Maya for Beginners: Bonus - Animation Demonstration | Lucas Ridley | Skillshare

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Maya for Beginners: Bonus - Animation Demonstration

teacher avatar Lucas Ridley, Professional Animator

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Part 1 Demonstration


    • 3.

      Part 2 Demonstration


    • 4.

      Part 3 Demonstration


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About This Class

This course is only intended as bonus content for existing students of the Maya for Beginners: Animation course and is looking to see how I animate a shot.

I do some narration while animating but this class is not intended as a step-by-step or instructional course, it's simply an opportunity to see how I animate a shot that we will use in the next section of this course Maya for Beginners: Dynamic FX.

Meet Your Teacher

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Lucas Ridley

Professional Animator

Level: Beginner

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1. Introduction: Welcome to this bonus section of my Maya for Beginners course. This is only intended as bonus content if you've already watched the Maya for Beginners Animation section, and you're about to start the effects, and dynamics section. What I'm going to show in this couple of hours of demoing how I animate is the animation we're going to use in the effects section of the course to use dynamics. This is purely meant for demonstration purposes. I don't really show you exactly, step-by-step, what I'm doing, but I do talk through how I am animating, the decisions I'm making. If this is the first time you're seeing any of these courses, I highly suggest you go back and start with modeling, then go to texturing, then rigging animation, and then this one, and then the final one is the effects animation. Or you could just start with the animation section and then watch this. But this is purely for existing students. I don't encourage you to take this if it is your first time watching this and you're a first-time Maya user. Don't watch this, don't take this course. It's not really a course. It's just bonus content that I wanted to provide my existing students. I hope you all enjoy it and it gives you a little bit of insight into the decisions I make. I can't wait to share this with you and then move on into the next section of the course. Thanks for watching. 2. Part 1 Demonstration: This is going to be a special bonus video. I'm basically going to do a demo of how I am going to animate this. It's going to be long because that's animation for you and I don't really know what I'm doing. This will be like a real-world example of what it's like to start with an idea and just try to want to work as fast as I can and animate this thing. I basically have my set on. I reference layer so I can't select any of the geometry. I'm only going to select the Nurbs, Curves and just to double check that, I'm going to undo those. I may speed this up, but let's get going and take a look at this. Basically, I want the skull bones character here to pop out of a grave and do some little gesture. I'm going to first set my scene to 1,001 and set the end frame, maybe, 1,400, something like that. That's too much, maybe, 150. I'm setting it at 1,001 because I know I'm going to be doing simulation on a lot of different things and so I want to have enough run-up time in positive frame numbers, meaning 0-1000 and to run the base simulations. With that being said, I also want to save this T-pose because that is going to be how the character is going to get the cloth simulation started, and then get into place. I'm going to go to frame maybe, let's say 800 or let's say maybe, 500, and I'm going to hit a key-frame on everything by hitting "S" and actually, I'm going to go to frame 500 for a minute. Basically, what I'm trying to do is get him into the start pose. But we want to save this. We want the T-pose to start. Then somewhere in here, we want him to get into a pose where he's going to be underground. I'm just going to yank this around and make that happen. Then I need to get his feet in the right spot. I will shove these down maybe, somewhere in there. I want to get these behind him, it's pull vectors. What I'm thinking about right now too, is the vest basically that we're going to, I think that's what I'm going to do at the moment, is do a cloth simulation and create a vest on. That might change later, so know that if I had to change my mind then we don't learn that part, but this is what I'm thinking right now. I'm thinking about the cloth simulation, how that's going to affect him going on. Let me just make sure my playback, right-clicking here, playback speed, real-time. It looks like that should work. I'm going to set a key on everything again here. I'm going to move all this down because I don't think we'll need that much run up. We're going to start, so let's say somewhere in here, say 920. Cool. I'm going to go back to my start frame of our animation and start animating. Instead of frame here, I'll key here on everything and then give this a few frames to run up. Maybe, lets just do a second. I guess, we'll have everything before 1,001, if we change our mind. Let's just give it a second. I want to have him burst through the the ground, that is. I want to get his hand in place. Maybe, move him down a little bit. You know what, I'm going to go ahead and change his hands to World space. I want to break the connection, not break the connection moment, delete selected. A break connection might actually delete the setter and key here. I don't want to do that. I just want to delete selected and choose World, because I know he's probably going to put his hands on the ground. Yeah. I want his hands to be able to stick on the ground, so let's see where I wanted to punch here. I want him to punch through here. Let's move him over a little bit. We get clean shot from this hand and make this into a fist. We're not going to see any of this, so I'm not worried about anything yet. It'll be messy down here when things are going to be off-screen. Basically, we're going to see this up here. Then his hand's going punch through and then he's going to jump out. I'm just getting everything ready for that. Switch to my tablet pen, clicking a lot with my finger and that gets old. I would like to have a nice little hand pose to start with, have it not be so symmetrical here. Looks decent and then I might need to animate him up but I also need to start thinking about the actual simulation itself. Let's see, it's going to punch through there, let's see how high his arm goes. It works. Cool. I'm going to go to worlds so I know I'm going to go straight up with this hand. I'm going to get in pretty close. Then lets go for punch it through. Seriously, it's crashing right now. The joys of Maya. We're back, I don't know why that would have crashed. I'm going to save this now. That's probably a little fast, what's happening there? What's going on there? It's because it's in the world. Because I set it to be in the world and I might have to deal with that later too. Let's go to frame 500 because I switched that up i think this is fine [inaudible] it down here. Not to worried about this. All I'm thinking about is the vest on his chest, so his arms aren't going to mess with that anyway, let's see. We'll leave that up for a minute. All the dust is going to have to settle. The tricky thing is, I think I don't know where the destruction is going to be. I just have to make my best guess here. I think I want his hand to rotate out and be perfectly straight so get his thumb to go first. Take this a little bit. It's going to be the antique for him slapping the ground as a way to help himself up. Punch, punch, hand. Make it clear what's happening. I want that to keep going. Keep that going. Keep it alive just a little bit. Scale all this, slow down just a little bit, snap everything. I'm just trying to figure out the timing curve, the comedic timing nature of it. I think it needs to go up on all these models. I'm going to grab the graph editor, and do this globally, see how it should be. Translate y on everything, until that one that looks weird, breaks up that curve, and so must scale all of these up. Let's key everything here, that's is going to be a mile marker. I like to even though I have an animate anything done here, I like to have keys on the same frame that is like, hey something is about to happen here. Also going to double check the rotations to make sure the curves aren't super wonky, something like that. See they could maybe be relax they're a little bit, slapping a hand on a ground. Something like this, say let's get the pose in, then I'll worry about everything else. Later, I may have to tweak this animation based on the effects. I can just do my best right now, and get him in position to jump out because feet under him. Where are his pole vectors? Sum up a little bit and get this hand ready to go. Let's see if we can't figure out a way for this poles to work. We're going to rotate the arm up, like that, and wire-frame. That's something maybe a little wonky, but let's get him there. He is a skeleton, so you can do maybe some crazy things. Keep his body rotated back. I think we're going to be something like this. Let's give ourselves some room for that to actually happen. Meaning what I'm saying is the idea is I want to see his elbow move before his whole body jumps out. It's like an antique for his body jumping out. I Just getting everything ready for that, because with the effects, but the effects, everything come through the center here. What I'm probably going to do once we get into that is to use like a ball or something, a simple shape, so I'm not having to sum all of these interactions and collisions, because that would be way too intensive for probably not a ton of reward. I want him to come out of this thing as one ball. I May rotate him with that in mind I may try to get him ready to go like this. That's going to mess up the in-between and make that harder. That's a weird, super weird transition I've to work on. You get the pole vector, and it gets spot. Make this more of an arc. Slap the snap, slap. I want this to be linear, so I'm left clicking, just so I don't have to open up the graph editor. Slap, slap, goes the slap at a frame here, but the hand's still up. So slap, slap, two frames. I want that to be linear too. I'm just going off screen and left clicking on that key and selecting tangent linear. This is weird, it's popping here, I guess armed extending the hallway. I think it needed to get this shoulder up sooner or just get involved here. That's like hitting a wall right there, because it's a pole vector. Slap. Initially immediately the shoulder should see this without this thing going to hide it. Snag all this curves, put that in a display layer. One thing about parenting things to curves is he get the geometry with it. You know it might be just the root, de-select the root aerial. The town might be trouble. Add that to display layer, turn-off playback, so I can actually see what is going on. I mean it's not bad. Slap, slap, slap. This more for demonstration purposes. This isn't going to be the most polished animation in the world. It's mainly just as a demo for having an excuse to do some effects work. I think it's weird that all that moves over before his hand does. I think that's what's throwing you. Wrong shortcut, and I think we need an antique here. I'm going to snag all this stuff and move it over three frames, 1, 2, 3, and then 1, 2, 3. That's the same. I just basically moved everything over three frames, because I want, I think I need like a final big antique on this hand. That makes it read a lot better. Slap, just to get this elbow thing worked out how it swings around here. Not a good look, and I think I can resolve that in the antic maybe. Let's get this positioned a little better, there we go. I want that to keep going up. From here to here, I want that elbow piece to keep going up. Yeah this needs to be more out of here. Try to get that arc better. Where's the antic? Here's the antic, it needs to go straight up more to start. It's like a wall here. I think this goes too far. Then it pops out, pop goes the weasel. I don't want to make this to be too long though. I'm trying to think 20, if we make it 240 frames long, it's going to be ten seconds, so that's not crazy. Pop, slap, bust out. Slap, boom. I think should have a boom, pretty immediate. I think the action should keep going. I don't want to slow everything down here. I think it should go up. Maybe I'll mix that up, once it's down, it should go up here. No, maybe it is down, and then it goes up. Yeah, and then let's have a handy little something, something while it's still not. So the hand come back a little bit. One, 2, 3, start here. The thumb was wrong the whole time. Just clawing around a little bit. Sorry, I'm not talking much. Smack, that means more time of not moving, and he's just chill in the smack zone, you know what I mean. This shouldn't keep going, is this not? That geometry is not included. It appears, in this layer, Let's add it to that layer so now I can select it. Oh, yeah, because I was trying to select the dirt. Delete, save it. No mouse dragging to that key. Why is that moving, I just said don't move? Same for you buddy. I'm going to drag these frames out, 1, 2, 3, 4, 5 at least boom, smack.Frames. I guess that is what I'm going to do. This is kind of straight head animation by the way, because I don't know what I'm doing. I'm just figuring it out on the fly. Slap, I think it comes up too high there. This kind of a thing probably would be better on like twitch or something maybe. But you are getting it in this course because you don't have to watch this if you don't want to. I'd rather you have too much stuff to watch than not enough and want more, be like, "I never saw him make that animation. How did he do it?" Now you're going to know. His tail is wonky a little bit but I honestly think that's better. It's just like a little thing. Like let me get my grip and then he's going to blast out of here. Let's blastoff. Where was that frame? That's him going down. One, two, three, four, five. I'm trying to get one of his hand, I want to move this together. What's happening there, that should be a world. Well, crap. That is not following the world. What is that about? I have a set driven key problem here. Why is that not following the world? I have a rig issue. I just discovered and I need to uncover it. Here is real live troubleshooting. Both of those are on zero and for this one, that one is not on zero, this is the problem right there. Let's save this. Good thing I'm using a reference file because I can adjust the rig and make updates. It is not going to hurt my animation. I just think I'd just never set a key. Little driven, no dummy. I want the constraint and this is on shoulder. If I go to World, wait a minute, what the hell? Yeah, there you go. Now, I should follow correctly. No, what in the world? "Hey dumb, dumb? " This one is zero, that one is still one. What? I said zero I have it recorded I can play it back for you Maya. Sorry, that's off screen. You're not seeing what I'm clicking. I'm just going through the rig. That is on World, that is on Follow this should be, wait, what the hell? I've the wrong fucking thing. Jeez Louise. This is the deal. Key it. Now this is on World. I wonder if that's what I did last time. Yeah, now it's working. Problem solved. See I didn't screw up anything else. Save it. Now when I open up my animation file, I already saved that but whatever. See now that's some world space. Let's basically delete everything I guess. Let's go to where we're going here and let's just delete all that because that's not helping us. These are rotations I'm looking for. You know what get down there, how about that? I still wanted to go through his chest for sake of the vest. Now I'll delete all that. I don't know what those are then. What is that? Visibility. Let's get a look at our graph I don't know where we made that last big key frame, where it's about to go down. That one, and this one. I want to get this in position. Its going to be there. Just get in position there buddy. Whoops its on the wrong frame there for a second. Let's un-hide the dirt so we can see where the limits are here, need to be inherish and let's keep the elbow tight. Let's get this going. Let's get this over this thing here. Let's rotate this. I don't want to screw up. Set this over there. "Delete" key. Now his going to be jumping through. Let's get this shoulder working. That elbow is probably screwed up as it is. Let's keep it tight, so we can keep it down here. Just make sure it's not crashing into him and his body and vest has room. We are just going to get it, keep it out of his face. We will see his face when he is popping out. Let's get this in position like he's jumping out of the bottom of his coffin. So I'm just blocking in the major poses here on the job. I'm not super worried about much else and you can tell I'm just ignoring the hands. I'm going to compress everything a little bit so there's room to stretch it at the top. So I'm thinking ahead of what the next pose is going to be. It is three in the morning here and I'm probably going to have to call this quit because I've work in the morning. This is part of trying to create courses while having a full time job working in the industry. I stay up until very late trying to make these courses or making them not trying him actually doing it but I want him to be higher than the floor is. You know what I mean and he needs to be coming forward some, because he needs to land in the front. This is going to be the hang time. Where's his knees? Trying to make kind of a cool pose. The one thing I'm not doing it is animating to a camera, which is a canon. I should have already picked out a camera. So let's do that super quick and create, oh my eyes I really got to go to bed here. New camera, let's name this render cam. Let's do something not three, five. lets do that. Let's frame it up so we can see what we're doing and I want him to land, like in the camera layouts to pin side-by-side give me the perspective. Now turn all this junk off, give me the textures because I want to look pretty. Why does it look like he's coming on that side. I think he's coming out of the side too much needs to be more over. I guess that's fine, he's just kind of close. Let get him more over there lets popped out middle and now we need to get him back over. Let's look at the graph [inaudible] to see what I'm trying to use it should be probably x. Lets do the same for these rotate translate lets get this to the center. We got his feet, lets get his hands on world bring him straight up, he need to keep floating. This is kind of maybe much or like slow flesh do, as well as to an actual play blast so I can see the actual speed because playing it back in my eye can be deceiving. So let's see. Still rotating up, I want us to be more, get his head on straight because he is pushing out this hand, I want the spine to rotate that way and then have his COG follow him, let have him rotate, whatever rotate more this way. So he has more room and he gets to rotate and then rotate. You can tell not literally touching his neck much but that's nice. This almost save that sometimes and these kind of more limited animation things because then you have like an extra layer of control of later. You're like I know I just want to tweak one little thing and you don't want to mess with all their head animation you've done, you have the neck. It feels like is jumping. I think it's a camera maybe. Think we need to do like this. Just feels like there's so much, like he is jumping, I don't know. Like animate the camera I think. I want to see his hand. All this stuff needs to come over as the annoying part. I want to look at the straight on back up. Jumping, he needs more airtime. He's coming down to soon. one, two, three, four, something like that and all the stuff. Yeah, sure, whatever. That's right, then he should come down pretty quick. I think this is maybe too far. Then we'll get all of this. I think he should come down pretty quick actually. Let's see the forward momentum we've established here on Translate Z. I think not bad, you can see that. Basically, there is no reason why you should start to slow down in mid air. I'm going to delete that one. The feet on the ground, which means that he's over too much. You can see that's way too much burden. It looks like the graph editors it's not updating the view portal. I want to change the timing a little bit. But in general, jump. It's been one hour. It is now a 3:20 in the morning. I'm really going to go to bed. But I think we made good progress; smash, smack, smack looks weak now because we can't see the elbow. I think when we get to the elbow it will look better. We'll just have to figure that out. When we do the effects because we got to see that elbow. It's not terrible. I think the timing is weird. Let's fix that super-quick. All this is too much time. See where we have keys that we can move around. What's the key here? I will delete that. Nothing. Yeah, let me delete that. Everything forward one frame. That goes far, now I'm looking at the spacing let's take a frame out of there. I'm watching the hand come down smack, that's wrong. It's like in here, one of these frames, why is it being such a jerk? This is nothing, What is even this key frame? Delete it. It still feels slow. Is this one, why is that frame so weird? Because it's an in-between with nowhere to go. That's better. That's up for tonight. I will pick this up again and see you in a little bit. Thanks for watching this, and we will wrap this up in the next section. Next time I start animating again, I can't even talk. I'm so tired. All right. 3. Part 2 Demonstration: We're back and I'm going to try to finish this up in this session. Take a look at where we're at. We basically have a jump and we just need to get the landing down, and then pick a final pose to have the final reveal thing or the final flourish to this little animation. I'm going to get this landing down, I'm going to go back through and figure out the arm's, not too worried about them right now. Let's figure out where the last key frame was. It's here and I just toggle through to see what's happening. I think we can get this leg straighter. I think it'll probably come up here, I'll do that later. I'm trying to just look at the theory right now. Okay, excuse. This one further on the front of them, something like that. I'm looking at this line right here, trying to not make it so broken, so a longer that is, I think it'll make it feel more of a stretched pose. I'd have to figure that, this in-between stuff because that right arm's gone wonky. Let me fix this wrist while I'm looking at it. Turn off herbs curves over here, I don't need it at all on that side of, I'm doing this thing let's see. I'm just trying to get this stretch pose to be as stretched as possible, maybe moves this head later. This foot looks weird, bring down both of these feet so they've more room to go up in this next pose here, because they need to go up more and the next pose. I got to take them down a little bit here, so they have more room to go up here. It gets a little slow here, which is kind of weird. I think I need to take some key frames up. I think it's too slow in here, I want the slow part to be at the very top of jump not before. I wanted all the slow stuff to be in there. I think you can come out quicker too. I see just one frame will do. It's going out the frame, so I have to ProAnimate the camera, which is okay, I still want to get this figured out. It just hits a wall here, what can I do? Go ahead and do an in-between in here. Ford this head is getting up in this top pose and I think it's from the spine rotating. I'm going to look at that in the Graph Editor and this should be rotate z, which it is. We can see this big spike right here, so I can just take this back. That goes back there. I think it's from the hips or the COG. No, it rotates here. Maybe get that back. These hands to do something different, coming up here. I don't want the elbow to go in there yet, I want it to stay out here. It's too close, you can see where it's too close, I want to drag it further back. I think I want this hand to lead. When I get this pose started out here, I don't want it to go that far end. It should go up, I want it to already be going up here, I think. Smart, gradual and then this other one can catch up, it's still too fast though. Anyway, I'll figure out some other way to offset these, but that needs to be going up already too. I'll deal with this later. I want to move quicker than I am right now, so see how it just stays at the same level in here, I don't like that. One second. Look. Let's get into the next pose. Everything is keyed here. Let's get the landing pose. Let's get the squash pose. Grab the hands while I'm grabbing this because I want that relationship to stay the same. I want to make sure the momentum's still going down the same rate, somewhat. It's just starting to slow down here. Let's get this foot more on the front. This is zero. Zero all these rotations. Toggle back and forth to see if that foot needs to go somewhere different. Feels about right. I think we need to take some frames out here. Did I like grab? Everything's still moving. You know, what happened is, I have translate Y selected here, so I'm only selecting translate Y. I'm just going to deselect everything. See here, there's one frame where everything got offset. I want to get everything together. I think I want this to be a part of the antic into the next pose. I'm going to start twisting him because what I'm thinking is he's going to turn away from camera then turn into camera. Like a ta-da kind of moment. I need to go ahead and start to have this on the squash pose of this start to antic. That next move that I'm going to have. I'm going do this back and then he's going to squash more when the COG comes up. Bring this down. Grab the pole vector. Get this down. Get this to start to be, because I'm going to want this arm to come all the way across his body and start to get this pole vector in position. Squish. Yeah, I'm just going to keep moving fast and go back through this stuff later. Why is that one frame offset happening? Get over there. There's still, something not okay. I think I'm going to need more down saddle stuff. Maybe in here. Let's just going. This is really considered straight ahead animation. If I was doing pose to pose I would have done less poses sooner. But because I'm more comfortable animating, just in general that I have confidence that I can fix whatever problem that comes up. I just like speed through this stuff sometimes, and go pose to pose, or sort of go lost, go straight ahead like I'm doing right now, instead of doing pose to pose which is just a personal preference. Again, just thinking about next poses, where everything needs to be. I want these to come all the way across his body. This kind of character is a little difficult to pose. I would say just because of the silhouette is not as clean as something that's not a skeleton just because there's so much negative space inside of his body and the limbs are skinny and all that stuff. It's a nice practice really to like try to get good silhouettes with something bony. I'm not being too particular about that right now. I do want to just speed through this, because the whole point of this next section is not animation. It's about effects. I want to make sure I'm focusing enough time and attention on that. Even though this is bonus content. Just the time that I'm putting into the course. I don't want to get tired from doing something not related to the next section. That is just inside baseball, as we say in America, of what's going on in my head, trying to make sure that I'm making this course as valuable as I can to people. I always try to think of myself when I was starting out, what would I want to see. The funny thing about when I was starting out, YouTube was just starting to be a thing, so there was not a ton of online resources like I'm making. I'm trying to put myself from 10 years ago in today's shoes and 10 years isn't that long of a time, but, in an age when we didn't have YouTube and then we had YouTube and every other kind of internet thing, 10 years can be a lot technologically speaking. I'm just trying to think of what would I want to see when I was starting out, and that's what I'm trying to give you guys here. I hope you're liking it. Let's see. Maybe I want to drag that hand more. This is going to want to come down a little bit. Figure out this. I want this hand that come across a lower. It's getting all wonky. Look how wonky that is. Another thing I want to look at is the rotation here. If we go to crash your filter, boom, that's going to fix that. The hand should be rotating correctly now. But now I just need to fix all this wonkiness because it's trying to go straight across the body and not rotate around like a real arm. That's up to me to fix as an animator. I have to figure all that stuff out, so I drag it out here. Because I have all these selected, I'm not seeing those key frames in the timeline. I'm just going to turn off sync timeline display so I can see every key frame no matter what I have selected in the attribute editor. More look from the camera view. I want this to come across. I think the elbow needs to be fixed too, it's one of the main things here. You want to think about, if I was to draw this, this goes back to more old school animation, but you should think about, even in 3D that each one of these is a drawing. If you don't have any traditional animation background, I think you probably just imagine it and appreciate what really that would entail. Even though we're animating in 3D this is a 2D view, we're not like in VR or whatever. At the end of the day, we're going to have a finished 2D image that people are going to watch. I'm going to try something super quick. You might want to skip through this next section because I use animation layers when I want to test something that's not going to screw up the animation I currently have. I'm going to do a whole course on this stuff as more intermediate, but basically, I want to test an idea. I'm going to set little mile markers here. I'm going to go in here and have a different pose. Looks goofy. I think there should be maybe a ta-da moment here. I think this isn't going to work, but I like experimenting. Let's just see if that does. That's super wonky. Everything is moving too slow. What I'm going to do is, get this to happen quicker. I think it's an interesting idea, it adds like a nice little thing. I don't know what that is, but it adds a nice little sound like a little cartoon meme. Just need to fix some of this stuff now because I was moving keyframes around. What's going on in there? there we go. It's more interesting. I'll start an animation like this. I'm all about experimenting and just trying something new. Some totally wonky maybe. I think bagging out about is if we watch his head, to do something scattered up here. I want to delay that. I don't know, I mean, that's a little weird I think, is too bobble headed. I think I'm just going to go in here and scale all of this down. Fix it. Just crawl more solo being here. I think I like that little being, it's going to [inaudible] This needs to get resolved because now his hand, his wrist is doing wonky stuff. let's see if it's a euler filter thing. It's all flipped around though. Oh weird. This is called gimbal lock. It's very frustrating. look at this man, it's already liking getting involved from day one here. Just trying to keep posing it out and see if the euler filter can't fix this somehow. Now what's pocket man? This is animation. Constantly going back over the same area and seeing new things and getting annoyed by it to the point that you want to do something about it. I don't understand why this is being such interact with the rotations. Getting gimbal lock. You know what? It is from the animation layer. Let's break this down. Sorry, I'm not talking at times, trying to move real quickly. I'm going to save a version now. Save another one. I'm not really taking time to explain stuff because this is a bonus thing. Merge to itself, which gives us a bonus thing. I'm trying to just go quick because this would be like a ten hour thing if we tried to explain everything, I would never get this done. Now, I think we'll have a better chance of solving these rotations now with animation layers bagged. I have confidence in you guys, if you really wanted to figure this stuff out, you'll figure it out. Like I said, I'm prior to having an intermediate class that covers these things. Smash, strike a pose. I'm just going to fix this, and say in general, I think that little experimentation, adding this, adds quite a bit I think to the animation. Adds some more personality. This is more of a flamboyant, gregarious, if you will, skeleton guy. We should have a little more pizzazz on the jump part here. Let's keep that going. Yeah. I think that works. Yeah, cool. Boom, little kick. I think that's cool. That's working. I also want this to rotate up, become a little higher. Then we need to fix this knee thing. The same thing with this one. Probably need to fix this. Let's go there. Yeah. I think I want to keep this. Rotate it up, and come here, let's bring this over. I'm not being super particular about where my keyframes are coming from just yet. For example, I'm going rogue on this now. Meaning I'm just putting keyframes wherever the hell I want. Sorry for that cussing. Wherever I would like them to be, that's where I'm putting keyframes. See how that goes straight across. I feel like this needs to come from down, and it needs to loop. We need to come in more, like that heels has an antic. See, I'm like [inaudible] and polish stuff in this phase, which is probably not good. It's a bad habit be showing people how I'm working, but this is what it is. Boom. I thought we need to give that snappiness to this leg too because it's [inaudible] right now. I've also spend more time with this. What I would do is make the hands be a little more snappy too, because they're slow compared to the offset them because they are going to go at the same time. Here, how they both are there at the same time. I'll probably offset that a little bit, but let's just keep moving because we can do all day. That's the thing with animation is you can never really be done with it. You could just go forever. Why is there a keyframe all the way down here? From, I think, baking the animation layers. Let's see how of balancing is maybe a little bit because he's favoring the side that he's already in front of. This needs to come over a little bit, all this stuff. I want to make sure these are okay. The baking that is some wacky stuff, added some keys in some weird places. We're just going to go with it. There we go. I'm looking at these feet positions. I think this one needs to come forward more and this one goes back. Because of how I'm setting up the antic here. Let's get these figured out. Leading old keys after I made that new pauser. Stopping it from in between correctly. I want that foot to hit like a bouncing ball. It should get down pretty quick. Still eats us. Actually, let's just copy this frame here. Middle mouse drag, of course, brings that down. Now I get to see how far off that is. I'm going to delete that. Now you get to see it should be out here. That's nice because we can now set the feet heading down. You can't really see his feet, but I just want to make sure in case we change the camera. Glad we added that kick. It adds a little something something. Let's move him over here, rotate. Here seeing he can touch the ground. We're not that low. Maybe if we do this. Pretty close. I think that's okay though. Just suggest he's throwing it out there for balance. Let's get that hand all the way across. It's really twisted here. It needs to come down more. I might actually be able to touch now because I do want to bring them down more. His elbow is working. I like to look at things from other angles. Then look at the graph editor, translate not the hips we want to see it translate here. Make sure it's all making sense. From a physics standpoint that sometimes view point messes up. I think all this head stuff, it's like some Handball stuff happening here. Think we didn't see it here. That's what's up here. Let's get this. What's happening here? All these tangents are weird. There's something happening here. See how he stops going to the left of the screen here in midair not like that. Why is this?What's this? I got rid of that problem. You tell do the best you can and then you can see where issues are coming up and you just go through and fix some. Think it should still be coming down at this speed. Maybe take some frames away here. Annoying. Maybe it's my tablet. I'm working on my tablet, it's not picking up the right-click or whatever. Not of adjusted everything. Now the hand isn't working anymore. of course. It's going to get through here and fix that. I'm looking at is the silhouette here. Also I want us to go down and up. This one's bugging me. I'm going to do a pose to pose thing where I'm just going to get the final pose and I'm going to deal with everything else later. Let's just pick a couple of frames out here. Let's get this guy into his final pose, and that way we can wrap this up here. It's going to be a lot of getting everything back to the default to see how far I can push it, and doing this pose to pose up is going to make it really obvious where to spend your time fixing stuff? I want this hand to hand to come back. So I think he's going to need a twist more. Let me get my key frame every thing and I think you need some twists more here, so it has more room, and this next one, maybe delay that head turn. I don't want to miss his whole face here. I want this to go in this direction first. So what's happening is everything is moving at the same time here, I'm going to copy this, move this one back. Grab the one before this one, copy it there, and then I'm going to really have this. Let's do that here, and I think we'll fix everything else that's happening is weird and the in-between. Let's get this final pose in, I'm going to need at least one more frame here. Let's get the fingers to zero, let's get this forward and I want this twist around. Let's just figure everything out. I want it to be the opposite of whatever it's doing from before, let's come up here. I'm a little concerned about where this is going because I don't have a great idea, I'm trying to find it in this pose, bear with me because I'm not entirely sure what I'm doing yet. I think maybe this one should be low and that one should be high. Maybe something like that so they're a little different. Let's get him straight up, let's get this foot more right under him. Spin it down here get this over, move it over something like that, rotate it's hips a little bit. I think we're getting somewhere again this character, it's not the easiest thing to pose, which makes it like really good practice with when you do get something that's maybe more appealing or has easier silhouette to pose out. So something like this looking at the silhouette and the left view here. Something like that, having the shoulder up like "What up?" "What do you expect? I'm a skeleton dude. Of course, I'm going to be harder to pose because I don't have no muscle." Sorry I'm being silly. This a cliche pose like the W- pose, you just try to find a way to break it up, and it's referring to like the letter W because you have the Y thing. But if you have an offset and one elbows more obtuse and one's more acute, meaning the angle from the elbow. You just break it up, it's not super generic of a pose like that super-helpful. Twist is always your friend. Here too much and where did I put his blend shapes? You know what? This might be another rig issue that I'm discovering right now. Oh that was the extra one. Why not mess with these for this one? Just leave the face stuff out of this anyway it's hidden down here and if you follow the rigging part, you could have done a self-driven key like add attributes and do a set driven key right here. So all the face is on that controller. I may take another pass this rig and have it be available on my website. That has like a little more polished but no guarantees. I just try to maximize the time I'm spending on these. Like what's going to be the most useful for the time I'm putting on. Because I do have a limited amount of time. When I am using it, I want to make sure I'm going to have the biggest return on investment in my time for you guys not for myself, of course, for you. I may or may not have made the rig. But I think this pose is working, I think I'm just getting the neck to be a little more straight into the head here. Let's take a look. Yeah its working. 4. Part 3 Demonstration: Now, we just have to deal with all the in-betweens, smack. I think I'll probably end up changing the timing of some of this, it takes a little too long. But I guess what they effect, that's why I love that much time. I don't want to deal with, this is not good. That's annoying. So anytime you're doing a walk or there's way getting pushed off, I'm going to do a whole thing here. You want to have to stay till the last possible second. So what's happening here, flatten this back out. Is in between, it's just coming up with the rest of the body because we didn't do keyframes on every frame. So then I go back and make sure that's what's up. We want to make sure the contact is happening here. So everything is acting friendly, and then in this pose, it's to stay down. Can I do a really bad Arnold Schwarzenegger impersonation of get down and bridges out? But not subject you to that. If you ever get a chance to teach classes, they're interesting because you start to go insane a little bit. Because I'm just talking to myself. Let's see here, why is that so far back? I want the shoulder to stay down here. You know what? I think on the shoulder we can do a copy frame deal almost. So it's this kind of thing that makes a lot of difference, and this is what I'd be doing if, I was trying to make this into a demo reel piece, I would eventually probably have a keyframe. Not for every joint or every controller, but a keyframe on every single frame for at least one control probably. Because I'd go through and make sure everything is doing exactly what I wanted to do, and make sure that is the case. I don't want that to slow down as much there. I'm going to offset this with the elbow. It's kicked us out a little bit. Let me try something yeah, I said I wanted to offset stuff. Let me just try that by shifting keys over. It's kind of a no no, but it's a quick and dirty way to get that offset. See how his hands need to stay there for. Because they're not super reading that, not reading super well. But this is the perfectionist tummy starts, I have to tell it to shut up because it will never get this done if I just keep tweaking it until the end of time. But if you're into that kind of thing, that animation is probably for you because that's what it takes, cool. So all that's happening too fast, which seem to fix this kind of panel thing and then we will be done okay 1, 2, 3 because I want to go 1, 2, 3, and I want to keep this over here for as long as I can. Because he's pushing off with the hand, so that needs to go down because I want that to be the last thing. This foot needs to stay down with the key and everything. Yeah okay, footnotes to stay back and I might do a little foot roll action on it. Let's see foot roll, I want to spy on all this statistic over. See where his head hits a wall here, and then starts already coming back. I don't want that. I want that to stay over. But I do want this to be doing stuff soon, I want the COG to be doing stuff sooner. But I want this to stay over here. Honestly, he's kind of off balance a little bit, but it's what it is. Just hate how he just hits this wall. I think I need to dial this one back to give this more room to do this, yeah perfect. See how his COG is going up and the head is still doing what it was going to be doing anyway. So I'll just bring that down more. That's tragic stretching now. Okay. I want to take this final frame. I'm going to duplicate it, and then I'm going to offset everything again over here to favor. With the mouse drag it, may be in here somewhere, and same thing with his head. Let's drag that. Let's bring this over. Maybe. Let's bring this up, or let's bring them down maybe. We just need more time. This should already be done I think. I think it needs to wait a little longer. Increase the foot rule a little bit, keep that going. I need to do the same thing I've been doing, offsetting things, and this is all the stuff is too slow. I'm probably going to do a filter thing that looks like the curves that's rotating weird. Yeah fixes that. Beautiful. I need to make this a little better. Let's see. For some reason, it's not updating super well. I think this needs to stay up. Trouble is we don't have much further to go. So we got to bring this down, and distance to come over and more. Distance to go over more. It's a little weird. The hands. It's slow. All that stuff is slow, look at how slow spine is rotating here. All that way too slow. Drag his head more here. I really want his head to, I'm basically going through and getting everything to settle, and what I really should be starting with is the COG, and I want this to bounce. Basically in a while let's just deal with one thing at a time. I thin that's too much. Now we're getting somewhere, and I'm not looking at his arms. They need a lot of work, and I want to delay the foot. Is two Speedy Gonzales here. Maybe one more.We did the same thing with the spine. Bounces. He needs to keep going. Let me zoom in here and increase that. Let's see. This might be too much. Yeah, it's too much, and it's happening on the same frames. It needs to happen like one frame after. I think that one's too big. What's going to help this is doing things in the opposite way. I just need to ease all this stuff and probably offset these frames. The sternum here is doing a circle. This is what I'm looking at. See how does like a little circle here, draw little circle this time, just like one little curly cue thing. Let's see, kind of get stuck here. I feel like it wants to come back. Which way is this going? Yeah. That's the wrong way. I feel like it wants to come back this way. Very subtly. That's simple. It sticks here, boom. I think that's this. Look how flat that is. I think we need to keep that going, then look at this angle. What's going on here. Sometimes I'm just like, I don't know what to do, I just exaggerate the crap out of something, be like okay for sure, don't do that or for sure do it. That's what I needed to do. Sometimes it's good to exaggerate stuff like that. Now I'm going through here and kind of have it all flow and just speed all this stuff up. All that stuff is super slow. I feel like I need to delete this, and drag all this down. Yeah. A lot of this just comes from practice and not being afraid to experiment. When you're starting out, you want everything to be perfect and you don't want to make any mistakes to prove that you are good at it. Because you're insecure because you're learning something and in reality that can make you less willing to make mistakes or like try new things. That's dangerous because you're not learning as much and as quickly as if you make mistakes, like that's mistake and I'm just trying to figure out what's the right thing to do here. I'm okay with not knowing the answer all the time. Sometimes it's super helps to look at things in 3-D. It's getting wonk and wonkier. As I say all that and try to be all smart, like screwing up. So slow, I think this is slow as crap. That's what's up. Because on the shoulder itself, that moves pretty quick and we just need to stay up longer. I like all that stuff, we just need to keep this up. Yeah, I think that's okay. In reality, a lot of times people ignore the shoulders and they just want to focus on the hands. That's like a super beginner move, which I did for the longest time because I'm just like everyone's going to see the hands, I don't want to spend time on the shoulders. But the reality is they actually can carry a lot of emotion and really break up an upper body which might not normally have as much motion. Especially character like a rig like this, you want to use everything to your advantage that you have. That's kind of good in this shoulder cells. A lot sooner. It's a little distracting sometimes. Come on, the hands aren't doing stuff right. I'm going to follow this through and then figure out what is going wrong here. Then I'll probably have to come back to the shoulders. Fix the rotations. It's maybe a little too animationy. It's not terrible, but it's kind of calling attention to itself. I think if I did this wrist a little bit. I think I'm making it worse. Smash. It's too much, it's kind of annoying. But whatever, I've had that air conditioning off in here so that you can hear me say my words. It's getting super hot in here. I'm trying to work as fast as I can so I can turn the air conditioning back on. I'm burning up right now. Yeah, it's too fast clearly. Holy crap, what the world? What did I just do? I think it wasn't updating or something. Like that's fine and then what happened? It just went crazy. I don't like that wall, it's right here. What don't I like? I don't like that wall. I think if I rotate the wrists in a better way, it'll be less. That takes forever, what in the world's going on there? Yeah, this is bugging me. But in general, I hope this has been useful for you. This should be coming up. This is the deal. That's too fast. That should be like a fraction of what it is. That really bugs me that it hits this wall going vertical. Lets step through this and see what's happening, it's the wall right there. Okay, I think if I tilt the rotation of this hand, it will solve the rest of these problems. There's this step thing happening here, I think it's right there. Let's do one frame last, and then let's have it go back down here. I don't like this one. This is bugging me. It so slow, bugging the crap out of me over here. All that, too way too slow. Yeah, that's all way too slow, still. That's way better. Let's take a look at the head. I think it needs to still be going, see here, let's see. You can tell what I did was I started from the root and I worked outwards from there because that is going to affect the whole body. If I was to do the head and then I did the COG, I would just have to start over every time. Let's see what's happening here. That was just too hard, I see. Now the head it's like boom boom. It's a Z, we can take a look at the graph editor if my tablet will let me, comes in too hard there, let's just come down there. Wanted to get an extra frame, that was fine. What in the world just happen there? I think I messed with the camera, and I didn't realize it. That's pretty good. I think this will give us a good place to stop, I think we're done here. Let's play the whole thing and let's let it run for like another second after it's done, which would be maybe 1185. Let's get back here, let's turn on smoothie stuff. Let's turn on this maybe, let turn on that. What I'm going to do next is animate the camera. Sorry, I said we're done before we were done. You always want the camera to follow the action, you don't want it to lead. Same thing like I follow through and you want it continue after it's done here. Let's take this key-frame, bring it back down, and have an overshoot in the bottom here, and then come back up. The only other thing I might do is add some handheld looking motion here. We'll start here and just go through and do like little things like this. Let's just see where we're at that. Yeah, I feel bad. I mean, camera animations, it's one thing that you definitely want to spend time on that. But in general, like for handheld stuff, that's moving too fast, we're going to move too much here, and this needs to get up, you start to get a sense of this. I could probably do a whole class just like camera animation, which I might, but this takes practice. It is considered kind of a layout artist job which it's hard to find really good layout artists, so that could be one way to break in into the industry a little bit is to tell people you are excited to do layout and camera work. I want this just going up, swings over here and just keep going. That's one way to break in because I feel like they're always looking for camera people, our layout artists, like I know on the last movie I worked on, we were having a hard time. We honestly didn't even really have a layout department. It's like a huge part of a production and we just didn't have that. I know it might not pay as good as animation starting out, but I've seen people go from layout to animation. If you wanted to get to animation, you have a hard time getting in, you could explore layout artist positions. I swear to God we're going to be done here in a second. That goes down too fast there, oops, that goes up to quick. It's just a lot of back and forth. I have actually did some camera work and Ready Player 1 and it is the same thing for sure. Oh, my gosh. We just need like a couple more pauses in here. Let's see what that gets us. Yeah, I mean that's not bad really, then I might honestly just take this stuff that I know is okay, and paste it in here. This is, you want to work quick. One of those say, not harder but smarter, and I think we just need to flip this. We don't need to go that way with that, we need to go this way. Then I think we need to overshoot the X stuff a little more in both directions. Still that key bringing over here, I want that to go down more. That just sticks there, we need another key there. Using to fix this, whatever the heck is going on over here, let's just delete this. What happened before here? Let's take a look at that, now with some animated camera. That's way too much motion, I think here in the beginning because I want more frantic stuff later that will mimic like the emotion of Oh my God there's a skeleton popping out of the grave. If there's always camera motion before the action takes place, it's takes away from when action does actually take place. It's just dial all that stuff back, delete that, bring that up, and rotates these probably not actually doing much anyway. Let's see here. It's now an indicator like this, I think [inaudible] draws this fun thing nice than a Mac I don't know if I would be able to do it on a Linux or a PC. Because it's really fun thing where it refocus everything when you don't want it to. There is a blank we had a wall right there. I think it's an X. No. Why? Sorry for the motorcycle noise. Now, it's X. What's going on here? It's bouncing up. All the stuff, I'll need to get more frames. Bring it down. It doesn't need to come over. I don't know what's all this stuff wasn't rotating over this much. It's annoying. Right in there it's this stuff. Bring all this down, and I can have a sense for what it's going to do. I'm not actually even checking my work. I like do all these things on the curves and then I'll check it. It's anticipating this move too much, could this move? Then it starts too early. This is too much, and it's too soon. All the stuff needs to go later. Let's do everything later by at least a frame. Maybe take everything to frames. Bring that up. That's a little quick. Whatever else happening here. Let's just go wide. Take everything. Make sure I'm on the right one. Let's just give it one more frame. The only other thing I might do is back up the camera a little bit because I want to see this moment more. Delete all the key frames on translation. Just back this thing up or what else I could do, is just change the Focal Length. Something a little wider. I don't want to keep going up as much. I think we've overplayed that moment or the offset a little too much, it's good going down. I don't know, I think I'll probably look at this tomorrow and not be happy with it and make more changes. But you can at least see the process a little bit and this all coming up too much. All the stuff should stay down. Let's focus on the guy, I mean, come on. We spend less time animating and let's look at node C is a full body thing going on. All the thing I am trying is a focal length zoom, I'm going to just do that for fun right now. Play it back for me. I think that works actually, I might just keep this, sorry, there's a siren coming by and dogs are howling. I forget with the good layers to reverse this type of animation. But let's just go through this. I think in this move, I can maybe cheat the camera up, rotated up and that motion a little bit. Let's do that. I think you just need to set like an overshoot. Always animation concepts, they don't just apply to a bouncing ball. It's everything. It's the focal length on a camera. I'm going to overshoot it and bring it back, and that's why it's so important to learn principles. Because you can apply it to everything in animation. Let's see how that overshoot looks. Cool. I think I'm happy with that. I think we're done now and I can finally turn the air conditioning again. I think the jump is a little fast. I think all of this stuff is a little fast I may slow down. But I'm going to end this because this is like two hours now, just in this session. I think it's three hours total. I'm going to do a few more tweaks, maybe compose the camera down more or a little bit here. But thank you for watching this bonus content. I just want to make sure that you guys see every step of the way and don't think I'm like trying to do smoke and mirrors on you, and they don't know exactly what I'm doing. For every aspect of this course if you have any questions, send me a message post it to the course, so the other people can see your question and I'm going to answer it because other people might want to see, hove the same question, see that answer. Follow me wherever I'm at. You can Google my name to see new course updates and all that good stuff. But thanks for watching this bonus content, and I hope you have an equally enjoyable time animating this little guy, doing something crazy then we can apply some effects animation too. But I'll see you in the course. All right. Thanks for watching.