Maya 3d Game Character Design & Animation

1. Intro: Welcome to my course on 3D game character modeling and animation. I'm the rock star teacher. I have a master's degree in education and I have a PhD. And being awesome in this intense course, we're going to be recreating some of the most iconic video game characters of all time. Starting simple and moving to the more complex, you'll be learning how to use Mayas, powerful 3D software to model, texture, rig, animate, render, and create physics and special effects. But that's not why you came to this course. Everyone out there is getting certified and learning technical skills like Maya. Everyone's certifies what you really came to this course for was to learn the art of storytelling. Every character tells a story. Character animation is storytelling. When you learn Maya, the most powerful animation program on Earth, and you master the art of storytelling, you become more than just certified, you become a master storyteller. Just know this the tiers of curvy can heal the world. As a bonus, we're going to be going over the 12 principles of animation made famous by the original animators at the Walt Disney Animation Studios. These principles are going to help you take your animations and make them so much better. You will get to try your hand at creating something we like to call abominations, invented by my students. It's when you take your 3D models and create something completely ridiculously, monstrously awesome. This course is designed for high school level and up, or anyone who has tried to learn 3D modeling and animation before. But as given up after this course, you will be fully prepared to create an animate, anything you can imagine. And you will be learning to imagine and tell better stories with your animations. This course was designed to be fun and to steadily give you more complex training to gain true confidence in your ability to create anything you can imagine. I can't wait to see the truly awesome characters that you come up with after completing this course. Let's get started. 2. Project Steve Intro: In this unit, we're going to go over the basics of the Maya user interface. Hot keys to get around quickly, and then we're going to start modeling, texturing, rigging and animating our first character, Minecraft Steve. It's going to be awesome because at the end of this unit, you're going to have a working Minecraft character, all set up to animate. Then we're going to learn how to export him for a game engine and render out a playblast so you can upload to share with friends. You're going to feel empowered with Maya to create an extremely iconic video game character. As always, we're going to have a contest at the end to see who can create the greatest abomination of Minecraft Steve. It's going to be awesome. You're going to have a blast. Let's get started. 3. Installing Maya: Let's get started. If you don't have Maya installed, go ahead to any browser and just type in Maya student edition. And you're going to click here. Now, don't worry if you're not really a student. You are a student, and here's why. Maya is an extremely intensive program. It takes years to master. So for the conceivable future, you are a student of Maya. So go ahead and find Maya here and get started. It's going to ask you to log in. You're going to have to create an account. You may have to use a student ID. Then you should be able to get the product here and download it. It's pretty big. It may take a while depending on your Internet speed. Go ahead and download that and install it. Then when you open it up, it's going to look like this. You can just sign in with your auto desk ID that you just created. Just going to go ahead and use default preferences. And if it's your first time opening the app, it will take a little while. Keep in mind for this course. We're using Maya 2022. It really doesn't matter which version of May you have. Even if you were using 2024, the things we'll be learning in this course are universal to Maya. They've been there from the beginning, except for a couple of little features. But the meat and bones of modeling, animation rendering. It's stayed the same for many, many years. So don't worry which version you have. It's going to work with these tutorials. Okay, I always like to see what the new features are. So I just leave this as is and head, Okay. Here we are in M. That was easy. And the next one, we're going to go over, basic use or ana face. I'll see you then. 4. Maya User Interface: Okay. If this is your first time in Maya, you're probably like, Whoa. That's a lot of buttons. That's a lot of menus. Look at all this menu stuff. And if I go to another one, a whole different set of menu options, and it goes on and on. Maya is very deep and powerful, but it's kind of overwhelming at first. So just take a deep breath and let's learn some hot keys. Why hotkeys. If you want to be good at all at Maya, you've got to learn the hot keys. And so I'm going to be teaching you hot keys, and I do expect you to learn them. You will not be good at May if you don't learn the hot keys. I can promise you that. There will be a quiz on hot keys at the end of this unit. Okay, so let's learn some hot keys. Our first hot key is lt. If I hold down Alt and then use the left mouse button, I can rotate. Pretty cool. But let's put a cube in there so we can kind of see what we're doing. There we go. Now we have this polygon cube and we're holding down Alt and the left mouse button. Memorize that. And then I don't have to hold down a button, but if I just use my middle mouse wheel, I can scroll in. If you don't have a three button mouse, I highly recommend you get one. You don't have to have one, but I recommend it. So that's just the middle mouse scroll wheel. Also, if I hold down Alt and use the right mouse button, I can do the same thing. I can zoom. Okay? So practice those, memorize them. Again, that's Alt left mouse button to rotate. Middle mouse scroll to Zoom or Alt, right mouse to Zoom. There you go. You first hot key. Great job. Okay. Now, what if I want to move the object and not the viewport? Great question. Introducing three new hot keys right next to each other on the keyboard, W E and R. If I hit W. You notice over here, I get a different tool. This is called the translate tool or move tool. And now I can translate my object around in space. And there are three axes you'll need to remember? And we'll talk about them over and over. I will reiterate these things, especially in these first couple units. I'm going to constantly talk about the hot keys and what the axes are and what the names of components are. So don't worry. If in the first lesson you don't remember everything, I will be reiterating it. But by the end, I expect you to memorize all of it, okay? So move tool. Up next is E, and that's the rotate tool. So now I can rotate my object on various axes. And what are the axes? They are x y and z, and we'll explain that later and more. And then finally, I have a scale tool, R, and I can scale it all at once if I click in the middle, or I can scale it on different axes in space. All right? I can create all kinds of objects with this. Again, lt and use the right mouse button to move around. I've now got this really cool object. It's not that cool. Okay, so that's that. And we're going to have a part two of this where we keep going over the user interface. There's quite a bit to it. But that's your basic navigation in the viewport. Practice it over and over until it just becomes like breathing or playing a video game. I'll see in the next one. 5. Maya User Interface pt 2 Viewports: Okay, Maya supports multiple viewports, and they come in very useful when modeling. So another hot key we can learn is space bar. If I click space bar and I hover over any one of these panes, I will zoom in on it. So this is the side view. If I just hit spacebar here, I'll be zoomed in on the side view. Fight Spacebar again, I get back to the quad view. Again, in front, on top. I'm just hitting the space bar while hovering over it. I spend a lot of time in perspective view, but you have to constantly move around to really kind of know what's going on, and it takes a while to develop the part of your mind that can understand three D spaces. So, you want to practice moving between these different viewports. Trust me, they come in very useful when we do character modeling, which is what the emphasis of this course is, we will be using the front and side view quite a bit. In order to match the proportions. What we're going to do soon is we're going to bring in an image plane of the side view and the front view of a basic character. And when we use those two as reference, we get perfect characters. They'll be perfectly proportioned and they'll look like they're supposed to look. If we merely use this view out here, it's a lot harder to get quick and accurate models. Now, you can, in fact, there are many pieces of software built around sculpting, and you just constantly move around the viewport and sculpt your character or whatever in place. But as far as speed, you're not going to get much faster than using the front and side views and image planes. Okay. So remember that space bar hot key. You'll see me constantly do this moving around viewports, zooming in and out. It's very useful hot key, so memorize it. In the next lesson, we're going to go over component mode and how we can select the various components of our polygon object. I'll see you then. 6. Component Mode: Okay, so we've got this object selected, and we can move it with W, we can rotate it with, and we can scale it with r. We know that. But what if we want to move components or parts of this? There are three main components to any polygonal object. And if I right click and hold, I've got edges, vertex, or faces, and I can manipulate any of these individually. So you've probably guessed that if I hit edge here and select or hover over components, I can grab something like an edge, and I could move it. So I could slide this around. And create more like a triangle. All right? That's an edge. Now, if I right click and cover revertices or vertex, I can grab these points here. Sometimes I'll refer to them as points. Don't worry. I will be doing that quite a bit, and I've used multiple three animation software. So I've used about a half dozen softwares, soft Damage, three DS max, light wave, true space, cinema four D. So they all mix and match terms, but they're basically the same thing. So if you hear me say points or if I refer to faces as polys, you'll know pretty quickly after hearing me for hours and hours what I'm talking about. Okay? So these are points. I can again move these individually. Like that. Now, I can't scale a point. If I hit R and try to scale, it's not going to do anything. I also cannot rotate a point, but I can on the edges. If I go back to edge mode, I can do that. Can I scale an edge? What do you think? I'll hit R? What do you think is going to happen? Yeah, you can scale edges too. Now, one of the ones we'll be using quite a bit, and I will constantly call them pos is faces. Now, the face is this flat plane right here. I can do all of the following to them. I can move the faces. Notice everything goes with it, and I can scale the face. Okay and I can rotate it, right? You'll constantly hear me referring to these faces as polys. Don't worry about it, okay? So what I want you to do and why I'm taking time with this is it's extremely important to learn not just how to move and get into component mode, but how to navigate around the viewport, how to hit space bar, and jump around, see what you're doing. So you've got to practice a little bit before we get into modeling our first character. What I want you to do is grab some of these other shapes up here, like it could hit this torus, right here. Boom. Doesn't look like anything happened, but that's because it's behind our big object here. So keep that in mind. We've got this torus here, and we can scale it up. And what we can do is we can select components now and move them around and try to create a more complex shape. So let's go into face mode. And what we can do is shift select various faces and move them around. Now, sometimes it's hard to select because you're accidentally selecting this right here, this scale tool. So if you hit Q, and you'll be in the select tool. So you want to stay in the select tool. Sometimes it gets frustrating when you're in one of these other tools and you're trying to select. So just keep that in mind. Select tool, by the way. The hot key for select tool is Q. Definitely memorize this one, okay? You'll be stuck in this mode, and you'll be trying to select polys and you'll accidentally select this handle and you'll mess things up. So Q for select tool. And we'll just select some components here, holding the Shift key down, and then we can hit W and we could just move these points around. Like so. We could even scale them up. Now, my challenge for you is to make something complex that actually looks like something else. So try to make this look like a spaceship or something useful, not just a blob of pos, right? And it's going to be hard because I haven't showed you some other common tools that will need to really refine an object. But that's the challenge of it. Try to create something that looks like it has a purpose of some kind. Or just think alien spaceship. That's what I always do. Now, if you have something that you don't want selected, like, I don't want this poly right here selected, but I accidentally selected it, I can hold down control, okay? There we go. Trying to make something like a spaceship. And then if you want to go and move things out of the way, I can go back to object mode and move this away from this cube or move the cube away from it, and then I can go back into mode. This time, I'm going to go with edges. I'll select a bunch of edges. Now, I am in this move tool, and I want to go back to select tool, right? So I hit Q. All right. So now I can just select them without a problem. And another thing I can do is I can do something called an edge loop by shift double clicking. And now I've got this whole edge loop selected right here. So I can do all of that at once. I could scale that out. Like so. All right. Just a little hotkey. Don't have to memorize that one right away, but it is going to come in useful. I'll just show you a couple more times. So I select shift double click, and I get a whole edge selected, really quickly. Now, these kind of hot keys are useful for being a professional modeler because you have to learn how to quickly model something. Otherwise, you'll never get done, which is fine. But I'm just trying to help you become awesome like myself. So now I've got something that's kind of looking like a spaceship, you know, It's not you know the coolest spaceship in the world, but it is a spaceship. I assure you. There are aliens living in this right now. So this is not me trying to show you how to build a spaceship. This is me trying to get used to moving around, switching viewports. Using the rotate. Using the move rotate and scale tools, and of course, component mode. So you've learned a ton here, and I did have someone criticize my course Let's go back to object mode. You're learning a ton right here, and it's a lot to take in. I totally understand that. Pause it, rewind it. Practice all these hot keys, okay? I'm going to have a quiz at the end so that you can memorize them. That's your goal, memorize them, and become comfortable moving around, using all to rotate around. At first, it's going to feel clunky, but just think about it like a video game, which we're going to be modeling video game characters. So I'm expecting that a lot of you are familiar with gaming. And if you're familiar with gaming, you've mastered very complex things that if you asked your parents who don't game how to do, they wouldn't be able to do it and they'd look awkward. So do not feel awkward while you're doing these interactions. Pretty soon, you're going to be a natural, and you're going to be like a ninja in here and you're going to be moving polys like they're nothing. I promise you. Okay, this one's gotten a little bit long. We're going to stop it here. In the next one, we're going to show project structure. And then in the next one after that, we're going to get to modeling. I'll see you then. 7. Project Structure: Okay, let's say this is the coolest thing in the world that you just created. You need to save it. See this Atrix right here. It means it's not been saved. Now, I did have to save this because I had a computer problem, and I had to come back in here. But now, I'm going to show you how to not just save a file because anyone can go file, save scene or save scene as. What we need to understand is that Maya is pretty complex. Think about your Maya project like a Pixar movie. A Pixar movie would take a lot of files to make. You'd need hundreds of models. You'd need thousands of textures. You'd need hundreds of scenes. You'd need particle data. You'd need a complex arrangement of data. And what Maya does is it assumes that for you and creates one. Now, it hasn't created one yet, so we've got to build one. Let me show you what one of those looks like. This is an example of an actual Maya project. You've got assets, auto saves, which is very important, and I need to show you that in this episode, and you will definitely want to do this because I can't tell you how many times my computer's shut down or the power has gone out and I've lost everything. Now I use auto save, set it to 10 minutes, and it always saves. Sometimes I even set it to 5 minutes. Caching has more to do with rendering and stuff. You have clips you might render out, various data images. I use my images folder here for my textures, and on and on, you have all these folders that you need. Okay. And it has this workspace dot ML, which creates all this. Mel is a scripting language. You don't need to know all that, but you need to know the basics, and that is that My will organize all of your files for you into a project. Okay? So what we want to do is set that up. Now, if I just merely save this, it's not going to set up a project necessarily. So if I go to file, Project Window, I've got this project and it's automatically defaulting the location to overhear. And I don't want that. I want to know exactly where these project folders are so that I can back them up to a cloud location for safety or to another computer. So it's very important and a lot of times my students do not understand the project structure. The only thing they understand is file save scene, and they're not very organized. This will keep you organized. It is extremely important. I'm expecting that you understand this. Even if you don't get this lesson and it doesn't make sense to you, you really need to think about it as a group of folders holding all of your project data for whatever project we're working on. Well, we're about to do Minecraft Steve, and so we'll be naming our project Minecraft Steve, but we can't do that right here. We got to go file set project. And then navigate to somewhere on your computer where you can store these files. Okay. So I'm going to create a new folder in here called Minecraft Steve, right click New Folder, Minecraft Steve. I want to set that as my project folder. Let's go in there, hit set. It's going to say, Wait, doesn't have anything. What are you doing? We're going to create the default workspace in there. Now let's pull up that folder and see what we've got. We've now got this workspace mail script. Okay? So we don't see all the folders yet, but we will. Let's go back over to Maya. Let's go file Project Window, and let's hit Accept. Now let's go back over to our folder. And you can see we've got all those folders there. Now, I know that was pretty fast. So rewind it if you have to. This is extremely important. And you're not going to be good at my if you don't understand the project setup. So if it doesn't make sense this time, we're going to do it again. And every time we set up a project, we're going to go through this process. So hopefully it will start to make sense. This is an area where I'm just going to pause and talk to you as a teacher. I have many students that fail whenever things get hard. And the reason why is because a lot of my students, and this is crazy to me. A lot of my students think that if they don't understand something on the first time that they're dumb or they're not smart enough. That would be incorrect, wrong wrong. It is extremely difficult to learn something new, and it takes multiple exposures to the process for the neural connections in our brain to connect. And you can't give up when things are hard. Slow it down. My father who taught me how to learn anything, and now I've learned I'm working on my master's degree. I'll be done after this summer. I have one more class. He taught me to slow things down when they don't make sense. So I want you to do that. Slow the video down. Make me talk slower. I did have a complaint from a former student that I talked too fast, and I moved too quickly. I'm working on that. But keep in mind, you can always slow the video down, okay? So that's project window. This one got a little bit long. But before we go, I really need to show you auto save. It's extremely important. Let's go ahead and file, save sens we're in that folder, Minecraft Steve scenes. And we'll call this. Our intro. Save it there. Now, if I go over to Windows, settings preferences, preferences. I can go to files projects. And this autosave is not enabled. This is extremely important. Go ahead and enable, and I'll just do 10 minutes. You could do 5 minutes. Go ahead and enable this. I'm not going to limit auto saves, but you could. Auto saves are very small, so I have a huge amount of hard disk space. I'm not going to limit it. And 10 minutes might be too long, but you could move it down to five or whatever. So autosave is important. Make sure you autosave. Again, this one's getting long. I'll see in the next one where we're going to get started modeling Steve. See you then. 8. Importing Image Planes: Okay, let's create a new scene file, new scene. And we're going to hit the space bar, and we're going to import image planes for Minecraft step. So if I go to view, I can go to image plane and import image. Then if I go up to images, I've got a bunch of images here. I'll just click through them. This is Minecraft, Steve. I've got texture map, I've got a reference, Steve Front and Steve Profile. These Steve Front and Steve profile are what we'll be using to model, Steve. This is my front view. I'll select Steve front, open, and there we can scroll and zoom in, and we've got Steve. It's just an image plane. Now, if I go over here, view image plane, import image. I'll go ahead back to images and import Steve profile or side. Okay, this is the building blocks of modeling. It's going to get crazy real quickly here, because in the next one, we're going to actually model out his body and head very quickly, actually, because he's a very simple character. That's why we started with him. So that's importing image planes in the next one to model. My craft, Steve. I'll see you then. 9. Modeling Minecraft Steve: Now, before we get too far, we're still untitled. We haven't saved. That's really bad. Let's go ahead and remedy that. Always save file, save scene as. And we'll call this Steve. Alright, now that that's taken care of, let's think through the process of what we want to do and what the moving parts are. It's important to go back to the character or the game and play and watch the movement and interaction. Now, at first, I wanted to just create this as one solid object and then rig it standard, but I can't do that because he moves more like a robot. His head kind of moves independent. It doesn't squish, like a body squishes. So when my arm moves, it deforms. When Minecraft thieves arms move, they don't deform. They're more like a robotic metal skeleton, okay? So we actually need to create separate objects for the head, the arms, the legs, and the torso. And then we will parent them together when we rig m. So very easy, very easy, indeed, he's one of the easiest game characters of all time to create. Let's go ahead and hit Q here for the head. And we're going to be naming these, and I'm going to show you the outliner here. So I'm going to move this up. We'll scale it. Put it down into place. I want to show you the outliner. Behold the outliner. This shows all the objects in our scene. It's pretty complex, but let's rename this cube to head. It's going to be important to keep organized in here. You don't want a bunch of P cubes, PC one, two, three, four, five 20. Okay, so very simple, we've created the head. Let's go ahead and create all the rest of the body parts because it's just that simple. We just need to create them and scale them into place. I'll go ahead and hit this and we've got the body here. You can scale it up. Again, let me show you some other ways to kind get more screen real estate, which I think is very important. I can close the channel box editor here. I can also go to two viewports, viewing panes, which I like doing quite a bit. Another thing I like to do is if I hit control space bar, I can just eliminate everything else. This is like pro mode. So I like to work in pro mode quite a bit. But again, that's control space to get there. And let's move this into place. It's almost there, very close. And then since this one is in perspective mode, we can go to panels, orthographic, and go to side, and then we can see we're way off. Another thing we need to do is shading X ray. I already had it on over here, and it doesn't come on by default. So if you're not seeing what I'm seeing, shading X ray. Okay. Now I can scale this to where I need to go. You need to make sure I am an object mode though. Let's scale that. And over here, you can see I'm off a little bit too on the proportions. It's important to take the time to get the proportions, right. Again, I'm using the WE R and the lt keys to move around. If you don't have those memorized by now, you really need to. Take the time to memorize the hot keys, okay? There's Minecraft Steve's body just like that. Now, we could just duplicate this real quick. Control D. But first, we need to name it. Keep things organized. This will be Torso. Then we can just go Control D. Move this object over, scale it down. Zoom in, get it as close to correct as you can. It's worth the extra time. That looks like a decent arm. Let's name that arm left because if you were facing that way, that would be your left arm. Let me zoom in there. We're not to enter there. Looks like we're a little bit off right here. This is a good opportunity to use component mode, right click. You could just select vertices, lasso select these and move them up into place like that. We'll go back to object mode. We can duplicate this Control D, move it over. There we have our other arm. Of course, we want to make this arm. Just double clicking to rename that. We can see our heads a little bit off there. Again, it's important to zoom in and take the time. Don't rush this process, especially if it's your first time. Okay. Just using the hot keys we've memorized in the earlier lessons to get this as close to perfect as possible, like that. Again, sometimes I can't get it by just scaling the whole object, and I really need to just go to component mode, lasso select them and move them into place to get it just perfect. Okay. Just take your time, zoom in. Get it perfect. Now, if this isn't working right, it's because these two reference images are off, and that's what we're running into right now. Don't worry too much if the reference images are slightly off. It's okay. Go to object mode. We'll just realize that the two textures aren't perfectly aligned, and that's okay. We're going to be close enough with Steve anyway here. Next, we need to model Steve's legs. These little guys right here. What we could do is just duplicate an arm, control D, move that down and scale it. Move it up. Space bar to Zoom weigh in on this viewpoint viewing pane. Then we'll go back to component mode, Vic lasso select. And then lastly select the ones on the bottom and move them down. Enter. We need to rename this, of course. Leg underscore L. There really is the reason I used to underscore. It's a naming convention that lets you auto rename something. So just use this format for right now and in the future, you'll see why it's so useful. Again, I'll duplicate that, control D, move that over. We've just modeled Minecraft Steve's body. It's not 110% perfect, but there it is. Let's space bar over to our perspective view. We'll hit this, go to our perspective view, and we've created Minecraft Steve. That's simple. That easy. That's how easy it is to model Minecraft Steve. So what we have to do in the future is we have to parent everything together, and I'll show you kind of how to move some points around. It's going to get a little bit complex. I'll try to slow down a little bit. If you find that I'm moving too fast, rewind or slow me down, but definitely be memorizing the hot keys. Again, there will be a quiz. Hot keys are super important. This was fun, but this one's getting a little bit long. In the next one, we're going to parent it all together, and he's going to be kind of a working rig. So I'll see you then. 10. Parenting Minecraft Steve Together: Okay, we've got Minecraft, Steve. Let's talk about parenting them together. What we want to do is be able to rotate all of these things independently. Now, the textures aren't going to stay with it. Here's how you hide something in this outliner. We can click over here, Shift click, and I can hit Control H to hide those objects, and then we can go shading turnoff x ray. Now we have these objects. We will be texturing them soon, but right now I want to show you the theory of how we're going to rig him so that he moves the way we want him to move. So if we select this, we can rotate it independently. But we also want it to move together. Right? They're all independent parts, so they all move separately. So we want to do a couple of things. We want to rotate them from the right place. See, right now, they're rotating from the center. There's a center pivot here. What we want to do is move the center pivot up to the shoulder because that's where we want to rotate from. Same thing with the head. We want to move all the pivots to where the joint would be. I can just hit the insert key, and I can move the pivot up to the top. I'll hit insert key again. Now when we rotate this object, it rotates from the top. All right. We do the same thing over here, hit the insert key, move it up to the top. Now, what we want to do is go back to another viewport, so we can make sure we're at the very top. We're in perspective view, we don't know exactly if we're at the top or not. So we'll just go to this side viewport here, Zoom way in, and then we'll make sure it's right at the top. Like that. Same thing over here. Let's go ahead and hit Insert, grab this one. Insert, move it right to the very top. Like that. Hit insert again, select the head, hit insert, move that to the very bottom, where the neck is, it insert again. Let's go to the legs and do the same thing. Go ahead and select this leg. Hit the move tool, hit insert, and then we should be able to move up to the top. Insert again. Select this leg, hit insert. Then we can move that right up to the top. If you have problems where you select it and it moves the whole thing instead of moving this pivot point, go ahead and hit Q, select the object. It Wu, then hit Insert, and then you'll be able to move just the tool. Every once in a while, you'll accidentally be moving both at the same time, very frustrating. So what we've done now is we've set up pivots at the very places where we're supposed to rotate from, right? We don't need to rotate the torso necessarily from anything other than the center. I don't even think it rotates in the game, but I don't play too much minecraft. My students this year built a virtual walk through and minecraft of our school because we weren't allowed to have visitors during COVID. And it turned out pretty fun. I learned quite a bit about Minecraft and fell in love with the game. So actually, I didn't fall in love with the game, but it's pretty cool. The concept is awesome. So I come from an artistic background, and the graphics are so bland on Minecraft that I kind of got turned off to it. I really like the high resolution beautiful games. I am starting to like games that have lower detail, but very fun playability, and I think that's why Minecraft is so popular, and it could run on any system because it had such simple geometry. But what we're getting off task. I do like game design. I do have courses on game design, you could check those out. But now we've got all these objects and the pivots are in the right place. We could parent them all together. So what we want to do is parent them all to the torso. If I shift select all these, let me just hit Q k. I'll shift select and then control, select the head. I can middle mouse strag into the torso and now they're all parented together. Now let's go to our perspective view over here. Space bar. If I move this guy, they will all move together, and then I could select individual objects and rotate them. Now, we've got an issue there with it rotating and scaling, and we'll have to fix that. Let's not worry about that just yet. Here they all are parented together. It's pretty awesome. The next one, we're going to clean some things up, and then after that, we'll start texturing. I'll see you then. 11. Freezing Scale to Fix Rotation Problems: Okay, we've got Minecraft Steve parented, and all that's working. But when we rotate individual objects, we get this nasty distortion here. It's a fairly complex issue to solve if you're not an expert at Maya, which I am. So I'm going to guide you through it. But as we go through this, I'm going to encourage you to go out to forums and look, even if you don't find the right answer, type it into Google or whatever your favorite search engine is and see what you can find because that's how you become not just a student but your own independent learner and thinker, and I want to encourage you to get to that place so that you never need another teacher in your life, okay? The best teachers in the world teach you to not need teachers anymore. And I want to be the best teacher in the world for you. So I'm going to encourage you to learn and grow and get answers by yourself. But this one is complex, and you are new to Maya. So I will walk you through some of these pitfalls that people just get so frustrated and they throw their monitor on the ground and they kill their computer and burn it. I don't want you to be that violent. So, What you have to do is understand that this torso object has an uneven scale on it and I can freeze this back to zero. That's not going to make a lot of sense, by the way, this is the channel box. Very useful, especially when we get to animating. If I just shift select the scale right here, right click and go freeze scale. Boom. Now, if I select these objects, I can rotate them and they rotate as expected. Now we have Min craft Steve working as expected. Again, control Z to pop that back. So everything should now rotate on its axis as expected, although that's not correct. So we must not have changed these pivots. Don't know what happened. This pivots correct. This one's not, but this is a quick review. I'll hit W Okay. So I've got leg left. Two leg left. This should be, that's confusing. I didn't name it right. So this is leg right. Sometimes when I'm working real fast, I don't always think. And then this one, I've got my pivot way over here for some odd reason. So that's not good. Let's go ahead and hit Insert. Move that pivot over to where it belongs. Okay, don't know what happened there, but I'm not too worried about it. Okay. So now, everything should be working on your Steve. Hopefully, you're following along. I encourage you don't just watch tutorials. You won't learn much at all. You have to actually try. It's really useful to have dual monitor or put it on your phone or tablet. So you watch the tutorial on one computer screen or another device, and then you follow along as best you can. I know I move quickly. You may have to pause or slow it down a little bit. But you'll learn pretty learn quickly, okay? This is awesome. We've got Minecraft, Steve. And the next one, we're going to delve into the crazy world of texturing, so take a deep breath. I'll see you then. 12. Applying Material and Attaching Texture: Okay, let's get started with texturing. I've got to warn you texturing is very difficult. However, I've chosen Minecraft Steve, not just because he's the simplest to model and rig, but because he's the simplest to texture. He's just a square shaped. That's going to make it extremely easy on us. Let's get started. Right now, we have a standard material applied. It's a lambert. That's a shader. Don't worry if that doesn't make any sense. We're going to create a new one, and we're going to call it Mon Craft Steve texture. So I'm going to click here, assign new material. Now, we don't need anything very special. We'll just stick with Lambert. There's different reasons for using different shaders. Again, we'll just use Lambert, what we're going to do is assign a texture to that Lambert. If we come over here, we see here we have this color area, we can hit this little button right there and we can attach a file texture to it. Click that file. And then the image name, we can go select an image right here with this button. Also, this is the attribute editor. It will automatically pop up, but if it isn't, it's right here, and we can go up to our images folder. And we can grab Steve texture right here. Okay. And we're going to have to move using UVs in the texture editor to make this work. But me talking about it doesn't help much. I'll actually show you how to do it. So let's just hit open. And you can't see anything. That's because you need to go to shading, hardware texturing. Now we've got the texture randomly assigned, and you can see there's areas that are invisible or C through. We call that Alpha, but don't worry about that just yet. So what we have to do now in the next one is we're going to actually move something called UVs around in the UV editor. It gets a little complex, but if you just pay attention, it's going to be quite easy after a while. So just trust me, work through the process, and you'll understand texturing and you'll be a boss in no time. I'll see in the next one. 13. UV Editor Pt1: Okay, so we've got to move these around these textures to where we want them. The easiest place to start is the face. If we go to UV UV editor. We've got this handy toandy editor right here. What we're going to want to do is dock it over here. We should be able to just grab this right here and place it somewhere in our user interface. You'll see it kind of highlights there like that, and then we could get rid of our outliner. We want to be able to see both at one time. We can also dock this UV tool kit in here, may come in useful. Again, UVs have been I think they're pretty difficult especially to teach them to someone that's new, so I'll try really hard to slow down this process as best as possible. You see here though that we do have this block that is the front of the head. Now, what we can do is make selections on our geometry using these component tools, so I can go to face, select this face, and I can put a projection on this, a UV projection. So I can project on any piece of geometry I want or the whole thing. So if I go up to create, I can create a planer projection. Now, this is where it's important to understand that there are three axes. There's the x, y, and the z, right? And we'll be talking about that a lot. It will make sense if it doesn't already. You have x space, which is left and right. You have y space, which is up and down, and you have z space, which is back and forth, right? So I'm going to want to assign this a projection. And I'll just sit planer and see what it falls to. I want to select that UV that I just created. If I go to UV shell, I should have a shell right here. You can see that is not going to work. Now, if I scale this out, I'm just using the scale tool, r hot key, and then W to move it, I can move it where I want it like that. Then I could scale it to fit. I could move it right onto that face texture there. All right. And I want to get it just about perfect. Something like that. And now you see we've got Minecraft Steve's face. It's a fairly simple process, but it does overwhelm a lot of my students. And you can tell I'm a little bit off here. So let's go back here and just move this over a little bit, scale it. Like that. That's about perfect. Now we've got Minecraft Steve's face. All right? That is the process. You're going to want to select the polygon you want and you're going to do a projection on it. And depending on where it is, we may have to change which type of projection. So if I create and I hit this button right here, you can see that we created one on the x axis. We can create one on the y axis or the z axis. Keep that in mind. Right now, though, we're just working with the x axis, and we're going through that process. So, We'll stop it there. And the next one, we'll continue the same exact process. Again, slow it down, replay it, if you have to. The UV editor is complex, UVs are kind of complex. But they will start to make sense as you do this more and more. Just trust me on that and keep going. I'll see in the next one. 14. Texturing the Head Challenge 1: Let's go ahead and duplicate that same thing. We should still have component mode selection going on. So let's select this poly right here, and let's create a planar projection. Let's scale it down. And move it into place. We can see this at the side of the head right here. We'll just scale that into place. Best we can. Again, you're getting used to the hot keys, and you're getting quick with them, and that will become breathing or riding a bike and you won't forget them. That's pretty darn close there. We can check out what we've got. Looks good. Let's go over here and do that same thing. We'll create planer. Scale it down. Move it into place, scale it. The beautiful thing about Minecraft Steve is he's not going to require any other kind of projection other than planer, which is just a flat on straight cubed projection now. You can see we have this and it's not correct. We need it to be like that. So you can't really invert it by scaling. Well, I wouldn't be able to scale there anyway, but you can't really invert it by scaling, so you have to flip it. So let's go to modify, flip. And let's check our settings here. Now, the default is horizontal. Let's try horizontal and you'll see what will happen. We'll hit a ply. And you can see, that we got it mirrored. Okay? So it's called flipping, and it's just a little tool. There's a lot of tools in here. We're not going to go over all of them during Minecraft Steve. But by the time we get to our final character, you're going to have mastered most of this process. It takes time, and we're going to go slow and start slow, okay? There we go. Minecraft, Steve. Now, I'm going to issue my first challenge, and I will be issuing challenges throughout this course. Why issue challenges? Because it allows you to pause the video and go on and try to finish it by yourself. Why is that important? If you're able to do it by yourself, that means I've taught you something and you've mastered it, and now you can go on and finish this particular process all by yourself. That's really powerful. That is actual learning. So if you follow me in a tutorial, that's one level of learning. If you can go on, pause the video and finish it by yourself, you can pat yourself on the back and say, now I can do planer projections on very simple characters. That's huge, especially if you've never done this before. So go ahead and pause the video now and try to finish Minecraft Steve. Don't be afraid to make mistakes. Try to figure it out on yourself. And if you can't, don't be too ard on yourself, press play, and I'll continue texturing. All right. Challenge issued. Okay. Hopefully, you were able to solve that challenge. If not, don't worry. Let's go ahead and finish texturing and projection on Minecraft Steve. Okay, on his head anyway. Well, the video will get too long, and we'll have to move to another one. But we now have this top portion. We want to texture that. And that's really easy. Again, same process, create planer projection. We'll scale this down. Actually, it looks like we need a different projection method. Notice I cannot scale it in these other settings. Okay, so you can see I'm having a problem here I can't scale and put this on this dark spot right here. So what do I do? Well, let me show you a new projection. So create plan Let's hit this button here. We've been doing X. Let's try because we're now going from the top of the head and y is up and down. Let's project that way. Notice, now, it works. Okay? Now, that may have been confusing for you. And it would have been hard for you to solve that particular problem. So don't worry if you weren't able to solve that one. It's just it's one of those things you got to know. So now I was able to project on this back face quite easily. Alright? Let's do the back of the head. Back of the head goes right here. Let's just put a projection on this, create planer. Let's switch it back to x. Hit project. As you can see, we now have that same problem again. What do you guys think we need to do? Some of you have already figured it out. And congratulations if you have. What we need to do is create planer, and then now we need to switch it to Z. Now we're going back in space, Z space because the back of the head. So now let's project that way. And again, we've solved our problem. And now we can put this in place for the back of the head. Zoom in and make sure it's as close as we can get it. All right. You are learning texturing, and now we have the head completely textured. Congratulations to us. My guess, though, is that the neck right here is right here. So let's just go ahead and assume that. I'm not 100% sure, but I don't see where else the head or the neck would be. So we'll go ahead and do that one more time, create planer, and we'll then change it back to y because y? Well, the top of the head needed y. So the bottom of the head should also need y because it's on the y axis. Now, if that doesn't make sense, maybe I'll do a quick visualization on the next one. We'll go ahead and project there. And this will help you kind see. You see now how it's facing the right direction for the neck right here, or for the head. See, this is our flat planar surface right there. Think about this for a second. That's the flat surface, and it only works on this one or this one. It wouldn't work on this one or this one. See? If we were to face a texture this way, we'd see nothing. It'd be flat like a piece of paper. So I won't work on any of these axes right here, but it will work on the neck. If that's not quite making sense, don't worry on every single character, we have to go through a similar process. And we will get more and more complex. But I haven't done a great job of visualizing it until right there. So, now we have the neck done. Now we have the head done. So if you weren't able to finish the head, that's okay. The reason I said it was a challenge is because it was actually difficult because I did not show you this menu here and the changing of the axes, nor did I do a good job visualizing the different axes and how it worked, exactly. So hopefully, that makes sense. I get that that's pretty confusing for a lot of people. And when I first learned it, it didn't make any sense to me at all. And now it does, and hopefully you'll start to see it. Now, remember this, knowledge isn't just like the first time you hear it you get it. That's not how knowledge and skill work. Knowledge and skill. Talent is there, but knowledge and skill, they need to be developed, and it takes continued practice and re exposure to some new thing in order to understand it fully. So again, do not worry. This was the first challenge. It was difficult. I didn't show you how to do it properly. So if you were able to solve that, that's amazing. You should totally pat yourself on the back. But if you weren't, don't even worry about it because you're going to get it. I promise you. So that's the head textured. This one got super long. It was our first challenge. I hope you enjoyed it. If not, too bad because we're going to texture the rest of Minecraft Steve in the next video. I'll see you then. 15. XYZ Explained: Okay, so what occurred to me while watching some of the tutorials and editing them, that I definitely did not do a good job of explaining x-y-z space. Some of you understand it from math class and some of you guys are like what the heck? So it's important to remember the colors. I understand that I have students out there that are colorblind and that may be a challenge, especially if you end up with a mistake like what we had, where something got inverted or changed. Now, typically, z-space goes back in space and it's always blue. Now when selected it's yellow. So that's kind of confusing, but don't select it. It's blue. It's always going to be blue. X is always going to be red. And it's always going to go left to right. And Y is always going to be green and go up and down. Now it's possible We are turned around here and it looks like x is blue or the Z is actually x. So how can you tell where you're at? Well, you can always go to the orthographic view panels, so Spacebar. And if you go to the front view, notice you can't see the blue because it's going back in Z space. All right, so that's one way of telling. And this is from the top. You can't see why, Because it's going straight up at us. And over here on the side, you can't see x because it's going back and forth. This is correct. And it's very important for those of you who are not colorblind to memorize this. And for those of you who are colorblind, That's a real challenge. Just know that typically speaking, you'll have to look through these orthographic viewpoints to get that missing data of color. If that really is the case with you and that's your situation. You're going to have to just remember that in the front view, z-space goes back. And the side view x goes back. And the top V y goes back or down. And that, as it were. Also just note over here, you've got this little key here that shows you x, y, and z. It's just miniature and very small and hard to see. But as you turn, you can see it turns as well. So that's just another little hint in there for you. And they're in all the view ports as well. Okay, I hope that makes a little more sense. Memorize those colors. It's going to be important for you. And if you're colorblind, you really are going to have to do that extra work. And that's just the way it is, but don't worry about it. You guys got this. All right. I'll see you in the next one. 16. Texturing the Torso: Okay, now that hopefully you understand the difference between a planer projection on the X Y and Z axes. You could knock this out really quickly by yourself. But I'm not going to issue another challenge. We're just going to buzz through it quickly, and I'll reiterate that process because it might not have made sense the first time. But by the end of this video, you're totally going to understand it. I promise. So now we don't have the same material applied here. In fact, I don't even think we remembered to name this material as I went back and edited. So we're going to need to name this material and find it. Now, how do we do that? We could go to the attribute editor here. This can get very full, but it automatically went to our Lambert. It's the last thing we did was texturing. And all it is called is Lambert two. We want to call it Steve Texture. And now we can apply Steve Texture to all the rest of these objects. If I click here, I can right click Assign existing material, Steve texture. Let's do that with all of these. I'll just lasso select all of them. Well, I'll lasso select. I'll shift select all of these and assign existing material, Steve texture, and then of course, we don't want to apply it to everybody, but right click. Signed existing material, Steve texture. Okay. Now we've got Steve texture, and it looks super cool. You could just leave it like that, show your friends, Who, what a cool minecraft character. But we're actually going to go through that same process and make sure everything goes where it needs to go. Let's go ahead and just start with our torso here. And unfortunately, since we've rigged it, it's kind of hard. We can unrig it, of course. Let's go over here to our outliner, and I will unrig this torso by grabbing all of these and middle moouth dragging them out here and now they're unparented and now we can just select the torso and work on it. Okay. Same process here. We want to select the front poly. So we go to Poly selection mode faces, select that face, which projection is this going to be? Think about it. Which axis? Let's just go through these axes one more time. I don't even know if we've done this enough. Here I'll get rid of the outliner. So this is now which axis is this? This is our x axis. What we want to do is project on the x axis. So we create planer and make sure we have the x axis selected, hit project. Now, something's wrong here. It's incorrect, and I don't know exactly what happened here. But right now, This blue should represent Z, and it's actually going up and down, which is y. And this should represent y, but it's representing x right now. So it's a little confusing what's going on right now on our scene. It looks like we may have modeled him the wrong direction. And that kind of stuff can happen. So we've just inverted a bunch of things, and that further complicates it for the purposes of a tutorial, and I apologize for that. But these kind of things happen all the time and it can be very frustrating. So I don't allow myself to get frustrated. I just think about it now and say, Okay, what's going on here? So this isn't working. This projection. Let's go ahead and create a new projection, and we'll go y and hit Apply. Still not it. So we'll hit Z, hit Apply, and that worked for us. I'm not going to worry too much. If something got inverted or messed up, I can still keep moving on and I can make it work. So I believe this is the torso right here. But I'm going to double check with some reference. Zoom in. You can see I need kind of a neck, shirt, and right here. So I didn't have it correct. That would be over here, neck, shirt and pants, and that would be the proper place for the shirt projection. Okay. Looking good. Awesome. I'm going to leave this open because we're going to just keep using it. But now I have that part done. Next, I'll need to do this part. I do believe it's this right here or maybe it's this. Again, I'll need to double check because I'm not that familiar with Minecraft Steve. Maybe I'll go around to the back because I do have reference of that. I'll select that back here and create planer. I know it's going to be the same one, so I could just hit a ply and we'll scale that way down. And I believe it's going to be right here. That's my guess. I've been wrong before, but not usually. So I'll scale that into position, and we'll have his other side done just like that. Okay, looking good. Again, we can't see this underside on any of our reference. This side right here. It does not exist on any reference. But we do know it ends in blue. So what I'm going to do is probably put it here and here and call it a day because that's about the best I can do, and it's not really going to matter that much. So I'll select this, create planer. Again, I'm going to need to change the projection method. Oh, I have it right here. I keep forgetting I have it open. The reason I left it open is so I wouldn't forget. So we know it's not Z. We're going to try y, hit Apply and see what that gets us. It does not work for us, so we'll go x, hit Apply, and that worked for us. Again, it is messed up for some reason, they're not super worried about that. As long as you know enough to experiment with which ones, you'll be able to figure this out. You won't even have to think about it. Experiment with it. That's a huge part of not just digital art, but also coding in general because one of the general rules of coding or digital design or anything is you're working on computers and software and bugs happen, mistakes happen. You accidentally hit the wrong hot key. There's 1 million things that can go wrong at any moment. So your ability to experiment with it and make changes on the fly is almost more important anyway. Okay? So it looks like we got that one right. Let's go back over here. Again, remember, we may have to flip things. So we'll come over here, hit that same projection, apply, scale it down. Okay. Move it over into place, Zoom, scale it down. Hopefully, you're getting the habit of this, and it's making sense. The planar projection is the simplest, in my opinion, and use it quite a bit for flat surfaces. There's a lot of flat surfaces in design, not typically with characters. That's why, again, we started with My craft Steve because he's got flat surfaces, making a lot easier. Again, Looks like we're okay there because these match up the blue and the blue. So we've got textured. It looks weird because the arms aren't textured. But now, we've got the Torso textured. And because this is so long, I will go ahead and stop it there. And the next one, hopefully, we can finish the arms and the legs. And I believe that this is starting to make sense for you. And if not, don't worry at all. Three D's difficult. UVs are notoriously difficult. So you will get it eventually, I promise. So in the next one, let's finish the arms and legs. I'll see you then. 17. Texturing the Arms: Okay, really quickly, let's do arms, same exact process. Let's go ahead to object mode. Select our arm. Go back to face selection, select this. Very easy. Let's just hit Apply. Got a nice flat projection there. We need to go find our arm texture. And move it onto it. And in future lessons will also show you how to develop a texture map like this. That one's good to go. And the other ones over here, but we're still on this arm. So we'll just stick it out with this arm. Go ahead and let's go with Z on this one. I believe it is. Yeah. Okay. Again, if you don't know exactly which one, because I've messed things up. You can see it's messed up because this is green right here and this is blue. This is blue. This is red and this is green. It's all messed up. I don't know why that's happening exactly, but I'm not super worried about it. Again, if you can just experiment with these until you get a flat texture on here, you know enough for Unit one, and that's all I need to get you to for right now. Okay? So I'm going to scale this and move it onto our texture. I think it's this one right here. I've been wrong before, but not much. We'll just pick this one as our winner. Again, Just moving into place best we can. Not super worried if it's not exact. No one's ever going to know, and then we'll do that back part right here. Again, we'll need to go back to x. No, neither of those. Let's go z then. All right. Cool. We just did it. Yeah. Of course, that makes sense. Let's go ahead and apply. Scale that down. Just the back side of the arm, so that one would be right here. Okay Yeah. That is correct. I just checked with reference. I'm going to have to upload reference on one of these so you have it as well. You could always use the image planes that I showed you. It's nice to have it open and have all of them, not just two of them. I don't know, because then I can see exactly where it needs to go. That's one arm done. Let's go to the other arm. Go back to object mode. Select it, go back to face selection, and repeat. Select that arm. It apply. Scale it down. It looks like these ones are down here. You could also mirror them, duplicate them. It wouldn't matter. You can put them overlapping. It doesn't matter. So don't worry about that. Let's go to this front facing one and hit apply. Scale. Okay. Move it into place. I actually think I got one of them off. Again, I'm not too worried. I'll just use this one. Minecraft, Steve, no one's going to be able to tell the difference anyway. But I think based on my reference over here, I had a little bit wrong because I'm just looking at the patterns here to see if I'm right. And it looks like I'm using one of these patterns wrong. But again, I'm not super worried about that. Flip flop them if you want, if you're a perfectionist, and maybe you should be a perfectionist. Let's go. Oh, that makes sense. I just realized I hadn't textured this top part. That's what probably these are right here. Okay. I don't have reference for this, though, so I'm going to have to do my best guess there. But first, let's go to this one. Okay. I believe that this should be x x is based on this, although we may have to base it on this right here, which let's just try x, though. I'm trying to figure out what's going on in my head, so I just kind of I can show you guys. So I'll hit a ply there. Yep. Okay. So it looks like for whatever reason, this is wrong, but just whatever arrow direction this is, so I know the colors and you'll soon know them Z is blue and red is x and y is green. So whatever direction that this is facing, that's the one I'm going to select. Does that make sense? So even if these got all wonky like they are on mine, with the arrows, red is x, blue is z and green is y. That's how you can tell. With that done, we've got it scaled down and we need to scale it up and move it down here. My reference doesn't have these dark ones on it. So I'm not really sure where those are from. But whatever. Again, double overlap works fine. I don't think it matters in the least. You guys be the judge. Real minecraft players out there will probably judge, but I'm not a real minecraft player. All right. And then this top part. Again, which direction, which color. If you remember this is y, so you hit, apply, and then you get a flat projection. And then I'm just going to pick a random shirt texture. Okay. Like so. Again, I forgot that on the other arm. As you can see here. Let's just fix that real quick object mode, select that arm, face mode, select that we're still on why he had apply, scale it down, and maybe put it on this top arm patch over here. Hopefully, it's starting to make sense. For you guys. And I apologize that the difference between these is real. I don't know why that's the case, but it's not a big deal. We've got it solved. So now, all we have to do is finish the legs. This one's already 7 minutes long though. Oh, wait. What's this? That's the hand. Maybe are these the hands the front of the hand? I really don't know. Those are the only singular blocks that are different. I'm going to say so. I'm going to call it that way. So again, we'll hit apply. We'll scale that down because we're still on why. We'll put it there. And then we'll do the same over here, go back to objects like this object, face, face, apply scale. It's so much easier working with boxes. You guys are going to see as we get more complex characters, why I say the UV editor is complex. However, at this point, hopefully you're seeing that it is manageable on some level. There we go. All we have is do is the legs next. Sorry, these are so long, but I really want you to understand what's going on. I want you to over understand what's going on. And again, don't forget to save. And the next one, we'll do the legs. I'll see you then. 18. Texturing the Legs: Hopefully, you're so sick and tired of me doing the same process. You've already got it down, you're ready to move on. That would be gold, but don't worry if that's not the case. All right. Same process for the legs, object mode. Select the leg. And let's not forget to do the top and bottom. We may have to move it out to do that, and let's also not forget to re rig it altogether. Let's just go ahead and do this real quick. Back to face, select that front face, and which direction is it placing Z? It apply. Get that nice flat texture, scale it into place, move it into place. Okay. Another thing I think we did wrong when modeling. These are probably two short of legs. Because as I recall, let's go back to outliner. Let's unhide our image plane. That's Shift H, by the way, to unhide. You could see that our model. It's hard to see right now. Our image plane extends below our model. So that's kind of a problem, and something we should have fixed, go to orthographic front view, Zoom way in here. We should have to extend our legs a little bit to match that. What do we do? We can select both these legs. We can go into vertice mode. Sorry, it keeps popping out like that. And we can just move these down real quick. So if we're still in vertice mode, we're not. Yeah. Sorry that that happened. It happens a lot when I'm teaching. Just be aware. Okay. Cool. Now that that's back to normal, we'll go back to perspective, and we'll finish texturing. It is taking longer than I'd like. That's okay. Not a big deal. All right. Which one? We were on this one right here. And we could go select that UV again, UV shell, right? Okay, there we are. So that was a little detour, but we had to fix it because his legs were not proportional. And I couldn't live I couldn't live with myself as an artist for doing that to My craft Steve. Okay. There's one of the legs. Let's go back and forth. Select this face. Do back in front, then come over here and do back in front and then the sides. That way, we're keeping on the same projections every time. Okay. So for the back, let's see where that texture is looks like this is a front one, and as is that, this is a back one right here. That's the back. Okay. So with that selected, we had apply, scale it. Move it over here. Easy, easy. So easy, anyone can do it, right? Not anyone, but you guys can. Okay, cool. And we'll hop over to this object, do those same things. Same exact steps can be tedious, but it's also kind of relaxing, I find. And once you complete it, you can use this for anything. Once we can animate it. We can put it in a game engine. You could put it on a YouTube video. I mean, the sky is the limit. We'll just go down here since this was supposed to be for the other leg. All right. And we go to the back. Same thing. I really like to see when you guys do these final tutorials. I'd like to see your little giffes or YouTube videos or just whatever you end up doing with them. Because I love it when my students take the things I train them and then they make cool means out of them. I still don't get means, but they're kind of fun, actually. So we got this. Keep in mind, it's the x axis. Switch to the X and apply. Scale it. Okay. And let the match reference. My reference is saying it's this one. And I believe my reference. Getting that as close as possible. Then while we're on this leg. Let's go make sure on face mode. I just have that. There we go. I don't know what the foot is, but I'm going to assume that this dark at the bottom is going to be the foot and we'll call it a day. Again, with this yellow or green rather, we know it's going to be, had a ply we'll scale it down and put it right on that. Right there. Go back over to object mode, select this object. Go back to face, and red, which means x axis hit apply. Scale it down. I think it's this dark one right here. Okay. And what's awesome awesome is I have students that become better than I am. That's the real glory right there. When I've trained a student and they go off and become even better than me. Believe it or not, that actually makes me happy. You wouldn't think so, but I'm not the jealous type. I honestly get really proud of my students. And right now, I'm competing. We just had our game design competition yesterday, so I have two students that competed in three D animation for me two years ago, and then we had COVID year. And then this year, they're competing in game design, and they made an awesome game. And one of them is an excellent three D animator and modeler. And she creates these amazing characters, like, from scratch. She draws a picture and then does them. That's my goal for you guys is to take you from these game characters we're going to be creating to creating your own characters. In fact, in every section, we're going to have a challenge where you create something called an abomination, or you take everything we did here, and then you just do crazy things to it, and the craziest wins, all right? That will be prizes. So let's go ahead and finish this. I get off on these tangents. Don't worry about it. You can fast forward. You can skip ahead, ifever I bore you guys. Alright, so that last one, it's going to be y because it's green up. It apply scale it. Move it over to this dark area. Something like that. All right. We now have a textured Minecraft Steve. Pretty okay, right? There's one little area we may need to texture, but I'm not too worried about it. It's the top of the leg when his legs move and bend. But there's Minecraft, Steve. You guys congratulate yourself. You now have a textured three D character. Before we end this, I know it's getting long. Let's go back over to our outliner here. Where is it? Oh, we had it open. Okay. Let's re parent all of these, shift, select and drag them into the torso. Then when we grab our torso, we have our character. Super cool guys. It's a big deal. You first modeled and textured character. And he's even rigged. Now, this is the simplest form of rigging parenting. We'll get into much more complex rigs in the future. But you guys got to applaud yourself for this. You've achieved something. If you're new to three D, you should be really proud of yourself right now because now we're going to go on, and we're going to animate them. And that's where the real fun starts. Then we'll do a render, we'll export them for a game engine. It's got to be awesome. Thanks for hanging with me this long. I know it's tedious. I know sometimes it's difficult. Don't give up. Don't be one of those people that buys the tutorial and just doesn't never finish. Finish this guys. You can do it. I'll see in the next one. 19. Setting Keys: Alright, it's time for my favorite thing animation. Let's go Animate. Oh. Sorry. We need to make that bigger, don't we? Wait for it. Are you ready? It's animation time. That was not as funny as I thought it would be. Okay, a couple of things, Catro Let's go ahead and set up some things. I'll go back out of expert mode. Let's go ahead and get rid of our UV editor. Just right click and close tab, UV Tool Kit, close tab. We're done with that for a while. What I like to tell my students to do. And what I typically have them do is after any section, like modeling, texturing, even animation, I make them save a separate file just in case they want to go back and make modifications beforehand. So I'm going to go ahead and file Save CNS, and I'm going to call this one Steve animated. Because we're going to animate them. And then we're going to do something on here. We're going to rename them to Steve instead of Torso. Double click Steve. Then one more thing, we're going to go ahead and edit, delete all by type history. If you weren't noticing over here, I'll go ahead and do that and show you again. Now, you notice all this stuff we have in here? This is all our history of modeling and everything. It gets heavy after a while. Not on Minecraft Step. He's totally a light model, but if you had a really complex model or a really complex scene, you need to take care of all this extra stuff. And that's another reason why I save it a new version. So I can go back if I ever want to go back to any of these modifications I made to a model. But now that we're ready to animate, we really need to get rid of all this extra stuff. So edit, delete all by type history. And notice this is really clean now in the attribute editor. So make note of that. It is an important step, believe it or not. So just go ahead and follow my instructions. I will lead you to glorious Minecraft awesomeness. Okay, let's hide these image planes. We no longer need them, shift, and then we'll go control H to hide them. Animation time. Let's talk about setting keyframes, what that means, what that looks like, how easy it is to do, and then the next one, we'll try to do kind of a walk cycle. Another thing I want to encourage you during animation, strive to do your best, but if it looks really dirty, like, it does not look beautiful at all. Don't worry. Number one, I picked Minecraft Steve because his animations are the dirtiest of any character of all time. So that frees you from any thinking about this doesn't look good. And another thing I like that my students do. My new students a typical will do funny things with their animations. They'll do outrageous things. They'll exaggerate. They'll they'll just be ridiculous. And then we all laugh about it. And that helps you get through that pain of this doesn't look very good. Don't worry about it right now. You're just learning. So let's talk key frames. Lots of ways to set key frames, tons. I'm going to show you a couple, and we'll just keep going. I'm going to hit Q for the select. Let's go ahead and select the head. Let's animate the head. This is my timeline down here. And so when you set a keyframe, you set a key frame early on and then you go move the time and then set another keyframe. Let me show you. If I just hit the S key right here, watch what happens down here. Notice this red mark right here. That says there's a keyframe on here. Again, let's go over here to the channel box editor and look at all this red that happened. I'll move forward in time. Let's say 30 frames, which is about a second, and I'll go ahead and hit S again. Now, what's going to happen when I play this back? Absolutely nothing. But let's go back to 30, and this time, let's spin this head around, E. We'll go ahead and rotate it all the way around. And if you see here, we could just type in three 60 for a perfect circle. All right. Let's go ahead and hit S again because we need to change. We need to be read. That shows that a key frame has been set. So now, I get the head spin. Pretty creepy, awesome, isn't it? Welcome to the World of Animation Kids. It gets better from here. A couple more things. I'll show you. And then, either you can just have fun with it or we'll probably have him walk around or something. Nothing intense. Maybe he'll do a little jump. I love it when his little feet do that thing. It's hilarious. Okay, so a couple more things. We also have something called auto key frame down here. Come over here. This is auto keyframe here. It's awesome. Here's why. If I set a key on anything and I make a change forward in time, it will automatically set a key. Let me show you how that works. So I'll turn that on, and let's move our character around. So right now we have no keyframes on Steve himself, the actual body, the one we're going to move around. So let's set a keyframe there. We hit S. Notice it sets a keyframe on everything. You don't necessarily want to do that, but for the first thing, it's not a big deal. Why that's a big deal? Why you might want to set one on just certain specific things is to keep things clean. At this point, it's so simple, we don't have to make things clean. In the future, though, we're going to animate specific things. So just keep in mind, we don't necessarily want to animate every single channel. So we don't necessarily want to set a key frame on every single channel. But don't worry about it. For right now, it's totally acceptable. All right. So if I move forward in time. Let's say I want for the next 2 seconds to kind of, Well, let's say, for the first 15 seconds as his head spins, he kind of looks over there. Notice it automatically puts a key frame in for me, and then I go back to 30, and then maybe he looks over here. All right. So now he's like looking around. He gets his bearings, and then he decides, if I hit W, he's going to move forward. All right. As in over here, right up into the screen to scare you, to terrify you with fear and chill. Okay, that's quite enough, I'm sure. Let's go back. Let's press play so we can actually watch this. Oh, that happened way too quick. So what's going on here is we can right click here and talk about playback speed right here. And we got play every frame free, and we can do this thing called real time. What that will do is it will play it back in real time, just like it says. So I'll hit that button and we'll press play again. And you'll notice the difference in speed. Boom. Okay? Not the greatest animation in the world. And in fact, what we wanted him to do was to look left and right and then shoot at us real scary, right? So we wanted to start kind of slow. But because this keyframe is set here instead of here, we have a problem. So, how do we change that? How do we move that? How do we manipulate the keyframes once they've been created? I'm going to show you the next one. I'll see you then. 20. Modifying Keys: Okay, when we left off, we press play, and he moves at the wrong time. We want him to move forward right about frame 30. So, how do we do that? Well, introducing my new favorite editor, Windows, animation editors, graph editor. Okay. And we've got access to all of our keyframes here. What we want to do is change the translate keyframes because we move them in the translation or the move tool, you can see they start at zero and then they go to 50. Now, a thing to note is look at the path they're taking. Notice it's not a linear straight line. By default, Maya creates this slow start and slow finish to things to smooth it out. You may want to change that in the future. For today, it doesn't really matter. We'll definitely be changing that in the future. But don't worry about it. So I can just select these keyframes here and middle mouse drag them to about frame 30, which is where I'm at. I like that. Like that. Now, let's play back the animation. I'll go ahead and minimize this window, and we'll go back to the beginning hit play. Okay, now you can see he waits till frame 30 to move forward, right? Why don't we add a couple more animations to his arms and legs when he walks so that his arms and legs sway. We're not even to try to be really cool with this. We're just going to animate them. So how do we do that? Let's just try to effect rotation on this because we only want to rotate them. We don't want them to scale, we don't want them to translate. We just want rotation. So how do we target these? A couple of ways we could do that. On frame 30, we need to set a key on just rotate because we want it to start out right there. What we can do is using the hot keys we use for rotation, E. We can just hold Shift. If I go Shift E. Notice, I now have keyframes only on rotation. I could have done translate or scale the same way. So if I hold Shift W, I get translation or move tool, Shift R, scale. I'm going to undo those last two though. I just want rotation. Z twice. So now I have rotation key frames there. Now we can move forward to frame 50 where it ends, and we will put another key frame in there. Shift E. All right. So we rekey it. If we go in here, we can make changes really quickly to his arm, to have it swing back and then forward and then back to place. So let's go ahead and rotate this forward. Okay. Notice we have auto key frame. Then we'll come back here, rotate it back. Actually, it should take about as long to go all the way back as it does to go just forward from zero. So we'll go to frame 45 and have it rotate all the way back, and then it'll rotate forward to place right there by a side. Let's just watch that slowly, go forward, back, and then into place. Excel. Cool. Now, let's say we wanted to take the same keyframe data and move it over to the other side. Is that even possible? Let's try it. All right. How are you guys betton? Let's bring the graph editor back in, select this object and we can see our keyframes here. Okay. We set those. Those are ours. But we can reuse them on the other object. So we'll just select all these Control C. We need to select this one over here. Notice we have no keyframes. We need to put a keyframe right here on frame 30, and we need to do it on just the x. Notice over here, we're just using object x. It's red. We're not doing anything in the y or the Z. We just need red. So let's go over to this object, and let's set a keyframe on just rotate x. How do we do that? We can select it, right click and key selected. And it will put a key just on that. Now, all we have to do is control V, and we have that same animation data. Watch. Notice both arms move. Pretty cool. So what we've done is we've created our own custom animation and then copied it to other things. This really speeds up your workflow, and it's very simple to do. So why don't we go ahead and pause it here, and then the next one, we'll animate the legs, maybe do some other fun stuff. I'll see you then. 21. Walking and Jumping Animation: Okay, so we've got this awesome animation. It's not that awesome, but we've got it. We're working with it. Notice, both of his arms swing back at the same time, almost like he's doing an Naruto run there for a second. Well, we probably want to reverse the two. I mean, it'd be wise to. Let's elect this arm here, and let's just take these and do an opposite of them. Can we do that? Can we take these two keyframes and make them go completely opposite? Well, just look at the lines, grab this, middle mouth drag it down to there, and this one light here. I to double check there. This line and then this line right up here. Okay, basically the same but the difference is now, They'll both move opposite, like they're supposed to. Very simple. I thought I'd show you that real quick. Okay, but we want to do the legs, and then I think we want to do a little bit of a hop. We can zoom our camera out here and have them come right there. Then he could do a back flip or a hop or just whatever. But we need his legs to move as well, starting at frame 30. Let's go and do that same exact process. We'll make sure we're just rotating on the x because that's all we need. Just right click. Key selected, same thing over here, right click. Key selected, but we'll only animate one, then we'll copy it over, just like we've just done. So we'll go do frame 50. Put another key in it. Key selected. And right here, again, key selected. And then we'll just every five frames, like we had done before, we will make a change. So we'll rotate that in the x forward, right there. And then we'll go all the way back that. There we go. Does that look good at all? No, it's mine craft. And then again, remember I said we never textured the top of things. So it might be a good time to texture that real quick. If you want to fix that, go for it, I probably will, but I won't bore you in this video with that. So we've got that animation data. Zoom out here. That's not how we want to zoom out, is it? So when we zoom out here, we can use the Alt keys to move around. But notice it's really hard to work with data that I can barely see. So what I can do is select this channel. And I can then kind of frame it more, or I could just hit F, and it will frame it like that. So remember that hot key frame. You're going to drive yourself crazy trying to zoom in and out and being like, why can't I fit this on screen? Just remember the hot key F to frame. In fact, I don't know if I've showed you that yet, but let's say I'm way out here, and I select his leg. I hit F, I zoom in on the leg. So F is called frame. Very useful hot key. I'd recommend you memorize it. Okay? So now that we have this data, it's really easy to grab it. Control C. Let's make sure we're on the start, though. Come over here. At Q to be able to select and control V. Now we have both. Again, we'd hit frame here so we can see it. What we want to do now is reverse it like we did before. Unfortunately, well, this probably should go all the way down like that. Let's make sure it is over here as well. Look a little bit better. And on either one of these, we just need to reverse them. So this middle mouse drag it in reverse. All right. Let's see what we've got here. Press play. Perfect. We've got it going on. We are now animators. Look at that. We could do whatever we wanted. We could have. We could have them explode. This is awesome. I love animation. I love teaching animation. And what really makes me excited is when I see what you guys do. When you unlock the power of keyframe animation, you can really do anything you want. And you're going to learn more and more as we go through this course, and you're going to be able to do very complex stuff by the end of it. So give yourself a huge pat on the back for being able to animate now. You are now an official animator. You've animated. All right? I know I promised he would do a jump. Let's try to attempt to jump, okay? We're not even talking about anticipation or anything. We'll just have them wait right here. And then we'll have them Let's see here. Okay, so let's select Torso here. We've got no animations here, so let's have him just tilt back a little bit. Should auto key frame? Notice we're tilting from the center instead of down here. So, you know, that's a problem. It's not going to look real, but it goes along with everything that is the Minecraft style of animation. So we'll just keep it for now. Unfortunately, we'll need to rotate him back to where he was. Let's go back to zero there on that rotate. Okay. But now we have that keyframe where he leans back, and then he's going to really quickly jump into the air. Lean forward while doing so. So we're just going to play through this. We need to keyframe him on the ground right here though. So again, with translate, we want it down at the ground, wherever he was, which is probably zero. All right. So just kind of watching through, and we'll have him move forward from there. I have to move up even higher like this. Maybe not that direction. Another thing I didn't show you is notice when I try to move him one direction or other, since we're not on this, we can go to object mode. So if I go to modeling tool kit real quick, I'm on world space. I could go to object right here, and then I can move them forward. Just a little hint. We'll get into the modeling tool kits. Don't worry about that right now. I'm just trying to bust through this animation real quick, just for fun. So I'm not going to worry about that too much. So he's walking, he jumps. He needs to go even further, right there. So we want it to be nice and smooth. It's smooth as a mine craft animation could be. And then this time, we'll just have them flop by the end. We can speed up all these, so if it's too slow, move down a little bit. Jump. We want him to hit ground or go through the ground, maybe even. Looks like I got an extra key frame there I didn't want paying attention to that stuff. We'll just have him shoot through the ground again, rotating all the while. But we want him to go way further down, I think. What do we got here? He's walking and he jumps Let's play that back. All right. Let's do it here a little bit. Okay. If you're not having fun while watching that, you're just boring. This is amazing. This is fun. This is what it's all about right here. You're going to show your friends, show your family, your Minecraft Steve animation and May. You built him from scratch, you textured him. You rigged him, you animated him. Be very proud of yourself right now. In the next one, we'll probably export him or Maybe I'll show you some lighting and a quick render. Nothing complex. Again, the whole point of this was to very quickly and easily introduce you to animation, modeling and texturing and Maya and you've done a great job. If you're stuck with me right now and you're having fun with this, congratulate yourself. You are awesome. This one got long. I'll see you in the next one. 22. Adding Background: Okay, so we have this beautiful animation, but you want to share it with other people, so they don't have to go into Mia to watch it. What do we do? Well, what I like to do is export to a game engine unity, and Mia makes that very easy. So let's do that real quick before we export a frame sequence or a render. So let's get started with that. I'll pause this. First of all, we don't need 120 frames. Our Minecraft character disappears right at frame, 72. So we'll just do 75 frames. How do we do that? Well, we can just narrow this down to 75 frames. All right. So now we have 75 frames on the timeline there. That's great. Let's go ahead and export to unity. File, send a unity. They make it that simple. I could use export because if I send a unity, it's going to default to an FBX file. The two file formats most famous for sending to game engines or using for film, any of that kind of stuff that's artistic or creative is going to be FBX and OBJ. I use both of those quite a bit. But if you wanted to do three D print this character that you've just created, you could also do that out of Maya. You could export to the appropriate format. But I don't ever do three D prints out of here. If you're interested in that, ask about it in the forums, and we'll show, we'll do a video on it. But for now, let's just export my selection. So I'll select my character, file, send to Unity, selection. It's going to ask for a directory. I'll say assets, select, and I'll name it Minecraft. Steve, I'll probably use this in a game tutorial. Notice it defaults to FBX, that's okay. But before you just hit Export selection, it's important to go through and make sure you've got everything included. Like in geometry, I typically do smoothing groups when I do subdivision surfaces. And when we do something that's not blocky, like Minecraft Steve, like a more rounded character, I'll definitely want to export these animation, definitely want to make sure that's on, of course. Okay. And then make sure to embed media because we want to make sure that texture map goes with it. We can export selection, and we're not going to open up unity right now, but just trust me it's all ready to go in unity. So what can we do to send this to people who don't have unity or not a game engine? What if we just want to show our parents something we did, that's cool? Well, we can do that, but let's spice the scene up a little, but it is lacking. It's just Mgraph Steve animated. Let's real quick, use what we've learned to add some background to this. One, we'll add a light, let's go Create lights, lots of different lights we can add. And depending on what rendering engine in we use, we may need to do Arnold lights, for instance. We're not going to do Arnold rendering on this Minecraft Steve. I is not really a point, but we will go ahead and use just the Maya renderer here. So we'll go lights. And let's just do a directional light. You can rotate this directional light to face certain directions. Can move it out of the way. It doesn't really matter. We probably want the light facing our character, though. So let's rotate it towards him like that. And how I would know, I could take a little render here. And see it's pretty much just facing him. You can move that around. I'll drastically move the direction and then hit render again. You can see he's much darker. Play around with that. Also, this is the render view. We'll be spending a lot more time in here, not so much for Minecraft Steve, but definitely in the future. So we will be explaining a lot more that goes on in here. But I'm just getting you up and running with Minecraft Steve. Literally, he's running. Well, he looks and then he runs and then he jumps. So really, I'm getting you jumping. This is a good metaphor, by the way, for what this class is. You're jumping into Maya, and maybe you look a little dirpy at first, but it's okay. You're going. This is you, right here. This is your knowledge and learning experience. You jumping into May. Okay. Enough about that. These are called planes. We use these quite a bit. I'm going to scale this way out. I use this for ground or air textures, and I just make it, huge huge, so it goes way off into the background. And we already know how to add textures, which is super cool. And I'm going to duplicate that control D for the sky. Put it up here, and way out, kick it back into the background, and I'll rotate it so it kind meets right there, and we could even move it way over here. That way we just have this nice little scene we've created. It's going to look kind of dirty, just like Minecraft, Steve, but it's going to be awesome. Well, it'll look more epic than just Minecraft, Steve diving into nothing. So let's add a texture to this. We already know how to do that, right click Sign new material. But this one, we're just going to use a fg. We're going to click on that f, click on the color, add a file. We'll grab image name. Go up to images. We'll go ahead and select Ocean. Again, this will be available in this lesson under resources. We'll hit open, and we've got that cool texture there. Pretty awesome. Do the same thing up in the sky. We'll click on it right click Sign new material. We'll again do a f, add a file, and select images, Epic sky. Cool. That looks cooler ready. Now, In the future, we'll do stuff where you're actually using animated clouds and stuff. I'll show you a place where you can go mess around with some assets before we leave this unit with the warning that they could break your computer because they're complex, and it might just shut down it happens quite a bit in three D. That's why we do auto save, though, right? In fact, right now, go ahead. Control S, Save, right? So we've got this. Pretty cool. It's looking epic and awesome. Boom into the water, right? That much better. Let's take a quick render and just see what it looks like. Okay. We can't see our clouds. That's no good. We need to change and have a light shooting up as well. So let's go ahead and do that real quick. We'll just push off to the side, our directional light. We may need to add more lights, create lights. We'll do another directional light. And this one will rotate up so we can see what's going on. Let's take a under that. There we go. Okay. Now we've got sky, we've got ocean. So this one got a little bit long, and it's looking pretty cool. And the next one, I'm going to show you how to export a quick render of all this. And then we'll issue our abomination challenge. It's going to be awesome. I'll see you in the next one. 23. Playblast: We've got a scene set up. We could go through the render and render a bunch of images that look like this. But what we're going to do is a quick render. It's called the Playblast. If you go to Windows, Playblast, let's go ahead and open this up, and we just want to do the time slider. We want to just create an AVI, not an image, but an AVI, we could add an encoding. It will keep it a little bit smaller. We don't need high quality. We could change some of this other stuff, but we want to save the file so we could send it to other people. We may need to compress it because this is quick and easy. It doesn't really it's not like h264 or some of these other web formats. It's clunky and old, don't worry about that. Let's go ahead and browse to our location. It automatically defaults to movies that works, let's call it Man craft, Steve test. We'll go ahead and playblast it. There it is. There's our animation. It's pretty low quality. It's pretty quick. And I bet the file size is way bigger than we'd like it to be. But here's how you can quickly and easily take and export out everything. We may want to get rid of these lines and our grid. So let me show you how to do that real quick. Okay, so right now, we can see these lights and this grid, and it's kind of ugly for our playblast. So all we have to do is go show. Grid and show lights. Now if we go Windows playblast it's going to ask if we want to overwrite. We say, yes, there we have it. It's much cleaner. Now, this isn't the best at all, by any means, and it will take a lot longer to master render settings and go through that. Again, I just want you to very quickly get into animating and modeling and rendering and all that with Maya. And I think you've done a great job. I think we've learned a lot. You should be able to congratulate yourself at this point. You can go and add sound effects to this, and I think we should do that real quick. Okay. That's awesome. This is what it's all about right here. I hope you had a blast up to this point. If you've gotten this far, you can keep going and learn so much more, take a breath, you'll grab yourself a soda. Because in the next one, we're going to issue the abomination challenge. It is my favorite part of any course. I can't wait to see what you guys create or abominate. I'll see you then. 24. Exporting for Unity: Okay. Besides just rendering him out as a video, we can also export him so we could use him anywhere we wanted, like in a video game. For instance, I do a lot of unity programming. I could take him into a unity game. Or I could even import them back into Myer another three D application. Some people even like to three D print their models, which you can do. But what I'm going to do is go ahead and export this for unity, and can you still use it for other packages because it uses a common file format. If we go up to here, file, send a unity, and we'll just hit selection. I don't want the whole scene, Min graft Steve. Okay. And I'll just save them under assets here, select. And I'll give it a file name of Minecraft. Steve. You can see I already did a test here, and it's an FBX file format. FBX file format allows us to send all kinds of things in here, and we need to make sure we also send our textures. So let's go ahead and check media down here. Embed Media is on. That's good. You want to make sure this is checked. Other things to include, which aren't relative to Minecraft, Steve here would be under geometry, smooth mesh. We'll get to that later. This is just your first introduction to even thinking about that. But just keep in mind how we export here will affect how the model looks in something like unity. Okay, with that, we'll export. I'll just go ahead and overwrite that test. And now you can you send Minecraft Steve onto the Internet for other people to animate or re animate or use for whatever they want. It's a brave new world. I'll see you in the next one. 25. Minecraft Abomination Challenge: Welcome to by far my favorite part of any course ever. It's when my students go off and they take what they've learned and they completely do something abominable. That's the whole lesson. This is abomination number one, Minecraft abomination challenge. I'm super excited to see what you guys create. In a second, I'm going to play back my creation. It's not great, but it was fun. And that's the whole point is to have fun creating things in three D. So I hope you have fun with this challenge. I can't wait to see the abominations you guys create. I'll definitely be watching which ones you create, and I'll be commenting on them, telling you what I like, what I don't like, and maybe the best one will feature in one of these videos, and then I can do you a callout. So try your best. Go above and beyond, add sound effects, add backgrounds, make it abominable, truly abominable, okay? And I'll go to vote up who I think did the best job. So I can't wait to see what you guys create. I'm very excited. Let's get started with the abomination. Okay. So what I'm doing here is removing the animation from my minecraft guy. I'm extruding. I'm going to add some horn type things here, kind of like this. Yeah. I thought it would be pretty cool. I'm doing something here. I didn't teach you yet. But I'll definitely be teaching you in the future. So there's a few little tricks I'm doing that you don't know, but for the most part, So there's a few little tricks here that we'll be learning really quickly. You know, t that's one of the main weapons of political modeling. It's really easy to do, too, and it's very powerful. You've pad all kinds of things. That's basically what I'm doing is just extruding my polygons to get a little bit of extra detail. And once you learn, you can pretty much build anything you want. So that's what I'm doing here, building something that came to mind, some creature, you know, I don't even know what to call it. But I would definitely be open to what you guys' favorite names are. Sometimes my students are way more creative when naming abomination creatures. So I'm just doing the dirtiest walk cycle of my life. I'm not trying to make it look good. Again, it's an abomination. It is mine craft, and then it falls over because something that unbalanced and that horrible looking will eventually fall. And that was kind of my goal here. It was fun. It's always fun to do these kinds of things. I hope you guys are having a blast too. This is the kind of stuff that just makes me happy. There's no rules, anything goes, create some kind of creature. So that's what I did. And now I'm going to export it, and I'm going to put a green screen in the background, render it out. Here it is. I hope you like it. 26. Project Steve Outro: Congratulations on making it this far. Well done. Make sure to upload your final steve animation as well as your abomination challenge. I love watching those, and feel free to ask for feedback in the forums. I'm hoping that now you feel even more empowered with Maya and that you realize that you can create anything you want. You're only going to get better from here, so continue on with me to the next one, or we're going to do Pac Man. Yep, we're going to do Pac Man. It's going to be awesome. Hopefully, you're realizing that even though Maya is this extremely complex and challenging piece of software, you can master it. So I'll see in the next unit. 27. Pacman Unit Intro: In this unit, we're going to step back in time to the days of retro video games. That's right. We're going to model texture, rig and animate Pac Man. We'll be using some new tools, including the modeling tool kit, bridging polygons, mult cut, rotation limitations, and then we'll dive deep into the Arnold render and explore the render viewport. We'll be doing driven keys, we'll be importing models and modifying their animations. And this time, instead of just a playblast, we will export a fully rendered sequence using Arnold and creating a video file to share with friends. As always, we will be finishing with another abomination challenge. You're going to love gaining confidence in Maya and creating a working Pac Man character that you can animate anyway you like. Let's get started. 28. Modeling Pacman pt1: Okay, first things first. Before we get started modeling Pac Man, let's go ahead and save this as a new scene file Save Scene as. We'll call this Pac Man. Alright, let's get started. Pac Man is an extremely simple model to create. All we have to do is get a sphere. And then what we're going to do is duplicate this sphere. Let's go over to the outliner. We'll go Control D. And we're going to name this one top and this one bottom. Now, what we're going to do is split them in half. So I'm going to go ahead and hide the bottom. Control H, and I'm going to go space bar and go over to my front view here. Select the top. We'll go over to the modeling tool kit, and we'll be spending more and more time learning the modeling tool kit. And what I can do is I could either right click and hit faces or I could select this button right here to get faces. And then let's delete all the bottom ones here. Okay. Delete. We'll go ahead and hide the top now, Control H and unhide the bottom, shift H. Now, let's do that same thing, but on the top, we'll select all these polys right here and hit Delete. Now let's unhide the top and we have Pac Man. How we're going to achieve this animation though, is, let's go over to the channel box here. We're going to rotate them. We don't want to change any of these other settings here. We don't want them to move off base. We want them perfectly aligned with each other. All we're going to do is rotate in the Z. If I just click here, I can rotate, and of course, if I went down here and rotated in the z as well, I would get Pac Man. Behold. We've got Pac Man. Now, we've got to fix the mouth because we're just a large empty eggshell right now, and that's not going to work for Pac Man, is it? So in the next one, we're going to fill this. It's going to be awesome. I'll see you then. 29. Modeling Pacman pt2 Bridging Polygons: Okay, so now we need to fill this kind of gap in Pac Man's mouth. So how do we do that? Well, there's a lot of different ways to do it, but luckily, we've got the modeling tool kit over here. Let's head over there, and I'll show you a really quick and easy way to fill that gap. Let's go ahead and hide our top one right here. We'll go control H. And then let's go to edge selection mode here. And let's shift double click, and we've got that whole edge selected. That whole edge loop selected, and we'll go ahead and hit Bridge. That was easy. Okay. Let's go to the top hide hit Shift H. We'll do that same operation. We'll go ahead and select these edges, hold one, shift double click, and we will bridge. All right. Now we have Pac Man's mouth complete. Pretty awesome. So what we're going to do here, this is a very easy character in a lot of ways. We're going to set a driven key to open and close his mouth. But first, we're getting ahead of ourselves. We need to texture Pacman. So let's go ahead and do that in the next video. 30. Modeling Pacmans Eyes: So before we actually start texturing, I've made the decision that instead of using a texture for the eyes, we're actually going to use geometry for the eyes, so let's get started doing that. Okay, let's just take our top and bottom here. Shift select them, duplicate them with control D. Let's move them off to the side here. Then let's scale them way down. So they're almost flat like that. Okay. Perfect. Now, if we try to rotate them right now, We may notice a problem. They start doing that walky thing. So how do we fix that? Well, let's first edit, delete all by type history. Let's go to the channel box editor, and let's freeze all these by shift selecting, right clicking and freeze all. Now we can take these and we should be able to rotate them. Perfect. What we're going to want to do is scale them down quite a bit and move them into position over the eyes. The best we can Let's go ahead and zoom in here. And we're just going to take our time and get this really close to the surface and at the right angle. It's close. It's pretty darn close. Now, you could change the size of your eyes. I don't really care. I'm going to try them a little bit smaller here. And what I'll do is go back to the modeling tool kit and change from world mode to object mode. Help me position this a little bit easier, like that. And what I'm going to do now is just scale it in depth, like that. That looks pretty good to me. So now, how do we get it over here mirrored? Perfectly? Well, first, let's put it in a group. So with these two selected, I'll hit Control G. And now it's grouped. I'm going to name that left or L underscore. I'm going to duplicate that again, Control D. I'll name this underscore for right. And then I'll go to the channel box editor and I'm going to scale it in the Z space. Notice down here, Z, which is blue is facing this way. I want to scale it negative in the Z. I'll just show you, and then maybe it will make sense. So if I scale right here, negative one, what's going to happen. Boom. It's going to take it. So this is zero. This line right here down the center is zero. So I just took it from where it was and then reversed it by scaling negative one and the z axis. How did I know the z axis? Because right here, I wanted to scale it along this axis right here. If I look down here, it's saying the z axis. So keep those little things in mind. It's just a workflow speed trick. But now I have these eyes. They look super cool. Well, they don't yet, but they will once we texture them. So the next one we'll add materials and it's going to look like Pacman? It's going to be awesome. I'll see you then. 31. Adding Materials: Okay. It's material time. We are going to be using the Arnold renderer again, so just keep that in mind, we'll be using Arnold materials. Let's right click and assign new material. Let's go over here to Arnold. And we're going to use the paint shader. It's actually pretty cool looking. Let's just try it. It's car paint. Boom. Okay? Let's go to this car paint. Let's name it Pac Man, base color or Pacman or yellow. It doesn't really matter. The more specific, the easier it is when you go back. And let's change this color to yellow or some kind of bright yellow here. That looks good. We'll call it. And same down here. Let's assign that same material. So right click Assign existing material, Pacman base color. Now I'm not seeing the color in here, but it could be because it's Arnold. Let's hit this button here. Oh, of course, we'll need to add a light because Arnold needs lights. Let's go ahead and do that right now. Arnold lights. We'll again do the physical sky. Let's hit a render there. Okay, doesn't look like doesn't look like what we want, does it? Let's select this again. Go back to that base color, and the color is yellow. Again, let's just go back to our render view here and check something. We're using the Mays software. So let's go ahead and change that to Arnold Render hit render again. Obviously, it takes longer, but now we have our yellow guy. He looks very silly there. But you can see this little shine here. That's why I chose the car paint. The specular highlight is very strong. I I want our Pac Man to look like a bowling ball, basically, a yellow bowling ball with a huge mouth that likes to eat. That's what we're going for. So let's do the eyes real quick. Let's select the eye group. And we right click, sign new material. We'll do the car paint again. So Arnold car paint. But this time, let's change the color to black. Okay. And let's call this Pac Man. All right? Then let's do the same thing over here. Let's select this other I click Assign existing material and Pac Man I. Let's take a render of that. Okay. Very cool. Very cool indeed. I like it. So now we have Pac Man. You know, he looks alright. We could do better. So now we've got Pac Man, his materials. We may want to do some tweaks, like you can see there's some edging going on here because of our subdivisions aren't maybe quite enough, so we could definitely increase our subdivisions. It will increase render time, so I won't do it just yet. That will be a final step if we still want to do it. But now we have Pac Man. Our character is created. In the next one, I'm going to show you how to do driven keys so that we can open and close his mouth with nothing more than moving a slider. I'll see you then. 32. Rotation Limitations: Okay, so now we're going to start getting into rigging him. We are not going to use bones or skinning or anything like that. What we're going to do is we're going to set driven keys. But before we do that, let's create rotation limitations on our objects. If we go over here to the attribute editor, and we go over here to top right here or base object. If we go down here to limit information, We can go to rotate and we can limit our rotation so that the maximum rotation available, you can't rotate your mouth ultra wide. Now, you may or may not want to set this up, but I'm just going to show you that it is possible and how to do it. One thing also to note is we want our eyes to follow this top, so we really need to parent them. So let's go ahead and do that before we forget. We'll shift, select these eyes and middle mouse drag them to top. And now, when we rotate the top, They'll follow. Okay. Now, we have to determine where his mouth can go towards. Like he won't really look good if we do this. So we're going to keep him about 45 degrees. Okay. Right there. We're going to make that a rotation limitation, 45 degrees. Same thing here. Let's go down here and put this at 45 degrees. That will be the Max open mouth. Again, you can do whatever you want with your character. Let's go to attribute editor. We've got this rotate, and we know that we're rotating in the Z because that's the one that's changed. We'll go over to attribute editor, and we'll select z and negative 45 45. Let's do that same thing here, negative 45 45, then Max. We want the max to be negative 45 and 45. Let's go over here and make sure that that's also set up here. We should be good to go here. Let's go ahead and save this. Let's do a test. Go to the channel box editor and we'll try to rotate past. It won't let me rotate past. It's stuck there. But I can go down to 45. Now, I don't actually want to be able to rotate to negative 45, do I I only want to be able to rotate to zero. This is going to be my other side, not negative 45. That looks weird. We'll actually change that to zero. Instead of negative 45, this will be zero. There we go, and you can see it changes it in here. Let's do the same thing here. Now, let's test. I can only go to zero. All right. That's rotation limitations. It may or may not come in useful when rigging something this way. But if you set up these limitations and then give the character to someone else, they can't break your character. Now you may want to break your character. So it's important to remember that we've set up those rotation limitations. In the next one, we're going to set up driven key so that all we have to do is move a slider to open and close his mouth. I'll see you then. 33. Set Driven Keys: Okay, so we're going to want to do a set driven key. But first, we don't want to set a driven key on two different objects called top and bottom. We really want to create a master object, a controller object that contains all of Pac Man's parts. If we just go up here to create, we can just create a locator. All this is like a null object. They used to call them nulls, and it's just underable. It's just something you can see and select in the viewport and you can scale it up. This locator will be called Pac Man. We're going to nest or parent all of these parts the top and the bottom by middle mouth dragging them into Pac Man. Now if we select Pac Man, we select everything, and we can add controls on it. Let's go ahead and add some controls or attributes. We're already here in the attribute editor. We can go attribute, add attribute, and this will be called open Mouth. Let's go ahead and keep it afloat and our minimum value will be zero, our maximum value We'll be ten. Go ahead and hit Add. What that does is, if we go over the channel box editor, down here at the bottom, we have something called open mouth that we just created. And we can move the slider on it. Now, nothing's going to happen until we set a driven key. Let's go ahead and do that. If we click on this and then control click, we can set driven key. Or there's another way to do this. We go over here from modeling and change this to animation. Then we go to key, set driven key. We can go ahead and hit set. It'll be the same menu that pops up. Two different ways to get to this menu. Either select this then control right click, set driven key, my personal favorite, or within this animation menu, key set driven key. This is just a shortcut. Okay. So this is considered extremely confusing for first time set driven keys, which is you right now, because you've never done this before. And I totally understand. So I'm trying. I'm going to go slowly the first time. And in our next one, we're going to be doing set driven keys. Set driven keys is something you do quite often because it really simplifies your rig, allowing you to just grab different components like open eye, shoot gun, whatever you want. You can put it on the set driven key and then animate it. So these are very useful. Yes, they seem confusing at first. Don't worry about it. You have something called a driver and a driven. So whatever this is, is going to drive whatever we want over here. So we can drive all kinds of things. We could drive visibility, we could drive scale rotation. Pretty much anything you can animate, you can control with the set driven key. So we need to load a driver. Now, we already know what our driver is. It's going to be this Pac Man knoll or locator. So all we have to do is hit, load driver, and there it will be. And then we select what we want to use as our driver, which is open mouth. So we're just selecting how we want to animate or control this. That's the driver. Now, the driven is going to be both of these, so we'll have to do this twice, but we want to scroll down here and select the top as our first driven. Then we'll hit load driven. And we know what we want to animate. We want to animate the rotate Z. So all we have to do is select rotate Z. Okay. And then we have to set keys. Now, it has nothing to do with timeline. That's what also confuses people. Keys usually end up on the timeline. Driven keys do not, they end up over here in the channel box, and I promise you this is going to make more sense as you do it. Don't worry too much if this is completely overwhelming, you could always rewatch the video. I highly recommend if you're confused with something, don't just move on. Go back and rewatch the video. It's important to master the knowledge of three D animation. I'm going to hit key here, but I need to check something real quick. If I go over to my Pac Man in the channel box editor, I'm at zero. Well, zero, in my opinion, should mean the mouth is closed. What we want to do is set up our zero base on both these objects and our ten base on both these objects. What that means is we want to have them fully open, and then we'll set a key and fully closed, and then we'll set a key. That's how we're going to do this. Pac Man's fully open right now. He's at 45 degrees. Let's double check that. I'll go to top. He's at 45 negative. That's okay for open. Let's go ahead and do the same thing here. Let's rotate this fully open like that. Then let's go back to Pac Man here, and let's turn this all the way up to ten. That will be fully open. So open mouth, ten. Now we want to set a key. Then we want to go all the way down and then select both objects. Rotate Z, go all the way down, we don't have a driven key on this one. So it doesn't matter. Let's just go ahead and hit key. Go back to our Pacman, try this, and it works. Now we have to do the same thing on the bottom. We have to load a new driven down here. Let's select the bottom. Load driven. Again, we want to rotate in the Z. Now, this is fully open, so let's check with our Pac Man controller, ten fully open. That's good. So both of these are fully open, we can hit key. Then we take this down to zero. Go back to the bottom. And take this fully closed. Hit key. I guarantee that seem too fast and confusing for you. So go back and rewatch, test it until you really understand the process. That's the beautiful thing about a video recording is you can rewind. Don't be afraid of rewinding. It doesn't mean you're stupid. It means this is a difficult concept to master. I thought it was difficult when I was first learning it. Now it seems easy. But it takes time, multiple repetitions. That's why we're going to be using this in every unit or many of the units that we do. You're going to see this one quite often. So it's important to memorize it. It'll probably be on a quiz. I don't know how I'll do a quiz on setting driven keys, but I'm just encouraging you. Please memorize this. It is important. It'll come up a lot. What have we done? Pac Man. Now we created this controller. Boom, boom, boom, boom. You know the sound? That's pretty cool. It's pretty awesome. I hope you enjoyed this. Again, rewatch if it doesn't make sense, set driven keys. Super awesome, super powerful, and we're going to be using it a lot more in the future. This one's gotten long. I'll see in the next one. 34. Importing Audio: Okay, it's animation time. It's the super fun part. We've rigged them. It's really easy to animate. But what we want to do is animate to the actual original Pac Man sound effects. So we'll want to make dippin dots for him to eat, and then we'll want to add audio. So I'll show you how to add audio here. It's kind of easy yet, very tricky in Maya because it's very specific about what kind of audio files it works with. So if I right click here, I can go Audio, import audio. I'll provide this clip for you. We just hit Import there. If I go to audio here, I can use this audio two, and then it will display it in here. Those other ones for me messing around with formats. Now, the thing that makes this difficult is not importing it. It's getting the format right. So I've got audition open here, and you can use any audio editor you want. If you want a good free one, you can always use audacity. I personally use that one quite a bit, especially when I'm teaching other people and I need free software. But we do have access to Adobe Audition at my school. So we use this one quite a bit, and it's very powerful. But I've got my waveform loaded here. If I go file, export file. And you may not need to do this ever, but I thought I'd show you because it's difficult to find even online. So if you ever want to produce audio for your three D and import it, you need to either do wave or AIFF, and that's the easy part. The hard part is, what sample rates. I had to change it down to 16 bit instead of 32. So you'd think that in MA 2022, they'd want the latest versions of audio and the highest quality, they do not. They won't work, and it won't show the wave form for you, which makes it very difficult for animating. So make sure you go down to 16 bits here, and then I had to convert legacy audition format. You may not have problems with your particular setup, but I had a lot of problems, and I had to do a couple dozen different tests to figure out what kind of audio. So if you ever want to do it, if you ever want to import audio, these are the settings that will work. Okay. Let's minimize that. Now, we should have audio. When you scrub. Doesn't that sound great, and you can see what you're doing, too. Another thing is this is another cool hot key that you should memorize for animation. It is Alt V. It plays it back, and if you hit Alt V again, it will stop it. We've learned how to import audio in this one. We've learned a cool hot key Alt V for playback and pause, playback and pause Alt V. In the next one, we're going to actually start animating. It's going to be awesome. I'll see you then. 35. Setting Linear Keys: Okay, it's animation time. Let's really quickly, though, save a different version of this. If we go file, save CNA. I always like to create one called animated. Typically, I do one for textured and rig, but since this is such a simple rig job and texture job, I didn't do that, but we'll go Pac Man, animated and save that. And then let's shorten this to be at the end of 82 frames. So we'll just crank this down to 82 or you could type it in right here. Eight two. There we go. Now we have this timeline to work on. And we need some dipin dots for him to eat some yellow little dots. So we could just create a sphere, move it out. Make it much smaller. And we will have to know exactly where to put these in the speed based on the sound, animation. So I don't really know where exactly these could go. But these will be his food, I guess. I don't really know what Pac Man eats, but they do look like little dippin dots to me. So let's duplicate this, Control D. Move them out. I don't really know where to space them at this point. Again, I'll just put a couple of them out here. Control D. Let's see, one, two, three, four, five, six, seven, is that right? Something like that. It's animation. You don't have to be exact, but I just used that as a reference, so I know it as a good starting place, one, two, three, four, five, six, seven. Okay. And we could have duplicated that differently and easier, but it's not a big deal. It's not very complex. So What we'll do is we'll have Pacman over here. Now, we may animate the camera later in a in a different lesson, but we know that he just kind of glides for a while here. So we'll have him do that. Let's go ahead and just set a key on him. Again, just translation because we're not going to be doing any rotation at this point anyway. So how do I do that? Shift W for translate. Now we see the key here. Of course, we'll open up channel box so we can also confirm there. Make sure auto keys on. It is. That's great. So now we'll move forward to here. And we'll move him over to after he just ate this one. Maybe right there. And let's just play it back and see what we've got. Okay. I had mentioned, go ahead and watch this again. I know that music's annoying, but watch the speed up and slow down of this animation. Just pay attention for a second. No she comes to a slow stop, Pacman does not move that way. Here's how Pacman moves. Notice that Pac Man does not slow down or speed up. I had mentioned this in an earlier tutorial. Let's go to our windows, animation editors and go to the graph editor. You see this curves, and then slows down. So now I'm going to show you how to set linear keys. Let's go ahead and do that. I'm going to select these keys right here and go to tangent. Linar. Notice the difference. Now it's a straight line. If I do that, control Z, you notice curved lines speed up and slow down. And if I redo that, control, I'll get much quicker starts and stops. It's called linear versus spline. And then these handles are turned like that. Okay? So let's watch this now. Again, our hot key Alt V for playback. Okay, so for his animation style, we need to make sure we're doing linear key frames, and that's how to do them. So we've animated that. And in the next one, we'll animate the mouth moving. It's going to be really simple. You already probably know how to do it, and you can probably skip it. But I recommend you watch all the videos. Let's finish up this animation. I'll see you then. 36. Animating Pacmans Mouth: Okay, we may have to ret our key frames. Let's go to this point right here right before it eats this first. We know that he needs to reach this point a little bit later. So what we could do is take and move this keyframe over middle mouse dragging it over in time. Like that. And now, we've added a new keyframe here. That's a problem with having auto key frame on because we want it to be the same exact speed between these areas. So I'll control Z that, and I'll go ahead and turn off auto key frame. And then we'll just move this over like that. And now, We see it takes longer to get there, but that's too long. So it's just a timing issue. What we want to do is probably go right to here and move him so that he's right on top of it like that. Now, what we should have is somewhat better time. Okay? It's not going to be easy, but I think we can do it. Right there is where we need to end somewhat, so we may have to just go up a little bit till we reach that point. Now let's see kind of our time. At this speed, it will be hard to notice if it's off time, but it should work. Let's go ahead and create a loop of our mouth opening, but let's time it to this right here. Open close. So we'll want to have it wide open right here, and we will just key this, right click and key selected. And with that key, we should probably open it up all the way. Let's turn auto key frame back on for a second. Okay, right there. Right here, we'll want it completely closed. Right here, we want it completely open. Right here, we'll want it completely closed. Then open again. Again, you can see I've got curves on these key frames that we don't want curve. So we want to select those keyframes, tangents and linear and then they'll be sharper. We may have to ret them. We know fully closed right here, fully open right here, fully right here. And on and on fully open right there. Pretty easy. And we could probably copy and paste these, but it's so simple. I don't think it's a big deal whatsoever, and it's relaxing. I don't know why. Boring things relax me. Everybody thinks as weird as I do. Looks like they have two right here in the same place. Don't know what that's about. We're going to have to do a quick mouth movement there, though, to reopen and then reopen. He must have turned a corner there or something. I don't know else how that's possible. Also, you could see And then we'll go over here. The thing is, you want to make sure he didn't stop opening and closing his mouth. Let's go back to game play footage. It's always important when you're animating to look at the real thing to get it right. So let's go ahead and do that. And so note that his mouth's always moving no matter what. Okay? So let's continue this. Let's go ahead and copy and paste these key frames and try to even them out just a little bit. We'll drag them around here. See if we can't get that a little more perfect. So we've got that there. I all those key frames collected, we'll go Control C, Control V, and we'll just kind of keep that going. We may have a bit of a pause here and a motion issue. Again, I don't think anyone's going to notice if it's imperfect by any stretch. And unfortunately, we retroactively do this. So let's try to control V and see where we meet up. Looks like we just off a little bit there. Let's watch this and see what we're looking at. We may not have to tweak this much because you might not notice it at the speed it's going. Let's go ahead and watch and see what we've got. We'll save that Alt V for playback. M. Okay, obviously, we'll need to keep them moving. Out of frame. I wasn't even going to animate this for right now. Let's go ahead and just move our slider to the end of where we wanted to animate, like that. Okay. AVM. Okay, obviously, these need to disappear. And so that's what we're going to animate in the next video. I'll see you then. 37. Animating Visibility: Now we're going to animate the visibility of the spheres. Let's go in here. Let's go to right as it gets eaten, right in here. We'll turn the visibility off. But first, one frame beforehand, we'll make sure it's still on by key selected. We'll go to the next frame and off and then same thing with the next one. We'll make this next one grab it. We'll make sure this next one is on right here. Key selected, right there. Of. Okay. All right. That's the process. Pretty easy to key visibility. It's on key selected, there will be off. Select the next one. Make sure that it's on right here. Of the next frame. It's as if he's eating these little food samples. Pretty cool. Key selected. Next frame here off. Key selected. Next frame off. Last one. Key selected. Okay. Off. All right. There it is. Watch of glorious animation and all its glory, all play Pretty fast playing animation. We may have to turn off motion blur when we render this. But there you have it. We've learned some things. We've learned about linear animation curves as seen here. We've learned about animating the visibility. And what we need to do now is figure out if we want to have an enemy. And I have something interesting plan for that. So the next one, we're going to introduce some kind of enemy. I'll see that. 38. Importing an Enemy Model: Okay. So, I'm feeling devious. Here's what we're going to do. We're going to import an enemy. Import an enemy, you say? Yes. Minecraft, Steve. It's time to meet your maker. Alright, file. Import. We're going to have to go up here to assets. And I had audio selected here, but we could go select FBX. Or we could even import a whole scene using Macins or Mya binary. Super cool. Let's go find our FBX file. Format right here. And then somewhere under assets, we have Minecraft Steve. We're going to go ahead and import him, and then we're going to kill him. That's evil. That's evil. I know. Let's see if his animation data is still there. Yeah. Looks like he's still animated. So let's play play, see what happens. Ooh. Except we want to retime his animation because we want him to get eaten as he's running away. That would be more fun. Okay? And we may even add some other things. But I think we have a problem here. I think Craft Steve is too big to be eaten by Pac Man. There's a simple solution. We can shrink Minecraft Steve. Or we could make Pac Man much, much larger. It's up to you. Who will we scale? Will we scale Pac Man? Or will we scale Minecraft Steve. You guys decide, but I'm going to scale Pac Man because that's horrifying and dangerous, and I like it that way. Okay. Alright, it's getting real. This is the first time in this course where we actually destroyed something beautiful. And I'm proud to do it. So, let's move Minecraft Steve animation data around a little bit. Let's give us some more frames to play with. And this is going to be fun. I promise you. We just may have to add some screaming, sound effects on our final render. I think that would only be appropriate. Let's say he's on the same path as these little dip and dots. Let's spin them around though, so he runs the right direction. What we want to do is him to get engulfed in the jaws of Pac Man right as he tries to dive for freedom. It's not going to work, my Craft, Steve. I'm your animator, and I have made a decision. Let's go to Windows, Animation editors, graph editor. Yes, yes. This is what animation is for. It's fun. You go and do horrible abominations like this. You create beautiful characters, and then you destroy them just because you can. All right, so I want to want to do is middle mouth drag this over, but I want to hold. But I don't want them to go too far off base. And that's scary. You just got large. I truly don't know what has happened here. We may have to freeze some stuff because that didn't work. Control Z on that. See, what's happening here, and I mentioned it earlier is you don't often want to key everything. Notice we have scale keyed here. That's bad because we're not actually scaling. Man craft Steve at all. So when I start moving things around, I'm moving scale around. That's bad. So what can we do about this? Well, we can remove all of our scaling. And let's go ahead and do that. Let's get rid of all of our scaling here by selecting it, right clicking and delete selected. We do not want keys there on scale. And now what we should have is when we move this He doesn't scale. He does move his position, we got to be careful where we move it. So what we want to do is try to move it and not change the height of our character or translate why. Okay? So what we want to do is move it in time. So is there an easier way to do that than this? Yes, there is. So we'll go ahead and do that in the next lesson. I'll see you then. 39. Extending Pacmans Animation: Okay. So before we were having some problems, middle mouse dragging this around, it's just it's so hard to control. And then when I try holding down shift right now, nothing changes. Well, with M, you actually have to hold down shift first, so press shift, then middle mouse drag, okay? So now, what we should have this is animation changed quite a bit. Of course, we need to give ourselves more frames here. So let's drag this out. And you can see, our animation data is way farther than it should be, because right about here, we want to be catching up to this animation data. So I definitely took it too far. Let's go ahead and shift, drag it back a little bit, like that. Okay, we want that to happen then. Maybe even more shift, middlemost drag. It's just about timing it, getting it to where you want it to be. What we're going to have to do is extend the animation for Pac Man because my vision is that he gets to eating all those and then he goes for the real food, the real protein which is Minecraft Steve here. Of course, we need to give ourselves probably even more frames than this. And we're going to need to extend Pac Man's animation. So let's deal with that before we deal with Steve because he's got some challenges with his data. We may have to delete and start some things over again. But with Pac Man here, all is good. We have this linear line where we get to there. So where is there? It's right about here. What we want to do is just take this line and extend it all the way. So we know we're kind of doing some measurements with visual data. We've got this graph view here. So what we want to do is keep the same angle and then go to this frame right here, 100, And then we want to move this in the x, so that it's straight line right here. The best we can do. We can always tweak it later. We've got this on. So now what we have to do is keep translating him until we see that curve where we want it to be. Although you see once again, we've added a non linear key frame there. So we need to select those key frames, Tangents linear like that. Okay, now we still don't have a straight line, but we can at least get it close by changing this middle moouth jagging it till it looks about straight. Okay, so this is pretty darn close right here. And if you're a perfectionist, you'd probably do some crazy math and figure it out. But I'm not a perfectionist. I just want to keep moving on with the animation. Now, I need to isolate these open mouth key frames, select them. I can go Control C, Control V, although I have some problems with that sometimes in here, let's try it. Control C and Control V. See that didn't work at all. It's like I didn't even have him selected. Let's try that again, but use this menu. Edit coffee. Edit Paste. Okay. I don't really know why the key frames do that when I control C Control V, but that's how you do it, right there. Okay, so now he's going to keep moving and keep eating. And we could even extend this further if we wanted. So, way out over here. This depends on what we want to do with our animation. But now we have all that extra room. Let's go back to Minecraft, Steve. We can select him, zoom in. And let's see what the challenges are ahead for changing his animation. We know how to animate from scratch, so we're not worried about that, at least you shouldn't be, and it's good practice. But I have a feeling because of the way we animated him and the angle, it's going to be a bit more difficult to have him run away from Pac Man. But we're going to go ahead and try it in the next one. We're going to get Minecraft Steve running from and then finally meeting his doom to the great Pacman God. Okay. I'll see you then. 40. Animating Pacman Eating Steve Challege: Okay, I haven't issued any challenges yet during this unit. And so my first challenge to you is going to be animate Minecraft Steve running away from Pac Man and Pacman devouring him, and then Mincraft Steve visibility disappears. Okay? Stop the video now. Try to pull it off. Try to use as much of the animation data as you can or reuse it. If you can't reuse it, you get too frustrated with trying to make it work. I want you to go ahead and just animate from scratch again. You know how to do it, so it's not a big deal. And I want to see those animations. This is your first challenge for this unit. Go ahead and be challenged. Okay, hopefully you were able to accomplish that task. If not, we're going to give it our best shot right here right now. I highly encourage you to participate in the challenges. They're going to make you better, and they're going to give you more confidence in yourself as an animator. Okay. So, what have we got here? What we want to do is move Minecraft, Steve over here. What will probably happen is C, we have key frames going on and auto key frame. So we're going to get some weird animation stuff going on. Okay? That's the first problem. So do we delete all of our translation key frames? Do we delete our rotation key frames? Because he's not rotated the way we want them to be rotated, and he's got key frames all over on x, y, z, translate, rotate scale. He's got completely different animations than I would want. So I may end up deleting his translate. I'm going to go ahead and select those right click and delete selected. I don't want those keyframes. Now I've got this animation where he does a little bit of a flip. So I can now change his xy. The problem is he's still facing a way I don't want. He's still rotating in a way I don't want. He's off axis to where I think he needs to be to get away from the mighty Pac Man. What I'd like for him to do is be over here. So now I've got translation keys deleted so I can translate him to the end over here. What I want him to do is spin his head around and then try to get away. So at this point, I want him to start running away from Pac Man. So I put a keyframe now on translation, Shift W. Now we've got keyframes on the translation. So now we want him to start running away. So let's have him run this way. And what I want to do is going into the modeling tool kit and changes from object to world. So it's just going straight, the best of my ability. Now he's going to be turning and running away and he's going to get gobbled. But his jump key frame, I want him to try to jump out of the way. But this jump takes forever to happen. He goes all the way to here and then jumps. Let's move those jump key frames back. Select Minecraft Steve, select all of his key frames. Okay. Okay. We don't need scale, obviously, but we know he jumps over here. Let's take this data and let's shift middle Mouse drag it back over here like that. Let's see what that gives us. Model model hump, Tom, Tom Tom Top. Run and then the jump does not happen soon enough, so we'll move it back even further. Tries to run away. Then we've got to have him jump. But he slows down way too much here. My opinion. Let's take those and move them back even further over here. Spins tries to escape, gets gobbled. So I'm not liking this animation. It's very difficult because he's not facing the right direction. It looks really stupid. And I don't like that. But if I change the rotation key frames, I'd have to change all of them one by one. And that's just not what I want to do. I want to have them rotated. So let's see which rotation we're even looking at. First of all, the rotation. So let's go to our X rotation here and let's isolate it over here. Okay? So these are our rotations. What we could do is just delete our rotations. Delete selected. And let's go to the beginning and have them face the right direction from the get go. So it's not rotate x that we want to change, actually. I see, we've modeled them in a different direction. See, this green right here means it's rotate y. So actually, we need to select rotate y here, and we need to isolate those keyframes and see what they're doing. They're not doing much. So there's only three key frames we'd have to change. So that's doable. But this one, I don't want to change that many key frames. I'm lazy. Rotate y has three key frames. That's the one we need to change to face this direction differently. So let's go ahead and just change all three of these, right? We will go ahead and rotate them looking that way. And then we'll come to this next key frame. Let's make sure he's also facing that way. And then this last keyframe. We he's being devoured, also facing that way. Okay. So we've taken care of that now. We didn't have to leave all the key frames, but now he's at least running the right direction. Although it does look like He's jumping forward. Okay, so we actually had him backwards. Notice we don't have textures on, so we can't tell. Let's go ahead and look at our textures. Every once in a while, you just got to pay attention to what you're doing. And of course, can barely see the textures, but these are definitely eyes. So we did actually rotate him the wrong direction there. That's my bad. Let's go back and change that. One last time. We'll completely rotate him this way. All right. Not too difficult at all. And then the last one right here. Go ahead and rotate them that way. Okay. Now what we should be getting is him spinning his head and trying to run away and then jumping for freedom before he dies. So right about here. We know he starts going up in the air. Let's go check our translate keyframes. Translate, and o in. These are translate keyframes. We need to start going up right about here. Jumps up. And I'd say even forward. Starts to jump starts to fall, gets devoured. But we need him to fall a little bit further. So it looks like he's about to escape death. Obviously, we know he's not. He's still going to be devoured. So he runs, jumps. That doesn't look realistic at all. So what we want to do is really work on the realism aspect because he stops right there and he shouldn't stop falling. So he actually needs to come down or go up higher. So we'll do is He's running. Now, he should not be going up right here at all. He should be running and not moving up. So let's look at translate up. This is not right right here. He needs to jump up. Let's take this key frame all the way down, middle mouse drag it down. Make it stay even right here. In fact, we could even delete this one. He's not going to be moving up anytime soon. So he's running forward. And then right about as he rotates here, that will be where he starts lifting off. So let's go ahead and put a key frame in right there. I'll go ahead and Shift W. We'll add that key frame right there. And then we'll start having him go up. Right here. So he's going to run and jump. We need him to move forward more. So it's realistic. Runs, jumps. Still needs to be moving forward. It would help to have all these translation key frames up so we can see where they're at. And we don't need any translate Z. He's not moving in the z axis at all. So we could actually select these and delete them. It's only moving in two axes, should be. If I got that right, he should be running, jumping, and we need to work on the animation there at the end. So we're just going to select y and x. This is all we need to pay attention to right now. These are the important ones. And they look really bad right now. So what we need to do is move these forward like that to where's almost escaping the jaws of death. Maybe right at death point right here, needs to almost have escaped. So we'll put them up there. That will be our end. Now, we may have to tweak obviously. So he's not realistic motion right there, right? So runs jumps. Maybe he jumps higher than that, right? Maybe this is a much, much higher jump. Pac Man, I'm sorry. Steve is really, really trying to get away. Runs jumps. H h, h. Right, there's where we have a problem. We need to change this, delete these keyframes. I'm just going to get rid of them. I'm just going to delete this key frame. It's causing me problems. This is not a very fast fall right here. So we'll just have to retime the best of our ability season starts to run. Humps. Let's go even higher. We can use exaggeration, which is actually one of the 12 principles of animation in our favor right here. Remember, this is a fake. This isn't real physics. We want it to somewhat emit physics, but not quite. So he comes down way too fast right here. And let's go ahead. Maybe we'll add a back flip right here so we can actually slow it down. Again, we'll go even higher way higher. Like, just really exaggerate this. And then let's start and I know I'm complicating things a little bit, but I'm having fun too. So right about here, I'm going to have them rotate in the y. I'm going to set another keyframe there, shift. So I get another keyframe there. And then as he approaches this height, I'm going to have him do a back flip. Oh, I'm sorry. It's not on the y, actually. It's on the x. So pay attention to these colors. That's really going to be important. Run Head about there. It's going to complete the backflip. He is eating. And then our rotation, it really messes up there, doesn't it? So let's go back to our rotate x and see what's going on. Okay, it's a mess. It's a huge mess. Let's clean this up. We don't need extra key frames. When you see key frames, extra, it's just going to make your animation more complicated. Okay, so that's what was going on there. Again, take your time with this process. Look at each individual channel, think about what's channel am I animating here? Why is my animation reacting badly? And again, keep in mind, it's fairly complex because when we first did this animation, we were not thinking about him running from Pac Man, were we? So it is difficult, and that's why I issued a challenge on it because there's data to clean up. But if you can learn how it works by cleaning it up, you'll be so much better. I think he needs to be traveling further forward, and then don't think that needs to happen there. In fact, I don't think these rotations have to happen anymore. We want it to be like that. And then we'll have them straighten out right about here. So keep it clean and smooth. But obviously, we need to move further this way. Now, it looks like he's going to escape, but we can't have that happen. And if you see all that jumping around, select multiple ones and see where it's happening. What is going on with your animation? Why is it stopping or not acting right, right there, we see a jump. What's happening right there? We have maybe too much animation data is what's happening right here. Let's clean it up. When you see a line that's fairly straight, it lets you know you probably don't need those middle key frames. And we'll get rid of some of the jumping around there. I think that he needs to continue I know we're not playing to physics, and I just said that, but I think that rotate needs to continue there. So let's select that rotate. And I think by about right here, or this is x rather, rotate x. I'm confused because the axes have changed. We could probably get rid of that one, and we'll keep that rotation moving forward so that he is spinning completely around, runs, jumps, spins, keeps falling forward, even more, I think, by the time he gets eaten, he's almost in the water and then. Now, what we can do is Just slow it down, slowly watch it. I know this one's getting really long, but this is a challenge. The challenges will typically take more time. What I want is for his head not to stick out there. Actually, maybe that's cool. That's the one last breath right there. But I don't really want him right there. So typically, what I would do is just clean it up by right there, translating him back, so he's just within the mouth within the jaws. Fun, fun, fun, run, run, run. Try, try try. B. Okay. So another thing I'd like to do to make this look even better is I will go ahead and select Pac Man, and I want to tweak his mouth movements because they're happening so fast right here. I don't really like it. Okay. And let me take off textured mode because it's kind of hard to see of hardware texturing. Okay. I want to be able to see Steve here. So he keeps chomping. What I'd like for him to do is maybe ultra chomp here, like maybe stop going back and forth on the chomp. Right here, I want to delete this keyframe. And I want him to just going to delete these last keyframes here. And so mouths wide open and then slam. Almost like a jaws moment. Okay. So the last thing we got to do is animate the visibility right here. Okay. So let's go into Steve. Visibility was on by next frame, though. Visibility needs to be off. Okay. And so we should have Steve and boom. Steve's gone. Okay. So to finish this off, what you'd want to do is animate a camera possibly so that you had a dramatic effect. Otherwise, you'd see this viewpoint, and it's not that interesting. This video has gotten extraordinarily long. And so in the next one, I'm going to show you how to animate a camera, and then we can do a final render of this. And we can call this unit complete. All right. I'll see you then. 41. Animating the Camera: Okay, so we've got this amazing scene here. What we want to do is create a camera and position it for maximum cinematic effect. And then we'll put some animation key frames on it to make this shot just perfect. All right. So let's create a camera, create cameras, we'll just create a normal camera. What we need to do is make sure it's facing the right direction. I can tell it's not visually. That's the lens right there, so I could just rotate it here. But optionally, you could also go panels perspective camera one and look through it. And what we want to do is name it something cool like death C. All right. That's cool. And we want to move it backwards. Let's pop over to the other menu. I'll go ahead and just push it back there. Okay. So what we want to do, and you're the director of your own movie, but I want to position this right on Pac Man and show the monster in the background. We could even do this. So you get in that field, that depth feel, something like that a little bit. But we're going to want to animate it too. So let's set a key frame right here, first frame. How do we do that? Just like anything else? We can just set translation keyframe. So Shift W. All right. You see these are good to go. Let's go forward in time. Like that. Let's turn this back on to smooth shape. Then what we'll do is we'll have our camera slowly move. We don't want to. We don't want our camera to get eaten, but we do want to see Steve. Let's move it forward like this. Maybe even more. Even more it looks like. We want to be able to see that Steve jump right there. Let's watch that. Let's go ahead and click on this screen so we can watch it with full screen and Alt v. It looks like our camera stops and we lose that dynamic effect. So let's go to the keyframe editor, Windows, animation editor, graph editor, and let's select our camera. And let's just drag this out a little further like so. Let's watch it again to get this out of the way. A V. Again, we kind of slow down here. Maybe we want to zoom back in for the kill. So maybe we want to kind of come back in on this frame. So let's go ahead and do that. Let's go ahead and space bar over, and we'll translate the camera closer. Maybe even tilt it up a little bit, which means we'll have to add rotation key frames. Let's go ahead and do that. Let's come back here and shift to add rotation right there. Jumps, we want to follow him. We want to see where he jumps. Let's go ahead and rotate the camera. That so we can see him jump. Again in this view port. If the V port isn't displaying, make sure to just click on it. So it looks like we don't rotate quite fast enough, do we to keep up. Let's go back to this rotation key frame, and let's rotate it even more. So and click in here. It's like our rotation starts too early. So what we want to do is move this keyframe, or just set another one here at zero before he jumps. So we'll keep it zero till about the time he jumps. Once again, we'll go over here. We know it's rotate on the x, and we'll just go zero, zero that out. So now, it'll follow him as he jumps. And then we want to come back down as he's coming back down, right there. And then we'll go ahead and start rotating down. Just keeping them in frame. Okay. And centering. Okay. We could smooth this out. Let's watch what we've got. Click in here, Spacebar. Okay. There it is and all its glory and wonder. Now, what's goofy about this is, of course, our Pac Man is huge in size. So the little gum drop should be disappearing, maybe even sooner. But we won't worry about that. It's our world. We're just doing whatever we want. Okay. There we go. Let's go ahead and shorten this down to about, right there where the sound ends. And of course, we could take this and edit it with special sound effects and editor. Right now, we've got our camera animated. We've got a better shot of the action. We could tweak it a little bit to make it just perfect, but I think we're good. What I'm going to do now is I'm going to render it in the next one. I'll see you that. 42. Rendering a Sequence and adding Motion Blur: Okay, so we're not just going to do a play blast this time. We're gonna do a full on render using Arnold. We're gonna ad motion blur, and we're going to actually make our own video at the end, using Avid Mux. It's gonna be awesome. Now, I've held off showing you much about the render because it gets fairly complicated and it's not super easy to understand. But we're going to walk through that process, and you're going to be a lot more confident after this one about rendering. So typically, we've hit this button for rendering, and what will happen is we'll get a render. Depending on how fast the computer is, it will take a certain amount of time. I'm using the Arnold render, and there's my image looks pretty decent, looks pretty okay. But also, we can go in here and render Arnold, and there's a viewport render. And if we hit this play button, it will go ahead and render in our viewport edits live. I can move around, and it will change for me. Okay? Okay. Pretty cool. Now, Arnold Render is a bit slow, so you can always pause this O press play and have it start rendering, y? So this is super useful, real quick way to see without going up here, clicking this button, and waiting. It's just a quick render. Now, some of you are noticing this artifacting in here, I have the settings cranked low. This computer I have at home, is not super powerful. The one I use at work, very powerful. So depending on how fast your computer is, takes a while to get rid of those little grainy bits. And we can crank settings to get rid of all of them. However, the render will take an enormous amount of time, and that's a waste of time in my opinion. Another thing we wanted to address is you see this pixelation here. What we're going to do is go ahead and hit smooth. So I'll show you what that looks like here. If I just stop this, I can select this object. Well, I'll select all of Pac Man. And if I hit three on the keyboard, You know, it's going to smooth them out. Now, that might be too much. Let's go ahead and hit this render button again and see what we get. We got a smooth edge here, which I don't necessarily hate, but I don't necessarily like. Depends on what you want. And this is called a smoothing group, and it's subdivision surfaces, and it's just going to really smooth things out. So we won't get those blocky edges. Now, some people might want it to look more blocky, so it looks more old school. Again, this is just a kind of a viewing thing, really. It's not even changing the geometry. It's just subdividing them in the viewport. If I exported it, it would look the same unless I exported and changed and use the smoothing group. Another thing I can do, I'll hit one on the keyboard to go back to that normal view. I can go to the modeling tool kit and I can do something called smooth. It's going to add more detail. I'll hit that button. And you'll see it does essentially the same thing, but it's not quite the same thing. It's not as round right here. But now I've gotten rid of those edges. Yes, this will take longer to render. So be careful when smoothing. That's why I saved it towards the end. But it's available for you. Whether you like it or not, you can keep yours more blocky. I'm going to go ahead and smooth mine, and now you use the smooth operator. Okay, and this viewport render. I'll go ahead and stop this. And now let's go ahead and start a render. But first, I want to show you some settings in here. So if we go to this viewport, it's going to go ahead and render the image. Then we go to Options render settings. And we're going to want to change some things in here. Now, under the Arnold render, I want to add motion blur. So we can go ahead and turn that on, and we should go to a frame where it really matters. What you're going to notice though is if I turn on motion blur, and it's going to blur wherever it's moving fast. So for instance, if we go to the frames where our character is jumping in the air right here, you should see some motion blur. All right. Let's say right there. And let's turn on that motion blur right here. And then let's do a render. Wow. He's like, really shooting fast there. You can see he's really blurred. Now, you may or may not want to use this effect, and you can change some of the settings on it, but I'm going to leave it like that for now, and we'll just see how it looks in the final render. Now, how do we get a final render? What we need to do is go over here to common. And if you have to slow this down and remember it, it's a lot of information in here, a lot of stuff, right? For one thing, you've probably never heard of an EXR format. Now, EXR format has its place. It's very powerful, and you can add a lot of extra layers and things in it, but they're big files, and we don't need to mess with that. We'll stick with JPEGs or PNGs. I'll go ahead and select JPEGs. You've probably heard of both JPEGs and PNGs. Very common formats, very good at compression. File sizes are small. And for what we're doing here, that's all we need. So JPEG important. Now, the next thing that's very important, and it doesn't make a lot of sense, so I'll slow it down for you, frame animation extension or EXT. Okay. Extension would be like JPEG, JPG. So let's break this down for you. It doesn't make a lot of sense. Name, whatever we name the file. Extension dot JPEG, and that's a single frame. But we don't want to render out a single frame. It's kind of confusing, but I actually need to change this to name dot number dot extension. It'll be the name of this animation, and then the number of frame. So frame one, two, three, four, five, six seven, you'll see, we're going to render out a lot of frames. We're going to render out. 200 frames here or 80 of them. And then the extension dot JPEG. So you'll see that in the file format, but we did need to change these two settings in order for this to work. And let's hit close. And our last step here, and then you can go get a cup of coffee because depending on how fast your computer is, this could take a while, we go to render render sequence. We'll go ahead and hit this button here. We're going to render death cam, but we could have picked any camera, but obviously we want to render death cam. And then alternate output folder. You can go ahead and select your clips folder anywhere you want to save this animation. Just make sure it's an area where you know how to get to. Okay? And then all I have to do is hit render sequence and walk away. And that's what I'm going to do. Oh, and one quick thing. You'll notice rendering sequence frame one to ten. I forgot to show you one other setting. Options, Render settings. Make sure your end frame is not set to ten like mine was. Let's set that one to 80. All right. Hit Enter. Then go back, render sequence. Make sure all the settings are the same and render sequence. Okay, this is going to take a while. I will pause the video, we'll open it up. We're going to download a piece of software called Abbott Mux, and it's free. That's why I chose it. I use more expensive software. But because it's free, I'd like to offer three options to those of you who don't want to go out and purchase expensive software. So in the next lesson, we're going to put it all together as a video and export it and show our friends. It's got to be awesome. I'll see you then. 43. AvidMux: Okay. What we're going to want to do is download something called Avid Mux. I'm using Avid Mux because it's free, it's fast. It works. Now, you're going to want to download for whatever platform you're using. I'm using Windows, 64 bit. So I'm going to go ahead and download this one. I'll try to provide a link. It's important when downloading any free software to be careful. Sometimes you'll go through a website that will attach other software you didn't intend to install, and that's never a good thing. So always be careful. And I'll try to find you a good link though, but links do break. So you may have to do a Google search or whatever your search engine is. So I'm going to download this 64 bit installer for Avid Mux. And once that's downloaded, we'll go ahead and install it. Okay, let's go ahead and install the software. Next, next. And I agree and I accept there was no special downloads that were packed into there. So always pay attention. Hand. We'll go ahead and open it up. All right. So you should have this going for you. I'll go ahead and exit out of there. And what we're going to do is we're going to load our render sequence into here. Let's go ahead and take a look at our render sequence. What you should get is something like this. A whole bunch of padding on the numbers. We can fix that Mb. Not a big deal. It doesn't really matter. What Avid Mux is going to do is it's going to grab all these and automatically detect because of the sequence that it is a sequence that we can no make into a video. It's very easy. So let's go ahead and get started file. Okay open, navigate to your folder, and here we have them. If I just select the first one open. Notice there's a play button attached right here, and I get whole render right there. Pretty cool. Now, is this render perfect? No. We've got artifacting here. Again, I wanted a quick easy render. We could add a light on its face. But this is what it is. Also, you see my character is splitting here, probably because of that smoothing. You know, but I kind of like it. It looks really goofy and you add some cringe music to this. It's going to be legendary. It's going to almost be an abomination. But I think we can do even worse for an abomination. Hope we better be able to. We're supposed to be creative. So let's play and watch this. There it is. And all its glory. We need to add sound effects. Again, I encourage you don't just do exactly what I do. Mess around with it. Try some different things. I'll show you guys probably a few more things with rendering as far as how to get rid of these artifacts. I'm not worried about it now because you're just learning. But if you are interested, I can show you a little video on that. It will just take a lot longer to render. And I'm more interested in just getting through this and getting it done quickly. So, I hope you're getting excited. I hope you're starting to feel empowered. Before I ramble on anymore, let's go ahead and export this. Let's go ahead and go up here to video output. And instead of copy, we're going to go ahead because we don't want it to copy whatever format it was, which was pictures. We actually want to output a video file. So let's go ahead and go to Nvidia h264. I'm going to choose this because I have an Nvidia card. Now, you might not want to choose that, but choose some h264 I recommend because H 2604 is really a common format. It's very good with web. It's a small file size, so you could send it and share it with people. I'm not going to teach a ton about encoding. I do know way too much about encoding, but it's just going to I think number one, it's really boring stuff unless you're a total geek, which maybe you are. And that's awesome. I am, too. So anyway, it doesn't matter. Select NVDA h264, and I'm going to hit Save. I'm going to call this Pac Man at Steve. There it is. Save successfully. Let's go ahead and watch it. I'll exit out of here. And in the same folder. What I should be able to do is sort by details, and we'll go by type, scroll down to the bottom, and there it is. Awesome. And then I could upload it to T or do whatever I want with it. Now, I did notice that this is MKV, and you could also export something else. So let's go back into Avnmux and let me just show you how that's working. Slod file again. Open, right there, open. So a couple of things to note, we have this output format here. So we changed this to our NVDA h264. Now we could change this to like movie or MP four or something. So a more common format than MKV. I can play back almost anything on this computer because of all the codex installed. You may have problems with that, though, but you're going to be safe with something like an MP four. So now, go ahead and hit Save. Let's call that Pac Man roasts, Steve. Also, I have a different file name. Save, and we'll go ahead and do that for me. That's a more common file format than MKV. And I kind of recommend that you stick with things like MP four. The more common it is, the better the possibility that you can share it with others, that the file size isn't crazy, huge, or anything. Let's go back to that file and just check file size real quick. There we go. Same size, but a different format, as you can see here, MP four instead of MKV. But it's only 2 megabytes. So it's not outrageously huge, and you're probably not going to render out an hour in Maya. If you do, that's crazy, okay? So I know that's a little bit boring, but now you have this free piece of software where you can take your fully rendered images and composite them into movies and then do whatever you want with them. So I hope you're enjoying it. In the next one, we are going to tackle the Pac Man abomination. I don't know what that's going to look like. Honestly, I'm a little bit scared, and you should be two. I'll see in the next one. 44. Fully Animated Pacman Assignment: Okay. Hopefully you were able to complete this unit and have fun. This is the assignment. The final assignment is going to look something like this. Now, you don't have to do exactly what I did. In fact, I encourage you to experiment and try something new, import some character you found online, make some other character. But just have fun with it. Go through the lessons. This is the assignment, the main assignment for this unit, and I hope you have a blast doing it. And the next one we're going to do among us. It's going to be awesome. I'll see you then. 45. Pacman Abomination: It is time for my very favorite segment of any unit, and that is the abomination. So what we're going to do is create the worst, most abominable Pac Man that we can possibly imagine and that our skills will take us to in Maya. So let's get started. First of all, I'm going to save this as a new scene, save scene as, and I'll call this PacMan abomination. And I'll get rid of all these spheres. Don't want them or Steve at this point. Maybe I'll just hide them. Maybe we'll reuse them. Control H. What we want to do now is take our Pac Man character and completely revamp them to be well, cooler. So I'm going to go to Panel's perspective, and then I'm going to just work hard and make this thing awesome. So how can we make them a little bit more disturbing? Well, for one thing, we could change his eye color. So I'm going to select his eyes. I'm going to sign a new material. I will keep it in Arnold paint. And though you can't see the node right here. We can get to the node by clicking on this geometry right here. What it's going to do is going to set the car paint to a default color of red, which is what I wanted to do anyway. So it's super simple. But I will rename this red eye. And let's go over here and assign red eye to this one. Click sign existing material. Red eye. And now they'll both have red eyes, and we can, of course, prove that. We don't have to click up here to render. We can just go to render Arnold for rest play, and we got red eyes over here. And I don't know what's going on over here. Oh, yeah. That looks kind of I like it. It's kind of scary. But you know what? We really need to make this an abomination fangs. Let's do fangs. I'm going to stop that. How do we do fangs, lots of different ways. Let's click on our geometry and look at what we're looking at. And it looks like we could take these and extrude them so we could try doing that. Or there's a lot of other ways. So let's just try to create fangs. What does a fang look like? Well, it looks a little bit like a cone, doesn't it? It's all scale this con down. Mostly at the base, of course, that way, too. And there we have fangs. However, if you're like me, you're thinking, shouldn't fans be slightly curved so that when they grab their victims, the victim can't get out like an arrowhead? I agree with you. I'm going to go over to the modeling tool kit, grab point selection, and there's something called soft selection. I haven't shown you this, but if I select soft selection and select a point, you'll notice it gives me kind of a gradient here. And if I move this point, it will kind of It will move this point the furthest, and then it will slowly. Well, let me just show you. Now, it won't work on this because one, we need more subdivisions on this cone. If we go back to the attribute editor with this cone selected, we can go to Poly cone here, and we can give it more subdivisions right here in the height. Now I can better illustrate soft selection. So I'll go back to soft selection, grab this. And I may need to change this down. Let's just change this down to one. Okay? Now you can really see that gradient, but you'll be able to really see what's happening when I use this. That still might be too much, sticking down to 0.5. And we can just move that part, to take these, move them. Go back and forth a little bit, and we're just going to try to make this more of a curved f. And of course, we'll reuse these fans for the other teeth. So that's a decent looking fan there. I wouldn't want to be bitten with that, right? It's not the nastiest fang I've ever seen, but it's up there. And now what we want to do is take a half circle and duplicate this along a circle. So how do we do that? Well, we could go up to create nerves primitives. We could create a circle, and we could just add the fangs along that circle. So I'm going to scale this circle up. We don't have to use all of it. What we want to do is duplicate along a line. So how do we do that? Keep in mind, there's a lot of ways to do this. I'm going to do it a very, very simple way. And you can feel free to Google other ways to do it. But this is a cool way to do it. So I've got this cone selected, I can duplicate it out. Of course, I want to name it tooth, whatever, it doesn't matter. Control D DD DD. I want a bunch of teeth. I want a bunch of angry, horrible teeth. Let's say 20 teeth. I'm not sure that's enough for Pac Man, but you can always go 40 teeth or 100. Every time I show students how to do things, they break it, they push it to the max. So have fun with that. So I'm selecting all these teeth. And then I'm going to control, select the nerve circle. And then I'm going to go to modify Snap line objects position on curve. Boom. There, I have my teeth out. I agree with the students. That's not enough teeth, is it? Not even close. So I'll control Z that. Let's add more teeth. Shall we? Okay. Continue going here. Control D. I think we need about 40 teeth. 35. I don't know. Maybe I'm just being crazy. Again, control selecting, selecting the curve last, modify, Snap line objects, position along curve. Boom. Now I have some angry angry teeth here, don't I? Super cool. I don't need half of them, obviously, so I can delete them, or I could repurpose them. Let's just go ahead and Lasso select about half of them. We'll go to a viewport where we can actually see. So let's delete about half of these teeth here. You could just go right here and Lasso select a half we don't want. Which would be the side over here. Let's select these teeth. Like that. Again, we've got a lot of extra stuff selected. Let's go ahead and unselect Pac Man. Of course, we don't delete him or the nerves curve. Make sure we just have teeth selected and hit delete. Now let's take all of these teeth and control G them, and we'll call this bottom teeth. Duplicate that with control D. So we top teeth. And what we need to do is, of course, make the top teeth top teeth. So here's a quick challenge for you. How do we reverse these? What do we do in the channel box editor? Well, some of you guessed it. We will go negative one and scale. There we go. And we probably need to change the size that are a bit small. So let's select all of our teeth here, scale them up to fit, and we'll move them into place. Take the bottom teeth. We'll rotate them, pop them into place that. Take the top teeth, rotate them. Pop them in a place like that. And then we'll need to parent both of these, middle mouth drag them over to Pac Man. And then hopefully, what we'll get is a massive teeth. Crazy. All right. And they're not everything Yeah. It's kind of abominable. I mean, it's more abominable than it was before. Looks like we're not quite completely rotated well here. Let's take that top teeth there and rotate them just a little bit more. Position them up just a little higher. Like that. Okay. We have fangs, people Let's zoom in here. Take a render of this fanged beast we've created. Let's click on Arnold, press play, and behold the evil. Man, just like that, we've created this abomination. I'll render out a few frames. This may not be the most abominable thing you've ever seen, but I'd like to see your most abominable version of the Pac Man. So can't wait to see what you guys create. It's got to be awesome. And I'll see in the next unit. 46. Among Us Unit Intro: Welcome to another exciting unit, Unit 3. In this unit, we take inspiration from among us, we're going to be modeling, texturing, rigging, animating, and rendering, a crewmates and thought, wait, it gets better. We're also going to create an impostor and animated in a posture attack with teeth. And it's gonna get a little bit crazy. You're going to learn how to use poly extrusion to create very complex objects, extremely easy. As well as we're going to go deeper into rigging because you're gonna be using joints now for the first time. And we'll touch base on constraints. We'll go further with cameras and rendering. It's going to be awesome. And as always, we will have our famous abomination section where you will create abominations. So abominable, so cursed that even YouTube itself won't be able to fathom them. So get yourself prepared. Let's get rocket. 47. Project Structure Review: Okay, My issue, you and other challenge. But first I'm gonna hit that boring alert button. Okay, let's be honest, you didn't get into 3D modeling and animation. So you can do boring things like administrative tasks, like worrying about where files go, project structure, I get it. It's super boring, but it's also super important. Disorganized people will never be excellent anti-aircraft. They'll never be very good at Maya or anything really. So you've got to learn to be organized and trust me, It's taken me years. We're going to start creating more and more complex scenes as we go along. It's going to get more and more advanced. We're still in the units that are simple. We're about to do a crew mate from among us. But the scenes, the animations, Everything's going to require more and more file structure. You can just take my word for it. It's gonna get big and heavy. So I want you to create a new project structure. We use the same project structure, believe it or not, for both Minecraft Steve, and for Pac-Man, no more. Every project gets its own structure. So how did we do that? If you need to, you can go back and watch Lecture 6 on project structure. Okay, pause the video, try to set up a new project for chromate or among us, okay? Hopefully you were able to achieve that successfully if not, don't worry about it. First of all, we don't want to save here, we want to create a new project. So let's go to our project window. We can see we're still in Minecraft, Steve, that's not good. Let's create a new project. Let's call this among us. And then let's give it a better location in my among us folder. All right, we'll select that and we'll hit accept what you now should have as a folder called Among Us with all that stuff in there. Great job. Okay, So now we need to save the scene file. Save Scene As, and we're in among us in scenes. That's how project structure works. Pretty simple now, isn't it? The second time, way easier. And the third, fourth, you won't even think about it anymore. But trust me, it's important. Do not go with the lazy route where you just don't create new projects for everything and you have files everywhere. There'll be that person. Okay. So we'll call this modelling. Roommate. Tried to be descriptive with that. Okay. I know that's boring. I know we had to hit the boring alert button. I get sometimes the most boring things. You don't want to learn them. They're not fun, but they're going to help you be excellent at your craft. That can help you get hired, that can help you stay hired. Okay. See you in the next one where we're going to set up the image plane and begin modelling or first cremate. It's going to be awesome. Boom. 48. Extrusion Spaceship: Before we go ahead and start modelling, I'm going to introduce you to a new concept. It's called extrusions. It sounds very complicated, but it's extremely simple. And I'm going to show you the hotkey and I'm going to show you what all you can do with it. And then I'm gonna issue another challenge. Okay, I do this with all my students. When I hit this button right here and I'm going to get a cube. And let's open the modeling toolkit. This is something that check. I have soft selection on from the last time and I definitely want to uncheck that because this was a mess us up, Kay, so just create any object doesn't really matter what you want to start with. In fact, you could start with a sphere, right? It doesn't matter. What you're going to do is select faces. And it doesn't just have to be faces, but typically we're going to select faces. And the hotkey is Control E. But let me show you the menu first. If we go up to Edit Mesh extrude, we can do the same thing. However, I want you to memorize this control E right here. Very important. You're going to use it so much when modeling and it's going to make your real boss. So right now, just memorize this. It will be on a quiz, so Control E will get us excluded. So what does that do, Control E? It opens up this dialogue. This is a useful dialogue and we'll use it many times. But also a lot of times I will just go ahead and hit a hotkey for w, e, or R to rotate scale or translate. But sometimes I do need to use this context menu and you'll see how that works. So thickness, I could achieve that same thing with Translate W, local Translate Z is going to do the same thing. Offset though, pretty important, but I could do the same thing with R or scale and then adding divisions. This is where you would actually need this menu to add extra divisions, which you definitely will sometimes. And then keep faces together. Let me show you that one on the sphere over here. If I select multiple faces here, and I control ie, and I move it out like this. That's my extrusion. However, I can take the faces off and then I would have separate extrusions there, Charlie again. And this time I got rid of the dialogue and I just hit button. Now, what that does is it scaling it towards the center? Let's say I didn't want to do that. I'll undo that and Control E Again. Let's say I use this offset right here that will keep them centered how it's very small objects. So I'm going to hold down Control so I can very fine tune. Do you see the difference there? This Centers them all. This offset versus if I had hit R right here, it's going to scale them towards this center, which I might not want. Okay, that's a lot to taken. So let's practice extruding. What we're going to try to do is make a spaceship from a very simple object. Let's go ahead and start over. Well, I'll just get rid of this. The sphere here. Let's get it out of her way, out of this very simple object. Let's create a really cool spaceship. Is that even possible? I don't know. You tell me, Let's get started. Control E going to keep saying control, ELR, get used to it. I need you to memorize this one. It's an important hotkey. Very, very important. Okay, that looks pretty cool right there. In fact, it's so cool. I'm going to go ahead and take this object and duplicate it. Control D, come over to the Channel box and scale it. Which, which axis you see there? It's LU. So we know it's actually the z negative 1 Enter. And now I've got something mirrored, but I'm gonna move it over here and maybe make those kind of wings or something. I'm not even sure. But cool. Now, this is something I haven't shown you and it's pretty cool. I can combine these as one object. So I can go mash, combine, and it's going to create a new one. And we're going to call this the wings. Sure, why not? And we can't delete these yet. Wings is still attached to them. What we need to do to free that up is edit, delete all by type, history. That's gonna be kind of important to clean things up. Otherwise, you're going to have a million things in the attribute editor. Right now we just have four. That's good. I know I'm moving fast. The point is not to show you those things I just showed you like Mesh Combine, although we will be doing this quite a bit, it's very useful. So practice with it. Let's go ahead and keep going here. So what do we want to do? Well, what if we wanted to bridge these here? What we do? Let's go back to our modeling toolkit. This is something we've done before. So now they're combined. I can select both of these and hit, you guessed it, bridge, and it worked perfectly. Now we'll have the center of my spaceship, but it's not nearly big enough. So I'm going to select all these points and I'm going to scale them up like that. Now we've got the whole of our spaceship and I'm just going to continue Control E excluding all over the place. Let's check that offset down ever so slightly, like so. And it might have been too much. Don't want to flat space ship. There we go, right, that control E. Let's move this out. Troll II again, I'm going to scale it like that. And maybe down like that, control E, move it out. And you can see that we're pretty quickly, I can create advanced objects out of just one cube. This is where it becomes extremely powerful. So all I'm doing is Control E, scale, rotate, translate. I haven't rotated anything your eye and Control E. And I can create extremely awesome terrifying spaceships with just a few hotkeys. Really, just for hotkeys and some imagination, right? I don't even know what the spaceship does, but I like it already. It's the best. Or is it? I don't know. Let's go out the back here. Starting to look like a spaceship. It's maybe not the coolest spaceship I've ever seen. I definitely think we need to control E, this scale it way down. And let's zoom in here. Let's take all these points and just, let's take this edge loop right here. Select that. What I wanna do is something called Babel, right? And we get this menu where we can change some stuff out. I'm just adding some more detail to it. And don't worry about babbling. It's not super important. Just adding extra bits of detail. And just Shift double-click there. And we could just move these points around as we want. And I could have done all that. I could have done all that though with the regular tools. Okay, It's looking cool. We definitely could make this part up here. Cooler though. Again, you don't have to spend a lot of time on this. It's just about memorizing the hotkeys. And that's what's going to be important here. Now, Control E, and I'm going to scale that down. And then I'll select all three of these control E and I'll change their offsets down, like so. But I don't want to keep faces together. See now I have like three after burners. They are whatever these are, doesn't matter. Just control eating and the regular hotkeys for scaling. And you can come up with some pretty awesome stuff. Let's practice that technique again. Their control E, going to scale down, select all of them, control E and not keep the faces together and take their offset out, like holding down control though, and then control eating. Take them out. Looks like I accidentally had some stuff up here selected. We'll just call it cool technology Off, Off On the other side. Not really what I was going for, but that's an accident to watch out for, for sure. But sounds and afterbirth here Control E. And we'll definitely use the offset because otherwise it'll scale towards center. So holding down control, that control E. Move those out. And troll II again, this time I'll change the offset out. This and we'll take it like that. Maybe. These are super thrusters there, the big kind, right? And you can see how very quickly I could create a crazy complex spaceship, Alright, and adding textures and bump maps, which we haven't gotten into yet, but we will, we'll make this spaceship even cooler and cooler. So put this, put this away. It's going to be a challenge. I want to see how complex your spaceship can be. I mean, you can spend hours on this or you can spend 20 minutes. Really, my main goal here is to make sure that you understand extrusion and that you know it very well and that you can just Control E, the crap out of stuff. You understand how to work this system here. And you can create a basic spaceship so you don't have to go overboard here. It's not character modeling. We're doing, we're mainly focusing on character modeling in this course, but this is very useful. So it's going to be one of those assignments. It's going to be the spaceship assignment and it will be at the end. But practice, practice, practice. Show me your coolest spaceship. I'm really excited to see what you guys do and I'm excited that you guys are learning how to master polygonal modeling and that you learned extrusion in this lesson. So I know this was a diversion from what we're working on, but it's very important to understand extrusion. So in the next one, we'll actually start modeling our cremate. I'll see you then. 49. Image Plane and Modeling Crewmate: Okay, It's important to note that we are going to be modeling a 3D character, but based on a 2D game, what that means is we don't necessarily have reference for front end profile. So we're going to have to use some of our artistic skills to fill in the gaps. We will still be using a reference though. So it doesn't really matter what viewport we put it in. I'll go ahead and switch over to the front and we'll go view image plane, important image. And we'll just use this for scale. But obviously we only get maybe height and width with it, not depth, because this is kinda shot off to the side. It's all relative, but it's going to help us get there. Now, lots of different ways to model our character. And we haven't gotten much into subdivision surfaces. But it did show you the three hotkey and one video. Obviously, you probably not gonna remember that though. So what we're gonna do is we're going to start with a cube. And we're going to be using extrusion, which you now know the hotkey for, but I'll still say it every once in a while. We're not necessarily going to extrude it right away though, what we wanna do is kind of scale up and get the overall shape, right. We'll round out the top with extrusion, but the overall shape is basically this. Now, it needs to round quite a bit. Then we could do that lots of different ways. For one week, hit the three on the keyboard and we somewhat get more rounding out of it, and we will be using this. But for right now, let's keep things blocky. Like so I just want to overall structure. And what we did in the last one is we practiced extrusion. So you can probably guess how we're going to do the legs. We're going to go control either. We're going to scale it down right there to the center. Let's go ahead and look at what we've got here. We can see those. Yeah, that looks pretty good right there. And then we'll take these two. Pauli's. Control E will take them down like that. Now I get it. We're trying to do a rounded shape with blocks. That's where subdivision surfaces really shines, is when you hit that three on the keyboard, you start getting that shape. Now, it's not perfect yet. Don't worry about it. So you can see here though, that we can take this up a little bit like that. And we could probably scale this out right here like that. Then we're starting to get that round shape. All right, pretty cool, pretty fast and easy. Now we need to model a backpack. Now let's pay really close attention to this. We've done a very poor job of that. Hi, I know I've talked about this many, many times, but what we really wanna do is make sure it looks like this for the front of our character. So x to the left, y and z in the back. And that's how we know this is the front of our character. So the back of our character would naturally be the opposite of that. This is where a backpack will go. So let's go ahead and create a little backpack. I don't know if it's called a backpack. I'll be honest, I'm not a huge among the sky, but my students always talk about it and they don't say a monastery, Sam bogus. Don't know if that's bad or whatever, but my students always say things. Who knows, I don't really know. So I'm going to Control E this, but I'm gonna go back to one so we can kind of see what we're doing here. And I'm going to just take this top part down. I don't want to take the bottom part down, maybe just a little bit. Let's scale it. Let's see where we're at. Something like that. Okay, our backpack is obviously not going to look like that. So we want to take maybe the edges and a little bit, we'll take this edge down, like so and will take these edges then maybe we can take these points in a little bit like that. We're just basically trying to create more of a backpack shape in the back. And we'll get there, promise, something like that. We'll hit three on the keyboard. And that looks like this line here. It's going to need to go down further because the backpack basically comes out right here. So what we'll do is we'll just take that all the way down. It's going to cause some distortion there. Let's go back to this. Let's take it down just to there. Okay, and then we'll take this out. Control E, which is extrude that straight out. That will be our backpack shape. Now, I get it. Subdivision surfaces doesn't make a whole lot of sense when you first learn it. It's kind of a difficult concept. That's why we're starting slow and moving slowly. We're starting with a minus to really do this. So I'll hit three on my keyboard and we're kind of close to his overall shape. The one last thing we need to do is put on a helmet though. So why don't we go ahead and Shading x-ray. And we'll just kinda, kinda get the vibe of what the Talmud is. And so we're on the front side here, you know, the backpacks in the back. But we need to do is select this and Control E. And we'll get a shape there that we want to scale down quite a bit and try to create a helmet left now where exactly it goes. Something like that. And we're going to add more detail into this. So Control E. And let's go back to one, see what we're getting. I want to just barely offset that in like that. And all had three. Not quite what I'm going for. Let's go ahead and turn off that Shading x-ray. It's kinda confusing me. This is not the overall shape we want. We want these much closer together. Okay, So how did we do that? This one's already five minutes. So what we'll do is we'll concentrate on making this look a lot more like a helmet or whatever it's called. It's not a helmet. It says viewing pain his window into the world as it were. And we'll fix that up. We'll get the rest of him just kind of a lot more detailed and ready to texture. So we'll do that in the next one. I'll see you then. 50. Modeling Crewmate Pt 2: Okay, this is not what we're going for. It all. It's ugly, it doesn't work. And no amount of tweaking right here, we'll fix it. So I'm going to just get angry and I'm going to select all these Pauli's in here. You know what's coming? I'm going to delete them. Boom, gone. Now I have a window to the soul of the crew mate and I can see if they are the imposture or not. I'll hit three here much closer to what we want. But honestly, I'm going to take these two edges here, again, hitting one on the keyboard. And I'm going to scale them inward like that and hit 3. Now we're much closer to what we want. Now we want to put kind of a dome on here. So it's much better starting position. We can make this a little bit bigger and we probably should. Helmets kind of one of those endearing parts of the chromate in my opinion. So I'm going to widen this up a little bit and try to keep it in place with this. Again, that 2D image is offset. It's taken at an angle so we can't get it completely right. This is where kind of use your imagination and fill in the blanks. This is about the size of the helmet, what we want as a, as a kind of dark ring around it. And then the will make this a different color. So we'll round this out. So how do we do that? Well, we can select all these edges. We just shift Double-click to get that edge selection loop and Control E. And what does this look like on one? You can't see anything but notice, even though I didn't scale it or anything, I've already got that kinda go and form either I'm going to want to scale it down a little bit, a hold Control down and just offset so that way we're not overlapping those edges. Chase, that's better. I'll select these shift Double-click again, control E. And this time I want to take them. And we're like that. Right? In this, this would be the case in case we wanted to show semi-transparent here, which I guess they don't. So maybe we won't do it that way. Maybe we'll take it out the other way like this. And it will start offsetting it again, holding control to get very, very smooth, limited. We don't want to close this off, but maybe take that thickness back just hair. And let's actually, let's actually do maybe one more. This is where we're going to kind of bridge things. Okay, That's way too far out. So you can see. So let's take that thickness back, notch, maybe something like that. And then we'll re-select all these and hit bridge. There we go. Pretty simple. I mean, once you take this edge right here and harden it, what does that mean? Well, if I go up to Mesh tools, I can use this crease tool right here. And then I just drag my middle mouse button and that kind of creases it so I don't know if you can tell what's happening there, but just kinda tightens it up a little bit. All right. So we finished the helmet. It's really going to come down to texturing. And with among us we're not going to want these little edges here, these points, we're going to subdivide further, but it's important you don't hit that sub-divide button or smooth button. Don't add divisions, don't do smoothing until you pretty much have the character of the way he's going to look. So definitely don't do that right away. But here we have it really quickly. We've modeled our crew made out. And it's going to come down to a couple of final tweaks where we smooth it out. And then we'll start texturing them. We're going to rig and it's going to be awesome. I'll see you in the next one. 51. Applying Materials: Okay, what we really want to do now is texture or cremate. But there's a couple of things I want to do before we start texturing. One, Let's go ahead and file Save Scene As and instead of modelling crew mate, it will be texturing cremate. We'll hit Save As now, we can go back to our history. Now speaking of history, we have all this history on our character and we want to get rid of all that. So let's go ahead and do that. Edit, delete all by type history. Now this is boring. It seems unnecessary. Why not just leave it all there? Everything's moving fast. Well, in a very complex scene, this is going to get very complicated and it's going to slow things down. Also. It helps clean up everything so I can easily find what I'm looking for. So I will go ahead and delete that. Now. I don't have all that extra stuff here. And of course we need to name our character roommate. And this will be crew mate red. We'll start with cremate red. This will not be the imposture. Yes, heads up, we're going to model an impostor and an imposture attack. So it's going to be a crazy here soon. Another thing I would like to do, and I don't generally encourage you to do this, but because this is such a simple character, I am going to actually smooth to get rid of these little lines. They don't look good, so I'll go ahead and hit Smooth and that will take care of that. Now, let me show you this new we've been using this pick marquee tool, so like to select faces. This, but it's not great maybe for this kind of round edge early like to use the drag tool for that. So then I can just hold drag and drag along and I can select everything. And if I just keep it held, obviously, I need to unselect everything, but if I just keep it held, I can just paint kind of where I want to grab and we'll paint the windshield or whatever you want to call this opening window to the soul of the chromate. And we're going to add a new shader. So we're gonna go ahead and assign the material just to that area. It's going to be Arnold. We're not gonna use car paint. We're actually going to use something called Standard Surface. Lot of cool things we can do in here. If we go over to that standard surface, Let's change the color to maybe like a blue bluish color like that. And let's do a base weight of 0.5. And so we take a render. This is not, this is just some settings I use when I built it. And let's crank the metal NAS up that's going to make it more reflective. It's going to look cool. And then let's go down here to this thin film here. And we'll crank the IOR all the way up like that. Okay, just some settings. There's a lot here. We're not going to get super complex with Arnold shaders yet, not in this lesson, but when we start getting more advanced, of course we will. So what is this going to look like? Not much because we need to take a render. So we're not going to see much if we take a render right now because we need an Arnold light. Let's go ahead and create one. Arnold lights will go ahead and do a sky dome light. What we're actually going to do differently though in this lesson and not right now is we're going to be using an HDRI image to create better lighting, but not right now let's just do a test render real quick Render. Arnold started out, okay, not going to see much right now. Not going to look great. Not until we get the HDRI image in there. So just trust me on this, this looks really boring right now. It's ugly. Totally get that. But once we get that HDRI image going, it's going to be a whole new ballgame. Trust me. Let's continue our texturing real quick here. Let's select our character, and let's try to do an edge loop selection here. Let's go ahead and select this area right here. Shift double-click, and we're going to create a new texture there that's darker. So I'll just go ahead and sign the material again, Arnold. And we'll just do a flat and we'll just take it down too dark, right? Okay. We should be naming these and I haven't. So let's call this flat black. And what we need to do is go select that other one we created. Select here. We're going to have that standard surface and we just need to name that window. I don't know what else to call it. I'm calling it a window people. Now we want to select everything else and we'll do a car paint red. Okay, so let's go ahead and do that. We'll select everything else. And then we'll just unselect all this by holding Control. You can see why now you don't want to add too much detail because this would be hugely difficult, insanely difficult. Okay, so we have the unselected, everything else should be selected. Looks good and right-click. Assign the material. Arnold, car paint. It's already read. Super awesome, but let's name it. Roommate. Read. Okay, We'll take a render, but again, you're not going to see much. It's going to look pretty awful. But let's just show you what we've got. It's got Arnold here. I surrender. You know, it is what it is people. But in the next one, we're going to start doing HDR lighting. What does HDR stands for? High dynamic range. First, I'm gonna show you where you can get them for free, super awesome website. And then you're going to see how cool the skin look. So I'll see you in the next one. 52. Applying HDRI Images: Okay, HDRI images, what do they look like? I'll pull one up for you. But first the website where you can get them for free, HDRI Haven.com. I would provide a link, but it looks like they're moving to poly haven.com. So keep that in mind if you're watching this and this does not work. Polyhedron.com. Okay, These are really cool. You go to HDRI is here and you can pick from these different things. I don't remember. I think I went into a studio and pick two of them that we can use, but, but experiment, try them. Try anything you like. I think I've got it doesn't make a lot of sense until you kind of see what it does is they take an image at multiple exposure levels and they put them all together as one. So it's a 360 photo. It's like a spherical photo and it's got a lot of depth to it. What does depth if you're not a photographer, basically, if I take a picture outdoors from in here, well, here's a good example. Look at my picture right here. You see that this side of my face is dark and you can't see any detail. This side of the face just as fine and outside. You can't see any detail because it's too bright. What an HDRI images is, it takes an exposure where this is in focus, or there's detail here and it's lit. And this is dark maybe. And it takes an exposure where you can even see outside the window and it puts them all into one file so the files can get very large. So keep that in mind. Now I know this might seem boring, but this is what all the best movies and animations have they used to this kind of lighting? Why? Because it looks better. Let's prove it to you. Let's go back over to Maya. If we go over here to sky dome light, we can actually add a texture here, and that's what we're gonna do. So I'll go ahead and select this button here. And we'll hit File. And we'll select that image name. Will just go ahead and do service arena. This is the HDRI image I selected. You just tell me what you think. I'll hit open here. And boom, look at all this extra light detail that we get on our Among Us character. Pretty cool stuff. Now, I could move this around and change it because you can see all the lights coming from the back. But we're getting all these reflections and everything, which are super cool, super awesome. And then we can take this out of the render if we wanted to or we could leave it. But notice this, this is pretty cool stuff here. Now I turn my character around because all that cool lightings happening on the back. So let's go ahead and rotate. Actually, let's go ahead and rotate our sky dome. I'll hit E on the keyboard and we'll just take it around like that. And you can see it's changing kind of how things are viewed. And we're getting us cool reflections on our helmet piece there. That's HDRI lighting. Now, I encourage you to go play around with that, download a whole bunch of them that are free and experiment with different lighting schemes for your character. Have fun with it. That's HDRI lighting for him. If it doesn't quite make sense yet, don't worry, we'll be using a lot more in the future. So if it doesn't quite make sense, don't worry about it. Just play with it, have fun with it. And the next one we're going to go over creating layers for all of this. I know we have what seemed to be layers here, but actually there's a way better way to handle multiple objects in the scene. And it's going to come in useful as our scenes get more and more complex. So I'll see you in the next one. 53. Layer Panel: Now again, what I'm about to show you can seem boring. We can hit the boring alert if you want. There. He satisfied. So boring things keep the scene organized and really help you quite a bit. If I go over to the Channel box editor, already, we have this, this Layer menu. You've probably never even seen it before, but it's super useful. I'll go ahead and pause this. This is how we keep things organized in our scene. And this scene is going to get a lot more complex than any of the ones we've done in the past. Lot more characters, a lot more things going on. So you just kinda trust me on it. Right now. We may or may not want to turn off the sky dome light every once in a while, we may or may not want to turn off our cremate every once in a while, we definitely want to turn off our image plane. In fact, I'm just gonna go ahead and Control H that right now. So let's start with him. Let's go ahead and hit Layers, create layer from selected. I now have this layer and we're going to obviously want to name it crew mate, read through me. Read, hit Save. Okay, we have crew mate red here. This one's pretty easy. Visibility. I can turn them off or on in the scene. This is playback visibility. So notice nothing happens. If I hit Play here, disappears. Why would I wanna do that? Well, if I'm concentrating on one character that's complex and I don't want any other characters in there to make the playback slow. And now these are not problems we have in the simple scenes we're creating, but it's there if you need it. So that's playback visibility. The next one, there's a T or an R. Okay? This is kinda hard to understand. So slow this down and kinda memorize it. And then it's off, right? So T means I can see it in wireframe mode. If I go to Select tool here though, what this means is I can't select it in the scene. It's unselect double. But I can only see the wireframe. This is useful when I'm trying to select something else or even a part of the character, and I don't want to accidentally select the wrong part. So we're actually going to rig this character, which means we're going to put in joints or bones. And what we're gonna wanna do is turn off selection of the mesh while we actually work on the bone structure. That's why I'm showing you this layer panel now before we start rigging in the next one. So that's templated, but also R is referenced, which means I can see the mesh, but I still again can't select it. So visibility, very useful. Playback, not as useful for us right now, but in the future possibly. And then this reference, very useful, but see now I can select it. And I might want to not select it again when we do the joints in the next one, we're not going to want to select it. So we're going to either use template ID or referenced to make sure I can't select it anymore. Okay, now pause the video here and same thing for the sky dome. Create a layer for it. So you're practicing, okay, what you should have done a selected the sky dome light here. Layers create layer from selected. And of course named it sky dome. It say, okay, and now we can turn off that background if we need to clean things up quite a bit. So Layer panel kind of boring, but super powerful will definitely help you take control when you're doing the next thing which will be rigging. I'll see you then. 54. Creating Joints: Okay, Before we start rigging our character, let's talk about joints. I'll go ahead and hide our character here. And let's go from modelling to rigging. And let's go ahead and switch to this front view. Okay. So in Maya, they're called joints. Many other programs we'll call them bones, but they're essentially under the skeleton thing and we can create them. Let's go ahead and create a leg. Let's start at the hip. Go down to the knee, down to the ankle and end with the foot. There's your leg. Or you can translate these around. But really once you rig, you start rotating them like real joints. Okay. So I can rotate my leg. I could use my kneaded just kick or I could tap my foot at the ankle. And you want to name these the same? This would be called the hip. This would be called the knee and this would be called the foot. Okay. And then you'll attach this to a mesh and that would deform the mesh. And then you can edit how it deforms. That's what joints are, that's what bones are, and that's how we rig most characters. But we haven't had x2 because we've had very, very simple characters. Now among us, We're still got a character that's not going to need a kneecap, right? It's going to be a very, very simple rig. The reason I chose the Among Us character is because all we're going to be able to do with him is wobble the feet and bend his body. That's it. We're not going to try to do much more than that. So let's go ahead and get started rigging. We'll hit Spacebar here. We'll come over to this front view. And the side view, we're going to want these views. So let's go side-by-side on both of those. Again, changes to Panels, orthographic and side. We'll zoom in and we'll get rid of our joint here. We're going to create joints for our character. It's going to be very simple. We're going to start with leg joints and we'll parent them to a body joint. We'll put one or two divisions in it. So how do we do that? Skeleton? Create Joints. So the leg, I'm literally just going to do one. This is a good time to do shading, X-Ray Joints. Shading X-Ray Joints. And it's a very short joint for a very short flipped and we're going to call this leg are so we can go ahead and and we could duplicate this or we can mirror it. If we go to Skeleton Mirror Joints, we can hit this button here. And I've already done this before, but you could search for R and replace with L. Let's go ahead and mirror across the YZ. Hit apply. And that will pop it over here. And then we've actually duplicated this and it's renamed it for us. So super useful tool mirroring. Now, it's not very useful on a character this simple, but just keep in mind, it does come in useful. This is an awesome, powerful thing, so we'll close out of it. You'll just have to trust me. Now let's go ahead and create joints for the body. I'm literally just going to do one for the top. Let's just say it's head can kinda wiggle. And then one of the top of this head and we do I name these well, I'll go ahead and name this one hip. And I'll go ahead and name this one head. There it is. And let's take both legs and middle mouse, drag them to hip. So the parent and notice that creates bones in-between. Pretty cool. So that is creating joints. It seems pretty simple hopefully. And now we can rotate them and do things with them so I could go in here and rotate the little legs. But it won't change the mesh yet because we have not actually attached a mesh to the bones. That's what we're gonna do in the next one. So I'll see you in the next one. 55. Weight Painting Pt1: Okay, Um, next we're gonna do something called skinning. Let's go ahead and select our crew mate, read and control. Select this hip right here, which selects all of them because they're parented to it. And we can go ahead and hit skin, bind skin. Now, what is that going to do? It doesn't look like it did anything, does it? Let's go ahead and select our head here. And let's rotate it. Notice the body and moves with it. Pretty okay, awesome. So now we can do dance moves. Or maybe that's how they communicate. Awesome. All right, I'll undo those twists. Let's check the legs out here. Select this leg. Dirt, dirt. Now, the leg moves way more of the body than it probably should. Like. It shouldn't affect this other side over here. So what we're gonna do in this besides just binding the skin, is, I'll do that, is we're actually going to do weight painting. So let's get to wait painting. How do we do that? We can go to Skin and paint skin weights. Now, we can't really see what we're doing. We have no control here. So we're going to want to see the tools. If I double-click here, we can see all the tools and we can select different parts to paint. Now how weight painting works is pretty simple. Go ahead and select this leg here and then go find this leg over here. I need to select the mesh as well. Okay. So with the mesh selected, you can see there's dark areas and light areas. Now, the white area means that that area is affected by the joint. The dark areas unaffected. What we want to make sure is that with this leg over here, this leg does not affect so much. So we need to paint dark there. So basically we're painting light areas and dark areas with certain bone selected and you have to select the actual mesh to see this pop-up. Now, to change my brush size, I can hold down B and then drag with my left mouse button. So you're going to want to memorize this B and drag with your left mouse button. Now you can't paint areas like this. You can only paint and vertices. So it's kind of confusing. So let's go ahead and just mess around here. Let's say I wanted to paint right here. What then would happen if I move this leg? Let's go back. It's important for you to see these steps. Now, I move this leg, we should get movement up here, so I'll rotate this leg. Yeah, Let's see. That looks horrible unless you're trying to be like broad. This could be one of the this could be one of the impostor attacks. Okay, Now that's, that's the stuff my students do and I'm the teacher. I didn't mean to not do things like that. So again, how do I get to there? Well, I can go back to white paint. This is not my weight painting tool, but it's still right here. Or if I lost it, I could go up to skin and paint skin weights or I can go back to the last US tool. This is just a tool settings, but in order to see what I'm doing, I have to actually select my crew mate and then I can see what I'm doing. So I want to paint all this dark. And the default is if you left mouse drag, it's white. But if you hold down Control, you'll get dark. So I really want to hold down control. And I want to paint it all out. Notice it's only when I hover over vertices. I can do this all day. Nothing's going to change. When I hover vertices though, it will change. So I'm holding down Control and I'm going to go to every place where I don't want the leg to affect all those vertices. So I don't want it see how you can see. It's a little bit light here. It shouldn't be affecting the side at all. So paint that out. And again, if you need to change your brush size B, and I like that. So practice this. It's, it's kinda fun. I find it relaxing. It's not as fun on a more complex character, which we will do. So and then that leg should not affect this much of the back. We want those other bones to affect it. So I'm just gonna go all the vertices here and painted out except for what I want to. I might leave it here or it might not. We'll just see kinda depends on it. Our character looks when we animate them. Well, let's go ahead and paint all the weights out that we don't want it to affect. This other side here. Okay? And it probably will deform a little bit right there. And we can determine whether or not we want it to deform this high app. And I'm going to say no for right now. But you could also go for a very squishy looking character depending on how you weight paint. So we'll just call that good for right now. So the all that hard work that I just did, is there a way to mirror that over to the other side? Well, we'll explore that and other things in the next one. I'll see you then. 56. Mirroring Skin Weights: Okay, this is truly a simple model and it's truly a simple Paint Skin Weights job. The reason I'm gonna show you how to mirror them is just so that in the future we can save plenty of time. And one thing that students don't always recognize is the first time they hear something, they don't remember it. And this doesn't have to do with age. It's any human the first time you teach them something. And if they haven't eidetic memory, which is extremely rare, they'll forget. So what you do as a teacher, as you introduce a concept and youth or harp on it a ton for like a long time. Or you slowly reintroduce that same topic. That's why learning languages programs will always introduce something than five minutes later, bring it back, then 20 minutes later, bring it back. So we're going to show you these things and then we're gonna get more and more complex with them. Much like when you learn math, you start with the basic and very easy equations and then you move on to advanced calculus. We start with very basic characters, very basic rigging jobs, very basic paints, skin wage jobs. And then we'll move on to things that are very complex and we'll want to save time. So using these tools, we'll start with the basic split. I'm going to introduce some those time-saving features. So we have this selected. We really need to make sure that the mesh is selected and we can mirror weights. So if we go to Skin, mirror skin weights, Let's hit this little dialogue. Now. How do we know which one of these axes to pick? And I think we did this with mirror joints. And so I'll probably go back and fix that video, but I didn't make it clear why we pick one or the other. I would assume x. Why wouldn't you go down here? Let's, let's minimize this tool. I would assume XY is where we're going to mirror it across. But if you really look at this and I'll try to paint something on the screen here. There's, There's two axes here, right? We want to mirror in the y and z-axis. We want to go straight up and across. That's how we want to divide this character in half. So if we think about cutting the character in half and why not? Let's get crazy and just do that real quick. I'll go to this. We'll select these, and I'll just select this character and we'll just delete half of his polys right here. Boom, okay, that was pure, pretty savage. It looks like I didn't get them all. Let's get them all. But now we have half of a chromate and we can see inside that they're just a hollow shell. But seriously, how do I know to choose y and z? Well, if I cut this character and half, I want to mirror this way and this way. So I want to mirror up and over we're back. That would be y and z for back. That is how I know I need to choose this for mirroring. Of course right now I need to control Z a couple times to get back my geometry. Pure savagery. Okay, so with this selected, I can select YZ. Now, I don't want to go from positive and negative, but you may want to depending on which side you, you did the work on. We did we did work on this side over here. This side over here. If we go to the channel box editor. So how do we know positive and negative? Well, let's just put a cube in our scene right here. What happens when we move it this way? Most negative times when we move it away, moves positive. Okay? So we're not going to select positive and negative. All right. So with this crew mates selected, let's go ahead and hit Apply. Let's go back to our Paint Skin Weights tool. So we're back in our Paint Skin Weights tool. We have this leg are here and this mirrored. So now we have the mirrored. It's just a time-saving feature and I know it took a long time to explain that in this video, what I really wanted you to understand is the axis and which one to pick. Now, worst-case scenario that didn't make any sense. Keep trying ones until you get it. Okay. I'm obviously that's a strategy that works and it works. I guess what I want you to do is I don't want you to give up on things are hard. You just keep going until you figure it out. And that's how you become successful as you don't give up. Because, yeah, there's always smarter people than you. There's always people that are more talented designers. It doesn't really matter if you don't give up though. If you don't give up, you will succeed. I promise you. I'll see you in the next one where we're going to animate. It's going to be fun. I can't wait to get started. 57. Setting up the Scene Imposter Kills Crewmate: Okay. We're going to move on. A couple of things I forgot to do. And the very important is we need to save it. This is texture increment. What we need to do is save all along the way. So we needed to have saved a version called rigging chromate and we need a one called animating chromate. However, I did not do that, so shame on me. Make sure to do that. Okay, so let's save this right now. File Save Scene As we'll call this animating chromate. Cool. What you'll notice here is if I select roommate, I cannot move chromate. I hit W, it's all grayed out. I can't move them. That's because once we rig them, now we can move it with the rig. So that's how we move crew mate. Now, however, this is not neat or tidy. So what we're gonna do is put them in a group together. I'll select both with control, and I will Control G them and I'm going to call this chromate. Okay. Let's talk for a second though about the scene we're going to create now, I could easily animate this guy walking across the screen, hopping across the screen, flying across the screen doesn't matter very easy. Doesn't really tell much of a story them, does it? What we wanna do is move on from the very simple act of animating to the more complex act of coming up with a story and telling it. Now, our stories aren't going to be one feature length films. They're just going to be moments. So how do we come up with a good story for our crew mate here? It's just sitting around in space. Let's think about what the game entails. The game entails crewmates doing tasks, and then a, an imposter trying to kill them and then trying to kill they are imposters. So what I'd like to do is create an impostor and created an imposter attack and kill a crummy. That's a pretty good story. We can just zoom in on that little segment of the overall picture here. And I think there'd be a lot of fun. And it can be a little bit of an abomination to. So what we're gonna do is we're going to actually create another cremate, but it's going to be an imposter. Let's go ahead and do that real quick. We'll go ahead and duplicate this guy Control D. This will be impostor. Okay? Now I've got an imposter over here. I can move it out. What we're gonna wanna do is color it differently. So let's go ahead and select all those polys again, like this, and then de-select using our drag tool. Holding down Shift to unselect all the parts we don't want to change. Luckily, we haven't added too much detail, so it only takes a second or two. There we go. So now let's right-click. Assign new material. Again. We'll go Arnold, car paint, and this time we'll make it yellow. But of course we're going to call it imposter or imposter, yellow. Just so we can find it easy. We'll change that color to yellow. And then we'll take a render to just check everything. But keep in mind, we've got our sky dome light turned off. So if we had over here to the layer n or we can put that back on, then we can go Render Arnold, play. There we go. So now we have our posture. We ever chromate. What we're going to have to do is make some changes on our imposture model and make them look more like an imposter. But before we do that, let's do one other thing here. Let's clean up our viewport area right now. When I hit view, they both disappear. We don't want that. So it's easy to have lots of stuff in one of these as you build and you forget that you had a layer created k. If we come over here to our layer panel, it's very confusing. We can easily fill this layer up with all sorts of objects. How can we go in and kind of see what's in this render layer? Well, we can right-click and say membership and view it. And we have this cremate red up here. Now, keep in mind, this can be very frustrating, appears to slow it down. Don't panic. And you'll hit a button that says it's going to remove it and it doesn't. You're like What? So if we go in here, we have cremate read and crew might read, well, it's easy to just think they mean chromate reds in here, but really that's not what's going on. So let me show you how frustrating this can be. Let's select this layer. It looks like the chromate and imposture both in there. And we know for a fact that when we hit this button, they both disappear. So we think to yourself, Well, let's remove imposter over here. Well, one of these is the impostor, and one of them is the chromate. And we know that if we go in here, left, we've got two chromate reds. We know this is the impostor, so that's where to cremate. Reds are coming from right here. Let's go ahead and rename this one to impostor. And notice that it changes. So we want to remove impostor from this layer so we can go Edit, Remove highlighted from display layer. And now it's not in there. And now when we hit this button, only the cremate disappears k. Now, if I hadn't shown you that, I can tell you from experience, you'd get all frustrated in here. It seems very confusing, not very well-designed in my opinion, but that's how you use it. So let's go back out of there and let's go ahead and select our impostor. And as we did before, layers create layer from selected. Make sure the name that impostor. And hit Save. Not going to let us because something's already named that we'll call it imposter one. Just a weird quirk. But now we have that ability to separate them all as we're animating. I like to get rid of everything when I'm animating. Now back to that layer though. See, we're not getting rid of the bones. When we do that, we are on the impostor but not on the crew mates. So we really need to add this bone structure over here to the cremate. So let's go ahead and select that. And with chromate read selected, we'll go ahead and right-click Add selected objects. And now we can just completely clean our scene out. Because in the next one we're going to have to remodel our character and posture here, re-read them and make a lot of changes in order for us attack to be happening. So we'll tackle that in the next one. I'll see you then. 58. Modeling the Imposter pt1: Okay, now let's kinda get real fun because we're going to model an imposture. Now, what we want to do is mimic a real-world attack from the game. And I'll show you that attack real quick. Okay, that's definitely my favorite. It's hack right there. And we're actually going to do it. But a couple of things we need to change on our model. Well, I want them to open up at the halfway point, but there is no halfway point to the model. We kind of go up and around with this edge loop here. And so we can't really open it up there. What we can do is insert a new edge loop and that's probably the simplest way. And that way we don't have to modify geometry too much. Let's just try inserting an edge loop here. Let's go back to our modelling tool, panel and Mesh tools. Insert Edge Loop. Let's see if we can insert one right here and maybe get the result we're looking for. Doesn't look like it does it. It's gonna go all the way up. So we're going to have to do something called Creating tries. And I don't ever recommend that we do this. Here we are. We're going to have to make some try guns. All right, let's go to our multicultural here. And we'll just go across straight like this. And we'll try to straighten these out as much as we can in a second. Now I've got some tribes were dealing with and I don't typically do that, but I think we'll be okay. Once again, this is the impostor and that's just the way it is. So I've got, I'll hit Q on the keyboard, and I'll try to flatten those out. I'll try to select this edge loop. I won't completely select because it's not a complete edge loop. So I have to do it twice, Shift, double-click, and then I should be able to scale it straight like this. And I'm going to have this problem. It's just going to be the way it is because of these trials right here and because of the smoothing we're on. See when we're in strict mode, it's fine. What we could do is increase the poly count on this quite a bit. And we could stay under subdivided like with a one here. And I could just hit smooth again. Well, I've got that line selected with the whole object selected I could, it's smooth. And the problem with this is going to increase render time. And I really need the smooth that one more time because of that, it's not a big decision we make rendering. I won't do that just yet. So what's the easiest way to do this? Well, we can duplicate his skin right here or his polys. So Control D and we'll call this top. We'll call this bottom. If we have to reread them. Not super worried because it's such an easy read job. All right, so on the bottom we need to select all the top polys. On the bottom, we need to go to Poly mode and select all of them. Like so, maybe a little bit lower. There we go. So making sure that the bottom selected, we'll go ahead and hit the liter. Of course they still exist. We'll go to the top. Let's go ahead and hide the bottom Control H. Now, just the top select. We shouldn't have that as a problem. Do that again, select them all. I'm going to Shift select that piece right there. It looks like we got that one. Hit Delete can not too big of a hurry, just kinda moving slowly will unhide that was Shift H. Now we should have a top and a bottom. And what we're going to need to do to animate them is move their center points so we'll hit W on the keyboard. And as you can see, because it's rigged, we really can't even do that. I'm going to for this, don't worry. I'm just going to go ahead and delete this. Be like starting from scratch, don't worry, it was so easy to do. We can always copy the bones from the other one, Emory skin, I'm not worried at all about it. This is a more complex setup, so we need to be able to start from scratch. Okay, what we're going to want to do though, is separate these out. What we wanna do is remove these from the impostor. So I'm going to go ahead and middle mouse drag them out. I'll get rid of this imposter group. We're actually going to have something else control our impostor. We're going to go create and we'll make a locator. That will be our control for the impostor and we're going to call it impostor. And then we're going to parent both of these underneath by middle mouse dragging them. Now I want to move the center point back over here so I can rotate the top. I'm still grayed out though. That's because these are still technically have a skin bound to them. So what we need to do is go edit, delete all by type, history. And now you can see I've got my, my ability to move it again. So that's because we had bound the skin to hips even though they didn't exist anymore. It's still held onto that history. That's why it's always important to delete and remove old history. So real quick now we can hit Insert and move this to the back for the pivot, Let's go and make sure we're right in the right place, right there. And It's like we're real close right here, right there. Now what we should be able to do is hinge. Let's go over here and rotate. Say Insert, get out of that tool, hit E and rotate. And now we can do our flip top head. Cool. So now that we've got our flipped up head, we're going to add teeth and the tongue. And that of course we're going to be specialty rigging on it, including Set Driven Keys. This one got a little long, but I'll see you in the next one. 59. Modifying the Imposters Mouth: Okay, What we'd like to do is fill these holes. So what we can do is obviously what we've done before. We can shift double-click and we can hit bridge. And we're going to get all this lumpiness and it's not going to look at, especially when you close it. A couple of ways we can fix that. We could have the normal character and then as soon as we animated open the normal characters hidden and we just reveal this. But I think we can clean this up a little bit more. Lots of ways to do that. What we could do instead is we could do individual portions like I could take these portions, right? You're probably all three of these right here. We'll try this and we get hit bridge. It's a lot cleaner. We can't necessarily neck all of these the same way because we have inappropriate amount of edges. So won't work. But we could shift double-click and hit bridge and then manually clean it up, shift, double-click, hit bridge. And then we can connect some dots with the target weld. So I'll hit one on a keyword for that. So we can take these across right here. We could use this multi-cloud not target weld. So when you take then the multi cut tool and go across and just connect this geometry. I didn't really horrible job there. We can strain it later. Not worried. I right-click and then I can start again. Of course this is more complicated, but we're trying to make something look better than it did. So it's worth a few extra seconds. And you're going to find the multicultural very useful and very powerful. C. We have a try there. I don't like working with tries, but we created it. We knew that would happen when we model this model. It looks like then I need to go up there. So again, we have the wrong amount on both sides, right-click. And that could cause us some problems. We'll probably do is just create a try right here. Are two tries rather. And we'll call it a day. Notice that it's much more flat even as it is, even without me going through and connecting all these key on our keyboard. So again, that's going to be a lot smoother and better looking. So we'll just keep it at that. Let's do that same process down here. Let's go to Edge mode. We'll just select a couple of edges here. Like this. Once we know that are even in amount will hit bridge. Looks like we definitely cost and distortion there. Well, let's see what we can do. Shift double-click and bridge. Shift double-click and bridge. We're going to get that rounding. It's just what happens. Let's go back to our multi cut tool here. I'll hit one of the keywords or flattered to begin with, we'll just go across, right-click, go across again. Right-click. Just continue that process. Lets me Erica. And then we'll do this one here. It's not perfect, but it will still be a lot better than it was a lot smoother. So a little extra effort goes along way. Not sure what's going on, but somehow this looks like it received a different shader. Looks like this as the font on it. Let's go ahead and just see if it changes back. Let's select all of these and try to change them back to our impostor, yellow. That's my guess as to what happened here. Right-click sign existing material and posture yellow. Yeah, that's what it was. K, Notice how difficult it is to mod a model versus creating it from scratch. If we created the impostor from scratch to have an open head, we wouldn't be dealing with these issues. However, it is important to know how to model a model. You may want to take someone else's model and do a remodel on it. So very important, not super easy though. You're learning a lot more about how this process works so you can make things appear better than they were. And this is really bothering me, but it looks like this is not completely rotated in one axis for some reason. So let's go back to our modeling tool kits like that. Select the object. And as you can see, should we rotated right here, it shouldn't be. So let's go ahead and put a 0 on that. Okay, that was bothering me. This is the only thing that should have rotated right here, this x axis. All right, cool. So we fill in the gaps that took way longer than it could have, but it looks way better than a year. So we've got that going for us. And in the next one we'll do teeth and the tongue. And then we're going to do some awesome stuff with that. We're going to rig it and we're going to be able to animate it was cetera and keys. So a review, but it's definitely a good review. I can't wait to get started. I'll see you in the next one. 60. Adding Teeth: Okay, let's model some teeth. We could use a cone, but I'm going to use a, just a blocker. Scale it way down over session at something like that. Zoom in here. Got one modeling toolkit. E. I'll maybe extrude up a bit. And I'll add two divisions. And I will hold down control and slowly drag this offset. Right? Like that. That's quite the incisor writer said three, That's pretty weak. Let's go ahead and hit smooth on it like that. There we go. Now we're getting somewhere. Let's turn on the soft selection and we'll carve it back a little bit. Here we go. I'll put some curve on his teeth. Make them more fang like for deadly. All right, Something like that. Now what we wanna do is duplicate this. But first let's name it choose. Now, this is a great review. You may have to go back to the abomination modelling for Pac-Man. But we can really quickly duplicate these teeth out a curve. So go ahead and stop the video, try it, see if you can remember. If not, that's totally cool. We'll get right back to it in a second. Okay. Hopefully you were able to figure that out or you went back to that video for review. If not, I'm going to select this tooth and Control D. Let's just do 15 times. Don't feel like we need as many teeth on this character there, sharper and meaner, and you only see him for a split second. Now let's create a curve. If you go here, the curve tools, there's a lot of ways we could draw curves. I'm going to use this tool and show it here. It's called EP Curve tool, but watch what it does. If I come over here to this top view, I can draw curves and I could just do like, Well, I'll do you a couple of points. You can see kind of how it works. Notice how easy that was to create a shape. I was the rough shape of what I was looking for. I obviously need to move it and Motet. So we can hit W on the keyboard. We should be able to select these and kind of manipulate them. Make it more round. There we go. Now let's move that back into place. And our character. And let's select all of these teeth. Modify, snap, align objects, position along curve. There we go. I like that. We've got teeth now they're all curved, different weird directions, so we may have to rotate some of them around. That's okay. Let's take these ones right here. Oh, yeah. Let's take these ones on the end. Maybe. It's just kinda rotate them around. There we go. That's better. Okay. Teeth, mean looking teeth. Let's move them all down. Just below the surface here. Like so. Awesome. Okay, and we want to waste time, but we want to obviously duplicate these above, but I want to parent all these teeth to the bottom. And then we'll duplicate them out. Control D. And I'll parent this to the top. Obviously they're facing the wrong direction and the top. Let's take all these teeth. I'm going to put them in a group control G, and I'll call this teeth. Just keep things organized. I'll do the same thing down here. I haven't been doing a great job of organizing Control G, and we'll call these teeth as well. All right, Now this is top teeth are not right and we need to rotate them to make sure they're going to be in the right position up here. So we've got some work to do and on we can see that their transforms way over here. So why don't we do this real quick. We'll edit, delete all by type history. And then what we wanna do is move their transformation. Though if we hit Modify, we can, we should be able to center the pivot here. So now it's in-between all of them. But I want to do though is I want to go to the channel box and I want to scale them. Negative one. And then I'll rotate them in the position. And it looks like looks like we need a Freeze Transformations, doesn't it? Let's freeze these transformations. Freese Scale, scales that one actually. Okay, so when we rotate this, we shouldn't be getting the scaling going on. And we are, and I don't like that. Let's try rotating them one at a time and see if that same problem exists. Yeah, totally does. And that's because when we have the group selected, let the scale is perfect. So it looks great. It looks like everything's good to go. But on these, we really do need to freeze these transformations. That's why they're scaling like crazy. So let's select all of these. And let's select all of this on all of these hopefully, right click Freeze. Oh, now when we rotate this group right here, select them. They look good. So we should be able to select all of these and rotate them. So I'm noticing when I rotate this Still get that crazy transformation. I'm not going to worry about that right now. Let's just, let's just select all these teeth right here. Let's go to scale z and negative one. It's moved them up here. And then, or maybe right here. And let's try rotating them. Can that same effect, no matter what I do, It does not seem to go away. So we've frozen our transformations, we've edited and delete all by type history. So what's going on here? Maybe we can intake them out of this group and figured out, Let's go ahead and remove them from the group. Here they are all those teeth. Let's get rid of this two thing, a select all these teeth and figure out why we can't rotate them without getting this horrible scale. Okay, so now I'm not getting that horrible scaling going on. I'm able to just rotate them. That's a good sign. So the group was adding some kind of conflict to us. Now we can move them hopefully and rotate them. Just fine. Seems to be working. But we're not rotating them all as a group or rotating them like individually, right? So this all works. We just need to rotate the whole group. So let's group them again, Control G. Try rotating that group. There we go. Okay. So I had to remove them from the group and rotate them first individually. Now, that was kinda confusing. It took some experimentation on my part, but I didn't give up. And I think, I think the best teachers in the world will forget things and the best teachers in the world, well, not realized that in the next version of Maya, for instance, they remove a feature, add a feature or change it. It's the best teachers in the world. Instead, we'll encourage you to become the best student the world. And that means you go and you try, try, try and sell, you fail, then you ask more questions than you try. So you fail and then you don't give up until you finish it and figure it out or find a way to solve the problem. And that's what I just did here. The reason I stop and talk about that as not to pad time, it's because it's very important for you to realize it's not always going to work. I followed thousands of tutorials in my lifetime to learn all that I've gained. And guess what? Inevitably at some point during the tutorial something breaks. Either the teacher made a mistake, either there was an upgrading the software or something unexpected happened. And no matter how many times I tried, I couldn't figure it out the way they were saying that deal with. So one of the most important skills for 3D animation modeling, programming, game design, anything I've ever taught any subject is don't give up when it doesn't make sense. Keep going. So if something's not working, try it, try the things, you know, Google it. I tried everything I knew and for some reason that group was was changing away. These things scaled and now works. Okay. I know it was long winded and super boring. I'm going to parent this back in the top. And what we should get when we rotate the top now, hopefully, heat from spouse. Hey, that almost makes it worth it. All right there. Check this out people. This is why we try, try and create a combination, but I'll see you in the next one. 61. Modeling Tongue: Okay, Let's do the tongue. The tongue should be easy, right? Let's go back to poly modeling here. I'm just going to create a cone. And if we go to this cone in the attribute editor, polygon one, we should be able to add some subdivisions on the height. Let's move it out so you can see we don't necessarily need that much detail, but I'm just going to add that much. Let's scale it down here and down there. So it's going to be long and thin and pokey like a sphere. Now let's beer, in my opinions, not nearly long enough for the damage we're going to deal. What we need to do is hit Insert and move the locator down to the bottom. I'll make sure that it's actually at the bottom. I don't know over here. We can't see it from this direction. Area right here. So we want to write it the base. What we're gonna do is scale from the base to the attack. And it's got the modeling toolkit and make sure that soft selection to off just because it can cause problems later. So we're going to want to rotate this like that at 45 degrees. We got to the channel box. We can just put in 45. Well, maybe not that way, maybe negative 45. And I'll move it into position and the mouth, something like that. And let's open that mouth again at the top. Rotate them. So this, obviously there's tons not nearly big enough. I say tongue, maybe it's not a ton. This is an alien we're talking about. But now since we've moved the Translate thing down here, if we hit scale, we can scale it up like that for an epic attack. Pretty awesome. Right? So all we have to do is change the scale for the attack, the scale in the y. So obviously we're going to have to animate this. We won't want to grab the y every time we want to attack. We're going to create sliders and all that. So both for opening the mouth and for this attack, we're going to be creating sliders and we're going to put them on the impostor. And we're gonna do that in the next episode. It's going to be fun. I'll real quick, we should probably name this tongue. And then of course, middle mouse drag and put it in to the impostor. Okay, Now we're done. I'll see you in the next one. 62. Set Driven Keys for Attack: Okay, at this point, I'd like to challenge you to try setting Driven Keys on both this tongue or whatever you wanna call it. And these jobs opening and closing. Okay. You know how to do it. So go ahead and try. If not, tag along with me, It's gonna be fun. Let's do this. Okay, so what we're gonna do is add attributes. Again, I always like to add them to the base of the model right here. So let's go ahead and do that in the attribute editor. Attributes and the attributes. First one we'll call tongue of death. That's beautiful. It's a fitting name to 0 to 10. Hit add the next one we're going to call jaws of death. And we know that's an appropriate name because we've seen what happens when these things chomp add. I can prove it to you. I'll select this top right here. I will hit C on the keyboard to rotate and okay, I think you get the picture. It's beautiful. All right, so now what we can do is set driven key. So let's hit the impostor here. Let's go to the channel box on the tongue of death right here. Make sure you select ton of death. I will control right-click Set Driven Key. And we need to load the driver, which is this impostor right here. So let's hit load driver, select tongue of death. And then let's select the tongue. Low driven scale y. How do we know scale? Why? Well, when we extend, this, beautifulness happens. Let's go back to 0 with UDL. What we wanna do is set a key on this impostor right here, tongue of death, right there. So when that's at 0, we want this scale y to be at 0 and we can double-check. It is indeed set to 0. So what we can do is hit key. And then we can take this ton of death to 10. We can go back over to the tongue and take it up. I don't know, a few notches. Maybe they're maybe way up in here. I don't know. Is that too much? I say let's just get a 15 there. All right, Cool. And then we'll hit key. And now when we go back to our impostor, what we should get is an extension. Pretty okay. How would you like to get hit in the island that would probably heard. This is awesome. This is the beauty of Set Driven Keys. So maybe you guys feel comfortable now going doing that same thing over here. Now you'll have to add 2 Set Driven Keys on until both of these will be the driven. And you'll have one driver still, jaws of death. So go ahead and try that. Pause the video, see if you can figure it out. Okay, let's do this thing. We've got our impostor selected. Let's let jaws of death control right-click Set Driven Key. Keeping in mind, we got to do this twice. We'll load driver, jaws of death. And then we'll need, we'll just start with the top here. And we'll call, well, say load driven. And we want to rotate. Which one do we want to rotate? On the x? Right there. Boom, boom, boom, boom. Okay. We want to rotate the x. Well, let's see where we want the open position to be, because back on the imposture were probably set to 0 and this is full open. So go back to the impostor. Since we're already full open, open this up to 10 and hit key. And then take it back down to 0. Go back over to top. And let's rotate x down, down, down, down, right about 0. Okay? Now keep in mind, we're still gonna have to fix this problem of it being half open with a visibility trick. Just basically a little old school. Pause the camera, hide the original fake roommate and Pastor model and then animated opening. So anyway, we'll do that. But now we had key and we do a test, it imposter, jaws of death, boom, k. Now let's repeat that same step. We still have the driver open. Let's go back to bottom now. And low driven looks like we still have a transform hidden in there. So we're not able to access rotate on that. Even if we click that transform. Even though we have that geometry selected, it's not allowing us to modify it at all. Okay, This is an example of what happens when doing any complex software like Maya, extremely complex. So it took me a second. I was like, What's going on here? This is goofy. Well, when you look over the channel box, you've got this off-color. I hear it shouldn't be kind of grayed out like that. So I was like, I must have done some crazy ninja hotkeys. If I select all these, they're locked. So what I've gotta do is right-click Unlock Selected. Now we'll hit load driven. There they are, Okay. So problems happen in my all the time. You just never give up. Pause and take a deep breath. You'll figure it out. Okay? Problem-solving is so key to any technical field, whether it's animation, whether it's coding, problem-solving is huge. So become a problem-solver. You may say, I hate problem-solving. Well, start liking it because that's your job now. Alright, so rotate x. There we go. Let's double-check since we got messed up there, that everything is set the way we want. We don't necessarily actually need this to open, I just realized. So we don't actually have to set a key on it. I don't know what I was thinking. That was silly. We don't need it to open like that. Are we? Okay, but at least you know, or unlock something so you learn something, whatever. Boom, I think this tutorial is done in the next one, what are we going to do? Well, we need to solve the problem. That is, he looks super stupid and obvious as the imposter, even when these are set to 0. That's still not like, that doesn't look like a chromate. This guy's not fooling anybody. You can see his teeth and his wicked smile as he laughed at us. Okay, I'll see you in the next one. 63. Constraining Imposter to Crewmate: Okay, before we fix this problem of the impostor, looking like an impostor, we need to go back and rewatch the original. Okay. I could watch that like 20 more times. Maybe we will. If you're watching closely, you'll realize that happened really quickly so we can get away with a lot. It's like stop frame animation. What we need to do is duplicate another chromate. What we need to do is duplicate another crew mate, Control D. And we'll just call this cremate yellow. We're going to need to make them yellow. And let's go ahead and hide some stuff again. We have that same problem over here where we've just created him in a different layer. So now we've got impostor out here and postures not hidden. We've got some weird stuff going on with these layers. Again, we may have to jump back into that horrible, horrible place, the layer editor, but at least now we're getting better at it. Okay, so I've got cremate yellow here, which, you know, what is going on here? Where's my chromate red. I've got some weird things going on here. Not sure what I'm looking at. Let's move them out. Okay, that's good. See that this imposters also a lot bigger than our crew mate, which shouldn't be the case. So something happened when we were modeling there, got our impostor and then we've got a chromate right in here, apparently. Okay. So let's just keep them all separated. What we're going to do essentially is animate this guy walking around like normal. And then when he decides to reveal himself as the imposter in a split second will transfer to this mesh and hide this one. That's probably what we're gonna do it and it's going to work. Trust me. All right. So we need this one to follow this one everywhere. And it could get a little bit complicated. I'm not going to lie. Now, we really need to think about how we're going to do this because watch what happens if I just put the impostor right over chromate yellow, which let's make sure that screen my L over there. Yeah, that's okay. So I put the imposture right here. Let's say I scale it and it all works perfectly sized right, right now. But let's just say it was, let's say, in order to move this guy around, what if I wanted to animate him around? I want this to follow, right. So I want to parent them. But if I do this, if I am parent the crew mate yellow, like this to the impostor. And then Kermit Yellow, let's say is larger, so skilled at imposture here. Let's just say if it's perfectly okay. If I go ahead and change the visibility of this and turn it off, all visibility will be gone. So that's not going to work for us. So what's another way we could do this? Let's go ahead and just unparalleled that. Think about it. It's a challenge. What can we do? How can we hide our creamy yellow and then have the impostor still stay with it. Now you probably didn't figure out what we're gonna do. Maybe your Google didn't figure it out. I don't know. So what we're gonna do is we're gonna do a constraint. We haven't done those yet. We go to modeling rigging. We have this constraint menu. We select our crew mate yellow, and our impostor. We can go to Constrain Parent. Now. It did not look like it parented him. It did not grab this middle mouse, drag it into here, and yet there's a connection watch, approve it. I can move from it yellow here. And notice that our imposture moves with are imposters right there. So I move the chromate yellow around and posture follows. When I'm ready to animate the attack, I simply turn off my visibility and there's my imposture right there. So pretty cool, hot. It was fairly simple. You would have to know how to constrain that. And that's maybe the sticking point of why that would be even slightly complicated at all. These are tied together and that's pretty cool for animation. Let's again turn it on our chromate yellow. And before we end this one, Let's go ahead and actually make them yellow because right now if we hit render or even shading, hardware texturing and then Render Arnold course, we have to turn on our sky down to see anything will have to hit that again. Let's stop that. Something's going on here. Render Arnold. Press Play. Got our sky down visible. What is going on? Let's go into this render button. Okay, so it's working for some reason that viewport one's not working, not going to worry about it too much, but we do need to paint this guy yellow. And we know how to do that very quickly and easily. Let's go to our drag tool. Actually, let's select everything with our mark key, everything on this. Select poly mode, select everything. And then using this drag tool, hold down shift, maybe went a little too far there. And I'll just select this one. Let's shift. Right-click. Assign existing material and posture yellow. Okay, now if I hit Render, we've gotten pastor yellow, who will transform into the impostor. The cremate will transform. The pastor is yellow. All we need to do now is animate. Of course there's some tidying up we need to do. But this one got a little bit long. So in the next one, we'll fix these layers out and we'll go back into the evil, evil layer panel. All right, can't wait to see you in the next one. 64. Getting Ready to Animate: Okay, so let's fix this, get organized with everything, and then we'll begin animating. Right here. Cremate red disappears, sky dome disappears. Nothing seems to happen with impostor. Also, if I hide this cremate yellow right here with Control H, You see them postures right there. So this button that seems to be doing nothing. Let's go back into the deep underbelly of the layer panel. Right-click membership. And these are layers. This one's working, isn't working. This one has nothing in it. Okay, and the relationship editor, let's go ahead and add our impostor. So if we click over here, you should be able to just hit the Add button. And now imposters in there and let's test working now. Okay, Pretty easy. Seizure once you use it for awhile, but it's kind of a pain in the butt to so that's working. What we probably want to do now is create another layer for our actual chromate, yellow here. So let's select our cremate yellow layers, create layer from selected. Call it chromate yellow. Save it. Of course we can't because it's invalid. Man, very, very frustrating that naming convention stuff. Creamy yellow, save, there we go. And then chroma yellow. Let's unhide them. Shift h, k. Very helpful, very useful. So let's talk about our animation. What's going to happen? Well, we probably should, I don't know. Seems like we should add it to some audio. Let's go watch some actual gameplay and get inspired. Okay, So what we have to do is develop a story and our animations are getting more complex, a little bit longer, little bit more fun hopefully. So we may want to do is create a basic shape here. We want our imposter to approach and attack. Our other character are cremate red. And we may even want to model out the dead cremate with a little bone sticking out. It's up to us and then maybe we'll eject the impostor. Obviously we're not going to add all of the graphics in between. We could, we, in our video editor, we probably wouldn't do that in Maya. But it now's the time to kind of to think of what she wanted to do. You don't have to mimic what I do by any means. In fact, I'd highly recommend you don't do that. Follow me when I'm doing something you've never done before? As far as moving these bones round and animating, I guess. You'll probably need me to show you since we haven't actually animated that way before. Think about what you wanna do. So I've been thinking about what I'm gonna do and I'm gonna go ahead and start animating it. And the next one, real quick before we go, we're gonna want to be able to grab these bones and not this mesh. So we really need to work out how, what we want to hide here in the using Layer panel. What we want to be able to do is easily grab these bones anytime we want, and we can't right now if I do this unselect stability, It's go to the modeling toolkit. O. I can still select the bones note crew mate red right there. Let's go back over here to channel box. Let's chromate yellow, I just changed. So with crew mate red here, I want to be able to select the bones in there, so I'm going to need to separate these out. That's just going to have to happen. So there's going to be pretty important for me to know how to use this layer editor better. And that's why we've been practicing with it. So now what we wanna do is remove the meshes into a different layer. Let's go ahead and create those layers. Layer, create empty layer, layer, trade empty layer. And what we can go ahead and do this in these layers, we can either make them meshes or we can make them pounds. I'm gonna go ahead and make them the joints though. So I'm going to call this one chromate joints. Save. And I'm going to come over to this one and call this imposter joints. And what I mean by imposter, Let's save, is actually this discriminate because that's the one with the joints in it. All right. So now we just need to take these joints and move them in there. So let's go ahead and do that. So we have the crewmates joints selected. Let's go ahead and right-click crewmates joints and membership. Crewmates joints, going to create a grab those joints, hit the Add button. There they are. So now we can just disable selection for our crew mate right here. Like so. And then we won't be able to select a movie, able to select the joints though. Let's go ahead and do that. Same thing for imposter joints. Right here we have imposter joints. Let's go to our cremate. Chromate yellow here, who was actually the impostor? Select those hips, hit Add. There we go. Now we're all set up to make it a lot easier on us. We're not going to be constantly selecting something we don't want to select. Thanks to the Layer menu. I know the Layer menu was super boring, but you're going to see how beautiful it is to set things up right in here. And that's why we've been messing around with membership a lot. So the really understand how to use IT. Organization is key if you have a good organized workspace here and you know what things are named and everything setup correct. Animation becomes a breeze, otherwise it becomes a real pain in the butt. I'll see you in the next one. 65. Animating Crewmate: It's aeration time. Let's get going. Let's go ahead and make our crewmates and selectable like that. And we'll still want to view them. And then we'll just, let's go hit Q on your keyboard. Actually, let's go over the modeling toolkit. Get back to pick marquee tool. It was weird me out your own. Let's go ahead and rotate or crewmates. Well, I think that should that be back stab the Crimean and you guys decide I'm going to have him back stamp. So W3C working there at a panel or something and then our chroma yellow will come up to help. You won't really be there to help willing. Okay? So why don't we just start with, and let's also make that background and selectable. That was really bothering me. Okay. Let's say he's just sitting here the honest thing and kind of looking around like, well it sound effects, so probably my voice only rated. It'll be fun. You should do the same thing if you have access to a microphone, but I'll just kind of have them. Oh, that's not good. It's like we're no longer affecting our mesh anymore. Well, we're over here. No longer affecting the mesh. That can be a problem. I know I this one's not working because we never actually, we never actually went through that process. This one should be working now at some point I must have made a mistake. Hopefully that didn't happen to you. But I'm not too concerned. Wherein rigging panel, Let's just go skin, bind skin. And then we should build rotate this. We may have to go back and white paint or not. We probably will if we wanted to look halfway decent, then over here we'll do the same thing. Do the creamy yellow and the hip skin bind skin. Okay. What I what I don't want us for the waffle look really unnatural, horrible. And it just my so let's see what we've got here. Yeah. It's going to be I think that's going to be pretty bad. So the whole mesh is going to move out. Also, we need the height that imposter back there in the disturbed has visibility off, so we don't see him until welcome time. This, in some sense, this is kind of funny animation because it's so distorted and horrible. But real quick, I didn't want to in this one. But we have to do something happened. It's good review for you. What I don't want you to use is this kind of stuff happens to me all the time so much so that I just kinda laugh on Athens, like of course, why wouldn't it break? Hopefully it didn't happen yours. If it does, try to be patient with yourself, try to be patient with computers. Remember they're just computers. So they don't always work, right? Let's go ahead and really quickly. We'll wait. Paint these guys. Well, this one, this one is just standing there doing nothing innocently working. This one now, we will want to wait paint again. So again, that process is skin Paint, Skin Weights and hit this button. To go in here, we will select chromate so we can see what we've got. And then we'll just kinda goes to the joints really quickly, hopefully or not quickly. That looks good for the head. I might take off the backpack though, holding down Control, paint out. Maybe the backpack don't really want all that to bend when that happens. Kind of just stays where it. Again, to increase my brush size, I can hold down B and drag like this. Control. There we go. So pinup, like the backpack area, maybe happening here, something like that. If this had happened on a more complicated character, I would freak out and being angry. So it was easily patient on lesson. Yeah, that's good. And leg. See here, we don't want it to affect all this. Just the leg kinda darkness there to even can effect a little bit up here but not as much. And then nothing on that other leg. Okay. That should be good for that leg. Let's go to this leg. Paint out what we don't want it to influence down just a little bit there. Can on these kind of droopy animations, no one's going to care if it's perfect. It's when you get into film that it really becomes important that everything's perfect. So not too worried at all. So what of got leg? Leg. What's head? I don't want to head up or down. C, I think that's going to work for us. I think we're good to go. I'll hit Save. And let's go back to animation. Even though this one got a little bit long. Let's just animate this guy. I'm going to have a grand old time over here. And we'll come over here. We're only going to do rotations. So shift E key does rotations, Auto key is on. We move forward in time, maybe 25 frames. He looks confused at the panel. Looks the other way to try to understand how the panel works and kinda leans down. Meanwhile, this guy is going to be coming after him. And then when he finally understands what's going on, aha, I figured it out. And even maybe does a little bit of a dance for joy. So let's see what we've got. We didn't key this. So that's not going to work as a spit that back to where it was. Come over here and keep that one. Shift E, O key, a couple of them case we get crazy. So does nothing shifty again there? 50 again, they're just going quickly through this. It's not important. But when he gets it at the end, That's when its little legs are gonna kinda do a little dance, the dance. You think he solved the problem. He thinks he's doing a good job and really it's all about to be over. All right. So let's watch what we've got. Play it back. Just kind of a little head, not then. Now that's kind of a natural movement because it's going here. Let me show you of v. Let's go into the animation editor, windows animation Editors, Graph Editor. We have these slow long moving curves are not very natural looking. We almost want to haven't got to that point and stay there for a second. So we can take all these keyframes again. We've been doing tangents, linear, and it might look a little bit better. And then we may want this to just stay flat till the end. Just kinda keep it the same. And that n, like he's figured it out. Suddenly. Let's see what that does for us. The legs will definitely oh, that's the leg I was messing with. I thought it was the body. My bad. Let's go back up here to the head area. Okay. That's what I was really will get to the legs. But let's just start on this. Okay, Let's take all these and make them linear tangents and here. And then let's not have them move. So 1 over, let's have this change happen way faster like that. And then this one moves looks like. So let's break down linear as well. I'll be okay. That's too sudden. We can move them out a little bit more. Let's try that again. That move backwards with the head doesn't look natural at all. Animation is very much a you play it back. You make some changes to try to decide what's not working the legs. First of all, wouldn't do that unless maybe that's what he gets stabbed. But if you've got stabbed, I think it'd be a lot quicker than that. I think I want to add to the story as well. So I'm going to need more frames. Let's go all 200. That seems reasonable. Story length. Maybe he turns around right about here because the imposture, it gets close. So we'll want the whole crew mate hip right here. We want to add a keyframe on it. So let's go ahead and Shift E for rotation right here at the beginning. And then he saw it there. And where did I say it would happen? Somewhere in here. He'll turn around. So maybe write it just like start moving. Lot of them start turning around. 50 again. Let's turn this whole body around and not too many frames. Like so we'll have them kinda do a wobble there. So that's not natural. They don't have rollerskates on. But if they did, that would be a good animation because it looks like he's doing roller skates. So what we need to do is go in and animate the legs right there. So how do how did these legs actually move? I that's a very good question. I don't really know. Their Nabi little eggs, aren't they? Well, I'll probably want them to go up and down very rapidly. And then we'll have this one go back at the same time. If this isn't making sense, All I'm doing is rotating and making keyframes. And because there's no predictable walk, there's no reference for a walk for this kind of a creature. We just kinda wobble the legs and have them turn around and try to make it as natural as possible. But right here in this turn is where all the wobble needs to happen and it's just not. So just doing the best that we can. And hopefully you're just practicing. You're not expecting to be awesome at this right now. You're, you're expected to be trying, trying your best. We'll get into more realism and more realistic characters as we go. But right now you're just moving some points around and hopefully making it look better than this because this is a mass right here. And I've never animated a creature that looked like this. So I don't even know what I'm doing. That's looking better. But this legs right here, we've got to end those keyframes. Those are not doing it right there at all. It's just move them in here. Same thing with this one over here. These keyframes need to go over here. Well, what am I doing? I'm just slowly creating more keyframes and iterating and looking and watching at it's kinda hard to teach that. Well, you gotta do is kinda get your hands dirty. He should not be doing much with his legs until we start that turn process. And he is, the term process starts right here. So we can even cut these keyframes out. But we want to make them go to right where it starts happening. Same thing for this one. All these keyframes. Well, maybe we have too many here. Let's get rid of these movies to where it all starts moving. And let's see what we've got. That looks a little bit better. This one or anything that keeps moving after it should stop like this leg right here. We want to go and make sure it stops right there. But unfortunately we have this keyframe over here where it changes. So we'll get rid of that. Watch it again. Watch it from a different angle. It's all about just kind of paying attention and watching. It's doing its thing. And something spins them around. And then he dies. All right, we're going to leave it like that for a second. This video got really long and I didn't mean for it to, we had to do extra tasks that we've already done, like Wait, painting. So that was fun. Not really, but hopefully animation is fun. What I want to encourage you as we do this process is not to fear how bad the animation is going to look. Guess what? The first time you animate something, it doesn't look good. That's why you need a laugh at yourself. Do something goofy. It's fun to do characters like these that are extremely simple and they don't really have a recognizable walk because they're not real and they're Derby little characters, simple rigs. Have fun with it. Be patient with yourself. Play along. You're not trying to mimic exactly what I'm doing at this point, you're starting to branch out, you know, how to rotate something, you know how to set a key on something. So practice experiment, we're going to keep tweaking this. We're going to add the imposture walking up. I might have them do kind of a little hot walk because they are in space, so there's low gravity obviously. So get excited. I'll see you in the next one. 66. Animating Imposter: Okay, what we wanna do now is animate in pasture. What we're going to run into a little bit of an issue, match this. So I move em and what is this offset? This is horrible. This is okay. It's like ghosting. Pretty cool. But now what we want at all, what happened is this change some things. Now, I can drag this out of here and watch. We'll grab our chroma yellow. Everyone follows along nicely. Obviously the stage because it's no longer parented. I'll Control Z data and put it back. What we need to do is move this. Because that's just our model. We want to now use these bones to move things around, right? So what we really need to do is delete this parent constraint down here in the impostor, and we need to constrain the imposture to these bones. So we'll go to Constrain Parent. And now when we move the bones, everything follows nicely. Okay. Perfect. Wasn't super easy to figure out. But there you go, that's the solution. So I was going to have them, I don't know, start from a little further back right here. Okay. And we need to set some keys. You can set a key on everything, but I don't typically like doing that. But since we are going to move that whole position, we will need to translate key here. So Shift W for translate. And we're going to channel box C. Those are all keyed. And then we'll have them come over to this point where it turns around and write then our pastor needs to be up in his face like that, maybe a little bit further back. Every tongue extension, something like that. That'll work. Okay. So obviously he's not just going to slide along and obviously he's not going to slow start and slow slide to a stop. So again, Windows animation Editors, Graph Editor. Just keep the soccer open. Tangents, linear. Okay, cool. So now we have our beginning and our n. Now let's have some wobble and some bounce up and down. Let's say every 15 frames, it kind of bounces up near Arabi. Let's see. Let's go 10 frames and we'll take him up in the Y. That. And 20, go back down to where it belongs at 0 or maybe lower than 0. I don't know. We could just copy and paste this right here. Will try Control C, Control V. And sometimes we have to just do it up here. Control C, Control V, it's working. Okay, then we can just, all we have to do is loop all these. Just select Y, Control C Control V. Over time. I love Control C, Control V, it's the best. So, alright, so jump, jump, and then just keep it going. Troy VI, to me, this is the boring part. The fun part is when he actually does the kill. That's what I'm getting excited for. Something like that. We didn't quite end right? Looks like we're off here and stick these keys to mini mill mouse, drag them over like that. And then we'll take this one key here. Just extend it a little bit. I think that was a little bit different, but are okay. So let's see what we got here. Bounce, bounce, bounce, bounce, bounce. This is a little awkward right here. Psyche kinda slides. Slightest keyframe for us, control C, control V on that same keyframe controls. There we go. My weird, awkward thing that isn't supposed to happen. Let's go back to our posture, our head. We did something kind of crazy there. We just want we just want this same key frame right here. And we'll edit, copy, edit, paste. There we go. This is a long-term prior. Maybe we should move some of these a little more. Okay, Let's watch that again. I duplicate it, okay, Alright. I duplicated something somehow. That's always fun of G. Okay, where did I duplicate them? How do I keep doing this as group? Probably right here. Instead go, okay. Sorry about that. I'm getting all over zealous. Like I said, this is the boring part. What I really want to do is get to the death, which we'll do in the next video. I just want to get this boring stuff over with so I can relish it. Okay, So the hopping is happening. Let's do some leg wiggles and we can copy from one to the other one. So we will rotate this, so shift E. And then the other one, shift E will get us started. And I would say maybe frame 5. This one, I'll go back. Seminar character. Her. Beautiful thing about this kind of simple animation is literally, I only have to do it once and I can copy and paste. Right. Now it looks like they're both going back, that will look weird one it also I don't see any keys where the keys on my legs. There it is. Okay. What about here? Okay. So and then maybe by frame 10, they start to bounce back? I don't know. I'm not really sure. Didn't even end on frame 10. Let's go back over here to frame 10. That looks pretty weird that I might want to exaggerate the movement a little bit more than that. And take this down on both legs. Take this one down, fix this one back to frame 10. K. What do you guys think? Maybe one goes forward and one goes back. Let's try that. Let's reverse the sun, go forward. So forward. And maybe we'll do every other. So we'll go up then down and up and down. Let's try that. So frame 15, basically, I want to just add a keyframe here. We can just add it right here to rotate y p selected. I'll just take that one down, catch, something like that. And we'll just control C, control V, Control C on frame 20, Control Z. A nutshell, this is going to look, it's kinda watch that leg. You really need to do the same thing to the other one. Let's just copy this whole thing. Control C, go to the other leg. Control v. Separately want to reverse them. So this would go down. That's one will go up. Like that. Should go back to 0, I would think. And that's one should go back to 0. I don't know what I'm doing. Why don't I know what I'm doing? Because I don't have a look here now. I don't think that looks good. I think it looks better when he was just jumping in a world, went back personally. It's kinda hard to see with this up here. It's all the yeah, that's not working for me at all. I don't like it. One iota. I think they both needed to scale down on a loop like this and will exaggerate it. Loop, loop, loop it. Take them down ways. All right, Let's try that. It's watch that. Now. That doesn't work either. It's because it happens too quickly. They shouldn't move twice. So, okay, we're getting there, delete this keyframe, delete this keyframe, take this keyframe down. Same thing over here. Delete these two keyframes. Take this one down. Keep in mind is if you're animating something you've never done before, It's not exact at all. Why does this leg look like it's moving backwards? There should not lead on frame 10 should be rotating. That my rotating in the right way. Well, guess. Who knows who really knows? Charles C. Control V. So other leg looks like looks like there's different axes being rotated. K, so on That's one. When I select it, rotating this y-axis. And that's my one. And this one now, I'm rotating y as well. Not really sure what's going on there. Why they're off. Like they're backwards from each other. Where did this rotation happen right here. I don't even know. But, but we'll deal with it. It'll add some kind of realism, maybe. It's kinda hard. You really have to watch it from multiple directions. It doesn't help that you can't really see the skin. May want to hide the rig at some point. So it want to hide the chromate joints, the imposters joints here and then watch it. Can see the impostor coming through. Can we need to unhide our impostor visibility off? Very subtle. It's very subtle movement. I think maybe it should be more exaggerated. I think his body should be bending back and that would be that would be the head. Let's go back to those joints. Let's put some keyframes on this head. It had some kind of flow to it. We will shift E here forward, that is going to be leaning back. It's back. And then as it hits 20, he'll be leaning forward. Then jumps, goes back. Already. It's forward. And then we have a little bit more natural. Now it looks better. It looks, it looks almost friendly. It doesn't knee. So we'll copy and paste that out. Control C, Control V. Well that didn't work. It's just make sure rotate y selected Control C, Control V. And let's swap that back. I think that it's getting, it doesn't look good because it's too repetitious. In other words, think about a child gleefully writing to stab somebody to death. That sounds horrible. Okay, don't think about that. Think about a roommate, just silly old roommate. He's going to not just bounce up and down the same way. The next balance, perhaps he is off to the side a little bit. And then the other side butt forward. And he's just, he's, it's not quite predictable. Sometimes we want predictability and then sometimes we just kinda want to be surprised. And you can, you can play around with this quite a bit and think it will be a little bit more natural. Let's put one in here, a twist of some kind. Maybe not that way, maybe that way. Back. Have fun with it, make it your own. And then I'll go back to straight onto position here looking at is victim. Okay. Let's hide that side. Those joints looks like I did as some pasted stuff in here. I must have accidentally, when I was control seeing controls being done all this, we want to delete all these. We didn't create it. Let's get rid of it. Very frustrating. This is what happens when you're recording tutorial and hitting our keys like a crazy person. Stearate all these pasted. Okay, one more pasted right here. Okay, Much better. So we now have our cremate happily animated over here. And the next one we're going to have the attack where even going to try to do bus the windshield or the front window, this imposture with a old might break on us. We're hoping it breaks pun intended on the break, but we want to break the glass here. It's going to be awesome. This one got long. Sorry about that. Hopefully you're having fun. Yeah, this is going to be the best one yet. So see you in the next one. 67. Finalizing Animations: Okay, so a lot of times when you're animating, you're really concentrating and you're not paying attention to other things. So we've got a lot of mistakes. I'm going to try to slow it down a little bit and talk more about the process. Because I'm just kind of doing it and doing a great job of talking about it. It is kind of difficult when you first start. It really is something that just takes hands-on practice to get good at. And you have to watch it lots of times. In fact, many times in an animator will have reference that they watch or they'll go ahead and record themselves acting out the motion. Obviously we can't do that with these simple characters. So we just do the best we can. Hopping looks good and I like it. So rollerskate boy over here who seems to have me on roller skates, no matter what we did with his legs, it didn't seem to work right. So I think what we're going to have him do is do the same kind of hopping motion because it's cute. So right about here. Let's go back to our rig for the crew mate. And we have keyframes to spin them around. We needed a keyframe to him, madam, jump in the air. So our turn starts right there. And we already have keys on everything like there. So all we have to do is move them to about right here, put them up in the air. Like so. And I do not see a keyframe. Looks like we did not have a keyframe right here on the y-axis even though I'll rotate, That's why, silly me. All right, so let's go ahead and put keyframes on Translate here. So we'll shift W. There we go. And then we just move to the right in the middle of the jump or the spin rather. And we'll hit W and move them up in the air like that. And then it should come right back down to Earth. Right here. Put that at 0. Okay, so now we should have a nice little jump. Let's watch that. All VI That's much better. How did I figure that out? Well, what I did was I wasn't recording. I just stopped and watch the video a couple of times and thought about it. It's really what you need to do. There's probably other things we need to fix. Like his legs aren't moving anymore. If we didn't finish animating the legs, we only animated them for a couple of frames here and it looked good. It looks like he was having a fun time and then right about here he stopped moving his legs. So all we're doing in this process is we're not trying to solve a specific problem, are supposed to look at the animation, go over it, and really spend some time thinking about it, what it needs to change. Now, the reason I say it's complicated as even the best animators in the world at Pixar, what they do is they have meeting where they go over animations together. And then some of the senior had animators will say, hey, actually, you really need to slow down this ion movement here, or actually their arms are swinging and wrong. They go over it with a fine tooth comb. It's not easy. It's a process. That's why when I do it, when I first start animating, I run through it as quick as possible to get something done. It's similar to the process of writing. You write something like a novel. You just try to get a rough draft on all we're doing with animation in the first phase is rough draft. And then this right here, we're going through it and saying, This isn't working and here's why. So that's what we're doing. It's a process. Just submit to the process and realize it's, it's time-consuming and fun. And keep in mind that in the future we're going to be using vocab data. So we don't always have to work this hard or animation. In future lessons. We're just going to import it into, mixed them all and have some fun with it. You're going to love those ones. And that's coming up later. But let's just fix this. It's really important to slowdown in the beginning this process. Now I cannot select these because I accidentally deleted the imposters joints. So that was an accident as I was moving to quit and not paying attention. So as a review, we'll go ahead and select those joints for the impostor right here. And we'll go ahead and layer, create layer from selected, name it, and posture joints again. It's Save and make sure that they are selectable. And they are of course. So let's go back to these legs and we'll continue that process further out. And we'll kind of randomized it like we were to find our impostor here. Just have fun moving them around. Don't think too much. But then think a lot. And I'm giving you conflicting information. But I guess just have fun with the process. It's not easy and it's not easy for me as a teacher to explain the process. You just kind of do it. But that's not helpful for you as a student. Jamie is a little bit of explanation. All I wanted to do is, I guess I'm inspired by thinking of how little kids that are being mischievous run around. Have you ever seen a little kid that's mysterious, like a Calvin and Hobbes, how would we probably don't even know Calvin and Hobbes are, you should Google it. Calvin and Hobbes are amazing. Take a lot of inspiration from Calvin. And Hobbes. Okay, just adding some interesting secondary motions on these legs. If anyone really knows how these guys move, like is it jetpacks or something? You could definitely tell me and I'd be interested in the forums, whatever. Okay. Let's just watch this couple of times and think about it. Pay attention to different parts. Watch one part, then look at another part and let's go ahead and hide the joints. Well, that didn't work. Let's go ahead and hide the joints. Looks like our crew mate joints over here aren't hiding. So that's nice. We really messed some things up, apparently. Let's go fix that membership. So the problem with hotkeys, you get crazy with them. So crummy joints again, does not have you guys a really going to learn this relationship editor quite well. Aren't you? Go back to crew mate, these atom and every go, okay, watch Alt V. Okay, and we can see right here, this guy did not ever go down to the ground. So that's a problem. Jumps in the air and we didn't return them down to ground level. So we can easily fix that. Let's grab his joints here. Go to Translate Y. And obviously this just needs to mirror that right there. Or you could, of course, copy and paste. Although I caused a lot of grief by copying and pasting everything. Let's try it. Control C, Control V. Okay, we got it working. All right. To watch it again, turn off the joints. It's engine and everything. See if there's anything you notice. Nothing It's fun to do is look for camera angles that might be dramatic. So for instance, what I'd like to do as he hops up and then it pauses for a second. Camera's zooms in really quickly to them. And then we see our death scene happen. So that's something I'll probably add is that dramatic camera movement. And what we might do is kind of do an angle like this at first. And we'll probably do multiple cameras. So I'll probably start our camera move here. Just kinda slowly watch the chromate. Watch this guy a run and jump. And then what we might do at some point is spin the camera around to profile because that's how our tax is gonna go down. So at some point we'll end up right here. And then right at the attack happens, we'll shoot in, kind of see it happen. Or maybe right after it happens, we'll zoom in on the broken windshield, which we still need to create. This one's gotten long. It's important to slow things down and talk about them. Don't worry if your animations not perfect, this animation is not even perfect. And I'm the teacher of the class. Don't even worry about that at this phase of your development, you're just, you should just be proud of yourself that you know how to do animation. And then we'll move on to better and better things. When you really want to recreate realistic movement, you don't even do it by hand. Hand. Animating is not really how it's done anymore. It's all know Cap data. Now that may disappoint you, but it should also excite you because they've made it free and available to you. So your stuff can look solely professional because you'll have professionally trained actors doing the motions to the exciting world for animators out there. Can't wait to see you in the next one. 68. Animating the Death of a Crewmate: Okay, Now we're going to have some fun. We're going to animate the criminal attack. This is where it gets to be exciting. This is the whole point of all that boring stuff. So that when we get to this point, we pause for a healthy moment. He looks up like, well that maybe the guy says I'm the impostor, get ready to die, or I will mingle Montoya. You killed my father, prepared to die. If you don't know that reference, don't worry about it. Google it. My name is Kim. It's awesome. All right, so right about here is when the savage attack is about to happen. Let's get going with that. We click on imposture here. We've got access to these. What we need to do is enable him right here. So we need to set a key on visibility. We already know how to do that thanks to the Pac-Man tutorials. So let's right-click there on visibility. Key selected, go to 125 and imposter will show up. Visibility. We'll go on. And then of course we need to do the same thing with the creamy yellow here. Select from it. Yellow visibility here will turn off key selected, turn it off, go to frame 124 and turn it back on k. So now what we have is this transition between the two. Of course, we need to add visibility back to the impostor. There we go. Okay, so the impostor begins and at that same moment, let's say it takes maybe, maybe two frames. I don't know. We're going to try to frames and we're going to, we're going to animate the impostor. Opening the jaws of death. So jaws of death, open, fully. Tongue of death extends fully. Now we have a problem. This didn't hit him. So what we may need to do is rotate this the jaws of death down and then up into this position, right? So let's put a key on rotate. Let's see is this rotation. Oh, sorry. We need to rotate the tongue. Let's go into the tongue right here. And let's set a key on rotation. So we want to rotate on this x axis. We want it to start there and at 45. So we'll put a key right here, right-click key selected. And then we'll go back like a frame or two. And we'll have it go down. It looks like it looks like I might not have given us enough time on all this. So we're going to have to open up our Windows animation Editors, Graph Editor, OK, and we'll have to move some stuff around in time, probably more than one frame now in the animation it takes about one frame, but we're having, we're doing 3D. The 2D animation took a little while. We're doing 3D, so we can take a little bit longer. Let's go back to imposture. Let's go to these settings here. Right? Notice we didn't set keys on these and that's where that's where the confusion is happening. Okay, so let's write here, we didn't take these back down to 0 and set keys on them. Sorry about that. Let's slow it down, teacher. Okay, Right-click key selected. Then we'll move forward in time. And obviously our tongue as an extended so we can't see it rotating, so we don't know where that's happening. Let's select the tongue and just see K. So we moved it up to here. That's where we will go back to the impostor and open these up, an Auto key is on. So let's see what we've got. Let's kinda minimize this data here about maybe a little bit. Okay, so now we've got it turns open, bone, something like that. Now we can mess around with that. Maybe, maybe, let's, let's actually move the tongue. Flip the tongue of death here. That movement will start a little bit later. So zoom out here. We'll take this and just middle mouse, drag it out a little bit. Actually, I don't know what all that is is that the Rotate. Let's go over here to the tongue of death, grab this and move it. So it starts a little bit later. So the mouth's have actually open and then the time extent. Okay, so something like that. Now that extension happens extremely quickly now. So maybe slow it down just a little bit. And our rotation, it looks like is starting too soon too. So let's go to rotate on the tongue. Now we're jumping back and forth between impostor and tongue quite a bit. So if I'm moving too quick, I apologize. I'm just I'm trying to talk and think at the same time and it doesn't always work well. So let's start this rotate on the X a little bit. Let's just move it forward in time, slightly like that. Okay. We don't want to extend until like it should not keep moving there. It should probably rotate up quicker. Let's take this top one and move it back. Like so. So what we need is for it to stab the face at a certain point and it's not. So maybe we will take that. There we go. Okay. It looks like we're going to hit him in the face, the cremate. Boom. All right, and then we need to animate the crew mate flying up. So now let's go back to our chromate. Chromate up here. And we will put a key on the whole thing. So we'll just hit S key everything because we may want to rotate them at this point. And then I'll just have him move up here, impaled and maybe rotated forward on the Impaler. I've never crew mate before. So forgive me if this isn't perfect and it won't be perfect. Again, they're animation happens almost instantaneously. Ours is kind of exaggerated, but we don't want to do is we want to make sure that all the keyframes line up at the same time. So it's just double-check all that. And you're moving back and forth between a lot of things, paying attention to a lot of details. So don't rush yourself. It's easy to make mistakes. It's also easy to fix that mistake. So I just want to extend all this movement on him. One frame like that. There we go. Okay, we have our death. Now, this isn't perfect. We probably should instantly rotate them as split-second here. Like that. And moving further up on the secure. Okay, that looks somewhat good. It's not perfect, but it works. And when you play it back at high speed, which we're about to do. Let's get rid of all this. Save our scene. This is too delicious not to save all V. Well, we fund that, add music to this. So much fun. Yeah, that's the stuff right there. That is why we do it people. This is why we learned to animate once we add sound effects to this, It's going to be so cool. And your friends are just going to like trip out and you can put it on YouTube and people will think you're awesome and you will be awesome. So enough with this one. In the next one we're going to crack the glass. It'll be fun, might break your computer. We're going to use an old algorithm that's kinda outdated in Maya. I'll show you an area of fun and tricks and play that you're going to have fun experimenting with. So I'll see you in the next one. 69. Cracking the Windshield: Okay, let's create that shadow effect. Tied everything we don't need to see in the scene. And let's go back over to our modeling toolkit here. Select, and our modeling toolkit here. Select this guy. And they actually want to select this kind of face window thing and never know what to call it. You know what it is. Then control select those, get rid of that. Alright, with those selected, let's go to Edit Mesh. Extract. We broke everything. We didn't actually, what we did was we separated them out into two different surfaces, probably surface one and poly surface two. So if I hit three on the keyboard again, we'll get back to subdivided view. One of these is the face mask thing. The other one is just the crew mate. Alright, we want to duplicate this because we're going to create a shattered version of this. So I will Control D that and I'm going to call that shattered. We're going to have to subdivide that. You'll see this one we'll just call window. And we could probably actually combine both of these, select them and recombine them, will go mash. Actually we won't because we want to hide this and go back just to shattered. So no, we won't, but we'll call this one body. Alright, cool. Easy enough, right? Well, what do you think is an old algorithm now? And it's going to break on us. It might shut down your computer, but more than likely it will just error out. Why? Well, it was written a long time ago. We're talking probably 20 plus years ago, but they're kinda fun. You can explore and have fun. Just realized it might not work perfectly and then that's fine. All right, save everything right now before you go any further. And then we'll change from modelling to FX right there. And we have this affects palette. This is a fun little world of finiteness that we're just not going to get into right now, but affects shatter. Now there's a lot of different kinds of shadow effects and certain ones only work certain ways. So just pay attention to the errors that pop up in this window. Okay? So we've got surface shatter, solid shatter and crack shatter. Why don't we just play around with all of these surface shatter? If we just said apply here, nothing happens. Now why? Let's try selecting a bunch of these. And we'll hit Apply. Still nothing. Now, I don't know why it's doing that, but I do know a lot of times it wants to be more subdivided than this. So let's go ahead and select our shattered and hit smooth on it. Right, so that gives it more geometry. And let's try that again. We'll hit apply. And then it did something, right? It triangulating our mesh and did something look, it created this surface shatter group. So now I've got ten shards here I could extract. This might work fine for me. That might be just what we need. So we would hide this window here, h, and then we would take the shards and move them apart. So that could be our ticket right there. Let me show you some other ways we can do it. I'll hide that control H would select the shattered. We can go to crack shower here. But this one, it does not allow. You have to actually select a point and it'll probably air out on us, but I'll select a point somewhere on our mesh and then hit Apply. And then it'll draw these lines out for us. It's going to draw ten. Keep in mind if I over-complicate this, if my computer is not very slow, I could also cause problems. Notice then created a crack shatter. It's just a different algorithm, a different way of creating cracks. All right? And you have fun with this stuff, playing around with it. I don't mind that. I think that looks fine. I could use that. Why not? I could use either one I want and we have them. So that's just some effects you can play around with, but just don't expect too much, expected it might break. And I said that a lot. So let's move on. So the next challenge is we want to animate this. You'll note that it will not follow the rest of our crew mate watch. I'll press Play here. It stays put. Now, why that is is because we did not skin this to these joints. So it just, it is nested in there. But remember we're not moving the crew mate, we're moving the joints, and that's the difference. So what we're going to have to do is we're not going to skin it. But what we could do is just animated along with it. So we can take this and we can animate its visibility on. And same thing with this window here will want to animate its visibility first, I'll show it though. So we have it here. And then of course we need to see what's going on. So let's turn on our posture again. Need to be able to see the attack as it happens. Right there. Okay? So right here it needs to be off or the window needs to be on. So let's put a key there, key selected. And then the very next frame, 1, 3, 1 will turn it off. And then this shattered here needs to be turned on right here. So key selected, go back to 130 and turn it off. So now we've animated That's visibility. Now we just need to kind of match the transformations and then possibly move it apart a little bit. So right there. What we'll want to do is animate the whole thing. So I will go ahead and hit S on the keyboard on 130, setup animations. And then we'll go to the very end. And try to match that position and rotation. And see that the center is not right in the center of this. So we can go modify center pivot. That will help. So it'll rotate forward a little bit. So it'll rotate forward possibly a little bit. And just realized shattered is not what we actually want to animate. We want to animate this crack shattered right here. That's the one we wanted to set all those key frames on. So shattered doesn't even matter. Now we can hide it. Let's go ahead and Control. H dot will do that same process over here. We'll modify the pivot. So modify center pivot, and then we need to animate it turning on, so that does not exist. Let's go back to frame 131, key selected 130. And off. Okay, sorry about that. We had that confusion there, but now this is the one we want to move around and animate. So we'll set a keyframe on everything by hitting S. Now everything is key framed. And we'll go up to where we stop right there, rotate it forward and move it up and it into place. Might help if we went over the modeling toolkit, changed back to World. Just going to be the best we can to kind of match everything. Don't worry if it's not perfect, it happens so quickly. It's not really going to matter. All right, so now with that animated and kind of in place, we want to offset these shards a little bit so that you can actually see cracks. We could just scale them. So that's an option. You could scale it a little bit ever so much. Just select one, scale a little bit. Move it to as you wish. And keep in mind, it's kinda hard to see what you're modifying right here. How do you know? How can you see it? Well, we need to make sure this is visible. So let's shift H. Here we go. Okay, So I had hidden that for some reason. Now we don't want to move the chart out like a crazy amount like that. I don't even know what's shard that one is. Let's go to object mode. Okay, so that's probably too much. A little bit. It's going to be, it'll look pretty good. If you just kinda think micro. Not much more than microwaves, what we want to go for air and go back and forth and z-space, you're just creating tiny little gaps. That's all. And this is kind of experimental. It might not look good. It's just something we're trying out to see. If maybe we can, I'll scale that will just ever so slightly. We'll just try and sum to see if it's different. Let's take a render that and see what we're looking at. We'll need to go back and turn on our sky down though. Right here. I'll hit Save. That worked. It didn't shut down the computer. Let's take a render k with our shader, kind of hard to seeking. Okay, let's see if we can make this look a little bit better by just changing our shader a little bit. Let's go over here to this button right here. Let's exit out of there. This button is called the hyper shade, and we haven't done much in here, and that's fine. We're gonna be using it a lot more in the future though. So good to know that hot button there is the Hypershade. Looks like we have our red paint here. Let's go ahead and right-click on the window, hit graph network. Now, if we graph this network, it means that when they can now work on that shader, here it is. So this is what it looks like. It might be on hardware render here, but you can change it to Arnold. You can also change to cloth, tea pot, whatever you want. All right. I just like to leave it on the shader ball. And let's see if we can brighten this up a little bit. Let's go to our specular and let's crank our anisotropy like this. And then let's take another render and see if that helps clear it out a little bit. Okay, I really don't like this. I'm going to show you how to make something that looks actually like glass in case you're just curious. Even if you're not curious, I'm going to show you. Let's do that real quick. Let's go back in here to the Hypershade, and let's just make some changes. Okay, so we're gonna wanna take the weight down to 0, like that. Let's take our mental illness down to swell. Then we're gonna go down here to transmission. And we're going to crank that up all the way to one. There we go. That looks a lot more like glass to me anyway. So over here, let's take another render. Maybe just a little bit better. What we could do is add a light source over here and just kinda see what we get. That's worth trying, right? We'll go ahead and minimize that. Let's add a little light. So if we just go over here to the rendering, bingo Arnold lights, Let's just put in an area light and zoom out here. And let's pop this up in here. Taking another render, I don't even know what's going to happen here. But that's why we're going to find out a little bit better. I don't see much of the cracks, but that's okay. I also don't see the spear in his face. That's a little concerning, don't you think maybe we should shade that real quick before we're done here. And then we'll hopefully see the reflection on the glass. That's what I'm hoping for. That just isn't doing for me what I wanted to do probably because we have no Arnold renderer assigned to the teeth or this tongue. So that's kind of a big deal. Glad we didn't end the tutorial just then. Okay, so I'll right-click and we'll go and new material. It's fine. Again, Arnold, doesn't really matter. We could do car paint, so it looks like it's kinda like a wet tongue and we can keep it red. We know it's going to be red. Let's go back into the Hypershade, be right here. And it popped it up for us. But it's not, it's not graphed in here. So just keep in mind, the things in this window aren't necessarily the ones we're seeing right here in the render. So this is the one we just created. We'll call this tongue. I'm going to leave it red because why would an AI, It's a tongue K. And then let's go to the teeth and make sure they get something. Let's select all of the teeth in the imposter or top and bottom have teeth. Okay. We'll control, select these teeth as well. Right-click, assign the material. And we'll go Arnold. I'm going to do car paint again, but this time I'm going to make them more like white colored or gray, something like this. So do it. Done. And of course we didn't name them teeth before we forget. Or you can call them incisors, whatever. All right. Let's take another render and hopefully we have a tongue going through this windshield here to the render. It's not exactly photo-real, but it's pretty cool. Ideally, the tongue would be right there on that point that's broken. And if you want to, you can mess with that up to you. Let's also render the teeth over here and see what kind of effects we've got going on over here. It's hit Render. This is pure savagery right here. Okay, This is why we do it. That's fun stuff. Okay. I hope you had fun. It's not perfect. It's not necessarily even photo-real. It's just different and fun. And I hope you guys enjoy what you're working on. In the next one, we'll probably do some different camera angles, mess with depth of field and weight, multiple cameras, something like that. And we'll get cranking on this. I can't wait till we start adding sound effects. That for me is the favorite part by far. So can't wait to see you in the next one. 70. Animating Camera with Aim: Okay, so we think we're done with animation, but actually we need to tell a story with camera, much as traditional filmmakers in animators have done for years. So why don't we go ahead and create a new type of camera we haven't used before. We'll go create cameras, camera and aim. Now what this is gonna do is it's going to create this camera, but also this aim device. And I can move this aim device anywhere I want. For instance, I can place it right on our creature. Now, let's go back to the beginning here, and let's place it right on our crewmates helmet, possibly. Okay, and now we can move just the camera. Well, so if we select this camera and we move it, it's always going to rotate towards that aim. It's constrained to that aim. Very useful. So now we can just animate our camera moving along and it will follow our cremate anywhere we go. We could also move our aim anywhere we want it to go. So what, why don't we use that to animate our camera right now? First of all, make sure that your crew mate is actually being shown right here. So we want to show him and anything else you've got going on in here. And then let's tell a story. So let's go ahead and go over to these paints. Dual pains will animate our camera over here on the perspective viewport. And we'll come over here to Panels, perspective camera one. And then we can see what our animations going to look like. Let's go ahead and call this camera, Camera 1. We may have multiple cameras in this animation and render out different sequences in place them together. So how do we animate this camera? Well, we couldn't animate it right here. Moving things around like this. Or we can actually animate the camera since this is just a group. And then a camera aim and the camera constrained to it. So this camera here, it comes with more settings, especially if you guys know anything about traditional photography or videography or filmmaking, you can change things like focal length here and you can see what that does. And I'm not going to get super detailed, especially in these earlier tutorials with what all that means. But just know it's there for those of you who understand it, and for those of you don't understand it, we'll teach you more and more as we go. For instance, we'll talk a little bit about depth of field in this one. But first, let's go ahead and animate our camera. Notice that we've got a constraint animation on the rotation, so will only be changing translation keyframes here. So all we have to do is Shift W and we'll set keys on those translations. Let's say we start here and as our impostor starts to hop forward, will slowly move the camera over like that. And back reveal happy and posture and pasteurizing. Let's just kinda see what we've got here. Making sure this one selected for play black, all Vi k. And then we may want to at this point set a keyframe on translation. So let's go ahead and making sure our cameras still selected shift W k. Now we've got a keyframe here. So right about here, maybe we spin around rapidly by moving our camera even further this way. So we get kind of a profile view. Now we may want to animate the aim at the same time so we can see both our characters. However, if we splash over to here, we see we're already getting a lot more than we can see on the screen. Let's kind of a pain in the butt, but that's what we have to deal with. So maybe we move them. Maybe we take this aim and put a keyframe on it. So let's go right in here. Set a key frame on the translation shift W of our aim. Again, making sure am is selected. And then we'll go forward in time before the attack and move the aim this way to kind of center them. That way we have them right where we want them for the attack. Okay? Now we have the animation going on here. Let's watch it in full screen over here from the beginning, all v might be sudden. We can always tweak that later. That's very sudden. And then that's very sudden two, Let's go ahead and zoom out when this happens. So what is this attack happens? Maybe actually we started zooming out slowly from here so that when the attack is final, we can see everything. Let's go ahead and take our camera and coming back to these dual View Panes. Take it back just a little bit so we can kind of see the damage done. Okay, there we go. Let's watch that again. From this view port on the okay, Not bad. It does feel very sudden to me. I feel like this whole thing could be slowed down a little bit, but because of render times are not going to worry about it too much. Keep in mind if we had unlimited rendering horsepower, I probably spend the time to slow everything down. And what I'm more than likely will do will slow it down in post because it takes a lot longer to render out 3D frames, especially with some of the things we're going to be doing soon, like depth of field. That's it for this one. In the next one, Let's go ahead and talk more about Render Settings and some camera settings. I'll see you then. 71. Rendering Depth of Field: Okay, Let's talk a little bit more about camera settings and render settings. It gets very complicated, so we try to introduce these things slowly. Let's go ahead and take a render real quick. Okay, Looks pretty cool. I'd say obviously, ideally we'd want a different background and whatnot. We want to model it out quite a bit more. But some things that we might want to talk about is some of the artifacts we see and then some camera settings that we can change to make things even more cinematic. Let's go back to earlier on here. And what we have is a character over the shoulder coming closer. Now, we can use something called focal length and depth of field to kind of blur them out. Let me illustrate. If you just type in depth of field on a Google search, you'll get all kinds of images that will illustrate it a little bit better than if I tried to explain it. Let me just pull up this picture right here. You see you've got two different images. Same girl, same, same setting, but you can see in the background a lot further, It's all blurred out over here. Now this is something we do on purpose in photography and videography. We create a sense of depth of field. It really centers and frames our character. And we can use it in ours to create a sense of horror. Something's coming up behind our character, but we can't quite see it. It's blurred out. Now, if you don't know much about this or don't care much about it. Don't even worry about it. Let's come back over here and see if we can achieve a sense of depth of field. We've got our camera selected here, and we can change our focal length quite a bit. Notice I have this pulled up. I didn't show you how to get there and I apologize, we're going to need this to see the distance. So if I grab this character here, I can see the distance from camera exactly. If I grab this character here, distance from camera exactly, you know, how did I get that? I went to display heads up display an object details. So I'll put that backup display heads up, display object details. Okay, and then let's create a sense of depth of field using our camera settings. If we go over to our camera, we can't necessarily change this. We have to go into render settings and we'll have to go over here to the attribute editor. Now, I didn't know this. I had to Google it with Arnold. I had to change some settings up. I just scroll down here to Arnold. And instead of using depth of field that came with the camera, this isn't going to work right with Arnold. So don't even bother with this depth of field if you tried using that, I apologize. Sometimes that happens in a complicated piece of software, you think you know something like photography and depth of field. You try using here and you get all frustrated and say Maya sucks. Well, Maya doesn't suck. It's just complicated and you have to be patient. All right? Just like with people, they're complicated and you have to be patient. Okay, so down here, Arnold, we can make some setting changes here and we can achieve depth of field. Now without over complicating it, these are not necessarily set up like a normal camera. For instance, aperture blades, typically you'll have six aperture blades. Now what does an aperture blade? It's a mechanical device that lets in. I'll just show you a picture of one. These are aperture blades. They're just mechanical things in a camera that let light in these aperture blades. Or why when you see a picture that's blurred out in the background, they look like they're shaped more like geometric instead of round. Watch. I'll show you. I'll just type in lights depth of field here. And you see that these are not round. They actually have polygonal looking sides, especially in this image that's from aperture blades on a camera K, way too much information might aboard the tar out of you. That's okay. You're going to learn some of this stuff as you go. And if you ever take a 3D exam, these kinds of questions will be on there because 3D is something that combines a lot of different other technologies. Remember, 3D is a new technology compared to filmmaking or photography. So it brings all that into it. Okay, enough of that DO. We will go ahead and create the aperture size up a little bit. And we're going to change our focal length here based on this. So let's go ahead and put this character and focus. So we have 6.748. We'll go back over to our camera and then focal distance. We'll type in 6.748. Perfect. Now let's go ahead and take a render. Notice we have nothing. Nothing happened. That's because we have to click this enable DOF or enabled depth of field. Go ahead and click that. Notice the background's blurred out. Obviously it looks like he's being pixelated and incinerate it into a million particles. And that's a rendering issue. I'll show you here in just a second. But that's depth of field right there. We've created this character in focus and that character out of focus. Now before I show you how to fix this artifact in here, that looks pretty cool actually. We'll go ahead and change it to this character instead. So let's go ahead and get his distance from the camera will click on him. 14.757. Okay, so let's go back over to our camera and type that in 14.747 enter and we'll hit Render. Notice now that this character is blurred out and this character is not. Now if we want to increase this blur amount, we can increase the aperture size. Let's try 0.5 and do a render now. Alright, it's like he's an exploding particle mass. Now again, this is artifact thing and this is because of the render right now is set really low because of time. And I don't have the fastest workstation at home right here. My work workstation would have rendered it up real quickly and I'd be using much higher Render Settings. But because I'm working on a slower computer, I keep them crank down until the final render. But how did we change the setting? It's kind of important for the final render. If you want to show anybody that you want to do the highest quality render that you have patients for. So let's go to render options, render settings. Let's click over to the Arnold Renderer tab since we're using that one. And let's mess with this camera AA, and let's crank it up. Now, I always really speed up the render so that you don't have to spend time wasted watching the render, something that no one wants to do that. So I'll crank this up and obviously I'll speed it up. But keep in mind this is going to make it take lot longer to render, like clothes and hit Render. Okay, That's a way longer to render. And notice I still have artifact thing. That's because I didn't change everything, only the camera. And let's go back into Options, render settings. And I've left this tab open. And here we go. We've only cranked camera AA, which stands for anti-aliasing. What is anti-aliasing? Well, it gets rid of those artifacts basically, that's a huge oversimplification. But now we have diffused specular transmission. All this stuff that we haven't, these little specular highlights, we can get rid of them with the other setting. Let's go ahead and crank that one up to 10 and hit Render again. Okay. That took way longer and notice it didn't even get rid of the specular highlights. So it was one of these other settings in here. One thing you could try it as a good strategy is go from 3 on everything to four on everything. So let's try that real quick. We'll probably don't even need a mesh transmission, but we'll just leave it on since we do have some clear glass. And then let's try that. As you can see, Render Settings, very complicated, but don't worry about that. It's quite a lot to learn for right now. We haven't even gone into anything else on here. And it all Effects render time. So just keep in mind every change here. Effects render time. Now if you have a super fast computer, go ahead and experiment. If you're a very patient person, go ahead and experiment. Otherwise, I'm gonna keep settings low for right now while we're teaching. And then maybe in some of the final lessons we'll do on my workstation at work, and we'll crank those out. So the moral of the story is rendering takes a lot of CPU horsepower. And if you don't have it, you're really going to have to crank it down, which is what I'll do for the majority of these lessons because I'm not, I home on a decently fast workstation, but nothing like what I use at work. This is my render with 20 samples. It took a while. It handles everything extremely well, I think except for the specular highlights. And that's because we have extreme specular highlights here. So a lot's going on. A lot goes on with rendering. It's very complex. And by the end of this series, not, not this simple characters, but when we start getting advanced, we're really going to push our render to the max and I'll try it again on a more powerful workstation for recording those videos, especially the rendering ones. And we'll really get some photorealistic results, some stuff that just blows this out of the water. So don't worry if it doesn't look that great. Don't worry if you don't have a fast computer, There's a lot to learn. You got to be patient when learning something as complex as Maya. And I hope you're having fun learning and I hope you're feeling more and more empowered. That's the whole goal here. I'd love to hear from you. I'd love to see what you guys are creating. So keep in touch. Definitely do some crazy things when you do an abomination challenges. I love those as made me really happy and I can't wait to see what you guys see in the next one. I hope you're enjoying this. I know it can be pretty boring learning about rendering, but we've learned about depth of field here. And you've found out how to change, how to find out which distance you are. And you found out. And you found out how to setup distance from camera when selecting an object. And it's just going to get more. So hopefully you're learning some things that will help you in the future of your 3D career. And you're picking up some new techniques. And if you haven't you more interested in this stuff, feel free to Google it. Learn more, Learn on you can, the more you know the better. So hope you're, I hope you're getting more and more excited about the knowledge and learning about 3D, I hope you're gaining. So I hope you're getting more and more excited about the knowledge are gaining in 3D are becoming more and more proficient with Maya. And you're coming up with new and original ideas that you can create to make your own mark in the 3D world. I can't wait to see in the next one. 72. Motion Blur: Okay, now let's go ahead and use some motion blur. First though, let's go ahead and turn off our depth of field. Let's click over here on our camera, go down to Arnold and uncheck enable depth of field. That way we can really see what's happening. Okay, let's go ahead and hit render here. Notice now we have no blurring from depth of field. Let's go ahead and enable motion blur. Since we're now on a part of our scene where things are moving quite quickly. And we can tell because in just a few frames to get slammed up into the air. So let's go ahead and go options, render settings. Let's go over here to Arnold Render. Go down to motion blur, and we'll enable that. And let's take another render. Notice now we have this blurring that happens. Now of course, we also have the artifact thing going on at which we addressed in the last episode about rendering. Not going to worry about that now because we want to really save time and speed rendering. And it looks like I forgot to hide an object here, which is sometimes I get to focus on one area and then forget, completely forget another area. It's very common with creative people. And my students do quite a bit. So let's go ahead and fix that, whatever that is real quick. Let's find it in the scene. And I do believe if we go into our crew mate here, we've got the shattered thing that we just never hid. So let's go ahead and hide that control H. Okay. So Please be aware, always be looking around, but we've added motion blur. It's super cool. It adds a lot of realism. You can try it with or without it. Definitely anything we do with rendering like that. We'll add on render time like the depth of field. So we may or may not use the depth of field in our final render. Just kinda depends on our feeling, but I'll definitely be using motion blur. And again, you have to use Arnold renderers motion blur while we're using Arnold. Which brings up a really good question, why are we using Arnold instead of Maya? Well, we are actually going to show you some more Maya shading things. And the reason why is it, It's a little bit easier to transfer over to our game engine because our game engine is not going to have Arnold, so it's not going to look the same. So depending on what your usage for this, these files are, you'll really want to think What's render you want to be using. If we want to send it over to a game engine, we may not want to spend too much time tweaking the render. We may have to use different materials. We can send the same textures over, but how we blend them and whatnot could change. So that'll be an issue in the future. All right, We're pretty much done with this one. In the next one that we're going to render out a sequence. And maybe before that will extend some, some of the animation make it a little bit slower and longer moving. I don't know, but it's going to be fun. I can't wait to see you in the next one. 73. Extending Frames and Rendering Sequence: Okay, Let's render out a sequence. But actually first, I talked about extending this a little bit. The timing of the animation happens very quickly. Now, instead of going and dragging all the keyframes around, what I typically do is I render out at better than 24 frames a second. What does that mean? Well, film is rendered at 24 frames a second, but I can crank this up. So I could do 60 frames per second. Notice what it does in the timeline gives me way more frames. Now, this is going to increase my render time by quite a bit. But then with those extra frames, I can take it into a nonlinear editor. I can slow it down a ton because of all those extra frames, keep in mind that would make changes to things like motion blur. But essentially, I've just slow down my animation and hopefully it will be a little bit more playable. Now, notice what it didn't do is keep the camera in the right spot at the right time. So my camera is now changed position. I don't necessarily hate that. But that's just kind of a happy accident that happened from it. So pretty cool. I could return the camera, but I kinda like this and that way we get to get kind of a different view and perspective on everything. And I did not plan that at all. But one thing I should probably do is only rendered to a certain frame. And that frame looks like it's going to be about 390. So we could even take this down to 390 by just cranking this down, like so. Okay, Perfect. But when we set up our render settings, we're also going to explicitly state what number we went to end that. Okay, let's go back into our render. If we don't want to wait for it to render, we can always say escape. You don't have to sit there and wait. And then let's go back to Options. Oh, we had options open right here. Silly me. Okay. Let's go back to common here and change it from ESR to JPEG. We don't want a single frame. So let's go ahead and name number extension. That start frame 1 and frame 390. Renderable cameras. We will select Camera one. I'm gonna make this a little better than HD by 40. Now it'll take a long time, but I can just walk away and render. So it's no big deal to me. Hd 720, and that looks good to me. So what we can do now is go Render, Render Sequence. Camera one should be selected. Got all that going on for us. Let's pick an alternate output file location somewhere you know exactly where the files are. Go ahead and put mine and movies. Hit Select. And I'm going to hit this button and then walk-away for a long time. So it's always good to double-check, triple check take a lot of renders because once this goes, it can take hours. If we, if we connect her settings real high, it could take days depends on how fast your computer is. So on mine, I'm going to render it. I'm not going to render it super high-quality, maybe a little bit higher than what you saw. And we'll go from there. Okay. I'll see you on the other side. 74. Avidmux Imposter Attack: Okay, Let's pull these into avid MUX. Open. There it is, in all its glory. Let's press Play. Wow, that was glorious. But what's cool? And you guys are probably realizing this is animators now. That looks cool, but it doesn't do any justice to it without music. Audio is 1.5 of video. So we really may have to do a unit where I show you a little bit of how I add an audio into there and make it better. So maybe I'll do that this unit because it's going to be a fun one. It's going to be real fun. I'll see you in the next one away. First us to export this. Let's go and video H.264. Since I've been NVIDIA card, there is no audio output. And what changes to MP4? Hit Save. And we'll call this cremated tag for animating criminal attack, whatever. Okay, it's done. I'll see you in the next one. 75. Editing Audio in Camtasia: Okay, Typically, I do audio editing in a nonlinear editor, my personal favorite is Premiere Pro. I've used everything, though. I've used avid has nothing to do with avid max. It's an old school editing system they use in Hollywood quite a bit. I've used Final Cut Pro. I've used Sony Vegas. Sony Vegas with my personal favorite for editing audio is really fast and easy. But I use Premier Pro for most of my work. Camtasia though, is great for recording tutorials. And that's what I happen to have open. Unfortunately, I wasn't able to find something free for you guys to edit with. So hopefully you have access to something. You guys can skip this one if you want. It's fun for me, but it might not be fun for you and has little to nothing to do with animation other than the fact that when you add audio to animation, it's way better. So here we go. I'm gonna go ahead and import that animation. And I'm going to increment the tag. I'll open that up, pull it in. And then what I wanna do is find background audio. Now, I just recorded a bunch of stuff among us, stuff this right here is the audio from the kills sequence I found on YouTube. So I'm gonna kinda loop this, the sound. I like it. There's a little beeping thing because our guy right here looks like he's looking at a panel or something. Now, ideally, we would have modeled the panel, model the background, all that good stuff. But we didn't. So I'll go ahead and cut this. And I'm just using hotkeys. I know you're not going to go out and purchase Camtasia for this. This is merely for entertainment purposes only if you don't like it. You don't have to watch this one. All right. So it's just an extra freebie, if you will. All right, so let's see what we've got. Okay, that's all good. Now move that out of the way. I'm going to kind of loop this one. So I'm going to Control C, Control V. And just kind of loop this. Hopefully the timings are right on the beeps. And I'm going to try to find the sound effect too. I think I'm going to add that sound effect in there. Now there's all kinds of sound effects I could add in here and I'll put it on some from other libraries too. I'll probably add that one in because it's very, it's wonderful. I know it's not even for this attack, but with sound, you just have fun layering them. All I do is just layer the sounds. Play it back. It's much like animation and that you don't know if it's going to sound right until you play it back. And then you play it back and say, oh, well, that worked really well, or let's change it. That didn't work well. So this is going to be my base layer of audio. I'll move this down. This is going to be the background audio. And then on top of that I'll layer the attack sounds and surprise sounds and everything. So this is kinda, I'll do it. I'll come later. I think right about the time he turns, I'll have this imposter sound effect. There we go. And obviously laid on that, I'm going to import some more stuff that I've been using and I used it for earlier videos. Should have some audio in here. I'm going to put them over here in the library. The sword I've been using quite a bit. So right there, all that sword sound effect hit, as well as that splash. That's pretty good. You know, when we can probably end that with that. That actually worked quite well. And I don't want to worry you with the mechanics of all of this. Again, I know that no one out there probably has Camtasia. It's very specialized software, forward screen recording. I do so much of it, it just makes sense to purchase. Most of you might have access to something like Adobe Premiere, again, that usually costs money unless you're in an education system that pays for it. But I have a lot of students all over the world, so I'm not really sure what you'll have access to. Actually, something comes to mind. Let me let me pull some up real quick. Okay. I don't use DaVinci Resolve, but I have friends that do. It's very powerful. I know that for a fact, but it used to be sold for a lot of money and then black magic purchased it and just gave it away for free. I love when companies do that, That's super awesome. That's why I always support blender, even though I teach Maya, I think blenders a fantastic product. I just, I love the power of Maya. So enough about that. Try downloading DaVinci Resolve. And I'll add this link in there. For you guys. It's very powerful, it's very complex. Maybe I'll do a tutorial on Da Vinci Resolve if someone wants me to. That's fine. Most MLEs and by an allele, I mean, non-linear editors work fairly similarly. And I've used so many that it's easy for me to pick them up. So if you guys really want, I'll edit audio in there sometime for you, and I'll include this link in this post. But this is a free software that is professional quality, extremely powerful, and you could edit your Maya videos with this. In fact, this will totally get rid of avid max because you can import your image sequences into here and it would have no problem parsing them out. So now for that, Let's play this back one more time and all its glory. And then let's try to layer and one more thing. There's among us attack that I think would just do us right? And I want to say it's this one right here. Nope, it's not that one. That's the sword. That one That's the gun must be this one. Note. Hold on 1 second. This one? Nope. Interesting. Okay. I was able to find that one by either re-record this YouTube video here. This is the one we want right here. This is the attack. We spent all that time, all that hard effort working on and I had it in another video. So I'm just going to take it Control X and move it over here and see if it will layer. And again, it's like animation. You don't know sometimes if it will even work until you add it in. So I've just got to kill that a separate audio and video and just keep the audio. So layer this in and just kinda see if it does what we think it's kinda do. All right, let's play this back. You know, I don't think it takes away from it. I think it's good. Okay. This is this is audio editing for yeah. So there you go. I hope you're enjoying it. If not totally cool. I'll see you in the next one. 76. Getting Ready to Create the Abomination: Okay, get inspired because we're about to do my favorite part of every unit. You know what it is, It's time for the abomination. The amount is abomination, something so abominable, so cursed, that reddit breaks. So our goal today is to break read it. Can we do it? I think so. In fact, my abomination was inspired by Reddit post. And why do I go look for Reddit post? Inspire me Well, creativity is, it definitely can happen on your own. But a lot of times when I've been most creative is when I bounce ideas off of other people. And when it comes to this kind of thing, when I talk with my students, That's when I really get inspired. A lot of my courses are born out of these conversations with students where they showed me a meme that just clicks with me. And I'll be honest, most memes, I hate them there if they're just stupid, but sometimes it's just really sings. So go out, get inspired. Don't necessarily follow what I do or follow what I do. It's up to you. I don't really care. I just want to see the worst abominations known to mankind. It's always better if you create your own. But here we go First things first we need to save this scene as something else. File, Save Scene As and cremate abomination, do it. Okay, now we need to clean up our scene because it is a huge, huge mess and it's going to get messier and I'm, I'm sure of that. So we've got crew mate here. We know we don't want to see our normal crewmates. We just get rid of them. We don't want to see any joints. Get rid of them. There we go. And this curve has been hanging on way too long and the scene delete. And I don't want even want to see the sky dome right now. Don't care about it. Just care about this guy. Don't even want to see this light. Troll each. Okay, seen as somewhat clean, but it's more complicated than that because we have our impostor and then we have Kermit Yellow and then chromate. Right? Now we've hidden cremated over here. What we wanna do is probably hide imposture for right now. He's constrained to our crew mate yellow. So anything we do a crew mate yellow, We'll move over the differences we're about to do some modeling changes. So it just be aware we may run into problems. Probably going to happen. Always does. But if we break something, maybe it will be more abominable. And that's hopefully what will happen as well. Some happy accidents. Those of you Bob Ross fans out there know what happy accidents are, maybe back in here. And I know this is going to look like we're destroying everything. Don't worry about it. We don't make mistakes. We have happy accidents. Bob Ross was a legend. If he was a 3D animator, my gosh, can you imagine, read it would've been broken for years. It would have never existed. Alright, modeling toolkit, let's, let's do this. Okay, notice it disappears, right when I go to the modeling toolkit, very frustrated. Don't worry about it. All right, let's find out what's going on. Slow things down. I'm going to delete my old crew made earlier, just let's clean up the scene. Notice now he pops back up. Why is that? I don't know. Just be patient. Okay. I click on something with this, it just disappears. What is going on? Alright, let's hide our impostor Control H. Got a creamy yellow here. Let's make sure that it's not jumping around because of these hips right here. Grab that are there. Notice that this was causing me not to edit anything. Now it's still does it. I click on something, it just disappears. Why is that? Everybody take a deep breath, we can get through this creamy yellow. I want to show, well Shift H that and an else. It doesn't show up at all. Nothing at frame on this, nothing. So what's causing this issue? Is it something over here in this area? I don't need to see the joints. I have visibility on. I don't have unselected ability on let's not show the imposter, Let's hide him. Let's unhide this shift H it frame on the keyword. Still nothing. What's going on here? Why is this constantly being hidden? Even when we don't have hips or anything in there. Notice when I click on chromate red here, I've got all these salt grayed out. They're all locked. We need to unlock everything here, which means we might lose some keyframes. Guess we're just going to have to live with it. We'll go ahead and select all that. Right-click unlock selected. Now should be unlocked. Should be able to click on chromate Red Hat frame and see them. I cannot discriminate. Yellow just continues to be hidden. We want to shift h, It just gone. Now, those of you who are getting really frustrated out there like myself, you just keep clicking and looking. Sometimes keep these in the recording tsunamis all added amount. But look, look over here. See this. Are you laughing at? We got to turn visibility on. It's keyed to be off, right-click. Let's go ahead and delete selected and turn it back on. All right. What about this? Visibility still on? Looks good. Hit frame. Still don't see him though. Okay. I had to pause the video for that one. That's pretty intense. So keep in mind we know a lot more about this. It's very frustrating. It's also super powerful, but keeping organized over here is one thing. Then you add organization over here gets even more difficult. So what I had to do is I kept messing with everything. I went in here. I looked and membership. Okay. And I looked at creamy yellow. That's what I'm desperately trying to show. There's cremate yellow, literally right in there. Cremate yellow now overhears cremate read, keep in mind we called this. This is crew might read this is, we need to see this to somehow under cremate red over here, we've got just the mesh crew might read, not the group. Now, if this is confusing the tar out of you don't worry. That's why it took me so long to find. It took me like five minutes. And I may have said some words that I shouldn't have said, but I added those up. So there it is. There's our problem. Let's get to creating our impostor. Took that long just to get ready to create our impostor. So I will make this a multi-part because I need a break after that and I'll see you in the next one. When we're going to add legs to our abomination, will come up with a good name for it. I'll see you then. 77. Modeling Abominable Legs: We're back, Let's do something disturbing in the modeling toolkit. Select that. Let's get crazy here. I'm going to select these follies right here and Control E. Take them down. Then down. Here we go. Okay, It looks like I selected something. I didn't want to undo that extrusion. Just don't get impatient even if you had something like what we just had happened to us. Now we could just extend this down, like so. And that's not terrible as it is. Yeah. Well, do that. Grab these points. You don't need this to take a long time by any stretch. Okay. I don't think they're thick enough. I don't think you guys think that enough. I think we need a thick legs, so we need to scale. Now why it's got a delayed reaction. The scale, I don't know, I probably need to restart my computer. Bill Gates is probably angry with me. It's more likely scenario. Okay, and then let's take these polys here and use over here. We'll extrude those 0s. Take them down. Okay, grabs them. I didn't want to or something happened there. Just the sun's not in line with the others. I'll hit one on the keywords. You what's going on? They're all go back a step or two. Just Control Z here. I got plenty of time. Somehow that one didn't line up the move with it. We didn't grab this point when we move them. So always pay attention. What's going on. Move it down and somewhere in the place. Someone I say that's close enough. Okay, back to that step. Again, this is not a speed process, this is a fun process. Enjoy it, play some music. Do whatever. Trial E. And let's take that thickness out. That, Oh my gosh, this is looking good. But I think we need to take these points right here and taken them out as well. Really wanted to emphasize the legs on this one. Yes, yes, yes, yes. It can't get to abominable. Just be aware that there is no abomination. That's two abominable for what we're working on here. Actually take that down, scale and weigh down on actually what I should've done. Control E to E and use this so I can change the offset. So I'll take them down and then hold Control to set the offset again. Like so. My moment too much. Something like that. This is looking really good, but of course we're gonna have to rig it. So there's that. But we've modeled something that's a little bit more abominable than usual. Well, at three on the keyboard, It's looking good. Looking good. Maybe we should give it feet. I think I think he beats feet, control E. And we'll take these front faces right here. Troll E, them. You guys saw controller, you would just some lame thing, but it's like the most mighty weapon in the toolkit of the 3D animator. And thick, Let's go thick on these. I mean, not that thick. If you just a little thick here. Well, just It's all flat right now I don't want it to be that flat. So let's take all these polys down here on the bottom. And we'll take them down. That. Yeah. Yeah. Okay. And then some of them we'll just use this drag tool right here. Some of them, I want, some of them I want to extrude down these baselines. They need to be extruded down. Lost my selection there, OK, Control E. And take that down. There we go. Okay. Quite abominable. Yes, I like it a lot. It's beautiful. I hope yours or even more abominable than this. I go. And that's really the calves bigger here. Huge calves. So what we want, that's what we're going for. Let's take these out. Maybe you wider. Let's go back to pick marquee. Take both of these to stick in them. Let me give you one at a time so we can take an arm from the center. But Soo much can't see what I'm doing. My computer's doing some weird thing where it won't let me see it as it's happening, probably need to restart, like you said. So after this modelling stone will go ahead and do that. There we go. Okay, Can goals. This is awesome. All right. I like I was going to make these narrow. I'm going to see what it looks like. Narrow. I think you always try it. If you have an idea, try it, see what it looks like. Let's try this as an arrow. That's a little better, I guess. So I selected too much scale it a little bit. We haven't modeled. It's great. I like it a lot. And the next one we're going to rig it animated. It's gonna be awesome. Good, save your work. You don't want to lose this beautiful stuff. Okay. See you in the next one. 78. Rigging Abomination: Okay, I have some decisions to make. I've got to look in beautiful. And I had this problem that you may not run into this at all. But if your character is regular, the same problem I did so as changing points around and I move them, they don't immediately move, they just take forever to update Control Z. That very frustrating for me as a, I mean, my computer's not that slit like what's going on. And I thought maybe you had a virus. That what's happening is Maya still thinks this is a rigged character. In fact, I moved the joints back in at some at 1. So shading X-ray joints, you can't see him. But anyway, I move those joints but oh, it's because they're hidden in that layer panel. Again, this is just an example of how complex things can get. And I'll tell you what this is a tiny scene by comparison to where we're going. This is, this is very small. And look how many things we have to think about. So at my school, we teach things like programming with tons of logic, very difficult subjects. And then we teach things like design. Well, a lot of times the programmers will make front of the designers thinking, well, your, your, your jobs not that hard. Well, it is actually the problem-solving happening in just trying to manage this scene and all the different details and parts is actually quite immense. It will work your brain. So make fun of the 3D modelers, animators, their boss, right? But enough of that. What's happening right now though, is it's re-evaluating the skinning. Go over to rigging here. It's, it's repainting the skin weights. Watch. I'll select our character here. And you'll see that for these legs as to re-evaluate. And it's doing that every time I model. Which is fine for right now. But watch, watch what happens. This is funny. You've gotta watch this. You need to, I'm going to play some delightful music wall. I play this back for you. And the change of, I went to 24 frames a second. Let's change it to 90. So you'd really get the gist of this. All right, are you ready? The tide, so all the animation and the camera animation still happening. I thought you might enjoy that f naught, whatever, whatever we could probably zoom out on our camera too. So we can see all of that glory. To change our angle of view. Make that a little bit longer. Now we can see all of the glory of the feet. We probably haven't animated or something. But anyway, I thought you might like that k. So do we reread it? Do we leave it like this? It just depends on how much time we want to take. Let's say we did want to take that much time. We go in here, we can just modify things. Well, why don't we go ahead and just modify it? That's what we're here to do. Learn. So you learn by trying, you get in the sandbox and my is the ultimate sandbox. So let's get started. Spacebar, I'm going to frame our character. And then let's make sure we can see the joints. There they are. We obviously need to modify them quite a bit. So let's do that. Let's go ahead and make a mesh on selectable Excel. So we can just grab these joints. Want to do is go to the end of the joint and move it. And let's obviously, let's go to this viewing pane right here so you can see both of them will go panels, orthographic side. And we go, and we can move just these joints right here. Now, keep in mind it's bound to the skin. So this is where the painful decision makes. We've got to unbind skin. It's okay. How to do it. Very simple for a character like this. Skin, unbind skin. Well first I should probably undo this damage that I did. Okay, let's try that again. Skin, unbind skin. It's giving me an error, must select the skin to detach. That's because we didn't have this mesh selected as well for the third time, skin and lion skin. Okay, there we go. So now we've got our rig here and we want to move it in place and modify it. We really are just modifying the legs though. So no big deal. All right, Let's grab these ends right here. And let's move them in place. May want to move this one right here. Move it like that, Something like that. Now why won't let me select the the leg without grabbing it? I'm not really sure. I don't know where the knee is on this character, but something like that looks good. I think. And let's do the same over here. What we could do is just delete the other leg. So this is the left leg. Let's just go ahead and delete the right. We're just going to mirror it over anyways. So we've got that joint selected. Now, this is something new you haven't seen before. If we go to Skeleton, we can insert joints. So I can insert a joint in here like that. Pretty cool. Ha and then let's go over here. Looks like we were wildly off. It's okay. And we've always should take this knee back as well. So let's just go down here. Take the knee back. Well, it can go forward a little bit. S1, go back, some will become the ankle somewhere in there. And then we'll grab that insert joint tool again right here. Go down to the foot like this. And then over here we'll move it kind of in a place like that, somewhere in the middle there. All right, Cool. Awesome. Very, very good. So let's take these legs, rename them real quick. This joint of course, will be the knee underscore L because we want to rename them like we did before. This one will become ankle underscore L. And then let's take these joints, Skeleton, Mirror Joints, hopefully that's all set up correctly. It's not a Control Z that skeleton mirror joints. Let's just figure out which way we want to mirror them. We want to search for l and replace with r this time because we deleted our right one. And then how do we know which way we want to mirror them across? It's time for another lesson in that same. Now, again, I will remind you if this doesn't make sense and you can't figure it out, just try them all and undo if it doesn't work. Like you really don't have to know. I'm just trying to make you better and smarter. So YZ is what you would think, right? Y is up, z is back. But what we really want is x, y. Because we want to go cross the x on this side, right? And up y. Let's go ahead and apply. There is mirrored done. All right, so now a little bit long, but with abominations, they tend to go along because you're, you don't know what you're gonna do. There's no plan and you're just doing it, just being crazy. So in the next one we're going to scan it. I'll be really quick and easy. Then we'll animate it and render it, and we'll add music will be awesome. I'll see you in the next one. 79. Skinning Weights and Animating Abomination: Wait, painting time actually first we got to bind skin. Select the hip. It's like the chromate. Skin bind skin, skin, Paint, Skin Weights. It's the favorite part. It's one of my favorite parts. Don't know why. Obviously the sound effects is my first favorite part. But anyway, I'll select the crew. There, will select the different bones we want them to affect. I'm not too worried with an abomination about making it look good. Let's go down to the knee here. That looks pretty good. Then he would affect technically everything and the ankle will just paint that out. Maybe let's go find a perspective view port though. I'll have f frame it down. Well, just, I'm just gonna control paint out some of that upper level stuff that doesn't really need to be affected by the ankle. Again, not too worried or concerned about anything. I don't take the abomination seriously. I mean, I do take abomination seriously. I just don't take them that seriously. That probably makes no sense. Don't worry about it. Most of my students don't understand me anyway. Whatever that looks good. Let's go over here. Angle. I probably could just leave it like that. What you really do is I don't even typically will, I won't even do this first, I'll animate and then see where it breaks. And then kinda do this. But whatever leg looks good, All this should still be good. I mean, it's going to be a bit caddy walkers and we want it to be enough of that. That's boring. Let's animate, Let's animate this guy right now. Okay. What do we want to have them do? Well, it's already doing stuff. He's already got animation data so we can leave that or we can clean it up. I kind of like seeing them dance obviously right here will need to continue adding stuff in this kind of works. Him jumping right there. Let's fix the leg. I'll, I'll make sure that we are the best music possible to this. So let's go in here and select our leg here. And we'll just shift it will just shift this angle here, the ankles not going to have any animation data on it. So right back here we'll put a keyframe on the rotation shift E. And then over here starts kind of going through, we'll just rotate it out of there maybe like so. Okay. And is it going through there? Now? It's gone behind. But maybe we'll take this this leg and go back even further with it there. So left leg, we already have animation data there. Let's sneak and by I think we're okay honestly. But of course we could take it back even further. Like that. It's a little bit of popping, but that's a move. It's called popping and locking. Apparently, if you're a dancer, I don't know who really knows. And then right here, I guess we don't have to use all these frames necessarily. We could just leave it the way it is. Maybe we'll tap this this angle over here That's right ankle there. Now it doesn't seem to be. That works. Okay. So we'll just add some tap there. We're not trying to do anything complex here with abomination. Just wanna make some fun stuff. Now you guys, you guys could go crazy with this and have at it. Then back down. Not super concerned about how realistic it is a dance. Dances aren't realistic, they transcend. Obviously. These are like flippers on this guy. Please try to come up with cool names forum because you know, whatever. So let's stop our animation about the time he stops 364, we don't need to have 90 frames. Let's go back to 60. See what that gets us. And that will, that will speed up our animation render. By far. Well, I know maybe he can open his mouth right about here. I don't know what I think about that. Let's see what, what happened. Let's unhide this shift h. We're gonna have some problems over here, probably view, view. Okay, even though it's constrained, it's not going to be in the same place. By a long shot. We could try. Let's go ahead and write as the mouth opens so we didn't have to animate the mouth again. Let's how would we do this? We'd have to hide the mesh right there. And that could be kind of difficult. Right there at all. Plays, it all works because he's no longer deforming anywhere. Again, this over-complicate our our job. That would look super awesome though. Like I'm definitely considering it. The problem is, as you know, is getting these legs onto the impostor itself and then making that conversion right as it happens, it can be done, anything can be done given enough time. So keep that in mind. You know what, I'll issue that as a challenge if you're following along and you want to do this, I want to see what you guys can come up with. I want to see it. You can pull it off. I don't have the time currently or I would because I love doing these kinds of things. But why don't you guys try to pull off putting the two together seamlessly? If you can do that, you'll have my applause. So I will render this sucker out in the next one, but I'm gonna go ahead and hide the imposture for now, baby, one of these other days. All right. I hope you have fun with this. The next one, we'll do a quick render this. It's going to be awesome. I'll see you then. 80. Rendering Abomination: Okay, You already know the routine for rendering amount. Depending on what viewport we want to use. What's go back to our camera one here, Panels, perspective camera one. See what we've got. That's feels feels pretty good up to about frame. I would say to 49250. Let's call it 250, right there. We'll go ahead and scroll into 250. And just base are seen on that. It's already a lot of frames to render it save. Maybe what we could do is add a different backdrop than what we've got. Let's go ahead and do that real quick. It's easy enough. We got our sky dome light. Go to the attribute editor. And we've already got this color mapped out. Let's hit that button and let's just change that with something else. This time. Let's do Shanghai at night. I don't know what this look like in a render. We can go find another one too. Let's hit Render. Sky don't escape to scaling. Again, keeping organized this great until it's not, it slows you down quite a bit. So let's see what this hit that button again. Crazy motion blur, but it's kinda cool. I like it. That's what we'll do. So again, the step for rendering this out. Let's go over the options render settings. However you want to set this all up, still setup for JPEG, name and extension. All that's good. 720 is fine. This camera's fine. All that should be the same if you saved it from the other scene. So you'll just have to go render, render sequence here, and then pick an output location that you want. Obviously I leave mine in. I go up. I like to put them in movies and separate folders. So I'm going to create a new folder called abomination. And that's the one I'll be using to render for this. Select. Double-check your frames. Let's go back over to options, render settings, double-check your frames end, whether it's a man's mind ends at 250 basically. So this idea to change from 390 to 250, like that. Close render. And I can hit Render Sequence. So I'm going to do that and I'll see you on the other side. 81. AVidmux Abomination: Okay, so we have our files rendered. Let's bring him into we have Max open. I'll open up my nomination files here. And let's press play. Shea. Pretty awesome. We don't want to just copy this. We want to turn it into In video H.264 and my system, there is no audio. I'll change this to mp4 and I'll hit Save. Make a folder called renders there. And I'll just call it an abomination. It's safe. All right, and then maybe wants to do with video. We actually add audio to the clips. I typically just do that in Camtasia. I would do in Premier or one of those kind of more advanced softwares, but you might have access to that. So I don't want to do that. But there we go. We have urban nation. He is complete. Can't wait to watch them with audio. It's going to be fun. I'll see you in the next one. 82. Kirby Unit Intro: It just keeps getting better. In this unit, we're going to create the most terrifying creature of all time, curvy. Just know this, the tiers of curvy can heal the world. In this unit, we go far beyond exploring minus technical skills. We actually explore story. What makes an animation great? What's the purpose of animation? We're going to create our first story. We're going to explore some great things like the toon shader physics engine, my hair, and so much more. Let's get started. 83. Sculpting Kirby: Hello and welcome back. Curvy. It is going to present some interesting and unique challenges with us and we're going to do some things differently. We're going to prep and more for game, and we'll be using the Maya render instead of the Arnold Render. And we're going to have some fun with it. We're also going to be doing sculpting tools. But before we dive into all that fun stuff, what we really need to do is go back and watch some footage of Kirby so we can think about how we want to model them, how we want to read them, and how we want to prepare our textures. Let's do that real quick. Of note look at when he swallows and character. Now if you slow it down really slow, you can see that it's just one minute the characters there that exponent disappears. But something to consider if we want to actually rig and animate something like that, which why wouldn't we want kirby the swallow and, and Gulf someone that's like a signature move by curving. So as we watch this, let's think through how we're going to model them. I think the best way to start modeling m is with a sphere, obviously. And then we'll do some sculpting tools. So why don't we get started a new project, open Maya. Let's go ahead and make sure you set your project. I've already done that, but if you go down to File project window, you're gonna create a new one. I've already done that. And you're going to be able to location. I've already done that. And then the except, and then of course, save your scene. We will save this scene as modelling Kirby. Hit Save. Okay, Kirby is going to be really simple to model, like ridiculously simple compared to what we've done in the past. And we're going to do is hit the sphere button. I'll hit F to frame in. And then if we come over here to poly sphere one, Let's crank are subdivisions to something like 50. Because we're going to sculpt and sculpting requires more polys. Now, typically I tell you don't do that many polys. So we're going to break all of the rules. Let's go over to our modeling toolkit. And let's go over here to sculpting. Now, we're not going to get into sculpting, but it's pretty fun. I guarantee you, you're going to have a blast messing around with the sculpting features. We're going to start with the very simplest and easiest of all of them. This one right here. Let me show you how it works. I've got my objects symmetry on, I haven't showed you that. But over here in the modeling toolkit, typically it will be off. Why you want that on is because check this out. I can do two things at once, two sides at once. All right, pretty cool stuff. And if I wanted to change the size of my brush, I can hold down B and drag, and then I'll get a much smaller brush size, but I'm not going to do that. See, I'm getting now these really sharp poly edges. I'm going to Control Z that now there's Kirby, Kirby, He's got a bad case of the mumps. Alright, control Z a couple of times, get back to normal. So I'm going to increase my brush size quite a bit. And all I'm gonna do is try to tackle Kirby spins. Now one thing interesting that I didn't do for this tutorial is actually bring in reference. Some of you may want to look at reference Kirby and my mind is such a simple character that I don't even know if I need reference. But let's go ahead and bring in something. So View, Image, pain, important image. I'll go up to my Images folder here. And I've got a lot of textures and stuff, but I have Kirby 3D here. This is what we're going to essentially be creating. However, I don't like that look and feel very much. I'd rather go for a more cartoony feel while using 3D. And so we're going to be using some, they're kinda like toon shader is really in. We can mess around with that in a later lesson obviously. But to note here, when I first did this, I tried just using the sculpting tool for these arms and the legs, but it didn't work well for the legs. So we'll make those separate objects. And it's going to be really cool, so important, this one. And like I said, they don't really feel like I need this. But there it is staring at us in case we wanted it. I'm going to hide it though. You can feel free to use it. And I will Control H, that image plane. Let's go ahead and sculpt. So we'll hit the sculpt button here. Again, play with the sculpting tools. We'll go into a more maybe in another lesson, but probably not for this lesson. So what that Sculpt Tool activated? Let's go ahead and see if we can't pull out Kirby arms here. I don't think that's quite big enough. I'm actually going to increase my brush size by holding, be. Making this very simple on myself. I'll just pull out curvy arms, something like that. And maybe I'll sharpen it by decreasing the size and coming over here. See that's not perfect. You may want to practice with this tool a little bit. It's not the easiest thing in the world and it's not all that hard either. We can call those curvy arms for sure. If we wanted to, we could sharpen them if we wanted to. But you may need some practice to get good with the sculpting tool. Think that's too much. Maybe we'll just call that good right there. I'm not sure They're not be enough for us. But let's try maybe a little bit smaller. Like this. It's worth taking your time to do it, right. And I kinda perfectionist when it comes to this kind of thing. So I will typically spend a little extra time to get it just perfect. And it's good practice for you. This is a great character to start practicing on because he's so simple. Again, we can, we can increase or decrease the stuff. And if you're looking for settings like pressure and things like that, you can always double-click on the tool and you'll get things like strength. You can crank these down size instead of holding down the B hotkey, you can come in here. And I think, I think what you guys are probably going to do is play with this stuff. Now, I will go back and touch on some of this stuff when we do the abomination of Kirby, but I won't do it just yet. Okay? So I think, I think I'm a little bit too sharp here and I don't like that. I think I'm gonna stick with the nuclear arms and if I have to, I'll change it later. But that's how simple it is to create Kirby now, let's go ahead and create for him little legs real quick. We'll go back to Pauling's model here. I'll create two more spheres. Can't see them. I'll go ahead and hit Q and R and scale and move these kind of down. All we're going to do is kind of crunch this down like this. And over here on this axis like that. And then we're going to want to make sure it's positioned right over here. We can even bring in our image plane Shift H, kinda see if we've got the scale right. Notice these are much thicker. So go ahead and scale that up a little bit like that. Now I know what you're thinking That does not look good at all. Of course not. What we're gonna do is actually kind of flatten out the bottom, even though they didn't here, these are kind of position towards us. And let me pull in another image plane. Let's go view image plane, Import Image. Go back up to images and I'll show you the 3D one again. And you notice they're a bit flat on the bottom and that's really how they are. We'll hide the image plane one h. Notice they're a bit more flat on the bottom. So with this object selected, we're going to go ahead and grab these points here. And maybe like that. And we're gonna go ahead and hit R and scale them all the way down and then move them back up into place. Then making sure that we're right on right here, which we are. So that looks good. That's a good leg right there. Let's go ahead and name it. Foot underscore, left. And we'll duplicate that control D foot underscore, right? And we will go ahead and scale it. And we'll go ahead and scale it in the export. All we're gonna do is add a negative here and enter. What we should have as a perfectly mirrored one. For this side. Great work like that. We've got Kirby. Well, we're not finished. Let's go ahead and name this top sphere curvy. Let's go ahead and control. Select these two feet and middle mouse, drag them under Kirby. And now we've got our Kirby model just like that, that quick and easy. We've got curb modeled. That may have been our fastest one yet. So congratulate yourself, you're learning new things. Curve is going to be probably the most fun up to this point, especially when we get to an abomination. I so many great abominable ideas for curvy. He just screams, please make me an abomination, because if you think about it, Kirby isn't abomination. He's what happens when you combine bubblegum and Teenage Mutant Ninja Turtles or, or maybe Pac-Man ate too much bubblegum. And Kirby was the abomination that was created afterwards, nuclear bubblegum, not just normal bubblegum. I talked too much. In the next one, we're going to try some really cool texturing methods. Again, using my render, it's going to be awesome. I'll see you then. 84. Shading Kirby: Okay, let's go ahead and set up our scene real quick, clean some stuff up, and then we'll add a new shader. A shader you've never heard of before, probably to Kirby. And it's going to look really cool. It's going to look like that cartoony image we're going for, while still being a 3D object many times, they're referred to as tune shaders. We're going to do the very simplest version of it, just to get your feet wet. Okay, let's go ahead and create a layer for Kirby right here. Layers, create layer from selected. We're going to name that Corbay. I'm spelling it wrong on purpose. Remember, it freaks out if I tried to just do Kirby watch, I'll even prove it to you. Yeah. Okay. So it's Corbay. Perfect. And now we can turn Kirby on and off. I'll go ahead and hide again the image planes not going to need them probably ever again Control H. And let's go ahead and put a big plane down. So this is a plane. And all this is going to do is kinda give us something to add shadows to and, uh, kinda like an environment, very simple environment, just going to move it into place. Hotkeys that you already know right under his feet will make it super-large like that. And we may even duplicate this plane. We'll call this floor. And we'll duplicate it Control D. Call this background. Just as a backdrop to our render. Rotate that, push it back in the z-space, somewhere like that. Okay? And we'll put both of these. They're already in this. We don't want them in there. And that's kind of a problem with creating layers is the new stuff he creates typically in there. So let's right-click membership. And let's see what's in Kirby. Okay, just Kirby, that's good. We want them there. And then we'll want to be able to turn off these background planes or at least make them unselect double. So we'll go layer, create layer from selected. Double-click and call this environment. Cool. Awesome. Now if we render and right now he's not going to look great. It's going to have this Lambert boring gray shade or on him. And what we wanna do is make sure we're on viewport, not Arnold. Again, we're not going to be doing Arnold with this one. And let's go ahead. We've got plenty of time here. Let's add a texture tone. So we'll click on curvy, right-click, assign new material. And what we're actually going to do is called a Ramp Shader. It's going to be super cool. Sit that Ramp Shader. Let's go over to it here. Ramp Shader. And this kind of complicated and just kinda follow along with what I'm doing here. You pause the video. I hate it when I'm watching a tutorial on, they just had a bunch of buttons real quick and have to pause and stop and pause and stop. I realized that's a huge pain, but let's go ahead and add some stuff to this. Now, how these work in Maya is pretty simple. This is an X button. I can add a whole bunch of new stuff by just clicking in here, right? Like I can create kind of a gradient with this, which is super cool. And if I want to change the color, I can double-click right here. And I can change that color to something like that. This will pop up on your screen, by the way, it's on my second monitor. So I'm going to pick something like hot pink here. And then I hit Done, and it stays there. Now, notice it's a gradient. I actually don't want it to be a linear gradient like this. I want to change this to none. And then what should happen is I should get straight bar here, but it's not doing it for some reason. I'm sure it will in a second, maybe I'll have to change this one. For this one, I'm going to do more of a dull colored pink. So I'll double-click here. And I'll kind of create kind of a duller pink here, something like that. It done. Again, changing that from linear to none. There we go. See when you change the one before it, it changes. So now it's a straight line instead of a gradient that will come to this last one. And I'll leave it gray, but I'm going to change it to none. And then I'll separate these out. You'll kinda see what's happening here in a second. Make sure your shading. I always leave hardware texturing on. I'm not seen many changes yet, but don't worry. Again, let's make this, let's go over here to this layer editor and just make this environment uncollectable. I don't want to be able to select it just curvy. And then let's go back to our shader. We go to the Attribute Editor, make sure we're in object mode. There we go back to the shader. And by the way, if you forget and get lost and lose the shader, because you have so much stuff up here. One, we can delete history, which we'll do here, and I probably should have done that already. But two, there's this hyper shade and we'll be spending more and more time in the Hypershade view. This is where you really get down and dirty with creating textures and shaders. So we've got our Ramp Shader here. What we really need to do is name it Kirby. Alright, and that's how you can get back to this. But what we'll spend a lot of time in here, don't worry about it. Okay. Let's continue on. I'm going to move slowly because like I said, I've watched a milling tutorials where I have to pause because they change 50 settings. We're not going to change 50 settings, but we'll be changing enough that it makes sense to kinda move slowly through it and kind of explain things. Oh, and one more thing I should explain, let's say you got this wrong or you got a million of them on here. You just hit this x button down here and it will disappear. Okay, moving along, the next thing we're going to change is in our incandescent section, we're going to actually create two of these on top of each other. And we're gonna go from basically black here to white. So if I click in here and move this, I can move it right to the top. So they kinda stacked right on top of each other. Again, I don't want linear, I want none on both of these. None I wanted to be a straight line. So on this one, I'm going to actually choose white here. Done. Okay, Now notice what's happened to Kirby. I'm going to rotate the camera around and you get this cool kind of cartoon rendered. Look out of it. I really like and I'm really dig in and I think it's sweet, maybe you guys don't. But I thought that was super cool. Again. Back to this. Let's just go ahead and crank the diffuse all the way up. Okay, a fun little way to create kind of a tune based render. I really like it. I think it's awesome and it's super simple. There are many other tune shaders out there you can mess with, and we'll probably mess with them in some of the further ones. But so far, super simple and quick way to get a cool red and effect on curvy that creates supposed to look of 3D and the look of cartoony, which I think is amazing. Okay, So the next one, we're going to stop this one here because the next one we're going to add textures and we're going to have to actually more geometry to pull it off. It's not super-complicated, but grab yourself a good drink because it's gonna get real. I'll see you in the next one. 85. Modeling Eye and Mouth Regions: All right, it's almost time to texture Kirby, we're going to add some eyes and some mouths shapes. And we're going to be animating with self-driven keys. What we're going to have to do though, is actually extract some geometry here. Let's talk a little bit about the textures we're using. I created these textures using Adobe Illustrator. I do use almost all of the Adobe suite. I use Photoshop Premier or After Effects, Illustrator, a ton, and I used them all while creating 3D content and game contents. So they're very useful and powerful tools. They aren't free. I get to use them in my educational environment for free, which is awesome. But I recommend you guys look into them and think about them. I'll probably do a little bonus lecture where I create an eye for you in Illustrator and you can see how powerful these tools are for creating 2D textures. And hopefully you'll get inspired to go out and learn it yourself. Now, I've created them in such a way that I can change mouth shapes and I shapes independently. So on curbs body, I'd like to be able to animate the eyes and the mouth separately. Otherwise, if I put them all on one sheet, I'd have hundreds of sheets with different combinations and I don't want that. So I want that control to animate his face or his mouth and his eyes separately. So that's how I set things up here. I've exported the ones in boxes and I'll make those available to you. In fact, if you're interested, I'll make the whole Illustrator file available to you in case you guys are interested in doing your own Illustrator stuff. Now, let's go back over to Maya. I'm gonna go ahead and Control Space bar to zoom way in. I'll keep the modeling toolkit Open. So I wanted to use this drag tool here. And actually, before we go this far, I got ahead of myself. Let's make a copy of curvy, two copies, Control D twice. And this one we're going to call eyes. This one we're going to call mouth. Let's go ahead and delete the legs out of there. And what we're gonna do is extract stuff from here. So lest we touch Kirby again, let's go ahead and hide him. On the picture. It looks like they're all hidden now. So right-click membership and curb, he's got the mouth and eyes in them. Now we can click this and then click this because it's going to move whatever is selected out. Watch. If I click mouth right here and hit Remove, it removes Kirby. That's because Kirby selected over here. That's another reason this relationship editor can be kind of a pain in the butt. So I'm going to Control Z that what we wanna do is select eyes and mouth over here and hit remove air. We go and now we can hide Kirby, which he said, Notice that legs pop-up when I hit View over here. Okay. Just cleaning things up a little bit. Let's go ahead and select the region for our eyes. Again, Control Spacebar, so I have maximum View, right-click faces. I'm just going to select a bunch of faces where the eyes might go. So I'm just holding down, got symmetry on still. Can just paint the ones I want. I think I will just go down to about the halfway point. If we want some overlap, we can. And I'll go to right about there with the eyes. And what I'm gonna do is select the Inverse and delete it. So select inverse, and I'll hit Delete. Now we've got the eyes. Let's go ahead and come back with control. Spacebar will select the mouth now, and we'll do that same exact process. Going to select the mouth region. Again, right-click faces. A lot of space so that I can actually change the size drastically if I want to just gives me that option. And one more row, there should be plenty for the mouth. Let's go ahead and select inverse, and we'll delete it. Now we have the eyes and the mouth control space bar to get back. What we're gonna do is actually parent these in under Kirby, but then they'll disappear right now, I want to move them a fraction in. Let's go to this multi-page right here. I want to move them out just a fraction. So I'm going hit W and we'll move them out. Just error so much like that. We may have gone too far, 0, that should be enough to keep them offset. Now let's parent them back into Kirby, like so they disappear, but we'll turn Kirby back on and we'll have eyes and mouth. Now we're all set up to add the texture. So I'm gonna stop this one here. And we'll go ahead and add the textures in on the next one. I'll see you then. 86. Applying Texture to Surface Shader: It's about to get crazy. We're about to texture Kirby. Now, keep in mind with texturing. It can be extremely confusing between the UV editor, the Hypershade, which we're going to spend some time in, I'm going to introduce a concept called alpha or transparency channels, which you may or may not know anything about. It can be very confusing. So I'm going to try to slow it down. I'll try to make some mistakes on purpose, things that will probably happen to you. So let's get going. Okay. I'm going to select the eyes here. I'm going to right-click and assign the material. And I'm going to pick material that actually doesn't do anything. It's called the surface shader. It doesn't add any shading whatsoever. It's kind of a blank slate. So I'll go ahead and select that. Notice that all goes black. What we can do though, is add our image as the color here by clicking this button, going over to File, selecting which file. Let's go up to images. And I will select eyes. Perfect, I'll have open. You may or may not see anything on your screen right here. You may think, Oh, it didn't work, I'm a failure. No, not at all. First thing to try is shading hardware to extreme. Still nothing. Okay, you may or may not see something here. I'd have to go back and delete UVs on here. So I'm gonna guess I don't have any UV setup here. Now let's just play around with UVs. Let's just select some random ones and see what happens. Let's just hit spherical here. Well, making sure that my eyes selected here, Let's go UV spherical. Oh, that's crazy. Looks like Charlie Brown or something. Mess around with these. Pick a couple, go cylindrical closer to what we want. Uv camera based. Whoa, okay, a lot of crazy things happening now. Of course I'm just selecting them randomly so you know, there's a whole bunch of them. It's not a big deal which one you use except for in this case, it's kind of a big deal which one you use and the one we're going to use this called a planar. So I'm gonna go UV and I'm going to create a planar right here. Now, I'm going to click this button because we need to make sure we do it in the right axis. Mine setup for Z already, which is the correct axis. Now how do I know that? First of all, what if you don't know that and you can't figure it out and it doesn't make sense. We'll try them all. Let's try x and see what happens and apply. No, Let's go. Why hit Apply? Okay, Better possible. Let's go to z though and hit Apply. Perfect. How did I know that would work though? Well, looking down here, you know that Z goes back into distance right here along this line. And so if I was to set up a projector on this, Let's say that Kirby is a screen and I want to set up a projector on him. I'm going to set it up facing the z axis, right there, back into the distance that's the z-axis. That's how I know which one to use. Perfect. Now that we've solved that problem, a couple other problems arise. Let's actually scale this up a bit. I want bigger Kirby eyes. And you can go into the UV editor and do the same thing. We can move things around, select this mesh. So if this, if this disappears, you can't really get it back by clicking on the eyes. What you could do is go through the attribute editor and find the right projection. There's our planar projection right there. But still we don't have those controls are handles. So this is a mistake often like how do I get back to changing this kinda hit right here? Now I'm going to scale the whole shell. So let's go back to the UV editor. What we wanna do is select this whole shell here. So we could right-click and go UV shell right here. Then we've got the shelf selected, and then I'll try to make this fit somewhere. Then we could scale it to where we wanted it. Again, not like that. Scale from the center, you get the picture, but this is a common thing that happens. You lose the controls. How do I get back? You can get them in the UV editor and you can select the whole thing by going UV shell. Okay, I may have moved quickly through that. You can always rewind. And I apologize that sometimes I get excited and talk fast. It's just who I am. Okay, so we've got this white background here. It's about to get a little bit complex. So just be patient. I'm going to move slowly as we go into this Hypershade view. Keep in mind the Hypershade view is extremely intimidating. It's like learning Maya all over again. It's like a whole another environment in here. So don't worry, don't freak out. This is all part of the game. When you first get exposed to something, it seems overwhelming and it seems complicated. It's actually not. It's like riding a bike the first time you hop on a bike, It's terrifying. After a while though, it becomes glorious. So the goal is one day, this place is just another place that you can flex and show how awesome you are. You'll get good at it, I promise. So we're gonna take it slow. We're going to take it easy and be prepared that sometimes it's frustrating. Now, which surface are we using right now? What we can do is right-click and graph network. What we should have as our eyes here. And then our surface shader. What we need to do is actually work with our alpha channel. And we need to take our Alpha channel into transparency. But first, maybe it would help to explain what an alpha channel is. So I'm gonna go ahead and do that in the next lesson. 87. Alpha Channels: Okay, Let's talk about alpha channels. Maybe would be helpful to think of alpha channels as a transparency channel. Let's go to Illustrator to illustrate pun intended. Okay, I did not actually create transparency channels for these images. I just created a white background and we're going to cut it out with something called illuminance because aluminum has to do with brightness. So the brighter the color, we're going to cut out the bright colors, which is typically true when dealing with Alphas. So what is an alpha? Let's go download some images from Google search will go ahead and type in Maya logo. And we'll go to the images. Now, typically when you see this checkered background, it means that there's an alpha channel. So let's go ahead and grab that and see, well, Right-click. And we'll save image as and we'll call this Maya logo one. All right, and then we see this is supposed to be a PNG right here. So let's go ahead and download that one. Maya logo 2. Now, we know that jpegs right here, we downloaded a JPEG. Jpegs can't contain alpha or transparency information, but PNGs can. All right, and now look, even, even Google has done something called transparent. So what we can do is click on this transparent. And let's click on this one and download it. And maybe it will have transparency. I think we have a good shot because it's high resolution and it is a PNG. So I'll right-click Save Image As. And this will be in Maya logo three. Okay, let's go back over to Illustrator. We're going to go ahead and file place. And let's place our first one. We know this won't work because it's a JPEG. It looks like it's going to work though because of those checker boxes. But as we expand it here, notice it blocks everything in the background. So this is not transparent, therefore it has no Alpha. We should know that already because the formats wrong. Let's try it again. File Place. Then we'll do my logo to this is a PNG, so it should work on again, we also see that little background information, so it looks like it should work. Let's go ahead and place that. And the second time is not the chart. Now this is a PNG and it's a PNG. This is a liar of upmc because it says, it said transparency should've have transparency, but it does not. It's a liar. So maybe third time will be the charm, File. Place. Scrap that last PNG. Place it and looks like we're good. Notice you can see through the white spots to the background. That's because this image right here contains an Alpha channel or a transparency map. And that lets us see through the background areas. That's what we want to achieve over in Maja. However, these have a white background, so we're going to have to play around a little bit. Let's hop over to my and go into the Hypershade view. Here we are in Maya and the Hypershade view, what we're going to want to do is take this alpha out to transparency. Now, keep in mind that this whole thing can be frustrating. Shaders in general can be frustrating. It's hard to find good tutorials on them, even when you do a search, a detailed search, it can be very difficult to find out the right process. Sometimes you'll find yourself in the forums just pulling your hair out, trying so hard to make this work. So just be aware that if you mess around with this stuff, it is kind of this black hole. And there's a lot to learn in here. We're not going to learn it all in this lesson, what we're gonna do is just familiarize ourselves with the Hypershade view and a few settings. So let's try to take our Alpha over 2 transparency. And notice I can't do it. It's not going to let me. Now that's done because it will ask me if I click this button here and now I get the green and green and I can connect them like so now I want to change. I want to connect these to everyone of the RGB values because I want it to be transparent everywhere there. Now let's see what would, let's see what that did. We just scroll down here. Looks like we've gotten nothing now. So what's the deal there? Let me see if I can dock this and make it a bit smaller, but still fit in our view. Will get rid of this outliner here. Just move things along. Still not working. What on earth? What happened there? X this. So we have a little bit more room here to see what's going on. That didn't seem to work. We connected our Alpha to transparency. Now, remember what I said. I don't actually have an alpha channel. I actually have a luminance channel that we could use. So if I select this and hit Alpha is luminance. There we go, I get my eyes back. Now. I'm still getting pink coming through where the iris should be because it's white. So we'll need to tweak some settings here. Remember, I use kind of a gray color there, so we can probably bring it back if we mess with Alpha Gain, exposure and offset. Let's try messing with the offset here. That's not gonna do it for us. Let's try messing with our gain. If I go back with it, I somewhat restore the eyes, but look, I'm starting to bring the background in as well. So maybe I could bump up the exposure or even color offset. Now let's try that again and see if we can bring it down a little bit. I'll pull exposure up again. And notice we can still kind of make it work. There you go. We kind of have the result we're going for. We wanted to be able to see the eyes and the white and the eyes. And we kinda keyed out an order, created our own transparency channel using luminance or the whitespace. So we've got the result we're looking for. Looks pretty cool. I think we should pat ourselves on the back. And the next one we'll add some lights and do some renders and try to get some shadows going. It's going to be awesome. I can't wait to see you there. 88. Adding Mouth Textures: Okay, let's do a quick challenge. What I want you to do is I want you to take the mouth and I want you to add the mouth texture and do all those same processes. Remember, you can always go back and watch the last video. You should pause this one right now and see if you can do it without any help. Okay, welcome back. Hopefully you were able to figure that out. If not, don't worry, I'm going to go to the outliner here, select the mouth, and we'll do that same exact process. I'm gonna go ahead and right-click, assign the material. I'm going to select the surface shader. And before we go any further, I'm going to name it mouth. Then I'm going to assign a mouth texture to it. Select the file, and I don't know which one I'm going to use. But let's go with Mao small. Sure. Why not? I'll hit open and I see nothing. That's never a good sign. Let's go ahead and hit UV and let's just mess around with these. You may not have remembered which one to use, but click them all. What happens? You don't see anything at all. Make sure of course that you have the mouse selected still. Otherwise it's just going to read these errors down here. Uv, best plane, nothing, UV automatic. Nothing. Again, you have to select the mouth every time. It's kind of a frustrating deal. Why don't we, we know planner is going to be the right ones. Let's select that. Okay, there it is. But we again have this problem with the ugliness. Let's scale it a little bit. Maybe a lot. Yeah, great curvy mouth there, but we want to get rid of this white band. They'd look in effect. And for that, we'll need to go into the Hypershade view. Right here. We want to graph the mouth network if it's not already Right-click graph network looks like it was. What we need to do is take our Alpha over 2 transparency. But again, remember we cannot just click there. We have to click here on this plus icon. And then we can take our Alpha to each channel individually. Like so. It makes everything disappear. In that final step, we've got to come over here to alpha is luminance. Key it out. Perfect. You got it. Working. Great job. Now we have a mouth, we have eyes. Super cool. That was the first challenge in this section, you did it. Congratulate yourself. Now, I talked about doing rendering and typically you don't render until you're done rigging and animating and all that. But I like to just set up some render stuff so that as we go I can take renders and the feel good about myself. So we'll do that in the next one. 89. Rendering Lighting Shadows: Now typically what we do is we rig it, animate it, light it, then render it. But I always like to take renders to see if everything's working right. And chances are high, there are not. So you won't know that until you take a renter. Best to do it now while we're still in the texturing phase. So I'm going to hit Render. And this does not look good and it doesn't look good at all, it doesn't. So we need to fix this. Let's go back into our Hypershade and see if we can't figure out what's going on. Pull up our Hypershade here. Let grab this and hit frame. Or you could just zoom in with the normal ALT controls. What we wanna do is see what the heck is going on here. We'll drag it down a little bit so we can see our render view here. And we'll scale that down a little bit so we can kind of see what we're doing. Again, I'll scroll over here, hit frame on this. Let's change some settings and see if we can't fix this problem. 4, we even move on. Let's go over here to our color gain and let's take that all the way down. Hit Render. Okay, we've gotten rid of that white stripe. Let's go ahead and go to the eyes. Looks like we did not name the eyes. So I think it was this one right here. We should always name things, otherwise it gets confusing. And we'll go ahead and graph network. And this is probably the eyes. So we should name it that real quick. Here we go, there it is. And let's do that same thing. We'll select our image file here, sorry, this is tiny. And we'll take our color again down, again, taking a render. Okay, now that that problem has been solved, let's maybe put in a light and let's talk about some render settings or X out of here. Let's add ourselves a light, create lights, directional light. And what's cool about a directional light is it lights up the whole entire scene. Let's move this up. Whatever direction these are facing, that's the direction the light will go. What I wanna do is kind of rotate a mirror like that. So we kinda get a shadow on kirby. We want to try to create shadowing in here. And keep in mind, I'm using Maya software. That's what we're going to be using. If you didn't see anything in those last steps, you might have been stuck on Arnold renderer here. If you hit the button, you'd be really frustrated because this is what you'd see, pretty much nothing. So let's go back over to Maya software. Hit Render. And looks like we're kind of in shadow there. Let's rotate this light a little bit so we can take ourselves out of the shadow a little bit. There we go. Hit Render. Awesome, Looking good, or at least decent. But notice I'm not getting any shadows on the ground only on our character. It render again. What we wanna do is achieve shadows on the ground, not just on our character. So let's try doing that. Let's go into our light here, which we have selected. And let's click on shadows. We have a shadow color here. Let's use something called depth mass shadows. They look a little bit better. Let's hit Render. And now we have kind of the shadow going on here. But look, it looks pretty awful. Let's zoom in and we'll talk more about Render Settings and high-quality renders and what not. I'll hit this button here. And that looks pretty awful. You get all this artifact and distortion. So we could change the resolution here and we can change some other things. But we're already getting 20 samples here. Let's see what happens now. How do I compare this image to something else? Because when you're first learning, you're just going to push buttons and see what happens. Now you can watch tutorials, but it's hard to find tutorials on some of these things. So sometimes the best thing to do is to go in and just try things. Why that is difficult is that render times could increase greatly and you'll be sitting around forever just trying to learn what one little button does. So how can I see one image from the other? Like what if I want to compare this image to another one? What I can do is hit Keep image here and then watch what happens down here on the lower bar. Keep image. And all of a sudden I have this bar right here. So now anytime I create a new render, I can move it back and forth between the two. And then this one will remove one. So let's make some changes and see what happens. Let's crank this up. Maybe not crazy high. And then let's hit Render. Notice it definitely made a change. I am getting some kind of change here. We crank the resolution up quite a bit. Still looks like pretty bad to me. Now, let's make sure it's not because this is scaled and that's not it. Let's go options, render settings, and let's go to Maya software, and let's change some settings here. First thing let's talk about is anti-aliasing. Anti-aliasing for those of you who are gamers out there know it gets rid of the jagged edges are the edges on things. Now, we don't have too much of that going on with Kirby. But let's go ahead and hit high-quality, highest quality. This will greatly increase our render time, but maybe it will make it look a little better. I'll go ahead and hit Render. So they're outside. Maybe it looks better, but it didn't do anything with our shadows. So let's see if we can't find a better way to get our shadows working. Let's go to ray tracing and turn on ray tracing. And let's hit Render. It probably did something, but maybe not what we're wanting or needing. But first, before we move past ray tracing, it really is important to know what ray tracing is because it's one of those industry standard terms in 3D. And it's something that does create much higher-quality images. So what a ray trace is, is it's when you send out a bunch of rays or particles into the scene and then they either reflect or refract. And then also you can mess with shadows. So reflection is when it hits a surface, does it bounce on to other surfaces? So you can crank this way up. Refractions deal with going through something and bending. So light bends when it goes through water or glass. That's what refractions have to do with. And then of course, shadows. Let's take our shadows and see if that makes any changes. I'll hit Render. Still getting this horrible look on our shadows. Let's go back over to our lights now, keep in mind it's difficult because you have so many tabs open all at once. So we come back over here to this attribute editor for light, and let's scroll down and look. We can use ray trace shadows. So why don't we try that. Let's hit rate tre shadows. And then we'll go ahead and hit Render. Notice we got rid of that ugliness and it's looking much better. Now keep in mind, we've got some weird lighting issues where it's shading his face, but overall, a much better look and feel. So these are just a couple of things with the render view. There's a lot to learn here, but saving images and being able to compare them is definitely important. We see that that didn't look good. That looks much better. And we've got a lot to work on. And we're not going to get to rendering right now because we still have to rig animate and texture. This was just a quick look into some more settings on lights, on our render settings for the Maya software, and then our render view and being able to compare images. One other quick thing that will help you so that you're not spending too much time rendering is something called a render region. If we go up here view, we can create a render marquee like this. And you create this by just dragging anywhere on the screen and you don't have to view it. You can turn it off by hitting Reset and it will go full. But you may want to render with just this part. So with this marquee selected here, I can make wild crazy changes to the scene. Like I could turn off the ray trace shadows. And then I can just go render, render region. And it will just render that region, greatly speeding up my render workflow because it takes forever to do complex scene renders. Now this is very simple scene, so it doesn't matter. But when you're doing complex scenes, it's very important to use these kinds of features to speed up your workflow. It may not make sense now, but just be aware of these tools are there and we'll go over them and we'll use them more in the future as we need. This was just a brief overview of some things. Again, this is not the time to talk about rendering or even lighting, but it's important for your learning to be exposed to new knowledge and then re-exposed, and then re-exposed. What that does is it creates very strong neural connections. So you can actually remember what you learned. If, if I just tell you once you're not going to remember it, no matter how smart you are. So that's why we constantly go back to the same windows and learn a little more. And you're building upon knowledge. It's called knowledge scaffolding and it's very useful. Everyone who teaches professionally knows about this. And if there are good teacher, you create lesson plans in such a way that knowledge is continually built upon itself. So you become a strong learner and you're successful at it. And that's my goal here. So long-winded, maybe a little bit boring. In the next one we're going to start rigging. It's going to be awesome. I can't wait to see you there. 90. Rigging Kirby: Let's see if we can go ahead and rig our boy Kirby here. All right, let's go to two panes. Panels, orthographic side. And we're gonna go Shading X-Ray Joints, Shading X-Ray Joints, kinda hard to see with this mass, but we can see the overall shape, which is all we need. We'll go over to the breaking toolkit and we'll Skeleton Create Joints. Now how do we make the character? How do we make those decisions? I could put one long one for the head, one for each arm. They really don't need much more than that and then one for each leg. So basically that's what I'm gonna do. I'll just do one for the overall body. And so on. I'll just call head. So I can just unselect tool and select it again. But what I wanna do is I want to parent all these together. I don't have to do it right the second row. So I'll just go ahead and one over here for the arm. That one we'll call our m underscore L. And we could mirror it or it's just so simple. I just unselect and then go again. For the other arm on a more complex reg, you definitely want to mirror this one's not complex at all. This one will be arm underscore R and then unselect. And we'll just do one for the foot over here. Looks like it's already parented in. Which is fine. We'll just go ahead and name that leg. Unselect. Go ahead and do that again. This one did not auto parent leg underscore r. So what happened is if I select that joint and then add one to it, it will go ahead and parent it for me so I can middle mouse drag this up under head. In fact, all of these will middle mouse drag up on her head and they should all be parented down. So very simple, very easy to rig. Will it be the best Reagan the world? Yes, it will. Why wouldn't it be? It's curvy. Okay. And the next one we're going to scan them and then paint skin weights. I'll see you then. 91. Painting Skin Weights: All right, Let's select this red here and we'll parent it to the curvy, like so. We'll select all of Kirby and these joints and skin bind skin. And what we should get if we go to our Select tool and move something, let's go ahead and rotate one of these legs, for instance, we should get is deformation. Now, we don't want it to form the whole thing. We just wanted a form based on that leg. So we really need to paint skin weights on this one. It'll actually be pretty important. Skin Paint Skin Weights, go and open up that dialogue. Will select these feet because they are the most effective that seems like. And then we'll select the leg left over here. I'll go back into my single viewport. And let's get really okay. We know we want all this completely affected so we can paint that leg totally white, all of it. And we may want to hide this scene because it's kind of getting our way. So we'll hide the environment. We can kind of see underneath. It looks like the leg is perfectly painted. Now what we wanna do is unpaid the rest of the body. So we need to select the rest of the body and unpainted. So I'm holding down Control Z now to unpaid. Another problem is because they're parented. It's hard for me to get away from painting out the leg so I don't want that. So what I could do is I can remove all these middle mouse, drag them out. And then we could try painting. Here we go. So I'll select that foot again and we'll paint just the foot. And will even out until we get done painting and then we'll parent and back foot right here. Let's let that right join. Make sure it's completely painted. And with the arms, it's not as big of a deal because they are attached to the main body, so they could technically effect the main body. So arms are already a part of the curvy body. And let's go ahead and paint out these legs by holding Control. Looks good there. Same thing with the other leg. Let's go and paint it all out. There's a bunch there in the back that looks good. Maybe a little brighter. It's hard for me to see sometimes on there's glare on my screen. We should be good there with the legs. So we could probably put these legs back in. Oh, that. So then let's do the arms, which are basically this, will select those arms and we'll just paint. So they mostly affect the area around the arms and not the whole body so much. Although, you know, you can, you can have fun with it too. It is your character, you own it, you created it, you rig it the way you want to read it. It's your prerogative at that point. I just I think at that point you just kind of make artistic judgment call. How do you want it to look, how you want to feel? It's called The other arm. Do that same process. I encourage you as you guys get better at this, start taking the lead on things. Do you think that I'm not even doing in the video? But it is important to keep watching. So you can keep learning more and more. But start branching out with your ideas. It's always good, right? Um, I have taken too much out of this. I'll just hit him real quick. Let's go back to the other one. Something like that. And we'll, we'll really see when we actually get to animating it. For right now we have an all painted, everything should work. Just great. Let's go to this tool. We have to select. And let's try and prevent some arms around. Go ahead and grab an arm. And we'll rotate. It. Will wave at the camera. Looks like it's still affecting the eyes quite a bit. What we didn't do is we have to remember that this mouth and eyes or geometry. So we don't actually don't want them to be rigged at all. We want to completely paint the skin weights out of them and we didn't. That's why they were moving. Let's give let's go back and paint skin weights and let's make sure that those have nothing on them. So we'll select arms and we will hold control and paint it all out. We have to just select them individually. Doesn't look like there's anything on there at all that I can see. It's got this arm. I don't see anything on there. They look completely black, so why are they moving? Let's go Select and Move again. See what we've got. Still got a lot of distortion on those eyes and that looks pretty bad. But yet, when we go to our paint Weights tool and we select that arm, arm left, we don't seem to have any distortion on the eyes there. So what's going on with that? I see a little bit there and a little bit there. That's what's going on. Okay. So it was in these joints right here. Go ahead and paint that out. This joint here, painted out when something goes wrong. Don't panic. Spend some time figuring out what it was that was causing the issue. There we go. And that's really what comes out when you animate. You notice that things aren't working right? Actually the legs down, the leg shouldn't take hood like that one totally did and it shouldn't. It's why you got through everything. I don't like going through everything. I'm impatient. I'll be the first to tell you that I'm pretty impatient. But you should go through all of the joints with all of the geometry like look at now much the legs we're affecting the eyes there. That would have been quite a freak show our animating, although some of you guys think that looks cool. You love breaking everything and that's cool. I've learned to embrace elicit teacher. That's why we have the abomination sections, speaking of which the curvy abomination is going to blow your mind. I'm not even sure what this affected by head distortion. We may have to kinda look at that. Let's take a look at that real quick before we end this one. Let's go ahead and take our head joint and let's rotate it. I don't see us rotating this much, but yeah, it's fixed. It's going to rotate everything. The eyes will stay right with it. We'll be fine. We'll leave it at that. We should be good. We may have some problems with our animation and skin, but I'm going to save this and I should have saved it as a different version. But right now I'm gonna go ahead and save scene as Kirby rigged. He's not really completely rigged yet because we still need to add some animations on the textures. And that's what we're gonna do in the next one. We're going to be self-driven keys on actual textures. It's going to be awesome. I'll see you then. 92. Setting Image Sequences on Textures: Okay, Now we're going to set up image sequences for curbs, eyes and mouth, so that we can then Set Driven Keys on them and we can animate them. Let me show you what I've set up. So I've got this folder texture image sequence. And within that there are two more folders, eyes, and I've got eyes 1234. That way It's an image sequence. And then mouth, mouth 1234. And what we're gonna do is replace our texture with one of these and then animate through it. And at first it will set up on the timeline, but then we'll delete that expression and we'll set our own driven keys on it. So a couple of things we need to do real quick. Let's go ahead and we'll find this image file. We select our eyes. And it's somewhere here on your attribute editor, you'll be able to find the eye is shader. And then if you just go to outcome or you'll get this file, what we're going to do is use an image sequence. But first let's go select that new file. Eyes. One, hit Open, and then we'll use image sequence. Now, if I go to the first four frames, it will animate through it. However, we don't want that. We want to animate it ourselves. This little blue indicates there's an expression set here. So we want to delete that expression, right-click Delete expression, and then we'll go through and set driven key. But once again, we have not set up our attributes yet. Let's go to the mouth and also set it up as an image sequence. Mouth. Find your shader. It'll be called mouth view named at that. And click this button to get to the file. And we'll go to image name and we'll replace it with our mouth one. Hit Open. Use image sequence. Now tested. We've got mouth shapes. Okay, and we may want to edit where they go. It's totally up to you. I think it's funny as is. But will, may want to scale some of them. Doesn't really matter to me right now to me that this is kind of funny. So again, it's up to you how you want to do that. Okay, so we need to add attributes. Let's go ahead and click on Kirby. In our attribute editor, go up to attributes, add attributes. And you'll probably have some other settings here. But we're going to set up an enum and we're going to enumerate through the different ones, through the different facial poses that we want. But let's just call this one eyes. Again, make sure enums there. And then we'll click on this green here. Green and blue are the two defaults. They set up. What we want to rename this one, open. Hit Enter, click on this one. We'll name it closed. Then we'll just click right below it and call this angry. And we'll click here and call it sad. Then we'll hit Add. Ok. Next we'll do the mouth. We'll call this one mouth. Again, keeping an enum. Go ahead and click here and go. Neutral. Happy, small and large. Go ahead and hit Add. Hit enter first, then hit Add. Next. Let's go over here and check it out. We've got eyes and mouth. And if we click here, we can enumerate through them. Now, right now we don't have that setup, but that's what we're about to do with set driven key. And we'll go ahead and do that in the next one. I'll see you then. 93. Setting Driven Keys on Textures: Now we're going to set driven key is on those textures. So we again need to navigate to the mouth. Go to the attribute editor over here. Find our mouth texture. Go to the file and we need to get rid of this mouth expression, right-click and delete expression, right-click, Set Driven Key. We've got our set driven key window open here. Now we need to load a driver. The driver is going to be our Kirby. So we'll select Kirby and load driver. And then we've got our enumerated abilities here we'll click the mouth and we want to keep frame extension the same. Now, it gets a little bit more interesting and a little bit more difficult. So we'll slow it down here. We'll go back to the channel box editor. Okay, this is where things get a little bit complicated. Let's go ahead and hit key right here. And we have our channel box editor open. I want you to know something, I'll hit key. And now I have access in this outputs to file. And this is where we get access. And we can change the settings up. It's kinda hard to explain. So we're just going to walk through the process. Again. You can always rewind this video if it doesn't make sense. So we had to hit key here before we could access this file. So with mouth at neutral, let's go click on this file. And if we scroll down, we have this frame extension. And we can change this. So if I change it to two for instance, and hit Enter, notice it changes. If I go back to one, it stays neutral. Okay, so now let's change this from neutral to happy. And let's change our frame down here to whatever one is happy. I don't know if it's too. Yep, 2s happy. So that will work. We'll hit key, will go back up. Change this to small, change this to what I think is 3. Nope, that's large, it will change it to four. And then we'll hit key. Then we'll go over here to large, hit three and hit key. Now, what we should get is we should be able to change our mouth shapes by clicking here. Super cool, because now we can animate all of these states. Do you feel empowered? I certainly do. This is awesome and this is Kirby about to eat you. Okay, Awesome. So what I want you to do now is that same exact thing on the eyes. It's kind of complicated. Slow it down, re-watch the video. I'm challenging you. Go back and do the same exact things to the eyes. Okay. Hopefully you were able to do that. But now we can go ahead and just do that same exact process. Let's select her eyes down here. Go to our attribute editor. Go over to our texture, or our shader eyes one. Go over to the file. We've got the image number here, that expression we want to right-click Delete expression, right-click Set Driven Key. We want to load our driver, which is of course Kirby. Load driver will go to eyes. I've got all the setup, so let's hit key. Let's go over to our channel box editor. And with eyes will change them from open to closed. Go over to File. Frame offset, will hit to their looks like we accidentally selected the mouth. So let's make sure we're on ice here. Makes sure that you actually select the different file. So file five was the one that was mouth and file for here is we're going to be our I so I was a little confused there. Okay. So now we're on eyes closed. We need to get to eyes closed down here so we can hit two on the keyboard. That's eyes that are angry. So three eyes that are sad, Let's set for theirs are closed eyes. So now we can go ahead and key. And then let's go angry. And we'll hit to the angry eyes, will hit key. And we'll go three and sad. Hit key. Now, we should have our eyes working. Let's test it out. We have open, closed, angry, and sad. Sad is not working as are not sad eyes. Let's make sure that we can select our sad eyes here. Think that's three. Yep. So let's go ahead and hit key there. And hopefully we can go to sad eyes now. Open, closed, angry, and sad. It's all working. That's sad. Kirby, this is what you sell. Kirby feels when you give up on 3D animation. All right? And this is how Kirby feels when he's a boss. And he's angry. And he wants to consume. Notice our mouth, I screwed it up. That's not good. We've got neutral working happy. That's definitely not happy. That's definitely not small and that's definitely not large. So make sure you didn't confuse the two. I'm going to have to go back now and fix all those. So now I feel like angry Kirby right here. All right. So I'll fix this on my end. And if you had some problems with this, don't worry about it. Go back and re-watch the video. If you have to delete the attributes and start over again, that's okay. But hopefully yours went a little smoother than mine over here. All right. I'll see you in the next one. 94. Storyboards and Animatics: This is good a time as any, to talk to you about storyboards. As we get more and more complex animation sequences, I want to remind you that we don't just create them from scratch. What we typically do is we spend a little time drawing them and either a piece of software or by hand, what sequence is going to look like. So we'll actually drawn out. And that way we don't spend a ton of time animating it, rendering it, and then find out it wasn't very good from the get-go. Now, all animation studios do this. They spend a lot of time drawing it out by hand before they ever animate. Sometimes though we use something called Previous and we can do it in a 3D app a lot quicker. Now. Well, I draw out an animation sequence for everybody. In every animation, probably not, but I wouldn't be doing my job as a teacher if I didn't explain to you how the process works, let's go look on YouTube and type in storyboard for an animation. And let's see what we come up with. Okay, so what's typically done is the storyboard is then edited with audio. It's called an anomeric. What this person did on YouTube is that they took the actual final result and then edit it to the storyboard. It's fun to watch the two together, and it's less boring than if I just showed you an old enigmatic where they use Stan and voices, they don't use the final result. There's no music, there's barely any sound effects. This is lot more interesting and that's why you'll see these edits on YouTube. So I'm gonna play this one back for you. Just take time to enjoy the process and think about yourself creating an animated sequence one day. That's really awesome like this. So this is from a great movie, The Incredibles 2. Our discipline. Going over them. Lock the door. Now. I have now. Up until now, so forth. Oh, no, no, no, no, no, no, no. Now, you have john, you could you go to the naught 2? Are those who can multiply the rabbit to go right through any solid. Oh my God. Okay. When I watch that scene, I can't help but think that whoever was in charge of Jack Jack's character was an abomination list. They were someone who in my class always did the worst abominations and then they graduated. And then they went on to do Pixar as Jack. Jack from the Incredibles. Just my, just my thought. I can tell exactly what kind of personality that creator had. Because everything about that scene is, let's just do anything we can imagine. And you can see that they imagined it all on storyboard long before they actually animated it and spent all that time and effort. So you really want to be thinking about your animation long before you animate with simpler ones, it's easy to get away with. Let's just do a jump and a roll and whatever. But what I want you to do, what I challenge you to do is come up with some kind of plot synopsis. So I'm going to pause the video. I'm going to come up with a plot synopsis. Something I can do that will be more interesting than just running, jumping and devouring. Okay, so I'm going to try it myself. I encourage you to try it. I'll see it in a little bit. 95. Final Animatic: Okay. So yesterday I had spent some time on my anomeric. What I did was I thought first, I didn't do anything. I just thought about what could you do, what assets that I have, what facial expressions, what bad guys could I use? How much work would I have to do to make my vision come to life? And there's no time limit on how long this could take. A good story could come to you instantaneously, or it can take months or years. It really depends for an animation, the short I would expect to spend, I don't know, 30 minutes thinking of a good idea before I actually spent all that time you animating it. So enough to model new things. I'm enough to import probably another character. I'm going to have to do some things that we haven't even done yet. And it's going to take awhile. I want it to look good though. And I think the thing about good stories that excites you. So if you come up with a good story, it's, it's worth all that time and effort to sit there and animate. Mine's going to be a little over 40 seconds, right, about 40 seconds long. I'm excited about the idea that came to me and I'll play it back for you in a second. But I really want to encourage you don't skip this step. In fact, I'm gonna make it an assignment. It's so important to not just start animating him jumping. No one wants to see Kirby just jump. They want to see a story. And it has nothing to do with curvy, has everything to do with stories. So no matter what the video game is, no matter what the medium is, whether it's a video on YouTube, web, any platform, anywhere all across the Earth, people want to be told a good story. And your job as an animator, obviously it's technically animate and make it look good and make it look realistic, make it look fun. In fact, we'll be going over the 12 principles of animation as a side and as a bonus lesson, not just a bonus, it's, it's actually extraordinarily important your job as an animator to understand and know the 12 principles of animation that Disney guys came up with. They're iconic. They'll have really helped you know why things work in animation. So you're not just learning the tools of my early learning the craft of animation. That's probably the most important thing to me, is that you feel comfortable enough with the tools that you can go and actually pull off the craft of animation. So a lot of what makes an animation good. I would say 90 percent of what makes an animation good is not the technical ability of the artist, is actually the story they're telling. So I know I'm beaten that one to death. It's okay though, because it really is truly important. So this is what I came up with. Feel free to follow along with me or go ahead and create Kirby. Do anything else that you want, come up with your own original story. That's where the real goal is. Okay? That here it is the best thing you've ever seen. My automatic all I did was rendered out poses in Maya and then I put it together with audio. So I'll play it back for you and then we'll talk a little bit more. And hopefully you guys will look awesome too. I'll go ahead and press play here. So you may or may not have known what's going on because I didn't take the time to go ahead and composite and paint or draw anything. So basically what happens is curvy as a moment, then he sees a bad guy on the horizon. Now, what bad guy will this be? I don't know. I'll probably bring in one of our abominations from another unit. And then he tries to attack with a would-be attacker, gets smacked down roles across the ground. And then Lily is afraid, scared. And then he has a moment where he realized, wait a minute, I can channel curvy power. So he goes into meditation mode. He rises off the ground. This is nuanced, will add animation stuff that you're not seeing here. He'll spin slow into the air and then he will. So angry mode, they'll go preserve her mode. Catch on fire, and then he will feel lightning speed through the air at the center it is enemy with a splat and then he's proud of themselves and will explode. Titles would come on the screen. That's the story I'm telling, its defeat. And then 3M powered, it's kinda like enemy. I'm not going to lie each of us. So I'm going to animate the crap out of this. Now one quick thing I might mentioned, the guy who really taught me After Effects is name is Andrew Kramer. I think he's a superstar and he's one of the people I look to as a great teacher. And his website is called video copilot dotnet. This is where the audio came from. Actually purchased stuff from M because it's well worth paying for really good stuff. I would say that andrew Kramer and his video copilot dotnet brand have put out some really amazing stuff. Now this is not 3D animation necessarily, but that's where the audio and sound effects came from, is, is andrew Kramer stuff. Okay. So that being said, I hope you guys had fun with your antiemetic. It doesn't have to be as good as mine. It could be better than mine, That would be awesome. It just has to tell a story and helps guide your final animation. So well, look exactly like this. No, but it's going to, it's going to fall along this roadmap, this blueprint that we've created. Okay? In the next one we're going to start building out our environment to tell the story with. I'll see you then. 96. Setting Up Environment: All right, Let's prep the scene and get it going for animation. I'm going to take curvy and using his joints, I will move him up to kind of center him when he spins around. I don't want them spinning from the center. So I'm actually going to move the center to the center of him because we're gonna do some wounds that were that might not quite work. I will check in this report and see if we're exactly on the 0. Looks like we are. I'm gonna go modify center pivot. It's not going to let me though because we're all rigged and everything will just have to deal with that when we get there. Not a problem, hopefully not anyway, let's go ahead and test her joints, make sure they're working. Okay, looking good. Awesome. All right. What we wanna do is build kind of an environment and seen for this to happen, we also want to bring in a bad guy. And let's go ahead and you don't have to follow along obviously with what I'm doing, but I think I'm going to go with our first abomination. So let's go File Import. And I'll go back to Minecraft. Steve Sci-Fi ever exploited the abomination? I don't think I did, but I should be able to open up that scene. So let's go ahead and go to the scenes. Takeoff FBX. And we'll just go all files. Let's see if we can't bring in our Minecraft abomination here. Looks like we can. But this was an accident, but isn't that wonderful? I sometimes the best accidents happened in 3D. I don't even know what to say right now. There we are. There's our abomination. I don't even have to make an abomination. I have, and I'm gonna make this my abomination to an animation with it. Combining these two characters is awesome. Okay, I'm getting off track though. So I'll get rid of this green screen. I don't need it. I will create something else. I'm gonna go ahead and put a plane down, scaled out, way, way up, way, way up, and way out. A lot more subdivisions to it over here to Paul II plane to analyse, just crank the subdivisions. That way we can go over here to sculpting and we can kind of pain and some kind of seen here, some kind of a terrain. So I'll come over here, increase my brush size, welding and B, just going to erase some stuff up. Again. I can double-click here and get to the size and weight, strength all that cell depending on how fast I want to create, this doesn't really matter. I just know that up on the horizon here is going to be the hill. Looks like I'm still in symmetry mode, that's okay. But I don't quite want it for what I'm doing right now. So I'll turn off the symmetry. And I'm going to have our bad guy kind of rise from over this mountain top here. I may need to duplicate this out so there's quite a bit of distance. And I want to create a light kind of on the horizon there as well. So he's almost rising from the sunrise. I'll put hills and mountains on either side. Basically there's a big mountain here. And I'll probably move Kirby back for this. So he's kinda back further from it. All right, so we've got some terrain there. And let's go ahead and take this terrain, scale it up even more, and I'll move it forward so we just keep Kirby there, right there. Okay? And what we're gonna wanna do is put backgrounds and stuff in here. Now maybe we'll put curvy kind of in the center and we'll make this huge. Alright, I'm like that. What's going to happen is we want to create backgrounds that look like they're part of the background. So we're going to need some more planes. I'll go back over to poly modeling. I'll create another plane. We'll scale it way up. This one we don't need as many subdivisions on though. And I'll go to Channel box and we'll just rotate 90 degrees like that. And this can be our background, the scene. We'll probably put some kind of a background scene factor. And what we actually could do instead of using a plane. You know what? Instead of using a plane, let's just use a sphere. Take a sphere and make that huge by scaling it way, way up. And kinda like we did with that light. We can take this sphere and we can add a cool image to it. So let's go ahead and right-click, assign the material. We should just be able to get by with a surface shader not doing anything fancy. We don't want any kind of glare on it. We want it to look like it's a picture in the background. So we'll go over to that surface shader woman they met environment. And we'll give it an out color. A file, and we'll make that file and HDR image that I downloaded from polyhedron. Okay, open. And there we go. It's kinda cool, kind of interesting. Again, we're going to have this view from way down here. So hopefully this plays out. Now, what we should also do is use this far lighting. And we can do that with an ambient light. We don't need anything special. So if we go Create lights, well, let me show it will show you a render. Before we do that, let's just take a render here real quick. Zoom in on curvy F to frame. Now let's take a render right here and then compare it off to the light. I'll hit Render. There we go. It looks pretty good actually. We might not even have to add that to a light. I like what we're getting. I kinda wanted a darker, but we can mess with that later. All right, This is good. Let's go ahead and clean things up, move things around, stage them to where they're going to be. And we'll do some texturing of this terrain here. So we've got Kirby, let's go over to our channel box. We've got curvy, let's see, that's working right there. What we need to do is one for the environment. So we had that old environment. So let's add this to the environment. Hairs membership. Go over here to the environment with our poly plane selected and our poly sphere selected. We'll go ahead and add those k. And then we can switch those on enough. And then we need to take our abomination. I'm craft abomination Steve, right here, and we need to move him into place. Taken away over here. Of course, we need to scale and weigh up because he's got a, he's gotta make Kirby afraid for his very life. Rotate them. So cool. That's pretty cool. I mean. Yeah. Let's go ahead and give him though new layer, layer. Create layer from selected. I'm going to call that abomination. Yeah, I'm really excited to put Kirby inside of Minecraft, Steve, and then I can have them fight each other or something. Okay, so we've got the stage here. Whatever. This polygon sphere plane, I want to get rid of this plane wherever it is in the scene, somewhere. Not seeing it. Minimize everything, got floor background. There we go. Let me get rid of those. All right. Cool. We've got this looking pretty good. We spent almost 10 minutes already though. So what I'm gonna do is pause it here and the next one last some textures. We'll take some test renders and soon we'll get to animate. I'll see you then. 97. Texturing Terrain: Okay, let's go ahead and apply a texture to our train. I will right-click with its selected, assign the material. We can just go lambert or phone or whatever. Let's just go with the phone. Why not? We can mess with the new shader. And let's go over to that. Fung. Select it. We'll call it terrain. Enter for color. Let's go ahead and grab a file, and I'll provide these files and resources. We'll go ahead and select an image. Let's go ground mud. That looks good. Open, looks pretty cool, matches our background fairly well. Let's zoom in on curve here, frame and take a render. Well, notice this probably won't look very good, so we'll refine that a little bit. I'll hit Render. Yeah, looks pretty plain. It looks great out here. It looks really bad here. How can we fix this? Well, we need to repeat the UVs. So let's go into our Hypershade for that. Let's just make sure we grab a terrain right-click graph network. This should be a Pfam. And it is because you've got all this extra right here, should be or falling, you know, because of all its spectrum are highlighting probably don't need that. Are trained, probably won't look like that should have used a Lambert. Doesn't matter though. We can get by with it. Okay? So we can take our specular down like that if we want to. We'll see it doesn't really matter to me right now. First, let's go over here to place 2D texture and right here under the repeat UV slips. Let's take this up to about 10 and see you want to do it in both the u and the v. The otherwise it's going to call stretched in crazy. So we'll hit Enter there. Let's come over here and take a new render. A lot better. Think that we can get by with this. And what we wanna do is also make sure we have shadows and stuff. We want this to look as realistic as possible. And this doesn't look too great right now. And we should actually animate before we take care of all that. But I like to see it. It just inspires me. So I'm breaking workflow. So just so you all are aware, if anyone asks you ever worked for a company, you're going to want to animate first and then work on all these details. In fact, if you're working on a big enough company, you're not even the one doing the rendering necessarily, or the lighting or, or shading here, just the one animated cell. I'm the one in charge of this company right here, and I'll do things my way. So I want to get some shadows going on here with curve and make it look a little bit better. So pull this off here. I do have my directional light. Why is it not casting shadows? Let's see if we can find out. I'll select this directional light here. When I'm shadows. We want to do is use ray trace shadows here. So let's check over here my R software options, Render Settings. Go to Maya and make sure that we're rendering ray trace. Okay, let's try this again. Okay, wow, this is interesting. Cool looking, very cool looking. What happened to curb these textures though? For real? This kind of a happy accident. I don't know what I think about. I don't even know why it to this. But we went from one from Kirby to this which is ray tracing turned on. It looks like we have complete and total reflectivity. I like this look and feel quite a bit. I might even use this. It's just really cool looking. So I'm going to leave this for right now. I have no idea what happened. A happy accident. And this happens a lot in 3D. And it's part of the fun for me. It's really, it's because if everything goes exactly as expected, then it's too easy, boring, in my opinion. That's why we're going to tech school. Okay. I'm gonna leave this and scratch my head a little bit. And I think we're just going to start animating. And then like we're supposed to, the gods of Maya and the gods of curvy or Kirby is a God. I read it on Google so I know it's true. They want me to just go ahead and teach you animation right now. And then we'll tackle rendering when I was right. I'll see you in the next one. 98. Roughing in Key Poses: We ought to be able to right-click your audio, import audio, navigate to my folder. Important. And there it is on screen. And this is going to help us out immensely because we're going to know what our hitpoints are. Another great reason to do an automatic is for timing purposes, you spend way less time timing it there and then trying to move keyframes around. If you're in your video editor, it's a lot easier than if you're in mind. So we know this is not nearly enough frames. Let's extend this out. Excel and see if that's enough. It's not where it ends. Let's play it back. Can always add more frames and we'll just start with 1000 and see where it ends. Scroll all the way out. Here we can see it ends at about 900 frames. So that's where we'll end ours. I'll just go into 900. Give ourselves some playroom. Basically we ended up 900 K. So we wanna do is roughly position that. We've got obviously delete the animation information off of a hard Minecraft abomination right here. So we can do that if we go over to his bones at this channel box editor, or we may just go to Windows animation Editors, Graph Editor, and this might make it a bit easier on us. We'll just go through the different bones here and delete everything so we can just start over in baby will start at the normal posts though. It's such can be said about the abomination. So I'll select them all and delete them. I'll go through all these and do that real quick and reanimate them. It's like nothing on the head. There's something on the leg there and that should be good to go. So we have all a lot of other lights in here too. I won't mess with any of that until we get back to render him already still wondering what the heck happened, super cool, but what the heck happened? Okay, so we're good there. Why don't we start by posing out. Our animation. Looks like are still moving now. So we must have had some other things going on Minecraft, Steve, looks like we're still animated here on this main one. Let's go back over to our graph editor though. Yeah, let's give her all animation area. Hopefully now we'll just kinda standstill. There we go. Okay, so Minecraft, Steve, when you back, back to your position over here, and notice the scale must have been key because he's no longer huge like you should be. So we'll scale and weigh up to what it needs to be. Obviously needs to be facing the right direction. And what I'm going to have is right here on this part. All right. There's one, I'm going to have them slowly rise. So I'm going to happen slowly rise right here. And I'll just put a keyframe on them. On all of them, it's fine. We'll go ESS, ski everything. And then I had over here it will just start rising up. Okay, So rise baby and go up even further via that point mightily terminology frame. So there's our rise. And then we have our little chunk here. So at this point he's jumping through the air and then ban EC about gets smacked right here. So at this point or right after this point, we'll have him kind of wind up his arms. So kind of right in here somewhere. Let's go with these arms. And we'll select both arms. And even the body. It will keyframe. Now, right in here he's kinda winding his arm up. And then this one will just kind of something. You may even use this one. So now we should have some motion there. So it rises up and kind of unnatural, although you won't be able to see is in the whole time. We'll just add some visual interests by moving stuff around a little bit. Here even well, put a keyframe on the arms again, AS I'll just haven't kind of slowly rotate. That just gives them a little bit of realism. And then right about here, I want them all to rotate. And this arm right here, to just generate the smack down. The ultimate smack up a little bit more than that. Kind of awkward. We didn't read them with inverse kinematics, something that goes along with more complex rigs. Let's try that. It's going to be a fast motion. Who? So curvy will try to attack. It will get the smack down laid on them. Excel. We won't see him for a while. So we want to mess with the rest of them until the end where he gets demolished. So let's go ahead and start lining up Kirby. Now a lot of this is going to be an animated camera. So we'll probably use several different camera view ports and composite them all together at the end. So lots of ways to do that. It's going to be our most complex scene, the date. So just prepare yourselves. We're going to add a lot more detail and funded this one. Okay, so curvy, Let's go back down the curve view. Select Kirby it. There we go. And computer lag. So at first, just looking and he's confident when you give them fearful eyes. But we have to assume that he's not gone to the hero's journey of pain and suffering yet the smack down. So he's confident in themselves. But we need to give them some kind of an animation. He just looks boring doing nothing. So what we wanna do is probably grab his head and let's just start with scale. Go ahead and hit S, keywords, everything. And let's just kind of have hidden scale up and down. I don't like where it's scaling from. Back down and scale. Maybe below one. So almost be like a breathing motion. It's not breathing but it'll be like that. Some might be too much honestly. Course we'll switch views you won't see currently, or you'll see him from the bank so he will keep on breathing. Again. I don't necessarily like this kind of breathing, but it's better than nothing establishes that something's going on. I think I just want it to be very subtle and may be side to side. Oh, hello, That's cool looking. We can do that later. Okay. So he's kinda moving too quickly. We'll fix it later. What you want to do in your initial animation is you really want to block everything out and then go back and refine. So now I have too many key frames and block out or sign. And we'll go right about here, he starts to balance. So let's rotate them back a little bit before it starts to yield. The balance happens here, but he's going to start running. And so we'll need his feet to start moving. So let's go ahead and put keyframes on those legs. And even the arms will move. Well, that's another thing we need back here as we need the arms keyframe, hitting S on the arms area. Okay? So they need to kinda Bob to slowly goes in and out. We'll have the arms kind of rotate. Maybe this one up a little bit. And the other one start with going down a little bit. So it's kind of have them move around a little bit. Now you can see our texture was kinda moved to there. May have to fix the skin weight on the arms because it's poking through now. So we'll fix that. Don't worry too much. Let's go back to this arm. Looks like it was this arm that was the culprit anyway. Again, that has to do with skin weights being wrong, and that's a problem or subdue kinda fits. Well, let's go back to that. Run. The feet. We shouldn't see keyframes here. I'm hitting S right in here. He's going to start moving. And I'm grabbing the flip what I should have. Okay, I'm putting keyframes on the foot. What I need to do is put them on the legs here. So that's my bad. Okay. So it's either going to start moving here? Probably not both at the same time. I'll undo that one. That little baby moves forward and the other one maybe lives back like that. Kind of. And then it's going to be moving pretty quick here. It'll be hard to time. And typically I wouldn't even animate the legs first so much as I would animate his body start moving. So I want to say right in here, we want his body to tilt back kind of. So if we hadn't tilted back yet in the first place, Let's rotate it back. It's kinda where it was. So maybe he will go back even further than that. And then he's going to bolt forward somewhere over here. Maybe there's where it'll start as chump going to bolt forward and then launch himself up into the air and over. And we need to make sure that the trajectory is right on with this hit. So and ultimately that keyframe over a bit. So somewhere in here is where it gets knocked. So then that will be m sliding way over here and a check things. It's going to hit the dirt and start sliding. So inherently sliding across the ground. And I want to go to another viewport to confirm he's not underneath the ground. Right on top of it. Okay. So right there again, we're going to have to really clean things up and you've got to just be aware of that. So he should have tumbled this whole time. But there is on his back at about thinking about right on time, everything right. He'll probably roll sound to you. Right about here. B, now his eyes will change. So we can go ahead and animate that. So let's go over to his Kirby here. Eyes set a keyframe here. And she selected. And then I'm very next frame. Go ahead and go to Okay, and mouse gonna go too small. All right, and then shortly thereafter we can move the keyframes around. His eyes are gonna go closed. Although I honestly think is I should have been closed in here. So I think it's hit somewhere in here. I'll just key it again and I'll keep them closed. Because after you get hit like that, your eyes closed and it's just a thing since eyes are closed and maybe he opens them, closes them again. So right about here is when he starts to rise. So put an R key on him as head. Anyway. You will start to levitate, rotate up and further and further up. And still rotating. Can I don't like rotating from the axis, but because he's joints are already set there, it's kind of a problem. So right here he should be rotated along straight up. Its arms will be up in the air. There'll be at as kinda apex, I'm assuming, right? Equivalent to this guy's face. Some are way high. Frame them up. Somewhere in here. We want his eyes to change. Let's go back to eyes closed. Angry. It's going to get a large he's going to get very large. 2 is going to catch on fire. Looks like we rotated them kinda weird there. Somewhere along here. And I will fix that later. Okay. So then I would say he's going to shake and kind of fly backwards and lean backwards. And then he's going to shoot off. Right here is when he connects to the face and explodes. So right in there. And we'll have this guy kinda back in position by that time, whatever. And then we'll do some fun stuff with curve on the other side. This guy will have to decide if we're going to just kick him back and to oblivion. And then we can do slow-mo effect where you just kind of spin slow-mo. And then we're running out of space here. But curves should keep going for sure. So he's here. Maybe he just kind of and then we'll expand him. Take a scale, read about with stretchy sound starts. It will start to scale and we'll just go huge with them. And then maybe he'll kind of waffle and scale. Cool. Now, this is what we call roughing out the animation because it is not refined, it does not look good. We're just getting kind of our key poses in and we'll have a lot of work to do. Especially if we want it to look like you'll notice that he's flying towards him right there. He didn't get swat at. We want him to jump. So we want them to run up. And at this point, so he should still be down on the ground at this point. And then it jumps. And we'll find all kinds of problems like that. We also want him to be rotated forward at this point. So can Lots to work out. And that's okay. That's how these things go. So we've already worked about 20 minutes here and I'll be done as wrapped things out and they're not that great. So don't worry, it's a process of refining and refining, adding cool effects. And then of course, love to do all those camera angles. It's going to be fun now, I encourage you to take your time. Enjoy the process, because the process does take time. Being a great animator is not quick and easy. It's actually pretty slow. But the result is fame and glory and awesomeness. So I'll see you in the maximum and we'll kinda continue refining these animations. It's going to be awesome. I'll see you then. 99. Further Refining Animation: Okay. I do apologize. I had the wrong microphone recording, so if the last couple sounded like trash well, as just the way it is. Okay. So I'm going to encourage you to be patient here. Not with me. I mean, yes, be patient with me, but with your animation, it's going to take awhile. You're gonna have problems like my Kirby takes off right away. He's not supposed to, obviously, and luckily, we have our graph editor to help solve that issue. So just patiently walked through the process. Enjoy it. Hopefully you can enjoy it. If he can't, then you're probably not going to be an animator, right? So I need to find out which keyframe as obviously driving it. We know it's the translate in the x. Is it a y? Here we go. So where's movement start? Right here in the x. So we'll take this with a down to 0 and see if that doesn't solve the problem. It does as it should. Kellogg's starts moving backwards. We don't want it to move backwards though, which means we actually need to physically take hold this key and change it to what we needed to be. So we want it to actually be 0. All right? Now, I think he moves backwards to farther. So let's check out these rotates. See where that's happening. Looks like right here. Maybe we'll take this down middle mouse, drag it. Still take maybe too much. This probably needs to go back to where it was. I'm just moving keyframes around the kind of see what effect I get. Now it looks like he's translating to the left here. He is. So somewhere we have a translation that shouldn't be happening and it's probably this one right here. Really messed with this one and drag it kinda where we wanted it. So translate X, don't know where this keyframe came from or this one. Let's delete these and this one and see what we've got. All right, so let's just continue moving on. So slow here. It takes off and we need to move his feet probably as u runs. As he jumps, we need some kind of Q that is about to jump. And we're not seeing that anywhere. So as JumpStart's right there, what we could have them deal. And we've got some serious distortion on my boy, Kirby here to solve what the heck is going on there. But luckily it'll be at a distance. Maybe haven't gone down a little bit. Rotate back. And we'll move the arms and feet as if to say we're about to jump, Get ready. And we're really going to have to change the scanning on else. They're just not playing along are there. And arms will have them swing back. Maybe up. Okay. Yeah, definitely. I have to mess with those distortions. They're running right here. It should be up in the air. And he's not. So he needs to jump up in the air right here. So let's go to as translates on the whole body. So right here it needs to shoot up into the air. Let's grab that one and middle mouse, drag it. Well, that's actually forward real quickly. So we need y. Y should be starting over here. He should be jumping in the air right, right away. So let's go back. In. The next frame is way up there. That might have been too quick. Zoom in here. Let's take these two and just ever so slightly move them that way. Okay. It's a mighty jump there, Kirby. Okay, So we need some follow through on this guy's rotation here. Obviously, it needs to swing all the way and keep powering through. So but he just stops there. And so the whole body needs to continue along those lines. And I think it's whole body needs to rotate. Some inherent evil laugh too. I think. It's good. That slow movement right here is all going to be curvy so we don't need to care about. But right here we will need his arms kind of lined up like he's ready to fight again. So let's go through those arms and kinda R3 positioning was after ready to do battle. So I want to pose to look kinda cool. That's probably fine. So by that time have you back into position so it heads oh, I have a curvy, curvy. All right. I think the throne Nietzsche's continue on. So a whole time. Steve needs to just kind of keep going, keep rotating, keep falling. Might have been the wrong axi. There we go. Probably out of the picture even. Okay. Looks like we change the selling. Let me undo that. And I move them in a position that he wasn't already. Somehow we move data position from where it needed to be. So let's go to its overall right here. And we'll just take a look at the translates here. See hips moving here. We don't want that to happen. One of the stay Control C, this should stay where it was until he gets hit right there. So right about here. So V, He just should stay right in the same position. So there we go. And of course, he needs to continue falling and flying down, down maybe. Okay, so he didn't have a keyframe on this axis as well. So Control C, this Soviet over here, and then move it, maybe shift over. Okay? And of course the dates, the continuous falling out of the picture completely. We don't want to see him anymore. Okay? At this point you won't even see it. Now some of these animations are a little bit rough. You probably kind of smooth them out a little bit. So it's just one continuous curve. So if there's too many, I can just delete the points. And we want to do though is change this. So it's smooth, ER, smooth ER, and I own. That should be just fine for right now. Can refine it later. All this looks good. I did remember that I'm Kirby and I know I'm jumping around a lot. That his he went to sad eyes at some point over here and he should. So maybe instead of opening to open, he goes to sad. So let's see the keyframes on this. We have a mirror, eyes right here. Instead of open. They should be sad because he just got rocked. Opens and closes them. Okay. Maybe we can make this keyframe last a little longer. The sad keyframe. Move this over again. I'll hold Shift down and then move it. So it lasts a little longer. There we go. Okay. Suddenly starts levitating. The obvious is screaming at us, is that when we moved parts of him, he just distorts like crazy and it looks horrible. Alright, so what's causing that? We've got to find out is this is super ugly and I can't animate while looking at Kirby melting its face off. So in the next one will solve that problem and we'll just continue the process until we're satisfied. And that's awesome. I'll see you then. 100. Fixing Skin Weights: Okay. Kerry's face looks like it's melting and that would be because a badly Painted Skin Weights. So let's go over to modeling, rigging and skin Paint Skin Weights. Now typically there's light glaring on the monitor and I can't quite see what I'm looking at. So that's the problem. I'm running a tool, I'll select Kirby here. And I can't tell if that's pure white or not. But I bet you if I just start painting here, I'll get rid of a lot of those wrinkles just by painting. But I'm not going to get rid of all. Let me just make my brush size a little bit smaller here. Um, but I can definitely seeing a change already just by painting here. Now, there we go. Get rid of some of that. Alright, that looks good. But it's hard for me to tell. So I could probably just run this brush over m million times. All right, now let's go through everything else and just look and spend some time looking here. Look, I can see that needs to be painted black. So holding control, we've got a lot of wonky areas like that. Really need to pay special attention. If there's anything out of place. Leg should just be leg. And we're not getting as much distortion, but we're still getting sun, which means we're probably yet to find something out of place. Or I'm just missing it. It's over here in these arms and I'm moving the arm. So maybe that's why they're rotated. Hopefully that helps elites as phases not melting off now. So that's, that's always a plus, something that distorted in there though. And I'm not sure if that's his eyes. Now, it's not the eyes. So still looks melty there. Let's go back to our Paint Skin Weights tool. It's like Kirby. I just don't see where it's happening. It's not that and it's not that. So what is it? Where are we missing it in here? We have a duplicate somewhere of curvy does not look like it. Not sure what's going on there. But hopefully it doesn't affect our final render. It certainly looks like it's going to affect our final render though. Let's move, let's move an arm around here. If we grab these arms right here and rotate them, notice we're creating that disturbing pinching feeling here. So it is the arms. They are the problem. Let's go back into the arms. Let's go back into our paint weight shapes, tool, double-click here. Let's go through our arms and just doubled, triple check everything. Select curvy, select our arm joints. I see that look over here. This arm is selected in yet I'm influencing stuff over here. So I'll try to paint that out. And then we'll go to this joint and make sure that's not doing anything over here. And it's not supposed to be. And let's go to this arm. Make sure it's not doing anything. It's not supposed to be. Same thing here. Doesn't look like it. What we maybe we'll do is take this DC joints and make sure they're not influencing anything. Just paint it all out and make sure it's just arm that influencing. And we'll go back to this one. Okay. Everything out. Let's go back to our arm and make sure it's not affecting this at all. It is just still looking distorted there for some reason. Right? Shouldn't be anything with the legs. Something was distorting a little bit there with the leg. Here we go. Okay. Oddly enough, this last joined here was affecting that area. You just can't even see it, which is crazy. So I'm just I'm just I can't even see it on my monitor, but it's definitely affecting things that shouldn't and I couldn't even tell. Right? So hopefully you're not having those same prompts. Another problem with having dense geometry when you paint skin weights is this problem. All right, hopefully that fixes. If not, I give up. All right. Still don't know why this is distorted right here. Have no idea in fact. And hopefully I'll find out. Because when we looked at the arms, that was nothing we could do to change this distortion right here. It's almost like there's two meshes on Kirby and they're not. These are the kind of problems you'll run into with animation. And they're not easy to solve necessarily. So give yourself time. In a solid, you have to close the program and reopen it. But I don't give up. I said I've given up, but I was just joking. Let's let's figure this out together. Okay. I messed around with it for a second. Ten I hid some stuff. The mouth and the eyes are unhide them shift H I don't know quite why, but I've left this joint here and when I move it it it's messing with all this stuff. So I'm just going to delete it. I don't care if it messes things up. It was messing everything up and really bother me. Kirby is a beautiful creature. That's much better. Now as far as that distortion here with the eye, what we can do is move these eyes out ever so slightly. Or even the mouth. Or again, they should be kind of scaling with and they kind of are but there was enough there that caused an issue. So I'll probably do to fix it is just not scale curb quite as much. So I'll go into Kirby. I'll go back to the animation editor. And I will go to scale. And on all these scales framed, see all those keyframes. But these keyframes selected, I'll hit frame again, and I just won't take them quite as far up or down. So we'll just kind of make these a little bit smaller. Hopefully that will solve that problem. Okay, it does almost right here or maybe a little too low. So check that out. So not sure why, but I'm not going to worry about it too much. Because right about here you're not going to hear a bit more anyway. Looks like it looks like we didn't move all of them. So whatever's there, maybe that's why I'm not sure how you could start there and whatever. Okay. We're gonna get some distortion on his mesh is just the way it is. We solve the problem now. And we should congratulate ourselves on that. There's always problems and it's hard work. It really is. It's a game of patients at this point to create something we're really proud of. It's gonna take time, so keep going. And now this is kind of boring stuff. But when it's done and you show your friends, you're gonna feel pretty awesome. I'll see you in the next one. 101. Camera Sequencer Pt 1: So now you're beginning to see how long this process can take. So are there any shortcuts? What can we do to speed things up? Well, what we could do is sequence that our cameras, since we've already got an aromatic, we know some of our basic timings. And that will definitely help us to see what we need to animate and what we don't need to animate because cameras aren't tracking everything at the same time. So why don't we go ahead and do that. I'm going to show you a new tool. It's called the Camera sequencer. We'll go to Windows animation Editors, and we're gonna go to the Camera sequencer. Alright, so we'll be using this tool to take a bunch of cameras and sequence them out. But before we get there, we actually need to create our cameras. So I'll just minimize this. And we're going to create a whole bunch of cameras. Let's get started. Create Cameras. Camera. I'm not going to worry about AEM so much, although we may use aim on a few special shots, will just change it as we need to and we're going to name them of course, so we know what they are. This will be intro cam and we could possibly reuse camps for other shots. But what we wanna do is got a dual pane here and show perspective and one, which we've got perspective over here. And then the other one we want to show our new camera intro that way we can see what we're looking at it. Okay, Looks like we're good there. Why is looking bad? They're not sure. But we may have to change the shading, the hardware texture. There we go, okay? And we probably don't want to move this around much. We just want to leave it there. Okay, so that's our intro camera. Let's create another one, Create Cameras. Camera. And this one we're going to call OTS abomination reveal. This one will actually be behind the Kirby. These are just names I've came up with to kinda tell what the shot was doing. So over here I'll move this shot around, rotate it like so. And of course I want to view it. So I'll go Panels, Perspective, OTS, abomination reveal. And then I can raise this up and kind of see behind kirby the abomination over the shoulder. And you can kind of, I just kinda position it roughly right now. I might change that later when I animate, but just kinda scary reveal this monster over the ridge. I mean, that's terrifying right there. He asked me, okay, Next Shop, great. Cameras. Camera. This will be Dolly profile. It's going to Dolly alongside Kirby and show its profile as you runs and jumps. So that's what that one is. Its position needs to be over here, obviously reversed. I'm getting mixed up. It needs to be looking like this. It's a profile view of curvy. So it'll look like that. We'll go Panels, Perspective, Dolly profile. And then we can kind of see what we're looking at there. This one will dolly along with curbs run. So we'll have to animate that camera would probably have to animate several or cameras to make them look good, but we won't do that now We're just position them and sequencing them. There's a lot of work to do here. So grab yourself a soda because it's gonna take some time to steal at it. Okay. Next camera, Create Cameras. Camera. This one we're going to call behind Herbie smack down. And as the name implies, we're going to put this so that it can see the smack down kind of happening to Kirby. So we'll put it up here. And we can just go to that point where he gets smacked. That would be kind of can see what we're looking for here. And let's look at that camera Panels Perspective behind Kirby smack down. I don't see Kirby anywhere in where are you? Kirby, probably flying away and we're probably facing the wrong direction. Let's Spend this camera around. There we go. Okay, so we want to position it in such a way that we can kind of get the best visual effect of that smack down happening. So we may even zoom out more like that. Oh, that's terrifying. We want to click over here so we can see in this camera the animation happening as well. So, yeah, and already you can see with that camera we're not seeing a great smack down that happens. Of course we'll have to tweak that because it looks like the MRS. kirby we in fact need a connection tap. And so anyway, but there's the camera. Let's go ahead and make another one. Create Cameras. Camera. Spin around curvy, sliding on the ground. Now I name this very detailed and long so that I know exactly what it's supposed to do, what this camera does. So this is well Furby sliding along the ground here. So let's change to that one panel's perspective. Spin around Kirby on the ground. We can see in there in the shot. But let's raise the shot up maybe a little bit and kinda play back what happens? Maybe we'll pull it back that so we can kind of see and we'll probably take this camera and zoom in on curb like that, and then of course rotate it up. So something like that. But we'll pull it back in, rotate it back for right now. That's good enough for now. Once we animate the cameras, then we'll know for sure, but that looks pretty good to me for right now. Let's do our next camera. Create Cameras. Camera. This one we'll call above. Herbie. Can slow zoom. Again, very descriptive, tells exactly what the camera's going to do. Let's go ahead and rotate this camera to be looking down. Let's move it up and over, above Kirby. And of course we need to look at it so we can actually get it. Love Kirby slows it and there we go, That's good enough. We're just going to zoom up in the air and maybe spin the camera. Yeah, that's perfect right there. Alright, let's go again. And in fact, instead of going create cameras, we can just duplicate this camera and rename it. So we'll just select this camera control D can always look for ways to speed things up. Profile ascension. This is going to see as profile as he ascends up into the heavens to do as reattach back, this one will be a profile view. Again, we need to look at that profile section. And let's move it this way and rotate it towards curb. This one will be watching Kirby a fly into the air, which we should probably go to that point in the video, every outlets where he starts ascending. So let's zoom in just a little bit to watch this happen. Like so. Okay, great. Let's duplicate this one Control D and rename it to straight on. Slow zoom to fire explosion. Right? And so this one is just going to show, this is just going to show him straight on. So we'll need to rotate it back towards him. This let's go ahead and look at that camera. Right? And let's go to where he kind of explodes right about there as he started inflating and explodes. It looks like he moves over there somehow we may have some animation to fix. See if we can't find Kirby in here somewhere. Don't know quite where he went. Now, we've got to go way up. Make sure we're facing the right direction. That looks like we are. Let's go over here. Areas, okay, that was difficult to find, but we probably have some bad animation as far as like which way He's facing. And this is a great way to be able to see that because we're not just looking at perspective view. We've got cameras all over and we're going to sequence themselves. This is really where you kind of refine and tweak. You've got to be able to see what he's doing from the right perspective to do that though. And that's why we're doing all these cameras. It seems a little excessive, but I promise you it's a great way to do it. And then we knew not on trial de someone call B profile streak to slow. Know. We're probably going to slow mode and the shot. And it just took on slow mounds that are Profile streak. I don't know why. Okay. So that's the next camera Panels, Perspective, profile streak, slow-mo. S1 will be a profile shot, So we want to rotate it this way and back, like so. And this one's going to follow along as he shoots in the air and he'll be going slow-mo. It'll be kind of a special facts shop, but it'll look really cool. All right, a couple more and then we're done. We need an over the shoulder streak. We could take this OTS abomination reveal and duplicate it for that very purpose. I like to eat them all separate linearly. In other words, I don't want to mix up what's shots which it's so I've broken it down into the shots. I want for sure. I'm not going to try to duplicate cameras. I could do that, but I'm not going to do it your way though. So a lot of different ways to do this process. I'll Control D that one though. It's probably already are in the right position. To rename it OTS streak. And let's go Panels, Perspective OTS streak and frame it here, see where we're at. It's going to have to be way up in the air. And it's going to see him streaking towards the enemy there. So that's decent shot right there. It could even follow along as the streaks. That'd be kinda cool. Again, animation is so awesome because you can do things you can't do with a real camera. I mean, drones make pretty amazing things possible now, but anything is possible and he shot possible. So this is where you can really get creative. Okay, Let's keep going. We have just a few more. We've got curvy towards camera. It's basically the reverse of this will control D, this Kirby, I'll just say Kirby streak, streaks towards camera. And let's look at that one. And then we'll just take it forward and rotate it around the face curvy. This is basically the bad guys point of view. And it could even be LTS, but we'll probably do this right here. As Kirby flies towards the camera. Should be flying towards us. Obviously, we need to tweak his rotation because, yeah. Alright, see more cameras. We've got another profile which you could take this profile again and just keep going with it. But like I said, I'm sequencing them out. So Control D. And this will be profile Kirby abomination. This is where he just kinda blows through the abomination. Let's go ahead and look at that one. And let's move it. So we want to rotate it this way towards the abomination and move it back. It's like we're moving it down. Let's frameless. Somehow our camera got rotated like that. Well one is 0 that out, something like that. And then we'll see curvy fly right through him. Maybe from this perspective. I should do. Well c, k, and then one more camera, curvy, wicked smile explosion. Duplicate this Control D. To be wicked, smart L, explosion. This will help. His ego will basically be so big that he will explode like bubblegum popping. All right, and this one goes, let's look at IT perspective. Every wicked smile explosion. Let's go ahead and move it back over in front of curvy. And this is at the very end when he explodes. So I can just bring this, oops up and then rotate it the right direction. There we go. We want it to just basically him Explode right into the camera, like bubblegum again. Okay, that's making the cameras, this one got long and the next one will sequence them. And then we can watch all of our action, will see all the areas that our animation is suffering and that we need to tweak it more. And they'll be a lot. So just be patient. Hopefully you're having fun though. Hopefully you're really understanding how powerful this animation is, how powerful Maya is and how powerful you are for controlling them. I'll see you in the next one. 102. Sequencing Shots in Camera Sequencer: All right, Let's get to sequencing and let's go to Windows, animation Editors, Camera sequencer. We'll go create shot, and we'll just leave this open. Move this over to the side. What we're going to want to do is just grab these linearly and plug them in. So let's walk through the first one. I'll delete. This was a test middle mouse drag intro in here. Then I need to actually select intro. Next, I'll add start times and end times. And of course, intro Dusko from one to 82. And I've written all these down to make it easier for myself using my automatic. Again, an example of why the enigmatic is so important. New shop placements for this first one, I'll go current frame and I'll make sure I'm on frame 0. And I'll hit apply. And there you see it in here. Now, for the next one, we're going to want to change it to end up sequence. That way. It'll pop it at the very end of our sequence and we can just go through all these real quick. Okay, next up, let's go ahead and delete this. Will middle mouse drag the next one, OTS abomination reveal. We'll go find that camera OTS abomination reveal. And then we need to make sure we put in the start and end frames. So this one's 83 to 176. Again, end of sequence, we'll pop it right here. We'll hit apply. Boom, just like that. Now if we made a mistake on any of this, It's not huge deal. For instance, if we selected the wrong camera on one, we can right-click, Change camera. Or if we added the wrong amount, we can click on it and we can edit it right here by just dragging it. I'll Control Z that just be aware if you make a mistake on here, it's not the end of the world. Let's move through these though. Cellectis delete it. Dolly profile. We are next shot. Let's go find Dolly profile. This one will go from 177 to 240. Hit Apply. Perfect. And then behind curvy, smack down middle mouse, drag, go find it. And Kirby smack down to 41 to 78. Apply. What's awesome is at the end we can watch all of our shots and then we'll know exactly where animation needs to be changed. This is a great tool and you're going to love it. Okay, we'll delete this, go to the next shot. Spin. Spin because I can't spell. Find that spin ever go to 79 to 300. Ply and then just continue down the line. Kirby can slow, but have curvy camp slow. 312395. Hit Apply. Now, before I go any further, I should mention that this is at 24 frames a second. It's very likely that my nonlinear editor was defaulting to 29.97 frames per seconds. So in order to better match it up, I'm going to hit 29.97 and then hopefully it will time out perfectly. If not, that's okay. Like I said, we can retype it very easily. But just know, depending on what you outputted with your MLE and that's going to matter there. Okay, let's keep going here. Delete profile section. Go find profile ascension 396, 626. It's a long shot. We're going to have our camera kinda spin around Kirby Azi rises, so that'll be pretty cool. Apply there. Go to the next one. Straight on, slow zoom to fire. Scroll down straight on, Zoom. 627 to 855. Hit Apply. Next one, profile streak and mouse drag. Profile streak. 56, Eight, Eight, Seven. Apply. Almost done over the shoulder street. Guess what OTS stands for over the shoulder for those of you non-gamers or non videographers, streak. A day, eight to 906. Apply. Curvy streets towards camera restricts towards camera. I know 79 to five. Plie. Two more shots. Profile curvy through abomination. Profile Kirby through abomination, 926948. Apply. And finally, our last camera. Kirby wicked smile explosion. Curve. You could smile explosion should be 949 to 100. Hit Apply. And now, after all that hard work, Let's watch the fruits of our labor. Now we can just move this out of place. And what should happen is if we press Play here, we get to CLR shots. So let's just press play and see what happens. And it will continue looping. Now as you can see, we had some problems in here where things were even in frame. That's cool. But a bunch of them did not actually show what we wanted them to show it, so we'll have to tweak it. But that's why we did all this work is so that we'd know exactly what we're supposed to be looking at, gives us that much more information for our final animation tweaks. And then after we do our final animation, two weeks, we'll do some secondary animations, some fun stuff like fire or like having curvy hit his head on some rocks and having them fall over because we haven't done anything with Dynamics yet Maya. And there's a whole world of Maya we haven't even explored yet, so we're just getting started. It's not going to be over soon, but it's going to be a super fun ride, I promise you that. I'll see you in the next one. 103. Animating Cameras pt 1: Okay. I'm just going to spend some time tweaking the scene. I need this view open. It may kind of get in our way here, but we'll just move it around as we go. This will let us know exactly what we're seeing this shots. Okay. I'd like to honestly add a little bit more motion to it. And we know that's our intro shot. That's the beauty of going through this linearly, is that we kind of know what we're looking at. So I want to animate it. And so I'm going to animate maybe rotation and translation. So I'll just go ahead and put a key on all of it with S. And that will allow me to animate it, but I didn't really want to put it there. So Control Z and they'll go back to 0 and hit S. There we go. Okay. And now I'd like to move forward in time, probably to about the end of the shot, but maybe a little further. And I will go ahead and move that camera. So I will need dual view towards here. One to show this, this view which should appear once I click here. And then this one over here will be a perspective view where I can move the camera. I'll frame in on that camera. I'll hit intro camera frame in and then we can kind of zoom in. So again, we'll go to this frame right here. We haven't moved the frame here. Now, if I move this camera right here, will it actually animate where it's supposed to? Yes, because we're viewing it up in here now, again, I was on the wrong frame, so I'll Control Z that Let's go to the end of that frame. And let's go back to our perspective cam. Now we may have to find a way to lock the cameras because they're going to keep popping back and forth like that, which is pretty annoying. So let's go ahead and try locking this viewport by hitting this little lock icon right here. And hopefully that will stay put for us. So what we're gonna do is move forward, like zoom in on curvy ever so slowly. So now what we should have when we watch it back in this viewport is a slow zoom on Kirby again, will want to click over here and kinda watch that happen. Okay? So that happens. And then this one, what are we going to do? I'm not sure, but let's go ahead and click that OTS abomination reveal. We'll hit S on the keyboard to key. It will move forward in time right here. And let's just maybe move this camera back. And we should have our perspective view. It did not seem to lock it for us, which is frustrating. This kind of takes precedence. That's okay. I'll hit a frame on the camera. Again, I've locked there, so then I can hit frame and I can kinda move this back and rotate it up. Like that. Let's see what that looks like. So we've got r. That's pretty good right there. It's not perfect. Now, I'd like to start this profile. So I don't want to see him run that way. I want to see him runs. When he starts to run, I want it to go right to the profile can. So let's go in here and make an edit our clip here. So I'll just Alt, middle mouse, zoom, scroll and pan to zoom in. What we wanna do is change this right here. So we can just grab it and we can move it in like this. We'll just grab it and move it over like that. Now hopefully what we get here is we jump over to our side cam right there. But we want to animate it. So let's go down to our Dolly profile hit S, and we'll move forward in time here. He gets hit somewhere in here. It's almost like we missed a camera, but let's go ahead and animate our camera for spective perspective. We'll just move it forward in time. So that kind of tracks. Again, we get lost in it. Let's keep moving it back. Cameras tracking with them. We may have to actually attach the camera and aimed at the camera attached to the character because it's really hard to keep up with. You just move so quickly there we may have to actually edit that animation too. So let's take a look at this animation there. We're going to be jumping around a lot, so don't freak out. It's okay. Windows animation Editors, Graph Editor. Hopefully what you're realizing now is how complex keeping up with all the details and things in the scene and the cameras. I like to use two viewports as in two monitors, but I can't record two monitors at once for you guys. So I am ending up moving little windows here and there and everywhere. So this is where it runs. It, it happens extremely quickly and I would say even too quickly because there's this long pause before he gets swapped in a way. So he slows down right there. Let's zoom in on this area right here. And let's just see if we can't make some tweaks. Because this runs should all happen quite quickly. And it does. And it doesn't even look like we're on the ground when we jump, are curvy character. So let's, let's talk about translate y. And let's just zoom in on only translate y until we hit that. I guess that's the jump right there. There's our jump sound effects. So I guess we could technically take this up like so. It's just quite the flight trajectory. They're just not right. Does look like he slows down right there. Again, we have these curves, so we actually want this to be linear. So we'll take these two keyframes, tangents linear and straighten it out and then take this keyframe and middle mouse, drag it up a bit. So this is where we'll kinda tweak where the head happens. Jump, right there has not been slotted yet. So actually we need this to, to move over like that. And then we might even delete this one. So I'm gonna delete this keyframe right here. See what we've got. Okay, I already started on the way down, which means this needs to come over here. That right there. That second right there. We need to just ever so slightly tweak this keyframe down. So it's underneath that palm. And we probably need Translate Z in here as well. You probably going to have to modify this one as well. It's going to have to be right behind that poem right there. So rather that's smack down happens. And then we need to just go right to the ground. So we're going to take off linear from these keyframes, all of these right here, tangents or turn on linear rather. Then hopefully it happens quicker. Okay, he moves up here, this keyframes unnecessary. Again, I'm trying to create Curie a linear pattern. So when he's going fast, he actually goes fast in one direction. There we go. That's a little bit more realistic. There's some jumping around that happens right in here, and we need to see where that's at. One, these two keyframes need to line up. Now, I know I'm moving quickly and moving a lot of stuff around. And that's probably confusing. All I'm doing here is looking at my timeline or my keyframes, and looking at the viewport and trying to decide where the best place for stuff is. Now, we have Translate Y and Z, but we also need Translate X. I'm not seeing that anywhere. Click on my head here again. Why do I only have Translate Y and Z? X is at 0. I'm not really sure why that is. Okay. Okay. So we move too far forward, right? There's one they need to just collide back over movies back. That there we go, That's perfect. You don't see him. And then all sudden, he should start shooting back towards the earth pretty darn quickly. And what we'll wanna do is add a bounce here and a role to our curb character. Now I know I'm jumping from animated camera to animated curb, but I'm just trying to fix things as I see in this could be a very long video. So just be aware, be patient. This is the process you guys can feel free to skip ahead on these kinds of videos if you want. The point here is to learn kind of the process. It is a long process. Boom, right there, we should start a balance in a role. So with the bone selected here, I'm going to hit asked again on the keyboard. And let's go ahead and we'll do about its role. And even though we're rotating there on that axis, which makes it more difficult, we should still be able to get a decent result. We're just going to do the best we can this point. Bounce. And no one's really going to be able to tell. If we do just right, if we do a good job, it's also going to happen so quickly. So the key to typically you'd want to rotate right around the center. But since we can't do that, you have to just make sure you move and rotate at the same time. And that will help with that realism. And making it look not goofy stuff we're doing both at the same time. So let's try this. See what we've got a role. Can we want that camera to continue animating as it is here because it looks really good like that. And we'll continue that role pattern. We'll come back around and just doing the best I can with what I've got. And we'll have to check on some of these stray keyframes here, what's going on with them? Okay, That's, that's the weird one right here. This one got way out of line somehow. Okay, That's also unrealistic because the role stops happening. And that's because on a rotation we're going to jump because we'd already keyframe rotation to where it needs to be right in wherever that stop is right here. Okay, so we'll have to do is delete those does rotation keyframes here. So I'll take all the rotation keyframes at this point. And it looks like it's maybe that's one. So I don't see any other one. So this one will delete this point right here so we can kind of continue animating it. So I've got that role. This is the last one we put in. This one will also delete here. And it should slide to a stopping point. Right here. Yeah. Okay, and then we've got these other keyframes. If we just take these and raise them up like this, it'll make a little more sense. We should get as continuous roll now. Although that's too much because he stopped. So right when he stops. And it's kinda hard to tell with camera. Again, we're animating the camera by moving it around here, which is kinda nice. It's working for us here. So right here is when we need all these keyframes to kind of go back to, All right, in here somewhere. But just kinda watch it. That's kinda sudden. So maybe we'll go up a little bit more and rotate another notation or two. This is all just kind of maybe we'll delete some of these rotations and simplify. That's what's going to help us right here. It's complicated. I move around a lot. You'll notice I'm going to jump back and forth. It's kinda take some time to get this perfect. It's a very complex scene, really. So. Okay, we see this rotation right here. You can delete talent to moving forward. And as far as translate, we need to probably kinda look at what we've got here. One of the translators is bothering me. We go into the ground that's probably in here. Let's take all these and just delete them. And let's see what we've got over here. Okay, right here. Need to raise this up to level. Probably. Alright. Alright, I'm probably going too far, too fast. Let's just kinda go back here and time. So we've got okay, again, I've obviously animated the wrong camera there. I've been animating some camera other than what I should be good now, my animation on the cameras is all over the place as I was fixing. So what we've got to do is go in to the cameras and fix them. Let's go ahead and do that. So on this OTS abomination or via, it looks like we've added a bunch of extra keyframes we didn't mean to add. Because now all of a sudden we're flying all over the place. So that's cool shot right there. We've animated or camera to follow, but we actually want it to be a different camera. So if we click over here, we should see we've got, we've got our intro or abomination reveal. It's kind of cool there. Then we go over to this camera and we've animated. We didn't animate it. Well, this one follows because we've been falling with the camera now this one's all messed up and we need to add keyframes to it. So let's go ahead and grab that camera. Dolly profile. And let's go ahead and animate. It. Looks like we've got some keyframes here. We're moving pretty quickly there. Let's go like that. And trust tried to track with a character. Somewhere in here we need to move up and we can beautifully use this viewport help animate. As you can see, it's adding keyframes since we've already added one at the beginning. So let's say we move too quick there we can come back. Now, this will create kind of a shaky cam. I don't mind that, but you may just want to be aware. That's what's going to happen. Even right here, I'd like to keep Kirby at this side of the frame and stuff because I can't put all this stuff on the screen at the same time for you. I'm just doing the best I can, but it is a nice way to animate is instead of grabbing Cameron, moving it, just move the viewport to where you think it needs to be when it needs to be there. So like right here, I think it needs to be there. And right here, obviously I need to go find Kirby and maybe zoom out, zoom back in like so. And just keeping an eye on frame. Here, he goes out of frame a little bit. Again, I'm going to get shaky cam here. If I'm not careful and that's okay. He jumps, he flies, we need to go find them again. I'll zoom out. It's way up here. It's okay to keep the camera out that far. But this keyframe right here, when you delete. So just kinda keep tracking again. Once you create this profile, you can go in and delete parts on the curve and it will still remain relatively smooth. So watch, it'll still probably track with them fairly smoothly. Not perfect, but okay. And then again, we'll zoom out, follow curb. So now forward, zoom out, follow Kirby. Zoom back in and we can change all this after the fact. But and we'll also probably want to go full screen on this because we really don't know quite what we're getting ourselves into. Let's go back to that camera Delhi profile as our curves. Okay. Now we get to this other one. It's we're still on reframe 244. So we're way up here to 44, so we're about to hit the smack down. And you know that from the audio. Right here's what the smack down happens. So pretty soon here we can jump to the other camera. Now we can overestimate this because it's cool. But we're not going to actually see this. We're going to actually jump to behind curvy smack down, but you can just keep it animate. Now, I like this process quite a bit because it allows me to kind of move the camera in and out and then see all my keyframes. And if I don't like how jumble it is, I can just take out keyframes anywhere I want. I'm not gonna do that for right now. I'm going to leave it. This one's getting extraordinarily long. In the next one we're going to continue this process of going through the cameras, adding keyframes and moving the view port around. And I encourage you if these are really boring and long, you don't have to watch them all. You can just go ahead and animate your own cameras using the similar process. Okay. In the next one, I'll finish animating the cameras. It might take long before these are long tutorials, but we'll get through it. I'll see you in the next one. 104. Animating Cameras pt 2: All right, let's continue this process of animating our cameras. All right, so we've got now a dolly and then we're on the smack down. Now. I don't see seems like our audios playing in a different part than the smack down right here. So what we may need to do is edit this smack down so we can just click here, drag this over like that, click this and drag it over. Not going to be, we're not going to be afraid if it doesn't quite work, we're just going to make it work. So we've got that Dolly happening, right about probably even before that we want to animate, we want to go over to the smack down. So probably even further, we'll take this and then this clip will probably be too long. That's okay. We're just kind of going as we go. So we get over to this camera right here. And we know that's behind Kirby smack down. So now we can begin that same process of animation that we've been doing. So we'll select this camera and we'll go back a little bit in time. Make sure we're even before the smack down happens and we'll go ahead and hit asked to key there all of them. And then we'll kind of animate this camera. So let's just say, yeah, it's a, it's a quick camera move really. We we actually probably want to start at, let's see here. Yeah, we want to start it even earlier. So and that reveal I don't know what happened here. I thought we'd fix this reveal, but apparently we didn't. So this abomination or reveal and fix everything that went wrong on it. So we know we have a key on it right here on everything. And then everything goes crazy. And it's not supposed to last this long either. It's supposed to last till there. So all of this other keyframe data here, we're just going to go ahead and delete it. And let's fix that because it's supposed to just go up like that. Yeah. Okay. Cool. And then we go up and before he starts running and then he jumps. Runs, jumps. All right. So then we want the smack down to happen. We want to smack down Cam right about here. They're okay, So we'll just move it there. I'll zoom in scrolling. Take that over. Trying to get it as close as I can. Like that that should work. And we should be good to go. We'll pop over that camera. Let's select it again. We have it selected here. And we wanted to move probably, I don't know what exactly. I want the camera moved to B. We're having a problem here with k. I was happened to problems here has getting confused. I'm playing it back here. And that happens. And then I go and play it back here. All sudden it's super slow mode. See this 228%? Well, it turns out I was kind of stretching it instead of just moving it. So if I hold this down, I can take this back like that. We wanted to a 100 percent. We're not trying to slow mo this shot at all or anything like that. So looks like we're starting at the wrong frame though. So we're going to move this instead of moving down here because one stretches and one just shifts. So let's see what we've got. We're still way, way far off here. Let's go. There we go 175. So now what we should have is k. So the problem here was I was grabbing this and stretching instead of grabbing this and moving it around. Hope that makes sense. We want to go from these frames, these frames, and we want this to stay relatively a 100 percent. Okay? So what we've got here, pop over to that camera. So let's go ahead and animate this camera now. So this camera and view, we'll go ahead and Alt and just kind of zoom around. I'll hit frame on this. We don't want to zoom in that much, but maybe I'll zoom in like that. And let's make sure that this smack down selected somehow here. Zoom in like that. And let's kinda watch what we've got. Okay, I think too much too quickly. I think at this point I actually do want to be further out so I can kind of see the whole thing happen. So this point, maybe we'll zoom out. So that curb kind of flies towards us really quickly. So we'll go boom. And then the camera flyback with curvy, which will look a lot cooler. If you can have the camera move and curvy at the same time, it's going to look a lot cooler than if you just animate one. It's, it's, it's kind of like dual movement. Let's see what we've got here. Smack down, happens, camera flies back. I think at this point we wanted to be more zoomed on curb like that. So and then of course, we owe to you should go to our next part on the right in here, we're probably going to want to switch to a different medium. And this is bad timing on my part, but don't worry, we can just edit it like this. So we'll cut them out of frame. So who will fly right out of our frame there? It looks like we actually want to go further here. Okay, So flies out of frame to right about there. And then we'll take this next one over and over right here to match. Now if it pops down there, it means you went too far. Zoom out here. What we wanna do is just move this over, but we can just grab it in the middle and move it over like that. So we don't have to use these necessarily. Okay. So he flies out a frame there and then and there. So okay. Flies out of frame. Right about the time he flies out of frame, we'll go to the next one. Okay? And the next one is spin around Kirby. So we don't have that animated all. Let's select that camera. Let's go back to wherever that will start. Shortly after that smack down happens, we'll start enemy in this camera right about now. S. Here we go. Kind of frame those up. And let's animate the camera where we want it. And will extend this quite a bit. So be a long sequence here. I don't know if it will go all the way to this one over here, but probably will be pretty long. So now we come over here, Let's find Kirby and this story is that he's underground. Lot to fix that. Let's see what we've got here. Okay. We want to catch him tumbling. Now I may have accidentally deleted all of Kirby these tumbling. Let's go up here and look. We've got live sports camera gets smacked. The next frame should not be 199. Shut it. Kirby should not be smack, should not be stopped at this point. I think what happened is, is we're getting our frames wrong here. Let's zoom in here, 259, this should end at 259. So what we're doing is we're extending the frames. It's kind of confusing. So let me just kind of break this down for you. It's not going to look right. This will jump to whatever frame I have set here. And that is very frustrating. But you have to understand these are clips. So it's different then it's not completely linear. Whatever's here is what it's going to jump to. And so that's causing a ton of confusion. So what we have to do is make sure that 23 and 24 to 36 and 2, this should be 237. So we need to kind of zoom in here. Otherwise we're skipping a few frames. 238, 237 like that. So this right here needs to be to 60. Otherwise we're gonna get all these problems. So let's zoom out, move it over and continue that process till we get to that where we need to be. Again, an important thing to note are Sure. Let's continue that process till we get to 260. Getting there the femur frames and then we'll be right on. The money. Was going to say what is going on. And I had kind of just forgotten exactly how this works. So very important that the frame count between clips is the same or you're just jumping around and you'll lose stuff, okay? All right, now that that's sorted, it should go a little bit quicker. And this next one, we should see him role for a little bit. So let's take this camera. At this point in time. Let's go back to four to 16, maybe 251 even. And we will take this camera and rotate it around like that. And we'll zoom in, we'll hit S, set another key. And then we'll get rid of these ones that happen right afterwards. There we go. We should get is making sure we have this one selected. Let's go in here. There we go. So another thing that's super confusing is if you jumped from this timeline to this timeline, you're not necessarily going to be looking at the right camera. So this camera right here is the one we're looking at now. So now we can animate based on this one. Now, I don't know what happen all of our rotation and everything. It seems to have just disappeared from the timeline. And it really shouldn't have. Perhaps right here we need to kind of roll out and see what we're seeing. Champs, he gets hit. This is where the role is happening and we're just missing it. Again, I'm just trying to find out exactly where we're at and this whole thing. How we jumped from, can't see anything too right there. So we need to kind of clean up these keyframes. I'm going to delete them all because they're very frustrating sometimes if you're really struggling with something to eat all the keyframes and start over. It's a lot easier that way. So the smack down happens and then we want to see what's going on with curb air. Okay. And we must have accidentally deleted his role keyframes because now we're just stuck right there. But we do know this is where it starts rising. Let's zoom out here and see what we're supposed to happen. Okay. Flies. Now, is he rotating right here is my question. Let's let Kirby and the head specifically and see if we get any kind of rotation there. This is where we had all that rotation. So we must have accidentally deleted him rolling across the ground. My guess is that he's supposed to hit the ground right here and roll. And somehow we ended up moving that area. There's kind of our role across the ground. All right. That makes sense anyway. Okay, but now we're animating the camera. So we deleted something on curvy. Let's go back to our camera. Sliding around, see what we've got. It won't be right because we messed it up so much. Oh, that's good. Really struggling here. Somehow we were animating this one. The curvy smack down and made mistakes on it. It should, shouldn't jump all over the place over here. Let's delete all these keyframes and even needs. Probably. I'm going to save this. We're jumping all over the place. It's getting complicated and there's several factors going on here that happens. Even that I think is a little bit of too slow. Right there, it should end. Again. We want to make sure this is right to 251250, okay? All right, then we hop over here to this cam, which we need to make sure we select. So whenever I move, but I don't grab the right camera, which I just accidentally did. I need to make sure I grab to the next camera. And that's where some of these problems with animation, or again, this is super confusing. This process of seeing one thing here may be selecting the wrong thing here, seeing around keyframes here, you really have to slow down and pay attention, go through it one by one, and go back and replay it because I'll already, I've introduced some bad keyframes. I didn't mean to. Okay, So now with the slider here in the Camera sequencer, and this next one, we're going to hit S to add keyframes. All right? And then we're going to probably zoom in a little bit on curb, but we've jumped directions and that's not good because we went from viewing Kirby on this side. So we're on curbs, right side, you stand curves, right side. Then all sudden we jumped to the left. That's pretty confusing. So we need to come back over here. Otherwise, it's super confusing. Let's select curvy and frame in on him. We want to see him roll across the ground. Let's go back to the right camera sliding. And let's see what we've got here. I've animated me spinning around. That's not good. Let's delete that. And we'll start with these keyframes. Hold down shift and movement first. We're not going to be non-zero though we're going to be on 250. So this should be just about perfect here. Now or at least at the right angle and he will fly by. So with that in mind, start kinda zooming out and finding curb scurvy. We will follow Kirby and keep going. So you might find Kirby zoom in. And this is where we're back to kind of animating instead of struggling, struggling, struggling kx. Zoom in on them. All right, so we've got that camera animated. What we wanna do is fix curve because he should be bouncing. And all that good stuff. Looks like I'm not quite tracking with them. So we'll just continue to refine. Let's fix Kirby is animation real quick, and then we'll probably stop because we're at 20 minutes and we haven't really even made it that far. It's a long, tedious process, especially when you get confused between everything. So don't worry about that real quick. Let's fix curvy. He's kind of role here because it's really looking at that. That is really bad right there. Select the head joint and let's fix him up. Okay. As soon as he hits the ground, Let's just go back to a normal view. Let's go back to Panels, perspective, perspective. And we'll frame and on Kirby. Let's just kind of see the point at which he hits the ground. Don't know exactly what point that is, but we'll find it. So that the ground pretty quick at the end of this. So let's find out where is that. Okay, so he hits the ground there, maybe. I see him hitting the ground and rolling is happening way too fast. So let's take all this and said this button right here and kind of expanded out a little bit. And maybe that will help us a little bit with our speed problem error. So let's just take a look here to see how quickly that is. Like two frames and he's all the way over there. Can all that movement, especially in the z direction right here, sapling extremely quickly right here. So maybe we'll delete this. But at what point does it hit ground? And does he hit ground? Does it look like he just starts going that way and you shouldn't he should flatline against the ground. Somewhere in here. That would be y. So this one right here, hold Shift and move it. It needs to, needs to be linear for one thing, tangents, linear. And Doesn't even look like it's the ground know that. Let's frame in on him. It's kinda like hitting the ground. I think personally, you should hit the ground over here somewhere like that. Underground. Bam. And right about there he should start bouncing. It means it goes back up into the air. So that's much better. Although I think he should bounce higher than that. Again, a problem I'm running into here is I moving too quickly and with too many variables? And it's making me really mess up all over the place which I don't enjoy doing. And then we need a lesser bounce. So another thing about animation is this should look like kind of a pattern of slowly. It's almost like the stock market. You probably don't know anything about the stock market, but he should slowly bounced less and less each time. So bounces hard the first time and bounces and then probably should keep rolling at this point. Although we know he ascends from there, it's going to cause problems. Now we can grab all those essential keyframes, can select everything here. And when he starts to ascend from that position, we could move it further along. But why don't we just assume that he ends here. Get rid of these. It starts to move a little bit. Shouldn't. This basically should be the last keyframe for any of these. Let's see here. And we should see no movement here. It's probably the x heavy. Well that must be scale. Let's just look at translate right now is that's what we're dealing with. Looks like. That's all good and well. So we've got rotation going on that's causing ROM since all these translator goods, Let's look at rotate next. Rotates where our problem is we shouldn't be rotating again. Okay, let's zoom in on them again. Now, we're really getting along in this one. This is the real thing about animation. This is what animation is like. What we're doing right now is tedious, time-consuming and we're taking on a lot of it all at the same time. All right. So it keeps rotating after he stops. Once he stops, as in the translate z, we need to make sure all these rotation stops. So let's get rid of these and delete. Sometimes the best way to fix an animation is to delete keyframes and go back. If, especially if you're getting confused. A little jump right there, he should. It's a little fake looking right? And probably even these rotations right here, I'll delete if they seem to be causing some kind of weird motion. And then this should be linear. As most of these keyframes should like that. That last movement there is going to be Translate. And it's looking a little wonky as well. Probably because these in-betweens don't need a breather like that. Okay. And a bounce. And then right here where he just goes down. That's going to be these other translates here. So I'm going to delete some more keyframes and I'm gonna make sure it doesn't do anything weird like that, like these too. I should probably end at the same time as well. So hold down shift and move them over. I'll probably change this to tangent linear. All right? And then as far as this movement up, still eat that. It's looking weird. Probably shouldn't change at all for awhile. Should just stay still and he's not get rid of all these keyframes until he ascends. Still, there's movement, always there's movement and I don't know why. So we're gonna do is we're going to take all these translates right here. See, until he starts to ascend, right? They're gonna go zoom in, make sure we're on that right key trim and Control V. Although I definitely did something here for the translate Z, only to delete that one and start over. There we go. Okay. Should be no movement there and there still is. So even though they look like they're not moving, something's going on there. And we'll have to find it and crush it and destroy it. Like I said, should be no movement through all of this should be dead still. And I think I can tell these all here. All need to be flatline to 0. It's better. Still a little bit of movement. There. Are these keyframes. Yeah, they all need to be straight at 0 writer. And then we'll go to the end and do the same thing. You can see the move a micro mouth, especially the distance, it's hard to tell. But this is going to be our easiest way to fix all these is just taken down to 0. Luckily, we have that 0 line. The sea looks like even as blue on here, needs to go up to 0. Okay. Kind of a pain. I know. It's just the way it is. This one also will take to 0. Okay, super long video. I feel bad even putting something like this out there. It's full of my mistakes. It's full of moving around, jumping around, trying. I guess I leave it in there, not because I want to waste your time. In fact, I'd be happy if you just went past this. What I do want you to see is how hard animation is. And when I say hard, it's not hard, it's just a long process. Think of anything else like writing music or writing a story or any creative endeavor, even coating it takes time. It just takes time to get it right. And I don't think you can expect to get, you know, you can't do five-minute animation in one day. It's not going to be good. You could probably get a 30-second animation done in an eight hour day. And that's kind of a good one, like a really good job. And that's kind of what you should shoot for between 30 seconds and a minute of animated material per day, per workday. And now that seems excruciatingly slow. There are ways to speed that up. The better you are with the software, the better you are with what you're doing, the faster it will go. There. We're doing a fairly complex scene, especially for beginners. It's gonna take time, so give yourself a lot of time. Perfect, it, it's worth it. In the next one, we're just going to continue this process until we get this thing so awesome that we are proud of it. I can't wait to see you in the next one. 105. Animating Cameras pt 3: Okay. Let's continue. It says The process was just going to continue going with it. Okay, So up here, Let's see here Let's move some stuff around. Cuts smack down. We're not doing a good job of following what this camera. So let's go ahead and do that. We're fixing Kirby and the last one. We've got this camera motion, which is, you know, not even following Kirby at this point. So let's zoom out. There's curvy. Curvy or did you go? It's like Kirby is flying through. Okay. And that's a problem in and of itself. Let's, since we were accidentally moving this camera around, we added a ton of keyframes. Unless this is where we need to be at the end, which it looks like it is. Let's delete all of them with a camera. It shouldn't be that hard to follow him. You just move it along. And somewhere over here are curvy ends up. And at this point, we want to be probably zoomed in on a lot more. Maybe not too much, Something like that. Okay. I'm not even sure I want to see him at that point. C here. Maybe here we'll start zooming in on him. While he's in Iraq. I'll just kinda level off right here somewhere. Now, where are we on here? The question, because this is the one we're kinda timing things by. Nothing there, nothing there. So still a lot of work to do. Kinda feels like a bad shot after awhile for just sitting there. And that's not very fun. Let's go ahead and take this out like that. And we'll continue animating our camera. So coming here. And we'll just kind of spin the camera around a little bit maybe. Now, again, curve. He's got some problems here underground. That's not good. He's supposed to be on his back at this point, but he's not. Okay. So somehow we're moving an item on the camera when we rotate around the viewport, that is actually not showing up in here. And that's a problem. So we're actually, we can't do that. I'll Control Z, whatever we just did. Tupled times, trying to animate the wrong thing on a, on a camera and it's just not happening, right? We're causing ourselves a lot of pain and suffering here. As you can see. So back to this, this is all working right in here. You cannot lose it. It's not necessarily a bad shot, but instead of flying out, I'd like to fly in. And we were already in right here. So maybe what we could do is slow it down incredibly slow. So I'll hit Shift and we'll just make it a very slows him in like that. So we're following, following. And then we'll just kind of slowly zoom in on them like that. And of course, we'll need to fix as whatever the heck is going on with his body facing the wrong direction. All right. Something like that. And we've already wasted a ton of time on it. That's why I don't want to waste anymore. I want to get rid of some of these tangents. I'd rather just be linear at this point, tangents, linear. Hopefully that will look a little better. Just kinda zoom in on them. Okay, 359, this needs to go to 359 or 60 rather. And C Here we go. Something's off on it. Let's zoom in over here. Take a little bit shorter over here. Again, we didn't get our keyframes perfect, so we ended up with tons more work. As you can see, it's pays to really get things perfect. Here we go. Moved it too far. Every GAO 360. Okay, so we slowly zoom in there and then right here above curvy slows him. So this is where we need to position our camera above Kirby, let's make sure we have that selected. So we'll zoom out and find curvy at there. And of course, it's really difficult when Kirby is upside down. He looks at dad and it's very sad. I think most people would agree that sad. No to that first frame hit. Make sure this is selected. Hit S. And this should be a very simple camera move. We're just going to zoom out. I'm just going to slowly zoom out. Oops, I guess I need to move forward in time before we do that. S Again, go forward in time. And we'll use this slider. Okay, let's just take this all the way over, like so. And we'll go to the end of it. And 490 are basically they're just go to 500, doesn't matter. So I'll just zoom out like that. And there you can see that. And while we're zooming will probably rotate along the Y. Here we go. We wanna do is just kinda rotate around like this. There we go. Something like that. We probably could've done in up here. There we go. That's kinda cool looking or not. You know, you might hate that. Whatever I'm trying to get through this because it's taking forever. Our next shot is profile ascension, which is the scanner. So we need to go over to that. Now we need a fix some things here. As you can see, it was at 39 16 now needs to be at by a 100 or 491, rather. Scroll over the 491. I'll move this over. And then we'll find out where the heck curvy as you can, making sure this is selected. There's curvy. Okay. We will go ahead and foramen and Kirby was underground, maybe something like that. Let's go back to that camera profile assumption. S. Go forward in time. It's going to start to ascend. We want to follow him up there is where he starts inflating. So we know. We just go up to there. What we find, I'm going to kind of follow them up. We move too quickly. He starts moving slowly at first. So we'll just stay back down here. And we'll move these forward in time until we get kinda where we need to be. Still too quickly apparently, unless we accidentally deleted curb these keyframes again, which I wouldn't be shocked about. Their egos. Okay. We just were a little bit off there. All right. So nothing happens. Then he floats. Need to move over. Start moving up. And it looks like it does indeed happen very quickly. Very difficult to keep up with them on this one. It's definitely not easy to follow. We're doing a decent job considering, although we lose them right here. Doesn't move rather quickly though. Anytime you get these fast motion shots. Very easy to lose the character. And similar, we're here, we're going to pop to another view anyway. Okay, that'll be good now it's really bothering me. I don't know what we did with Kirby, but that is not where it's supposed to be or what he's supposed to be dealing. Let's go to another viewport. Don't want to accidentally animate. That's where auto animate can be a pain in the butt in. You just really have to pay attention. So anyway, Panels perspective, perspective. Let's go figure out what the heck's going on with Kirby. And as keyframes pull up, the bones. And C should be on the ground right here and said frame is on the ground. He should have rolled to a position of well, you should be on its back facing up and he's not. So we need a fixed that rotation, and that should be rotation y. So let's frame up right here. At this point. Should have been rotated fully like that. Now that doesn't look like why does it wasn't Z wasn't acts that hadn't been. Why? So we've hopefully fix that. And Let's look a little rough the transition between the two. So we'll just kind of smooth that out a little bit and maybe even less on smooth it out a little bit. And we may have to delete some of these extra keyframes or getting here. Alright, so hopefully that will look at zoom out and see though. It's like he's moving up into the air. Shouldn't skip some of these other ones in here. So we can see why are these moving up into the air at this point? Which would be Translate Y. She always bouncing, still supposed to be bouncing. Hard to see it all at once, isn't it? Okay. So there's a bounce. It's very difficult. Delegate enough screen real estate. In Maya, It's just doesn't seem like there's ever enough. And obviously I think you should, instead of go up here, you should probably just slide. So maybe we will delete that. And hopefully it's facing up. Yes, yes. It's better. Okay. Let's go back to our cameras here. This'll pop it on automatically when we press Play k. Now we can see is facing the right direction. Why is the shrinking and scale right here? That's a really good question. Let's go look at scale keyframes. In 433, somewhere in here. Okay? These scale right here. It's like it's still breathing. Oh, that's the beginning. So somewhere between 400 and should not be scaling at all, not until over here. So let's just make sure that one, which we'll see is the exact same as this one, will have to zoom in to really know for on the right key frame or not. They're Control V. Okay, now hopefully that won't be whatever that was. Okay. Let's go back to him. Good. No more. Okay. Wow, we're really making it happen here. Okay. I think this actually does continue on like that. Let's just play this back and listen to the music. I think this actually continues following them for awhile. So go ahead and move. This. All looks good. So right in here, I think he needs to switch right here that balloon sound. Yes, it's a balloon sound effect. So we'll need to make this match obviously. So we'll shrink it over here, move it over and get it to, actually we'll need to move this this way. Let's go way over here. Want to go to 770 to ever go above that into place, zoom in. We're making progress, it's taken time, but we are seeing the nitty-gritty of animation and I hope it's helping you out. Right here. We're on to our next camera. Move and crazy, straight on, slow zoom to fire explosion. We need to set a keyframe on that camera. We need to find out where the heck it's looking. Areas. Okay. So we're gonna just kinda zoom in from here. We'll take them there. We needed to start here. Okay, so right here has already needs kinda zoom in on them like that. And then he's streaks by. So let's go that streaking. Camera. Let's take this to 915. Come over here. Just continue moving them around 39 16 rather. We'll extend it. And let's see what we've got. So restricts by, okay, let's start where we went way too far on this actually. It's right there. We'll actually end that way over here. And then we'll take this to 851. Let's try that. Okay, this will be a new camera. Profile streak slow motion. See where we're at. Should be off to the side. And what we'd like to do is kinda slow-mo this part right here. And there's a lot of ways we could do that. Let's just move in here for now. S on the keyboard. What we want to follow along. Actually, we may want them to just straight body. So it just streaks by slowly to about there. We just will increase motion blur here to make it look like he's going extremely fast. We do want him to actually exit the frame, in my opinion. So I'm going to take that out, just error so much exits the frame than one under the next one. So that's eight AT. Then this next one will have to be 881 over K. See what we've got. Over the shoulder streak will zoom in more for that. Let's go to the over the shoulder streak, hit S on the keyboard and zoom in a little more on curb. Let's hit Select curvy F on the keyboard. Whatever reason it won't let me zoom anymore. Not sure why. Just manually zoom. Guess. I want to see the terror in this guy's face. Let's go back to our camera. Ts streak and back. I'll extend this. I want to zoom into this part so we have a keyframe here, but zoom in behind them. And then we'll switch over to our next camera. So 1928. Somone to be 29. Alright, and that one slide to restricts towards camera. We already past that point though. So we may want to edit this a little bit. I mean, I like this. We're already streaking towards camera right there. I might I might leave it like that because that's pretty cool. I don't mind this shot right here. I'm going to just leave it just because it doesn't go with my initial antibiotic doesn't mean I can't use it. Okay. I'm gonna be careful on axially. Here's the problem though. We're jumping back in frames over here. So we need to make sure we continue again when I moved in 2000 frames per second. Now we have over 1100 frames. So just keep that in mind. We still got plenty of frames to work with here. But this out, I'll take this camera and instead of 1099, I'll go I'll take this down to or up to 10, 20. Okay. And let's see what we've got. There is a self ID like the EM shot right there. Even though we're jumping back in time. It's kind of a happy accident. Maybe it will switch these two shots out. I do need curvy kind of exploring. Now. That doesn't happen. We have a drop-in. Now. We've got a long time on this. I'm gonna tired of animating the cameras. And I stop there where we're almost done. Let's watch what we've got. Then just try to appreciate how much work this has been, spent a lot. So I'll play it one more time and then the next one, we'll continue on this long process. Wow. 106. Rigid Body Dynamics: Okay, we've worked really hard up to this point. You see how hard and how tedious animation can be, how slow and time-consuming. Plus you've got over eight hours of training with this course alone. Where do you've learned about the Maya user interface, hotkeys, navigation, modelling, rendering, animation, rigging, a lot of stuff that's kind of boring. I mean, it's fun once you master it, but learning it's pretty tough. It's actually quite difficult. So why don't we take a break from all that. I'm not supposed to tell you this as a teacher. Let's do something fun. Let's change over to the FX palette right here from modelling or wherever you were. Let's go over to fx now. Mine is pretty awesome and that it keeps everything that's ever used. That's why we were able to use these really old effects for shatter for the crewmates Hellman. But it also has been adding new stuff every year. It feels like Bifrost is a great way to do fluids. This is the old fluid. Bifrost is the new way to do it. It's awesome. You've got mash. Mash is a great way to do motion graphics, 3D, pretty awesome stuff in there. You've got boss. And what we're going to focus on today is bullet. Bullet is their new dynamics or physics engine for things like rigid body dynamics. Now what does rigid body dynamics? You've got rigid body dynamics is like a physics engine where you can create things that are hard, that physics acts upon. Like, like if you were to knock over a bunch of dominoes, you could do that with rigid body dynamics. There's also something called soft bodies, which is what Kirby would be and maybe we'll even mess with that on one of our characters where we create kind of a soft body, it just takes a long time to process. So if we do something simple, it'll be a lot quicker. So what are we going to do? We're actually going to have Kirby, when he flies back towards Earth, He's going to hit a folder. He's going to hit some boulders and knock them over. And the physics engine will do all the animation for us. So it's actually kind of fun to watch the result. Now, keep in mind that you may want to save a version. I had a crash when I was messing around with the physics engine. Physics engines are finicky. Let's just put it that way. It should work just fine. But we'll have all kinds of random things happen. Just prepare yourself for a wild ride. Let's exit out of this. There's a couple of things we need to do before we go in and create those rigid bodies. We need to prep the scene. Something that's very important is may have moved the camera around here a little bit, but I don't wanna do that because I've auto key-frame on. I wanna make sure I'm back into perspective view port, which has no keyframes in it. Very important. That way I don't mess with all the keyframes I spent a ton of time working on. So what we're gonna do is create boulders. Now, unfortunately, Kirby starts and ends in the same place right here. So if we put boulders here, it's going to look awkward when they're right in front of him, in front of our shots. So we need to move him forward and then move the camera forward a little bit. So let's get a curvy slept his bones go. Windows, animation Editors, Graph Editor. What we wanna do is take this Translate Z right here, these two keyframes and move them up a little bit, little bit forward like that. And then of course we need to go to our intro cam and change these keyframes for and a little bit too. And to see this view, we probably need to look at it. We'll go perspective intro, and we'll select Translate Z. And we'll take these keyframes up like this. There we go. Okay, cool. And this one I've had, I want to end it in a better spot. I want them to be kind of down a little bit. Like so more centered. And it looks like we've got two keyframes there, so we'll delete that one. Okay, perfect. So now zooms in and we can put rocks behind them and then make them rigid bodies. Now, let's see the different version. Because if anything goes wrong, I don't want you to lose all this hard work. Very important to save different versions. I've had to happen before, it's horrible. So, so File Save Scene As and we'll call this Kirby dynamics. All right, cool. Let's build some rocks. Will start very simply with some cubes. And again, making sure I'm in my perspective viewport. So I don't change any keyframes. Gonna go ahead and just create some blocks here. You can create rocks or circles or whatever. I'm going to create blocks. Troll d. I'll duplicate that, maybe change its rotation a little bit, change its scale. And the Control D again. Of course, I'll probably texture these and make them look interesting or something like space junk. Maybe. I'm going to create the Leaning Tower of Pisa D. And if you guys from Italy can shout out in the forums, I have students from all over the world and I'm damn proud of it. I love my students from all over the world. All right, let's make this on big and tall. All right, cool. This is going to be fun. We're going to knock these over. It's going to be awesome. All right, so I've got all these bricks right here. Like so what I'm gonna do is go to bullet now, you may not have bullet show up right here. And I probably should have said at the beginning of the video, don't freak out. Here's how you get to bullet. Windows, settings, preferences, Plug-in manager. It's free, but they don't always install everything. So if I just go ahead and type in bullet here, or as you can see right here, bullet, just make sure you select loaded and auto load and then it will always load up. Okay, So with all these selected and with our bullet showing, we'll go bullet and active rigid body. Now what that's gonna do is create this bullet solver at here. If I press play Right now they're going to move. And I'm going to fall right through the floor because there's no floor. But if we select our Bullet Solver here, this is basically our physics engine for the scene. We can go ahead and hit ground plane and then they'll just kinda stop. So let's go ahead and press Play. They stop. Perfect. Now what we're gonna do is create a ball to hit them. We're not going to make Kirby a rigid body because it's going to take long time to solve a complex object like that. It will make sense to create a hidden object and use it as Kirby. So we'll go ahead and create a sphere here. Raise that up like so. And we're gonna go ahead and go bullet act of rigid body. And we're going to change it from dynamic two kinematic. And we're going to animate it. So if we come over here to where Kirby flies back, right about there, we'll start. Our animation will have S to keyframe. Then we'll move forward to where Kirby ends right here. And I'm going to blow these suckers out of the water by moving the sphere this way. Now hopefully, when we playback will have a cool result. Wait for it. This is worth waiting for. Wait for it. Boom. Okay. We've got nothing. Not at all what I was hoping for. Let's just double-check some things here. Let's check this mass and crank it way up and see if that makes a difference. Play. Instead of waiting though, we'll fast forward bone, still nothing. That's not good. Usually when you have unexpected results like this and it's not working at all. It's something to do with the bounding boxes and we're moving really fast our object. And so it doesn't quite solve perfectly. Now keep in mind this is totally expected. Now, a lot of times they'll have unfamiliar, unexpected results that is expected when it comes to these kinds of things. So what I'm gonna do is I'm gonna come in here and enlarge the scale of my object. So I'm going to just scale this sucker up like that. And then let's try this again. I'll go ahead and play it back. And notice now we knock, knock those little ones off, but the ones on top stay. What is going on. Now, we get these ones popping out right here. The bottom. As the thing that's tricky about these engines is if I keep doing this, you'll see eventually all those ones on the top will move to almost as if they're always moving, but the sole of her seat, it just moved right through it right there. It's got a re-solve every time and it doesn't solve the same way every time because it's an engine. It's a physics engine. So i'm, I'm trying to make it show you where it actually throws those off at the top. But if you're not getting the results you want, well, we can always do is obviously increase the size of this even more and make sure it hits everything. Now we're going to have key-frame problems. So let's go to our keyframe editor, Windows animation Editors, Graph Editor. What we wanna do is probably delete keyframes here at one. And we just want it to move right here. We want to scale the whole time to be huge. All these scales here. Well it can be massive. Scale at soccer up, so it hits all the bricks all at once. And let's look at everything. We've got. Zoom way in frame. Here we go. Okay, Let's give ourselves some room here. And let's figure this out. There we go. That's the effect we want right there. But I had to go slow at this time to solve it. If I go real quick, it doesn't even solve it. It's like it needs to play through the frame slowly in order to kind of get the result we want. Now, those, those go flying pretty far and then do some random weird things because the boulder stays there. So we actually want the boulder to move right on through. So we'll just continue this boulder moving out of the way like so. All right, so be, be aware that these are fun, but they are finicky air we go. Now let's change the mass on some of this stuff, because that's way too much mass there. With our sphere still selected, let's take it from a 100 way down to like, I don't know. One it doesn't really need because it's got velocity. It doesn't need to be that heavy and huge. So let's replay this again, go through. Okay, apparently I moved to quick again. We can also change the mass of these blocks to make them a bit bigger. So I'll do that. I'll make them all a lot heavier. And then they should just because I don't want them to explode. I want them to just kinda fall over like so. Now with that change, what we should get is a federal reaction here. Still getting him flying all over the place. A little bit less. But this is still pretty cool. It's more or less the results I was going for man alive, they really just go flying Delta. Let's try and take our sphere down in size a little bit. And again, we've got keyframe problems there. This is another reason why you don't want to keyframe everything all the time. So let's go ahead and delete all the scales. Let's go ahead and delete those keyframes and then it'll just stay whatever scale we keep it out. All right, cool. And it looks like we went around our oh man, I had an extra key frame here. Let's rekey everything. I will go ahead and delete everything here. Delete selected. Okay, that's pretty rough. Let's just key frame those stuff. We want a keyframe which would be motion. It's right here. We're just going to Shift W translate. And then right here, we're going to move our Boulder through like so. Okay, there we go. That's a much better reaction. Now we don't want them hitting him, Kirby, because he doesn't have a solver on him. It's not going to work well when they smack into him. And it's never going to be the same way each time. Which is kind of cool but kind of awful. So what we wanna do is probably changed the mass of these blocks a little bit. Alright, so let's change the mass down a little bit. So they do fly a little bit further away from the attribute editor will take them down to like 15, 13. Another thing that's causing problems is our velocity is massive. And if you know anything about real physics, velocity is a massive part of damage effect. So when we throw our Boulder this quickly, we really creates a massive movement. Okay, All this is looking good except for the fact that our bricks are hitting Kirby in the face when they fall down. We could do. And this is not a horrible idea, is we can create a boulder right here for them to bounce off of. We can in fact duplicate our sphere here, but we won't do that because it's already got keyframes on it. And then we'll put that sphere right where Kirby lands. Now, we want to hide this sphere. And if we go to the channel box editor and tried to turn our visibility off, it's already keyframe. So you can right-click. You can delete selected, and then you can turn off the visibility and it will still very much work. Watch, even without visibility on, it's still smacks through like that. Ok, so everything is great except for when Kirby hits and the blocks slide right past him and right through him, we can't really make Kirby a rigid body. It would take too much calculation and it would cause too many problems. So what we wanna do is create another sphere to stand and curves place. And we don't want it to interact with any of the other rigid bodies in the scene until it's the right time. So let's create another sphere. This bring it up to the top. And we're going to animate it in this way because the other spheres coming forward, we just have it hidden. So this one will, will slide in this way. And let's go ahead and make it a bullet active rigid body. Let's make sure it's set to kinematic. And then let's go to write it the exact moment right here. We'll go ahead and just key-frame, shift W, The translate. We don't need anything else. And then we'll move forward just a little bit and slide that sucker right next to Kirby right on top, so that everything that hits them. Kirby will bounce right off as if Kirby was a rigid body. Curve is soft body though. Okay. So what we should get now, it's perfectly timed. Stuff, collides with curvy and does not hit him. Now, we can take this, instead of making a block or a cube, we can actually go to the attribute editor and we can make it into a sphere. Let's try that one last time. And I think we've got what we wanted. Slide than the that things will bounce right off. Kirby. Awesome. This has been a bit long and we found a lot of problems, but that's okay. The reason I like to leave these problems and errors in there is because like I said, I hate it when I'm watching a tutorial, everything works perfectly for them. And when I tried everything breaks down, it's extremely discouraging. So yes, these are longer. But you're getting to see the real process. You're getting to see how things react in the real-world when you're just trying to figure out how to do it yourself. Alright, so the last thing we need to do is hide this. Let's go to the channel box editor. We want to turn the visibility off to that object. And we'll play it back one more time to make sure everything's working. Indeed, it is awesome. I hope you enjoyed that. That's just a small taste of dynamics and effects in Maya adds a lot of value to our scene. Now he's interacting with other objects in the scene. It creates that much more realism. Yeah, we're going to need to clean this up. We'll rename it will texture them, but we'll do that one. The next one. I'll see you then. 107. Splitting Camera Sequencer Clips: Okay, things are looking cool. A couple of quick things I want to fix and there's always going to be things to fix. In any kind of complex scene. I want to texture these guys right here, so I'm gonna select them. All right-click. Sign the material. We will just go with another phone. Navigate over to that phone to call it pillars. I call it rocks, but we have that terrain. We probably called Rock. I don't even remember. We'll grab a color swatch here. And let's go grab a texture file. Click on File, navigate to my Images. And we'll do jungle stone open. And there we have jungle stone and all its glory. Okay, I'm not even going to bother with any kind of texture mapping on it at this point, I don't think it's necessary. We'll just use it as is. That should be fine. You can spend more time on it if you wanted to. There it is. Another thing is we zoom out here and then we just go to this still image of him by and rocks in even if it animates differently, which sometimes does. And the rocks on there, it's still this still image where we can't even see his face change. That's not good. Let's insert another camera real quick, above Kirby camp slow zoom will duplicate it. And we'll just call it above Kirby. And then C for close up. And we'll go create shot above curvy. See you. And we'll go grab that camera of kirby CU and startTime an enzyme. Well, we're going to want it to be 394. It looks like we'll go 39 for and will end somewhere over here right before he starts moving. I would say right about there, 570, 4574. And instead of the end of sequence, we'll just put it at the current frame. Apply. It's not going to let us. But what we could do is move our frame over here and hit Apply. Let's try just doing end of sequence or manual down here and hit Create shot, fly. It's not going to let us put that in there for some reason, no matter what I select this as I hit Apply, I get this error. It doesn't seem to matter. It's not going to put this shot in there for me. Not even want to hit manual here will actually put the shot in. So for some odd reason, we just don't seem to be able to pop this shot in. It's just not going to work for us. And I couldn't tell you why. So if it's not going to let me change anything here, what can I do? Well, I can split a shot, I can right-click and split the shot. So what I wanna do is go to 394 or as close as I can get, we can zoom in here. And I can go to 394. Right-click split shot. Now I can just delete this out of there. Or I can rapidly change the animation on this part of it. And then of course, this shot, I can take it from all the way to 574 or we are change happens. That I'll extend this one out to meet it. And then right here I'm going to right-click and I'm going to change camera to above camera. See you. So it wouldn't let us insert it any other way. But we still had our way and got what we wanted. So now I need to animate this camera right here. It thinks we're way up here. Select this camera. Windows, animation Editors, Graph Editor, and we will reanimate. Let's go ahead and hit frame, see if we can find some key frames here. Somewhere on this timeline. Move. Let's see what we've got. I've got no keyframes on this camera. Let's see if we can just make some keyframes by movement and around. We basically want to be zoomed in on curvy. It's like curvier, that camera and frame, straighten it out like this. Now, I don't see once again any keyframes anywhere on here. But we should have a change K we do. Let's just go ahead and set key frames right here on everything with S. And we go. And actually I think we want to start zoomed out just a little bit and we'll slowly move in over the course of time right here to right. Like that. We may even want to extend the shot so that his eyes actually open again. So let's move this forward in time. And then we'll see the eyes hopefully open. Somewhere in here they start opening. It looks like you've just takes off that way. Okay. But that's a much better shot. I think in my opinion. This is a bit slow right here. So once again, let's animate it. Let's write on these key-frames. We'll start out just a little bit like this to forward in time like that. And we'll zoom in on them. And we should get automatic animations. But we're not probably because we don't have this selected, this above curvy. We actually had this light selected. I put keyframes on lights. So pay attention a lot to mess around with obviously. But we can start by setting a keyframe right here as moving back there and zooming out ever so slightly like that. And what we should have is this nice little move here, okay? So if fixed two things real quick. And it's going to be like that was always something to fix in our scene. Didn't want to dock that there. And there's problems like what we just dealt with here where we wanted to fix something and we couldn't find out how to do it. They'll, this is a good example of where you don't give up. And you push a lot of buttons. Because you can Google this and it's not going to show you anything. You're not going to find an answer to submit is obscure questions. And that is the case with Maya if you were really any super complex program, in order to go to the next level, you can't just ask Google or any search engine. You're not going to find the answers to these specific kind of niche questions that are the Camera sequencer. Like, I can almost guarantee you if you went and Googled, He won't find that what we did just then. The only way you find this by asking an expert and if you can't ask an expert like myself, what do you do? You have to try. Try, try and it's difficult. Do you see how long that took us? It was a pain in the butt, but we figured it out because we didn't give up. Keep in mind, the lesson is not giving up, not how to work minus Camera sequencer, but not giving up as a far more important, valuable lesson for you to learn as a student. Okay, enough about that in the next one, I think we need to create fire. I'll see you then. 108. Adding Flames to Kirby: Okay, let's have some more fun. I know we need to go back and do fundamentals and basic animation, but I don't want to do that. Let's go to effects again. And before we do anything, we need to save a new version file. Save Scene As I'm going to call mine Kirby fire. Because we may break things. We're going to go open up a Pandora's box. So hit Save bone. Okay. So up here, fluids, we can actually use fluids to create things like fire, believe it or not. Let's go ahead and grab an example, good example, fluid. Now, I haven't shown you this, this content browser because students get lost in here. And I go and do all kinds of crazy things and sometimes it doesn't make sense, doesn't work for him. Fun. Here it is. Go for it. So I'll go down the fire here. And I'm going to select this turbulent flame. I'm going to double-click it and it's going to add it into my scene down here. Okay, It's also going to add this torus if I just press play right now. Let's make sure we're once again on perspective because we may be moving things around. So let's be careful with that. But flames probably somewhere in there. And we can't even see it right now. Okay, so what do we need to do? Let's go ahead and move these two where we're actually going to start on, fire up in the air, somewhere way over here. So I'm gonna grab both of these and I'm going to move him up in the air after frame them. There we go. It looks like Kirby is riding around in a tube. Super cool. And up here you can kinda see some particles happening, right? That's our flame. We're going to make a couple changes. I'm going to get rid of this nerves tours. But first what I'm going to do is select this kind of shell here, this turbulent flame. And I'm going to select hold down control and select Kirby. I'm going to go up to fluids, add edit contents and emit from object. So now they should emit from Kirby and I should be able to delete this torus here. Okay? We should still have stuff. It's probably not going to show up right now though, because we need to actually change the start time to incur these in here. So let's go to this turbulent flame here. And if we scroll down, there's something called dynamic simulation. I'm going to go ahead and change that startTime to 770, like that. And hopefully now we will get particles coming out of them. So these particles only come out when they're in this bounding box. And that's why we didn't see any before. So now we've got this cool flame thing going on. And Herbie, let's hit Render and see what that looks like. Okay, cool. Kirby is like engulfed in flames. Looks cool, but I want to see more of kirby space. So I'm going to go down here. Tons of settings you could mess with. And I encourage you take time, mess with them, kind of learn how some of this work. It's extremely complex. Building one of these from scratch is an exercise in patients because it takes like 30 minutes to set up a cool simulation. That's why I almost always will start with one that's already created and then tweak it to modify to my needs. Okay, so if I'm going to scroll all the way down here, I'm going to take this transparency up just a little bit on shading, something like that. We'll go ahead and re-render that. K much better I can see is glowing eyes. I may even take mine a little further. I'll hit that button again. Okay. Something like that. It's going to work for me now. Feel free to mess around with all of these settings, change things, see what happens. There's a lot of settings in here you can mess with for sure. So I'm going to leave them here for now. And I encourage you mess around, see what else you can figure out. Okay, One last thing I'm gonna do while I'm in here is I'm going to animate this bounding box, this emitter to follow Kirby for awhile. So making sure again that I'm in Panels perspective because I don't want to accidentally move the camera around. Weird, I'm going to animate this. So I'm going to channel box so I can see my keyframes happen. I'll go ahead and shift W to set keyframes on Translate and then ask curving moves. I'm just gonna kinda follow him with this. And since Kirby takes off at a certain speed, I will probably go back and forth and just set key frames in between. Could see right here that kind of moves faster than him. So that's why we have auto keyframe and we just go back and forth to see kind of where we're at. And again, it doesn't have to be perfect. Just keep the bounding box around Kirby. And the simulation will happen. Scared to go back and forth and makes her that the bounding box is always on Kirby. Looks like we're pretty good up to that point. Up here. We'll just continue this process. I don't know if I want to have flames all the way through the attack or not. But it's just kind of a cool effect. And I can obviously turn them off or animate them dying or whatever I want. Just really quickly. Keyframe animation, nothing special here. Just keeping Kirby and the bounding box together. And about there is where we hit anyways. So that'll be cool. All right, so now we have 3D flames using a fluid CIM or a curvy. It's pretty cool stuff. Again, feel free to change settings, take renders, and make it your own. And obviously have fun in the Content Browser. And another way to get to the content browser is Windows, general editors. Content browser. Lots of cool stuff in here, tune shaders. You can even grab models. These are just going to be cards though, their source images, but you can also find meshes. So you might find this fun. I always have students find T-Rex and the shark and have fun with them. And why don't I show you guys this before? Because every time I show my students this, they just get lost. They don't actually build anything. They, they grab stuff that's already there. And this is a human tendency. We like to do things that are quick and easy instead of working hard and learning the fundamentals. So literally my students will waste hours in here grabbing assets and modifying them instead of learning how to build things from scratch. Now once you learn how to build things from scratch, you can take these assets in to your scene and modify and very quickly and easily. But like I said, the tendency is once you show students this, they don't leave this. They just want easy, they don't want hard. You guys are learning the hard way and the hardware is the good way. Trust me on that. I'll see you in the next one. 109. Final Animation Tweaks: Okay, I'm gonna go back to my modeling tool kit, and I'm going to go back to Windows, animation Editors, Camera sequencer. On zoom out a little bit here we are almost, there were probably about 90 percent done with this entire animation. What remains is to fix a bunch of little things that end. I think what you're probably seeing now is that with animations and 3D, you can pretty much keep going. I could add so much more things to make it more realistic, better, I could tweak the fire effect. I could add more textures to a space, more expressions. I can even do more complex things with modelling, lots to do, lots to figure out. At some point you have to decide when it's time to quit or when it's time to move on because you literally could spend all of your time on this end. If I was trying to get into an animation school or something with this, I really would spend a lot more time on it. But I'm not I'm trying to teach you guys the basics. And so I'm not too worried about going crazy and fixing every little detail. Now, this is a pretty decent animation. There are some things that can make it better, that would be easy. For instance, little things like when he ascends here, he doesn't really need to be moving his arms at all. But maybe here he starts moving a little bit because we've got this just boring shot zooming in on him. Right here. He could be moving his legs around a little bit. And right here he could be waving his arms crazily as he's on fire and flies. Will. Those kind of things are just going to add a little bit of detail. Him popping here. Not too bad there. I probably would want him to consume us right into the camera. And I might even do that and post. And then of course we can add effects to have them explode or air. So there's literally a million things we could do. We kinda have to decide what's going to be most important. He looks good here, has got some life. I'm going to say let's add a little bit more life, not here because he's knocked out, but perhaps right about here in our animation. So let's get started doing that and be thinking yourself, what decisions do you want to make to perfect your animation? How much time are you going to spend before you do your final render now it will still have to do some lighting and rendering fixes. I guarantee it. And we'll have to do some tricks to export this a final render because we have so many different cameras, so we'll be getting a little bit intense there, but let's fix some final things. Anything that's bothering you about your animation. Now's the time when you go ahead and tweak those things. So with Kirby selected and more importantly, his bone structure right here, I'll add some extra animation in here. So let's go ahead and make sure we don't animate this camera by moving our view port around. This is going to be extremely frustrating. If you guys have not been going over to your perspective camera, you're going to be driving yourself crazy. I can almost guarantee it. Now I can just hit frame and come back to Kirby here and know that write about here's what I need to start animating. Okay? So nothing changes there except for the camera. We want to see some actual things happen. So right about here when he wakes up, I'll start animating his arms. So let's go ahead and select the arms here. And it'll auto key-frame them. So I could just actually hit a key on everything again, on the arm here, on that arm, the legs, that leg, that way I can start rotating them from this point on. So I'll just go forward in time a little bit. I'll start moving these around. Maybe that one goes up. Maybe this one goes like that. So little bit of life. It's gonna go a long way. And we want to do that whole scale thing that we were doing before that kinda given like a look of having breath on him. So we'll go back to the beginning here. He can start scaling up. We'll hit R to do that. And we'll just make sure we have a keyframe right here. So I'll hit S, go forward in time a little bit. Kind of have them breathe in, breathe out. And I'm not going to worry too much about timing because we'll go into the graph editor and really tweak that. But it does make him look like he's breathing and alive. Otherwise, it's just kind of boring really. And we want to get rid of boring. So that's more than enough. Animation, Windows, animation Editors, Graph Editor. Let's go ahead and take a look at these scale keyframes here. I'll hit, grab them right here and hit F on the keyboard to scale them or select them. Okay, they look good. And to really zoom in. And we see we start this big long scale thing here, instead of continually scaling up and over. So I wanna do is copy these keyframes. Control C, go over here, control V. And we'll just keep that going, V, V. And we'll get some leaf-like motion in here. Then we'll continue even as he rises up into the sky. Even though you won't really be able to see it at a distance, it's still add a little bit of realism. And then at some point we'll want to just kind of, that's where he scales up into infinity. So we'll take this last key frame right here. Well, go ahead and delete that one. Take this one back up, something like that. Let's actually just go ahead and watch what we've got from this perspective. Okay, so he's breathing fast, He's scared. His breathing should actually slow down right here, I think right when his eyes close, this is where he's going into a meditative stance. So he's got the fast breathing. And then right here, I'd like to slow these down. So I'll take all of these right here once he starts. And I will use this tool here. And we'll just really slow this down quite a bit. And that might not even be enough. Let's take a watch now on that. Fast breathing, fast breathing. Still way too fast, isn't it? So maybe we'll go ahead and delete all these keyframes, right? Wary as eyes close and start over again. Because we've got way too much. So again, I'll take all these keyframes, I'll delete them. And then we'll come down here and really slow it down quite a bit. So I'll go much further. And we'll just really scale this slowly. So our scale on up, slightly forward in time, quite a bit, scale and down slightly. We're going to really slow this process down. So it's pretty evident what we've done. And we could just look here. This is kinda what we're trying to get to use the Q on my keyboard so I can take these, but I wanna do is just basically duplicate this out. Control C, Control V, you forward. Something like that. I don't need it perfect. I just needed imply that it goes from really fast to really slow. So there we go. We slowed down quite a bit. And we'll just continue this out to the end up until where he's kind of explosive. All right, cool. Let's go ahead and watch that. See what we've got on the play. Fast breathing. And it slows down. K right here. I think we probably need to work on his arms, kinda moving around. So let's go back to perspective. Perspective it frame. And let's go ahead and animate. Again with all these bones, I'm going to select hit S on all of them so that we can just start moving from here automatically. Move forward in time. He catches on fire. So this would be a good time for his legs to something. What exactly that is? I don't know. But I'd like to see some motion there. Maybe like he's getting ready to run through air because he can get some motion there. And I'd like to see them point down and pack. It doesn't really matter. What matters is just making it. So they're actually moving and doing something. So it doesn't look like he's just not doing anything at all. And as he flies, I think he needs to rotate forward a little bit. What should be the head? Let's make sure we've got a keyframe. Looks like we've got keyframes all over on the head. I'll just set S here. So right here I think he needs a slave rotate forward. Like so. That's a little bit more realistic. Okay. And I think his arms also, so he gets here. It's arms should probably pretend. There's pretenders like gravity affecting them, right? So right here we have a keyframe on them. Let's have them right here, kind of rotate down. Okay? So then you just cut that more realistic motion. Okay? And as he's flying over here, you're not going to see much. So really where you want to do this kind of extra details where he's doing something. So right here, it's not going to matter. He just flying into a guy. All right. So any explodes. Okay, so what we've done there is just a little bit of extra detail that helps with the story. And you could spend hours on this. You really could not going to. But if you really are going to try to make it as an animator, you do want to spend your hours. You want to make sure this is perfect, not a single frame off, not a single bad rendered frame. Perfect motion. And after this unit, we're going to stop with the characters for awhile and we're going to go into the actual science using the 12 principles of animation with Disney about how to make them even better. So that, you know, kind of the theory behind how to animate them right now I'm just moving, I'm just doing basic movement and it's not really following the theory of it. There's some things we're doing and it will make more sense as we go into that. But I'm going to call this animation done for now. I could spend more time tweaking it and making it ever so perfect. But this really is the tutorial. It's to help you guys get way more confident and your ability to create characters, to animate them. We've delved into dynamics and that was fun. So what we're gonna do next is we're going to do some test renders. And then we're going to export this whole thing out. It's going to be awesome. I'll see you then. 110. Lights Rendering Blur: Okay, it's time to work on lighting and rendering. So let's go ahead and take a random real quick. We get this familiar view. And let's go ahead and turn on our ray tracing again, options, render settings will turn on ray tracing and take another render. Now, this is super cool, but not quite what we're going for. Something we do have going on in our scene as we have multiple lights that we imported from a Minecraft abomination, this will over-complicate things. So let's go ahead and select them both and delete them. Now that's not going to fix this problem. Let's go over to our directional light. Let's turn off for a TRE shadows and we'll hit Render again. And that's pretty cool and awesome effect, no doubt. But I don't want this reflectivity here. So what I need to do is go back over to my Kirby, go over to his shader, Kirby one. And let's go ahead and scroll down to reflectivity. Years probably started right here. If you go down here a little bit though, you'll go to reflectivity. And what we wanna do is just click this button right here and realize that right now everything is super reflective. I'm going to take this all the way down by grabbing this, taking down to 0, and now there will be no reflectivity. Let's go ahead and take another render. Much better. So this is super cool. This is what we were going for. We've got the kind of reflective Earth which I like. We have Kirby not reflective at all now we could change that if we wanted to. But there we have it. So pretty cool stuff. And we've got this cool reflection on the ground. What we really need to do is render it all and then we'll see if there's anything we want to change, however, that can take forever. So I do suggest go into different frames, especially where you have things like the fire, for instance. Let's go ahead and go to where the fire starts. And let's hit frame on curvy. We know in here he's catching fire or about to real quick. So let's just kind of go through there. He should be on fire right here. So let's take another render. Okay. Maybe not everything I hoped and dreamed, but it works for me for right now. So I have all this going for me. What I may want to do is look at things like depth of field, blurring out the background motion blur, those kinds of settings. If I go back to my render settings here, I can take a look at all of that. So I can go to Motion Blur and turn that on. This might be too much, but I definitely want to take a look at it while I'm speeding by. So we'll go up here and will obviously change our view. Now we could use a perspective view port for this or we could go to the view that it is. So we have a lot of tabs here and it's getting very difficult to keep them all in check. So what I'll do is kinda minimize the size of some of them. And we'll get the most screen real estate that we can. We'll have our render view there, will have our settings over here for right now. And when we move this, we should get the view we want. So we know that we're going to have motion blur here, but how do we render this? What we need to do is go to Render, render and then grab the camera. So what's camera is? This will have to kind of zoom in over here. And it is profile streak. So what we'll do is go render profile streak slum right there. And then we'll get this shot and we have motion blur turned on. So it will take longer, but we'll kind of get to see that effect. And that's kinda small. It does look pretty good to me though. It's a little bit blurred, but kind of cool-looking. Now, we do have some distortion in there. So we'd have to crank things up to fix that. But I kinda like it, it's kinda cool. And I'm doing lower-quality renders so that I can get them done in a decent time. For a final production, you would want to spend all night or several days rendering. I'm not gonna do that though. So point is take different shots at different places. So one last thing I'd like to do, it would be really cool to turn on. If we go over to our cameras, it would be cool to turn on depth of field. However, we're going to have to animate quite a bit and I don't wanna do that. So what we may wanna do is just try to blur the background if we can. There are several ways we could do that. Let's go ahead and exit out of this. I'll leave this render tab open. Right now, we have our environment right here, and we have an image attached to it. We click on our environment. We have this color here. We have this image. So we have this pre filter here, and then we have the filter. Let's go ahead and pre filter there. And we can change the radius. Let's go ahead and take a render. Notice it's a little bit more blurry. Let's crank this up. Hit render, much more blurred. So what we can do is use that to kind of blur background image and make it look like it's further off in the distance. Just a little quick effect there that will help us out. And I think that's about it for this, things are looking pretty cool. Now, when we do our final render, it might not come out exactly what house we want, but that's okay. We're getting there, we're getting a lot better at Maya. The whole point is to learn Maya. And this is only the fourth unit that we've done. So we've got units plus the extras like the 12 principles of animation coming up. So congratulate yourself on getting this far. You're creating some pretty awesome stuff. You're messing with dynamics, you're learning more about rendering. You're really getting a grasp of how big my eyes, how powerful it is. And you're learning your way to move around as quickly as we continue, things will get better and better, more and more realistic, both with animation and with effects and with rendering. So congratulate yourself, you've done a great job up to this point. In the next one, we're gonna do our render and we're going to render out all our cameras. It's going to be amazing. I'll see you then. 111. Batch Rendering: Okay, We need to render out this entire sequence. Now, we can use a play blast with a Camera sequencer and we could render out something that'd be great for checking timing and an animation and stuff, but I won't look at it. It's not a final render. In fact, they don't have a way to do it. So we're going to have to use a batch script. Now, it can be scary, it can be intimidating. Slow the video down. I'll try to go slowly and explain everything as clearly as possible. And keep in mind if it doesn't work for you for whatever reason it breaks, don't give up. You can always render out each individual camera and then put them all together. So it's not the end of the world at something breaks in what we're about to do. You could also make every camera renderable if I select a camera. So if we just select Output Settings here, we can hit renderable. And we can do that on all these cameras. And we'd probably want to. But obviously that takes more time. Options, render settings will have all these renderable cameras in here. But the problem with this is that we'll render everything, every frame for every camera. That's bad. We don't necessarily want that because that will take forever. That's why we have this batch script. Now. It's a lot more easy if they didn't just set it up so you can hit render on the Camera sequencer. I don't know why they haven't. Very frustrating. A lot of times, the more complex the piece of software is, the more you're able to write your own custom things with scripting. And so someone did that. They wrote a script that would take the Camera sequencer for us and do everything. However, it's a little bit difficult to use. It's not user-friendly at all, so I will slow this down. We'll work on it. One thing to keep in mind is whatever your settings here are for like size, that's going to be your final settings. So I'm going to change mine higher. I'm going to go up too. Hd 1080. Now that will take a long time to render. But I want to make sure that if I'm going to spend this much time, I get a good solid render out of it. Okay, we shouldn't have to change any of the other settings here. These scripts should handle that for us. But I would always just recommend changing this to name dot extension just because it makes sure your settings are all good in here, whatever ray tracing quality you want, all that good stuff. Now, let's just slow this down. We're going to download a script. I'll provide a link and I'll provide the actual file for the script. We're going to install it by simply putting it in a folder on our system. So let me go ahead and pull that up. If we just go into documents here and into Maya, we have the scripts folder. And in here I've got this something called batch sequence again, and this will be under Resources. So you put it in here and then it installs. However, if my Zopa and you won't see it yet, and real quick scripts right here will be any installation of Maya you have, however, you could also put the script, for instance, in the scripts folder under 2022, and it would only work in Maya 2022 version. However, I recommend you just put it right here under scripts. Okay, so just copy this file in there. It's all you've gotta do. Now for Maya to see that file, you're going to have to go into the script editor. We haven't even explored this action of Maya. It's very powerful. You can do anything you want, you can customize it. Anyway. You want, all you have to do is type in rehash here. And then you can hit Enter to run it. But if you hit this little Play button here, it will run that. And then will recheck and find any of the scripts for you. Now all you have to do is type in batch sequence. So if you type in batch and then capitalize sequence like that. And notice it's a recognizable command. If we hit Play there, it's going to create it and it'll tell us where it put it. So it's called a multi shot render dot bat. That file is something that Windows uses. It's like a script for Windows. And so if we run this, it will work. But let's go look at this file real quick. Here we have our project folder and it's created this multi shot render dot, dot file. Now if I double-click it now nothing will happen because I haven't set up Maya as an environment variable, which means Windows doesn't know any of the Maya commands. We have to make that accessible to Windows. Now, I get that sound like gobbledygook. It sounds complicated. So we'll just continue slowing down this process. What we've done thus far is we installed a script in Maya under our documents. Maya scripts. Then we typed in rehash in this script editor. This is how you get to the script editor right here. We typed in rehash, rehash. And then we typed in batch sequence with a capital S like that. That created a file for us called multi shot batch render dot bat. Let's look at that file and see what it is. I'm not going to run it. I'm going to open it with something called brackets or you could use Word or any kind of script editor you want. Here it is, it's just words. Go ahead and zoom out a little bit. But you can see here is it's going to render each and every camera I put in. So it's going to render out the intro cam with an intro ID1. That's how I'm going to know which frames come first, because the next one will be my OTS abomination reveal id2. And that's how we'll know what frames we are. We could make it easier on ourselves by renaming these cameras. However, Maya won't let us rename a camera with numbers, but we could do it in our Camera sequencer and it will let us. So if we went back to our scene here, we could go through and we could name everything individually. If I zoom out here. Camera sequencer, well, let us rename stuff. So I could go in here, double-click and rename it a one dot intro. And that might save me some heartache. So I would recommend going out and doing that. Now, let's talk about how to get Windows to actually see what this is, this file we've created. So if I double-click this and nothing will happen, what I need to do is tell Windows how to access My as commands. And that's done with something called an environment variable. Now, get ready to slow things down by simply go down to my Windows hotkey. I can type in control for Control Panel. And it will pop up my control panel. If I go into systems insecurity, I can get to system here. And it will pop up this window. What I wanna do is go to advanced system settings. I don't typically show students how to do this except for the networking Pathway students, because it's easy to make mistakes and to short things. But don't worry, you're going to be fine. We're going to look for under system variables this path. Notice there's a bunch of paths in here. Let's hit Edit. And I use Java, East Java for coding android games for instance, and a lot of other things. So we need to tell windows how to access Maya, just like we've told Windows and how to access Java. So how did we do that? Well, we can add a new one by hitting New. It will add one to the bottom. And how do we know what path to give it? Well, we need to navigate to our installation right here. I have it on local disk Program Files, Autodesk Maya 2020 to bin. This might be different for you if you have a different installation of Maya or if you're on a different operating system than Windows, you may have to Google things. It might not be quite as easy as what I'm doing here. Hopefully if you're on a Windows system, everything works perfectly for you. If it doesn't, don't panic, try googling it. If you still can't figure it out, just render them out individually and stitch them together. Okay, let's try this. I'll go ahead and click right here and I get this so I can copy it. Control C, go back over to my path. Somewhere in here. Got a lot of tabs open. Need this one right here, okay. And I'll go ahead and Control V. Hit enter. Now my command should work, so I'll hit Okay. Okay. And hopefully what will have when we go back to our batch render here, this should work. Let's double-click it and see what happens. Okay, it seems to be working. Again. Make sure that you've saved my file. Because if you didn't save, this won't work. Okay, I wasted a long time rendering and I had some problems. So I'm going to try to fix those Fourier and get these back into the video. First things first, we need to make sure all of these are renderable. I had some cameras that weren't actually renderable that cause a lot of problems. So let's just go through all of our cameras here. Select them, go to Output Settings and make sure to click renderable and be very important. Otherwise they won't even be renderable. Why is this the case? I don't know. But luckily, I've gone through this painful process. Hopefully, before you guys push the button and walked away. We'll see if you really watch to the end of the tutorials now. Okay, now all my cameras or renderable, that's good. Make sure to save. I didn't even save settings, so a bunch of my settings were gone. Another thing that is going to be very important, it renders them out of order. It seems to anyway. So I had all these files all over the place and I had told you it was important, but I'm gonna go ahead and do it for myself. Now, Windows animation Editors Camera sequencer, we really are going to rename all of these, starting with 01. So I'll zoom out here. Let's just go ahead and rename all these. So we'll go one underscore. And then over here, O2 underscore, and on down the line. And 14 That's going to save me a lot of time. I'm going to hit Save, making sure that's all good. Again, they'll throw all your options and make sure everything set up correctly and it all works. I'll probably have to rerecord it. And I'm going to keep it at a low quality here because it takes so long to render. And I ran into those problems just in case I run into any other problems, I'll let you guys know and re-added into the video. So okay, so I had some problems there. And as any good teacher, I see this as a great opportunity for teaching. So what happened was, is the script I was using, The Batch Render Script was actually creating instead of a file name extension like JPEG or PNG, no matter what I did, It was creating a number and that was causing me huge problems. So I'm re-rendering right now. That's why these files are constantly changing. I'm almost done. But I had to go in and modify the script itself in order to fix this problem. Now, it sounds really easy. In fact, it was extremely easy. I needed to change exactly one character on the entire script. However, I did not know which character, I did not know what to do. And I had the experiment around a lot. Now there's a lesson in here for all of us. It's don't give up. I know I say that a lot, but it took me over two hours to solve this problem. Let me walk you through the process. So I'm going to go ahead and open up that script file I used. Gone ahead and change some things and let you guys know what I did because I can't tell you when exactly this change needed to happen. The person who originally wrote the script did a very good job documenting it. And they put version numbers here. And they probably ended in 2015 version of Maya. I'm not really sure. But whatever version I'm using, version 2022, which you may or may not be using dependent on when you're watching this tutorial, it could change. And so scripts do change based on versions. So we are using a different version of Maya than he was using. So what I had to do was go in and make changes to this file, save it, go back into Maya, run it, and then see if it changed my file extension. Now why is file extension important? When looking at these files? I was given not JPEG, but a number. Now here's the real problem with that. I could have easily gone through and rename them all with a batch script. In fact, I tried that several times. And what will happen is it renamed one and stop because they all have the same name. And so it's very difficult to get the changes made and it should have just worked anyway. So after spending about an hour trying my best with my knowledge of the command prompt, I gave up on trying to rename them. It just wasn't going to work. I had to go back and change the script so that we could actually get JPG, because otherwise you wouldn't be, wouldn't even open, right? The software wouldn't even open it. So I couldn't do anything with the files except for manually renamed thousand files, you know, long that would take it would take hours. So I had to go back and fix it. So I went back to the script and I had kept making changes and nothing happened. And it's because if you remember right, here's where I put this script. But mile checked in both places. So it's checked in this scripts folder and found one and use that one instead. So once I figured that out, then I figured out that no matter what I did in Maya, even if I typed in rehash, it would not reload the script. I literally had to close my every time I made a change to this script and then try it again. So yeah, it took awhile, but I figured it out. And I used the Google Internet, which wasn't very helpful at all. No one really had an answer to this. But something told me that I should change this because I tried changing it to 0. And it broke the code. And then I went back into Maya. And I looked through my render. I went to the options render settings. And the author of the code had mentioned that this needed to be changed to name, number dot extension, and I did that, but it didn't matter. This right here is where the five come from. 12345 is named outnumber. So we were running into this. It, the code kept giving us numbers instead of extension. So this was the bug right here. Somewhere during development they added an extra option here. Option number 6 was what I needed. And so whether or not you understood what I just said, basically, it was a long process and you're not going to learn anything about that process because the process for your next problem will be completely and entirely different. It won't be Googleable. And I might not even know the answer to that might be unique to you. The moral here. The moral of this entire long drawn out thing is that in order to solve these problems, sometimes you have to try, try, try. And you have to be like Thomas, the Train, never give up, never surrender away. That's not Thomas the Train is it? Galaxy Quest, great movie. Okay, So I just want you to be aware that even I don't know all the answers and I have to experiment and try to. And what makes me more knowledgeable than you is, is yes, my experience, but also my unwillingness to give up when I find a problem. Like literally two hours spent just to add this one piece of code in here. Silly, right? However, now hopefully that will serve you guys better and hopefully you'll learn the lesson of not giving up. And that will help you push forward in your career in Maya. Okay, I've spoken way too much about this. I'll see you in the next one where we bring all these images together and we watch our final moving. It's going to be awesome. I'll see you then. And it looks like it's doing things. That's a good sign. Of course, we won't know for sure until it's all done rendering. And that can take a long time. See we're rendering with the threads. Not the fastest computer in the world, but it'll get things done. Now would be a great time to go grab a cup of coffee and walkaway. This will take hours. Hopefully this worked for you. If not, I don't want you to panic. I have watched thousands of hours of tutorials in my lifetime and many times the end and a dead end. But you are the variable that won't end in a dead end if you don't give up. And I'll say that over and over again throughout all my tutorial series, don't give up. Even if things seem complicated, slow it down, rewind. It's not about getting something done fast, especially with art. Those of you who are interested in a career in digital design, you really wanted to take time to do things right? And realize that it's a process that takes time being fast as an unimportant. I don't give I don't give a crap. How fast your Maya I give a crap about you not giving up and you trying and you're working and learning because the longer you spend in it, the better you'll get, the faster you'll get. You're not fast right away. Fast is not important. Commitment is important. Not giving up is important. So I've preached to you enough about not giving up and I'll continue to do so because it's how you become successful. So I'm going to pause this video and when we come back, hopefully this will all have rendered out correctly and it will be worth the time spent. Alright, good luck on your render. I'll see you in the next one. 112. Appending Image Sequences in Avidmux: Okay, After all that hard work, it's time to see what our render looks like. Let's go ahead and open up avid mix. And let's go ahead and open up our image sequences. Now, probably defaulted to putting your images in here. I went ahead and moved them all into something called final renders. And here we have them all. Now they didn't all come out as good as I wanted and I'll show you that in a second. But let's just open up this first one here. And because of this naming convention, it's only going to open up this first shot because we named them by shot. So there's no way around that must be mastering name them. So I'll just go and hit Open and you'll notice that it's just the first shot. So what I'll need to do is append. So I can go File append and then I can open up the next shot. Like so. And right here on the next shot, automatically, I'm not seeing the render I wanted, but I'm not necessarily disappointed either. It's kind of dark in for boating, so maybe I will go with this. I'm not sure yet, but it wasn't what I wanted. So I may do a re-render. What's nice about this, and it may drive you crazy, is I can render out certain shots now and just replace the ones I want. Because of this system. Now it's annoying because I can't just open it all up as one movie. But you have to understand with 3D animation, it was so slow when they first created it that it was ridiculous to think about rendering and entire movie out. They were lucky to render one frame and night. And so all of these very powerful systems are built on that same principle of an image can take a long time to render. So let's render one at a time. That way if anything goes wrong, you only have to replace that one image. Okay. It's kind of a pain in the butt, but it does work for us because right away I may want to re-render this section because it's not what I wanted. I may keep it, just kinda depends. So let's go through this process real quick. I'll speed up the video. I'm just going to append all of them and then we'll play it back and then decide if we're going to re-render or what we're gonna do from here. Okay, Let's go. What I can do here to speed things up is go and view by details. And then I can just look at the name. And that way I will just grab the new name. So I'll grab three at this point. So I can just go up to four and start or four starts that okay. For continue that process. Go to five. Okay. That pretty much took forever and some disappointments in there. One, it's a lot darker than I thought originally, especially the shots of the monster. However, it doesn't ruin it for me because he's a monster and it's kind of even scarier this way. And then we have this shot where you're supposed to collide through this. Nothing happens that didn't work. I'm going to re-render those terrible. And then this of course bad. And then this is bad, all of them because the dynamics did not work for me for whatever reason off to figure that one out, everything looks kinda cool here. Again, four shots room because the dynamics didn't work. The flaming curvy is awesome. And all this looks pretty good, not perfect. And this shot at the end, I don't necessarily even need, I'd probably edit it out. Now. You can get mad and you can freak out and think, why on earth didn't it work? Or you can think, thank goodness, I separated them into separate shots. This is a perfect example of why they used to only render out one image at a time. Because this kind of thing would happen and they'd have to go and rendering again all night. Now this didn't take all night. These are low quality and I have a fairly fast computer, but this is something we'll have to solve and hopefully it wasn't a problem for you. I'll have to go back and look into it. But this is just part of the process of 3D animation. It can be disappointing at times. Looks like it's, it is what it is. That's why on a final render, I will always crank settings down at first so that I can make sure and get it perfect before I do that long, slow, high-quality render. But these are the pains and the beauty and joy. A 3D animation, if you don't like it, That's too bad. That's how it is. So I'm going to go back and find out why this didn't work right, and re-render it and bring it back in. And then hopefully I'll have a final that I'm somewhat proud of and hopefully it worked for you. If not, you can follow along in the next one. I'll see you then. 113. Manually rendering sections: Okay, What I'm gonna do is manually render out the ones that I need and see if I can't solve the problem of the dynamics. So I'm gonna come over here. He gets hit. I don't need to render out any of these frames here, but right about there is where I'm going to start. And you can see I'm on frame 277, so remember that number and then I'll end up 360. So from 277 to 360, I'm going to re-render out manually. So let's go over to our render view here. Let's go to options, render settings. And on our start frame, we're going to go to 77 and Rodrigo 360. All other settings should remain the same. So I'll hit Enter and close out of here. Now we'll go Render, Render Sequence. Hit this button here, and I'll select the right camera. So I'm looking for spin around. Now I memorize the name, but I grabbed it from the camera we were on. And I'm going to put an alternate output file location on here. So on final renders, I'll go ahead and right-click and create a new folder. I'm going to call this spin around CAMH dynamics fix. You know, it's a long detailed name, but hopefully remember what I did there. Double-click there, and I'm going to select that directory. So what I should be able to do is just hit Render Sequence here. So I'll go ahead and pause the video as I do that and hopefully it renders out our dynamics. K, I'm finished with that render. We could open them up an avid MCS. The problem we're gonna have with avid max is it's not going to let us splice things in like a normal editor. Again, avid mux is just a free solution. And I really liked to support free solutions. I even had a student asked me about one of my other courses in Maya. They didn't have a student ID. They weren't in college or high school, so they were kind of left out. And I feel like that's really unfair. I think Maya is so hard to learn and take so many years to master that. It's kind of like everybody who approaches it is a student. It takes months to learn and years to master. So I may be teaching blender at some point, but I will sometimes show you tools that aren't free or tools that I use that maybe you can think about learning or maybe you'll have access to them. So I've opened up everything in Premiere. Premiere as a more professional editing program. It's an Adobe product. Let's hop over there real quick. I have the sequence built out here in Premier. And I can, I can change this to frames. Typically, this will be listed as just time, which is not very helpful because we rendered out everything in frames. So I just go to frames. I know that I've started rendering it 276 right here. Or even easier than that, I can just bring in a new sequence that I rendered out. So right here's the new one. Okay, a real quick note. I had to rerender because it could not find any of these files in a folder I was looking for. Here's just a hint while you're rendering this sequence out using this manual method, if you look down here, it will give you the exact location. Notice that for me it put images, temp and then this folder, and then Taylor 324. So it's kinda mess some things up. That's okay. So I'll continue pausing this video and we'll get back to it again as I was saying, it put it here under tmp and this one right here spin around. So I'm gonna grab all these and take them, copy them, Control C, go back over to Images final renders, and then this fix right here, control V. Now I'll go back into Premiere. I'm onto frame 275. Actually want to go to frame 2, 76, where I start this, I'll double-click here and bring in that sequence open. And then I'll be able to place that right above and just get it right to where I need it to be. Using my nonlinear editor here, it looks like we go back to there. And now I've got my new sequence and it's working. So yes, that will go up to go back and re-render all the rest of them. But now I have a way to get the rest of it done. So I'm going to have to do that now. I'm going to go back to that same exact process, re-render out those frames, bring him in here. And why am I showing you all this? Especially since you don't even have this piece of software necessarily. It's because so many times when I'm doing tutorials, I'll watch it and they'll record it up to a point where they're in the software and then they just leave it. They won't do anything outside of the software with it. And I think that's kinda of a I think that's kind of lame because once you do all this hard work in Maya, then what do you do with it? You want to export it to YouTube, you want to export it to a game engine. You want to do something with it other than just open Maya and do your cool files, right? I'm trying to introduce a little more of the real-world workflow where 3D ends and then the post-production begins. And you take those frames and you make image sequences out of them. You make videos, you add audio, you export to YouTube. All that fun stuff. So that's what we're gonna do. In the next one. I'll have all that done. And I'll talk about maybe adding some more lights to finish up our render because I'd have to re-render the whole thing again if I do that. But these, this is the process for 3D. It's long and difficult and technical. I probably won't add new lights for right now. I'm probably gonna leave it as is, because it has its own interesting value. So I'm going to real quick go ahead and render all the rest of those out with the Dynamics working. So I'll see you in the next one. 114. Revewing our Animation and Render: Okay. I've got my stuff manually or under doubt. And as we watch it here, you're gonna see a lot of things that don't really make sense and aren't really that good. So I'll just kinda highlight a few of them that I see. And there's probably even more than I'm just picking up real quickly. Keep in mind that it takes a very critical eye to see problems, especially in your own work. Sometimes it's better to have someone else look at it. But let's just go through this real quick. Now that this looks too bad right here, we do have this glitch out right here. We could go and fix that. And that has more to do with skinning and getting something imperfect there. Other things. We don't have a light on our monster here, but I like it and I'm probably going to leave it because it's kind of scary or that I can't see who or what this is. It's kind of like what is that creature? And we go towards it. All looks good. We have rendering artifacts here. This would just be a more high-quality render. It's not going to detract overall from it though. It's like grain in an old movie, it's not really that bad. We got swat it away. We balance, we've role, we've got our Dynamics now working on a cubes that all looks good. We've got more wrinkling here and the face that's gone on. And maybe it just looks like he got beat up again. I'm not too worried about that wrinkling. It's maybe not exactly what I wanted or what I'd go for, but I'm not disturbed by it too much. Okay. Just looks like he's jealous face pummeled in, rises up and it catches on fire. This looks good to me, it looks decent anyway. Then when I really start to notice problems is as he speeds along here, the fire goes straight up. Well, we know from physics that when would be blowing this direction and the fire would be headed out that way. So that's something I'm actually kind of concerned about. It doesn't have quite the same physical speed effect. This going straight out makes it look like he's not flying fast. And what we want is for this took like slow-mo speed, can't get that allowed. The fire headed out that other direction. So we could probably fix that. And I think we probably should because it really pulls away from the power of the story. Next thing I notice here is he's full of light, but it should be illuminating the face as we get closer. So we could attach a light to Kirby that would eliminate the face of this monster. I think that would be a good idea as well. Next thing is right here, the fire turns off. Why? Because we stopped animating the bounding box, the emitter box around Kirby, all we'd have to do is keep that animated and he would stay on fire. But he also just killed his enemies. So is it really necessary? I don't know. I think he should at least Dan fire till here and illuminate. And then one other thing I'd like to add is, you know, we have this last shot, we could even just take it out. Now titles would be cool if he just exploded, but it's not super important because we have the sound effect of them exploding. And right here what I could do is just zoom in on his face and post-production or we could animate him all the way into the camera is an easy way to fix it. So a lot of things you could fix to make this perfect. And how much time will that take? Well, the more things you fix, the more time, the more re-renders. And that's a decision you really need to make. Again, I can't stress this enough if you're doing this to get into college. If you're doing this for your demo reel, then you really can't spend enough time on it. You need it to be so perfect that there's not a single glitch. And maybe I'm overemphasizing myself. Their story is more important than technical detail or attention to detail. And story is definitely gonna win every time. But if you're going to, you're going to try to do something with this other than like teach a course like what I'm doing here, then you really need to make it perfect. So I'm gonna go in and take a look at the things that I think detract from the story. And that would be this right here, we catch on fire and then he's just going slow on fire. That's not very powerful. Definitely detract from the story. Right here. I think he should eliminate his enemy with fire. So just again show the light is coming. And when I say the light is coming, I mean a reckoning is coming to your face and not having that effect detract from the story. Notice I keep saying things that detract from the story. Story is the most important thing. And so for me, and I can't tell you exactly how to do your, I can't tell you exactly what to do for your animations. You do what you want. You own that. But from my perspective, how I know how much time I should spend on something is if the story gets taken away from, I don't know if that really makes sense to you, but I'll continue to highlight that story is key. And so everything must pay homage to the story. All right, hopefully that will start to make sense. And then it would be great to have them blow up. But again, that's going to create another dynamics situation and solve. And there's a lot of other things we could add to make this even more interesting. We could add a jiggled transformer to our character to make them look more like he's made on a cello. And I might try that, but it's more of a gimmick. I would have to re-render a lot of sections for that. So maybe that would be like a second part or an abomination. Anyway. Those are the things I think about when I go back and review my footage and decide what I'm going to fix. One I'm not going to fix. And what's a happy accident? What's a good mistake? Really take the time to examine it. Asked some friends, awesome colleagues, ask some other people in your life what they liked and what they didn't like about the animation that don't be afraid to. They'll tell you when it sucks and you need to be like, cool, I'm going to fix that or you don't know what you're talking about. All right. I'll see you in the next one. I'll fix a couple of things and then we'll wrap this unit up. See you then. 115. Adding Light to Illuminate Bad Guy: Okay, so we're not going to spend a ton of time, but we are going to fix some issues that we saw when we were reviewing our footage. We're not going to spend a ton of time. So we're going to try to focus on the things that the littlest amount of time will create, the greatest amount of benefit and quality improvement. So let's go ahead and get started. First thing I'm gonna do is I'm going to add a light to the scene. So I'll go create lights. I'm going to use a spotlight. And I'll hit F to frame in. Again, make sure you're on panels perspective, perspective. Otherwise you may end up reintegrating cameras. Okay, so I've got my spotlight here. I want it to face this direction. And I want to move it in place. So it's right where he's at now, whereas Kirby, he looks like he's right above me. Depends on which frame I'm on. Go ahead and hit F to frame it in. I'm going to basically attach it to the front of kirby here. And I'm going to parent it to Kirby. And what I'm gonna do is in the attribute editor, I'm going to leave most of this here. I am going to turn on decay because I don't want it to be super bright and far away. So I'll just leave it on linear. And I do want to drop off right now this is my light shape. So it will just be kind of a straight light. I want it to have kind of a smooth fall off there. Some of the tick, the drop-off down a little bit like that. We'll see exactly what it looks like when we take a couple of test renders now, it's parented to him. And I don't necessarily want the sun all the time because it will illuminate other things. So right about here, probably on this frame as he's approaching on his final approach. I'll turn it on. So let's go to the channel box editor right here on Frame AT with visibility on I'll right-click and key selected. And then we'll go back a frame. Sure. 879. I'll turn that off. Notice it won't let me change this because I'm parented. I'm gonna go ahead and unpaired that real quick. And then hopefully it will let me turn that visibility off. And now we should have that visibility turning off and on as we change the time here. So now it's on, now it's off because it was parented to this wouldn't let me so I'll go ahead and repair at that. And what we still should have is off, then it turns on, and then we have that spotlight. Now let's take some test renders just to see what we're kinda looking at here. I'll zoom in here and hit test runner. Okay, we're not seeing much of anything with this render. Let's go ahead and crank our intensity up and see what we can see. It'll hit Render there. You can see we definitely brighten up quite a bit there. So you might have to play with the settings. One thing though, is we probably should change the color of the light to match the color of the fire so that you can tell the fires what's illuminating the bad guy's face here. So let's go over here to color real quick. And let's pick something a little more along the lines of fire. Something orangeish, reddish like that or one could go yellow, but something like this should work just fine. I'll hit Done. We'll do one more test render here. Okay, arguably, it's a lot lighter, but we still get that kind of color. So you can crank up the intensity. We can go something like 15 here, and we render that one. Okay, cool. So you can play around with these settings. You could spend more time on it. I'm not going to I've got the improvement I was looking for. I'm lighting up his face with this color. In the next one, we're going to tackle the problem of the fire going straight up, even though he's going very fast. And we'll probably just add win, or we will change the direction, the particles or whatever it takes. So in the next one, I'll do that. I'll see you then. 116. Changing Fire Direction and Final Tweaks: Okay, so what we could do is go ahead and select our turbulent flame set up here. And you can go through these and just try your best to figure out what to change here. There's a lot. And it could take us a while to figure out and trial and error. And again, I'm not trying to say do things quickly. You'll probably hear contradictory things out of me, like, get it done quickly, learn hotkeys and look like you're awesome. But you'll also hear me say, spend a lot of time, make it perfect. Sometimes you need this, just do the quickest and easiest thing that will just help the problem, right? So I can look at this and go through a bunch of things and try to add gravity and try to animate particles and try to change settings. Or I can just take the solver and turn it when he starts going this way. That's what I'm gonna do. Let's try it out, see how it works. We are going to need to open up our Windows animation Editors, Graph Editor. Because we're going to have to take a look at these and make sure we don't change our actual position at any point in time. But we know he starts moving at a certain point. So let's find that point right about here. As he starts going this way, we're going to rotate. So right here, we've not set any keyframes on rotation. Just translate, again, a good reason not to. Let's go ahead and shift E and we get our rotation in here. And then as he goes forward, we're going to rotate this backwards. Now if we frame in here, you'll notice I'm offset. So that may cause us issues. It may be above him. We'll see if we have two will do what it takes to solve that problem. So as he goes that way, Let's zoom out here and movement and position. We're rotated slightly. And then we also didn't continue. And we talked about we wanted the flames to continue right on into where he hits his face. So let's continue. That. Will make sure that we move forward to there and keep that bounding box around Kirby this whole time as we did before. Just making sure I'll hit frame here that that bounding box is around kirby the whole time. Looks like Kirby disappeared in someone's head there. Whereas Kirby and all this, I'll hit Kirby frame. Looks like he is indeed inside the head. So we'll move this inside the head. And we're just trying to time it out so that the flame stay the whole time. We can move the camera around and kind of get a feel for that. Looks like we're pretty good there. And we could even go all the way if we want. We could expand this to be large. I don't think we need to though. I think we've kind of were once the bad guys dead, I think the fire can go away. I'm not happy with that. Once again, when we do a re-render will know for sure. So let's do a test render along the way here and just kinda see, in fact, we'll use this camera over here, the same camera we use on the shot. And let's just kinda do a test run and see if this looks good. Again, we can hit Escape. Make sure that we're rendering the right camera. It looks like we were and it looks like it is going that direction. So cool. That may be are solved right there. Let's just move to another frame here real quick and do another one. Okay, cool. That to me is going to be significant enough that it looks like he's moving faster. And it was super easy to solve. We did it in less than five minutes. Sometimes that's the best solution. It getting it perfect. Leave that for Hollywood studios. Unless, again, unless you're trying to impress someone. And I'm not trying to impress you guys right now. I don't think I could. I think I'm too old for that. So I am thinking about possibly having an explode into jello and how to do that. Well, I didn't have to go to the Effects panel and we'd have to use probably Bifrost or a fluid solver. Not sure if we're going to do it or not yet, but I am going to rerender the stuff I've already got. So you guys already know that process. I'll go ahead and render them and then I'll meet up with you again and we'll talk about our final animation. Isn't it done yet? Is it not? Or maybe things that you guys could try with yours to make it even better. Okay. I'll see you then. 117. Kirby Animation Final: Okay, So I had lots of problems rendering and that's typical of animation. And then snatches my like any animation software, anytime you're rendering a bunch of frames, you can have brought in. So I kind of have my final here. We're going to watch it. You'll notice some problems and I'll show you how having a nonlinear editor, and we'll explore maybe some other ways to do it besides premier like well, he's aftereffects onetime or whatever. We'll try some different options so you can see what else is out there to kind of fix your animation without having to go all the way back into Maya, fix it, re-render it, and some things we won't fix. And I'll explain why after we watched this. Greetings to you. Okay. If you were watching and slightly closely there, you saw a bunch of problems and we'll go through them real quick. I'll show you which ones we could fix very quickly here with our MLE and which ones we'd have to go back and re-render with Maya. Okay, So right away we have errors right here with a face distorts and we've got this IPO come through. We'd have to go back to Maya for that. I'm not going to, and I'll reiterate in many times in this little lesson here. This is just level four, so we don't need to be professionals right now. We just need a good animation. We just need to learn some of the basics of Maya at this point. And we will be exploring more advanced things as we go along. Okay, next thing, we do have some kind of jag. He's here because we didn't render at the highest quality, like right here. Can you're not going to notice that when we play it back, it'll just add to the kind of blur and disorienting effect. Again, it's not detracting from the story. In fact, one could argue it's adding to the story. So not a big deal. Okay? And probably we look really closely here. I don't know why we can't tell. We're probably okay. There was a lot of stuff. Let's see. Let's go to the next kind of air. Right here. Yep, we get some tiling there where we didn't have our plain long enough. So we could actually fix that here in our MLE. And how we could do that, it's pretty simple. We would go to our effects controls. We would take this layer here, almost zoom in and we can just scale it or animate our scale up or scale the whole thing ever so slightly like, so. Don't need to scale very much at all. And you're probably not going to notice that. So I probably won't even have to animate it. Again, that's just one of those little things you can fix so quickly without having to re-render, because re-rendering takes forever. Okay, now we've got this, this dividend on his face we've mentioned before because we left it because it makes it look like he just got beat up and actually adds to this joy. It was an accident, but it looks great. Okay. Everything looks good here. We do have that kind of little, little mistake here on the mouth, but it adds kinda looks like part of the toon shader doesn't really detract again. Okay, So this is something where we have this frame That's an rendered. What we could do is just go back and render that one frame. Or what I could do is just take this, move it over and I can just stretch this one. And this is why I'm showing you this stuff not so that you'd necessarily learned Premier, but so that you realize there's other ways to get around those kinds of problems real quick. So now, no one's ever going to notice that there's an extra frame of this going on right here. We just slowed it down a barely at all. No one will even tell it's supposed to look slow-mo anyway. Okay, so we have this line artifact in here. Don't know what we could do about that other than go back and try to re-render and see what was causing it. Again, it happens fast. That doesn't look horrible. And I'm not too worried about it at this point. And then we have this where we have a bunch of under 100 frames. I'm going to do that same technique here. I'm gonna move this back and raid stretch it ever so slightly like that and then you'll watch it and no one will ever tell that that was an error. Okay, so that was Kirby. Keep in mind, this is level four. We're going to level ten. And it's going to be harder and harder, but also easier and easier as we go because you'll learn more and more. And what I mean by hard, I just mean more complex. We'll spend more time really tweaking our animation and making it look great. Really tweaking our textures are renders. And we're going to spend a lot of time to do it, right? And sometimes you have to learn a very valuable lesson of how far to push yourself, how far to push your animation. Sometimes you just have to not give up, but call it good and move to the next thing. So that's kind of a hard lesson for a lot of artistic people to learn. But I've had students fail, not because they weren't talented, but because they took too long and they failed because they never met deadlines. Deadlines are important in the animation industry and really in any technical industry ever. There's really not an industry where you don't have to meet deadlines unless you are a complete and total rock star. And even then, your producer is knocking on your door saying, has that album done yet? So just be aware deadlines exist. Be aware of that you're just learning right now. You don't need your animation to be great. You just need it to be good. If you're doing good animation right now, you're right where you need to be. In the next one, we're obviously going to do our abomination. After that, we're going to pause on these characters and we're going to actually examine the 12 principles of animation. The original Disney animators came up with 12 principles of animation. They were very smart. They studied animation. They know what makes it work and what makes it not work. And so you're going to know that after this next unit and we're not going to be exhaustive on it, but we're going to, you're going to know enough to make your animations look way better. So it's going to be exciting. Hope you're ready for it. I can't wait to see you then. 118. Kirby Abomination Pt1: Can somebody please say abomination? It's time for my favorite time. It's time for an abomination, uh, Kirby abomination. And this time it's going to be so abominable. You will have to kill your eyes. Prepare yourselves spots. Okay, Let's save a new version file. Save Scene As we're going to call this Kirby abomination. And it's going to get gross. Let's go back here. We don't need nearly as many frames. We don't need this audio, whatever. We don't need half the stuff in the scene. So let's just get rid of a whole bunch of stuff don't need that. Don't need all these cameras really at all. You know, I don't think we need anything but Kirby and I think we're going to use the abomination somehow in here of Steve. So terrain, we'll leave all that stuff. That's cool, but let's get rid of all these cameras real quick. It's why we saved a different version. So those of you who think I'm destroying something beautiful, I am not. It's all saved. I'll get rid of these cubes as well. We don't need the bullet solver at this point. And only the flames, although we might like them on fire again, who knows? I'll even delete the audio out of the seam. Okay, cool. That's that's a lot of stuff deleted there. All right. Now let's go find Kirby frame. I don't see curvy anywhere. It's like I made them disappear. Somehow. Curb these cute little face go. Maybe it's this view I'm in Panels perspective, perspective. There we go. Okay. Then I was scared. I was like, What's going on. I'm the teacher. I don't know what's happening. Why is this happening to me? Okay, Kirby, There you are looking quite brave. Repair to just look stupid. Let's go ahead actually and delete Minecraft. Stephen bring him in again because as you recall when it happened last time, something beautiful happened. So let's do that again. File Import. Let's go navigate to Minecraft, Steve, Minecraft abomination import. Here we go. Okay. And it looks like we need to move them forward a little bit. Let's go grab Minecraft abomination and move forward there. We just want to put them right there. Okay, Looking good already. And I think we probably want to parent Kirby to Minecraft, Steve, we may have to unapparent. Well, let's just try it for now. That did not work at all. Period. End of story. Let's see if we can move curvy back. Remember we have key frames all over Kirby, and that's just not going to work. So we need to go over here. We basically need to delete all keyframes from them. Okay, So how do we delete all these keyframes all at once? Well, there's a lot of ways we can go into the graph editor. But I'm going to show you some MEL scripts because it's awesome. All right, let's go over here. And let's just type in cut key, dash, CL, and semicolon. Can you read that? I'll just make it null, Zoom and boom, there you go. Cut key, HCL. Well, you remember this, maybe not, but I'm trying to turn you on to learning a lot more about Maya and digging very deep and to even things like scripting because scriptings Awesome. Let's hit Run there and boom, all the keyframes are gone. Pretty cool. Might want to memorize that one. And Minecraft, Steve probably doesn't have any keyframes on them. Oh yeah, he does. So let's do that same thing right here. All we have to do is get that same exact thing is we just hit, Okay, so we have to do is go find that same command and copy paste it. I've got a lot of other junk in here, but cut key right here, control C, control V. Go ahead and run that again. And hopefully through Minecraft abomination selected. Get rid of all the keys there. You don't see any up here. All right, cool. So now we should be able to move, hopefully. Hurry back. Here we go. Like that. Okay, he looks really, really good. In fact, I might not even show these legs. I don't know. What will it look like if we just take Minecraft Steve up? Obviously it's going to offset them and look, where do these keyframes come from? No, dairy keyframes. Goodbye keyframes Control V, R1, gone. Okay. I don't know what happened there, but they're gone. Okay. So let's put Kirby back in place here. And now almost think he looks cool or without the legs but you know what, whatever we can always delete his legs. Let's delete his feet. He doesn't need them anymore. He's got gigantic feet now. This is great right here. That green screen background, not so great. I think that's in our Minecraft Steve, somewhere. We need to get rid of it. It's really bothering me. The gun, Okay? Now, we gotta do more. This is not good enough. We must be greater than we have ever been before. This must be the worst abomination of all. The whole point of making abominations is to make them worse and worse every time. So here's what we're gonna do. We're gonna go from modelling over to effects. We're just going to throw all kinds of effects at Kirby, anything we can think of, we're going to throw at him. Let's select the curvy body right here. And let's just go there. Let's do it. You know what we're gonna do and hair create hair. Oh my goodness, it's horrible and beautiful all at the same time, Let's go to the attribute editor and just move stuff around because we can, I'm going to crank the intensity of the turbulence. Let's go clump in here. Hey, this is fun stuff. Go around and mess with this as much as you want. Okay, let's see what happens here. Press Play. Okay, this is glorious right here. My can't even see him, but it's terrifying. It's a monster. It's beautiful, It's horrible. It's curvy abomination. Where will we go from here? I don't know, but I like this a lot. If this was coming after me, would be horrified. Anyone would. It's only natural. So what can we do? We need to remove some from his face so we can see eyes. Or Dewey, Doesn't matter, It's our abomination. We do what we want. Have fun with this play around. I'm going to try to remove some hair from the face so that I can see Kirby a little better, but no promises here. Okay? This part 1, we're going to do part 2 and we're going to change some things. We're going to animate some thing's going to be awesome. I'll see you then. 119. Kirby Abomination Pt2 Painting Hair Color: Okay, let's keep the abomination going. We're going to select this hair system. We're going to go and hair paint, hair textures and we'll go boldness. And I get this little thing here. Handy dandy, I can hold B and change the size. And what I'm gonna do is try to paint, paint some of these out of here. Now, it might not work well. In fact, several times this disappears and I have a problem. I just open up Maya. I'll just close my and restart it. So hopefully everything works for you and you can just get it going. So I'm going to paint some stuff out here or here, and it kind of gets rid of it. Now. It's not exact, is it? It's not even close to exact. But it's better. So I'm just going to just go like this. And there we go. Less hair. Although I want hair right here, I don't want hair on the face. So kinda frustrating. It doesn't really work the way you'd think it would work. And that's okay, I guess let's play this back. I can somewhat see the facial textures though. So that's cool, I guess, whatever. Okay. I'm gonna be honest, I don't use this very much at all, so I'm just going to play around with it. This is what I encouraged you guys to do, hopping here and play around if something doesn't work well, maybe Google it. Because you can't ask the teacher every question and you have to learn how to learn by herself and plays the best way to learn in my opinion. So it's like a sandbox. Don't read about San go in and play. That's what my Sandbox, the ultimate Sam, I'm going to paint hair follicles right here. Notice it does not pop up. I can't see anything, right? I'm not gonna go create new woman here, system one. Look, this kinda stuff happens to the teacher to let, there's no brush here and nothing. But, I bet you, if I try it again, paint hair follicles. Nope, still not. Let's make sure this is selected though, and then let's go and hair paint, hair follicle. So now it gives me this. So this is the kinda thing that you learn by trying. They don't give up on the button doesn't work. I know that's confusing. I think the more complicated the software is, like Maya, you just have to dig in a little bit deeper and be a little bit more patient herself. So what's going to happen here? I don't know, but let's paint some hair follicles back here, bloom. So we just got a bunch more. And that's awesome. And they're short too. So it's kind of like we're styling is hair. It's almost like we should just go baldness map on everything and then leave the spiky here on the back, which I'm inclined to do. So I think that looks a lot better. So let's go back to that baldness map. Let's go and hair textures, baldness. And let's just get rid of some of this other stuff here. Really. Minimize right here, okay? Just count. I want to be bald there. All right, It's much better. Much, much better. And then we'll paint hair follicles and the back fact, let's just get rid of everything, painted, all balled. And then we'll go back and paint her hair follicles and see if we can do that with that hair system still selected. And hair will paint hair follicles. Okay. Well, let's try it that way. Okay. It's kinda working, but I think that baldness map might be getting in our way. So what we can do is go back to the baldness map and try again because I don't see anything there. So let's try it. Let's go back to our baldness map. Make sure again that's selected and hair paint, hair textures, baldness. And this time, what we'll do is we'll go into the tool double-click here and we'll reverse that hopefully. Because we were painting baldness. So to paint the other way, basically you just switch this to white. And that typically will do it. That doesn't look very bright white to me, but I guess it is. Whatever. Let's try that. So let's go ahead and paint white here and what we should get it. Boom, okay, there we go. For whatever reason, I couldn't tell you why. We seem to get it right here on its face. I don't like that. I don't know why. So there you have it though. Apparently we're never going to see all of these face and that's just bothers me. I want, I want to see caries beautiful face. I want to cover it in hair follicles. Not even sure why that's happening. There's probably an explanation, but I don't know. Whatever. Well, let's let's play this back. We can kinda see his face now. That's pretty disturbing. And I like it quite a bit. Okay? Yep. Okay. So I think what we need to do is animate this abomination. See it's just a glorious K. Let's take a render this glory right here. Okay, that looks really bad. One Kirby is missing his Texture, probably because we painted over m with that baldness map and to this hair is just dark. So let's see if we can fix that by playing around here. Let's go in here again, we'll select the hair system and hair and then let's paint hair textures, hair color. Okay, because that's just looks bad. Obviously not white. I just think Kirby is kinda of a green haired or maybe even a pink hair. I like pink, rainbow colored. I don't know. That sounds good to me. Let's try that now. Again, I'm not seeing it. It's not selected maybe is why. I'm not really I don't see any changes here to the actual hair color. I'm just trying my best, but then again, my color that did not change to pink did it? That said, let's go Done. Now, maybe it'll paint pink. There we go. There's our pink. Yes, glorious, beautiful hair. Kirby. You look like a Smurf. You're a dang Smurf and I love it. And I don't know what happened, but it's texture came back probably because we don't know why. This is awesome though. Please render well, look at that glory right there. Who would want to mess with that? Nobody. K, his sexual looks cool, hair does not look cool. So we need to figure out what's going on with the hair because I want it to be pink. I want it to be pink very bad. Okay, so what I did was I looked on the forums online and guess what? We're kind of have a problem because to or to render this in the glorious pink, I need to go over to Scott, a fatal error here, which means I need to restart Maya, which means I might have lost my pink hair because I didn't save. This is the real-world here. Unfortunately and sadly. Goodbye scene. It was Good to know, yeah, I should have saved, should have saved. The abomination was attacked by Autodesk. It didn't like it. Yeah. I'm going to restart it. I'm going to try again. I'm back and I'm mad because I lost everything, but that's okay because I'm just going to create hair follicles on the back and then I'll show you what I was talking about and rendering. So what I wanna do is create new. I deleted the other one. I just want them back here. People. I just want them to have spiky hair on the back like a frequent porcupine? Yes. Maybe a little more. People need to know how curvy is a shaggy, shaggy beast. I think it's just me. I think I'll just crashed it again. Nope, we're good. The more hair you add, the more likely you are to crash. Keep this in mind. Maya is powerful, but if you don't have a powerful system and you start adding hair follicles and effects and stuff. You're just going to crash things. It's gonna take longer to render, et cetera, et cetera. So there we go. We've got we've got Kirby, I want to undo some of those because that was too much, but maybe I just decrease my brush size holding down B and just put some armpit hair in here. Yes, abominations have beards and armpit hair. It's a thing that's probably too much. Yeah, something like that. I like it quite a bit. And then again, we need to paint it because it's not hot pink and it should be in here. Paint hair textures, hair color. We'll click here. Definitely want pink, pink, pink, pink, all pink. Make sure the hair system that actually selected one of these hair systems. And if it does this, just do it again, makes sure that it's selected. I believe it's that hair system and hair paint, hair textures, her color. There we go. Okay. So finicky, but also kind of predictable. Like it it kind of obnoxious that you have to go select it again. You'd think it would just remember your selection. But anyway, there we got it. So all that after that, I'm going to save don't be like me, save your work off. Okay, so when we take this render, the problem that we're having is with our standard render here. We get this ugly black hair, which is kinda cool. Some people might like that, I don't. But when they design hair, they designed it to be rendered with Arnold. Now, this is going to look good for the hair, but not for, for Kirby here. Here it looks awesome. Curb it looks dumb. So how do we fix that? Well, depends. Lots of ways you can fix it. But we don't have to think about that one for a little bit. I like the look of our guy quite a bit. A render looks terrible and we maybe we just need to tackle that one here in a second. Maybe in the next one we'll do some animation and then we'll get to tackling the ugliness and the beauty that is the Kirby abomination. I'll see you in the next one. 120. Kirby Abomination Pt3 Walk Cycle: Okay, it's time to animate the beast. I do believe that there's some animation already on here still. Yep. Okay. There's like a Ninja chop there. It's like a dab. So anyone remember dabbing? We had a rudimentary animation system on this Minecraft. Steve, very basic, did not use inverse kinematics at all. What's inverse kinematics? And we'll get to that later. Obviously, we're going to get really deep with this course. This is only level 4. We've got like ten levels to go. So it's going to get crazy buckle up. So animation that we want to remove all the animation data here, even that cool dab. So let's go ahead and select all these. And if you remember, we can use a script for that. Probably didn't memorize it, but what does it cut key. Key, dashed CL. Don't know what CL stands for. And how would you even memorize this? I mean, using some kind of like classification system. Cl can stand for this class as long or so. Cut key, dashed class long. Cool. Lice. I don't know, I've gotten nothing right now, so just memorize it. Okay. Boom, it works. There we go. I think Kirby, his eyes move, but I like it. He just just angry. Kirby is angry. Kirby with hair is the ultimate abomination. I'm just going to say it now. I don't know if we can do better than this. We probably can't, we probably shouldn't try. This is glory right here. And we should all be so blessed. And y is the hero not animating probably does have to hit play. Okay, there we go. Cool. Just making sure I was a little bit scared that we'd lost our glory. Okay. We're animating, we're not talking. Okay. So we're just going to move the legs. What I'm gonna do is Windows animation Editors, Graph Editor. And I'm going to select this leg. And you see no animation because there's no animation on it extremely on frame one, shift E to add those keyframes, and the other leg shift E. Now we've got keyframes. Now we're only going to animate rotate x, and we're gonna do a walk cycle. How do we do a walk cycle? Pretty simple. We just rotate stuff. Let's hit R, E on the keyboard. We're going to go up a frame or two. So I don't know how faster walk cycle should be, but we can just use 50 frame increments now that seems like a very slow walk cycle, but keep in mind our minds think that large things that are animated are moving slower they move the more that we think they are large. So when we see a spaceship on Star Wars and it's moving very slowly, we assume it's very large. We know this because we watch National Geographic elephants. See, we know what slow as because we've seen elephants walk, they walk real slow. So this is basically an elephant time curvy Monster. Oh, by the way, I love it when you guys come up with cool names for my abominations, I wish I could give you a reward for that. Maybe I'll give you a free course, one of my other courses, a code, because I love cool names. So any cool names you come up with, send them my way and I'll try to hook you up with a free course. All right, cool. Let's do a walk cycle. Super-simple. We go forward in time. We go forward on the leg. You can go up here, but that looks too much like a certain yeah, we can't even go there. That's politically incorrect. Okay, so you go there, boom, you go to 100, and you go back to 0. Now, what does that look like in here? We can select, of course this and hit F to frame it. It's this nice little curve here. Now one would assume that you just take this control C, control V, and you've got your walk cycle. But in reality we actually need to go up here with it. So this is just half the walk cycle right here. And it slows down there and it shouldn't what you want it to go all the way up here. So how would we do that? Well, I'm going to delete that keyframe. We're gonna go ahead and select that key frame and hit delete. And what we wanna do is actually go all the way to here to a 150. And we're going to take this and rotate it back that way. Now we're almost at a complete walk cycle. Now we go to frame 200, 200 to whatever 200, Give me 200 people. I want frame 200. And then we can take this control C control V. That is our completed walk cycle. Now we are ready to Control C, Control V. All right, Just like that, we are now creating a walk cycle. Well, at least for one leg we are. Make sure you're right on the frames though. Troy VI. Now it looks like what happened here is we weren't right on that same frame. So we want to take this all the way to frame 400 right here. It wasn't, just move it over there and make sure it's at 0. You can go to the channel box and make sure by just hitting 0. Now we can control C control V, that does zooming out. Control C control V. Now what we should have is a complete walk cycle. It should look decent except for it's only one leg. It looks like he's just kicking it back and forth, but when we had the other one and I promise, all right, hopefully Promises, It looks good. Let's try copying and pasting all this data over to the other one, control C. We did all that hard work. Why not use it over here? Make sure we're on frame 0, V. That didn't work. Make sure on X Control V, zoom out. Did it work? I don't know. But the problem is we need to reverse the cycle. In other words, all these need to be where these are on. Otherwise they're both going to go at the same time. And it's going to look like he's like a rabbit or a kangaroo. You ever seen a kangaroo run? That's our kangaroo runs right there. So that's not what we want, is it? So we'll have to reverse all of these. Now. It's pretty simple. We can just take all these keyframes right here. We see the negative 719. So what we wanna do is probably type in positive 719 right here. Enter. Of course it's not going to do it for us, is it? Let's just move them up here. Make us work, Maya. Goodness gracious. All right. And then we'll take all these holding shift, middle mouse, drag them down to somewhere. All right, That should be good. Let's just watch this play out and see what we've got. Walkie, walkie. There is a walk cycle, very simple walk cycle, but it works. It's awesome. Love it. Now we have to do is actually move Minecraft. Steve, the gigantic tore my Minecraft Steve, let's put a keyframe on his translate shift W. And let's move forward in time to the end of the walk cycle. Somewhere over there where he stops, that's where he will stop. 800 whatever Alice is moving forward like a zombie. I don't know how far we want them to go. It looks like her heritage and follow. We did not parent our hair. What were we thinking? Insanity. We need to parent the hair to grab all this hair stuff, all of it. I don't care. Boom, I want all of that middle mouse drag parent. Hopefully it follows. Now you're ready for this. Wait for it. It's alive. The hair is moving faster than Kirby. I don't even I don't even know what to do about that. What is happening? What is happening? Everything is offset. What is real? I don't even know anymore. This was fun. We really need to do is fix those offsets, but i'm, I'm going to walk away for a little while now because that was just painful to watch. I'll see you in the next one. 121. Kirby Abomination Pt4 Fixing the Offset: All right. Last time we ended up with this mess or that just leaves can't let's fix it fast. Some things we're going to have to do that aren't fun, but let's just do it K. So with Kirby here, we're going to have to reset this and won't let us if I select these and try to freeze them or even make them as 0, 0, 0, maybe it well, but it's going to move him, right, instead of just freezing them. So I'll Control Z that if I try to freeze them, freeze, translate air out, right? Well, I've got to delete all these animations and it looks like there's animation in here, so it was hiding all along. So select all of these. Let's go back to our script editor here. Let's type that mighty command that you're going to have memorized pretty soon. Cut key, see HCL. Well, okay, Now we should be able to do is right-click freeze and translate. Still not going to let us still really, what does it say? Skin attached when need to detach the skin. Let's let curvy the head, all this stuff right here. Let's go over to rigging. Skin, unbind skin. Now, right-click freeze translate. K should be good to go. Now, what we should now have is caries head following the beast. He's now getting in line. Let's bow down before the mighty, mighty Minecraft. Steve, now the hair, now we're going to fix the hair. You know what I'm gonna do? I'm gonna delete the hair and this fluid emitter. Don't even know why we have that in there. Boom, hair gone just like that too. I have no mercy now, we're just going to go do it again real quick. This time we just paint it right where we want it and we paint the color real quick. And then we fix a huge problem that would have taken us a long time to try to solve by pushing buttons. Think simple people, and once you do it, it's a lot easier self-selecting Kirby, we go and hire somebody, paid it right where we want it, paint hair follicles. Yes, this looks good though. Just got a main now we will have all that cool flow edge that we had, our first one unless we add that in. So we could do that. First though. We've got to do, we've got to select this new hair system. And we've gotta go hair painter textures or color. Pink. Pink is the new pink. And I don't know what that means. There's our pink hair. Looks great and just paint all of him. All right, cool. Now what we should have is the hair following along with the curb Meister. I'll get that. And we solved the list in like two minutes. Of course, our hair doesn't do any of that cool stuff that used to do. So let's select our hair. Let's go over to the attribute editor. And let's talk about clump shape, all that. We could just leave it like that at 10, you can crank that up. What we really want to do though, is we want to go to turbulence, crank that up, boom, that this will be cool. Now it'll be that all wavy gravy. Yeah, there we go. That's cool. This is awesome, is terrifying. All we really have left to do is we could move the arms here. We could ever render. This is, this is pretty glorious on its own as an abomination in my opinion. You know, say what you want. I love it. I think it's glorious. So all we got left to do now in my opinion, is to render. That is going to be awesome. Okay. I'll see you in the next one. 122. Kirby Abomination Pt5 Rendering: Okay, so what we're going to have to do is render out a pass for the hair and a pass for Kirby. So what I've done is I've gone ahead and render them out. I'm going to put Kirby in front. It's going to be really easy compositing. But I don't want to render out the whole 800 frames twice and then realize I did something wrong. So always do a test. So I'm just gonna do a test and Photoshop real quick. All I did was I hit everything and rendered it. So I hid the hair, I had the background and I rendered out Kirby. And then I did one with the background and the hair with Arnold and then brought them into Photoshop. So let's go over to Photoshop. Here we are in Photoshop. I've got this image of Kirby. I'm actually, I've named this front and this will be background right here. I've got the cool neon hair. I just, I only changed to settings. I cranked adaptive sampling, which I'll show you how to do. And then I crank the exposure on that image. So anyway, control a here, control C, control V, I get that you guys don't have Photoshop and it looks like they're offset a little bit, which is very frustrating. So maybe I rendered them at different times. I'm not really sure. The point is though, will this look good if placed directly over? And it looks pretty cool to me. Hi, again. I must have changed some settings or something because it was offset. But that being the case, I think this is going to be awesome. I think it's going to look really cool and I render it out. So basically I just have to go do that. So same thing we've always done. Let's go back over to Maya. Let's go to our render view port here. I'm going to render out the Maya software paths first, but I wanted to show you guys the stuff that I did real quick just in case you're interested. So obviously I've my environment, you not to hide and unhide things with Control H or Shift H. And then I have this hair system here. All I did was I go over to the hair system and there's something called file 20. And I just crashed the computer, but I create this exposure to five. I'll restart the software and I'll render out that pass in a second. Okay, my computer's going crashing a lot, but basically you just change this file 20 down here on color balance exposure. Take it up. So we should have this at five, and I probably didn't save it. It just died on me. So Maya crashing, it could be my computer, could be my I could be this hair system. The more complex your scene, the more likely something like that's going to happen. That's why you always save. Okay, let's go back to the render. I'll show you adaptive sampling real quick. If we come over here. If you go to Maya software to the Arnold renderer and you go Options and render settings. If you go over to Arnold render, you have this adaptive sampling here and you can enable this. Now what that does is, do you remember when we did among us in when we rendered, we had that really bad looking. Spotting this, this adaptive sampling, we'll get rid of it. Okay, just one more thing to learn about rendering. So keep that in mind. This adaptive sampling will take a long time and just let it render all night. Okay, so I'm gonna save this and I'm going to render out, but not the Arnold sequence, the Maya software sequence. I'm going to go to frame 800. So I'll go to Render Settings. And I won't call this Taylor. It's fine if it is, I'm going to call it abomination. I'm going to leave him PNGs. Now keep in mind you have to render out PNGs for the composited layer because PNGs have an alpha channel, right? So you could do PNGs or you could do something called tiffs. They're really big files. There's a lot actually you could do, but we're going to stick with PNGs. It's the simplest, smallest, and we'll also have an alpha channel. So we definitely want that. And start frame 1 and frame about 800 or so. And we're going to skip existing frames because we may have at lockup or die on us. And all we're doing is the perspective camera. I'm going to render it kind of low-resolution. All this is good. I'm going to close hit Save and then Render Render Sequence. Not the front camera, the perspective camera. And alternate file location, yes. Go into final renders. Right-click new folder called this abomination. And that's why older and route. Okay, I'll see you in a little bit. It may crash on me. But you guys have done this process before. And then of course I will also do the same thing with Arnold, those same exact settings. I will just render them into a different folder. Okay. I'll see you guys on the other side. Good luck. 123. Kirby Abomination Final: Okay, here I am in Adobe Premiere. I've imported those two image sequences. I've just placed the one on top, the other. That one render took like several days on this computer. So and it's not even that great of quality. You're about to see something, oh, by the way, a huge hint. And I've already talked about this a lot. Something that's going to make your abomination sing that really is music. Sound effects, sound effects are the key to making your Derby looking animation actually look somewhat interesting or cool. So we're gonna play it back. I've just added a couple sound effects here. This is the result of all of our hard labor. Behold the Kirby abomination. Okay, that was it. Now notice it's not perfect. You've got little dots and movie parts and all. I should have moved the hands and I probably should have rendered this in a render layer. Lots of mistakes from late night work, but here it is our final complete solution. We could export this, we can put it on YouTube and our friends could have a lot of fun with it. Hopefully you enjoyed this unit. It was super long. I cannot wait to see your guises, abominations. It's literally my favorite part of the job. So keep those abominations come in and keep working in my keep going strong. Great job. Next one we're going to start studying the art of animation. We're going to talk about the 12 principles of animation. It's going to be really exciting. You're gonna learn a lot. Can't wait to see you then. 124. Intro to 12 Principles of Animation: Welcome to the 12 principles of animation. These 12 principles of animation or created by the early animators at Disney. These were bosses. They didn't just animate. They studied animation and they got good. Let's get good. For more information on the 12 principles of animation. This is the original book, The Illusion of Life. I'll include a link in the resources under this video. Let's get started learning the 12 principles of animation. 125. Principle 1 Squash and Stretch pt 1: The first principle of animation is called squash and stretch. To illustrate this, we're actually going to bouncy ball with zeros, squash and stretch. While many tutorials show you the end result of the 12 principles of animation on specific animations, we're actually going to build them out. This will give you additional confidence that you can achieve these results with your own animations. Let's get started by bouncing a ball. First, we'll create a sphere, will move it up into the air, and we'll move it over so we can duplicate it. And you two examples, one with squash and stretch and one without, we'll start without squash and stretch. And we'll do a simple animation over 20 frames. I'm just going to Shift W tilde key frames to transform right here. And then we'll go to the middle right here, 10 and move it all the way down to where it basically hits the ground. It'll automatically keyframe and we'll move it back over here and move it up. And to get the exact same keyframes and to really be able to control our animation, we're going to want to open up the Graph Editor, Windows animation Editors, Graph Editor. And we'll just copy paste this one control C, control V. And a couple of things to note, automatically Mies going to include one of the principles of animation in here without you even trying. That principle is called slow in and slow out or ease in and ease out. Automatically, maya defaults to that and you can see our animation will actually be somewhat smooth if we play this back. It's got a lot of character to it. But what many people do when they create animation by themselves and possibly doing a 2D is they'll take these animation key frames and they will be tangents, linear. There'll be very much straight up and down. Watch the difference in animation when we play this back. Again. This all has to do with real life physics and real life objects which we are trained. And we know what looked like in nature. When we look at this, we're not really sure what we're seeing. It's so robotic. It's like it could be floating like a balloon. Or it could be very much a big heavy steel object controlled by cables or some kind of robotic arm. Either way, this is not like natural. It does not look good. It's very simple to achieve animation lies, but it is not good. It is missing some things that is missing at least two principles of animation. And one of them, we're gonna go over squash and stretch today. So why don't we go ahead and duplicate this out and create one with squash and stretch. We'll go ahead and duplicate this out Control D, and we'll move over. And that will go ahead and animate it. Notice there's no animation data on this one. So we'll move it back up. And we could just duplicate the same keyframes on it if we select this object, and then we select these Translate Y key frames, Go ahead and grab them. Control C will select this object, making sure we're on frame one. And then we'll hit Shift W to put an animation keyframe in. And then, then we'll select that translate to troll V, and we'll add our keyframes and I'll hit F to frame them. Now both of them should be moving exactly the same. Alright, great. But what we wanna do is stop this and add squash and stretch to this. So let's go ahead and do that. First thing is first, let's just talk about squash and stretch for a second. The key to keeping squash and stretch to looking real is to scale this object to the same proportion. So if I was to scale this object, let's say, and the y-axis, It's way bigger than it was in volume, overall volume. Look at this one and then look at this one. This one would fit inside of this one multiple times. I can prove that by moving that over. And you can see this has way more volume. Now, we don't want to actually create more volume. What we wanna do is just stretch it or squash it. So I'll take the same sphere and I will scale it down like that. Now, it's a lot closer to the same volume. If I'm gonna move this over here, you'll see they probably have a very similar volume. Now, I'm not going to get specific and type in exact numbers here. I don't actually like math that much. But just keep in mind, you want to change the volume and not the overall scale. Hopefully that makes sense. All right, now I don't need this scaled right away. So I'll go ahead and return this scale back to one and the scale back to one. Okay? So we want to start right here. Same thing, but by the time we hit the ground, we want it to smush. So and we don't want it to go back up right away. We want it to hit the ground and smush into the ground. So what we'll do is we'll just go ahead and crush this right here and move it down even further. But keep in mind, we want to change the overall volume to be the same. So I want the volume of this to be about the same as this. I'll go ahead and move this over a little bit. So it's not in our way. I want it to be squished like that. Now, I didn't even set keyframes on scale, and that's a problem. So what I'm gonna do is go ahead and set a keyframe on all of the scale right here with Shift R. And then they're all going to have a keyframe there. So we can go back here and we can set this back to 111, not 1.11. There we go. Alright, so now what it's gonna do is slowly smush. Now that's not good enough because when an object is in flight and moving, it's not squishing, it's not till it hits the ground, then it's going to squish like that. And then back over here, we're going to set this back again to 1. Okay? Now, the reason I'm taking all the time to show you this is because I don't want you to get frustrated when you're trying to do it yourself. You're going to end up with a lot of keyframes and it could get confusing. So hopefully I'm slowing this down for you enough. Again, most tutorials, they just run through it real quick and they press play on this one to show you what it looks like. Press play on this one, show you what it looks like, but I actually want to animate it out for you so you again, feel confident with yourself. Okay, So what we wanna do here is actually speed up and not scaled down. So I actually want this to be right about here. I wanted to scale this way. So it looks like it's moving very fast. So I want it to go down like that, like it's moving fast and then squish and then come back moving fast again. So I'm going to want to take these key-frames right here, control C, control V, or something like that. Now we're getting closer. It's not perfect, but it is definitely squashing and stretching and it does add some character to our animation. Why don't we go ahead and play this back? Again, not perfect animation, especially where we hit the ground, but already creating tons more interest visually for our animation. Great. Okay, so that's squash and stretch. But I don't want to just show you on a ball. I want us to squash and stretch something bigger, something more interesting, maybe one of the characters we've created. So in the next one we're going to squash and stretch a real character and we're going to destroy them. And we may even use another principle of animation called exaggeration. Because I know you guys like to exaggerate and abominated. I'll see you in the next one. 126. Squash and Stretch Kirby: Okay, but a bouncing ball is a very lame example. So let's bring in Kirby, introducing Kirby got this little city I've created. And real quick, because you're going to want to do things like this. Go ahead and try downloading some free models. I got the city at CG trader.com, sign up for a free account? Yes, you can pay for stuff here, but there's a lot of good free stuff too. And that's where I found this building. Okay, so we've got curvy here on top of a building, very brave. Look at him. He's obviously going to jump. I've tracked a camera to him. I've had very little animation, probably too much because we want to refine this and we wanna explore specifically in this one, squash and stretch with a real character. Okay, so I'll play this back so you can see what's going to happen. Okay? Notice it does look okay, especially in the beginning because we use a little bit of animation to look like, make him look like he's jumping happily smiling. And then he jumps off in his arms and his legs do a slight movement that actually helps with the animation quite a bit. But that's, that's actually me adding to it. Notice we still have the distortion of the face. Don't worry about that. So we have this animation. It starts out while and then he falls. Now a lots of things we could do to make this better, but we're going to just specifically explore squash and stretch. So how did we do that? Well, he can jump off here and then as he begins to fall, we could set a keyframe on a scale. So why don't we go ahead and click on him. And we've got a keyframe here. Looks like we want to scale in x, but definitely do a test. Yeah, that's the one I'll Control Z that will go ahead and select this right-click key selected. And then we'll head down further on as he's falling fast. And we'll just have them speed up and scale a little bit more. Maybe. We'll start it over here now I can always move keyframes around with my graph editor. So I'm just going to go satellite now to two, okay, But we also need to scale them in the y-axis as well. And because we need them to be skinnier, remember, with squash and stretch, this doesn't look right because he's actually gained volume. That doesn't work in physics. You don't gain volume. I guess he is a balloon, so maybe he could, but we definitely need the scale and why as well. So we need to go back to where we just set that key frame. Looks like right about here. And we'll right-click and also scale the Y key selected. And then we'll go back to where we had scaled up to two right here. But we want it to be about half of what it was. It was at 1.5. So we'll just basically go 0.5. There we go. Now we've got the toon shader making it look a little bit goofy. But ultimately what we would do here is add motion blur. Now I don't have it rendered right now, but it is going to play back fast and hopefully that will add something to it. So now he's going to come very stretched as he goes. And it's going to add kind of an interesting effect, the very least. And then right here when he hits the ground, we're going to have him a few frames later, squish back the opposite direction. So we'll take this and we'll probably go to here. And on x we will scale. Let's try 0.5 here, K and the squashes into nothing. And then of course we will have them returned back to normal. We will go 11, like that. Okay, so now let's play this back and see what kind of effect that creates jumps, strikes, and bounces. Okay, notice that creates a much more cartoony effect in our minds. I'll go ahead and just play back the frames we're looking at right now. And we'll just kind of watch the loop. Now this is by no means perfect, but it does add a bit of a cartoony and physics action to it. There are tons more principles we should add to this to make it a perfect animation. But it does add that squash and stretch effect and that they use quite often in animation. Okay? It's like adding a physics effect to our character. Essentially it gives him I form of volume and a physical material in our minds. So this is squash and stretch on Kirby. We're gonna do some more stuff with Kirby here in a second. In the next one, I'll see you then. 127. Kirby Anticiaption: All right, The second principle of animation is called anticipation. Notice that when Kirby jumps off here, there's not much anticipation. He just kinda jumps and falls and we know he's going to fall because of gravity, but currently doesn't know he's going to fall. So we need to introduce that concept visually. Tell a story of him jumping and then realizing, Oh, what did I do? And then falling. And that's going to create a feeling of anticipation. So let's go ahead and take care of that. So let's go ahead and go perspective, view. And then we can go ahead and work on that animation without having to worry about changing the camera. Because we are going to want to extend this so that we have a little bit of extra time to show this anticipation. We're talking up to one, maybe two extra seconds before it falls. So I'm gonna go ahead and take this out and maybe 200 frames. I'm going to go select my curvy character and more specifically the rig. And I'm going to extend his animations in Windows. Animation Editors. Graph Editor will take all of his animations. Mostly just falling here. And we'll go ahead and extend them out. Now I don't want to take and change his scale. So I actually want to control, unselect that. Really it's just translate at this point and maybe a little bit of rotation and that we're changing. So we'll take all of these, we'll grab this tool right here, and we'll just kind of zoom out and extend this out quite a bit. Let's see what that looks like when we play it back. As you can see, we probably needed to have moved to scale because it didn't translate with it. So I'm going to undo all that. We'll go ahead and select everything. So and extend it out. And let's see what we've got. Jumps doesn't start scaling until here. Okay, So I was wrong about selecting scale. No big deal. So let's go ahead and make some changes to his animation. Now I've added some eyes, different eye movements to Kirby right here under the ice. And what we're gonna do is use the eyes to show anticipation. So let's say that Kirby on frame 1 starts out confident and we'll just use angry to show confidence here. It looks somewhat confident to me. And we'll go ahead and add an animation right-click key selected. So now it starts off confident, bold, even. And then he's going to make the leap right about here though, I want his eyes to change to show maybe wait a minute, what did I do? So I've got one called Look right? Which is actually kind of look straight ahead. And I want that one to take effect. And then maybe I want them to look down. So he looks up, looks down. And then I wanted to look back up again, which is look right. Then we'll go forward a little bit more, a little bit faster. I'll just go ahead and switch this and then change it back to create another keyframe and just extend it out a little bit. And then I want him to realize what he's done and maybe a look of worry. So you can't see that very large eyes right there to show how worried Kirby is. And I think we should do the same thing with the mouth. Mouth starts out straight and confident. And as the look of worry approaches right here, maybe on that same exact frame, frame 75, which we need to key right beforehand, will keep the mouth at neutral key selected. So then write on frame 75 here. The mouth will go to small, as in, I'm afraid. Oh no, what did I do? Now? Did this make any difference? Let's go ahead and play it back and see. And we can check timing and things like that. Starts out confident, jumps 0, 0. Okay, Did you notice that maybe these eyes aren't super cool? Maybe I've got some mistakes with some of the texturing and whatnot, but that sense of story is so much stronger and that sense of anticipation. Wait a minute, then I fall. So we're just changing the textures in the eye motions. We've created this feeling of anticipation. You know what's going to happen, not just because you know about gravity. Let's pretend this is kermes first-time jumping off a building. But you also know because he's gets worried, looks down then looks up again and then he falls. That's anticipation. But we can make it even better by changing even more animation on here. So why don't we go ahead and do that. We're going to animate some bones here. So we're going to have them do is before he falls, start waving his arms as if he can fly, as if he was a bird. So right about that time, his arms are here. He's confident, wait a minute. And looks down. And then right about here, we're going to have them do a mad, crazy panic on both these arms rotations. I'll select both these arms. I will shift E for rotation keyframes. And let's go ahead and animate that out. Okay, so a couple of frames later, maybe they both rotate down as if he's trying to flap them. Let's go ahead and grab these and rotate down. Again. I'm rotating on all axes and I'd rather not do that. It ends up causing distortion. What we really want is to animate on this z-axis here, just up and down. Otherwise, we're going to create all these Mab distortions and it's no good. So that's what I'm gonna do is I'm just going to individually middle mouse drag these down and up fairly fast. And remember, of course, we can change the timing here using the graph editor quite easily. So we'll go a few more frames and we'll just do the best we can now. And if it doesn't look good, well, we'll change it. And I'll go back up there. Same thing with this one. Rotate that back up. And now that we have this kind of loop pattern, we can just Control C on justice, rotate Z here. So we'll take these keyframes, Control C, K, and then we'll go forward a little bit more and we'll Control C, this one control C, control V. And then we'll grab all of these Control C, Control V. And then we'll get kind of a loop there and moved to that next frame, L v. And then we'll just kinda see how that looks again, I want to copy all of these though over to the other arm Control C. Go to frame 61 there, go to the other arm control V, and then hopefully looks like we destroyed something there. So maybe we'll do it manually here and do it that way. Well, we can just kind of play it by ear, go up like that. And then we'll Control C, Control V. And don't worry about making mistakes. This is, this is kind of the fun of it. Control C, control V. We don't even know timing, we don't know how it will look, but let's go ahead and watch it, play back and we'll kind of get a feeling for how it looks. Okay, Not the best animation in the world at all. So he takes one flap here and it thinks he's going to fly with one flap. Looks down, looks up, starts panicking and whoa, gone. You add some sound effects that play it back fast. It's going to be way better. I'll prove it to you, add some sound effects. And that is anticipation right there. Hope that made sense to you. I'll see you in the next one. 128. Staging: The third principle of animation is called staging. Staging is fairly easy to understand. Take the scene we have here from among us, where the crew mates over here doing work and the impostor comes up and it kills him. If we just took a camera angle much like this one, a straight on shot and press Play. It's kinda boring. Go ahead and watch. Notice we're not doing very good staging. A couple of things to consider here. One, we have very boring action. We're just seeing everything all at once. We don't really get the gist of what's going on is quite as well as the story we told earlier. And then the most important thing in the scene happens over to the far left. And of course, you know what we actually did. We went with this camera over here. I'll switch to that one real quick and we'll examine that. Notice with this camera, we start off seeing just our crew mate busy doing is task. There's a large sense of drama created because we slowly move past him doing his work and then reveal someone coming up behind them. Then we zoom around real quick and show the standoff between the two. And then the action of the crewmates death. And then we show what's important. Now, between the two shots, I know, you know that this one is far superior and it could be even better. And there's many other things we could do. We don't have a lot of background action going on. We didn't render a spaceship, but it's quite obvious to you this was the more cinematic shot and it showed what was necessary. Now, one can argue you could do even more shots to make this even more cinematic. You could just show him working for awhile and hear noises or whatever. He could be listening to headphones. And not unaware of what's coming up behind him. But we did a decent job with staging. Staging is really just directing the audience's eyes where to look. Nothing super hard to understand here. We'll go ahead and move on to the fourth after this, just be aware you're in charge of the viewer's eyes. You get to decide where they look based on how you stage the scene. So use cameras, use light and shadow. Use anything you can think of to create the appropriate staging to tell the best story possible. 129. Straight ahead action and pose to pose: The fourth principle of animation is called the straight-ahead action and pose to pose. Now, keep in mind when these animators first discovered these principles of animation, that wasn't a 3D animation available. There was no software that would do drawing for you. They simply had to create their own drawing. So what would happen is the best artists would create keyframes and the artists in residence or the training artists would then fill in the poses in-between. And now the computer does that exact same thing for us. We create the key poses and it animates in between perfectly. Now, that would be considered post to post a key frame animation. And that's pretty much what we do with 3D. Now. Straight-ahead action means you animate it one frame at a time. So let's animate the spaceship here. It has no animation on it. But we're going to animate it using keyframes or post opposes, they called it. So we take the spaceship here, we set a key, we can set a key on everything, doesn't matter. We move forward in time. We move the spaceship. Boom. It's animated. I will undo that and let's talk about doing that straight-ahead action. Now, obviously, this is silly because this is a very simple animation and it's unnecessary. And we have 3D animation software that makes it completely irrelevant to do pose to pose. But what it would look like is if we went to the next frame and move their head. And we went to the next frame and moved ahead and move to head one frame at a time. This could take forever and would create a lot of keyframes. I just spent all that time and I got that far. Obviously, that's a joke. But that is what straight-ahead action and pose to pose are not super relevant to the 3D animator, but still part of the 12 principles of animation. So there it is. 130. Follow Through and Overlapping Action: Alright, let's talk about the fifth principle of animation, follow through and overlapping action. What I have here is a rectangle. We'll call this rectangle John and I have animated it to just kind of fly across the screen. Very boring. Like what we wanna do is use the principles of follow through and overlapping action to actually give personality to this block, to make it feel like an character, like a human, like a squishy object with personality. So how can we do that? Well, my allows us to actually animate shape. So we're going to try doing that. First. I'm going to add some divisions to this object. Let's go with three. Perfect. And now I can select these points and actually animate them moving with soft selection. So I'm going to hit S there to key. I'll move to maybe frame 20. And I'm going to move these back and rotate them like so. And what that's gonna do is make it feel like the bottom or the feet of this object are moving faster than the upper body, creating a physics like effect. And then we'll go forward to about where we stop. And what happens when you stop a heavy object, it flies forward. So that's what's going to happen. We'll take this and we'll move it forward like so, and maybe rotate it even more like that. Now this might not look perfect, but you'll get the general idea of this object moving forward then flying back. Like so. Let's go ahead and look at all of that in our animation editor. There we all know that keyframe down and now it starts to crunch here and it doesn't really look good. That could be a problem for us, but I'm not going to worry about it right now. What I wanna do now is have it bounced back at maybe about frames 70. So what we'll do is we'll take all these Control C, Control V on frame 70. And we can watch that playback. Keep in mind it's not perfect, but it is a very good example of follow-through and overlapping action. Let's go ahead and press play and watch this. Zoom forward, swinging back. Okay, Now this happens way too quickly here. So we'd probably need to fix this. We'll just shift middle mouse, drag that out, maybe two there. And we'll watch that again. And that's probably too slow. So we'll do that again. Shift drag back to maybe 80. This is probably close to perfect. We'll press Play zooms forward, swings that way, and back to normal, kick, something like that. You can see that part of the object is going to move and keep moving even after the whole object stops, thus giving it the feeling of something with some form of elasticity. Now, let's take things further. Let's get crazy. Let's go from rigging over to FX. And let's paint some hair because hair, Let's go ahead and paint hair follicle fear. And what we're gonna do is just go right there and paint a little tuft of hair. Perfect. How cool is that? We'll go to the attribute editor, slipped the hair system, and let's go ahead and find our turbulence and crank that up ever so much. And let's watch this playback. Here's a perfect example, a more perfect example even then our cube of follow through and overlapping action. Because as anyone who's ever seen someone with great hair, it gets whipped back and forth. Awesome. That is hair weapon back and forth for us, showing us follow through and overlapping action. It's really just physics and the effects that make it look like our object has physical properties. Instead of just being a cubed that slides across the floor of boringly, we have a cube that bends and swings a tear, much like a character would. That as follow through and overlapping action. Have fun using them in your own animations to create a much better animation and to impress all of your friends, and to whip your hair back and forth like this. Okay, and we've got this animation. It's not perfect though. So in the interest of showing even more about overlapping action follow through, I wanted to show you what exactly is not working about this animation. Some of you already know when we stop here, yes, motion would swing forward, but also it should swing back around much as the hair does. Our block also should. So with that selected, I'm gonna go ahead and show you the keyframes again. And we'll talk about what should happen. We shouldn't go back right to 0. We should see seal. This wave is much like a ripple in the ocean. We go up, then we go back, then we should go back a little bit more and then back to 0. So what we're going to have to do to fix that is take it past 0 right here on this frame. And what we'll do is go ahead and hide our hair and take care of that. So I'll hide all this hair right here. Troll h. I'll go ahead and select my cube. Select these points again, and select all these keyframes. And we'll click and move this back like so. And rotate it like so. And then we'll take it back over 200, will take this control C, come over here, control V. And this might not be perfect, but you'll get the general idea and you'll understand a little better what should look like. So let's go ahead and play that. Zooms forward, swings and back. Now this is too quick and you can tell this is an example of where you trust your intuition and there is a mathematical formula here. But you can tell it's moving way too quickly there. That's why the graph editor is awesome. You can hold down shift and middle mouse, drag things out and work it, or whip it back and forth like the hair. So I'm just moving these around. I'm going to try to see if that looks a little bit better. We'll play that back. And it really depends on what kind of material that as well. We're getting closer there. It's not perfect by any stretch. Don't expect that it will be, but understand what should happen. This right here is probably too long, so we'll take both of these middle mouse, drag them back. And we want to create that kind of rippled effect. And let's watch this. So looking a little better, Even all of this probably should change a little bit. But I think we're okay. We just want to kinda is perfect as possible. And trust me, real animators, they spend a lot of time watching it. You'll get bored of it, you'll get tired of it. But you should continue until it looks perfect. So let's play that again. A little bit better. So I could spend a long time on this. And I definitely recommend that you should play around with this technique. It's very powerful for creating organic, lifelike characters. And a character could be simply a block, like block John here, let's give him his hair back. Shift. H, play this back and swing that hair. John. Swing it with pride. All right. I'll see you in the next one. 131. Ease in Ease Out: The sixth principle of animation is called slow in and slow out, or ease in and ease out. And the good news is, Maya does this for us by default. Let's do a quick animation with two spheres. Sphere number 1. We'll duplicate it. Control D. Raise that one up a little bit. And we'll kind of position our camera here to watch the magic. Grab both of these, move them over here, set a keyframe, fly them into the future. Maybe 50 frames. Take them over here. And there we go. Now, they're both animating the exact same speed. And they both have ease in, ease out applied automatically. Let's go to our Windows animation Editors, Graph Editor. And we see this nice even curve here. This is ease in and ease out by default. How do I know? Well, let's go ahead and change one of these spheres keyframes to linear. I'll go ahead and select just this. And I will select the translate Z, the ones we actually did something to them. We'll select both of those keyframes and we'll go tangents, linear. Now it goes in a straight line. Let's watch these playback and notice the difference between the two. Go ahead and maximize my viewport and Alt V to play. Notice the spheres are going to get here at the exact same time. I'll leave my mouse right here and just watch. Boom, Zach, same time. Yet there is a totally dramatically different effect between the two of them. One is traveling by starting slowly and then moving faster and then slowing down. The other one is going the same speed the entire time. Now, in physics, the real-world and something with any kind of mass takes a while to get going and a while to slow down. What we're doing here is just replicating physics. So notice the one on the bottom has ease in and ease out and it creates a little bit more visual interest. Why? Because it emulates real-world physics. It's that simple that is slow in and slow out or ease in and ease out. I'll see you in the next one. 132. Arcs: The seventh principle of animation is called arcs. Now you've noticed we've been talking a lot about real-world physics. That's because when the Disney animators studied animation, they had to take it from the real-world. And when they noticed that when they incorporated a real-world elements and physics into their animations, they became that much more realistic shocker. So I'm going to present you with a tale of two spheres to illustrate the principle of arcs. First, we have sphere number one, Spirit number one was animated by an amateur. I told the amateur animator to bounce the sphere like a ball. Here's what I came up with. Sphere bounces. We'll go ahead and set the timeline to a 100 frames so we can see the full animation. And I'll press Play, giving myself full screen real estate. Notice this fear bounces and most animators would animate something like this. There's no ease in or ease out. We just have a spear bouncing back and forth as if physics really didn't apply. Like maybe it's a vacuum in space, or maybe the game palm are many, many other simplistic animations. This has no real-world physics in it. Notice I mentioned a ball in space without gravity because essentially this is bouncing like there's no gravity. All right, Let's present the other sphere. I'm going to drag my timeline to where the animation ends around frame 44. Notice that curvature difference too. We have these nice sloping patterns and they seem to be mathematical. We start high and go a little bit lower and then very low. While this is a steady stream here, now this is not a perfect animation, but watch the difference between the two. Notice that we have the ball bouncing and then slowing down and fluoro using arcs, real-world physics. This is what a ball would look like with gravity applied. You could use a physics engine, but it's important to note what's going on with the animation, even by looking at the curves, you can tell the difference between the two. Look at the difference between the curves of these two animations. I'll play them back side-by-side. Notice the difference between the curves on the sphere that has arcs applied. You've got rounded, nice smooth, and on the other one it just go straight and linear. There's a time and place for both. If you're animating a robot or a ball in space, you could definitely animate this one right here. But if you wanted to look realistic, use arcs. That way, your audience will feel that whatever character or object you're animating has a sense of gravity, making it that much more realistic. That's the principle of arts. I'll see you in the next one. 133. Editable Motion Paths: Okay, I'm gonna show you a little trick to make your job a bit easier when animating something like this. We have our animation curves here, but we can also visualize them here on the timeline, we can create a motion trail. Let me show you what that looks like. Let's go over to the animation toolkit right here. Let's go visualize and we can create an editable motion trail. There are some options you can mess around with in here, but just hit this button and boom, we've got our motion trail here on the timeline and we can literally select it and move stuff around on it. Now let's make sure what the modeling toolkit on. I don't have soft selection on. I'll turn that off. And then I can just edit the portion I'm on. Of course we can edit them here, but sometimes it helps to just visualize it here in the timeline to get things ever so perfect. So I'll press Play here and we can just see exactly what the animation is doing. We could even go further and animate this a little bit more in time. We could go over to here and have it go forward ever so slightly. And up and on and on ad infinitum until we were perfectly satisfied with our animation. That's just a little tip and a little tweak to help you out. I think you'll enjoy using these editable motion trails. I sure like I'm but you try it out and see what you like. Obviously you can see there, it doesn't quite work. So we can just easily take these and modify them. And I love that about this editable motion trail thing. Pretty cool. Look at that. How cool is that? All right, Enjoy. 134. Secondary Action: The eighth principle of animation is called secondary action. Let's go back to the scene with kirby. We have several examples of secondary action. If we scroll through here from the beginning, we see primary action happening. Primary action. But then we have Herbie hit another object in the scene, sending it flying. This could be considered secondary action. And it plays well, it doesn't detract from the scene, It's kind of part of it. Another thing that would be considered secondary action are these expressions on the face. They're telling a story that goes along with the main action than breathing. And then we get to this point up here where he literally catches on fire. And that would be another good example of secondary action. Secondary action is very important for animation. It adds visual interest without detracting from the main story. And you'll see examples of it in all major animations. We can see secondary action also in place in this scene, where we have the overall action is Kirby jumping off of a building. But secondary actions would be his eyes and its face making expressions of Wo, panic, his hands, waving, trying to keep them up in the air. Obviously the main action ism jumping off the building. But these other actions, which would be considered secondary actions, really support the overall story. And that's what a good secondary action will do. It will support the story. It will add emphasis to how the character is feeling, for instance, and you'll see this over and over and good animation. They'll make faces and they'll exaggerate expressions. And of course, exaggeration is another principle of animation and we'll be talking about that one shortly. 135. Timing: The ninth principle of animation is called timing. We're in charge of timing where like Time Lords, people don't understand, kind h know why you think it is very complicated. It's more like a big bowl would be telling you why me, Doctor, Who. We control the timing of our characters and we can change the timing based on curves, which we've seen earlier. Let's illustrate with a little race between Pac-Man and Steve. Now, never mind the fact that Pac-Man has some issues with his body structure. He's very insecure about this, so let's not mention it. Okay, We've got them animated, locking, but they're not going anywhere. We just have the cycle animated. So let's go ahead and move them. With Minecraft Steve, here we'll set a key, frame 1, the same thing with Pac-Man frame one. And then we'll move them forward in time all the way to the end. Let's go over here. And with Steve, go ahead and move them over here. Now what we wanna do is modify our timing so that yes, they do arrive there at the same time, but one slows on it, start and finish. So they don't look like they're going to make it at the same time. Some of them, it's going to speed up as it is. It's pretty boring. You could see this race is kind of dumb, right? Well, what we wanna do is we want to change the timing on the overall curves. So let's go ahead and look at those curves and see if we can't modify timing a little bit. We've done this before. So we've got this curve here. We could start much, much slower with Minecraft Steve, or even with Pac-Man here, you decide, I'll let you figure that out. But we can do is modify the curve so that Minecraft Steve is still way back here like this. Okay, now that will still end up at the same place, at the same time. But Minecraft, Steve's definitely going to start slower because he's smaller and insecure? Or is that Pac-Man? So now he starts moving, but he's way behind Pac-Man. Pac-man, It's definitely winning. But wait, Oh my goodness, how much better of a story is it now that we're controlling timing and they both arrive at the same time or even better. Minecraft, Steve wins, okay, because he's more human than Pac-Man monster creation with little weird hinge joints here. Okay, so let's watch this animation now. We've modified the animation curves so that it's not just the same exact timing across the two characters. We've modified the timing to make it more interesting. It's a race that's actually worth watching, as you can see. And notice that our character slows down here. Minecraft, Steve, that's because of this curve right here. We've got ease in and ease out on it. We can obviously make this linear by clicking tangents, linear, and then he won't slow down at the very end. We'll just keep going fast, which is also unrealistic, but it is a cartoon. And we wanted Minecraft Steve to win, since Minecraft a lot more popular than Pac-Man. Okay, That's timing for you. Make sure that you're not just animating across the board at the same time, think through time and you aren't in control of time. Again, you are the time Lord. That is timing. 136. Exaggeration: The tenth principle of animation is exaggeration. We see exaggeration in almost everything we animate. Take this scene from among us. This imposter attack, screams of exaggeration. It's ridiculous. The whole head snaps back, teeth come out and a huge tongue pierces through the crewmates. Exoskeleton, lifting him into the air. Everything about it is exaggerated and we love it. The abominations that we've been creating. This is the epitome of exaggeration. Why do you guys love to create abominations? Because you're using exaggeration. It's fun to exaggerate. But when we exaggerate, we don't necessarily want to push it too far because then it just becomes ridiculous. Unless we weren't ridiculous, Let's dial the exaggeration back just a little bit. Let's say we wanted Kirby here on the scene to be angry. He's already got angry eyes, but but what if we took them and made them even angrier like so. Now he looks almost devilish, doesn't he? So we can take his eyes and make them that way and have them come forward. And then switch up to kind of normal Delhi. And look, we've already exaggerated the size of his eyes here. And it looks great. But what if we took his mouth where it changes back and we exaggerated it even more. So we'll go to this keyframe and we'll make the mouth even larger like so. Notice it's much more exaggerated, adds that much more terror to the scene. So now let's watch our scene. Okay, it's slightly more exaggerated. Now, one could argue these eyes make him look like he's possessed. And I would agree with you. However, it's helps illustrate the point. Now, we could even exaggerate his body as he starts to fall here, we could squish them. So right in here as he starts to fall, we could probably put a keyframe on 79, right here on the head on scaling, we'll just go ahead and Shift R for scale. And then on the next frame, we will go ahead and stored him quite a bit like so because we can now of course, we're squishing his face in with That's all right. He doesn't need its face anyway. So we could do that and we could move them down even further. Like so. Now let's watch our scene playback. Okay, we've exaggerated the scene even more. You can push exaggeration as far as you want, but be aware if you push it too far, you may lose some of the audience because you start losing realism. So exaggeration is a huge part of animation. We use it for everything. We've used it for everything because we've created abominations of everything. So don't forget about exaggeration. It's one of the funnest principles of animation, in my opinion. 137. Solid Drawing: The 11th principle of animation is called solid drawing. It's used to be a problem when animators for drawing things in 2D back in the days of Walt Disney and up until the invention of 3D animation, everything had to be created in such a way that it looked like it had three-dimensions. Well, that's not a problem for us. We have three-dimensions, so everything we create the computer renders and shades to look like three-dimensions. In fact, it does such a good job that we had to literally put a tuned cell shader on Kirby to make him look more to10 and to give him a retro look. So it's extremely easy to understand the principle of solid drawing. Just be aware that some of the things that make animation so much easier for us today were not always so easy. And I'd like to take a second to applaud those people from the past who had to actually work hard to animate. And they couldn't push buttons and run into physics. They couldn't push buttons in light Kirby on fire, or have them fall off a cliff using physics. So this is my applause for you guys. I hope you feel appreciated. Animators are bold. Thank you for hanging down these amazing at 12 principles of animation to us. 138. Appeal: The 12th and final principle of animation is called Appeal. Appeals. Pretty easy to understand. Something looks good, looks cute, we like it. Now for years, animators have been trying to make something ugly, look cute, and have appeal and they haven't always succeeded. Let's take a couple of examples of really bad appeal. Let's talk about the hunchback of Notre Dam. Now, who doesn't want to root for the little guy, the underdog, for all of the ugly one that's no one likes me. We all want to root for them, but at the end of the day we're pretty selfish and we're pretty veins. And it looks like the sky no matter how much he acts, no matter how kind he is. We always think maybe he wants to kill us. Maybe he's really a serial killer. We can't really help ourselves. There's something called an attractiveness bias. It might not be right, but humans look at something cute and cuddly and think it's cute and cuddly and they look at something ugly and scary and think it's going to eat them. That's just a fact. When am I supposed to do? Go out there and rescue the girl from the, from the jaws of death. And the whole town will cheer like I'm some kind of a hero. Now, onward might have been a good movie, but the problem was the characters weren't very fun to look at the kind of creepy now, so people love creepy. Think about the abominations We created. But this was by no means they're false popular movie. And a huge part of that is because the characters simply lacked appeal. Compare these characters with some of the other popular and famous Pixar characters. Almost padding. Jury, well rx dot, you're a better buzz that I am. Mr. Lot. So do toys here, played with every day all day long, five days a week? Well, now I'll tell you when the kids get old new ones coming, when they get old, new ones replaced them, you'll never be outgrown or neglected, never abandon or forgotten. Even though animators don't always get things right when it comes to appeal, sometimes they do a darn good job like in Monsters Inc. Keep in mind, however, water news was still ugly. A few of the other characters, but the main characters were actually cubed. If you think about it, the bad guys weren't. And so instinctively, when we watch a movie, we expect the good guys to be q, are good-looking and the bad guys to NumPy, you can flip that on your head and get away with just some extent. But the principle of Appeal will always matter in animation. Just get used to it. We want to see dancing penguins, not rats in a sewer. You're seeing, you're my friend. Keep in mind a good animator can make anything look good. A car, a toy, fish. You don't remember a word. Now, even though I mentioned on any times that animators fail, they do sometimes managed to create something ugly that is endearing. Think Beauty and the Beast. Keep in mind Appeals going to make your characters so much more likable. I know.