I'm going to start with a sphere. And what I'm gonna do is I'm going to animate this sphere appearing on the character. So when he goes here, like at this point, I think this view would be a nice, it would be a nice point for the sphere to start up peering. So one frame before this, I'm going to animate the scale of this sphere to be 0. And I'm just going to spheres there, I'm just going to hit S. And then on this, on the final frame before the fighting right here, the sphere would be like 25 or something, a little bit less like this. And then add the final position, which will be, this will be the final position before it gets released this last time where the character is touching the element. It will be big like this. Got it. So we're gonna go here. We would still be over here. So it's got to be one. And then here we definitely need to do a little bit of frame-by-frame animation. That's why I'm doing this at the very end until everything else is ready. Because otherwise, we would be competing with or it seems we wouldn't still be doing changes. I will have to do this over again. And it's, it's not really, that's not really the point, right? So, so we keep this here. There we go. Here. Again, close to the hands. Even if there's a little bit of overlap, That's fine. Supposed to be like an energy also, I don't really mind. Then here and then on the Launch, it wouldn't be right here on the front of the hands. It will be like further down the road, right? And a couple of frames after that. It will be like a really, really far. So now we can see this. There you go. Look at that blue. If you want this to move really fast than the answer of course, is give it more distance in between the frames. The more distance recovering the time, the faster the projectile is going to be. So we get this. There we go. Now what we can do is once we, he'd like a, like a nice, nice distance. Like that's a because if we were to do like a render of this, Let's say I'll probably go like this. Yeah, I mean, we don't even need to. I was thinking about like animating the sphere so it's scaled down but on things rarely necessary. So let me show you very quickly how we can make this into a nice, like short, like just a nice animation. So I'm gonna go panels, look through selected. It's going to be our shut gaps, shut em. So I'm going to try to frame the best possible sequence which this one seems to be it. That's one of the best angles for the character. So that if I frame's is fine, so we see the whole thing. Let's create a little bit of setup here. I'm just going to do an infinite background. So for infinite backgrounds, it's actually very simple. You just create the plane. Grab this case right here. Just move it up. And grab this guy and move it up a little bit. And this guy move it a little bit, a little bit. And then we're going to have this panel's look through selected. Just scale this up. We can rotate that so we don't see any of the background anywhere. Let's go Arnold. Lights. Let's do a sky dome light. And let's bring in the HDR that we had before, which is the peppermint PowerPoint. Yeah, that's fine. Just open. Let me save this real quick. Before this crashes, I am going to add a new light. So Arnold lights, area light. Just like a strong light coming from the top. Let's say 15 exposure. Let's give it a shot. So Arnold Render, It's a little bit too much. Let's at 12. Yeah, that's better. I can go even lower at 14. I usually like getting rid of some of the light from the, from the HDR. And now we can push the light of the area light a little bit higher. We can use the spread, lower the spread. So it's like a spotlight. That's good. Lebanon. There we go. Just a little bit warmer. It will check the camera shape. This is what we're going to see. So we have this nice little contrast. Hear me, We can increase the spread a little bit more. Just to get more, little bit more lighting to the scene. There we go. But this is, this is looking good. And now let me show you a cool little thing. I'm gonna go to the sphere. And the sphere, I'm going to add a new material. So let's go to a frame where we can see it. I'm going to right-click assign new material. We're gonna go Arnold, AI standard surface. It's not going to have color, it is going to have specular. And I'm going to go into emission shorter the ischium on with the weight. And I'm just going to select the color and make it this electric blue right here. So now what's going to happen is that, that thing is actually going to be glowing. And when this thing is close to the character, like here, you can see that the light is actually adding lighting to the scene like a, you will see the little globe. And later on in After Effects we can add like a, like an extra glow here. And it's gonna, it's gonna look even better. So you can even like multiply this by two and the intensity of the light is going to be even bigger. It is going to be a little bit noisy. But if we increase the samples on the other thing, it's gonna, it's gonna look better like that. And there you go. So as you can see, with each element, we're going to see the energy going there. And if we take a look at the animation here real quick, you're going to see how we have the, the whole thing, right? So I already know how the animation is going to look. We can of course play blast and everything. But now we actually have a nice little animation complete with our Hadoop can. So there you go, guys. So this is said, this is for the Hadoop can exercise. We're gonna do one more exercise with this character. We're gonna do an idol like combat idle pose. I want to show you how to, how to make this a little bit. How to create that cycle in a different way in now what we've done before. So hang tight and I'll see you back on the next one. Bye bye. 28. Idle Cycle Setup: Hey guys, welcome back to the next part of our series. Today we're going to continue with an idle pose. We're going to be doing one of the things that we use quite frequently in, in video games. So, so let's get to it. I'm going to start a new file here. I'm just going to very quickly reference again are very cool. Little break here, ultimate bony. We already know about that error. That's totally fine. We're just two-sided lining to see the whole thing. And what are idle pose? And one way am I teaching you this? Well, I don't. Poses are one of those things that we use quite a bit in video games. Sometimes you've been in cinematics or commercials, and it's just a post that your character is going to be in and he's just going to be idle, right? He's just going to be waiting for something to happen. Idle pose us are really important because they allow us to have something that it's going to distract the audience from having just like a static mesh. So any fighting game, any, pretty much any game nowadays has characters in there, idle pose and it's pretty much just like a breathing animation. Sometimes you have a very aggressive animation. Something's very sassy or very proud or something like that, or self whole of different things that we can do. Now, following a little bit of this Khufu thing that we've done so far. Some of you might remember the movie Karate Kid. And one of the most famous poses is this one, right? Like the post-Cold, the crane or something like that. We're going to do this pose. We're going to keep this character on a very like Karate Kid posts in a, in a very nice setting here. So what I'm going to start with, I'm going to create a little bit of a pillar. So let's do like a pillar where he's going to be sitting on top of. And I'll just keep the pillar right there. Now, here's where you might want to use this main curve. If you have an object like this below right here that we're gonna be using to animate our character on top of. You really don't need to move the whole character since he's only going to be here, we could move the whole thing up to help us a little bit in setting up where we want the character to be. Now this only applies when we're setting up a scene. Remember once we start animating, we usually will not move this post right here, okay, or this circle right here. Now one thing I do want to have is some wanna give this guy a little bit of modeling effects. So let's, let's give it a little bit of a fraction. I would like a couple of these vertices and just like move them down just to have a little bit of the sort of like log effect, right? Maybe you want to be a little bit more intense. Why not add a couple more of this guy's like in different positions. Just so that the scene looks a little bit more complete, right? This is something very, very important. It's not mandatory for animators to do this because this is usually the set dressers work. But when you have an animation, if you add a little bit more life to the animation by adding more elements, more objects and stuff, it usually speaks better. I like to imagine a render where we have this guy on oppose and we have a lot of those guys everywhere, like Here. Let's just move them down. I'm going to group them and just move them to the side like this, and then duplicate and move them over here. So now it looks like he's on some sort of environment, right? And it's just assumed there's, it's just crazy Zoom, There's all over the place, but we're going to have a nicer c. So now we need to pose the character very easy. Now, this exercise is actually quite simple. It's a little bit easier than the Hadoop open one. I was thinking about doing this one before, but nothing like jumping straight into the water, getting your hands dirty is better at first. And now we're going to continue learning on the important things. So if we take a look at the boats, we can see here that the annual dermis or law Rousseau, I think what's his name is on this sort of like balanced both with his right feet, foot on the thing. So I'm going to keep the curb right there. I'm just going to move the hips down because he's kind of bending. He's angled forward. He's back is curved back like this. Let's turn on our off our ahead orient here so that the head is always oriented. I'm also going to, you know, I love using IKEA's for the hands. So I'm going to switch this to IK. There we go. Now this foot right here, the left foot is going to be up. Of course, the knee is also going to be up. There we go. And this is where he's going to be balanced. So I'm going to just move it back and center. So it's right there on the, on the center point. So I know that that thing is going to be balanced because of the bit of the neck. Remember this things we've talked about? There we go. Now this hand is going to be up here, slightly bent with the elbow pointing down. And this hand's going to be up here. We don't want symmetry. Symmetry is one of those things that you You usually want to avoid in, in animation. Otherwise things look for a way to like obvious. So let's do a little bit of asymmetry here. Maybe this elbows a little bit lower. Now, the hands, I definitely did want to add a little bit of a bend to the fingers. Let's do like this. This. There we go. I'm one of those animators that like to post everything. Some people would like to do like a very basic a blocking first, we'd like the hands completely flat and then they'll go back and change them. I think just for the sake of Vishal, fidelity and improvement is good to to animate a little bit of everything as you go. From personal experience, clients sometimes are not very artistically savvy, let's say. So they will see an animation and they don't see it like all the poses like very nicely polished. They will question you. They're like, Why are the hands so flat? Why is he not gripping or doing a fist or something? And you're like, oh, well, it's haven't done that part yet. I wanted to show you only the deblocking and the key poses and they, they just don't get it sometimes. So from a practical standpoint, it's better to just have everything ready from the get-go. We go, so we go here. Cool. Now let's make sure that he's completely balanced. I think I'm going to bring him back a little bit. So all of his weight is on the back foot, right there. There we go. Now, this foot I'm going to go here. I'm going to angle it lower, just a little bit lower. He seems to be a little bit more forward and not us low. The hands are really high though. Let's bring them higher. Which again, since we already did the fingers, It's a little bit easier. Here we go. All right, you go. So again, we check the, let's create a camera rendering. Camera panels look through selected. And this is going to be our final shot. So I'm going to do something here with a camera. I wanna, I wanna do a low, low focal length. So let's go to like a 24. So things look a little bit more like Epic. So I'm going to start right here. And I was going to touch on this later on, but I think it's a good point now. We're gonna do just a small camera rotation. So we're going to start S here. I'm going to animate the camera right here. And the animation is going to go from this frame to this frame right here. And throughout this frames, which are just like five frames, we want the character to be on a cycle where things are just like moving and flowing slowly. See that very nice, very calm camera movement all throughout the, the, the element. Okay, we're now going to do a kick. We're just going to keep it with the idle pose because I want to do another exercise on this module. And that's going to invoke a little bit more work. And that's why we're not gonna do that. Well, if you want to advocate, then you're welcome to cool. So I'm gonna go here, grab our, all of our keyframes and I'm going to go frame one. And I know the frame 3 in this case, I'm just going to worry about three frames right now. Three is also going to have the same post. Now I need to add which one is going to be the intermediate posts? What's going to be the idle? Usually on the idled you're going to have your basic pose. And then once you go into, and then from that post you go back into your basic pose. So I think I will not go lower in this intermediate posts. I'm going to lower this guy. I would expect the arms to go low, but I'm going to bring the hands up a little bit. So we bring the arms down. But the hands up. And then this guy, I'm gonna I'm gonna move probably forward. Or what will happen there? That's interesting. This guy, of course, remains, should remain right there. Oh, you know, what happens is we copied this. There's a little bit of an interpolation, that's fine. I'm just gonna go here. Middle mouse click, select the curve and just hit S. Now it's flat and that's, that foot's not going to, it's not going to move. So we get this down and then up again. Okay? So very simple, very, very simple change. I think I do want this guy to go like here. But maybe just like wrote to that in a little bit, just to create something, something interesting. Let's take a look at the camera movement. I think it's fine. I think this hand, again, a little bit of asymmetry. Let's bring it lower. And this one will keep it like that. Now usually, I would expect him to breathe. I don't think I want to like go here because otherwise we're gonna get this. So now that's fine. I will just leave it like this for now. So grab all of the curves S and then we have 123. Now, we can start playing around with the cycle, the basic cycle that we need. In this case, we're gonna go to frame two and frame three. And it's going to give it, let's say 10 frames and then ten more frames. So we're going to have 123. Let's see how the speed is too fast, right? Like if he were doing that he will fall like real quick. That's a lot of strain on the muscles in the leg, so that's way too fast. Another thing we can do, It's the trick that I showed you before, which is very cool. Just grab everything here. You extract a Likert scale this out to, let's say, 60 frames and then right-click and just snap it to make sure that the animations are falling on an even numbers. So now, there we go. That's a little bit better. As you can see that that looks a little bit nicer. A little bit slower. Probably can go to like 60 frames. That what we're going to have two cycles on the, on the whole thing. So I'm just going to snap again. And then we take a look. We get this. Now here's the issue. We can't just grab these guys and the end duty cycle thing that we normally do because that's going to cause some issues when we try to add the overlaps with the walk cycle, it was actually kind of fine because we didn't have any like intense overlaps. But once you're doing a real cycle, this is something that you would use, for instance, in a game, you want to make sure that everything looks as smooth as possible. So I'm going to show you a technique year That's really good to create a very nice working area for us so that we can do a little bit of offset. Because as you can see right now the action is happening everything at the same time, right? Like everything moves and goes up and down at the same time. And that would like to have this sort of like flow. We very watery, better peaceful effect. And in order to do that, I need to offset a couple of things so that not everything happens at the same time. So what are we going to do? Pay attention here because it's, it's a, it's nothing complicated stuff with people sometimes get this messed up. You're going to grab all the curves of your character, like I'm doing here. Select all the controllers you're going to shift and right-click all of the keyframes here. And then you're going to right-click and copy those elements. You're then going to go to frame 16. You're going to click and you're going to paste and paste the elements. Remember this is after the initial timing, not when we still have the main elements. Then I'm going to go all the way to frame a 119. And I'm gonna say right-click and I'm going to paste them again. So now what I've done pretty much is I duplicated my cycle two times. If I hit Play, we're going to get this. And the cycles just going to go up and down, up and down, up and down, which is exactly what we want. However, now we have a lot more room to select some of these elements. And I'm gonna be showing you another nice trick that we're going to use to soften this up. The first thing we can do is grab all of the curves here and select this option right here, that's called spline tangents, splines, as you can see, see how that curve got a lot softer on the, on the edges there. So I'm going to again soften this up, and that's gonna give me a little bit of a nicer effect. So look at this. Very cool, right? We get this very nice effect with a character. Now it's just a matter of playing around with the next parts. So I'm going to stop the B right here, guys, I'm gonna continue. We're going to continue on the next one word. I'm going to show you the actual trick that we're going to use to offset several of the elements here. So hang on tight and I'll see you back on the next one. Bye bye. 29. Idle Cycle Polish: Hey guys, welcome back to the next part of our series. Today we're going to continue with the adult post this Karate Kid effect here that we have with the animation. And now we're gonna do the offsets that I was talking about. So here's the deal and I want to explain why this is happening. I'm going to use a different it's fine, it's fine. So what I'm gonna do here is the following. If I select their curves here, you're going to see that there is an issue where the curve starts and where the curve ends if we use infinity. And you saw it in one of the other examples that we've done before. Sometimes the transition from one curve, once it goes into the infinity cycle, it's not as clean as we might want, and we can play around and try to match it as perfectly as possible. But it's going to be tricky, especially with characters like this where we have a lot of moving parts. We want things to be slightly offset in a more interesting way, and the infinity could cause issues. So by doing this trick by multiplying or duplicating the cycle manually, we can now grab any part of this cycle, any curves of this cycle, for instance, the hands. Let me grab the hands. And if I grab the hands and I just move this things, let's say two frames, 1 and 2, I'm just seeing shift and middle mouse click on here on the graph editor. Now I've offset that the whole curve, two frames, if I select everything, you're gonna see that now everything starts on frame 1, but the hands start on frame 2. If I were to play this animation, the first two frames, the answer going to be completely static. It looks horrible. However, I already knew that my animation was going to be a 120 frames. So if I select any range in between these element, that's exactly a 120 frames, we are going to have a cycle. So let's say we start on frame 20 and we end on frame a 140. Even though the keyframes are not landing executive the beginning and at the end, that doesn't matter because since their curves are clean, as you can see here, everything is going to be a cycle. It aunts, and it starts on the exact same frame so that we don't get any weird thing, we don't get any, we're movements. So everything is working very, very nicely. So now it's time to start offsetting things. I'm going to go back and let's do this a little bit more orderly. So the first thing I want to offset are the hands and the feet. So I'm going to grab this hand, this hand and this feet. We're going to go everything, partly going to grab the torso as well. It does have a little bit of phi rotation there. So, so I'm going to go up torso, hands, and feet. And all of these guys, Let's move the two frames, 1 and 2. So now the hips are going to move first and then the doors and everything else is going to move later. See that little bit of squash and stretch that we get on the, on the, on the torso. It's looking really good right? Now if we go into the hands themselves, we have fingers and we can also offset the fingers. So let's say we grab this two guys and this two guys. Okay, if other thing I'd grab something extra layer. There we go. So not the base of the fingers but the middle part in the end, the tip. All of this. Well, they don't have an animation. Oh, did we not animate the post? I think we did animate the pose. Okay, so that's fine. Let me show you how to fix it. So I want to add a little bit of delay there as well. But if you remember, our initial posts here, like intermediate posts, didn't have any sort of animation, so we need to animate it. What am I? What am I going to do? Let's de-select geometry here so that we don't select anything. I'm going to select the fingers now, even though we've already done this or done the whole like flipping and things. And I'm going to make a little bit of a fist here. And same thing on this side. There we go. Now, I know that my fingers not the hands, but the fingers should be should still be clean because we haven't done any offset. So we can just select the curves of the fingers. And right now we're in frame at 28. That's fine. Just hit S on both of them. And then on frame 87, we want to copy these. Bose was going to middle mouse drag heat S, and then over here, keep this. So now we have this. You can see the hands open and close very, very nicely as I go up and down. Now we can do the opposite of that was talking about that we can grab the first or the second middle finger mineral part of the finger and final part of the finger, middle part, final part, middle part, final part. Middle, final, middle, final. The middle final. Go into the graph. Editor. Grab all of this very nice curves here. Let's do 12 frames, offset. And then I'm just going to grab the tips of the fingers and the last last curb there. There, there and there. And I'm gonna do two more frames. So now if I take a look at the whole thing you're gonna do, We're gonna start getting a lot of stuffing here when we select everything. But we're also going to start getting these very, very nice offset all around the character. So look at the hands. Very nice, right? So it has are looking way, way more natural and we're getting these very, very nice effect on the, on the whole character. This very natural, very flowy feel to the whole thing. And that's because we're offsetting things. Again, this is very important. Offsetting things in animation is one of the most important things to make. Animations look a little bit nicer because something that people tend to do a lot when they start animating is he just keyframe everything and they just hope that the poses alone and the in-betweens alone are gonna do the whole thing. And as you can see here, having this sort of effect, this sort of change really makes it into a very, very nice effect. I look at the fingers there. Let's turn off the curves. Look at that very nice watery motion. Now one thing I definitely need to do, so I again, I need to select my, my, my frames, in this case from frame to frame a 120. And if I check this again is a cycle, sorry, it's not. 2020 is 20 to a 140 because original time was a 120 frames. And look at this. Very cool, right? Very nice, very composed, very balanced. And we got a nice ideal cycle that could work like anytime I can just imagine you're playing a game and there's this crazy NPC on top of this poles, and he's just on this. I will post until you get there and you interact and wants you to interact. Then another animation will play out. He'll jump or he'll do something, and we'll get a different result. That's exactly what we normally do in games. We create animations. Npcs tend to be in like in their island nations most of the time until they interact with something and that's when they jump into the attack, the walk or whatever. Now, the camera, if you remember with animated this. So I started on frame 20, which lead to move this again, shift and middle mouse click so that the camera movements status on frame 20. And then we go panels, look through selected. We're gonna get this very nice like cinematic shot of the character, like doing its practice. You can imagine like that. Cool music in the background. I am doing the montage and stuff. Well, that's exactly what we do if we're doing like just one scene of our animation, we're going to get something like this and it's going to work perfectly fine. Of course, if you've taken our Maya 2020 one course, you already know how to get UVs out and helped to detectors. And you can very easily textures this guy. So I like this, locks down here to a nicer scene. In this case, I'm just going to render this in a more traditional approach. Now, before I do that though, I do want to show you one more trick that we can do, which is we can also animate a couple of things about the camera. Okay, so let me do a quick render setup here. I'm gonna go. I don't want the other thing I want to do, I want an infinite background. I think I'm gonna do an infinite background as well. Of course, a little bit bigger. So we see the whole action here. There we go. Panels literal selected. I'm just going to grab this geometry again here. Let's just move it around. Rotate it, rotate like this at the whole background is discovering us. There we go. Again, panels look through selected, grab the whole thing, and just move it closer. Panels to select it. There we go. Because we're never going to see that. The bottom thing, right? So it's just like this, like the tips of the cylinders. They might want to do this. I mean, they could have been it just like rotate like this so that we the thing I don't want to see is I don't want to see the background of the scene. There we go. So that's what we better. We could also wrote the whole thing. And we could this fear. So ways to cheat that. There we go. Now from beginning to end, we never see the other side. Perfect. So again, Arnold lights, I'm going to create a sky dome light. And we're going to import the same sky dome light we've been using, the one that's under source images, which is this peppermint powder blend. I'm gonna go to the options of the element here and I'm going to say exposure minus 4 or minus two. Let's save this real quick. I don't think I've saved yet. So let me save this before it crashes. So let's call this Karate Kid. There we go. And that which is right there. Let's give it just 1 second for this derivative. Let's see how this looks. Because I want to show you how we can do a little bit of depth of field. Depth of field is one of those things that really adds to the whole presentation of things. So there we go. That's that's a nice like feel light. We definitely need a normal lights. I'm gonna go with light area, light like a big area light up here. And let's do 12 and exposure. A little bit less spread. Let's take a look at that. Looks good. Then we can go a little bit higher on the exposure. Just a tad bit. There we go. Yeah, that looks good. Maybe a little bit less spread. And maybe the sky dome light, we can keep it like minus1. So there's a little bit more light. There we go. That looks pretty cool. So now if we go to the first frame, this first frame, maybe we want to create this sort of effect where in the first frames, let's say like the first second. So that first 10 frames, the camera is really blurry. And then we focused on the character. And as we finish our animation, we, we get again the blurry effect. So inside of our cameras here on the options of the camera, Let's call this camera shot cam. So in the options of the camera, we have this thing called Arnold. And here instead of the article field, we're going to have all of the options that we can change on the camera to make this camera look a little bit nicer. So in this case, one of the things that we're going to use is this thing called enable depth of field. I'm going to turn this on. And the first thing I need to determine is how far is the, the, the guy in this case, our character from the camera. In this case he's eight units away from the camera at first, and at the very end, he's seven units away. Okay, Very important. We need to keep that information available for us. So how do we get this information? By the way, if you go into display, heads up display, there's this option called object details and that's going to give you that information. So I'm gonna go into my shot camp and I'm going to select this focus distance and say eight. I'm going to right-click and set a key. So not enough keyframe the focus distance of the camera to eight. And I know that at the end at frame 140 where that camera finishes, which would be right about here. The option is going to be seven. So I'm gonna go again to the camera. And now this is going to be seven, and I'm going to right-click and set key. So now the focus, as you can see, it's gonna go from 87. You can see the value changing there. At the middle of the animation. We're going to have four. We're going to be really close to the character. So again, we select the camera here and we change this to, let's say four. Right-click and set key. Even though we do have all the keyframe set on, you do need to right-click and set the key because all the keyframe does not work for this sort of elements. And now if we check, for instance, in this position, it should be 7.4. Let's see what the camera is telling us. 6.8 is fine. So we're really, really close to the whole thing. Now if I were to take a render, like let's say here. And just render, we're now going to see any, any different result. Let me actually go up here. I want to go to my System Options and change this to GPU. So this is a little bit faster if you haven't in the BDI GPU, This is going to be a little bit faster. There we go. So right now, note that the field, you can see that every single object in the scene, these at the same depth, there's no blur or anything. But if I were to increase the aperture size, let's say to my Q1, which is really intense. Now everything is going to be blurred out. So usually something like a point like 0.1 is not bad. It's a little bit extreme because the scene is very small. So even like points 0, 2 might work. Or 0.05, Let's try that. There we go. 0.05 is looking, is looking good. And well, here's what I wanna do is I actually do want to start with like a very blurred effect. So I'm going to start here and I'm going to right-click, stop this, right-click Set Key. And then in 10 frames, I'm going to bring this aperture size two points, 0, 3 here, hit Set Key. And now we take a look at this animation here. Everything is going to be in-focus. So throughout this elements, the camera is going to be autofocus, autofocus, autofocus. And then in 10 frames, which is 2.5th, it's gonna focus a character. It's going to remain, everything should remain in focus throughout this whole process. And then at the very end, like here, a 130, we could just again set the keyframe to this value right here. And at the very end, bring this back to like a 12 fading to abler. Okay, now, of course, we could do this blur in After Effects like in post-production, but you won't be able to get like trued up the field there unless you do some little bit more complicated stuff. For basic purposes, this is going to work just fine. And as you can see, the focus here starts to get bigger and bigger. Oh wait, I think I forgot. Forgot. So the key here, very important. I'm going to right-click Set Key. There we go. So now if we go here, it's going to be half of it like 0.6.23. And we're gonna get our whole animation. So I know I already know that this is the animation that work and I get this very nice, I suppose, but that little blurry is going to help me mask out a little bit of the start of the camera out that rotation of the camera. And we're gonna get a very, very nice effect. So that's suit guys. This is it for this module. In the next module, we're going to jump into two big exercises. We're going to be doing two big animations for our character, which are going to involve the whole body. And it's going to be, it's going to be fun. So hang tight and I'll see you back on the next one. Bye. 30. Base ball Pitch Key poses: Hey guys, welcome back to the next part of our series, welcome to Module 5. They started the big licks. Literally, we're going to be doing a baseball pitch now. So I'm going to create a reference here. We already know that deal. I'm going to go for my good old ultimate bony. We know the warning when you change the lighting to this island. And there we go. So today we're gonna be exploring a complete animation. This is, this is something that I would do, for instance, for like a client or something like imagine there's a very famous baseball team here in my city called a sign-up payrolls. They're like they are the top guys in the city. If they were to ask me, Hey, can you do a commercial for us where one of our guys does a pitch and after that you get the logo and come visit us, come see our games, stuff like that. One, I would need to do the animation for the game. So what I wanna do is I want to do a pitch where the camera starts, probably sideview. And then as the picture is pitching, the camera's going to move forward and then the ball is going to be going as straight to the camera. Then you can imagine like the typical had glass crack or something where we get again the logos, the prom or whatever. But that means that I need to do a traditional animation. I need to animate this guy in such a way that he looks like he's actually pitching a ball. So we're going to start with, as with every other projects so far, with that key poses. Before we do that though, there is one thing that we need to talk about and that is objects like extra objects that we are going to be using. In this case, we need a baseball ball. So what I'm gonna do is I'm going to create this sphere right here. Make it such that it's relatively small sphere. If we go into Google, we can look for baseball texture. I'm going to leave this on your, on your soul shoulder so you don't have to look for it. But there's this great texture right here is actually spherical math. So we're going to be just perfect with that. Sit right there. And what I'm gonna do is I'm going to hit right-click and say assign new material. Let's assign. And yeah, we can do an Arnold material from the get-go. So standard surface. And here I'm just going to rename this so that we have proper naming convention. Let's call it m feasible. And on the color, we're going to connect a final note. Click here, and there we go. We're not that one, not that one either. One. Open. Now we press number six. We're gonna get the textures, and as you can see, we get the textures for the bicycle. So the big question is, how are we going to animate an object not like the Hadoop him because in this case, this bowl should be with the hand at all times until we launch it. And we're going to do a little bit of a bait and switch here. We're going to start with two balls, this first sphere, we're going to call this constraint ball. And I'm going to duplicate this. I'm going to call this free ball. Okay? Now, the constraint bowl, what I'm gonna do is I'm going to position it on the hand of the character that it's going to be doing the, the launch or the throat, which is this one right here. Usually the balls hits right about there. I think they need to be a little bit smaller. Now the thing that's fine, just that bit smaller. Let's see what's the current size. It's, let's say point to 0.24. There we go. That's good. Now before we do anything else is just freeze transformations. Very important. And now this guy right here is going to be singing on, on the poem like this. What I'm gonna do first transformation again is I'm going to select the curve of my hand. This guy right here, select the ball. And I'm going to go into rigging constraint. And I'm going to do a parent constraint with maintain offset set to on. Okay, very important to maintain offset is set to on, I'm going to hit apply. So now wherever this hand goes, the ball is going to follow. See, wherever the curve goes, the ball is going to fall. That's why it's very important that we never like bringing this thing like quite far. And if we rotate, the ball is also going to rotate with it. Okay? Very, very important. So this ball is going to exist here pretty much at all times. Now, see how now we have there's a blue color here. Up until this point, we've been using the red color to indicate that something's being animated well, this blue light blue color indicates that something has a constraint connection to it. And we wanna make sure that we do not mess with this guy. So I'm going to right-click everything except for admissibility. I'm going to right-click and I'm going to say Lock Selected. That means that there's no way that I'm going to be able to move, rotate or scale this ball. I can move it. If I move this curve, I can rotate it if I rotate this group, but I won't be able to do it manually on that ball. The one thing that I am going to be able to do is change the visibility. And as some of you might imagine already, what we're gonna do is we're going to keep this hand on the ball, on the hand of the character all the way up till the point where he throws the ball. And at that point we're going to turn the visibility of this bowl and then turn the visibility on for this bolt that's going to be flying forward. Now, is it possible to create a rig where the bulk and leave the hand without having to create a different boat? Yes. Is it the more complicated? Yes. And this Drake does not have that. So we're going to leave it like this. We're going to be using this again, this sort of like bait and switch trick, where this guy is going to turn invisible and then this guy is going to turn visible and it's going to float all the way around. So for now I'm just going to leave this guy like somewhere else or I can just press H to hide it for now and later on we'll animate it. Now. I'm going to go to the right view, or sorry, a left view in this case because we're going to be launching to that site and you're also going to find a dangerous source images. There's one right here, baseball pitch image. That's really, really good. This one is from a site that I found when I was looking at the reference, the reference. And it's very, very cool because it actually shows like the whole process. Now we're not going to do all the poses. Here's where the magic of Maya comes into place. We don't need to do all of the Bose's, but we do need to do several of them. So I'm going to start again left view here. And this guy, Let's just move it to the side. Like down here, we're going to start with this pose right here. That's gonna be our first, but we're not going to start with an idle. We could if we wanted to, but otherwise, this exercise is going to run very, very long. So as you can see, this is already an unbalanced force which is fine. The commercial can start with an unbalanced was we can have a little bit of a faith. We hide the fact that there's no idle pose and we jump directly into the, into the launch. So the character, as you can see, is rotated sideways. Now, here's where we again would need to ask ourselves, is a character going to be sideways for most of the thing? Kind of because he does have like a very intense to us later on. So in this case, it doesn't really help to rotate this character like this. I think it's better to just rotate the hips and just work with what we have. So the hips are going to be like this. Right now. Let's go perspective view. This foot right here. The right foot is the one keeping the valence. It's like back here. The left foot, all the way to the front here, like this. And this guy's got to be crossing this. He's a slightly like they'll slide hunch here, just very slight. And the head is looking forward to where he's going to pitch, right? We could actually stabilize the hip. I think it might be a good idea to start with lays ahead. And later on if we need to animate it, the week we only made this hand. Has the, the globe. This hand is going to be on the front here. It's kind of like holding the ball because he's gonna take the ball from that hand and then launch it or throw it. So you can see the elbow is really close to the body, very securely holding the ball here. And then this hand is about to pick up the ball from that other hand. So I can just position this like this. Now one thing I didn't do and should have as like make sure that this handless like properly holding the ball. Let's turn off geometry here again, again soon, so we don't have any problems there. And then this guy is going to be here. Push the sky in, horses gain. So now looks very nice, right elbow down. You can see where the elbow is, right there is down and back. So right about here. Then we could move the handle of it to relax the elbow a little bit more. As you can see, that rotation on the other hand, really affects how the, how the elbow looks. And even though we don't have a baseball glove, it will be a good idea to give this guy a little bit of a post as well. We don't want, you usually don't want any curve to be like a completely static if you can do something to, to make it look cool. So there you go. It's like cupping the ball right there. Now this foot, very important to see how it's pointing, so rotated so it points in the proper direction. And let's move the knee over here. The hips, of course this guy will need to change. We're going to rotate it a little bit. And this me of course, pointing to the front like this thing. We can bring this guy down a little bit just to give it more, a little bit more life to the whole post. And there we go. So again, as I mentioned, you could do the camera thing from now, but it's a little bit difficult because we haven't done all the posters, jet. So this will be the guy here than he is. He's kind of like like this, right? Like slightly he's bent slightly backwards like this. It's an unbalanced both of course this is opposed that he's not going to be able to to hold very for very long. And now, here's the question. Here's where it were. A lot of my students have struggled with. I would ask them, Okay, what's the next post? Which one would you do now? Because remember, we want to be efficient. We don't want to waste a lot of time just like moving around and doing 16 poses. It would take like two or three hours to make sure that we get all of the 16 poses perfectly. So the question is, which of all of this poses looks like it's the next key pose. Nothing in-between key posts. And I would say this one right here, where he's about to launch the ball. I would even argue that this one is better because there's at least a little bit of a contact here. So what am I gonna do? As you can see, the left foot is at the same distance. It hasn't left this little white thing. So what I'm gonna do is I'm going to go to the left view, grab this guy right here. I'm going to move with osmotic stress as far away to the front as I can. Because as you can see that the leg like really, really moves like why the bit he moves his whole body will at least that the hips are moved there. As you can see, the hips are facing forward and then the chest is facing backwards. Like this. You can see how how far back the right arm is. I'm going to grab the right arm. And the right arm, as you can see, is up here. In this sort of like getting ready position to launch the whole thing. I'm going to use the clavicle. Actually. Think that's a little bit too much. Let's bring it forward like this. There we go. And I'm going to use the clavicle to really push this guy out. Let's push the elbow out as well. There worry about this crazy leg here and we're going to just fix it real quick. So you can see this one. He's, he's pretty much doing a step. It's like the contact pose of a jump right there. It's about the contact. Of course, this guy, it's got to be on this side. And the nice ways. This knee would be like on the front side here. Well, there we go. Let's go to the left view. Let's turn on the grid for a second. Because I need to make sure where this guy is actually landing. Right there on the ground. And that's where he's going to just complete the step. We can fix the rotations here, Let's see 0. And then just do this. There we go. Again. This is a bozo we're doing. We can bring this back a little bit to exaggerate. Remember, exaggerations would be important for us. And as you can see the front hand with that with a globe. It's kind of like here. Of course, the elbows going to be on this side over here. Now I just realized that I made a terrible mistake, terrible, terrible mistake. So I'm going to pause the video real quick to fix it. I'm going to show you what I just did, the mistake that I just made this. As you can see, I animated everything in frame one. So let me show you how to fix it. It's actually going to be a little bit difficult though. I was thinking about doing control C, But it's not going to be possible. So yeah, I'm just going to middle mouse click frame to select all of my curves here. Hit S. And I'm just going to pause this real quick and redo the first post. So give me just 1 second. There we go. So frame 1, frame 2, we got this. And again, balanced. We need to make sure that the balance is as nice as possible. And that oppose looks as cool as possible as well. It's very, very important that we tried to keep everything nice and make sure that you do not forget all of the things we've talked about throughout this whole series because this is the thing that it's going to make the, the, the whole animation work. So that's post, post number 2. Now again, the question is, which, which, which of those would be the next key pose? Now that in-between key posts and the answer probably is this one right here where the, where the ball is now finally being released from the hand. So as you can see, what's going to happen here. And again, I'm going to go to frame 3. That's going to make the same mistake again. So what's going to happen is he's going to continue moving forward. Okay. So he's going to throw from having this very like a stretched out leg. This leg is now going up, finally, land on the floor like this. It's got to plan himself there. He's going to continue moving forward. Very important that the knee here, that one there is always pointing forward is probably going to rise up a little bit like here. You can see that the left foot is kind of like flying. It's gonna, it's gonna start moving forward because he's going to do a little bit of a flip. So this guy is going to be like this. Again, it's kind of like the passing position of the walk cycle. So from this to this. And you can see how the whole body changes here like this, hip. Forward. Like this. The whole thing returns to normal pre-image and we start going down. Again, exaggeration. I mean, if we break the back a little bit there, That's fine. The other hand, you can see it's really close to the chest. Like about here. The elbow though, I would expect it to be probably like further out. And then the hand here, this one has crossed. It's going to cause a character in a very straight line. You can see it's pretty much completely straight. It's going to be right here. And you can see that the fingers are going to be open, right? So we'll expect the hand to be like really, really straight. So right about there. Here's where we can again play with the, with the Coulombic law of it. And the one that's much overlap here on the head can go a little bit back just a little bit and then use the, the curve here so that we avoid touching the face. There we go. Now we can push it further. There we go. And I would be inclined to even like push this guy even more forward. Like we see, head is a little bit almost where the knee is. So I can exaggerate that a little bit more. Push this one here. There we go. What else do I see there? I don't think I see any other important thing that we go. So I'm just going to select everything hit S. And now I'm gonna do the final pose that I would consider a key pose. I know that this video is going a little bit longer than usual, but I want to make sure that you understand what we're doing here with the poses. And as you can see, this one right here where he kind of like flips to the other side is going to be the one that we're going for. We're not going to continue the animation. We're going to stop right there. Because again, if we think about like the commercial that we're doing, the ball is going to be flying straight towards us. So we're not going to see the end of the animation, which is also an interesting point, like somethings you don't need to animate everything if you don't see if you don't see it on camera or the scene cuts before that, then that's fine. You can just stop it right there. So this is the post, as you can see, from one to three. So the post for what's going to happen is he's gonna kinda like rice up. Turn around. He's going to pivot point with the other foot, with this foot to the back here. Everything's going to twist to the other side. Is going to like really bend down. Now the head is going to animate. So he's going to not going to see anymore. Maybe he's gonna see just with that, with a corner of the eye. And then this leg very important, is gonna go up to help him balance out and avoid falling over, right? So, so he's going to do a weird rotation here, again to stabilize himself. And the boy falling over. Very important that we tried to keep the ball yes. As clean as possible. It says here the hip, something like this, right. To make sure that it isn't, that we're not breaking the characters back or anything. We go. This one is hand. It looks like his like probably opening up a little bit. Again to kinda like stabilize himself. Could we can see the little corner of the elbow right there. And then this one just continuous over here. Like going back right. And there we go. Now this does not mean that my posts are completely ready a, in this sort of like academic approach, I'm just trying to do this as fast as possible to show you how we would start with a blocking like this. Because now we got this very nice effect, right? We have this flip effect where we have bows, 1, 2, 3, 4, and we're going to be moving forward with this animation. So I'm going to stop the video right here, guys. And in the next one we're going to be talking about the in-betweens and how we're going to make sure that all of the poses look as nice as possible. So hang on tight and I'll see you back on the next one. Bye. 31. Base ball Pitch In between: Hey guys, welcome back to the next part of our series today we're going to continue with the baseball pitch. So let's get to it, which is loading here the scene. And last time we were working on the key poses, we did this first 40 pulses, again, being very careful to exaggerate when possible, make sure that this character looks as nice as possible on, on, on all of the poses. And now it's time that we start thinking about the in-betweens. So this is usually a fast action, right? The pitch, usually what probably like a second or two. This is going to be about 24 to probably 48 frames. Again, the question here is always the same. How fast are we going to transition from the first post to the next one? So in this case, this is our first pose. And this is the second pose which is the D launch. I would say this is a rather fast transition, so I'm going to give it four frames. Well, careful there, make sure that you do this with all the curves. That's the issue there. So let's say four frames is going to be 12345, and then six is probably going to be just one frame in between there. So 5, 6, 7, and then 8. 8, 8 would be, I think a couple of frames after this, like this, like then, oop. Let's say right about there. There we go. So now we start to get this sort of animation and we're going to start facing the first set of problems, right? So we already know that my dad likes to interpellate things the way maya likes to do it, and sometimes that's not what we're going for. So this first section, I think it's actually fairly good. I will just add a couple of changes to like the hand and stuff. So maybe you like move this hand here, like here, post three. I might just like move the handle little bit so that the rotation of the hand looks. We're actually know it kinda looked okay because we were still kind of like holding or the globalist tool, like holding the thing. Now we're no longer holding it. So so yeah, maybe we'd get something like that. The elbow right there looks very, very nice. The for the bouton lambda, everything looks really good here. Maybe the hip, we can adjust it a little bit. There we go. And then this one, this is where problems we'll start right? Because in this position this is a very nice thorough, but this one right here, which is immediately afterwards. So we're going from this to this, See this, this Bose right here is going to be super important because we're going to be able to give this whole arm a lot more. What's the word force and more acceleration at the very end that the last point of the, of the movement there's going to be more acceleration. So you can see that the arm is actually still back here. We're closer to this position. And the elbow, as we see there on the reference, actually does this very weird like band on this side. You can see it right there where it kinda goes for worth. So it bends all the arm forward and we're going to do this sort of like slingshot effect, right? And it's very important that here we are really, really, really exaggerate how everything is going to look. So we might even like push the chest and back. Let's go back here. I might even exaggerate this a little bit more because the more we exaggerate, the stronger this, this pitch is going to look. So from here to here, you can see how much force He's going there. And as you can see here, the chest is already turning. So I would expect this thing actually to be like this. Like he's, he's starting to churn the, the, the back around like this. So there's 123. And on the three, which is this one right here, he is still normal. I would actually push it a little bit more. That way we can push the hand further forward like this. And the one thing that I forgot to do on the other posts is of course, release the ball. So this is the position where I would expect the bowl to be released. Therefore, I'm just going to start bending some of the fingers because we're going to lose contact with the ball right about here. There we go. So we get again this very nice effect and boom, there we go. Now, as I mentioned before, we're going to finish on this thing because I would expect this animation to be what's the word? We're going to cut to the, to the final position, right? So here let's give it a couple more frames to the whole thing. So let's select all the curves. Let's do two more frames, because I want to go to frame ten. And I want to make sure that this arm is kind of like stretched out first because he just finished the throw. So I wouldn't expect to just finish the throat and then go back to like a traditional bent arm. So we're going to go like this. Let's take a look the transitions now. So 1, 2, 3, 4, 5, it looks better. And let's take a look at the timing. That looks fairly good to be honest. I think it looks very, very nice. I think we can actually add the next BOS which read the rest both. And what I'm gonna do here, I'm just going to go like a couple of frames after this. And I would expect he's center of mass to change, to move forward. And then he's of course is going to catch himself. With the other foot. So I'm just going to 0 out here, that rotation or rather that the translation 0 out everything here. That way it's going to be a little bit the search to find the proper position. And then all of his weight's probably going to change and he's going to be landing on this other leg, right? So this would be like the next post. A lot of energy was used to throw. I would definitely expect to see a little bit of a full recovery here on the back. So I'm going to 0 out the whole back. Sometimes it's easy to just 0 out everything. And then readjusted. This. These knee like this. The nice always pointing to the more balanced squarespace. Lets go about there. So we go from here to here. We need to do a little bit. I'll show you how to fix that issue that we have there with the with the foot. It's very simple. And then a couple of frames later, we would go to like a, like a more traditional idle pose. Right? There we go. Let's 0 out the rotations of the hips. So he's sending a more natural way. It would be going back again. And then a thank you, we'll be reading sometimes I've seen a couple of videos. Where were the pitchers catch the ball on the, on the rebounder and the first hit, pretty much. So he will be like getting ready. So a little bit of fun action pose right there. There you go. I think I like that. So grab everything here S, remember everything here S, and now we've got this. So if we take a look at the animation, there we go. Now of course, this, this jump here at the end, that's a little bit weird, so little bit fast. We can slow that down. So how do we slow it down? We of course move this things. And this is probably the one that's going to take the longest. So let's go all the way to frame 32. There we go. I like, I like that. Now the only thing I'm seeing here is that if we take a look at the hips here, and this is the in-between work. Remember, once we do the key poses and we can always add more poses. But once we have a very good idea of how things are looking, I'm going to grab this hip right here, and I'm going to say Edit Mesh, sorry. Animation. Visualize created a double motion trail, and we can see this here. So, so the heap is very nicely moving here. Look at that amazing arc there. But then here, I didn't love it. I don't love this, this rotation here. So to keep this arc flowing in a nice way, I would move this forward so that the fall gets there and then we go back, see that, see that small spike on the A-frame 12. We can even go to frame 17, for instance. And let's smoke, just move a little bit the character here. And that way the movement of the whole hip goes a long, long way. Now, what is happening here with this, for this is something that's very common in animation. And the problem is, we went from having all of these transformations back to 0. And the issue, if you take a look at the graph editor here, is that the curvature, especially the rotations, do this very weird like bloop going back to the origin. So I'm gonna select the curves and I'm going to go here into curves and select this thing called Euler filter. And if we click the Euler filter, you're going to see that everything changes, all of the curves changes, and the animation should remain the same as you can see here. It's, it's pretty much the same. But now up here, we're not going to get that weird transformation of the position. Here, for instance, we might need to add one more key frame. I'm actually going to push the foot forward. So the return is very fast. And see, okay, So that problem there is, it's giving me like a double rotation. So I'm just gonna, I'm just gonna go to this place and you can see that it goes from having 26071 or 30 all the way here. So we need to adjust it. Let's give it another Euler filter. Curves. Euler filter. There we go. That's if that helps. Yeah, that's better. So now it knows that it needs to keep this new rotations like when, when, when we do the, the backflips, we need to keep the new rotation so that everything falls or flows in a nice way. So we go here and we land. Now, the landing for instance, I don't want to offset things just yet, but just let me just go to all the keyframes and add one keyframe everywhere. But we are going to be offsetting things because right now, like the landing does not match the hip, right. Like I would expect that the foot to land first and then the the hip two to land as well. So here let me just adjust this knee a little bit. He can rotate the fittest slightly just to recover like a nicer pose. There. There we go. Now let's take a look at the speeds. I think it's a little bit faster, just a little bit fast. So let's do one quick trick here. Just going to grab everything here again. Scale this up a couple of frames, not much. Something like this. And we're just going to hit Snap. Let's delete the motion trail. Motion trails tend to make things slow because it needs to process the new transformations. There we go. That looks a little bit more natural. We at least get a little bit more action time, which is, which is good. At the end, we can always scale it back force. But I like, I like how this looks. Now, let's go with the with the arm. Because right here I think we were missing some action. So that's a really good spot. There's one right here, I'm going to keep it straight. And this one right here, I'm also going to keep it straight. Are quite straight. That way. The whole movement of the arm remains as straight as possible. It's kind of weird that we get this movement here. So I'm going to have an extra keyframe here to keep this arm straight. Maybe the hands not straight with everything else should be straight. Let's add a couple keyframes here to show the movement of the hand. Now we got that. So see how nicer the, the flow of the arm looks. And again, I could've noticed that if I use the motion trail, but sometimes just like scrubbing through the animation and understanding where things are is more than enough. Okay, let me see this be the one more time. Yeah, I like it. I'm thinking about adding the initial pose. I think the initial post might be good in another thing, we're going to have that much of a hard time. So I'm just gonna drop everything here, all of the poses. Let me give it like unalike time-frames or so. And I'm going to go to the first post and just, let's bring this guy here. Again, just 0 out the translations pretty much. So that's right about there. Let's bring this guy a little bit forward. Not as rotated probably. Let's go here. There we go. The knee, the knee. This one, Let's move with more normal way. Then this R right here. I mean, we already have the hand on the on the wall. That's fine. So we could be like this. I know that they usually keep it really close to their body. So it's just something like this. There we go. So that's a, that's a normal traditional bows. It looks balanced. I think it looks balanced. Just grab everything and S, and we're going to have this transition. And there we go. Now one thing I don't like is this jump right here on this frame, on frame 15. I would like this guy to still be like all way over here. Like barely touching the ground, you know, like from here to barely touching the ground. And then we move it. So for instance here, I would expect this to be like really, really moving forward. I'm going to point the feed in the same direction as the, as the knee. Remember very, very important that we tried to keep the knee nice and in an atomically correct. Otherwise it's going to look like this characteristic sprayC in his knee. And there we go. So let's go look at the whole thing. Okay. Not bad, Not bad. Let's turn off the curves. Not about authorial initial blocking. So again, if we think now we can actually do the camera thing where we're going to animate and get an idea of the final shots. I'm thinking this would be like a 5 second like intro for like a Facebook post or for like an Instagram post, which by the way, you can actually sell it for quite a bit of money if you doing nice render. So I'm going to go here, panels look through selected. And as I mentioned, we're going to start right about here. I think something we can do is we can start like far away and then go in and then we have the action and then we go into the into the camera break. So that means that I'm just going to grab the character. Yeah, here we go. Let's give him a couple more frames here. Say like a couple of seconds, probably until we start with the first animations. So here we're going to start like out here. And then let's select the camera will start here. And let's say two seconds, which is where he starts to prepare. We're going to get this. So we're gonna get like do, do, do, do dentin. And then here we will need to move the camera like over here. Although this might be a little bit of this could be like a really fast movement. Yeah, because we need the camera to be hit right about here. Like boom, that's where that's probably where we would be hit like about here, Tune. So maybe we just delete this one. And we do this to Tune. Boom. That looks okay. I would like this to be a little bit closer. Now, I know that the ball is going to play like really, really fast. So that's why I was going for like another kind of view here. Let's get closer. Okay, that's, it looks a little bit better. Here's where again, we could do a little bit of the tricks that we just learned on the, on the last couple of videos. We can say, okay, this post, Let's go here S, Let's go to frame 22. And let's just add another sort of like idle pose, right? So we're combining a little bit of everything. So let's say he goes down a little bit, he moves here a little bit. He like knots or something, just one simple no, nuts. And then it's just, it's just a simple movement, right? So we're gonna get this and then we go. So let's take a look at the camera. Panels looked are selected. And we get this. Boom, there we go. I think that looks good. Now here's where things get a little bit fun. We're still not done with the posters and stuff, but we can start blocking in other things. He'd done animation like the camera and the ball. We haven't done the ball yet, so let's go with that. I know that the timing is probably not going to change as much. I think the timing is good right now. The only thing we need to keep on polishing are the different poses. So let's do a very quick blocking for the ball here before we, we stop the video and continue on the next one. So I'm gonna go to the last point where this character has the ball, which is this position right here. And in this position, I really do like the ball being right there immediately outside of its reach like, well, we have there. Although I might even go like a frame now, yeah, hey, let's do that, That one, that one. Let's just bring this guy in like this, or we can push this out just for this frame. I know that I normally say Don't move this thing just because I want to match this thing where the ball is already out there. So I'm gonna go, I'm going to grab this ball and I'm going to position it where this other ball is. Doesn't need to be perfect, but just close enough, something like that. And that's going to be my first position, S. And then immediately over here, I'm just going to add like, move it like quite far, probably where the camera is, right? And now if I go back to this frame, I'm going to select this sphere right here. I'm going to right-click this element. I'm going to key selected, Uki, selected one frame. Before that, I'm going to key select again. And one frame. And the frame that I just selected, I'm actually going to turn off the visibility because this is going to be the one that's on. And then one frame for this, this one's going to be off. So now we're going to have that bait and switch that I was talking about, where we're one ball disappears and then the other one appears in a matter of seconds. Now, this new ball, the Free Bull, need to make sure that the acceleration is more like an actual acceleration. So I'm going to have something like this, Right? Because he goes like really fast at first. So now let's take a look at the camera panels, look through that selective and we're going to get this. Boom. There we go. That actually looks like a very nice, very nice speed. I think. It usually takes me a couple of tries to get this properly aligned, but that's fine. So let's go here. And I'm going to push it just a little bit more so that we get more speed. And it's very important that we go across the cameras. So I'm gonna move this like this. And now I would expect like specially here. Like I need to find one frame before it hits the camera, so it's right about here. And what I'm going to do some kind of move it like this. And actually just like to the straight to the camera, pretty much. So panels look through selected and we're going to get the ball right there. It's going to be like voom. So a little bit of a twist, but that's fine. Let's really, really get it. They're like this. Because one frame after this frame, we're just not gonna see anything and that's where we're going to blur the camera and we're going to do some cool moments in the next video. But now if we take a look at the animation, Let's see how we're doing. Not bad, right? Not bath for about 40 minutes of work. These kinds of animations, by the way, take these days to polish, but we're trying to show you how to do it very, very quickly so that you learn all of this specific dose. So that's it for this video, guys. I'm going to stop it right here and we're just gonna keep going. So hang on tight and I'll see you back on the next one. Bye bye. 32. Base ball Pitch Timing: Hey guys, welcome back to the next part of the series. Today we're going to continue with the baseball pitch or three. So here we go. This is where we left off. This is the final result from the previous two videos, where we have all of the key poses, right? The, the camera is ready, but now, what about the hits, right? Like we want to make sure that when we hit the camera, we get this very cool effect, right? This like, like motion where, where everything goes like blank or something. So there's a couple of things we can do. We still have several frames after the ball hits, which is this frame right here, frame frame 65. I'm going to go into the camera. Frame 65 is where the ball hits. And we still have like probably about 20 frames where the character is doing something. So what I'm gonna do is I'm actually going to make the camera fall. Imagine like He hit the guide holding the camera. So the camera is going to fall. It's going to shake first and then it's going to fall and lay flat on the ground. Okay. So I know that my final position, and by the way here what I'm gonna do, I'm gonna panels fear of copy, to have this copy of the camera and see what the camera is doing. Because on this side I'm going to go into the perspective view and I want to work from the perspective view. So there we go. So frame, let's say from frame to frame 68, its frame 68 is going to be exactly the same. But here's where we can go crazy because I can move this down, shake it. We're actually not frame 65, 66. I'm going to move this down, shake it. And then frame 67, move this up, shake it to the other side. And then we're going to go back. And then freeze-frame 68. Let's just keep our normal rotation. So now what we're going to have is the following. Look at this. We get this and then boom, we get like a, like a weird shake their, right. I think we can actually increase it a little bit. So I'm just going to give it two more frames and just move this guy, a couple of friends who were going to boom, boom, boom. And then from here, from friends 70, all the way to frame, let's say seven and the eight. I want the camera to fall down to the ground. And inlay like on the side, like this. Like this really fall down. Here's where a ground plane would be really good. So I'm just going to create the plane here. And let's have our ground plane. There we go. We're going to of course, add a little bit of that focus thing that we did before so that we lose focus on. And that's like a logo or the information will appear. So we're gonna get this. But now as you can see here, the camera falls and it's rolling at the same time, and I don't want that. And by the way, the movement here under rotation, it's really bad. Remember what we did with the bouncing ball all those lessons ago. So I'm gonna go into translate. And let's break this tangent so that we can get a nicer and nicer, more traditional like balancing both false. So now this thing is gonna go look blue and it's going to fall. And the rotation, if we go rotation, I believe is C. We don't want the rotation to be leaner. We wanna, we wanna keep the rotation stable at first. And then we're going to have very quickly accelerate to the new final rotation. So something like this. So we're going to be very stable. And then at the very end. Now here we can add a little bit of a bounce. So let's say frame to frame 20, and we're just going to move it up a couple of frames after that, move it down. And this is where we're going to get. Nice, right? So we get this very like, okay, we fall. I think that the file is a little bit too fast. So let's just grab all of these keyframes and give that a little bit more time. And that's how this looks. There we go. Look at that. It looks amazing. Perfect, perfect, perfect. So if we add, again a little bit of depth of field and stuff on top of that, the camera effect is going to be really, really cool. So what I wanted to show you here is that cameras also do play a very important role in how we see the action for our characters, right? So, so don't underestimate the power of the, of the camera. Now, let's go back to our character, which is of course the main focus of this lesson. And for the character, what I wanna do is I want to make sure that all of the posts or as nice as possible. For instance, here, we definitely need a little bit more, more help here. So let's lower those guys down. And it's going to be like, Okay. And then the preparation, okay, we start with this first phase. So remember whenever I work and this is my personal preference, I like to do it bit by bit because if you tried to see the whole animation as a one complete unit, you get very, very quickly demotivated because things just, it's just too much, right? So in here, I can see that he is moving. As you can see, he's moving the feet and his center of weight at the same time. And I would expect him to move the hip first and then the feet. So I'm just gonna grab the feet here. And the first thing I'm gonna do is I'm going to delay this thing. A couple of frames are actually. I like this two guys. Let's just move them one frame forward. So now what's going to happen? Is the hips going to move first? Or actually no, I think I'm doing it wrong. Give me just 1 second. Let's see. Really the wind not have all of this. It's the animation here. There we go. Okay. So for him 44 to 51. So I do know that I want this foot to be all the way up here at frame 50 one that's that's of course a given. But what I'm gonna do is, for instance, instead of moving or delaying, I'm just gonna go to frame like 4800 AM going to move this foot still like low here. And maybe he's just like barely, barely moving his feet up like this. Got it. So that is also going to make it seem like he's digging a little bit longer to raise the foot. So the hips going to have this very nice continuous motion, but the foot is going to take a little bit longer just because of this extra keyframes that I just added there. And it's gonna give me this very nice look over here. What else can we do? I think we can do the same thing for the other hands. The hand sexually, I would like the hands to be there faster. So they're very low here and then they're really high here. So what I can do is, for instance, on frame 48 from frame fourier to frame 51. As you can see, there's a little bit of a distance. So I like this position of the hands, the positions on frame 50. So I'm just going to have this two elements, middle mouse-click frame 48 and hit S. So now the hands are really fast or really quickly going to move up there. And then it's going to be very slow movement there until we get to frame 53. This is what we talked about before when we were doing the one you mentioned was that the Didn't I just forgot. The Hadoop can write the Hadoop. And so i'm, I'm, I'm pushing the poses such that in the in-betweens, we're favoring one post rather than the other one. And that's gonna give me a little bit of an offset there without actually having to offset because I'm just pushing this poses before they actually need to happen. So you can see that's easy. How he very quickly raises his arms there. That's very cool. It's like I like it and I was like, There we go. We launch and boom in a very nice, very nice movement. He just very quickly raises the arms. And just in a matter of a second, there we go. We launched the element. Now, this one right here, this I would say is a very weak posts, even though it is right. Because if we take a look at the character, it is kinda right. If we take a look at the whole thing, we have this very nice strong like I'm about to launch this thing. And then we have this very nice like this. There goes the ball, and then we have this like white. So why not again, favor that before posts or like what we have here. Let's make it seem like he's really, really exerting a lot of pressure here. Okay, So now we're going to have 123, okay? And that's going to make it look a lot nicer. Here's where I would start going into the motion trail things again. So I'm gonna go visualize editable motion trail and let's see what this thing is doing. So here it's very soft curves, that's fine. But then here, frame 58, I think I would like to, to push this arc a little bit higher up and 59 and now 60 right there. There we go. So now we're going to get this form, this very nice fast arc right there on the top of the hit. And now look at this. So what I did a couple of minutes ago or I think it was the last session where we were adjusting these hand. Without even seeing the motion trail, we can already see how an arch really benefits the whole thing. Now here, he moves the hand forward. He moves it down a little bit. I think I would like to keep this going like up. Again, not super necessary, That's fine. Discharges like normal movements that I would expect the character to do. But here we want to have a more natural post. So let's bring him down. Let's take a look at the whole thing. I'm going to turn off the curves. I'm going to turn off the legs for now. There we go. Look at that. Perfect. So so the right arm out to the right arm is ready. I don't think we need to modify the right arm anymore. I think it's looking very, very nice. The launch, the throne looks very dynamic, very organic. So, so we're, we're doing good there. Now, let's focus on the left arm, which it's a simple arm because he doesn't have as much things. So we're just going to go here And we're gonna do visualized created the editable motion. Let's see what this arm is doing. So I can already see some problems here. See how it goes like up and down in the same place. So I don't necessarily like that. Let's see here. For instance, here, this, this is a very weird position. So I'm just going to bring this arm down probably closer to the character. There we go. Something like this. I like that pose, that one's fine. Now here's where it we're starting to get some, some issues. So I'm going to I'm going to push this thing a little bit further out. And the, for instance here, that's really use this hand too. To balance ourselves a little bit more. Let's move the hand this wall so we don't have the exact same movements. Then here we kinda continue the movement. Continue the arch. Sorry If I always say arch, I think it's arc, but I don't know why I keep saying arch, so just keep moving the arc there. And then here as you can see, this is a very straight line. So let's just keep this guy back here. So we have this nice curve where it were the arms just like coming back down. But in that, in a nice way, right? Like we, we don't want things to flow weirdly. Because it gets because this is like a snappy kind of like like crashes with something there and just keep moving. So instead of that, I'm just going to try to find the middle point. And I'm going to push frame 65. There we go. See that. So now the arm is going to row. And in a very fast movement, He's going to just do that and then fall down. And again, I don't want to go just from here from frame 73 all the way to frame a D7 in just like this straight motion. We want, we want everything to be a little bit nicer. So if we go here right around frame a, the, I would say we can start like pushing this closer to the final position just to create a little bit of an arc there. And again framed 73. Um, I wanna polish this. Let's go frame 69. Now we also don't want to do things that don't look natural. Everything should look or be as natural as possible. So that looks I think that looks good. Let's take a look. Yeah. That looks good. Yep. I I really like it. I like it. In general. I think the upper torso right now is looking very good at payables like a ghost or something. There's some little bit of a weird movement there you see that? See that it's, it's like he's whole bodies up. And then remember why we our way always tell you guys never to leave the thing like fully extended because then we see that like clicking of the shoulder and I don't like that, so so just move that thing a little bit forward or up there with us, just that so i case I tend to cause that it's something that I encounter frequently. Where if you push the curve of the IK all the way to the very edge of the motion. Then you get like this lock on the, on the pole vector like on the elbow or the nice. And it looks like something's clicking into place and it looks very, very weird. So I tend to always leave a little bit of a bend on the IKS to make sure that that doesn't happen. There we go, That looks good. Kinda wanna move the handle a little bit. I mean, the reason I'm not moving that handles much is because I'm imagining that he has a glob. So that's why it's it's pretty static gladdening. We can like probably do something here, like maybe open up the handle a little bit. Because otherwise it looks it looks a little bit weird that the fingers never moved right? So there we go. That's a little bit of an extra movement that really helps the whole thing. Now, animation is one of those things that again, some people don't like. They, they might say they want to learn animation, but once they actually learn how it's done, since it's a very repetitive task and we need to see and explore and evaluate everything. So many, many times I'll have people end up or you end up giving up so that that's fine. If animation is something that you don't really enjoy, it's fine. But hopefully with all of the lessons that I've showed you, animation has become a little bit more manageable. And you, you understand the general principles of it and you can enjoy the whole process. So let me now turn off the arms and let's turn on the legs. Now we're going to see the legs. We can even like turn off the whole body like the upper body, so that we can concentrate on this part right here. So let's get rid of this motion, she'll say real quick. And let's take a look at the animation on the legs. So I think that we're not far off, but they are certainly details that look a little bit off. So this, this first eyelids perfect. That rising of the foot looks very good, but there's a little bit of overlaps and things that we can definitely like change. So let's go again little by little. So here, here's the deal. I want again. If we take a look at the animations, let's, let's really focus on all of this frames right here. This is the place and then we land. And that for probably want to land a little bit earlier. So this is where I will probably do a little bit of of overlaps and push this guy's one frame before this so that we get there. And then the hip gets there. See that? So we create this very nice like pointy feet. Now you can see here on the, on the actual element, this is not a point if it's more Leica like step, which is fine because we're, we've already done the, the offset. So we go from here to here to here. And then here for instance, I think it would be nice to add just a little bit of like a foot roll like this. I'm not sure if on the reference we have it, but it just looks nice. Say we're going to have foam. Now see how the leg starts moving in a very weird way here. Very important that we keep everything as nice as possible. So I would expect this to go in this direction again, motion trails. So visualize it will motion trail and see what's going on here. So we started there, we go here. And then we do this. So this flip right here, It's a very bizarre flip as you can see, because the knees doing something very weird. If we were to get this bows, we would break down the leg of the character. So we definitely need to fix the knee rotation here to always keep the knee facing towards the same rotation as the foot. Like what we have here. There we go. Look at that. Always facing on the proper direction. Always facing on the proper direction. Now here, again, I will expect to see like a little bit of a photo. So I think here for instance, on this frame, I would push the toe. So let's flatten the ground. So he lands with the tip of the foot right here. And then we need to be very careful here because this full would actually be back here, right? Because we just landed in, flatten the feet like that. And that means that from here, which is middle mouse-click and we copy the same position. So we get that. So now that the feed, now the field moves down, down, down Lance, and then we just snap very quickly. It's a very quick motion there. Let's see how this looks. Now. That point here, this high point might be a little bit too high. So again, with the motion trail, we can organize a little bit more so that the movement is not as bath here. The knee very important again, like move the knee so that it follows a nice arc. And there we go. Let's take a look at the whole thing. And let's see how this looks. Okay, now the knee rises very fast there. I'm not sure if I change something like this position is very fast. We go from here. Yeah, I think we must stop right here, right? Remember? Yeah, so let's just delete this pose right here. That was right. Alkyl, OK, OK, OK, OK. No, but we did add the delay. And we can give it a little more time because I feel like from here to here it's really fast. So we're going to cover the whole thing again. Now this might mess up the cameras and everything else. So that's a little bit annoying. One thing we could do though, since we still have space on this side, a little bit space. Let's just give it a couple of friends over here. So the L is going to be a little bit faster, but everything else is going to or should remain the same. Here. Very important. Here we go, that looks better. Yep, let's turn off the frames here. There we go. Now, finally, we're almost ready to finish this animation. I'm going to stop the video right here, guys, because we're already at the 20 minute mark, make sure you keep polishing. We're going to have one more video where I'm going to take a look at some of the poses because I think we can definitely exaggerate some of them a little bit more just to get like this is very nice effect overall. It's going to be a little bit stylized, cartoonish, but I think it's going to be really, really cool. So hang tight and I'll see you back on the next one. Bye bye. 33. Base ball Pitch Camera Animation: Hey guys, welcome back to the next part of our series. Today we're going to continue with the baseball pitch. We're going to finish it. So let's go. This is where we left off. Let me just delete this motion trail. And this is what we have right now. So I think we're in a really good position. I think for an hour animation, this is looking very, very nice. Of course, if we invested a little bit more time and more resources into this, we can get to a like a very nice cinematic look in regards to the polish of the animation. But for an exercise, I think this is extremely, extremely nicely, nicely done if I say so myself. So what I'm gonna do is I'm going to push some of the poses and the main poses. This one, I think this one, especially since we've got to have this front view, could be a little bit more intense. So I'm just going to go here. Let's go to our main post, which is this one right here. And I really like push this guy so that he's like really, really prepare like this. See how it just like a very small change. Like I don't need to move anything else. Just that very small change is going to do everything. Now here of course we need to, to kinda push it to the same size to create this sort of like force. And then boom, that's going to be the explosive, explosive shut. So if we see this, It's just, it's a minimise such a small frame that we're adding such a simple frame as well. And just that small frame is more than enough to really give us that intense field. That's the famous thing that they do with in-betweens in the old cartoons. They would like to really exaggerate the in-betweens because there will only be there one like you can see it if we see it right here, it looks very extreme, but when we play it, it goes so fast that we don't really see that much change because it immediately changes into the position that we're, that we're going for, right? Like this final throw that we're looking for. So that's it, guys. I think that's it for the, for the animation. Let's talk about rendering. So I want to show you a couple of tricks that we can do here with the cameras and stuff. So we just see with one more time, see how this looks. There we go. So what I'm gonna do is I'm gonna go to my main camera panels, literal selective. And this is what we're going to see, right? I will definitely try to have like an infinite background here as well. So I'm just going to push this like really, really far there. Let's grab all of these edges back here. All of this, just push it up and up. So when we do number three, we get this very smooth transition. Let's go to the shotgun again. And the first thing I'm going to animate, besides all of the things that we've already animated is the, the focus, right? So the focus is always going to be on that character. This is very important. Let's add a light real quick. So light sky dome. Let's grab the sky dome. Insert an image plane here on the color file. And we're gonna do our typical peppermint power plant. There we go. I'm going to leave it like this right now. Let's go to the system and change this to GPU from the get-go. And we render. Let's see how this looks. Now that I'm actually going to keep it like this, I'm not going to have any anymore light, so I'm going to actually no, I don't need to add one light because I want to show you a nice effect here. So let's decrease the exposure for like a minus three. So there's a lot of light. And then we're going to do the same thing we did before with just a light, area light. And we're going to have a nice area light on top of the character. Now this one's going to be a little bit bigger because I don't want to have a lot more light going into the scene. Let's say probably like 10 exposure is going to be more than enough. Let's go to the render. That's good, probably little bit more. So let's select the area light here, say 12. Perfect, This is really good. So let's go to the final frames. Pen dots, somebody saying, it's going to look really cool. The final hit there. So now what I'm gonna do is I'm going to do the depth of field. So let's select the camera again. And down here we're gonna go into, well, we need to jump into the camera so panels look through selected. And I know that the character is going to be at 38 points of distance, or 38 units of distance, which is 38 centimeters. By the way, this is maya distance. So it's actually a very short distance. That's why we need very low values. If you scale this to real scale, you might need like bigger values. Just keep them in mind for future projects. So depth of field enable focus distances 38 that first and let's say like 0.03, I think was what we used before. Let's give it a shot. Yeah, that looks that looks okay. Now, if we move to frame like 44, which is 11, that one, we're going to start with that with the shot. I just want to make sure yeah, I was still at 37, so so we're pretty much keep the focus distance consistent. Now let's go to the frame where we get hit by the ball. Because what I'm expecting to see here, especially when the wall is really, really close to us, is I'm expecting the bowl to be like very blurred out. There we go say because it's not in focus. So it's just gonna be like a blur there hitting us. Now, here's where I might take a, an artistic liberty, break the laws of physics, and do the following. I'm just gonna grab this frame right here. And we're going to keep it super close to the camera, like super, super close. This will mess up the speed. But since this is the last frame that we're going to see the sphere, I don't mind. Because I want to see this this frame right here. Like one frame before we die. That's why we see, we see the ball and then we see the ball like really close and then like boo, we just get hit. We fall. Here's where we were going to start to fall, and here's where the new trick is going to come into place. There's one for you here inside, I believe the Arnold camera. Let me see if it was on the Arnold camera or not. There's one thing called we have it or not. On others was only on the old cameras. A sort of being yet. So everything gets darker, but we can do the same thing with the light. So I'm gonna go with the light here. I'm going to keyframe the exposure. And then as we fall, let's render this. As we fall here. And here. Here. Oh wait, do we I think I might have added. Now, there we go. That's the frame. So in this frame, I would expect this area light to be at 0, so there's no more lights. And I'm also going to go like minus 2. Well, for some sample there's going to be almost nothing now unfortunately, the material of the character is not helping us. And the reason is it has like a ladder or something, but I can change them real quick. Let me just stop here. And to change the material of the character and the scene only because it's only going to happen on this, you can just select everything, assign a new material. Let's do an Arnold AI standard surface. And we're just going to do like this, sort of like Base Color 2. They've had like this yellowish color. So now we take a look, since it is actually working with the proper materials, now we're not going to see anything. So there we go. Unfortunately, we're not going to see the joints. It's just going to be like the full character. But now We're gonna go and select the area light. I'm going to click here. So times 71 is when we start the, the load. So here in the sky dome light, I am going to set the exposure to minus 20, I believe was a number. And I'm going to set a key here. And then over here, I'm going to set this to minus 12. And there's going to be set key. And also for the light, remember we need to go down to 0 and set key. So now in those final frames where the camera is, is falling, what I would expect to see here, we're actually not seeing it. There we go. So for instance, the one we're going to be fine. And then frame 72, 73, 74, 75, 76. And see how little by little we're we're losing energy. It here, the sky dome might be a little bit too strongly. The minus 12 might be too strong. So let's go to like a minus eight and stuff. Or like a minus six. There we go. Or minus four? Minus five. Minus seven was good. There we go. Maybe here, for instance, on the 84, we can still keep it like a minus three. That way we don't instantly go into blacks. So we see all the light here. And then little by little we lose the light. And then 86 we very quickly lose the live until we shut down all the way to blacks, right? Like, it's like a fade to black. But instead of doing it on the post-production side of things like on aftereffects or Movie Maker, whatever. We're doing it directly here inside of the camera and Maya. And there we go. So now if we take a look here, panels, look through selected. This is what we got. Pretty good, right? So again, this is just like it's an id reframe. So it's about almost four seconds, which can then transition into like a logo or like a boys club or something. And this is totally, totally useful. It's only a 5 second animation. It took us about an hour to finish. So with this, hopefully you can see how much work actually goes into animations. He does take quite a bit of time, but it's very, very rewarding. So I'm going to stop the video right here, guys, we're gonna do one more big exercise like this one. And then we're going to jump into some extra topics just to finish off our course, we're going to be talking about a non keyframe animation. Some other animations that I want to, I want to mention for you. So hang on tight and I'll see you back on the next one. Bye bye. 34. Final Attack Planning Stage: Hey guys, welcome back to the next part of our series. This is going to be the final part for this module 5. Then we're going to have just a small couple of lessons about non keyframe animation. And so let's get to it. As the title says, this is going to be the final attacked Part 1. So first things first, we need to set up our scene. We're going to create a reference and we're going to go for our ultimate Bonnie right here. We're just going to reference this guy in. We already know about that lining two-sided lighting. There we go. Now I'm going to say File and I'm going to reference one more thing. You're going to find in your files, this a rusty sword which has textures as well. Just going to keep the texture's off for now. And we're going to be using this rusty sword to animate this character using or brandishing a weapon. So what are we going to do? Well first we need to do something similar to what we did with our, what's our baseball? I'm going to move this thing. Let's rotate this 90 degrees so that it's flat on the ground. And I'm going to place this right there on the hand. So this is a one hand sort of you can, as you can see, which supposition and right about there. And now I am going to change this of course to FK. You know, I, I'm sorry, I k, I k for, for arms movement. And we're just going to make sure that he's holding the sword. It's going to be a little bit of overlap. That's completely fine. Let's push this guys and there we go. And now the thumb. There we go. That way, he's always going to be holding the sword. Now, swords and weapons and any kind of element are going to be tricky because not only do we need to animate the body properly, now there's an extra thing that we need to actually take care of. You can see that the colors are a little bit dark. That's fine. You can go here actually and like increased the exposure. And let's see 2 like to, if you want to see it a little bit better. Although my blow everything else out of the frame, just keep it at 0. That's fine. Now, what I'm gonna do here is I am just going to do the constraints. I'm gonna select this guy, driver driven constrain parent constraint. Remember the parent constraints should be with them, maintain offset turned on. So now wherever this hand goes, and however we rotate the hand, he's always going to be holding the source. So in this particular case, I don't want to use reference. I want to show you how we would approach a project where we actually don't have any sort of reference. Like we might have an idea, but we don't have any reference. And we need to think about like a final app x. So you probably know about like League of Legends, right? So League of laziness or any sort of game nowadays, most of the games nowadays have something called ultimate. And it's, you know, this like super strong impact of the character does right at the end of the animation. And you're going to have a very extreme sort of effect. So we wanted to do something like that. We want to make sure that this character goes into a final effect. But before we do that, we need to do a simple idle just to get an idea of how this character is going to behave. It's going to be like this very brave warriors. He got to be like a Tim myth guy that just isn't the wrong place at the wrong time, like all of these things, we can define that with our elements. I'm going to go for like this very aggressive almost, let's say var variant looking character. So I'm going to Making go down here. It's just rotated this a little bit. Let's open up the so I wanted this to be like so sort of like tribal guy. He's just like, I need the below there, one blood, I want to kill everyone. So he's going to be like a very, very brute force ish animation. So let's open up the Lechs. I am going to move this guy you like here. Some thinking about like hawks marsh, something like that, right? Like this is not a hook because he's a little bit Mario, he's using a weapon, but he's gonna be like a really, really angry. Let's turn off the audience that he's always looking forward. And we're just going to position her like this. Now the sword, how is he going to carry the story? So you're going to be like a, like a really like well-trained character or is he more like I just gonna slashing cuts someone's throat, right thing. He's going to go like, like very, very rudimentary nonetheless, the form like nulla formal training, let's say. And then this hand, let's make it like a really angry hands. So it is like like a claw most. And there we go. He's really, really angry his liquor. Again, I'm thinking about like, like Darrieus right from the League of Legends. So there is of course a night he strained that this just like pure raw energy and anger, right. So he's he's going to be like a really, really intense on his, on his effects. Let's lower the clavicle a little bit. Let's move this forward so that the elbow is bent. So this is he is, he's idle pose, right? And as we saw with the idle pose, we need to do a quick animation here. So I'm just going to animate all of the curves real quick. Let's go like a couple of frames after this frame 2. And now we're just going to push him. So what is he going to do on? He's going to of course, just go back. Like this arm is going to just go down here. This guy's gonna go like here. Like maybe, like not just like here, maybe we can just rotate it a little bit as well. And maybe he goes like as if he was like kinda like breathing rights. So he's going to go like this. It's going to be like you got me. So this is kind of like the effect. We want that cheap. Grab all of the curves again. Let's go frame 1, frame three, S, and we get this 1, 2, 3. Now we already know the trick. We can just scale this up. Let's say like 40 frames or something. Let's snap. So all of the frames are nicely done and we get this cool, Okay, we get this very nice, like intense effect. I think this hand, it will be cool if he goes like forward a little bit. You like. I think the legs are a little bit too far apart. So I'm just going to move him for Apollo bit. Just a little bit there. I'm going to copy the legs, middle mouse-click to that BOS. So we're going to get this. And he's gonna get like a really low and then really high. And again, first bows for all of the curves actually first posts, we're just going to copy and paste the last post. And we get this. Very nice. So very, very simple, just a normal looking effect here. Let's push the NIF in. Really, really angry the guy. Okay, this guy looks super awkward. So let's go here and here. So it's going to be like like this right? Now. I'm going to use a trick that I showed you before. I'm just going to copy all of this guy's right-click Copy, going to frame 41, right-click and paste, paste. There we go. And then right-click here and paste, paste. And here we go. And we take a look at that. We have of course the cycle. Now what can we do? We can of course go into the graph editor. We can spline everything just to get a little bit more of a softer edge. It's already going to allow us to have this very nice effect. But now we're gonna do the, the overlap, right? So in this case we're not doing a cycle. I just want to have a couple of breaths before he actually goes into action. So what I want this to look as nice as possible, right? So I am going a little bit ahead of what we normally do. Normally we would do all of the poses first. But I know that after the idle, that's when the real action is going to start. So I'm comfortable doing the offset here because after this point, then we're just going to go into them like a normal animation direction. So usually the first thing that moves is the hips. The hips are going to kinda like move the whole thing. So what I'm gonna do here is I'm going to grab the chest, the hands. We can draw the elbows as well. And I'm just going to go into the graph editor, grab everything and just less two frames, two more frames. So now the have's going to move first and then everything else it see how it looks like he's like dragging everything. That's very, very cool. That's what we're going for. Another thing we could do is, for instance, the hand. We can we can close the fist when he's going like down here. So I'm just going to like close the FIS here. Like this. Grab everything here. And I know that it's the second frame, so I'm just going to go to the second frame and the second frame. And now my hand's going to do this. This effect, right? It's like claw effect. Now here, do we have an extra animation? Oh yeah, we do. So let's get rid of that extra information that we have there. There we go. So now what's going to happen this as we go down, we create this fist. And the fist. We can actually like given a little bit of what's the word of of an overlap. So all right, so let's grab the middle section of the fist and the tips, middle section and tip, middle section and tip. And all of those guys, let's move it one frame. And then I'm just going to grab the tips, tip, tip, tip. Grab all of this and one more. There we go. So now we take a look. We're gonna get this very aggressive looking guy. Of course, I think this guy is looking weird, so I'm just going to move the, the elbow in like this. And I'm just going to copy the animation everywhere to all of the frames. Because really the, the elbows not moving that much on this first section of the animation. So we're fine. And we get this. Now, I don't want to start on frame 1. I'm going to start about framed Dan or something. That's where the animation is actually going to start. Because frame one, we have a little bit lab, right? A little bit the fault offsets, so there's certain things that are in them and not moving yet and it will look a little bit weird. So there we go. Now if I were to grab all of the curves right now, you will see that there's of course a lot of overlap. But as I mentioned, that's fine because we have this overlap. And here on frame a 103, Here's where we will actually start working on the animation for our character. So what's the new mentioned that we are gonna do? This is where we need to invent. We need to create certain things. So I'm gonna give you one resources, a personal resource that I use this as inspiration. Any video game, anything is good. But for instance, Super Smash Brothers in case you guys to know about this, one of the most famous games out there. And especially for for fighting games. There's this frame data site that I really like called ultimate frame data. And every single character in the game is here. And you're going to be able to check and see each individual frame of all of the animations. So if we go, I think who has like a very aggressive animation, who's a sword user. So now Roy has the sort on the other side. So probably like I write. So ICC, as you can see here, it has a lot of animations where he uses the source. And the cool thing about this is I don't want you to copy the other ones, you guys to copy the animation frame-by-frame, which of course you could. I wanted, I wanted you to see the animations and use the animations as an inspiration to do something, something interesting, right? So for instance, I really like this guy right here, this, this lower punch. But why not combine it with something else? Why not try a jump first? Like who's going to jump into the ground and then he's going to smash whatever is in front of him with that downwards slash. So now is where we start thinking about our key poses. And here we can again use the same technique that was used before, where we just focus on the main poses. So let's do that. Let's try to jump, since we've been doing a lot of jumps throughout the series. So let's go with like a 114. And for the jump, we're going to need a preparation, right? So here we're going to go down. It's probably going to rise, erase the sorted a little bit so it doesn't push the ground. I want to again make him look very like primal, very like Tribal. So, so maybe he goes down like, kinda like a monkey, right? Like this sort of like monkey stance. And he's going to bring his, he's what's the word? His hand right here to the center. And let's use the fingers as a sort of It's not he's not going to support himself with the fingers. I just want him, his fingers to kinda touched the ground. Think about like, like like an American football player from the NFL where they touched the ground, just gotten stabilized. Stabilized, stabilized themselves a little bit. So something like this. Make sure that everything looks nice. All the curves hold opposes this, our final project, right guys? So, so we want to make sure that this is as nice as possible. I would say that he would slide this foot back a little bit. And then of course, the name it should be almost touching the ground. Probably not that high then. Well, it's something like this. So the knee can touch the ground like this. And then if we really want the hand to get there, you can use a clavicle. Of course, look at this great posts. This knee out. Now let's really, really bring him out. He's like I'm really going to get this guy. So we need to think about them and imaginary enemy somewhere, right? But we have this very cool pulse. Again, staging this one of the other principles of animation we've been talking about staging, stage this guy. So if we were to print the statue of this boast, that pulls would be great soon. This one right here, I think it looks really, really cool. Probably. Two is the fit right there. So we're gonna get this thing, we're going to do this. I don't think he's going to get ready. We need to of course, check some of those poses, but don't worry. And then he's going to just launch forward like jump really high. There's going to be a little bit like animation, like very, very cartoony looking. This is not something normal. It's going to look cool. So let's go here. And now the fact that there's something here, it tells me that there's some sort of animation. I just want to animate everything. There shouldn't be any animation. Well, we do have any missions. I'm just going to erase all of this animations. Because after this, like after this, like the final breath is going to use it to get here. So now when we take a look at the whole animation, we get this. He's like 1, 2, 3, and then boom, he's going to jump right. So on the third one is just going to rise up and do the attack. So here we will have the stretch. The next bone is the stretch, but I don't want to do the stretch just yet because if we start just like going forward, we will be using this technique, this animation technique which is post. That's not possible. So straight ahead, right? So I want to do the post to post effects. So instead of focusing on the stretch, I'm done, focus on the jump. So I know, or what I want is I want this character to jump all the way up here. And I want him to jump into is like super intense, like super gladiator style, jump. The source. I would imagine that the source is going to be like up here, like ready to destroy whatever is in front of him. This hand-write here. Whereas the hand, it's going to go all the way up here. And I like I like the claw hand that we had before. So I'm just going to position the hair and that cool shape like here. Well, let let's make sure that everything is where it's supposed to be first and then we'll polish the hand. So imagine again, kinda like, like a monkey jump. Think about Spider-Man again, how he creates this sort of like flex on the, on the legs. So we're going to have something like this. These are the nice, Always, always start the cube things close to where they're supposed to be. Elbows as well. Close to the actual elbows. There we go. So now we can grab all of the elements. Here. There we go. Oh my God, did they forgot again? I forgot again to the the the the actual post. That's fine. What I'm gonna do is I'm just gonna go to the lower post here. There's one copy to frame a 113 and just start from here. So very quick, I'm just going to do a quick block in here. So he's going to go down. And as we saw here, he's going to move the arm forward. Touched the ground like this. Open up the sword a little bit. Like really, really go there. I usually like to grab all of them at the same time. Oh, this looks cool. Again, kind of like a very monkey-like, right? Very, very primal. I like this. It says a lot about the character, right? So there's KID S. So from here, boom, we're going to jump like and then here's what I was mentioning about the claw. Like if I really like this clock hand right here, while they can do is just select a curse from the fingers. Middle mouse-click to frame a 114, and we're pretty much copy and pasting those elements all the way here. So now we go to frame a 114. You're going to see that with a claw again. So very, very cool, right? And the, and there we go. So we're just starting with this final animation. This is just the first step, but we already have something very, very cool. We have this guy right here, this like very primal looking effect. And then the chimp, they're looking at that amazing jump. This is going to, he goes into this very nice monkey-like posts and the kids just going to jump somewhere else. So there we go. Let's save this real quick weeks. We haven't saved yet. Let's call this final attack. And I'm going to stop the video right here and we'll continue on the next part. 35. Final Attack Posing: Hey guys, how are you? Let's continue with the next part of our final fact. Let's go. So this is where we left off, this just the poses that we're, we're doing. We've finished this nice little aggressive idle. We go into this like Monkey stands right here, right about here. And then we start working on our key poses, right? So we're following the same process we follow before. We're going to do key poses first and then we're going to start doing all of the in-betweens and the timing and stuff. So first post, secondary goal posts, Let's go for the third post. So I will expect the third post land right about here, I would say. So it's going to be like quite a big jump. Actually went on. Yeah, I think that's enough height. So let's go here and I'm going to grab the, the hips, both of the nice, the foot and the hands. And thus course D. Those elements, That's the movement. Like all of those controllers for our movement, That's what we're going to be able to use to move the character. So let's go like about here, I'll say. And let's do it like this, sort of like superhero landing. So a theme we're going to land with our left foot. So we're going to land like this. The right foot's going to have the superhero landing. So we're going to rotate this around. Let's create a plane. We definitely need to plan two to work with. There we go. Now we can grab this guy is getting into a layer and make sure this is set to reference so we can't grab it. And I'm just going to turn off the grid. There we go. So this one's fine right there. Then you should be like above here. And the landing, of course it's going to be again, very primitive, very primitive primal. It just like boom. And then the weapons is going to land here. And just like slash whatever is going to be there in front of the character. So again, we can imagine that there's going to be like an enemy right here in front of us. And the end, That's what we're going to get. This food. Let's bring it back here. And again, if you find yourself like planning and animation, and at first it works and then it doesn't work. It's completely fine to switch certain things around like you're not we're not doing like clay clay motion where we are just taking a lot of pictures and hoping for the best. We're not hoping for the best. What they mean is that once you take the picture, well it's done. You're going to have to do with again, in this case, we can adjust as many things as we want until we get to the exact element that we want. So here I'm going to blue, I'm going to push this guy for worth. That way we're going to have very strong like a tackling. Let's really like really attack here. We can even use the clavicle. Of course. Again, this is doing it. No technique like 0 training, just like raw force. This case, I would probably stop seeing that the enemy and just like a tech here. And I'm going to get the sorted right here and into the ground. Really, really strong, strong hit. So we go. And then this arm probably is going to be like around here. I don't want to have like this sort of like like boom, just hit the guy. I know it's breaking the neck, but again, it looks cool so we can roll with this and later on if we need to adjust it so that it's more realistic, we can always do so. So there we go. There again, I'm thinking about like a tar sand. Imagine if you gave Parson a weapon. I'm thinking this is sort of like what he would do with it, just like use it to the best of his ability. So jump land. And then since we want to make this a little bit more interesting, let's, let's go back. So he's just, he's just a slash and instead of just like racing the, the weapon back in an arc, he's gonna just like bring it out as if he was, what's the word like skewering or he just secure something. Like bringing it out like this. Let's get a nice arm right there. Let me go here, that's fine. Okay. Here. Are going to do this. He's going to bring the weapon back for like a final attack. Let's bring this guy out here. Nice always important to keep them clean. He's just going to bring this thing like completely back. Like this. I know this is a very crazy Bozeman. Remember when we talked about like dynamic poses, how we can use them to create some interesting shapes before we jump or before we go into the, into the final like cool poses. So we can do something like this. Because now we're going to do a final post where he just like completely so as I'm imagining again, he's, he's falling from the sky. So he hits the character and then brings the arm back. And then just like the final pierce through the heart or through the chest or something. So he's going to move forward, rotate his whole body around. Like this. Now this thing is going to go just like lush, all the way to the front. One thing that you can do guys and I encourage you to do at the view, if we want to give it a try, try doing the actual movements yourself, like try tie, grabbing it like a broomstick or something. Or if you have like a prop sword around, just tried to grab something and tried to do it yourself. Then you're going to see how, how all of this makes sense in certain ways. Like you're gonna see whether or not your character's movements are making sense or not. Let me turn off the arms right now. I want to focus on just the legs and the torso. Because I want to like in this case, I do want to go like extremely far like this. So he's going to live his like primitive movements out. She's gonna do really broth similar to what we did with the pitch. So I think he could actually go and give a step forward. That way he can really, really, really move forward. So let's write this down. So he's going to take a step forward. And while he takes a step, he's going to stop whoever is having a really bad day right now. I think I'm going to, since he has this sort of like ape-like behavior, I'm going to keep it like this. And then this thing is going to go really low like this. Now we can try to aim towards like the chest or the head or something, something like this. So here we take what we learned from the, from the pitch exercise. We're going to move the elbows and everything where they're supposed to remember how he had the the glove that back here. There we go. So that will be my my final attacks. That's going to be like one. Well, he he jumps, he he prepares, he jumps, he lands, he goes back, he staffs. He he, he steps and moves forward. As you can see, he he kind of pivot points or he pivots from one foot to the other steps. And then he's going to go back to his normal like an idle pose. So again, we already had the idle pose. This is the idle pose that we have, so we can just grab the whole thing. And the only thing I need to do, remember when we did the walking exercise, we just need to, again grab the leg of the idle pose. Let's do an animation right here. And I'm just going to grab all of the important elements, which are the knees, elbows, hands, and just move the whole character. Let's go and write view. Says he's going to be missing the length and there we go. So he's going to be about here. About here. Oh, you know what, I forgot. Okay, Before we do that, let's go to our key poses and just keyframe everything. So that's good. That's good. That's good. That one's not good. Yeah, this one is not good. So let's describe 0. Whenever this happens, just check what's wrong. So in this case, this feeds, there's just snap it there. So 1, 2, 3. So again, that fit should be about there. So 1, 2, 3. And then this is going to be the fourth one right there we're, we're talking about. So again, just grab the hand. This hand, this, this pole vectors feed, we should make a quick selection and then we're almost done. So it's the same. But one advice I can give you guys, just make a quick selection. Right now we don't move with just this guy because everyone has it's own like sort of movements. So you just let grab the whole thing moving forward. Try to match where the food is actually really close. It's just a little bit more. So from here, she's going to go back to his idle pose. And there we go. So I'll just grab everything. Let's focus on this last part, which is what we're working on right now. There we go. So we got 1, 2, 3, 4, 5, 6. We go back to the app. We might consider instead of not yeah, I like going back. Although he is changing quite a bit of distance here. So let's show what's going on. Oh, okay, so the fetus looking weird. So this pose right here, definitely true. Move it to the side a little bit to the ground. We're going to be polishing that. So I want to keep moving forward to make this a videos as useful for you guys as possible. Because as you can see, we're now at the point where most of the things that we needed to learn we've already covered. So it's now just polishing, polishing and cleaning up. So now we can go to the next poses. So let's grab all of this guy. All of these guys just move one frame and we're going to need the next pose, which is the stretch. So from here I'm just going to go here with middle mouse-click so that the thing does not update. And now this guy's gonna jump. So expecting to jump like this, he would probably jump into sort of like superhero pose. I would expect the sort to be delayed. Same with the arm. And here would be like jumping like this, right? The head of course, looking up to where he's about to jump. So we're going to have 1, 2, 0 again. Well, what's the mistake? The mistake is that we did not, since we didn't move the feet. When we update this thing right here, things don't look as a yes, as properly or as correct as they should. Same deal with that with things here that with this elements, just grab everything. Middle mouse-click S. I'm going to show you one trick to avoid that, an ex-post. So here we go and jump. Okay? Now we can start talking about timing, right? So I know that from this pose to this pose is pretty much going to be immediate. So I'm just going to be a one more frame. It's just scrub everything one more frames is going to be 1, 2, 3. And then the distance here is going to be again quite fast. So this pose, Let's give it like four frames is going to be 1, 2, 3, 4, 5, 6. So we're going to have four. And then from here to the fall also kinda have like four frames. And you can see that things are not looking great right now. But let's just take a look at the general flow of things and see how this looks. Let's really make these short so that we only have to focus on this area. Too fast, too fast. So again, just, let's give it one more frame here. And let's give it one more frame here. It's going to be jump and then fall. Now the problem here, as you can see, is that Maya is already trying to interpolate from this pose to this pose and we don't want that. That's also making it a little bit difficult to judge whether or not our animation is looking good. So what we're gonna do is I'm going to go to like this post that's looking very good. And just middle mouse and place it right here on frame a 123. And I'm just going to hit S. And now I'm gonna go to my right view. And I'm just going to move this thing with a movement. Here's where let's break the movements. Electron, I'm not sure why I haven't done it before, but definitely should have. So let's just write everything here. Hand and pelvis. Just going to say edit or create, set, quickselect set, or just like set here, that's fine. Now we can quickly grab all of this and we miss one of this. Scrap, everything again. This one, say select or create, set, quickselect settlers at the shelf. There we go. So this iterate here, it's the, it's the movement. With this, we can move the character around. We go to right view and we get closer to our final destination, which is right here. So right about here. So now we're going to create the, the arch. And you can see that we go right here. Now again, my strength to interpolate here, and that's fine, but we really don't want it to do it just yet. Because we wanna make sure that our animation looks as nice as possible. And usually in this sort of animations, what's going to happen? Just going to middle mouse click here on frame a 124 is we're going to be about to land. You remember we land with that, with the left foot. So here we're about to land. And we want to remain stretched. Asked to stretch as possible because we're still we're we're getting ready for the final. He'd see that that poses way, way better because from this, do this, do this. Now it makes more sense. Before and we weren't, we were kinda like preparing for the landing before we were actually there. And that's not something that happens. You prepare for that we're actually we're doing the hit before we landed and that's not what usually happens. So there we go. Now let's take a look at the sort of sorts very important that we want to keep the sort as straight as possible. So here's five, but then here see how the sorted God, like rotated. So let's keep it flat again. And we're going to get this boom. We hit the ground. Thing. We can make it more intense right here. And then we go back. We secured the guy through the through the chest. Again, Let's give this a bit more forward facing and let's, let's position this hand. So that looks cool. Remember, we've talked about this before. We wanna make sure that all of our, our poses look cool. If you stop at any point, most of the time, every post should look, should look. So now with that change, if we take a look at the jump, it looks way better, right? Because we're actually seeing the transformation there like this. This are like jump. And then the fall. I think now what I can do, Let let's take a look at the, what's the word at the motion trails. So let's go visualize hippo motion trail. And yeah, so immediately I see the problem or one of the problems and that's the fact that the arc that we're following on the, on the jump is not a very good arc. So he's going very horizontal here, but then there's not enough height. So I'm going to use our quick selects it here. Let's go right view. Say really bring this guy up so that we can create this very cool looking arc. There we go. So now it's going to be like we jump, pretty much like flying through the space or through, through the element here. I think I would like this had to be slightly delayed. Again to sort of like cool post to the character, the sword. Let's, let's delay the sorta little bit more as well. There we go. I'm not a fan of the feet here. So think I'm going to push the pause here. I don't want to give this like flying effect to the feet. But I don't like this like, like those two frames where the feet are really, really straight. They look really, really weird to me. So I'm just going to do something like this on this like but here with definitely want to have that stretch effect. And then we create this jump and bam, bam. Now let's talk about this transition for so from here to here, I definitely want a little bit more time. So again, let's, let's have more time. Let's select everything here. And we're going to select these guys right here. Let's give it more time here. Let's get rid of the motion trail. Remember this thing slows elements down, Let's say real quick. So we fall. And then we bring it back and then boom again that the HIT should be fast, but probably not as fast. Let's give it a couple of frames so that we have enough time to move the legs around. And then after this same deal like in here, we definitely won that way more time. This is the final, unlike the recovery part of the animation. So, so we want things to be a little bit slower. Even slower, I would say, there we go, boom, boom, boom, boom. Now, I do want this guy like this fall to, to last a little bit longer. So I'm just going to grab this frame right here and just duplicate it to around here. And then what they were among the friends I added there. Let's just move them a little bit. Remember the overshoot we've talked about? So that's what we're doing here. So I'm gonna go to this frame right here. Let's just overshoot a little bit. There we go. So we have this overshoot and then we go quickly into the next, into the next attack. We need to fix a couple of Bose's there. But I think, I think things are looking really, really nice. Let's take a look at the whole thing real quickly before we finish this part of the video. One breath, two breaths, three reads, jump. There we go. That looks good. So that jump is a very cool, I think this be this good for the jump as wanna work a little bit more on that, on this landing now. And then of course, the, the selection with the junk looks cool, I think. Yep, cool. So I'm going to stop the video right here, guys, we went out a little bit over 20 minutes again, that's fine. And I'll see you back on the next one. Bye bye. 36. Final Attack Adjusting Timing: Hey guys, welcome back to the next part of our series. Today we're going to continue with the final attack or three. So let's go. This is where we left off. We have this very nice idle pose getting ready, and then we have the jump, a very good preparation, this sort of like monkey-like jump. But let's fix a little bit of that because as you can see there, there's a couple of curves that are making a very weird interpolation here. So what's happening here is, instead of moving that hand for Worth is moving the hand through that arm. So I'm just going to move the hand like this, probably a couple of frames after this. So like here. Push the elbow out, this one. So now when we interpolate, let's again focus on that thing. Strongly recommended. You always work on just the area that you want to work on. There we go. So here I would expect the hand to be coming down. Before thing, this thing. Now it seems like we didn't, we lost a little bit of the, of the very nice effect that we had before where he would spread out the handle a little bit like the palm. So let's go there. There we go. So again, let's take a look at the whole thing. There's a little bit of a weird interpolation here. Let's see Where do that keyframe. Let's just delete that one. And now the hand's going to go to the front down. And then we're going to jump. Voom, we jump, keep that sort back. And it says here, Let's really keep the sort of back. I would even argue to keep this or like this at first. And then for instance, on this frame right here. Now the source starts going forward. Let's move the position hemoglobin, see where it is going. Now the PSR would go to the front, will still keep it like back here. Or way the second, uh, he's actually moving it in the, in the wrong way. He should have it like this. So let's go here. Yeah, there we go. So boom. And then here should be here. Probably keep it like this, like pointing down. So keep this or pointing down. And then on the final part, like right about here, say that the circuit can start going forward so that when we heat it, we get that very nice arc going from. Now here, this is way too fast they think. So I would expect to have another keyframe there to, to support the landing here. So this one is fine, that one's fine. But then this is way too extreme. So let's add one more keyframe there. Again, select all of the, all of the keyframes. And let's just give one more keyframe. Interpolation should do its thing, but as you can see, it's already doing the thing that we've talked about before, where where we don't want to, we want to keep the stretch at this point like the like the sources is still falling. So when the cube, the stretch in here. So I'm going to keep the character like up and the sword. Let's keep it flat. And now here's where the, where the heat is coming, right? So we're going to have 1, 2, 3. Now, same thing we've talked about this before about like the feet. So this guy, Let's get rid of the toe for now. And it's still falling kinda like a passing position, right. We're, we're we're just like moving down in there we go. Now we land. Probably, you would like further back. There we go. And then here, very important on this pose. Let's fix this, this foot because this is the, this is the main food. So let's get rid of the toe. Let's get rid of the rotation in. We can always check whether this here. There we go, and just keep the foot flat. So it's just going to slide. I would actually just slide the foot back a little bit. There we go, see how that transition is a lot better. Now this seems to be a little bit wrong, so I'm just going to move the sword down, pointed upwards and worst my elbow. Like of course the elbow needs to be on this through all of this guys. I haven't mentioned that. You probably saw it. I've been using auto key-frame because otherwise, having to press S every single time might be a little bit too time-consuming. So there we go. So see how that now we have this arc where, where we move the sword up. We're going to be taking a look at motion trails in just a second. Well, we get this and now. We need a little bit of a better interpolation here. So what's going to happen is he's going to twist his whole body. And of course the sword is going to be coming through this site. Let's move the elbow back again. So we're going to go from here to here, similar to what we saw with the baseball pitch. Let's keep the arm like really far back for now. So the hit becomes way more intense. So even this one, I'm tempted to, to keep it like, like back here, still going to be 1, 2, 3, 4. That's the final bunch. Let's exaggerate the staff. There we go. It's going to allow us to push this a little bit further. There we go. Now, the interpolation is going to be way better than after this, a little bit of an overshoot. So, so let's just like push him down a little bit more. Push this guy a little bit further. Just have a little bit of an overshoot. And then we start going back into our posts. And again, we don't want the post to come back. We have a little bit of an issue there with the sort that's completely fine. So what's happening with the shortest? As you can see here, we have a lot of rotations and then it goes all the way back. So I'm just going to keep this rotation there. And now the hands just going to remain there. And it's just easier to bring this back into, into my idol posts like that, say. So now I'm pretty sure that the hand is going to keep its own, its own religion. So let's take a look at the whole thing. Especially the jump. It looks good. I mean, I think it looks good. I'm going to grab all of the curves and just keep them as blind on this area right here after the jump. Just going blind them. That's going to soften up the animation a little bit. There we go. Look at that. The jump to jump looks very cool. I do think, I do think it looks a little bit rubber bandy, meaning that it's not like perfectly. I'm not sure if it's the height or if it's dy not the speed. Is the speed, as you can see, it feels like he falls really fast, like really, really fast. So let's go to the apex of the jump. Let's just grab this guy that the main curve, we're going to visualize it, it double motion trail and let's take a look. Yeah, you can see it here. So where's the fall? So on this and this distance. Like all of these things are a little bit too far. So it's 12345612345. So lets just grab everything. And skill one more frame on the fall. Let's start with one frame. There we go. Let's see how that looks a lot better. I think another thing that kinda makes it weird is the fact that he Lance and then it's way too fast, like this transition is way too fast. So let's, let's really push this guy down on the overshoot. And let's grab everything here again. Let's see if I just increasing the time There we go the better. The fact, whoa, my bath, I did not select everything, so let's select everything here. Let's give it a little bit more time. I'm really going to go, I'm going to go really crazy here. Okay. See that that looks a little bit better. Because now the fall, it looks like he really has weight to it, right. So okay. That looks good. That looks good. We're in a good position there. And then like that overshoot, That's perfectly fine. Let's get rid of that motion true for now. So the overshoot is good. We need to fix a little bit of the foot. This blinds usually mess of the foot pretty bad. Because instead of having this very nice like flat curve, we get this. So now this preparation, we definitely need to increase it. I like the timing of the attack though. So it's just, it's just like this. Let's just give it way more time here. It's going, boom, boom. There we go. Probably not as much. A little bit less. There we go. Trial and error, guys, trial and error. It's all about trial and error. Now, the final like beers here. It also looks a little bit too fast. So one thing I can do is it can just grab this, just scale this up a little bit, snap it. Now That's way too slow. So same deal. Just scale it down and snap it. Okay, That's better. Now we can do the same thing. Do we have the overshoot? We do. So let's just increase the distance here on the overshoot. I know that's way too much, but you can see how it definitely changes the thing. Because it's a fast attack, so I wouldn't expect it to go. There we go. That's better. Let's take a look at the whole thing. Always good to see the thing in context. So we got that. Boom, boom, there we go. That looks good. That looks good. Now let's fix the feet. So I'm gonna go here to disguise right here, just go into the graph editor. And for instance, this guys right here, like I know from here, like I know this guy right here should remain pretty much static. It seems like we need to move this guy back a little bit. Because this is the final attack. And he's kinda like sliding back. She's looking backward forward. It's kinda like sleeping bag, so let's just move him forward. There we go. There we go. So now he remains on the same spot. Okay, I like it now I think we can exaggerate the jump a little bit better because he's jumping in a very weird way. So see this blinds, they're like messing up, but that's very common for splines to do that. So I'm just going to move these guys up. And even if we need to add an extra element here, i'll, I'll just make sure that the transition from this frame to this frame looks better. And it's all about cleaning up now guys, you know how we get to this final part and it's it's all about cleaning up. Now, one question I get asked by my, by my students quite a bit is, how much should you clean up, Like how, how, how intense should you be on your, on your clean up process? And the answer is, of course, as much as you can, like do the bring down the mission all the way up to perfection. However, it is also something that we need to take into consideration. And that's the fact that there's always time constraints, right? Like there's always a client that needs to see the animation like a right away. There's always the final due date on the other thing, so there's always always things that we that we need to take into account. Let's go here. So this one right here, very important. I'm going to just keep it static. So just move it there. We can go to the graph editor and see what's going on. See that. So I'm just going to grab all of those guys, grab these guys and just flatten them out. And that way that foot's going to remain still once it hits the floor. But we do have one frame here that we can utilize. So let's just use our toe up and down. Thinking might not be a bad idea to move the whole character down a little bit. So the fetus already touching the ground. And then careful here with this guy. Same deal. Let's just go here. Grab all of the tangents here, and just flatten them out. There we go. So the fetal lands and h are just remains as stable as possible. Like here. We can slide back, that's fine. Them inserted a little bit of overlap, but that's fine. So yeah, every time you're delivering a project, you're doing a commercial literate or short or whatever, you're going to have time constraints. There are certain like what's the word like benchmarks the studios and recruiters follow. What are you thinking about how much you should animate? I remember a friend of mine, the work done on a very famous movie here in Mexico, animated movie. It's about like this cartoon x, very funny. Very like rhonchi. She said that they were expected to animate, I believe it was ten seconds per week up to like the final polished like super, super complete 10 seconds. So right now we're a 190, so that's almost ten seconds, we're almost there and we're doing it this in an hour. So imagine if we had like a whole week to completely polish this up, we will be getting some very, very cool stuff. Now, let's go to the in-betweens again and let's start checking out how we can fix her note some of this post. So for instance here, I don't like the fact that this leg is like moving forward before the launch. So let's go to the leg. And I want to keep this leg pretty much all the way till here. I would still like this leg to be we're actually no right. Because we're going to go from here. And then here. I would expect to be moving this forward. And then here. Because what is that? That's the question that we need to ask you. What's moving to character for where it said the leg that's moving me forward. Was it the torso and the legs just there to stabilize? I think it's the torso like It looks weird, see how it kinda like skates. So I will need to actually stand up here. Like in this position, I willing to stand up. So we fall. We bring this down. Careful there. Have some weird have some we're frames here. Why? I don't know. Let's just fix them. Maybe it was the snapped at this weird movements here. Yeah, it's doesn't actually how we have it, some very weird effects here. I'm pretty sure we snapped properly, but it seems like we didn't like it seems like we exaggerated or do we not select everything? Because this is way too intense. Let's bring this back a little bit. I'll see you there, I think straight there. We have an issue in these keyframes. Cool. Yeah, no, that's weird. That's the value. So that's fine. Okay. Just keep going. So we land, bring the sword back, bringing the hand back tensile. So very weird. Let's keep it. Let's keep it forward for just a second. Let's balance the character a little bit better. So we bring the sword back. What's going all you know, what could have been the splines when we do this blinds, sometimes splines do we're thing. The splines soften everything up, but they also push things and interested in places that I might not like. So one thing we can do is just bring the arm here. I'm just gonna go back to all the spline. And now we should be able to just fix some of these elements because, yes, see this like this, shouldn't be working like that. We see the sword spine changed the slide them because I felt like this was good before. And now. It's very weird. It's not that it looks off, right? Let's, let's take a look here. That's perfect. Jumped looks very good now. Actually it's not that bad. I mean, it is wrong as you can see here or as you can see on the, on the slow-mo. But when you see this as a complete animation, it actually doesn't look that bad. I do hate this, like sort of sliding of the legs, leg back into position. So what I'm gonna do here is I'm probably after the final like like punch there. I'm just going to keep this leg right there. And keeps this leg right there as well. So that's really weird. I'm not sure why. I know why they just pushed the This thing here. Of course the knee. So I'll rather a cue like a very aggressive posts at the ends. Not gonna, we're not gonna go back to the idle. We're just going to keep this very aggressive post. Let's go there. This might be a good idea here as well. And then here, It's cute. The sort like back here. It's kind of like the intro for the character. There we go. This is one of the cool things about doing an animation from scratch, like not following a reference, that you're free to change certain things if, if a couple of things are not working at first and then in G1, I'd like just modify them. Feel free to do it as long as you have a nice animation that conveys what you want, which in this case it's this very aggressive, like primal character. Then we're good. I do want to fix this thing. So I'm going to stop the video right here, guys, because we're again running at the 20 minute mark. As you can see, there's what it's been one hour one hour of work so far, and we're in a very good position. I would say that the only thing we need to fix now is the slide there that we have. And then add a couple of overlaps in certain areas. And I think that we are going to be good. This is going to be the end of the animation, so hang tight and I'll see you back on the next video. Bye-bye. 37. Final Attack Finishing Touches: Hey guys, welcome back to the next part of our series. Today we're going to continue with the final attack. So let's go. This is where we left off, as I mentioned in the past video, we're going to fix the little slide right here. I'm not super like I don't love it, to be honest. So I'm gonna select all of the elements. And if I need to delete a couple of keyframes, That's fine. So for instance, I really like this both. I know it's very extreme, but it looks cool. It doesn't look like super broken or anything. So I think we're in a good position there. And then this one right there, it's the same. It's going to delete it for all of them. So all of this poses, let's again focus only on the on the area that we're working on, which is this one? Yeah. So you can see it. It's there. The problem is there's there's there's something there that's not working. So it was probably the snap that created that issue. So you can see this is frame a 146 and then this frame right here. So I'm just gonna I'm just going to snap it to frame a 147. So all of this and we can just delete it. That's another option. Let's just delete that keyframe, a 147 keyframes. I want to see how it's 146.88 or something that's horrible. And that's fine. And then this guys right here, there we go. So yeah, that was causing that one of the issues there. So this is the elbow. Let's bring it back in again. So we have this very nice pool. That's good. And then for the, for the slide, very important, Let's keep this, this. Okay, so for this slide, if you want to, if we want to really like move the character into a slide, I think we need to like move him back here. So that's all of his weight is on the on the back lick backlit. So we go here. And now we go forward. And that's just a slight, we're just going to slide the character through that row, which is finding me. The games slides happened all the time. And as long as it looks cool where it, we're fine. It's not something that's very easy to do on, on the real life, but as you can see, it works perfectly fine for this sort of animation. Now, let's take a look at the elbow because the elbow is doing some crazy stuff here. So for instance, this frame right here, I mean, that's the, this started the in-betweens. If we start pushing the arm out a little bit more, that's going to fix some of the in-between. So see how here the elbow should be out here. And then we move back. The elbow should move back, that's fine. Here's the kind of things that I've mentioned, like never go full IK. And then we go for like, Hey, let's try to keep them as clean as possible. There we go. So again, don't go full IK it's the it's the elbow deal was the one that's doing crazy stuff. So 1234567. There we go. And then over here we've got the elbow properly placed and then back. Okay, that looks way better. Let's take a look at the other hand, because that one's also doing some crazy stuff. So we land here, which is pretty cool. Maybe we can even land with the other hand, I think it might not be a bad idea. Let's go on the landing. Yeah, because otherwise it looks kinda weird. So let's use the clavicle is again to, to push the arm down. And let's land with the arms will again, very monkey-like. And then we just go back like here. I'm just going to copy this and emission here. And now the full body is going to land there. And as you can see where we're getting this weird stuff here, let's just keep it linear. So again, I'm just going to grab whatever is happening here. I'm just going to keep it flat. So that arm really doesn't move as much. It's moving a little bit there. Let's help it by just moving it into position and and keeping it there. So now the arm false. Now he pushes. So we'll expect the arm in this position. Just still be like all the way down here. Like closer to the ground? I would even argue about like keeping the arm like on the ground, like sliding the hand through the ground. I think it would be a good idea. So I'm going to keep the hand like dragging the hand on the ground. And then you bring it up. Let's keep it close to the character in kinda like using it as an indicator of the squash and stretch. And we could even go like like this again to push the posts into a nicer and nicer approach. Boom. And then here, very carefully, it's a, it's a weird transition suggests that Let's just help it. Still feel like a weird transition. So let's, let's just bring it down. Keep it low. A couple of extra pulses there. There we go. Now we can add a little bit of overlap. And it's going to be very simple because this is a very complex animation. There's a lot of things going on. So the main thing that I want to make sure is that it looks like a very nice overlap effect. And it says we have a very dynamic animation. Overlap is only going to make it look a little bit better in certain areas. So for instance, at the end here, well, this thing is doing some crazy stuff. I'm not sure if it's the Euler filter. We can try. Let me grab this and let's give it an curves Euler filter. Let's see if that fixes it. Now it's not the older for it's just the posts. It looks very weird. So for instance, here, Let's suppose here I'll keep the hand low. If the pose and it's probably the elbow as well. Where's the elbow? There we go. Let's bring the elbow right here. So we go from here to here. And like this boat like that pose right there, like this in-between. Very weird, right? So, so let's just bring it here. So we are posed there. Let's Euler filter this again. So our curves older filter to try and fix the rotations there. Because this is a very weird posts. Just keep it close to the character. Close to the character. And then i'll, I'll still keep it close to the character to be honest. I think it will look a little bit better. And then we just keep pushing here. Let's keep it like this. There we go. So now what we can do is we can just grab this guy and this guy for instance. And then in here and the last frame, Let's just give it like a couple of frames of overlap so that we end there. And oh, what's going on there? I'm going to have any more information. So let's just, let's just grabbing all of this and one more frame. That's very weird. And we get rid of the of the cool like pose that we all, yeah, so we, we lost a post. That's why there's gonna go up this bowls right here with all the elements. Seems like we animated it twice again here let's just delete this. It's just the carpet Sri now she's moved here. S to everything. And we got this guy. He's going to go back. It's gonna call forward like this. And the sort is really heavy, so he's probably going to drop it a little bit into the ground like this. And I got this the elbow back here. And then this hand this hand to be like folding right around here. It's just kept the face looking forward. So there we go. And here's where we can do the transition. We can grab like the like all of those guys and the hands. Just grab this thing and just give it a couple of extra frames. One more. So now the whole thing false here, and a couple of frames later, the heirs. And there we go. Let's take a look at the whole thing. The whole thing. So brief, brief preparation, jump, slash. In. There we go. He looks very like, like an undead kind of thing. Like very, again, very primitive like super raw energy, just like moving forward. I like it, I like it. I haven't done an image like this one before. So, so going into this crazy stance, I think, I think it's fun. Now let's just take a look at the nice. There's a couple of as just one frame here on the slide where the knee like this frame right there. The knees broken. So let's just fix it. This is this one. Oh, stop it here. So lets just grab that knee to lose this one. So here on this frame, let's align the need to the foot. And then on this frame, let's align the knee to the fullest wall and that should already fix it. If it doesn't, we can always go to the in-betweens and just push it towards supposed to be. There we go. So now we get there. Let's take a look at the attorney, which we also get like he completely gets completely broken. They're having no this so where's that? Where's the knee here? Let's move it forward. I mean, it's fine that he lands like this. But then like here with the funding to bring it down or back to toward the foot S. I shouldn't know it should land like this. Facing forward. There we go. So very unbalanced bows, but it looks cool, so we're gonna keep it for now. There we go. What do you guys think? It's been? A little bit over an hour working on this animation again, as I mentioned in the last video, we can continue polishing and moving these things around. I would definitely take a break and then come back a couple of hours later or work on something else and the meantime, and then come back because sometimes when you're working on something for so long, you start ignoring things that are pretty obvious and which are freshly rest of. It's a little bit more, It's a little bit easier to know this, this kind of thing. So for now, I think we're in a very good position. I would just do like a renderer here to make sure that this looks as nice as possible. I don't like that little snap there, but that's fine. And yeah, like I would probably do the infinite background. You've probably seen the animation on the other intro video on the thumbnails. So yeah, this is, this is what we're working with. So if you want to, you can also animate the camera like that, a little bit of motion where it, where it hits. In this case it says this is a more for like a full body animation. I think it would be better to just keep it like this so that people can appreciate, appreciate the whole, the whole character, right, that whole movement. So that's it for this video guys, this finishes our module five. Now we're just going to have some short videos on Module 6. We're not going to be talking about certain animations that we can do without actually keyframing. We're going to see just a little bit of an introduction to Dynamics and simulations. So hang on tight, and I'll see you back on the next one. Bye bye. 38. Mash Quick Start: Hey guys, welcome back to the next part of our series. To that we're going to start with the last module, Module 6, and we're going to be talking about mesh. So what this mash, mash ASA, motion graphics 7, we're plugging that we have here inside of Maya that will allow us to create some very nice animations in a fast way. And I mentioned this not only about character animation and rakes and combat and stuff like that, there's also a lot of work out there that involves motion graphics, like a logo animation and intro and outro, things like that. Whenever we want to animate like a lot of things going on at the same time. Instances are going to be the best way to do it. And the instance, it's pretty much a duplicate of an object that shares the same like transformation though it's just, it's just in a different place, but it's shares most of the things from the objects. So instances are ways in which we can duplicate objects without without occupying as much memory as we would do if we were like individual duplicates if an object, okay, So think of instances like clones of an object that they're going to be easier to animate for me. Now, we're going to be doing three small exercises here inside of mash. And I'm going to show you just like how, how, how easy this to create some very nice stuff. So in this first one, I want to create just a random like shape element that's just going to like grow, move the shapes around and create something very interesting. So I'm gonna start with a cube. The cube is going to be my basic shape, and it doesn't have to be a cube. It can be pretty much anything. Should we? Let's make a little bit more interesting. Let's grab all of the edges here. I'm going to bevel them. So we have a little bit of a different shape here. And now let's grab just like one phase. I'm going to Control E to extrude it and then control eaten two extra that in. So we have this like little hole in there. And that little hole, I'm also going to babble. So just grab the edge there, those four edges there. And let's bump that last battle. Let's make the fraction a little bit less intense. So fraction, smaller, fraction. There we go. So we just delete history, freeze transformation, center pivot. And this shape is going to be called, it's called this, our origin cube. Okay? So our origin cube, we're going to use this using the mash plugin, which by the way, we need to activate up here and you windows, settings and preferences Plug-in manager. And mash them low the end. And we're going to use this cube to create a mash network. Now, the cool thing about mash is that by creating a mash network, by clicking this button right here, we're going to get this. And if you click the second button right here, we're going to open the mash editor, whereas, and here's where we're gonna see what's going on. So right now, we just created the one thing called a mash one distributor. You can see that the original cubes now hidden and everything's happening here on the repro mesh. So this cubes of your scenes here, there are instances of that original cube that we created. So I'm going to click here mash distribute. And on the left side or right side, we're going to see all of the things that we can add, all of these notes we can add to our mash network. And then we go into the mesh 1 distributed. We can actually change what's happening here. So right now as you can see, we have 10 points. So the object, in this case the original cube, is being duplicated ten times and each object is being moved 20 units away from the previous one. So now, sorry, in 20, in a distance of 20 units, we are, we have all of this. So if we were to decrease this distance to like 10 or something, all of the cubes will be really, really close. And if we increase the distance, of course, the cubes are going to be far away. So I'm going to keep the cubes like close together like this. And now I can show you another one of this guy. So I'm gonna go here and what I'm gonna do is I'm going to add a name. Sorry. Actually, no. Let's go back here and let's talk a little bit about this guy right here. So right now we have this distribution, which is a linear distribution. And again, the cool thing about this is that we can actually animate anything in here, every single object you see here, every single slider can be animated. So if we go to frame 1 for instance, and we go all the way down to one object. We can click Set Key and then say, Hey by frame, let's say 60. I want there to be like ten copies. So now we're just going to set key and we check the animation, we got this. And just by default you're going to start moving in and out. So very, very cool, right? So something is just like a very nice transformation. So imagine we want to do this sort of appearance of things, like a logo that starts getting extra little things on top of it. Well, this is a very quick way to do it, because instead of having to animate and move the visibility of 10 objects, we can do everything with a mash distribute here. And I right-click and break the connection. And now I'm going to go into the distribution type because there are some very cool things that we can do here. We have radial distribution, so our cube is going to be like positioned in this sort of fashion. The more cues, well, of course, the longer this ring is going to be. And again, we can animate this. Imagine that emitting an animation where all of these things going in and out. Very cool, right? So we also have spherical where as you can see here, we're filling in is fear like an invisible sphere. We can change the radius of the sphere. And here's where things come into play because as you can see. We can start with, let's say 1. Go to frame one, say set key here. And I know that I want to finish with, let's say, a 100 points and a big radius. So this is going to be my final animation here. So I'm just going to set key, I'm gonna go to radius. Set key on the radius, and on the first one, I want the radius to be one. So now if we take a look at this, we're gonna get this sky like an emitter and meeting all of these geometries and see how fast Maya reacts to the whole thing. It's very, very easy to animate using a match because as you can see, it just affects everything. It's just an instance. And in instances are really, really light for the, for the computer. So yeah, there we go. We have a very nice like EC animation there. We also have a mesh position and this is the one that we're going to be using. So let me break the connections here and let's create a very quick like n. So I'm gonna go here to the Text tool. I'm just going to click it. And on the text I'm just going to write a letter N. I see that next 2D. Just write the letter N. There we go. I probably want to make it a little bit like a little bit here on the extrusion, little bit square like this. There we go. I am going to delete the history on this thing and I'm going to call this an NGO. Now if we go to a repro mash and we go into the repro options here, sorry that mash distribute this one right here. We can select this and change this to mesh. And down here on the input mesh we can middle mouse drag and drop these NGO right here. And now what's going to happen is that my little cube is going to be going or is going to be appearing everywhere on that end. So we can just increase this n, like let's say 1000, we can go with 1000. That's completely fine instances again, there are super, super practical because we can do this sort of thing. Look at that. So now we've got this element and we can also start with very few and then just start populating everything. So let's say we want to start here set key, and then by frame 80, we want a 1000 of this guys to be on our mesh like this. Very cool, right? So if we play the animation, this is what we got. Just an animation or this thing getting like completely filled with this, a little elements. And the cool thing is you don't even need the mesh. I can press H to hide the mesh. And the repro mesh already knows that it just needs to follow that shape to create this very cool effect. Look at that. Amazing, right? So let's go back to the mash distribute here and let's go to our keyframe now, as you can see, one of the bad things about this is, is we can't actually see where the keyframe is. Even if we'd like select the thing, like it's just not there. So that way we can see that of course, is if we go into the graph editor. If you go into the graph editor, you're going to see here the mass distributed. You're going to be able to see the points. For instance, let's get rid of that point. And right now it has this like soft distribution. Let's say we want to accelerate this thing like we want everything to appear really quickly and then just fade off. And if we go to the last frame where the animation is, we can say, Hey, maybe I want 1200 rather than done the 1000. So now there's going to be even more cubes and we're going to get this. So very quickly we feel the little n, just like, keep on going. Now, what else can we do here? Well, since this is again a, a, a know that inter or like an, like a mash network, we can add some more stuff to the network. Let's select the repro mesh. I'm gonna go to the mash options here and you can see we can select all of these elements now. Some of them don't play together with others. It's sort of like like some of them work better with certain things and others work better with other things. There's this one, for instance, the random one. I really like the random one. So I'm just going to click here and I'm going to say add randomness. And now as you can see, all of the objects have a random position in x, y, and z of a unit, one unit random position, which is fine, but right now I don't want that. I want to have like a random rotation all the way around. And I'll probably just want random rotations on y and run them rotations and z or x probably, yeah, x and y. Let's just do x and y. So I'm going to go to frame 1, I'm going to hit S. You can see everything gets animated and I'm going to go here to frame a 120. Let's grab rotation x and they're just going to push them to this side and rotational y and push them to this side. So now what's going to happen is the letter N is going to get all of these elements. And we're going to get all of this options here. Like things are just going to start rotating around and creating this very interesting effects. So imagine if we were doing like a robot or like a very like sci-fi looking thing. Like all of these things, even though there's overlaps and stuff, they just look cool. There is going to give us this very, very interesting things, and that's not all. Let's add one more note here. So right now where we're using two notes, I'm not sure why it's not here. Let me let me refresh that because we should be able to see there we go, the mesh random and the mesh district. At any point, if you're working on something and you're like, You know what? I don't want to see the randoms right now. You can just turn this off. You can just turn it off and everything else is going on. It's going to work. This is very, very modular, very graph or node like so you're going to be able to turn on and off all of this things. So there's one more no, That's very cool, which is the influence. And the influence node is very cool because as you can see here. This locator that's going to tell us how much influence we have on it, just specific area and this Locator we can animate. So let's go to the Mesh influence here. And the influence power is how much power there's going to be. And I'll leave it to one. And the radius, I'm going to keep it, keep it small like this. So now what I can do if I were to do like a logo or something, I could animate this guy coming here. And then through time it just goes. And thus this thing. Let's finish all the way over here so that there's no more influence. So now we take a look, we're going to have this very cool right? Now. We could even make them slower of course. Or if we want to, we can just leave it like this or maybe come back and forth. And you can see that while this thing is going through the, through the motions right now, we're not seeing any random thing which we should do. We erase the animation. It seems like I didn't emissions their order of operations also important. So I'm going to bring this down here so that the random is all the way to the top. So that's the last thing that the thing is, like analyze that way we see the influence first and then we see the animation later. Now what you can see that things are animating and we'll create this very, very cool looking effect, like just look at this thing. Pretty cool, right? And again, this is possible because we're using it the mash network. If we were to use other options like you imagine trying to, to add the made her a hand, animate each one of these specific points and rotate them and all of that stuff. It would be a nightmare, right? So you always need to look for the tool that's better suited for the job they're being asked, right? So in this case, mash for motion graphics perfect option. Now I'm going to go to the influence here and they'll probably increase the radius quite a bit. I want to I want to really see everything from the get-go. So there we go. Our figure, right? One more note. I'm going to have one more note here, guys, and it's, this one's a very cool note. What I'm going to say now is I want to have a color note. So I've every single little piece on the, on the mash network has a very nice color. So I'm gonna go here into the mash network and I'm going to add a color note very nicely here on the top. And I'm just gonna say I wanted this light green color. Let's go number 6. And I'm going to have random hue, the color. Why can we see the colored though? That's where normally we would see the color. But seems like it's not here. That's fine. Now, there's a couple of things that we need to do if we want to bring the color into the, into the actual object. So we're gonna go to the repro mesh right here and then down into the 11. Check my notes right here where it quickly down here on the render know THE on the renderer stats, I believe. Is it to do. We need to turn on something called color per vertex. Vertex colors there we go, That one right there. And now we're going to assign a new material here. We're going to assign the Arnold AI standard surface. And under color, we're going to insert a file like what we'd normally do with the image. We're actually going to insert a, an element that's called AI user data. It's going to be down here on the Arnold. So it's a art yesterday that color. There we go. And the attribute we're going to name the name of the color that we have back here on the repro mesh. There's here, here, my output attributes, color per vertex, that's fine. And usually this thing is called sit. I always misplaced this guy right here. Here, the mesh color, color set. This one is called color set. So we're just going to copy that the color set name. Let's go back to our Hypershade. And on the new material that we just created, this guy on the user data right here. We're just going to call this color set. Now let's have a light real quick. The sky dome light. Let me save this as Mash logo. And on the light, Let's add the like just a 2D texture, which is this file note. And then the final note, we're going to connect the power plant. There we go. Perfect. So now let's test this. Let's render. Let's see if this works. Let's give it 1 second for this thing to process. It's importing all the Mencius and in this case the color texture. And we're, we're pretty much telling this guy, there we go. Look at that beautiful thing. We're telling this guy is, hey, you're, you're gonna give each one of this elements one color, and we selected this color back here. So I'm just going to review this real quick. So here on the, on the mash color, we selected this green color. And by changing the random hue, we can change the random hue, the random saturation, random value. We're going to get like all of these different types of green, which is very cool, looks very cool. And this name, this color set, this is the name of the object. Now, I would suggest having a normal name, so I would call this next tooth color set. And then just make sure to copy this. And the main trick here is instead of using a texture, we're going to use this thing called AI user data color. We're going to just plays the name there, and that should work. And one final thing, remember here on the color section or sorry, on the repro mesh. If you select the repro mesh is very important that you export the vertex colors here. And also here in the mesh one repro down here on the output attributes, make sure color per vertex is turned on. And that way we're going to see the proper colors. Now, again, the cool thing about that is we can animate everything, we can animate anything that you think of. So I'm going to start with like let's say with a green color set key. And then we're going to also with a green color Set-Cookie, Set-Cookie. And then at the middle of our animation, Let's go for Laika, like a bluish color. And we're going to set key. So now we go to the middle of the animation here, frame 60, and we render. We're gonna see this blue colors. And as we approach the end of the animation, the colors are going to start changing back to agree. Very cool, right? So this is the magic of mash. Mash is really, really cool. It's a very powerful software. I invite you to try and explore all the different notes. We're going to have two more small videos where I'm going to show you a couple of notes that are also very, very cool. And yeah, so hang on tight and I'll see you back on the next one. Bye bye. 39. Mash Dynamics: Hi guys, welcome back to the next part of our series. We're almost approaching, approaching the end of this. So let's get to it. This is mash part 2. So we're back here in my industry new scene and I want to show you another of the cool things about mesh. We're gonna talk about dynamics now dynamics is one of the very cool things that match has. Now dynamics is when we animate something in such a way that we don't have to think about what we're animating. We just let the forces of gravity, wind, pushes and stuff do their work, right? So let's say we want to animate like a Jenga tower. So I'm going to start here with a little small block here. Let's create a little block. And what I'm gonna do is I'm just going to create a little bit of a tower here. So there's two things in which are actually, before we do the tower, Let's start with just a Q, just to show you how dynamics work. So this is going to be my base cube. I'm going to jump into mesh and I'm going to click here, mash network. There we go. And if I go into the mash distribute, we can create like a little bit of a wall of cubes. So let's say we want to set up linear, we want this to be a grid. And I don't want any on C. So it's just gonna be like one on C and a y. I do want a couple more, let's say like five. The distancing y should be a little bit tired. So something like there's just small stack of boxes, right? So this thing right here, we can turn into an dynamics network by just going through the options here, clicking this option and saying dynamics. So by doing that automatically, we're going to get a floor down here. And this guys are going to be affected by the forces of gravity. The gravity is coming from this solver called the Bullet Solver. That tells us that right now we have a negative 9.8 fourths. So if we were to press this, we can see how the boxes fall. And once they hit the ground, they just started like a rolling away. Now, every time we're working with dynamics, we are going to be talking about attributes and parameters. Are we going to be changing the downside to working with Dynamics and any sort of like simulate the, the fact is that we need to be very precise in how we set up everything so that we get the results that we're expecting. So for instance, maybe either one, this guys to fall that low and then just bounces like that. So I'm gonna go here onto my bullets Holober. And there's this option here called the ground. You can see that the position is minus 20, let's say minus five. That way, the things are just going to fall a little bit. Let's see. There we go. So they just fall a little bit there and they just stand there. They're not going to slide or anything because there's not enough force to really push them right. Now the cool thing about this is that this is again dynamics. So if I were to go back to the mash distribute and say, Hey, you know what, I thought about it. And now I do want a couple more boxes here with maybe a little bit of a less, less distance or more distance, whatever works for me. I can now see what's going to happen when all of these books is go into this array. So very, very cool right? Now. Another thing we can do is we can add elements that interact with these objects. So if I were to move this whole tower here, and I were to add like, let's say a queue. Like a little plane here. Let's say something like this. Let's rotate it so it's, it's an obstacle. Pretty much. What I can do now is I can just grab this guy, go into the Bullet Solver, middle mouse drag and drop here in the collider objects. And now this object, this cube that I just created is going to create a coalition with all of this objects and look at what happens now. Pretty cool right? Now the only issue here is, you can see is that all of the cubes are falling and kinda like sliding as if there was like oil or soap or something. That's because the, the objects here on the mash dynamics have very little friction. So I'm going to increase the friction and that's going to allow it to stay closer to the center. As you can see, they don't slide this much because the friction that's not allowing them to slide. We also have the d damping here that we can increase. That's also going to reduce some of the movement. And you can see the simulation is going to be way, way, way more solid. Now, this also appears the bacteria in the bullet solver. So the floor itself actually has friction. So let's increase the friction on the floor. That way when this things fall and they pretty much remain on the same position, on the same place or not gonna slide anymore. And you can let this animation run its course as long as you want. My is going to start calculating what's happening throughout the whole thing. So dynamics are really, really cool again, because they will allow us to create this certain elements that will be a little bit difficult to, to doing in a manual way. Like if we would try to manually animate each of these cubes, falling and stuff, it will be very, very difficult now sometimes I like to increase the gravity all the way to like minus 98. This is a little bit closer to o. Let's go here. Minus 98. This a little bit closer to Earth's gravity. So you're going to see that things fall in a very nice way. The only problem is that it's so strong that it's trying to push through the ground and we're getting this and we can of course reduce the bounds on the floor. And if we go into the repro mesh here, we can also reduce the bounce. Let's see if that helps. Not really. It's just that the gravity is way, way too strong. So I'm just going to have to like bring it, bring it back to minus 9.8. There we go. So it kinda looks like they're falling in slow motion. It's not like if there were falling in the real-world, but again, you can see it's pretty, pretty cool. Now that's not only the, that's not the only thing. We can actually add more objects that interact with the, with the elements in a, in a more dynamic way. So let's imagine, let's have more cubes. Hopefully this doesn't break my computer. You definitely do need a little bit more memory than than usual for this kind of thing. So the more, the more cuz you're animating, the more intense this is going to be for your computer. I'm going to create a sphere. I'm just going to make the sphere go from down here in a very fast way. Let's say after the cubes are kinda settled like 80, in a very fast way, the spheres is going to go all the way off. And again, we can actually hide this fear. We don't need to see this fear. And as long as we add this to the bullet solver with middle mouse and drag into here. It should affect the cubes. Let's see. Boom, there we go. Now the only problem with movements that are really fast is that you're going to need a little bit more collision iterations here. So I'm gonna increase this to 20. That's pretty much telling the thing that I wanted to really, really analyze what's going on so that we get the best possible effect. Another way to, to make this a little bit easier to visualize is of course, if we go to the sphere and we make the movement a little bit slower. So we give a little bit more time for the process to actually analyze what's going on. There we go. See that. Cool, right? So mash networks are really, really nice because as you can see, we get this very, very cool effect. Now, let's build a little bit of a tower. So what I'm gonna do here is I'm going to delete all of this back to the beginning. Let's go here and let's create a little bit of a tower, like a Jenga tower. So we do here. There we go. And I am going to make this a mash network. So mash network, you can see that we hit the original cube. We're gonna go back to a grid distribution. There we go. It's going to be three by three and that's fine. And we want this to be quite high. So let's add like yeah, four or five floors. And no, no on no elements and see just just the dot one. So I'm going to increase the space here. Because what I'm gonna do is I am going to duplicate this guy, going to duplicate the network. And I have a separate mash network. And now this new network, what I'm gonna do is I'm going to use a transform node inside of the network to move the whole network into a different position. So if I grab this transform node right here, I can say, You know what? I want to move you on the y-axis, tens units up. That's way too much. Let's say two units up. One unit up. There we go, 12 units, fine. And then I want to rotate the whole thing on the y-axis, 90 degrees. So as you can see, we get this very nice effect where we're creating the little tower, but we're doing it to mash networks. This is just one way to do it. There's always more wasted. Now let us say 0.5 and x plus 1 on x or 1.51. Outline this as close as possible to the original. There we go. And then on C, it's 2.5 as well, or minus 2.5. There we go. Now on each of these guys, I'm going to add dynamics. Note. It's the same bullet solver for both of them. That's good. Like we don't have several bullets holders, just one. So Oliver, and each network has its own element. Let's move the position of Florida would like minus five again. And if we hit Play, you can see that the whole tower just goes and assembles itself in the very, very nicely, right? We can of course go to each of the dynamics here. Let's increase the friction for both of them. 2.5. There we go. Till now, the blocks shouldn't slide this much. And we just built a small lego tower that is ready to be destroyed. We'd like a sphere or something. So let's go again here with the sphere. Let's go with a big sphere right here. And we're gonna go, let's say here, and then just move the whole thing. We go to the Bullet Solver and we add this thing right here. Now if we hit Play the tower false and a couple of frames later, this thing just like it rolls through it and destroys the whole element, creating this very nice pile of effect. Now, mash is not only good for, for animation like you can of course, use this like we're doing here for this example. But there's other things that meshes really good that I actually use mesh for modeling quite a bit. If I'm doing like a lot of rubble and stuff, this destruction allows me to create like very random things very fast. So let's say you want to add just like bricks laying all over the place. You can use a mesh network like this and create an animation until you get something that looks destroy them nice. And then you just, once you have something that you'd like, for instance, let's say like I like this thing, like getting it. They'd like this. Just grab both repro meshes and control the duplicated them. And these guys are a completely new geometry that's not attached to them to the actual like element here. So again, if we find like another one, I'd say like this one, just grab the repro meshes again, control D. And we're going to be able to create some very crazy looking elements very, very fast, like so I'm very abstract shapes here very nicely, right? So, so mash and a lot of tools inside of Maya are very useful also to create other types of things that are not only animation. So that's it for this one guys. Just a quick introduction to Dynamics again, I invite you to try it out. I tried to find a way in incorporated into a small like a promo video or something. We can of course add this sort of things to all of the animations that we did before. So remember the baseball one, maybe we want to create like a little bit of a wall and he's going to break the wall with a sphere. We can do a lot of things. So feel free to, to experiment with all of these tools. And I'll see you back on the next video for our final, our final match videos. So hang on tight and I'll see you back on the next one. Bye bye. 40. Mash Sound and Nodes: Hey guys, welcome back to the last video of our series today we're going to be taking a look at the final part of mash and we're going to be closing this after almost 10 hours of content are a little bit more, a little bit above ten hours. We're closing this first introduction to animation. Hopefully you guys learned a lot throughout this series. It's been really cool, It's been really fun showing you all of the techniques that we use for animation. So here we go. I'm going to show you now one of the extra notes that we have, which is the music or the audio note, which is going to create some very cool things here. So I'm going to start again. Let's do something different. Let's do, now let's look. Cubes can start always fun. So let's start with a cube. I'm going to go into mesh and I'm going to click this option right here. And now I really want to create like a little bit of grief as well. So let's go mash, distribute, Let's do a, actually let's do this to radial. I think radial would be cool. Let's increase the number of points. So we have a lot of cubes, let's say 50 cuz I think that looks good. And now what I'm gonna do is I'm gonna go here into the mash network and I'm going to add an audio file. So I'm going to add an audio node. And it's very important that we sampled the audio that we need. Now, your audio folds are always going to be found here on the sound folder. And we have a little bit of a problem here. I downloaded this go on for you. Let me see if you can hear it. There we go. So a little bit loud. Well, so very just like funny, happy sound. But this is an MP3 file, so we definitely need a web file. There are some web services that allow you to transform this into one, or let me see some things when you download. Now, sometimes when you download, it lets you download specifically on the web file. So it's going to just drag and drop this guy here. Let me really quickly convert this guy for you. Just 1 second here, I'm using one that's called Cloud convert.com. So just cool thing. Let's just download. And there we go. We've got that down. The WAV file. Let's get the WAF file right there. It's going to be there for you, so you don't have to do this. And the now here in Maya, we just select this guy and he'd open. And what's going to happen here, very cool is we got this object here and when we play it, the things or the cubes in this case, are going to be scaled, as you can see here on Y, depending on the beat of the song. But unfortunately we're not hearing the song. And why is that? Well, we only added the song to the audio file. We haven't added it to the Miocene. So I'm going to go right-click down here. I'm going to go into audio and I'm going to import the audio, which is this one right here. Just hit Import, and there we go. So now we have the volume here. Let me lower it. There we go. Very cool little song right here, right? So the cool thing about the audio node right here, as you can see on our, on our main audio file, is there's a lot of things that we can move right now. It's scaling all the way to 30, skill of 30 on the, on the y-axis. But if we want to, we could enable rotation and say, Hey, you know what, I want you to, to rotate this guys on the, on this case, I think C-axis would be the x-axis. So a 180 or 90 degrees on the c-axis, right? So something like this. So we're gonna get this pretty cool right? Now there's another node that's very, very cool. And that node is called the replicator right here. So the replicator is a node that will allow us to replicate the network. This is something that's very, very nice. And not only can we replicate the network, we can actually move it or change the direction of the whole thing and it will copy exactly what's going on before the replicator happens. So as you can see, we get this little cool thing here. Now if we want, we can of course animate the replication. We can animate the offsets. Okay, so there's a lot of cool things that we can direct the getter is a really, really nice, I know that we can utilize for this sort of things. Now, what else can we do? Let me, let me get rid of the replicator. We could try to mix it up. I think I've tried this before, but let's see what happens if we add dynamics note, I would imagine that all of this thing is going to just fall. That's pretty far right? So yeah, even though dynamics works with a mash network, so that's pretty, pretty cool. Let's go for a color note. Let's add another color note here. So let's go or maybe a random. What about a random they had around and looks good. So now each object, it's in a different position. Let's get rid of the dynamics node. Delete. There we go. Now we get this. So we create this very cool shape that's going to be changing depending on the undertone of the song. Let me get rid of a little bit of the volume. There we go. So we're going to have this, this sort of effect where the objects are going to be doing this thing. And the cool thing about this is we can, we can have more things on top of this. So maybe we can add like this rotator. I think we have a rotation element. Where is it? Or even just like a transformation, the transformation, remember the transformation is not the transformation of each individual piece is the transformation of the whole network. So one thing we could do is we can go to frame one, say S, and then frame 120. And we want a rotation of the whole thing in this case is the z-axis 360 degrees. So as you can see, we're gonna get this. Now remember the cycle is that we have here on the graph editor. We can make this linear of course, and we can say Curves post infinity cycle. So now what's going to happen is if we increase this to like 2000 frames, see the whole music. We get this. So imagine you're doing this sort of find animation where the logo is going to appear right in the center. And you want the whole B2B working at the same time. Well, there you go. Very, very easy to do very simple exercise. And again, we can add, of course, our color note. Let's just go over that real quick. Let's call this color set. That's fine. And I'm just gonna say random hue all the way. And oh yeah, I'm going to show you this. This is very cool. So let me connect this real quick. So I'm just going to grab this guy. I'm going to assign a new material. Arnold standard surface. Let's color. Remember we add this AI user data color. We go here, that's the name of the color set. And then under repro mesh, we make sure that we have on the output attributes color picker ethics, and down here, export graphics color. There we go. So if I were to render this real quick, There's no light of course. So that's why we're not seeing anything. Let's import a non-linear light. Let's do the sky dome light. Oops, sorry. Just had a drink drain them. After a lot of 0. Recording FM recording, straightforward like several hours. So this is the sky dome light. There we go. Let's just do a normal file note. There we go. And we're going to add this Peruvian pulpal or go out we render. And there we go. Of course, we need to make sure that there's a color on the thing. So they're wise wife doesn't work. Let's do pink. And there we go. So we've got this very happy, funny looking element. Now, here's the thing. There's something called expressions. And the expressions are like a coat that we can use to create a little bit more variants to the whole thing. So it right now, if we were to play this, the cubes will always keep the same color, right? So for instance, this one, it's always the same color. It's going to be a little bit difficult to follow, but right now the cubes are not changing colors. Let me see if I can play this. You can see it there. It's just rotating but it's the same color. It's, it's not changing. But we can actually make this thing change color every every time we want like a with a specific amount of time. So the way we're gonna do this is I'm going to go in the, in the option here on the Scene option. Because if we change the seed, the color, so it's going to change, right? This is like the variation of the elements. So what I'm gonna do here, so I'm going to write the following. I'm going to write equals frame The by this, by X amount of time. So let's say 30. Okay, so what's going to happen here? It's going to check, okay, what frame of mind a mind in right now if I'm even frame one and I divide that by 30, it's point wherever. So it's going to be frail or it's going to be, it's going to jump to the closest index, which is going to be able to be 0 or one. And it's just going to select that seed. Once he keyframes 30 or 31, it's going to jump to C2. And that way we're gonna get a very nice variances. So let me see if we can see it here. Let's play. Well, before that, let's hit Enter here. There we go. So now you can see that if we're in frame or in seeth, like here, you can see, we can see the one. And as we keep moving forward, now we're going to see thin. And now we're in C 28. And that means that when we hit the animation here, area specific time, all of the cubes are going to change color. So again, it's just a way to add variance, to add more visual interests to the whole piece. And we're going to be able to create some very, very cool effects with this. I've personally use this mash network for sharable like local companies that asked us to do certain like logos and animations. So again, I strongly advised you check all of these notes going through the documentation. If you want to learn a little bit more about each specific element, there's a lot of information out there. And with this plus all of the things we've learned about timing, about preparation, stage, and exaggeration. All of the things that we've learned with traditional animation, you're going to see that all of your projects are going to be looking even better. So I think that's it guys, That's it for this series. We've covered a lot of things. Hopefully you went from 0 to hero in a matter of ten hours. Of course, you need to put in the work, you need to do the exercises, make sure you finish them in, and make sure you spend as much time as you need doing all of the different steps that we went through. Because as with everything in regards to 3D, the more time or the more you invest into something, the better you're going to get. So if you want to get all the way to the top and be one of the top on the meters at Pixar DreamWorks place or whatever. Make sure you push your, your skills as much as you can because perfection is what they're looking for. So become, uh, just, just keep working to become a great animator. I'm going to continue working to provide you guys with the best possible content. It's been a pleasure for me teaching you all of this concepts. Hopefully you've liked all of the videos and all of the exercises. Let us know on the reviews for our courses on the YouTube page. Make sure to check out all of the tutorials that were uploading weekly. And yeah, that's it, guys. I'll see you back onto the next tutorial. Bye bye.