Principles of Animation: Mastering Character Animation in Blender

1. Class Introduction : Hello, there. Welcome to the principles of Animation, learning the art of Character Animations in Brenda. This is an ultimate class for aspiring three D AniMas. If you're passionate about creating three D animated short movies, commercials or fan Animation, featuring cartoon characters, you're in the art class. This comprehensive class covers everything from the basics to more advanced techniques in three D, cartoon character animations. You are going to learn the principles of animations and how best you can apply them in your work for you to be able to create appealing and engaging three D cartoon animations for your audience. My name is M Chiche and I'm a lead animator at Creative Upseven with six years of experience in animations. So even if you are an absolute beginner in Brenda and you want to measure into character animations, this class is for you, too, because in this class, you're going to learn starting from introduction to Brenda itself, introduction to Brenda Animation editors to the bound symbol Animations. And then we later on go into introduction to collector leagues and a control section where we are going to learn character object interactions, collector work circles, and more other lessons. After that, we go into the principles of animation section, where we are going to learn about all of them and how best we can apply them in our animations. We end our class with story telling and mission section where you are going to learn sin staging for better and Mi story telling and matching with reference video crypts and understanding lip and mission and lip synchronization with audio in Brenda. Before we begin, you can review the class syllabus from the lesson resources section to get a detailed overview of the class curriculum and learning objectives. Additionally, I have provided all the lesson resources, including my four legged cartoon characters that will be using for learning in this class. And after you finish this class, you are free to use these characters for your animation practices. And also, you can view from the class project section some of the animations that you will be creating as you follow and learn from this class. Finally, for those who are new to Brenda and seeking additional skills beyond character animations, I'd commend exploring my complemented class, modeling cartoon characters in the likeness of a real person in Brenda. This comprehensive class covers the entire character development process, starting from modern, UV and wrapping, texturing, ligging, clothing, and hair designing. So you can check this class among my classes for more additional skills in Brenda. 2. More Class Information And Blender Version : So before we begin, like I set area, I have provided other sources for the class, characters and asset files. So you will not need to model anything. Your focus will be only on animations. So now, for the lesson resources, you can either download everything at once and pack them nicely on your computer or you can be downloading gradually as you follow the class. Okay? When we reach at a video lesson, where you will require to use that particular lesson resource, I'll be informing you to download it. Lastly, for the class project, apart from our main class animation project, where we apply everything that we are going to learn in this class and create a short animation clip for our two detective police officers. Apart from that, anything that you enter, as you follow the class, you can edit it in any video editing software. Add some sound, export it, and share on the class project section so that you can receive the feedback about the Blender version. For this class, I'm using Brenda 3.6. But I also have Brenda 4.2, this one. This is Brenda 4.2. And this is Brenda 3.6. Almost everything is just the same. It's only on the character leak controls where I'll come and explain when we start looking at the character leak and leak controls. So whichever Brenda vision that you are using, you are not going to miss anything. I use Brenda 3.6 mostly because of some add on that I added to Brenda 3.6 that are not supported in Brenda 4.2 yet, such as the JS scatter and Facet. And also, I found Brenda 3.6 to be a little bit fast than Brenda Brenda 4.2. I only use Brenda 4.2 when rendering. If I want to use the new advanced IV that comes with it. That's when I open my files with Brenda 4.2 and Bender from eight. So now, in our next first video lesson, we'll start looking at the introduction to Brenda with focus on animation. This is a video lesson for those who are just starting out in Brenda and want to focus on animations. Let's go into it. 3. Introduction to Blender With Focus on Animation : I Welcome to our first lesson, introduction to Blender. So if you know one or two things in Brenda and you know the niioned editors and editor windows, such as the timeline and other controls and settings, you are free to skip this lesson and go to the next lesson where we start looking at the glove editors and niioned drivers. Alright. But if you're new to Brenda and Animation, you can start from this window and understand the settings, controls, and tools that you'll be using in order for you to make quality animations. So I'm going to introduce to you the interface, the controls that you use, and also the important settings that you need to put for better animation work flow. I'm going to focus on the tools for animations. I'm not going to focus on other tools for other tools such as modeling, legging, and sculpting. Our focus is on animations. So now, this is the interface. This is the cube here. This cube is us here every time you open Brander, but we must dread it unless you have the use for us. And this is the camera and there's a light. This is the light here. So now the most important tool or the shortcut is letter G. G is for glob. So you'll be using G more often as you go on in your animation. When you select this object, and then you press G on your keyboard, you have glob this object. It's like it's tucked on the cursor. So that is what G does. G is for glob. The other letters here on the keyboard such as when you place G plus X, you can move the object in the X axis only, right? So in this line is X axis and this line is a Y axis. There's also the Z axis that goes up. According to this icon here, the Z axis, there's X axis and Y axis. When you select this object and place G and then place let's say Y, you are able to move your object in the Y axis like this. So if you want to handle the movement, you can just press out G if you've not applied the transformation to apply the transformation, if you select this object, for example, and press G plus Z and move this object up like this, and then you press Control A on your keyboard, and then you apply the transformation. Here, apply the object is transformation to each data. When you apply this one, the object origin will go to the word origin here. This is the word origin where the word meets. That will mean that even if you press OG, the object is not going to move back to the center to the world origin here. It means you want this object to be here. To undo this, you can also press Control st, controls it. The control set is a step backward. It's different from O G. So now the other tools, this one here, these are the controls. The first one here is a box section two. You use this when you click on the mouse. When you come here and light click, there's this box that comes. I select all the object data in that box. That is what the box section does. So the sore, this Kasa is this one which is on the center. This is the ser. Whatever the ser is every object that you add in the three D view pot here, when you come here on add and then add object, let's say you add the cube, the cube pops up where the sa is. Now, this is different from appending object or importing other object from external source other than blender. When you append object, object always comes or pop up here on the hood origin here. Regardless of where this three decasor is. So when you add or when you appoint or import a object, it will pop up here, right? The next to this one here, this is the move two. This move two has got arrows. You are able to move the object in a specific direction. By pulling this arrows, you can move this in the X axis or you can move it in the yx axis or in the Z axis. This move too is mostly usable when you are meting because if you want to move a control in a specific direction, you use these arrows, right? Because if you're in the user perspective like the way I am here, and then you place G and try to move the control or the lag control, it is not going to move in a specific way you want it to move to move differently. Unless if you are in the in the front orthographic view or in the light orthographed view. When you place G and then move the object like this, it move in the straight line according to that orthographic view you are in. This move to is very important. The next one we have also the rotate to. This one has got circles. You can rotate the object in a specific direction. For example, in the X axis, you can click this circle and rotate the object in the X axis. The same goes with the other axis. So this white line, you rotate the object in your perspective. For example, if I have put my object like this and I want to rotate it in this way, I can lag this white circle and rotate it in my user perspective. The next one here is a scale tool. You can scale the object in a specific direction. So now, when you place auto G, Auto R, autos, you undo all the rotation, the scale, and the movement. If you haven't applied, the objects transformation to its data like I set area by pressing Control A, and then you come on apply or object. So this one, the last one is the combination of all the three tools that are on top here. It has got the rotation, the movement, as you can see. So this is all about the controls here. These are the controls that you use to move the object. And then for the mouse, as you can see here, when I click this part here, which is the mid mouse button, when I click it here, I'm able to rotate the three D view pot, the word, I'm able to rotate and put it the way I want to view it. All right. When I click here this side, this one is a shortcut for selection. When I left click, I select this object. When I left click, I select this object. The light button here of my mouse is a diselection and an option key. When I select this object, and then I click on this button, to bring this option for quick action that I want to do on this object that I've selected. There is shed smooth. Shed smooth is this one. It's smooth than the object according to the vertices that the object has. I can let click and then put it to shed flat. Shared flat is for sharp or for machinery. So now let's proceed to go to the edit mode. I'm not focusing much on the editing because we are focusing on the animation right. So now to go to the edit mode, you place this option here and then go to the edit mode. This object is now in the edit mode. You can also place tab on your keyboard to switch between the object and the edit and the edit mode. Here you're able to switch between object mode and edit mode. In Brenda, you can open as many windows as you want, depending on what you are working on and what you want to use the windows for. So to do that, you come in the corner here. You pull out the new window by left clicking and dragging this one. You can pull this window. And this option here, you can add them by pressing N on your keyboard or you can add by pressing N. So this side, this is where when you install some add on some of the add on, they appear here. For example, the screen cast keys, which is the add on that I have the S scatter, and I have also the facet for legging so here on this window, you can also change the editor type depending on what you want to do on this window. For example, when you come on this icon here, you're able to change the editor type for this window. There's also these other editors for animation. There's Dp sheet, timeline, glove editor, drivers, non linear animations. And this we're going to look at them in the next videos later on. So if you change this window, let's say, for example, the shedder ter, so it's going to bring the Sdereter here. Let's add a quick material to this one. When you are on the shedder ter, you can press on Add new, then it will bring this is the principal BSDF. This is a general or a default material, but you can change from this material icon from here, You can change this principle BSDF depending on the type or the material that you want to put on the object. I'm not going to dwell so much on materials. I just want to show you how you can change the editor type. As you can see, every window has got this icon here. This is the viewport, this one. I can change even this window, I can change to whatever I want it to be. If I want it to be a glop editor, it can change to a glop editor. And if I want to go back to the three D view pot, I click here and go back to the three DVewpot. It's the same with other windows. You can change even here. You can change this one here. This window is on properties. Is the properties. The properties ter, this one. This one is on out trainer. This one is a sin collection. The out trainer is a sin collection. Everything that you've added on the sing on your viewpot, it appears here. There's this cube when you select it here, it's also selected here. There's a camera here. When you select it, it's also selected here, right. So now on this view pot, let's go back to the three D viewpod. For the view, you can change the view from here by clicking here. When you click X, this will change to right orthographic view. There's also a shortcut for these views, which is numbered three. When you click three on your numbered, it will come to the light orthographic view. When you click one on your numpad, it comes to the front orthographic view. So now, go to the timeline. This is a timeline, and this is the timeline indicator, and these are the frame numbers. I'm sure you can see that there's this different color from here on zero up to 250. That means that this is the marked area. We only the animations that you make here on this area, when you go on a Lender here and click on Lender Animation, it's going to lender on this area which you've marked right. If you want the animations to start, let's say on 130, you can come here on start and type 130. All right. Now, when you go to lender, you're only going to lender. This part here, this is the part that is going to be rendered. There's this auto key. This is the automatic frame insertion for object bones and mask. If I activate this one and then I come here and select this object, and then I place G plus Y and then move it here, then move it here. As you can see, the keyframe is going to be automatically added where this timeline indicator is on this timeline. So when I put my timeline indicator on frame one Kristi and then move this object, I place G plus Y and move this object here. The keyframe here is going to be added on one skitter. It's going to be added automatically. So when we play the animation, please play on the keyboard, the object is going to move from this area to that area, which is representing the keyframes, which is on this timeline. Let's place one here so that we can start from frame one. So this is how this timeline works. The shortcut for inserting the key on this timeline is I. When you place I, it's going to bring this menu, and then you can add either location or rotation. If you want to also animate scale, you place on location, rotation and scale, but mostly will be using location and rotation for character animation. The key frame has been added here on frame number 20, and then I move this object up like pressing G plus, and then I move it up and put it here. Since this automatic keyframe is activated, it's going to add the keyframe for this new location. So when I press play, the object is going to move from this keyframe to this keyframe and then to that keyframe. Like when I press play, it's going to move like this. So that has a simple animation for that. Let's do it this. You can read this keys by selecting O and you press on delete. You can also deactivate this auto king. It's not necessary that every time you have to activate this auto king because it's going to confuse you. Make sure that it's only activated when you want to use it. So let's do that. So this is all about the time frame for now. These are the object properties. These are constraint here on constraint, we are going to be using these constraints to attach object to the leak. So you should remember this one constraint. And there's also physics tab, particle system, modifiers here. Modifiers are mostly used when you are editing, when you are doing modering or sculpting, but there are also other things that you use even during animations. We'll be looking at some of this when the need to use it arises. For now, let's look at the output properties. This is where you do the settings for rendering. Here, you have to add the output folder here. This is where you click and then choose the folder where you want that lender video or video clip to be rendered to and saved. And then here on file format, this is where you change the type or the file that you want to export. On default, it's always on PNG. When you go on Lender and then you click on Lender animation, it's going to export an image sequence of PNG files. If you want to export a video, you have to change it to FFmpeg. That's when it's going to export a video clip or the same length or the marked timeline here. You can also place here on encoding on encoding on the container, you have to change too. MPEG four, this one, or if you want to export a QuickTime, you can put it to QuickTime. But most of the time, me, I use MPEG four. Leave these other settings as they are. These are the settings that you do here on the output. Okay, so on the lender here on the lender tab, this is where you do the settings for the lender. Render engine is on IV. This is where you change the render engine. There is circles. There's also we Bench, but we Bench is not installed on this blender. There's just circles and EV. For videos, mostly, I'm using IV because it's faster to export video clip. Even circles, you can use it, but it takes long to export video clips. It's most use when you're exporting pictures, but even for videos, you can use it, but it takes long if you have a slow computer. So now we use IV and on sampling I have put my sampling on skis four. Skis to red, it will just come out perfectly fine on full HD. We put it on 75. This one ambience inclusion when also check here to include some ambience. These are the settings that you need to do in the Lender tab. Just on ambience inclusion and on sampling, as I said, I'll just be telling you the thing that you need to know most as an animea the controls, the settings that you need to know. Here you can change the viewport. The view pot shading, if you want to view in the solid mode, you click here on the sold mode. If you want to view in the material preview, you click on the material preview. If you've added the material to this object, for example, if I had this material, equate material, this one, when I'm on the material preview, I'm able to see this color material. But when I'm the solid view, I cannot see the material. So the next one is the WR frame. It enables you to see the wires or the object, and this one is the Xray tango. The Xray tango enables you to see through the object. So this one here is the overeas. So when you open this menu here, you can see here here, you can deactivate the extras. The extras are the cameras, the lights. When you disable the extras, the light and the camera disappear from the viewpot. In case you cannot see the camera and the light, you can come on this tab here and you can click here on the extra. There's also relationship lines. I'm going to show you the relationship line when we start talking about lags. There's also this one first orientation. The first orientation let me go to the edit mode I show you here and then delete this phase. The first orientation will differentiate between the inside faces and the outside faces, right? If the first orientation is not activated when I click here, as you can see, it will not show you if these faces are inside or these faces are outside. So to say that the faces are normal, you need to activate the face orientation, this one. There are some characters. When you download them, they have abnormal faces that are not moving in the way that they are not supposed to move. So you need to control them by clicking out on your key body. When you click out, N is for normal. You can click calculate outside. Create outside or create inside. When you click out N on your keyboard, you can also recalculate outside when you click that the faces are going to be automatically aligned in the way they are supposed to be. So this is all for this video for the introduction to Blender and Blender timeline. In the next video, we continue looking at the animation editors, we focus on the gloph editor. We're going to look at the glop editor and also we look at the animation drivers, the rotation drivers that you need to apply to object to some rotating objects. 4. The Graph Editor : Welcome to this Vidalesson. In this video reesson we are now going to look at the glove editor. So now, before we proceed, first download the blend file from the lesson so say called the basket Bocet. This is where we are going to begin learning from. I have set everything up for you so that we don't waste a lot of time. I've added the sky texture. I've added all the object that we need to use for our lesson. So download this blend file, and then you later on download the character $1. But for now just download the basket book cot blend file. Alright, let's go into it. We are going to look at the animation Eta windows. So when you open this icon here, these are the animation Edda windows. There's a Dp Sheet, timeline, gloph editor, drivers and non linear animation. In the decent video, we looked at the timeline editor. In this video, we are going to focus on the glop editor. So now, I've switched this window to the graph editor already, and blow here, this is a timeline editor. So I just opened the new window, this one, and then I change it to the graph editor. The graph editor is a path tool used to control and define the animation curves, also known as the F curves. It is a virtual representation of the animation motion, allowing you to fine tune the timing, spacing, and overall flow. The graph editor displays the gloph with time on the X axis and values such as location, scale or rotation on the y axis. Theise graphs shows the animation curves which can be edited, adjusted the timing and spacing of the Q frame defining the motion and acceleration and deceleration. And in the graph editor, you can also view and edit the F curves at just curve handles and target. So by mastering the graph editor, and metas, we can achieve precise control over the animation motions, creating more realistic, engaging and polished final carts. All right. So you can think of the graph editor as a precision tool for fine tuning the animation, field and timing, allowing you to create more believable and captivating animations. So now, let's add some simple animation to this baseball so that you understand what the graph editor does. Here on the timeline, put our timeline indicator here on from number one, and let's activate the autokine here, and then come over your mouth on the basketball ball here and press I on your keyboard and then insert location and rotation. As you can see, the kiss has been headed here on the graph editor and on the timeline heater here, they are the same keys. So now, go to frame number 40 and move the ball up. I'm sure you can see what is happening here on the graph editor. This line represent the Z axis. So the bow has moved up on the z axis. If we blot the ball down, for example, if I push the ball down like this, as you can see, this curve comes down on the negative side. All right? This is the z axis line. So you can also put this you can set this window the way you want it to be. You can use these dos to zoom in and out so that you can see clearly. So now let's go to frame 80 and cop this first gif frame, or you can click on it, and then come here on COP and then here on frame 80, let click and then and best gif frame here. Best. As you can see, the bow has come down. This is the glove for the movement of the ball in the Z axis. When I press play, the ball move up and comes down. Have you seen how the bow is moving, it starts slow and when leaching at the top, it also goes slow. This is called slow in and slow out. This is one of the principles of animation. On the graph geta, you can change how you want the motion or the ball to be right. So now, when I select this cave and then come here on this arrow here, open this menu here, disable this other curve line, the scale, rotation, rotation. Because if you have done some rotation and mention to this baseball, it also shows the graph here on the graph editor so that you can also control how you want that rotation to be. So now, we've just admitted in the Z location, so we'll focus on the Zt location for now, so we can deactivate that and deactivate that, right? So on the graph editor, these are called handles. These are the one that you use to control how you use how you want this graph to be. And how you want the boat to move when going up or coming down. Select this handle here, right click on it. It's going to bring this menu and come over here on handle type. On andle type here, you're able to change how you want that handle to be. Now, let's go to the timeline, enter here, set this keyframe, box right, let click, and then cop come on frame 120 and paste. Let's past this if frame so that we can have these curves. So the ball will move like that it will repeat. So select this handle, click on it. So when you come here on interperation, this is where you can change how you want this curve to be. For example, if I select all the keys, press A to select or let click and then come on interpration, and then click on constant. This is the one that we use for scene blacking. When I press play. So the ball will move like that. It's like there's no glove. The bow will just move straight to another point. There's no any motion whatsoever. It will just move from this gif frame to another frame. Now, let click. Then come here on interpron and let's use now Bizarre. So when you set this handle, let's select this one. Let click, then come on Ando type, then set it to free. So on free, select this handing part of the handle, then press G, and you can move it like that, and you're able to control the cave. So when you set the cave like that, the ball will start going in with force. Like when you press play, it will go like that. Alright. So we can do the same here on this handle. Let click on it, and then on ando type, set it to free. Then select this handle handle handing, then you can set them like that. Alright. Even on this one, do the same. So when you press play, you have now a bouncing ball like this. The ball moves like a bouncing ball, as you can see. So if we make our end frame to be let's make it to 159 ples enter. So now, this k frame is going to be the reputation of keyframe number one. So this last keyframe is not supposed to show because it's going to be q frame number one here. So when we press play, So the ball will keep on bouncing. So we have a bouncing ball. You can also select this same handle and then press G and push it down like this. Even this same handle, you can select it and bring it somewhere here and put it here. Then let's put our end frame to one, 39, press Enter. So when you press play, we have this So even these les, you are able to change or, you can box set this, and then let click and make it to vector. So when you press play the bow will move like that. So the glove heater, this is where you control the movement of the controls when we're animating a character. For the foot, for example, this is where you pray with the movement or the foot to make that realistic movement or to make the movement appealing. So this is all about the glove tor. Anything that I've not explained as we go on, I'll be touching them when they need to use them arises. Alright, so you understand everything. So in the next video, we are going to look at curve modifiers. 5. Curve Modifiers : So this same cave in the graph editor has got modifiers. The circle modifiers and also noise modifiers and other modifiers. For example, you don't need to animate a repeating action, but instead, you can add a simple circle modifier to the cave so that action keeps on repeating. So we're going to look at these modifiers in more details. As you can see, when I set this cave, you can see that there's this menu here. Here is on F caves. Here is where you change the interpreon mode, the left handle type, and all these options, handle types. But on this next one here is a cave modifiers. So you are able to add some modifiers to this curve. The most used one is this one, the circle. It repeats that animation. All right. It has these settings. You can add the count. If you want it to repeat three times, it will repeat three times. So let's increase the end from here so that we can understand it properly. So when I press play it to keep on repeating that animation that we made here, all right. So this applies to a situation whereby when you want to make a rotation or a repeating action, you don't need to keep on animating. But instead, you can just make one animation, and then you add this seco modifier so that it can put that animation to repeat. Okay, so if you want to remove it, just come here on cancel and it will be removed. Okay, so before we proceed, I want to show you something quickly. When you are making a sin, you want to add life to it. You want to add some trees and some vegetation. Alright. And you have also to show that natural movement of wind. You have to add some windblowing. Now, you cannot animate these things to show their natural movement like wind blowing, you cannot unmet them, but you can quickly add a simple modifier to them to show this natural movement. Alright, so I'm going to show you how to do this quickly. So this is a new brand fowl I've just opened it and added this tree. I just want to show you how you can use the curve modifiers when it comes to trees and vegetation. All right. So this tree, I've added a modifier. When I press play here, as you can see, I'm sure you can see what it's doing. It's moving like wind is blowing. So to do this, this is the trick trunk. It's separate from the leaves. But the leaves are parented to this tree trunk. They are not joined. So the curve modifier is added to the tree trunk, and then it's adding the effect to the leaves because the tree trunk is a parent of these leaves, right? Let me quickly show you how I made this tree trunk so that you understand how to apply this cave modifiers effect. All right. So let's just add a cube, add the cube, and then press tab and go to the edit mode, plus on your keyboard and merge at center. Select the plus one to be in the front orthographic view, begin to extrude by pressing E. Continue extruding this vertex, make it into a shape of a tree trunk like SO. So now let's hid this tree trunk for now. And then we go back to the edge mode and then re arrange these vertices into a shape of a tree trunk like so. Pull out another branch here, press up to go to the object mode. Let click on your keyboard and then come on, convert to cave. When you convert it to cave, come here on the cave properties here. Go on geometry here, then on geometry, just increase the depth of the object here. When you increase the depth, place tab and go to the edit mode, and now you can see this vertex and then select this first one here, activate this one, the proportional editing here, and then put it to sphere. When you do that, press out S, and then just increase the proportion of 18 cycle, scale it out. You increase the volume of t trancles then plus shift and select the ending verts. This one here, you can press out S and scale down like so. This time, reduce the circle of the proportional editing and make it like so. Okay, so this is a tree trunk. You can convert it back to the mesh, and then you can add quick leaves by adding a pain, please shift A and then add a pane. This is, remember this is a loo lopod tree. It's not a detailed tree. It's those you use in a opocatni creation like children animations. Okay, so make this prene into a leaf. Add a solidify modifier, this one here. Increase the size and apply and then add another modifier. This time, add a subdivision surface modifier. You press seven and B in the top orthograph view, put the leaf like so, plus shift on your keyboard and light click here on the tip so that the casar comes here on the tip of the leaf and then come here on the object here, set origin, and come on three decasa here. The origin will move to the three decasor then plus shift D and R to duplicate and rotate like so and then place control arrorO shift arror to repeat the action, again, shift arror to repeat the action or just put them to three leaves like so. So I joined these single leaves and then you select all of them, you select this one, then you place control j to join them, can scale it down, and then you begin to duplicate them until you make something like this. And then at the end, you select them all and then join them. And then you dublcate it, rotate it, and make another bunch like this one, until you make something to put on these branches. So now, what I did on this tree trunk, you go to the edged mode, press tab, you go to the edged mode and then select one single vertex. Like, in this case, I selected this vertex here, this one here, then go to object mode and then set these leaves, select all the leaves, all the bunches, and then press shift and select the tree trunk, and then press Control P and set parent two vertex. You're going to parent these leaves to that vertex, we selected on the top of the tree trunk. That works because when you add the modifier, for example, for the noise modifier, it's going to affect this tree trent, but it's also going to apply the same effect to the leaves, but not in the same way this de trank is going to be affected. This is the modifier, the simple deform modifier. Let me delete it, and then I show you how to add it. Let that g frame. We are going to go to the graph edter here, put the timeline indicator on frame number one, and then here you add click here on add modifier. And come on deform. And let's add simple deform modify this one here. So here, select on bend here. And here on 45 type zero, right here on this property, you are able to mate here, you can either use this icon here or you can just hover your mouse over this number here and then place I on your keyboard. When you place I on the keyboard, the queue frame is added on the first k frame where the timeline indicator is. Let's go to the timeline Edter here. So this is the queue frame. Let's go back to the graph editor. Now, when you move this property here, you can see that the tree trunk is bending. Now what you do so we are here on zero. This one, set it to zero. And then come here on modifiers, and then come on, noise, add a noise modifier. When you add a noise modifier, when you press play, so the tree will be moving like that. All right. So now it's too fast. So here on the scale, you can increase the amount to, let's say 20, increase to 20 and then reduce the strength to zero point The strength to 0.2. It's too much. Let's increase the scale to 25 and then reduce the strength to 0.1 0.15 All right. So that is how you had a noise modifier, transret to the wind effect. So here you can also restrict the flange and open this menu, and then you can add a start frame. Let's say frame one, and then end frame, let's say 250. Or in our case, this is let's say 140. All right. So when it start, it's going to line up to this 140 up to the K frame where you want it to end. But if you want to increase it 250 or above, you can add it's up to you. If you don't want, you can just deactivate here and it will just keep on doing the same action. This is how you add these modifiers, especially the noise modifier. It also applies to other objects. If we add, let's say, a cube, we add a cube, Okay and then let's bling the cursor, the timeline indicator on frame number one and then this is the Z axis here. All right. So let's click here and then and come here on insert single K frame here. All right. So a single q frame has been headed here on the Z axis only. All right. So when we come here on the modifier, we can add noise modifier to this Z curve right. So when we press prey, you see, the cube who have noise in the Z axis only. So we can deduce the scale, increase the scale, I mean, like to 25, and then here on the strength, you reduce it to 0.2. It depends on what you want to make. Now, since we are learning, so the cube will be doing this. So making effect like this kind of effect, natural effect, you don't need to be unmeting these actions because even if you unmet this, you are not going to get it perfect the way it's supposed to be. For example, for this wind effect that we added on this tree, you cannot make it perfect. You cannot made it perfect. But these modifiers are able to achieve that natural movement, right? So this is all about the modifiers. We are going to go back to our original brand fowl, which is the basketball court. So in the next video, we are going to look at the drivers. 6. Rotation Drivers : Apart from these modifiers curve modifiers, they are also drivers. When you add a driver, for example, to a rotating object, it will keep on rotating. Alright, you don't need to unmet it. That driver will be making it rotating throughout the sing. This applies, for example, to some, let's say, a fan. A rotating fan can keep on rotating. You don't need to unmet it. You can just add a rotating driver. And also maybe a cartera, but a catier depending on how you want to unmet that car, you can either put that cara running throughout or you can unmate it manually and make it move according to the movement of the car. Alright? So we are going to make a simple carier and demonstrate these drivers. And also, I wanted to show you here on the object data properties. So here on the object data properties, every movement that you make, it applies here shows here. Even when you add the drivers, when you add the driver here, it's going to appear here. So even when we want to cancel it, you can click, and it's going to bring this menu, and then you can remove it from here or you can insert keyframe also, and you can do other thing here. All right. So here on the relation, if I have parented this object to another object, it also appears here to show here. If you want to cancel the parenting relation, this is where you can cancel it from. We're going to look at this in more detail later on. Now, I'm going to show you the drivers. The most important driver is the one for rotation, which is a frame star one. This one is for first rotation and also the same one, but at the end, you star 19. This one is for slow rotation. But how do you apply this rotation? Okay. So now, let's add a quick object. Let's create a lopod Cartier, and then we're going to learn how to apply these drivers. I'll put this in the first mode, but you can follow the screencast here that I'm pressing. Let's hide the B for now, bring the casa to the word origin. Please shift and add a surrender, please slash on the keyboard to accelerate it, and let's model it into a lopod Cartier. Dread these verses, then hard loop cards here on the middle, select these outer circles, and here on place on individual origin, select here, and then plus E plus S, again E plus S, again E plus S, sect this one only plus to merge at center, do the same to the other side. Now, let's rotate. Plus RR and X and type 90. And then press tab to go back to the edit mode, out select these circles, and then push it this site in the Y axis. Even this one. Even this one a little bit and toward the center. And so now let's add a quick materials. Come here on the material and add a new material. Let's put it to blood and we just reduce on the specular and then and then let's add another material. This one just increase on metal y and place on assign. So even this circle assign this same material and also select these areas like s and then assign to the new material. So when you go to the object mode, we have this low pool cartera. Right click on it and apply Shade Smooth. All right, please slash on the keyboard to go back to the main scene. Let's put it here on the center. Okay, so now for the drivers to work correctly, the origin of the object needs to be on the geometry center of the object. So come here on object and set origin to geometry. This one here. All right. So when you select and try to rotate like this, you rotate the way it's supposed to hot so now to add a driver, a rotating driver, if you want to let's say this car teller to be rotating like this, as you can see here on the rotation, this is the Y axis rotation. So when I try to rotate it like this, it's a Y axis is changing only. Alright? So this is where you need to press the driver. So select this same, then light ash, frame, star one, and press Enter. When you press prey, as you can see, our tiler will keep on rotating throughout the scene. So this works for the rotating object like fans Tylers or other object that need to be rotating throughout the scene. You don't need to animate them. You can add these drivers. So now, like I said, here on the object properties here, you can open this transform menu here and you can see this is where the driver is right. So to remove this driver, you can click and then delete single driver like this. All right. So that driver has been deleted. So when you reselect it, it's not going to even be there. All right. So now, if you want the object to be rotated in this direction, you can let shift ash, frame, star, and then type negative 19, Enter. When you press prey, our Tyler will be rotating in the clockwise in this direction, in the negative direction of the Y axis. But 19 is for slow rotation. And, uh and so as you can see E on the number, there is a negative here. So, the other thing is that, for example, if you are miting a fan, you need to parent that fan to an empty so that you are able to control its location, right, and you are able to put it the way you want it to be. So to add an empty, please shift A and then come here on empty and add a cube like a cube, this one, Make sure that the object is inside this empty cube. Just scale it down like this, then sect the object, the tira and press shift and select an empty and place Control P and set parent to object. Here, when I select this empty and rotate it like this, when I press spray, this tira will keep on rotating in that direction of the empty. This works, for example, if I animate my character, I have made a work circle to my character. Imagine this carter is our character, and we've made a work circle where it's working in the X axis only in this lead line here, and we want it to work in other direction like this direction. All right? We cannot rotate it because we've already made the keyframes and the keyframe are saying it has to work in the X axis only. So we add an empty and then parent the lag or the character to this empty. So we can tt this empty like this, and then we can animate this empty. For example, if I come here on frame number one, I press I on my keyboard, and then I had a rotation and location, all right? And then I come here on from 180, I move my empty in this direction. Press G on your keyboard and move it like this, and then I press I and add a lotation and location key frame. So when we press play, so the object will move like that. So this is how the drivers works. The location drivers works, right. So now, like I said earlier, when I set styler and I come here on the object properties, tab here, I'm sure you can see here on the relation, there is this empty. My tile is parented to this empty, the empty, which is this one. So if I want to remove this empty, I can just click here on Cancel and then I can clear this parenting delation right. So now, the other thing that I want to show you is that before we proceed, when you go here on the render view, there's this idealistic sky texture. So this sky texture, you set it on the shedder edge to here, open the Seder gra here. And then on the object here, you can click here and come to the word. You find this node. So this is the node for idealistic sky texture. So you can analyze it and then learn how you can set this. But make sure that you go back to the object. This is where you change between the word material setting and the object material setting. So if you don't change back to the word material setting, every time you open the Shader editor, it will be coming with the word setting. All right. So this is Blender 3.6, but it's different in Blender 4.2, right? So here on the movement for the empty, you can also control these graphs. You can let click like equivalent in the previous video and then come here on handle type and set free, and then you can move the cave like this, right? Even this one, or you can just select the Q frame and then press V and make this to vector so that it can be a straight line. So when you press prey, it will move like that. It will not start slow and come to stop slowly to have that momentum movement. So this is what we learned in the previous video when we're looking at the glove. Okay, so this is all about the drivers the other drivers that I have not talked about, but what I wanted you to know is the rotating drivers because they are very useful. So in the next video, we are going to start looking at the camera and the camera settings. 7. Camera, Render & Output Settings : So let's now look at the cameras. What are the settings that were supposed to put to the cameras and how do you add the cameras and some of the settings that you need to put in the lender settings and in the output settings. So let's go into it. Let's go back to the Matto preview here. We still have our Tyra here, which is having also the animation that we made in the previous videons. Let's cross this graph editor. We don't need it for now. Or open it when they need to use it arises. These are the key frames here for the movement of our empty, which is the parent to the tire. When we place prey, we still have this animation. And to add the camera on the scene, you place Shift A. When you press Shift A, then you go on camera here. You can add a new camera from here like that. So the camera comes at the center of the word origin. So this is the camera here, the one we've just heard it. Let's dit it because we already have these two cameras. This one camera one and this camera two. They were hidden in the viewpot. You can just click here two and hide them. So this is a camera one, and this is camera two. So now, how do you choose which camera to be active? When you look closely here, you can see that this camera one, which has this white dot here, which is the one which is active. So when you place Zoo on your keyboard, the active camera is the one that will come into view. Even when you start rendering an animation, an active camera is the one that is going to do the entering. But how do you change? So you change by just clicking here on the camera icon here, you click here. So you've changed the activeness to this camera, too. So you change from here. So when you press rod to view from the camera, the camera too is the one that is going to capture like this. So now let's open the new window, open a new window here, place N to hide this menu and T to hide the T's menu. And then here on this window, you can press zero so that you can view from the camera. So now let's sect this camera, this one here, and let's make it to an active camera and let's move it and put our tire in view like this. You can also use the rotating tool to rotate the camera and position it correctly. Like so. We are going to try to capture this tire move so you can rotate it like this. And also, let's try to move it this side. So now, when framing, if the object is going this direction, if this is where this object is going or the character, you have to make sure that you leave some room to this where this object is going. Where this object is facing, like the way I have put it, you shouldn't make it like this. No, the camera has to be like this. There must be a loom this side. So here where the camera is this place, and then inside the q frame, lotation and location. So when we place play, our object will move like that. So we are going to animate also our camera to follow this object. So other guys balant the camera to the empty or to the tira so that it follows to the movement of the empty. We can also do that, but for me, I think it doesn't produce that realistic capturing that realistic camera movement, right. So I prefer to animate the camera alone. So when you come here on frame 180, press seven on your keyboard so that you're on the top orthographic view and then press G and move the camera like this. And then press E on the keyboard to add the rotation and rotation. But if you've activated the aking, the queue frame is going to be automatically added. So now, when we press play, we can have this Okay, so that's a movement of the camera. So when we open the graph editor, go to the graph, you can see this movement in the Y axis. This is a Y axis, and this is the X axis. So what you do you book, select this keyframe, and then place V on the keyboard and choose vector. So that the camera will move at the same pace with our tire. So when we place play we have this. Then let's go back to the timeline, Ed tire on the timeline, and let's make our end frame to be 180. One eter here and place Enter. So now let's parent this camera to this empty. I show you how to move when you parent it to the object. Select the camera camera to this one, select face the camera and place shift on your keyboard and select the empty this one. And place Control P on your keyboard and set parent to object. All right. So we've parented this camera to the empty. So when we place prey, So the camera will move with the movement of this empty. So this is what other guys do when animating movement for some object. And if you don't want to waste time animating the camera, but me, I prefer animating the camera around so that I create that realistic camera movement than parenting the camera to the object. All right. So now, what are the other settings that you do in the camera settings? So let's change this window on the ender preview here. This is a lender preview, and let's activate here on the environment. Let's activate some walls here. Okay. I've just duplicate it this way and put it this side so that we can also have this background as we go through the camera settings. So when you sect this camera, the camera icon will appear here. So this is where you do the camera settings. So right now where it is, the focurns is on 50 millimeters. This is the lens. And there's also this one here, the depth of field. So you can activate this depth of field. And on the depth of field here, you can select the focus object. If you want the camera to focus on our tira, you can get this picker and select the tira here, which is the cylinder. Let's rename it. Let's rename it the tira here, tira so we get back to the camera here on the depth of field. If you've not added the focus object to the tier, you can animate the focus distance. You can make the object to be in focus using this focus distance here. As you are doing the setting, you have to make sure that you're able to see cleared the object is in focus. And here on the F stop allow you to set the distance to stay in focus, right? So if we degrease this number up to 0.8, I'm sure you can see that this wall is now out of focus and the tire is out of focus, but you bring it back to the focus using the focus distance here. Our tira is now in focus. Now, let me show you clearly on this camera, which is near the tira. Come here on the scene correction and make this camera to be an active camera. This camera two, which we parented to this empty. So everything that you parent to an object goes under that object. So we choose this camera, which is camera one, and here we come on the settings here. The lens is on 50 millimeters, activate the depth of field, and then reduce the F stop to 0.8. And then the focus distance so for the focurns if I degrease this, I'm sure you can see what the focurnce is doing. If I increase this focurnce number, the brightness of the object behind increases. But if I reduce the brightness of the object behind deglazes also. So this will enable you to control the amount of brightness that you want the background to have. So you are able to unmet this distance using this property here, for example, if this object is in focus here when I press prey, and then by the time we reach at this frame on frame 181, the object goes out of focus. So what you do here on frame zero on frame one on focus distance, you can add a Q frame by pressing this icon here and it's going to add the queue frame where our timeline indicator is here. So when you move to frame 180 and then you zoom in and then you find that the object is not in focus, you can control here on the focus distance and put the object in focus. After you do that, you can press I and add a new q frame from here. So when you press here, it will tend to glean. We have our Tyler animation. So this is all you need to know about the camera settings. And if you want to lender this animation, you can just come here on Lender and ender animation. But before you do that, you have to go, like we said, come on lender settings, and you can do the settings for the lender samples to 75, and you come here on output on output, you have to select the folder where you want it to be exported to. And here on file format, you have to change to FFMPEG video, and on encoding, you have to change the container to to MPEG for this one here and you can live as these other settings the way they are. And also here on ender, you can come on calm management and set the look to high contrast. And before you start rendering, make sure that you've selected the camera which you want to render you. You have to make sure that it's one which is active. So when you press zero on this window, it is the one that is coming into view. And also, before you lender, you should make sure that there are no objects that are only hidden in the viewpot but they are not hidden in the lender, because when you lender, they are going to appear in the final result. For example, this our basketball, it was only hidden in the viewpot. It wasn't hidden in the lender. So make sure that you hide in both in the lender and in the viewpot. And then when you are done, you can just come here on Lender and click on Lender and Mision. Okay, so this is all for the camera and the camera settings. In the next video, we are going to make a bound symbol so that we can practice what we've learned so that we can know the basics of animation. We are going to make a bounce symbol. 8. Bouncing Ball Animation : Okay. In this video, we are now going to make the bound symbol. We are going to practice what we've learned the basics of animation so that we can know, even when we start looking at the characters, we know the basics of animation, right. So whatever we are going to make, we are going to render it, and we're going to keep rendering these clips and later on mix them together and make one simple short story that we include even our character, our first character adora and post this on the class project so that we can receive feedback. Alright. Let's go into it. Okay, so this is the complete animation that we are going to make um, starting from the bound symbol to our character Adora, you can have a glimpse on how it will come out. So let's start by adding this. So to remove unmoned data from an object, open an object, and then click on this animation. Let's click on it and come on clear animation. And also to remove a parent relation from an object, just come here on the object data property, and here on the parent, we can just click on this x icon and cancel it. So now let's do it the empty and let's hide the tyler for now, both in viewport and in Lender just in case we can have a use for it later on. So now let's unhide our basketball and hide it. And we still have this animation which we made earlier in the previous video when we are trying to look at the graph editor, but we are going to remove it. Just click on animation here. Let's click it and clear animation. Okay, so we still have this window for our camera view. So now let's remove the animation data from this camera one and click here and clear the animation, and let's hide the walls. We are going to anhide them after we make our bouncybo animation and when we're lead to lender, right? And we can also come here, open this menu and hide the extras. This is going to hide the camera and the light. It doesn't mean that it's hidden here. The camera is there. It's not hidden in the viewpod, but it says hidden in the view here. So when we open a new window here, I can come here and activate the extras. So in this window, the extras will be here. But here on this window, the extras are hidden, right. So let's hide this. Press one on your keyboard. So the animation that I want us to make and to learn from, imagine the character throws this basketball and then it comes and hit here. But instead of just going through this ling straight down, it to bounce and come here and then it to move around this ling and come back to this same point. And then it will do like a live character, whereby it to jump from here and come somewhere here and come down to the floor here, and then it to bounce here and come here and here again. Alright. So what you do to make that kind of admission, there are different ways you can achieve that. Let's remove this for now and our timeline indicator here on frame number one, activate the autokin here, set the bow, press E on the keyboard, select location and rotation. The issue here is how you tell the timing that this ball will take to leach this gopost. Now, we are going to use 20 frames for the first half when the ball reaches at the peak of the set axis somewhere here. But before we go to frame number 20, press three on the keyboard and make sure that the bow is on the straight line straight with this ling, right? So now come on the front view and come on frame number 20 and plus G, bring the bow somewhere here. This will be the peak of our bow in the Z axis and come on frame number 40 and bring the bow on the go post here. Somewhere here. When we play spray, we need to make this bow, move around this link, and then when it reaches here, it jumps off the ling, like it doesn't want to go through this link. That's the collector part that we're going to add to this bow. Now we are going to open the new window and this window, we are going to put it to the graph editor. Okay, let's hide that. And let's zoom in on our graph editor. This is the X axis movement of our bow on zero here. Zero is on the word origin where the line meets. So the ball moves from here to the negative side of the X axis. That's the reason why this curve is moving toward the negative side of this glop. This is the movement of the bow in the X axis. And here, this is the movement of the bow in the Z axis. You how the ball moving going up in the Z axis. So now, this movement on the X axis, you can select it box. Box, select it like this place V on the keyboard, and put it to vector, right, so that we can have this straight movement of the ball. And when we come here on the Z cave, select the handle and click make the handle type to flee. PlasG and move this handle up, deposition it like this to make the cave move in this way. Even this side do the same so that it can increase the speed when reaching this go post. So we have that animation. Let's close this window for now, press the on the keyboard so that this window can be in the light orthographic view, and this one is in the front orthographic view. This ball is going to bounce from this boat and come here on this ling and then it's going to move around the ling like this and then it will jump off from here, goes there and go down like that. Bring the timeline indicator here on frame 45 and plasG on the keyboard and bring the ball here. To make this animation appearing, this bow has to balance on top of this ling so that it can rotate around. It has to have that force so that it looks balanced on the ling. Bring the bow on top like this and then just rotate it a little bit to have that few of rotating right. So the next we go to from 55 we are going to bring our bow to this side of the ring. So here on the front orthographic view, plus G, and bring the bow here. Here on the light orthographic view also bring the ball here like this. It has to make some rotation. So here on 55 plus RR here on 52, plus G and put the ball like that and then add a tal rotation like so. It has to rotate like this a little bit, and here on 55, you can also rotate it like this. Okay, so that we can have that kind of movement. So from 55, you are coming to from sexister here, on frame Skite we are going to make our ball each here somewhere here. In the light orthographic view, plus G and move the ball here and also this side, move it here. When you look closely, you can see the movement of the bow and you are able to tell how the ball can rotate to move to this flame to Kflame number Skiste. You can just rotate it in your perspective like this and just like this. So now we come on frame number five. The ball is going to come here. So here what you want to do is to make this part of the bow to come and stand here. When we be animating it to jump off this link, this part of the bow is the one that should contact this link right. So here what we can do, we can rotate it like this a little bit. And this side, we need to move it and put this side. Okay, so from keyframe number skis to skiframe number sister five, the bow is moving fast. So box wrect this keyframe and press G to move them further to frame skis seven. So when we press play, right. So we are going to come on frame number 73 here and bring our bow here, rotate it, and put it like this. Even here, we can rotate it so that when we press play It can move like that. I think it's fine like this. Now what we do, we are going to move to frame 85 and we're just going to rotate in the Z axis little bit like this, just like that and select this keyframe and move them further a little bit. Okay, box set this Q frame, press G, and move them to frame 75. All right. So now, having made that, we are going to make our boy jump off the ring and go down. We are going to do something here, we're going to add a squash and stretch. That is one of the principles of animation that we look on later. To do that, we first need to add a constraint to this bow. Come to the constraint tab here, this one, and then press on add constraint. We're going to add a maintained volume constraint so that we are able to add a squash and stretch to our bow as it jump from this link. Now, press here and add maintain volume constraint. Here on the free axis, you click here on the zt, you select the Zt and here on frame 90 place I on the keyboard and and add a new keyframe which is lotation location, and scale so that we are able to animate scale also, right. We're going to frame 95, and we're going to place plus Zt so that we can squash our ball like this, move it back here on the ring where it was, and rotate it a little bit like that. So we can have this kind of squashing. Okay? This is frame 95. We're going to move to frame 110 and on the front orthograph here place G and move the ball somewhere here. And place on the keyboard plus Z to undo that squashing effect and make the ball around like that. And when you play spray, what we need to do is on from android, we need to undo that squashing also plus plus Z, scale the ball like this and make sure that when you play spray when you come here, we can have this So now we can bring our bow down to the fro. We can come to frame 125 and bring our bow down press G to bring it down. So as you bring it down, you can rotate it and make it like this. Make it contact the flow. So when we press play, Okay, set this keyframe and push them further to frame 130. Okay, so when you do that, this is where now you open the graph editor so that you can define that movement and make it appearing and realistic. So here on this window, open the graph editor. And what is important is the movement in the Z axis, right. So this handle, click on it and make it to flee and move this handle like this. And on this handle, you have to make it to flee and select the handle and put it like this. All right. When you play spray, the boll can go in like that. So now I think it's perfect like that. What we can do, we can just add two times bouncing here. And if you want also, you can add a squashing effect here on frame 130. So what you do on frame 129, you can place I and add add location and rotation key frame. And when you go to frame 130, you can place plus Z to add a squashing effect. Like this and plus G plus set. When we go to frame one, we are going to make this ball come somewhere here. It's going to jump like this. What we do here on frame 140, set the ball, plus G and move it to this location and on frame 150, set the ball, press G and bring it down here. On Frame 155, set the ball, plus G, and move it to this location somewhere here. And on frame one sister, set the ball, plus G, and move it down somewhere here. So the ball is still squashed. The first thing you need to go to the glove tor Set this handle plus G and move it up like this. Even here on this handle, right click, handle type, put it to flee and put these handles like so. Even here, do the same, make this handle like so. You can bring this Q frame down a little bit and make it like that. All right. So the next thing is to define our squashing effect. So when you move, come on from 132 here, set the ball plus plus Z to remove that squashing effect. When you come to frame 140, you can also remove the squashing effect by placing plus et and come here on frame 149 and also remove the squashing effect. This is frame 152 and here on frame 152, remove the squashing effect, and also here, you remove the squashing effect. This is our last Kframe. We don't want this squashing effect, plus plus et and plus G plus set, don't move the ball up a little bit to the floor here. Okay, so now when we press play, we have this animation. Okay. That is our animation ball. So we are going to set our cameras and see how we can tell that story because that is a story. Let's activate our cameras. Come here on this tab, activate the extra. This camera one is going to capture the long shot, and this camera two is going to capture the close up the ball here. So open the new window here, activate this camera two to be an active camera. Press zero on this window, press G plus 30, and move it like so. And move it a little bit closer to the go. And while doing that, you can activate this auto king so that it doesn't add keys to the camera. Okay, so the bow has to be in view. So position this camera like that. And let's go back to the camera settings here. You can reduce the focus distance and also increase the F stop to 1.1 and reduce the focus distance and put our bow in focus and make this window to render view so that you can sit cleared, and also you can activate this was so that we can see how it will look like when we lender the animation. So let's try to play prey. So now, next, let's set up this camera camera to, remove this animation data here, clear animation, make it an active camera, and we can lotate it, bring the camera here somewhere here. Okay. We can now just remove this depth of field. This is a long shot camera so we can we can deactivate the depth of field. The next thing that I'm going to show you after exporting these two camera captures, we're going to add our character and see how we can incorporate it into these two clips that we're going to lender. First, we are going to start with this long shot camera. Come here on lender. Come here. Make sure that the lender engine is on if the sample is on 75 and also you've clicked here on the ambience inclusion. Then come here on output on container here, make sure that it's on PEC four and on the file here, press on this Foder icon and select where you want to save the clip and make sure that you let the name or the clip here. Baseball clip zone and place on accept so when you are done, you come here on lender and place on lender animation. All right. So now, after blending that first clip with this camera, we are now going to switch to Camera two, make it an active camera here. So Camera two is going to start from the 29, the start frame type 29 and place Enter. And the last frame is going to have to be 121. This is where our bow is exiting this camera frame. So Type 121 and place Enter. So this is the second clip, so you can come here on the output and also rename that clip. If you don't rename it, it's going to replace the first clip that we landed. So you have to rename it and let clip to so that this clip is separate from that. When you're done, place accept and leave this other setting the way they are because they are just the same with the previous clip that we exported. So when you're done, come here on lender and lender animation. Okay, so this is our two clips with endard I'm sure we've covered the whole introduction of animation. I'm sure you know, we are now going into Section two, where we focus on the characters collectory character movement and everything. So the next first video, we got to look at appending the character into the scene. How do you append the character into the scene? I'm sure you can now download our first character Adora from the lesson resources. It's the first character that we are going to append into this basketball coot Brand fw, where we've been learning from. We'll be looking at the leak and the leak control in our first video lesson. 9. Understanding Character Rig Controls : Welcome to this video reason, our first video reson in Section two of our class, the Principles of Animation, master in the Art of character Animation in Brenda. So in this video reason, we are going to learn how to append the character into the scene. I'm sure you've now downloaded our first character Adora. It's a one that we are going to append in our basketball code. Brand for where we've been working from. We're going to look at it both in Brenda 3.6, the one that we've been learning from and Brenda 4.2 the newest blender. Like I said in the introduction that I use mostly Brenda 3.6 for everything for animation. And if I want to use Brenda 4.2, the newest blender, I use it for rendering only because it has an advanced EVA. I do this because I find it to be a little bit slow when it comes unmoned, but I find Brenda 3.6 to be a little bit fast. And also because of some addons that I used in Brenda 3.6 are not supposed in Brenda 4.2 yet. So let's go into it. We're going to learn how to append our first character dora, and we're going to learn how to control how to use it and how to control it using it rig and everything. Alright? So the first thing we need to create a new correction here, let click and come here on new correction. This is correction three. Let's click it and rename it as adora. And then select it like I've selected it, it has to be an active selection. And then we are going to append our character. We are going to append it into this brand file. So come here on file and come on append and you're going to go to where you've downloaded and saved the Adora character. In my case, this is the brand file, so click on Append. Then it's going to open these folders. Here, you have to click on Select, and you can also check the active correction. That means that it's going to be appended in this correction, which is active here, right. So don't check here. But check here on Instant object data and also here on localize here, you can check this. And now you can come here on correction folder, this one. So everything in these folders. These are folders. So you're going to select one, this one, and this one. Leave this one out because the WTG is going to follow wherever the link is. So when you do that, click on Append. So this is our dora character. So this W JT and the league component, this leg part, so there is a leg and the league component or the tools for the league. So we need to put them in one folder and add them. So left click this one, the first one, then sclot down to where the W TG is ending. Plets shift on your keyboard and select the last one, this one, so that all the component are selected together. Come here on the viewpotPls on your keyboard, and M is for making a new collection. When you've selected some object, and then you press, you want to create a new correction and put those selected object into it. Now you can type here WG t leig and preso. So all the serected object are now put into this new correction that we've created, which we can now hide. This is the correction that we've just created the WHGT so you can minimize this arrow, and then you can hide it. You can uncheck it from here and hide it hide. So here we just remain with the leak and our character. The leak is this one, the dora link. This is the dora folder. And this is the folder for the hair hasset. This is where we have the cap and the hair. Let's hide the hose, the Xs for now and the floor so that we can just remain with the character so that we can focus on her only. So this is the dora character. This is the character that I created from scratch. You can use her in your project, but not for anything that you intend to make money out of, but for your free plactices and for your free admissions and practices, you can use her. And also, these clothes, you can see it has textures on them. When you go on the mature properties here, click here. Like this shot, it does two materials. The texture is on this first material. If I open the shedder Eggs here, you can see the image textures that is connected to the principal BSDF but only the base color is not connected to any image texture. I did that so that you are able to change the color of the cloth by just clicking here on the best color and you're able to select a different color and make her look to your preferences. But just play with the cloth, not the skin texture of the character because I removed the UV mapping and I cleared the sims. So if you play with the skin texture, you are going to confuse the texture. So just change the color of the clothing to make her to your preferences. Now, let's go back to our color this one. Let's close this window. So this is the leak. This leak is different from other character leak because this leak I made it using two different leak. I combined the facet leak to the meta leak, right. So it doesn't bring the league controls here like other leagues does. If you leak the character using metallic only, it usually bring the controls, the IC and the F and the leak properties, leg layers, and other things. All right. So now let's go to the object mode here and let's go to the pause mode. Like I was saying, this leak doesn't bring the controls. The IC FCs like other leaks does. So this one, you have to select you have to select the controls from here. You have to master where each control is here, right? So if you're not sure where the control that you want to use is on these layers, you can just press Shift and activate all the layers here and activate them in the viewpot. So now you can side unnecessary controls that you are not going to use to make the animation. And so you can tell where each control is. For example, if I select this and FK, I can see here where this white seco appear here. This is where is IK is. So if I want to close other leak controls like this one, I can select this one. And then I can see here on the layers that this layer is on this, and then you can just place shift and dissect it to hide it. You can do the same with other unnecessary controls that you are not going to use to make the animation and then continue hiding everything that are not necessary like so. So for the first, the control layer for the first are the first three here, this one and this one. All right. So these are for the first. So if I hide them, as you can see, they are den. You can also add this one, the spine C. The spine C is most used for animating the breathing end out and also for creating a squash and stretch or stretching the character. But you can add the squash effect after you've animeated the character after you've made the movement. That's when you can begin to add the squash and stretch effect to the character if at all, you need to add it. You can add it, select it, and then Okay, I did it. Okay, so this one here, this is the lute. So if I move this lute, I press G and move it like this. The whole character will move. But mostly, if I want to move the lead to a different location, I usually go to the object mode and select the lead, then press G and move it to where I want it to be like that. Okay, so the loot is on this layer here. You can place shift and hide it. So these controls are enough to make some animation for our character. The foot IC most, it has to move like a bound symbol. So in the glove editor, you need to make sure that it moves like a bound symbol in the Z axis, like the way we are doing with our bound symbol. It does to move in that way. So if you're using Brenda 4.2, the leak controls are slightly different from bender 3.6. When you click on the data properties for the leak here, you see that there is no that box for the layer controls as it is in Bnder 3.6. So you come here on the bone correction, this one here. These are the lag controls here. So when you select this one, the first one here is for the past, right? It's the same as it is arranged in Brenda 3.6, but just that here in Brenda 4.2, they have put it as a list so that you are able to rename these layers. For example, this one here, when you double click it on it, you are able to rename it like phase control. Like Min fast, you are helb to rename it to whatever you want so that you don't forget. Now, let's go to the pose mode here. Place Control tab to go to the pose mode. Like I said, in Brenda 3.6, you can also place shift and activate all of them if you want. Activate all of them more placing shift like so, and now you can begin to deactivate the thing that you don't need. For example, the amateur layers, this one, they are here, you can shift and deactivate it, even this one, deactivate it. All these layers, It's the same principle as it is in Brenda 3.6. The only difference is that here you are able to set the FK. For example, here, let's activate everything here. You can activate the FK. These are the FKs. You can also activate this one, the special. This is the special. It contains the tonsil and the hip. And some facial controls. And also, you can also activate the IK. The K are the lead controls and the hand controls. It also include the lead facial control, these ones. But when you're animating, for example, you can strate on the body movement. You first animate the body movement, and then that's when you add the facial animations, right. So most when you're animating, you have to deactivate the facial controls. So what I can advise is that you don't use the FK or the IK. You can just use them to locate where the layer is. If you've not mastered where each layer is on these numbers, you can activate the K and when you sect, let's say with this one, you are able to see that this layer control is on layer 17. You can press shift and activate it here and you can do the same with important layers. You can activate them using the same method. When you are done activating the important layers that you need to use to make the body movement, you can now deactivate the special and the IK so that you don't have anything on the face, right? Because if you begin animating, let's say you are unmiting a hook cycle and also you have the facial controls, it means that when you select all the controls and plus I, it means that even the controls on the face are going to be adding key frames, and we don't want that we first want to animate the body movement, then when you are done with the movement, that's when we come to the first controls. A? Even if you are animating the talking character, that is how you do it. You don't animate everything together with the body movement. So this is how it is in Brander 4.2. It is not that different from Brander 3.6. It Sarsa here. This is where I thought I need to show you so that you don't get confused. So we'll be switching between Brenda 4.2 and Brenda 3.6. So this is all about the character and the character ring. Next, we are going to continue our Bunymb story. Imagine our character is the one that threw that ball and it didn't want to go through the link, but instead, it jumped off the link. How is she going to react? So in our next video reason, we are going to create a surprise facial expression for our character, Adora as she look at that 10. Introduction to Character Animation_ Surprise Facial Animation : So in this video class, we are now going to create a very quick facial animation, a supplies facial expression for our character adora so that we can finish up our Bunybl story. All right. Let's go into it. Okay, so to make a supplies reaction of our character, we need first a reference image, which we need to defer to, right? So first, let's hide this walls for now. So now we can just suiin with the character only. And we need to a reference image where we are going to lifer that facial reaction. So you can just search it on Google, surplus facial expression of a cartoon character. So you can download something like this. Okay, so now, when you come to Brenda, you can just place shift on your keyboard and then come on image and load iferenceimage. Alright, you are going to go to where you've downloaded and saved your difference image. In my case, it is in this, this one, so click on Load reference image when you select it. So this is the image place to scale it down and position it like this. This image you are just deferred to it. You don't need to make exactly the way it is here, right. So this is just for the pace. Okay. So now let's go to the postpart Control tab. Okay, let's put our character into the pose mode here. It was in the last mode. And let's put the hand leg so. All right. So what we need to make this surprise facial reaction is Sasa, we don't need the leg controls, so you can place shift and deactivate the leg layers. All right. So first, we are going to start with the facial animation. And the set boot movement. And before we do anything, press Control tab, go to the object mode and come here on object, then scroll down here on animation and then click on change Kinset and set the keys to location and rotation only. All right. When you do that, when you press I, we are going to be adding on location and rotation only. Control tab to get to the pause mode, as our timeline indicator is on frame number one, plus to sect all the controls and plus I so we've inserted the Q frame, which is the location and rotation only for all the controls that are active here. So now, imaging the bow is down on the floor. So the first boss, she has to be looking at the bow. All right, select the head, this one, and you can make use of this rotating to so that we can just rotate like this. Rotate it down like so. Okay. So the s has to go down a little bit like. Now, remember what we learned in the previous video that you animate for the camera. So we need to add another window which has to be in the camera view. So open a new window here, Control tub to go to the object mode and activate one camera here. This one. Okay, let's remove the animation data. And so this is the camera. Here it is. So you can just deposition it and the shot we need is a close up shot, something for the face, something that will show the facial expression. So we don't need a long shot. Just something like this. Okay. So now just remove the depth of field for now. Just remove it. We are going to set it when we are done, and we are ready to lender the animation. So this year on the viewport, you can increase the pass part out. This one here, I don't know how it's called. Just increase this one so that it's like this. So here we can hide the camera from the viewpoint so that we don't get disturbed, but here it is an active camera. We are seen through the camera on this window. So now, select the lag and press Control tab to go to the pause mode, and let's activate the control. For now, this one and this one, so we need to make the mouth than the face like this. So she's looking at the bow which is on the floor on the ground. Should be in this pose for a few seconds. So we just need to open the mouth a little bit to make the mouth something like this. To do that, let's go to frame number ten. Okay, so the key wasn't inserted for the head control, let's activate the auto key so that every movement we make the keys are automatically added. So rotate it back like so, just like this and move to frame number ten here and then rotate it back a little bit like so. Okay, when you go to frame number ten, you are going to select this jar master. Press error to open the mouth a little bit, to tate it down, and then place G to move it down a little bit. So this one that has protruded, it's a gum. You can just select this below teeth control and place G and push it inside like saw. So for now, let's deactivate this one. And the tongue also you can push it inside a little bit. You can use tongue control like so, and then select this and make sure you activate the mirror here so that every adjustment that you make on this control also transferred to this control that are on the light side. Select this mouth end control and plce G and move it down a little bit like so. Okay, like so. Something like this can do. So when we play the animation, we have this it to animion. Let's hide this one. Press three on your keyboard and press to rotate the head down a little bit like so. And I think this is okay. Okay, select or cop this keyframe, Control C, then Control V. So these are called holding keyframe. So it's the same keys on frame ten and on frame 15. It's going to hold the pause. And then here on frame 20 on frame 25, we are going to make a new pose. We are going to make her look up to where the bow has jumped. Okay, so set the rotating to and just rotate the head up like so. Okay, so we can also add some rotation, some body movement rotation using the chest. So we can rotate the chest a little bit. So here on film 15, place I on film 15 to add a Q frame for the chest and then come on flame number 25 and just rotate the chest little bit up like so. All right. So for the eye movement here on frame 19, you can add a Q frame and then on frame 0.2, you can make the eyes look up like so so that we can create that first eye movement. Okay, so for the hand on film 15, you can heard a key frame for the hand on film 15, place high on your keyboard, and then as she moves as she look up, you can also try to move the hand, like, so a little bit up and just to create that little body movement, and that's okay. And you are free to make it the way you feel like, right? Don't be restricted to what I'm doing. You are free to create your own style. So now we go to frame 40. We are going to move 20 keyframes. But on frame 35, we need to add a holding keyframe, select all the controls, and then place I on your keyboard to head a holding que frame. Now, let's go on film 45. We are going to make her look back down at the ball. So since we already have frame number ten where she's looking down, just box select this keyframe here. Paste Control C, then come on film 45 and paste. Now, she's going to look like so. Okay, so on frame number 45, for the eye movement, we can head a q frame here on frame 40, select this higher control and place I on the keyboard and then go to frame number 45 and make the higher bring them down like so. Okay? As I think everything is Sosa too fast. So what we do, select all the control, select this q frame plus g and move them a little bit further like so. Okay. So now what we need to add is just the higher blink. Okay, so now let's head back the rotation of the chest. Okay, so here we can rotate the chest a little bit like so. And just for the hand, we can bring it down a little bit like so. And for the tonsil on Fm 15, you can press I on frame 15 to add a Q frame. And when she looks up here, you can press G and move it up, push it up a little bit like so, edit bit. Okay. So we inserted this keyframe. So what we do, select it. And this is for the tonsil, the selected control here, plus G and move it to frame 50, and then copy this one, the new one that we've just created, Control C and Control V to paste it on frame number 40. Okay, I think it's perfect now. What we need to do is to hide an eye bring. So now we're just going to select the first three layers for the first control. And let's go on frame number 28. So to make an I bring you first box select these layers, the layers that are surrounding the Is. And then place I. All right. This is frame number 28. So we are going to use four key frames. The first half, one, two, three, four, up to 32. This is where she's going to close the hit completely. So if you want to make it quick, we can do three key frames, right? We're going to go on frame number 31. So you can count one, two, three, on frame number four, this is where she's going to open again. Here on frame number 34, as these keys are still selected, you can press I two and then come back on frame number 31 and make the Is closed. This is what you do to make an eye blink. Select this control and also make sure that you've activated the mirror. Then press G to bring it down, you can also use this secondary control and just like so. Okay, like so, you can use this one. Okay, make sure that the eyes are closed completely. Okay, just like this. It's okay. It's perfect. It's just a quick blink. There's no big deal, but it. So when you press play, okay? Okay, so it's too fast. It's too quick. Let's use four key frames. So book sect these controls like saw. And just box, sect this que frame, press G and move this one to frame 32 and this one to frame 36. Okay, that's much better. So if you want to add another I brink, let's say on frame 55, you can as these layers are still selected, you can just box select these layers for the blink, this keys here. Then press Control C and come here on 55 and press Control V or PEs. Okay. So you can do that if you want to add an eye blink anywhere. Now, select the tonsil. What I'm trying to do is just to extend the animation, plus e for the tonsil here and on film 70, you can push it up a little bit like so. Then cop this frame on Sister five and press it on At Controv on at just to create light breathing and out effect. So our ending queue frame is frame 90. So here on the ending frame, just type 90. This is 90. So this is our animation. It's just a simple reaction, I supplies reaction to the ball. So contractor to go to the object mode, hide this or just delete it. Then we have this camera activate the environment. Let's activate the walls, the floor. And now we can an hide the camera, select it, come here on the camera setting, activate the depth of field here. And so here, like I said, you can get this picker and pick the object to stay in focus. In our case, our character here, which is the focus object. So show being in focus like so is a quick way to put object in focus, or you can manually adjust the focus distance and the F stop, right? So after doing that, we go to the lender. The lender material is on 75, and you check on ambience inclusion here on this window. Let's put it in lender view so that we can see how it will look it will look like. It's perfect like this. Let's go to the output setting here. All right. So this is the format, the dissolution. It's 1920 by 108, which is full HD. And also, this has to be always 100% this one here. The frame rate is 24 frames per second, and these are the frame range, which is the same as the timeline here. Okay. Here on the output, this is the output. You click on this folder and rename this clip. All right. Rename it. Okay. When you rename it, this is $1 clip eight. Okay? It's up to you how you rename it. Click except when you are done. So this is the folder where this clip is going to export it to right. In my case, it's Brander Project Principles of mention exported videos. And then click except. Okay, so here on file format, you have to set it to FFMPEG video, right? And the c has to RGB, RA GB. And on encoding here, the container, this one has to be PEG four or QuickTime movie. Me, I prefer a QuickTime, right. So when you're done with this setting, you can just come here on Lender and click on Lender Animation. Okay, after exporting, this is the video. I think now our surprised facial expression is now complete. In the next video reason, we now begin to look at character object interaction. This is where now we are going to learn how to make our character adora pickup object and how to connect some object to the leak. So we're going to learn how to make her pick up this bouncing ball and look at it. I think that is where now our bouncing ball story is going to end, and we're going to mix it and connect it in Premiere Pro, add some sound to make it a complete short mision story that we can post on our class project so that we can receive the feedback from the community. 11. Attaching Objects to the Character : In this video reson, we're now going to learn how to attach object to the g to the collector leak. Alright. There are objects that are not supposed to be wetted. For example, like grasses and eps and some object that you just need to add to the character that are not supposed to transform to the transforming or the character Like the way glow things transforms, right? This object are only added to the league. They move together with some specific bones in the league, right? So I'm going to show you how to add this object to the character leak. Let's go into it. If you want to modify the character, if you want to make some adjustment and put some asset or some object to the character, you attach them to the leg. It's different from clothing. Clothings are usually weighted, right? They are not attached. There are object E, which you can attach to the leg and object that need to be weighted, all right, like clothes. So like this cap here, this cap is not weighted. It's only attached to the leg. So when you come here on the object data properties here, and then Scroll down here on the delon, you can see that it's parented to a dora rig, which is this leak, but it has a parent bone, which is Dev spine 006. This is the head bone. This is the head bone, this one. So when we go to the pose mode and come here on the lag data properties here, and this is the head bone, and this is the parent of this cap and other object on the head. So this cap is attached to the leg via this bone. It is not wetted. It is just transforming to the movement or the rotation of this bone and together with the leg. Okay, so let me show you in the other Ada fowl, where she is a superhero. This fowl, this one, so this is another vision of Ada. So you may want to attach object like this let box and also the grasses, this other asset, depending on what modification that you want to put on the character, these objects are not wetted. They do not transform the same way clothes transform, but they only follow the lag. For example, this box, it is not attached to this lag yet. So when you go to the pose mode, let's go to the pose mode. Select this tonsil and move like this. You can see that this object remain here where it was. It is not attached to the leg. The glasses are attached to the leg. If we select it and come here on the object data here, we can see that the parent on the lesion here is the facet leak, which is the whole leg. When we go to the pose mode and try to rotate the head like this, you can see that the glasses are transforming to the movement of the head. Now when I remove this parent relation here, I cancel it from here. When I go to the pause mode, I try to rotate the glasses on their own. So what we do to add it back, you select first. You select the glasses first, plus shift on your keyboard and you select the ig. Then you go to the pause mode. And then here on the league properties, come here on the transforming layer here. This is where the mature layer is right, select it, and then it's going to bring these matures. Then you can select the bone where you want to attach these glasses. Please shift and select you select this main bone, which is the Depth spine 006, which is the head bone, and then press Control P on the keyboard and come here on bone right Bone. When you click there, the glasses are now attached to the head bone. When we go to the we are already in the pose mode. When we come here and try to rotate the head, as you can see, the glasses are now attached to the leg. The same goes with other object, the hair or the head band or even the hair, you can use the same principle. They are just attached to the lik via the depth spine, which is the head boone. They are not wetted. It is different from the soot or the clothing. So to attach the object to the lag, it depends with the location of that object is. For example, this box here, you cannot attach this object to this link via the head bone. The way we did with the glasses. So where it is in the hip here, we have to attach to the hip bone so that when the character tried to lotate or when she's okay, this box has to be moving in the same way these hip bones are moving, right? So what you do, you just select the box, you press shift and set the rig, go to the pulse mode. When you go to the pose mode, you come here on the Ig data property here, the same we did with the grasses, then you select this amateur layer here, you press shift and select this hip bone. This one, and then place Control P on your keyboard and you come on bone. When you go to the other transforming layer and then try to rotate the hip bone, as you can see, the box follows to the movement of the pelvic bone. Even when we play the animation, let me try to play the animation. You see? It follows to the movement of the pelvic bone. If it was wetted, it was going to transform here as this cloth are transforming. But since it's attached to the leg, it's not transforming. Okay, so now, let's go back to our vowel, this one. So that is how you add object to the lik, the objects that are not supposed to deform like clothing. Even if you want to add some risk band, that is how you add them. So now, this is all for this lesson. In the next video lesson, we are going to learn collector object interaction. The same principle, this one, which is the lesson here, it also applies to collector object interaction. If you want to make the character pick something, you can use this same principle, but you can also use the child of constraint here in constraint, open the constraint here. We use the child of constraint also. We are going to look at it in the next video, right? 12. Character Object Interaction - Child-Of Constraint : Let's now look at character object interaction, how to make our character pick up object and interact with them. So we are going to make our character adora, pick up the baseball and look at it and bounce it. Alright. So we are going to complete the bounce symbol story that we started earlier on. We are also going to add the clips that we are going to learn and learn from this video lesson. All right. So we are going to start looking at the child of constraint first and later on, look at the principle that we looked at in the previous video. The one that we are attaching object to the character, we can use that same principle to make the character interact with object. Let's first set up our blend file and let's hide our baseball. And we can clear the animation data here and even here on our collector Ik, select the Ik and let click on the animation and come on clear animation. Alright. Let's put our starting frame to be frame number one. We're going to look at the techniques of character object interaction. This is where you make the character pick up things or carry stuff or throw some object or maybe holding a gun or something, that is called collector object interaction. So there are a lot of ways to make our collector interact with object. The first one is by using the constraint called the child of constraint. In the previous video, we looked at attaching the object to the dig. Or you can also use that same method to make the collector interact with the object. You can duplicate, for example, this basketball and you can parent one to the league like we did in the previous video and leave the other one as it is so that you are able to animate these properties here, Lender and view pot. We are going to look at this in our next video. For now, we are going to focus on the child of constraint. Now, to make our character pick up the object, this baseball here, first, we need to make the first pause. Imagine this is our first pause, plus Control tab to go to the pause mode, and we are going to put this in the front view. And this window in the light orthograph view. So you can just push this first pose, put the hands like so. Like she surprised looking at the bow. Now, before we go to frame 20, place A on the keyboard to select all the controls and then plus I to insert location and rotation, right? So now we can go to frame 20, and here we are going to make another pause where our collector comes in contact with the bow. So what we do to make that, select the tonsil and place shift and select all the hand control, and you can rotate her like. Now you can bring the hand toward the bow, so. Okay. So here you can make the hand be in contact with the bow. So now you can just activate this layer here, press shift and activate this layer for the finger control, box erect the finger control and press order to undo the rotation for the fingers and just rotate a little bit to make the fingers flexible like so. We can now place shift and activate this layer and then set the hand control and check bring it, make it in contact with the bow. So now you can set the shoulders and rotate them down a little bit like so. You can define the pause and make sure that the bow is in contact. Okay, so here you can deactivate the miller and make the hand in contact with the bow. So this is where the character comes in contact with a bow. So to make her stand, first, just deactivate these hand controls here on the layers, pleas shift and deactivate them. So now you can select all the controls and then box select the first key frame, press Control C, and come on frame 40 and place Control V to paste. Our collector will go like so. So now here on frame 40, you can activate the hand controls in the light orthographic view, plus G to move the hand like so and you can even rotate them like so. So now we are going to go back on frame 20, go back to the object mode, set the book. And come here on the constraint tab, this one here and click on hard constraint and pick Child of constraint. This is the constraint that we are going to use to attach the object to the ig. On the child of constraint, there's a target here. So when you pick the target, let's set the picker and pick the lig which is $1, it will bring a bone where this ball will be attached to, just like we were doing in the previous video when attaching object to the rig, it's the same principle. So we are going to attach this ball to this control, which is a hand control. So select the leg, plus control tab to go to the pose mode, and then Come here on the hammer char ayer here, the hand control is this bone here, which is DEF hand dot hara. This is the light hand control. Let's go back control it, controls it. So here on the constraint, we're going to search here on the bone. We're going to search DEF hand right. DEF and write this one here. So the ball will think that it has always been the child of constraint. So it will move to a different location. So to reset that you come here on click on set inverse. You only click once. If you click twice, it will go to another location. It would be confused. Alright. Just click here once. So the ball will move back to its original position. So now what we do here on frame 20 here, we're going to animate this property here. Okay? This is for the inference down here. Over here mouse here on the property here and plus I. So we've added the que frame here. So when we move back on frame 19, we are going to disable this child of constraint. So plus, come here. The queue frame is going to be added automatically since we have the auto key activated. So when we play when we pray the animation, our collector will pick the ball like that. Okay. So this is how you make the character interact with object using the child of constraint. Let's say we want her to throw the ball after looking at it and you want her to bounce it. It's very simple. Let's create a quick animation. Press Control tab. So this is frame 40. She will look at it up to frame 55. So on frame 50, we can just create a quick rotation where she analyzes the ball on skis like, something like this. And don't forget the first thing, focus on the bow animate it, and later on, you come and polish up the movement of the body according to that animation. So you can copy this from skis place, Control C, and pass it on from ski five Control V. So now we're going to make her bounce the ball to do that. Come on from 85. We're going to pass 20 k frames. So here, just select the hand where the ball is attached to, rotate it like saw. Okay, so this is where the ball is going to be released. So this is from 65. Here on frame 75, we are going to bring the hand up and rotate it like saw When we play the animation. Okay, on Kframe number 65, sect all the hand controls and rotate them together like so make sure that here it's on bounding box. It has to be on the bounding box so that everything is rotating together. So when you press spray, Okay? On from 75, we can have this hand supporting the bow. So even here. Okay. So 75-85, there's a very big distance. So if she's pushing the ball down, it has to be a very short animation space. So we bring this kill film somewhere here on 80. Okay, let's go into a sort mode. Okay. Like we learnt in the previous video, the movement of this hand control down, it has to come with force so that the book can be pushed. The way it is moving, it is moving, throw in and throw out. So you have to go to the graph editor here, open the graph editor here. You can zoom in and make the graph into view. So on the Z location, this one, or just box sect this if frame and plus V and set it to vector. Okay, that's better. So now, how do you make her release this bob? How do we animate it so that it goes out of the child of constraint. Okay? So here on from 75, they move this hand, let's put it somewhere here. Let's go back here to the three D Ve pot and press Control tab to go back to the object mode, set the ball. So this is from eight. This is where we are going to have the bolt least. Move one frame backward, here on from 79. And then press e on the child of constraint and on frame eight, dive both the child of constraint here, disabled. It has added this new Kframe since we have an autokey activated. Now we see when we disable the child of constraint, the bow or the object goes back to its original position. What we do here will be in the front orthographic view and here on in the side orthographic view, and we need to bring back the ball to its position on frame 79, this position. All right. So first, we're going to add the rotation and location Q frame. So plus I and plus and add location and rotation. And then on frame E, you select the ball and move it back to the same location somewhere here. So what we should be mindful is just the rotation. As you can see, the bow on from et has a different rotation, so you need to rotate it back. So you can just activate this rotation. Here on from et, and you can rotate it like so. And so this side, and you're done. So when we play the animation, I think the hand is not moving well. Let's go back to the graph Ester. Here on the Z, you can make the graph like so the hand doesn't make a sharp ten. I think that's better. So now, go back to the bow. This is from 80 and since the ball is pushed with force, come here on from 85, set the ball and push it, bring it down. Bring it down like. Okay, so let's bring it somewhere here. Okay. Set this key and bring them here. So now, it's a matter of going to the glove editor and polish up the movement of this bow so that it is realistic. Okay, set location, this one, set this handle and make it like saw. And also here as it reaches the ground, it has to be handle type, make it to free. So if you want, we can make it bounce. Okay, so this handle here, it has to be like so so that we have a bound symbol. Okay, so after doing this, we can now go back to define the animation. Okay? To make this animation realistic, this hand has to move up a little bit. So this is so on from 84, you can And this movement of the hand must be at the same pace with the movement of the bow as it is going down. So what we do? Okay, set the key frame and bring them closer to bit like saw. It has to be on 85. Alright, it is not that perfect. There's a loom to polish it up. Okay, let's go back to the object mode and pray the animation and see how it is. Okay, so this is how you make the character interact with the object using the child of constraint. And since we've worked on this animation, we can lender a quick animation out of it. We already have the camera here. But before we do that, you can add some details to the movement of the body like a set area. You first focus on the main objective of the animation, then you later on begin to add some details, right. For example, our character picks up the ball here. So here we can add some movement and rotation of the tonsil and the chest and the head, we can rotate them a little bit. This is it. We're going to export this shot and I will add to our animation that we lend that area. And if you've managed to reach at this level, you can also combine all the animation clip, and then you can pose on the class project so that you can receive the feedback. After doing some final touches on the animation, let me show you how it has come out. So this is the animation. She picks up the bow. Look at it, blink, and bounce the ball and hold it and look to the go post. So I have two cameras, this one and this one. This one is captured in the close up this shot, and I have also added on the same came, I've added the depth of field, as you can see the background is a little bit brad. And this is the shot where she's looking at the ball, and when she bounces the ball, you can switch to the long shot. Congratulation if you've reached at this level, if you've completed character object interaction, I'm sure now you are able to make some simple animation and some animation that you can make the character interact with object. Okay? So our clips that we've rendered, starting from the bouncymbl up to this level, we can now combine them in a double premiere pro, add some sound, and make it a complete animation short story that we can share on our class project. This is the animation that I meant, as you can see. It's something that we can have the community look at 13. Character Object Interaction Part 2: Okay, so before we start looking at the collector movement, before we start looking at the work seco, let me quickly show you another technique that you can use to make the character interact with the object. Okay, let's hide the walls first. Let's remove the child of constraint from the ball. Let's move it, cancel it here. And we can also we can remove the animation data. Okay. So this is where the character picks up the ball on from 20. So what you do set the lag and activate the hand controls. So we are going to attach the ball to this lag via this hand, the let hand. So you can activate this layer here, the amateur layer, this one, set the ball or first, you can duplicate it, press Control D and duplicate it. Let click so that it goes back to that same position. Okay? So this is a duplicated ball we are going to hide this duplicated ball. We're going to hide it. Okay, so this is the original ball. We're going to attach it to the leg. So to do that, select the ball and press shift on your keyboard and select the lik and then go to the pulse mode, just like we were doing when we're attaching object to the lag and then select this hand bone, this one, select it and press Control P. And come here on bone. Bone. So when press Control tab to go to the object mode and activate the hands control, this one, when we play the animation, the ball will always be attached to this leg so it will be like that so now on this frame, this is where our collector picks up the ball. So what we do here, we are going to create a Q frame. We are going to animate these properties here, which is the viewport and the lenders. So what you do here, hover your mouse here and place I on the keyboard and also here, do the same place I here. Okay? So when we move a step back one and like one frame to frame 19, we are going to deactivate here. Click here. The keyframe has been headed because of the auto m. Do the same here on the lender icon, click it. Okay. So when we press prey on frame 19, here, we are going to enable this ball which is not attached to the leak. Here on frame 19, we are going to add a Q frame, press I on the keyboard, and here press I on the keyboard. When we move to frame 20, this is frame 20, we're going to deactivate this one here. This is the ball which is not attached to the lig. So you press I to deactivate it here, you deactivate it here. So the ball will just switch when it reaches on frame 19 and 20, the one which is not attached to the dig will disappear on frame 19, and the one which is attached to the dig will appear on frame 20. They will just switch. When we play spray, another thing that you need to keep in mind, for this bow, which is not attached to the leg, this one, here on frame 19, you need to add a queue frame, a location and rotation que frame. This is because we need to switch between this bow which is attached to the rig and this bow which is not attached to the ick. And for us to be able to do that, whenever this bow which is attached to the lik will be at the point where we want to hide it or want to switch it off and switch on this one, which is not attached to the link. We need to move this bow, which is not attached to the link to that new location, right. So if we do that, if you've not added the queue frame here, this side on frame 19, that means that the animations that we've made this side on the first frames, it will move to that new location, right. That's the reason why we need to add a queue frame here on frame 19. You need to add a location and lotation que frame. So if you want to make a complete animation whereby, she picks the ball, look at it and bounce it, and then hold it again. This is how you do it. Here, let's start from here. She picks up the ball. Look at it, then push it down to bounce it. This is from At. This bow which is attached to the leak is always attached to the lik like I said area. So what you do here on from At this is where she pushes the ball. What you do this ball, you select it and on film 80, you can add a Q frame, plus I come here on the viewport here, press here to add a new frame, and on the lender, plus I to add a Q frame. Then when you move one frame here on film 81, you can deactivate here, click and activate here, the keys are automatically added because of the auto key. All right. So now here on from 81. We're going to activate this one. The one which is not added to the league. Okay, this baseball. So come here on At Over the mouse here, add plus I, also, plus I. When you move further on from 81, you can now activate and activate. Plus one to be in the front orthograph, select the bow and move it to the position where that bow which is attached to the leg was. Make sure that you rotate it to the same position where the bow which is attached to the leg is so that it is seamless. Okay? So now after doing that, this bow which is not attached to the leg, you can make a bouncing bow. Here on frame 85, this is where it is going to reach the frog, the ground after she pushes it. And here on frame 81, you can bring it here, push it down a little bit, like so. Okay. Here on frame 89, press G and bring the bow up somewhere here. Okay, here on frame 90, we are going to hide this bow again and on frame 89, come here on the viewpodTp here, place i and here place high. On frame 90, hide this bow. And then come back again on frame 89. Come on this baseball here, which is attached to the leag and place I to hide a new keyframe and here place I. So when you go to frame 90 activate it now. Okay. I think it's perfect like this. So now we can just play with the hand how she's adding the bow, but it is perfect. So this is how you make the bouncymb. And also, you can go to the graph editor here, open a new window and go to the graph editor and make it to the bouncymbqt in the previous video, the Ze location, activate this and set the handle type to free make the graph like so. Okay, so that is how you make the character interact with the object using this technique. There's a room to improve it. You can make it perfect. But this is one of the ways that you can use apart from the child of constraint. This is for this lesson, next, we are going to start looking at the work circle and the character movement. 14. Simple Character Walk Cycle : We are now looking at the collector movement. We're going to start with the work circle. I'm going to teach you how to make a simple work circle that you can transform into a forward movement. Let's go into it. There are two different method that you can use to make the character Wecle. What I'm going to teach you is a simple way to make a work cycle that you can use in your animation story. Okay? So contoub to go to the pose mode. And we only need the foot control on this layer here and this layer, the foot control, and also the hands this layer here and this layer here. If you're using this blender and also for the tons of this layer, which is on here. Okay. Now, let's undo all the pausing that is on the character so that we can start from scratch. So select all the controls and press O R and OG. Okay? So the character is now back to the original position to make the w circle. The first thing that you need to do is to make the first work pause. Okay? So our character we'll be working in the Y direction, the Y axis. So now let's change the king set. Go to the object mode and come here on object and come on animation and click on hangeKinset here. Then set the key to location and lotation only. Okay? Contract up to go to the pause mode. So now, let's begin to make our first pause and then make the hand like so. So we are going to bring 1 ft forward, this one and this one backward, a little bit. And we can bring them this side a little bit, even this one, I bring it a little bit closer like so. And for the hand, since this leg is in front, this hand has to go backward, like so, and this one has to go in front like so. And they shouldn't be stretched, so you can push them up a little bit, like so. And I'm sure you can bring this leg heat to bit here, and this one and now select the tonsil and push it down like so, where the leg are starting to bend, okay? We've not added any Q frame yet, we are just posing her for now. Let's make her like so. I'm sure this is okay for now. Just for the hand. You make the hand relax a little bit, activate this layer here for the fingers, pleas shift and activate it. Then please shift and select the first layers, and then you can activate the mirror here and use the rotating to here. You can just put her like this and rotate in your perspective like so. And also the second fingers, the second control, press shift and set all of them, and then you can rotate them like this. Even the thumb, you can rotate it and bring it down a little bit, like so, just to make a little bit relaxed. When we are done, you can press shift and close this layer for the fingers. After doing that, you can now begin to add the key frame, plus A to select all the controls and place I on your keyboard. So we've added the location and lotation here on frame number one. So minimize that arrow so that we can only med with three Okay, so the complete work circle, mostly it's up to the character or the personality that you want to put in that character. Alright. But for a normal work cycle, we use 32 frames for a complete work cycle, 32 frames or for the first, a little bit first, we use 24 frames. That means when you use 24 frames, the mid frame is frame number 12, and the frame number six is a mid of the first half from 12 and one. So now we are going to use 32 frames for a complete work cycle. Okay. So when you select all these controls, here now you can activate the auto king. Then press A to select all the controls, and then box sect this first keyframe, press Control C, or just click and copy. Then come here on frame number 32 and let click then past. Okay? So frame number 32 and frame number one is just keyframe, just the same one keyframe, the same pose, right? So the mid keyframe, which is from number Sistine is the one that is going to be opposite, Okay? As those controls are still selected, come on frame number Sistine, then paste fip. Okay? So now we've flipped the pose. Okay. Since frame number one and frame number skisin is just the same, so we are going to make our end frame for the work circle to be frame number 31. Okay? Type one here and press Enter. We don't want to see frame number 32 because it is the same as frame number one. So when we press pre you see? Okay, so now we're going to continue defining the pose. So here on frame number one. Okay, there are some details that we're supposed to add. For example, this shoulder, we can rotate it a little bit in front like so. Okay. And I forgot to deactivate the mirror here, make sure that you deactivate this mirror here. Okay? So you can rotate the shoulder a little bit in front like so. We are doing these changes here on frame number one. When you are done to make the changes, we are going to select all the controls and copy these keys here and paste them on that two and paste them on it on Sistine to add to update the changes. Okay? So here even on this shoulder here, you can rotate it backwards a little bit like so. And the chest can rotate clockwise, a little bit to this side, sect the chest, sect the chest and rotate it just a little bit. L 0.07, just a little bit, and the head also. You can rotate it also to this side. Like 0.1 or 0.9, somewhere there, just a little bit. So when you're done, select all the controls, copy this gif frame here on number one, press Control C, pass it on frame there two. Past, then come on frame number 16. Let click then past frap here. So we've applied those changes that we made here on frame number one. So when you press prey So we have a little movement over the head and the shoulders and the chest. All right. So now, next, we are going to go to frame number eight, which is on the middle of frames s and one. So here we are going to make another new keyframe. This frame is only for the foot control the hand and the tonsil, and the pelv control this one, right? So select this foot control, the light foot because the light foot is the one that is starting first, right? So sect the foot, then pleas shift and select the hand control, both of them, and also sect the tons of this one. Okay? Then plus one to be in the front orthograph view, and then you just push it up, push all of them up like so, and make sure that the foot that will remain on the floor is not stretched right somewhere here. Okay. You can also select the foot and push it up to bet the foot alone. This is from eight and for the hip, we are going to rotate it. We're going to rotate it to this side in the Y axis like so. Okay. So after doing that, we can also select the hand. As you can see, they have to be down on this pose on this frame, they have to be relaxed like so. You can push this one, this side a little bit and this one here. So when you are done making that pose here, you can now select the foot control or the foot control and select the hand control and this one and sect the hip control and the tonsil. Select the tons of this one. When you are done, box sect this keyframe. When you set this keyframe, you are only selecting for the controls that you selected on the lead here. You are not copying everything just for the controls that are selected. All right. Box sect here, then copy the queue frame. Then come here. The mid of 16 and 32 is here on frame 24. Here we are going to be fp this keyframe, this keyframe number eight, right? Best flip here. So now, when we prey spray, we have this movement. Okay, so this is the complete work circle that you can use in your short and ion story, in your short and ion movie. All right. The work circle that you can transform into a forward movement. So now, before we proceed, open a new window here, and this window added to a graph editor, and we're going to define our foot movement in the Zt axis. Press shift and sect both of them. You can open this menu. So this is the foot left and the foot right. So you can close these other caves and remain with only the Z location only, right? So even this one can cross this is for the foot C, and for this one, you can also close these curves and remain with the Ztlocation cave only. You can zoom in here and put the cave into view like so. Okay, for the foot, box select this handle, right click and handle type, set it free, and then select the handle and move it up like so. Do the same here. Then come to the left foot. Do the same handle type, set it to free, and here to free and make the cave like so. So when we press spray, I think it's perfect like this for the work circle that we want to transfer into a forward movement. Okay, so this is all for the work circle, a simple work circle that you can transform into a forward movement. In the next video, I'm going to show you how you can transform this work circle into a forward movement. 15. Transform Character Walk Cycle into Forward Movement : In this short video lesson, we are now going to look at how you can transform a collector work circle into a forward movement. Let's go into it. So to do that, first, the sliding back movement or the foot from this point going this side, this movement has to be linear. It has to be a straight line, right? Okay. So this is a Y axis. Our collector is moving in the Y axis. So what you do select both foot controls, and then come here on the graph editor and activate the Y curve, the Y location only for the left foot and on the foot. So this is the Y location graphs. So the sliding back of the foot, for example, for this foot, it's this movement from this key to this key. All right. So this is the part that's supposed to be a linear, all right, that's supposed to be a straight line. So to set this clap to a straight line, pleas shift on your keyboard, serect this handle, and this handle ending, or you can just book select them like don't sect them together with the key frames, serect these ending handles, right. When you do that, place on your keyboard and set this andotype to vector. All right? So we have a straight line like this. Controls it. Let me show you. So if you box straight together with the key frames like so and plus V and set it to vector. The graph is going to be like this. Even this handle is going to be affected and we don't want this. We only want this part, right? This part to be in vector. So place V and set it to vector. Okay, so now, select the light foot. For the light foot, the sliding back movement is starting on this key up to frame number 32. So book select this handle, plus V on the keyboard and set it to vector. All right. So now what we are going to do to transfer this movement, we are going to cope this sliding back movement. This straight line here is the one that we're going to cope and pass it in the out control. So come here on the control layers, press shift on your keyboard and activate the lute control. Okay. So what we are going to do, we are going to copy this movement in the Y axis only and pass it into this so that it moves together with the foot. As the foot will be moving backward, the loot is going to use the self movement to move forward so that the foot will be locked in the space. So press in here on the transform panel here. So what we need is just the Y location, right? So the key frame that we are going to put is only for the Y location. As the timeline indicator is on frame number one, hover your mouse here and let click and then come on insert single K frame, right. So the keyframe is added on the Y axis only. So heaven here on the graph this is the key here. Okay? So now, select the foot and box sect this keyframe, this two keyframe here, and then click on it and copy Keyframe. Copy it. Then select the loot here. Open this menu and this is the while location. Click on it and click on the glove and click on Paste. Okay, we've just coped that movement of the foot to the lute. When we place play, the lute will be moving backward in the same manner as the foot is siding back. So what you want is the lute to be moving forward at the same pace with the foot. So to do that, come here on the graph editor, place S for scale. And then place Y. So what we need is to scale in the Y axis only. So when you place I, you can now press negative one and press Enter. So what we've done is we've just flipped that movement, right. Instead of the cave going up this side, the cave is coming down like so. So when we place play, as you can see, the foot will be locked in space. Okay, what we need now is this lot to be going forward, right. So to do that, we can just add a circle modifier to this cave. Come here on modifiers and add a circle modifier here. This one. Second now it will be repeating. What we need is it has to be going just forward. We don't want it to be coming back to the starting point. So to set it like that here on repeat motion, open this menu and set it to repeat with offset. Repeat with offset. Even here on the before mode, before mode is this side of the graph, which is not in this area where we are animating from. Okay? So you can also set it to repeat with offset, but it doesn't matter. Alright. So now, when we play spray, our root will keep on moving forward. So even if we extend our ending qeframe to 250 plus enter, our route will just keep on moving forward, even when the work sequinmon end because it's ending on frame 32. But the route will keep on moving forward. So now since our work circle is ending on frame number 32, how do we extend it so that it continue together with the loot? So we can closs the loot for now. I'm going to show you the simple way to extend the work circle up to where you want the character to leach. For example, if you want your character to work and leach, let's say here, I'm going to show you how you can extend it. First, for the foot movement, we are going to add the circle modifiers to the caves to the Y location and the Z location only. We are not going to copy this keyframe for the foot. Instead, we are going to add the eco modifier. So select the foot on the Y location and also the Z location. So on the Z curve, first select the cave, come here on hard modifier and add seco modifier. Okay, so do the same with the Z cave. Come here on hard modifire and add seco modifier. Okay. Do the same on the foot, activate the Z location, add add the second mode fire, and to the Z location, add the second mode fire. So when we play spray, So the legs will keep on moving. Even when the animation for the top part of the body stops because it's ending on that too, the leg will continue moving because of the circle modifier that you've added to the curves here. So now you can deactivate the leg layers, the leg controls, deactivate them, all of them. So that we only mad with the top part of the body. Now, pressed to select all the controls, minimize here, and box select this keys all the keys. Then cop them. What we are going to do this frame number one is the same as this frame number 32, we're just going to be pasting Bec. Contrast it to cop or a click and cop, then bring the timeline indicator on the two, click and paste. Come here and click and paste, even here, like, click and paste, so you can keep on pasting until the collector reaches to where you want it to leach, right? So you may be asking why we didn't copy the queue frame for the foot and paste them like the way we've done with these other controls or it's because for the foot since we've modified the caves here, this pattern that we've made here is not going to be the same with the coped if frame. It's going to add it to automatically. The handles are going to be automatically. They're not going to be the same way as they are here. That's the reason why we cannot cope the movement of the foot. Instead, we can just add the seco modifier so that when we place play, we now have a complete movement. Even though this food is riding a little bit, but it's perfect. I think it's okay like this. I have seen some West rock circles in some and movies. This one is even much better. Okay. So now let's activate one camera. Let's set up the cameras, go to the add the if from here for the camera, move from 250. Put this window into a three D view pot and put it into a camera view and set up the cameras like so. All right, this is not an active camera. Okay, so here place I. So here on frame one, you can lotate it like so so that you can put the character inside. And let's try to activate the environment and see how it can look like if we landed it. So on this window, let's use the lender view so that we can see how it will look like. And also, make sure that you set the keys for the camera to vector, sect all of them and press B and set them to vector. O. Okay, so what you do for the depth of field, since this camera is moving here on frame one, you can set the focus distance and make the character in focus. And you can animate this property here by clicking on this icon here. Okay? So we've added the queue from here. And then when we come from 250 here, we can also set the focus distance and make the character in focus, like so. Okay. So the key has been added automatically. We have this animation. This other camera, you can set it for the close up shot. Play seven on your keyboard, and here this is frame one. So we have this shot and you can put this camera like So We can also animate this camera, press I to add a keyframe here on frame one, and on this window, press seven and come here on frame 250 and move the camera and put the character back in view like so. Just make sure that you also set this key to vector. Okay, so we have this animation. Okay, so this is how it has come out. I've added some trees in the background. Okay? You can get this twist also. They are also in the lesson resources, you can download them if you want to add some life to the scene. I just want to make this animation a little bit interesting. I want to add the facial animation, some simple facial animation just like the movement of the eyes and the blink. Okay, so just serect the first three layers here for the first. Just as we learned in the previous videos to set an eye brink, you both sect these controls here. The one that are surrounding the eyes, then press I on the keyboard, and then you can move eight key frames. So in our case, we can move to frame eight. So here, press I to add a new keyframe. Then come back from the four on the middle and begin to begin to cross the Is like so. Okay. We didn't activate the auto king here. If you move our casa from this pause is going to disappear. What you do, just box sect these keys again, these layers again, and press I on your keyboard to insert the key frame. When you press spray, Okay. As these layers are still selected, this one here, you can copy this gframe for the blink controls, and you can paste it maybe on sister here and anywhere you want where you want the blink to be, you can past and even here, you can paste. So now you can also add some animations for the hires. So here where she's making an I bring, place I to add the q frame. And here on frame 77, make her look somewhere. Let's say, decide like so, and place I to add another key frame so that we can create that first eye movement. Okay? So you can copy this keyframe to create a holding key on 85. Place Contrav to past, then cop this first key frame, Control C, and paste it on on 90 Controv, all right? Okay. This is all I wanted to add some details to the animation. So now I'm going to export and I'll show you how it will come out. This is all for the work circle and the Ford movement. This is the video clip that I've learned from this lesson. I added some cubes in the background and added some building textures. Okay, so if you've achieved something like this, you can edit it in a double premiere pro or any editing software and add some sound, and you can share it on the class project section so that you can receive the feedback. In the next class section, we are now starting to look at the principles of animation. We're going to look at all of them and how best we can apply them in our animations for us to be able to make realistic and appealing animations. Alright, see you in the next section. 16. Principles of Animation - Squash and Stretch : Hi, guys. Welcome to this section, the Principles of animation section. This is where now we are going to look at some of the important principles of animation and how you can apply them in our work for us to be able to create good animations. Alright. This is more of a theo section. So you need your pen and a book so that you can be able to let down some important notes that you cannot afford to forget. So after this section, we'll go into our last section where we'll be looking at animation Workfrom. I'm going to show you my simple animation Workfrom that you can be using as a beginner meter for you to be able to create professional animations. Okay? For now, let's look at some important principles of animation that we'll be using in our animations. Okay, so we're going to start by looking at squash and stretch. What is squash and stretch? Squash and stretch is simply the ability of object to deform and recover giving the illusion of weight and flexibility. Okay? So, for example, I have this scene here, this animation of this character when I play it. I'm sure you can see how it is moving. So here, the character swings on the lob like saw. Okay. So stretching. This is a point where you can add a stretching. All right. This is where you can stretch the character because the character is in the hair and that weight and flexibility will cause the character to stretch. This is the point where you can add stretching effect. Okay? Not the way it is, the way it was done. So you can stretch the character, both the body and the foot and the leg. And for stretching the body, we use the spine Fcaser? The spine F case on this layer here, these ones. So even if you're using Brenda 4.2, the newest Brenda, you can locate the spine Fk in one of the layers. So to stretch the character, you can stretch it just by setting one of these spine FKs. It depends on how you want it to be stretched. Okay, so you see, at this point, the character is stretched. Okay? Let me deactivate the lute here. Let's hear and do all the pausing on frame number one on the spine FK, place autogy and ot Rr. So when we press spray, Okay, so this is where the character stretches. Let's stretch him like this. And this is frame seven. When you contact the ground, this is now where you can apply a squashing effect so that the character comes together. So here, remove all the squashing effect that is on the spine F case, select O, and then you just place out R and out G. Okay. So now, when we play spray. Okay, so this is how you use the squash and stretching effect. 17. Anticipation : And special. And suspension is simply building expectation before an action. Alright, we use anticipation to create believable action like the character preparing to jump, hit or throw an object. Okay. So here on our character, you see, this is ant speciation. Okay, rather than immediately jumping this stretch from here, we should animate him moving backwards to build that momentum and tension. This anticipatory movement will generate the force and create audience expectation, engaging the viewers and leaving them wondering will he jump or not? This deliberate buildup enhances the overall animation, fostering suspense and viewer engagement. Okay. That is what ant speciation is. For example, this is Ada character. This is also anticipation. She's about to hit this ball. She has to build that force that is going to hit this ball to go far or to go to the point where she wanted to go. Okay? This is also anticipation. I'm sure you've watched some of annoying videos on this platform, Facebook or YouTube, whereby a guy or a girl put something that is about to happen, and then it's taking long to leach at the result. That is anticipation. Anticipation puts the audience connected or engaged to the content to see that action that is about to come after that anticipation. Okay? So this is how we use anticipation, and anticipation is very important in animations. 18. Staging : So we are now on staging. What is staging? Staging is simply the presentation of action in a clear and engaging manner. For example, the character movement is staged to face the camera ensuring visibility. Okay, so we have this scene here. I'm sure you can clearly see it. We have the logs this side, and we have the trees in the mid here and the character here. We don't have los this side. So which means this scene is staged in such a way that we only want to be this side, and this other side is for cameras. When animating, we don't model a lot of stuff, things that are not going to be seen by the camera. That's why staging is very important. If my camera is going to be this side like the way this camera is here, and the character will be here. So I don't need object this side. I only need the objects that are going to be visible in the camera. Alright, I only want objects that are going to be seen in the camera. So we use staging to direct the audience's attention. For example, this long shot here, mostly it's showing the environment. I want the audience to see the environment together with the character's movement, okay? So when I want the audience to see maybe the facial expression of the character, to see his expression on the face, that's when uh, we bring another camera. Let's say this camera here, we bring it for a cross up shot. That would mean that when this camera will begin to render, some of these objects that are not going to be visible in this shot that I'm going to render using this camera are going to be disabled and hidden because they are not important. So this is how you use staging. We stage to direct the attention of our audience to what we want them to see. Okay? So this is how we use staging. Even when you are modeling, you don't need to model a lot of stuff, even the things that are not going to be seen in the scene or by the camera. You only model or put assets that are going to be seen by the camera. We don't just put everything to make the viewpot slow, okay? So you only make the things that are going to be visible in the camera. 19. Timing and Pacing : Timing and spacing. This is simply controlling the pace and me of animation. For example, the character's work cycle as a consistent tempo. We use timing and spacing to create a coercive le them like pacing dialogue and animating movement. Okay? So for example, our character work cycle here. This work circle has a consistent piercing. It's not like here she walks first and there she walks slow. She's moving consistently at the same pace. Okay? So this is how we use timing and pacing. So when we go to our other character, when we look at the jump here, So the timing and passing here on framing is jumping from here on 120, okay? Okay, so we need to how much time we will take in the hair and to reach this side of the cliff. So this timing has to be believable, right? It shouldn't be very fast or it shouldn't be very slow. So this is how we use timing and passing. Okay. 20. Exaggeration : Exaggeration. Exaggeration is simply emphasizing action for dramatic effect. For example, the cartoon characters reactions are exaggerated for comedic effect. And how do you apply this exaggeration? We use exaggeration to add emphasis like enhancing facial expressions or actions for dramatic effect. For example, this pause that I made for our character Dora here, she's about to kick this bow. Imagine this is the ball. So how do we exaggerate this pause? It's just to stretch beyond the normal pause to create that emphasis right on the pause. To show how big that action would be. For example, we can exaggerate this pose by let's say, we extend the pause and we stretch it a little bit more, like so. We stretch the hand like this. Like, so. So this is now exaggeration. You can even tell that when she kicks this bow, it's going to move with a lot of force. So we use exaggeration to add emphasis, to a pause, right? Okay, so now, when we go to our other character, if we were to add exaggeration to this animation, the point where we can add exaggeration is this pause here, right, where he is building anticipation, right? This is where we can exaggerate that anticipation pause. Okay? And also, here, when he jumps here, we can also exaggerate the jump. And even here when he lands, we can put we can add exaggeration effect. Let to emphasize the landing impact of each jump. Okay? So here we can add exaggeration. And we also add exaggeration on facial expression. For example, uh, to a surprising character, you can exaggerate the surprising facial expression. We can extend it and exaggerate it to add the emphasis on the supplies. Okay? So this is how you use exaggeration. Exaggeration is very important and is mostly used in animations. 21. Follow Through and Overlapping Action : So now we are on follow through and overlapping action. What is follow through and overlapping action? This is the continuation of movement after an action, right, the continuation of movement after the main action. For example, we have our character here, is hording to the tree lobs hoding to this slope. And then when I press spray, That lop remains in action. It remains swinging back and forth after he has jumped from it. This created a realistic movement or a breathable animation. So after he jumps, the lop has to remain in action, which is called overlapping action. Or the secondary action of an object after the main action. We use follow through and overlapping action to create a fluid movement like a character's air or clothings reaction to their actions. So it's the same as I'm explaining here. This lop has to swing back and forth to react to his jump or to his movement. This is a follow through and overlapping action. So it was also supposed to be added to this thing he's wearing, but it is not leaged as the skirt. It's only legged as the mesh together with the body and the clothings. Okay, because this is just a quick animation that I thought I should create to show you guys how to use these things, the principles of admission. So now, if this animofaO this thing that is putting on, if it were leaked, it was supposed to be like this at this point, at least give from here. It was supposed to be like this to create the overlapping action, right? The action or the things that is having in pons to his main action. So it was going to be dragging like this, right? So this is called follow through and overlapping action. This is the reaction or the things that is attached to the character or, for example, the same skirt and the things that is wearing and also maybe this neck object here, it was supposed to make some action to respond to his movement. This is how you use follow through and overlapping action. 22. Pose-To-Pose and Straight Ahead Animation : Okay, so now let's look at pause to pause and straight ahead. I want you guys to pay extra attention on this. So what is pose to pause? Pause to pause is both an animation workflow technique and a principle of animation. Pause to pause has a workflow technique. The workflow is how you animate. It's how you make the keyframes, how you make the pauses, how you animate the character. So pause to pause is keyframe animation, whereby you identify cltical frames or pauses in the scene. For example, I have this character here. That I animated, I'm sure you can see how she is moving. So this same animation, there is both pause to pause as an animation technique, and there is also straight ahead. For pose to pause, you first identify frames where you need to make important pauses for the character from the start of an action up to the end and then filling in between the frames. Okay? For example, here we have these two cliffs. And here is the character. So the first keyframe is this one here on four. The character here is planning to jump this cliff. The second pause will be the anticipation pause. The anticipation pause is where the character comes here and prepares to move and jump this cliff. This is the second pause. There's this pause this way and there's this pause here. The third pause let's go to frame 15 here. So, this is the pose where our character is now jumping. Is building the force to jump, okay? The next pose now, we're going to make this gif frame this pose where our character is now in the here. So this is our character now here. Our character is in the hair. So our next pose here, our character now lands. So this is what they call pose to pose. As you can see, So we first identify the key frame and then prepare them or draw them, and then we start fitting in between. For example, this first pause here, then you come in between here, let's say, between this pause and this pause, we make another pause. So this is now the character moving backward. So when we press spray, we have this. Okay, let's hide the cue for you. So the character moves backward, learn and jump. And also here between this pose and this pose, we pause our character in motion here running toward the cliff in order for him to jump. Okay? So this is the idea of pause to pause. You first make keep pauses, and then you come fiding in between, okay? So here in this file, this is our character about to jump. On this pause, which is frame 110, and there's also this pause 100. So after he has moved backward, then we make the anticipation pause. After that, we come to let's say on frame 121, this is a jumping pose. Then we go in between and make the pose that is supposed to be here. Okay, this pause from this pose to the landing pose, this pause here. So you first make these key poses of the character and then you start filling in between, like this one from here, this pause here and the landing pose here. And this is landing pose where you're supposed to squash the character to emphasize the landing impact on the character. Pause to pause is more of an action animation. We use it for action animations rather than movement or motion. And then straight ahead is more of motion and movement, right? For example, with this animation here, and met our character moves from here up to here where the bow is, we use straight ahead and measure because we need to control the motion and the movement of the foot in the graph editor until she reaches here where the bow is. Which is on frame 24. Okay? So this is now the character is going to make this action of hitting the ball or kicking the ball. So this is where pose to pose comes in. So this is, let's say, frame 24. How is my character going to be in the next frame? After planning, then I come to the conclusion and say the character is going to be like this. Okay? So after planning my next pause her pose, at what frame this pause should be, right? So this is an action. A pause, she's about to kick the ball. It shouldn't take a lot of time. Alright? I'll just move four key frames from 24 to frame 28. So now I come to frame 28 and begin to pause my character like so. And then in between, you fill in and make some adjustment right on some controls. For example, for the foot, the heel hike, and for the hand, you make some control and polish up and fill in between, okay? So now, what is straight ahead animation? Straight ahead animation is an animation technique and principle that involves animating scenes sequentially from start to finish, like the way I was explaining here on our character. So this motion, this movement from this point to this point, you can use straight her head animation, whereby you need to have full control of her motion and the spacing that she would take for her to reach on the bow here. Mostly, straight her head animation is used for fluid animation. For example, if you want to animate or make fire, you cannot predict the next frame for the fire. All right, you cannot predict it. Okay, so this is where you use straight ahead and mision, whereby you need to animate each frame. You just need to pass the frames that you are living in between. For example, this is frame number four, and we have this frame frame number seven here. You also need to draw the fire here. And then next frame, you draw the fire like so And here, you also draw the fire. Okay, so this is how you use straight ahead. You animate every frame. You just live in between the frames that you are jumping. You are not coming back to add any key frame in between. So this is straight ahead animation. Okay, so we end here for the principles of animation, I have only talked about the important ones that I think you must know as a beginner meter. Okay, in the next video, we are now going to start looking at imion Workflow. This is more of a practical section where now we are going to apply everything that we've learnt, starting from the beginning up to this level, and where we are going to apply the same principles of animion. Okay? 23. Animation Workflow : So now, in this section, I'm going to show you the best animation workflow that you can use as a beginner meter for you to be able to create some professional animations. Alright? The workflow is how you animate. Is the method you use for you to be able to make quality animations. So now you can download two Brand File from the lesson resources. If you haven't downloaded them yet, you can download the detective police office Brand file, and also the detective crime scene Blend file, all right. But for this lesson, we use the detective police office Brand file. Let's go into it. This is a scene. This is a detective office scene. Our two characters here, Colin and this is George. And here on my scene collection, I've arranged everything in order. This is George's collection. And this is current correction, and this is the office correction. And so when you are animating, make sure that you put things in order here in collections so that if you want to concentrate on animating and ease the viewpod, you can just close some corrections so that you can ease the viewpod so that you can concentrate on characters only. But for this scene, I've already arranged this for you. When you open it, you'll find it as it is here, okay? So here in the office folder, we have these other corrections, right? This is a correction for the door, this is for the window and the table and asset here. And below here, these are for the walls. There's the office wall back, the one which is in front here. When you activate it, this is the wall, okay? So for sin staging, my camera is in front. When you come here, activate the extras here, the lights and the camera. So this is the camera. So when you activate this office wall back this one, when you press zero, will not be able to see the characters, right. So when deactivating the wall like this one, make sure that you deactivate it both in viewpot and lender. Because if you don't deactivate it in lenders, if you forget when lendering it will be bringing this flat color, right, which is the color for the wall, and do not know what the cause of this will be. Make sure that you deactivate both in viewpot and in lenders for this wall. And for the characters, this is colon. And the collection for Karen is here. Karen ig is this one. And in Georgie, the Judges' age the Judges Ligue is this one here, which is this ig, Alright. So now, what is an animation work flow? An animation workflow leaf us to the step by step process of creating an animated project from concept to final delivery, which include pre production, where we have script lighting, storyboarding, character design, voice over recording, reference video recording, and in production where we have moding texturing, three D asset creation, layout and staging and animations and other things. And also, we have post production. This is where you do editing and assembling that's where now we use the video editing software such as Adobe Premiere Pro and other softwares. And then there's also delivery, which is exporting, formatting and quality control, right? Now, the workflow that I'll talk about in this lesson is how you animate. The method you use to make quart animations, right. So for me, I use automation, pause to pause plus exaggeration. This is my animation workflow. This is a very simple way of animating, and this is the method that you can use as a beginner anima to create profession animation. This involves acting through the script while recording the voiceovers for characters. Then using the same recorded video as a difference video in Brenda and animating your characters following it by pose to pose and adding exaggeration in some pauses. This is a process that most of the animators use, and it is very, very simple to do in Brenda. So what I do as my animation workflow, I first create my difference videos from the script and then import them in Brenda, and I manually animate my characters following the footage. Like I said earlier, I recorded the reference videos that we are going to use for our difference videos. I recorded myself with my friend, Fema she's an actress. Hi. Hello. So we are going to use these difference videos as we animate. Let's cross the office for now so that we can only remain with the character. And also, let's cross the words here. So in that same detective office scene Brand father that you downloaded, there's this detective office scene difference video. So the first thing you do you have to come here on on Editing and then come on preferences and come here on addons. On addon you search Import images as plane. This addon here, you need to activate this add on here, which is import images as plane. Activate this one and click on self preferences. So when you're done, you can closs this window. And also here on correction, that reference video can just come outside here or you can create a new correction and name it as reference video. Okay, select it and then come here on the viewport and press Shift A and then come on on image here. And then you are going to come on image as prance. All right. Image as prince. And then you are going to go to where you downloaded that brand file, and you're going to load this reference video, this one. Okay? Click on Import image as plain. Okay, so this is our video here. Our video is on this plane. So when we go to material Preview, this is our video, our difference video here. You can scour it out and put it behind like so. So when you're done setting it up, you can now open a new window here and come to the Sedar editor here so that you can see the material. On the shedder Editor, this is the material for this plane for this same difference video, right? Here on our timeline, let's put our starting frame to be frame number one. And our end frame, let's put it on 500. Bring our timeline indicator on frame one. So here on the material for the reference video here on the frames. The video has the total of 1040 frames from the beginning up to the end. That is how long this animation will be up to somewhere here. This will be the last flame. Okay? But don't worry about ditching this side. We animating step by step. All right. You unmet this step, you render it and save it. You go to the next but you unmate it and render it just like that until you finish. So here, the start frame is one here. And the other thing that you shouldn't forget here when you click on the video here, click on it, come on properties here, that come on details here. You'll see that the frame t is 23 frames per second. 23.98/second. So even in the file here, when you come here on the output, on the output tier on format tier, this percentage here has to be 100%. And here on the frame rate, it has to be 23.9 frame per second. It has to match with the flames or the video, which is 23.98 frames per second. It has to be exactly the same. If here it is 29 frames per second and the video is 23 frame per second, when you animate, the ip synchronization is not going to match with the audio in the video. It's not going to match with the animation when you go to Adobe Premiere Pro. 24. Animating Body Movement with a Reference Video : In this video lesson, let's now look at staging and animating body movement for the difference videos. We are going to animate the first movement for George. So our difference video start on from number one. That means that the plane or the video in the plane will be starting on from number one. When I press play, it start on number one. If I change here, let's say I add it to 50 and press Enter, that means when I press play here, it will start playing when it reaches on frame 50. This helps if you want to start flowing the difference video. Let's say, from frame 100, here on the start, you can type 100 and here on the timeline, when it reaches on 100, that's when it will start playing on the plane here. Put it back to one here and press Enter. Okay, here, let's go back to the three Dive pot. And so now, the other thing is that the audio in this difference video is the one that we are going to use for our characters. The audio doesn't prey on the prene here in Brander, but there's a where you can pray it, but I don't use that one. What I do, I usually get the same difference video and take it to a video editing software. In my case, a double Premiere Pro and put it on the timeline here. Okay, this sequence is a full HD and the video is not a full HD, because in Brenda, if you import a full HD video of a big size to be dragging when praying. So when you put the difference video in the video 18 software, so from here, you can hear the audio. And also when you animate the clip in Brenda and export it, you can take direct to the video 18 software and put it here and see how it has come out. So now let's begin admitting. Here on the difference video, when you pray it, we have our character, George, who's looking at the case board, trying to figure out the case. So when we activate X wards, when we press to view from the camera, George is standing this side. And now, so we can bring George and make him stand this side. Alright? Let's rotate him to negative 90 so that he can deface this side also, like so. Okay. So we put jog like this and Carleen is seated. So we are going to make her seat. Activate the office here. Let's hide this wall and also this cabinet, which is the local here, we can hide this folder. So when we press on the nump we have this view, and when we press one, we have this view for the front view. This will be our first shot, this one. Let's bring George closer to the bod like so, and also for the reference video, we can put it here. Now the viewpot looks to be heavy. Let's get the table and remove it from the office correction and bring it outside here. All right, so that when we cross the office correction, we remain with this correction only. So now, contrat up to go to the pose mode for current here and let's make her state like so. Okay, please shift and activate the layers and for the hand control, and this one here. Okay, so activate the mirror here and just rotate them like. You can also activate this one, the spine C and push this spine inside a little bit and make her be looking on the laptop like so. And she can be like this a little bit. Okay. So when we look through the camera, right, this is okay. Okay. So now our collectors are in position. The next step, we need to begin following the difference video. Okay? We need to begin animate. As this link is selected, you come here on object and click on change KinsetO animation. Come on, change Kinset and add location and rotation. Do the same with Jorge's link. Come on, object, and on animation, then change Kinset. You add location and rotation. So here open a new window, which will be in the camera view, okay? Let's hide current for now and make the animation for George. Okay? So select the leg Control tab to go to the pose mode, and let's activate the layers for the hand and the foot, which are on here. So for the start, you only focus on the body movement and then later on, do the facial animation. Okay? Select all the controls for George and press E on the keyboard, add this first keyframe here and activate the auto king, this one here. Okay? Now play the animation. You can even put the reference video to where you can see it clearly so that you don't get distracted. Let's do this case here. Okay, set the lg. Let's go back to the pose mode and activate the fingers for George and threat O again and place I so that even the finger controls a keys here on frame number one. Okay? For the route, I think it's not necessary. You can deactivate it. And now, for pause to pause, this is frame number one. So on frame number one, we need to pause judge exactly the way he here on the difference video. So press one and begin to pause Judge like so. Okay, let's side this. Let's go back to the pause mode. Okay, continue posing him like so and make him look at least a little bit closer to the way he is in our reference video. Okay. So after you are done pausing, the first pause here, you can press pre Okay, from this pause propose number 20. So now we're going to pause George like so here on frame number 20. This is pause to pause. Let's start by making his aunt hold in the West, like it is on the difference video. Okay, there's one control for the finger for the thumb that we need to activate this one here. Because when you look closely here on the reference video, you see how the thumb is coming this side. So we need this control on frame number one. So this one is the thumb master, this one. So plus I on this one and then come on frame number 20. Okay. So let's rotate the hand like so, and the thumb master, we can now rotate it and make it like so. And for the hand, we can put it like this. Okay. Now we can deactivate this one here. Let's deactivate even the foot so that we can see clearly so that we can concentrate on the fingers and try to put them like so. For the hand, this is enough. We can go to the other hand, which is like saw. All right. This process is time consuming, but when you are focused and dedicated and you know what you are trying to achieve, it's very easy. I just want to show you how to do this. I want us to animate together. And when it's done, I will show you how it will come out. Okay. So these fingers, we can fold these fingers. Just a bit like so. After that, we can now activate the tonsil when we press spray you moved behind a little bit. Also, the pose that I made has to be here on frame 15. What you need to do is activate these controls, especially for the hand and sect, and then box the key flames on frame 20 and bring them on frame number 15, and here on 15, we can make this hand itch the chin, like so. Okay. Now, be mindful that the meshes are not go into each other. They shouldn't go into each other. Alright. Just make sure that they are spaced apart. So this is on frame 15. Select the tonsil only. And then just let's press spray and see and see how it is moving. He moved backward. So before you move the tonsil, the tonsil has to move together with the hand and the top part of the body, they have to move together with the tonsil. So activate the hand controls. This one and this one and then set them together, sect the tonsil and press shift and select the hand. And you can use these two, and you can just push the character in the X axis. And then if you've not here on the leg, the leg also moved when you press spray. We can now activate the leg, the foot. The foot is the first thing to move before the body start moving. When you look closely, the light foot is the one which is starting to move first. For the foot, we make it on frame eight. On frame eight, you can push the foot to this side just somewhere here. You see, it's already coming together. And for this food Okay, so this foot start moving on from even. So what you do sect a foot control and copy this first frame, Control C, and press it on even so that you have a holding keyframe, or you can just press I and add a holding frame. So when you press prey, from even to to 18 somewhere here. So here on 18, you can move this foot as well, a little bit just like in between, don't forget to push the foot up in the z axis so that you can create that movement, and also you can do the same with the tonsil. But for the tonsil and the hand, just a little bit, just a little bit. You can do the same with this foot here. It's movement 1-8, you can come here on from number four and push it up a little bit. Together with the tonsil in the hand, you can put them up a little bit like saw. Okay. The sun frame which is off this keyframe here for the tonsil has to be deleted. This keys here on 15 for the tonsil has to come here only on frame 14, which is the mid frame for this foot. So select the tonsil together with the hand and push the character up a little bit like so. On frame 17, we can push him back down a little bit like so. So when we play spray, we can have this. Alright. So for the hand, let's lead this frame 14 for the hand. Okay, this is the first shot next because when we play spray here, He's not moving much here until the next action for the girl, which is Bingo. For his action, he's just this first movement, and you can just exaggerate and push him a little bit more to make him more riiveo? That is what we are going to do from this film up to out to frame 40. So we can just from here when we press spray, it's just looking on the bod. Contact up. Let's activate the office, hide the reference video for now, and let's hide the ceiling. Set the leg and go to the pause mode. This is from 17. Look. Let's go to frame 25 and make a new pot. We're going to make him looking on the bot for the head on frame 15 here, press I to add the key frame for the head alone, and then come here on frame 25 and you can rotate the head like so and the tons press shift and select it together with the hand controls and rotate make him bend a little bit like so. When we press spray, we have this kind of animation. We're going to extend it on from 40 plus one B in the front orthographed view. For the head, we have the que on 25, so we can rotate the head a little bit here on this flame and for the hand, let's make it like so. We make him as if he's pointing on the boat on the papers on the boat so we can make one finger straight. Okay, set one of these finger controls, place OTG and ot R and do the same with these other controls until it's straight so Okay. Sect the layers for the finger controls on here. Box sect these layers for the right hand. Then copy the frame which is here on 15, Control C, and paste it on 25 here. Okay, so that we can have the holding key frame for the finger, that finger, what you point, this one. Now, it's it's too slow for the finger controls. As they are still selected here, box select these keys here and move them on third here. Okay. That's much better. So here on 40, we can activate the layers for the hand, and we're still on frame 40. Let's make him like so and make him like he's pointing on the paper here on the board. Okay, that if you say that it's too slow, you can select all the control and you can just box select the keys and press G, you bring them somewhere here on 35 so that it can be a little bit fast. The other thing we can do on foe we can press G and make the hand move a little bit like so. On 45, we can make the hand move on the h paper somewhere here. Then for the tonsil on from 45, we can press I on 40, and then on 45, we can try to rotate him. So when we press pray it's too fast. Let's bring the key here on from 50. And even for the hand, the book rect the keys here on 45 and bring them on fifth. On from ft five, we can make the bot and the tonsawT move a little bit toward where the hand is moving, we can make it like so. And for the tonsil, the frame that we put on 40, we can copy the one which is on past five, the new one, press Control C, and press it on 40 so that we can have a holding que frame. Alright, so we are done for him for now only facial animation next. We can go to press Control tab, activate the folder for current here, hide the office, and activate the reference video. This is all for this video. In the next video, we now look at the facial and lip animation. 25. Facial and Lips Animation : In this video now, let's look at facial and lip animation. We're now going to focus on Karen. We are going to met her saying, Bingo, pointing on the laptop. Let's go into it. Now, press contact tab to go to the pose mode for Caren on from number one here, on different video, we focus on the girl here. So when we press play frame from one, Okay. She's not moving much. She's starting to move on from 35 here. We just make some simple movement for her. She's looking on the laptop, so she can't be hi up. So we can start with the hand controls and reach Admin with the hand and the tonsaw. Press A to select all the controls and press I on from number one. Then come here on from number ten, and so what we need is just a little body movement like her body moving toward the laptop as she presses on it and focus on the laptop and also her head. Let's rotate this hand like so. Let's put it on the lap somewhere here. So now activate the finger controllers and make some fingers relax a little bit like so. Now for this hand, we can rotate it and make it like something like this. Even the fingers, we can relax them a little bit. Okay, Controlla, let's bring one paper somewhere here where the hand is. Okay. So this one doesn't need to have keys here. Contract to go back to a pose mode, so this is from ten. On frame ten, we can just make this hand. And for the shoulder and arches, you can try to push it up a little bit, so. On frame 20, we can also can bring the chest down a little bit like so, and on 20, we can bring this hand down and make it list on the table. So on frame number 30, we can make some adjustment, make the body move a little bit, even for the head, you can pray around with it. After that, we go to frame number 40. Here on frame 40, this is where we're going to build an anticipation pause for her because when you look at the reference video here she start moving on 35, moving backward like she's trying to lean on the chair. So here you can activate the spine IK. And for this spin IC, you can press and add the Q frame here on 20 and try to bring her back a little bit here on this frame. Then on 40, that's when we can bend her like so and make her be this side like so. And if you can see here on the hand, you see how they and her. Although the hand are nothing but will try to get another shot because when we are done and mating, we take different shot on different angles, like the way I have put her here, this can be a good angle for the camera. Okay? So here on 40, with the hand, we can make them the way they are here on the difference. Okay? Let's deactivate this other array so that we only focus on the hand. So on 30, that we can have the holding key here on third and now we can make the hand like so. Let's hide the table here and set these controls and use the rotating to and begin to rotate the fingers like so. All right. So these fingers can be a bit hard to bene because of the topology in the mesh, but they can be controlled somehow, just a simple rotation. T. Okay, even this side, we can just bend them a little bit like so. Okay, just like that is okay because of the same problem. Alright, I think this is enough for the hand and the fingers on this pause. So when we go to frame one, whoa. Okay. So the mistake was we didn't hurt the frame here for the finger controls. So what we do on frame third here, pleas shift and deactivate for the hand and set all the controls for the fingers and here on 30 Okay, let's make it from 20 plus O R and OG and copy this frame number ten, Control C, and paste it on 20 for the fingers the side on this and. And also, let's bring this frame number 20 and bring it on on from 30 here. All right. Okay, that's better. Activate the table here and activate the hand controls. And on frame 40, we can raise the hand like so. Okay. So our anticipation is on 50. You see the way she is on the difference video. This is the anticipation pose. So we are going to build the anticipation pause. Activate the spine C and we can just we can bring her like so. The hand can be like this. Okay, so her hand are folded here. But we can try to bend some fingers on this hand. Okay, this is much better. We need to rotate this one, the upper arm. We need to bring it like so. So next, let's now look at the lip and ion because when we go to Premiere Pro, here on our difference video, this is where she's saying Bingo. So we're going to follow her deep movement and animate our characters deep move exactly the same as in the difference video, okay? So, let's just push further the pose. Let's put it let's put it like so, and like this. Okay, when we press play, we can have this. Next, we go on the lip synchronization. For the lip synchronization, just activate these first three layers, this one, and this one. For now, just this ones and just for the mouth and her mouth a little bit open here on from 40 according to the difference image, select O and press here on from 40 and make the mouth open a little bit. And she looks like she's smiling. You can bring this control a little bit like so and make sure that you activate the mirror like so. So the highest looks to be too wide open, you can can make her looking on the laptop like this. For the highest, we can even add some quick higher movement. For example, here on ten, you press i for the high, and then you come here on on from Veteen and you can just move the highest x And also here on 20, you place I and on 23, you can move the Is upward like so. So we are here on from 40, and we should be following the difference video here. So the mouth is closed on fifth here. So on 45, we can we can try to make it more open by using the jar master. Okay, this is on 45. So we go on 50 here. This is where we are going to make the mouth closed. So sec the Jamster, press OTG and ot R to take it back to its original position, and we're going to use these controls and the lip top doesn't have the Q frame here on 45, so select it and place and also this one place I and do the same with this one. Okay? Come back on frame 50 and make the mouth closed. The next frame, which is 55, we just add an emphasis on the pause that you stretch it a little bit more. Like so. From SkiseF Skisa we are going to make the new pose like this one, the way she is on the difference. The mouth is now open exactly the way she is. That is on from Skise. Since we still on the face, we start by opening the mouth for the charm master plus I to add a holding que from here on 55. So from frame 50 to 55, it starts on the same position. And then on Skisa we can rotate it and make the mouth open. Okay. So for this one, you can press O G and this 10 G. And also the teeth below, we can press O G so that it gets back to its original position. But you can push it up a little bit like so, and even the upper lip, let's take it back to its original position and try to push it them up, right. For the jam master, make it like so. And for the tongue here on 50, 55, press I for the tongue and on film schista. You can just try to bring it up a little bit like saw. Now activate the spine IC and the tonsil and hand the hand control. Alright. And now let's make this pause on Fm schist. Okay, so we are going just to make her pointing on the laptop like so. For the spine, arc this one, press OG to bring it back to its original position, and then you can rotate it a little bit and just make her like so, and for the head, you can rotate it down a little bit and make her look on the laptop. Even though what we are talking about on the script is not what on the screen, so we avoid to capture the screen on the laptop will just be capture s and the character. So now, frame skit, let's continue with the lip animation. You need to make sure that you follow how the lip is moving here on the reference video. That's how you should be animating exactly frame by frame. For example, when we go to the next frame here, this is frame Skister three. We need to make this kind of arrangement on the lips, right? So we set the jester here. In the light or the graph view, try to rotate it back a little bit, a little bit. And then this okay, we don't have an holding frame for this year on skis day, so we need to add a holding keyframe on skis day on this. And when you come on Skixta three, you bring it inside a little bit like so and try to Okay. So here, the upper teeth shouldn't show much, add a Q frame here on on 55 for the upper teeth, this one, press eye and here on skis on skis three, you can push the upper teeth up inside and also try to bring the upper lip down a little bit, like so. A and next on the next frame here on frame skistereight, the mouth goes slowed to close. So select the Jamster, press OTG and ot Rr to bring it back to its original position, and book select these controls here and press Ot G and ot Rr to bring them all back to their position and just try to make a new pause Alright so that when we press prey Go back to the body movement. This is 68 on 65 here. On the reference video, she keeps on moving a little bit closer to the laptop. So on 65, here, activate this one. Let's use the spine and just move her closer a little bit to the laptop. So that is how you do. That is how you animate on the mouth. You follow the exact movement of the lips in the difference video. So here, the mouth is crossed completely, so we can make the mouth cross completely here on frame 70. Alright. So when we go to frame 75, this is now where the animation for her end. Next, we have the reaction from George. So when we press spray, we'll see that he got startled by her shouting Bingo. I got startled because he was deep in his thought looking on the casebard. So we quickly going to her and meet him. But before we go to George, let's add some little movement for her because here from seven when you press on the reference video here, she moved backward head to bit. So we can just press and rotate this one and bring her backward bit. And if possible, we do the same with the hand. Now, press control tab to go to the pose mode and save the file. Don't forget to be saving the file and save the cop as well. This is the Cop file, save cop can now hide the current collection Dcide and also we can hide the table asset. This is from 70, set the ligFGeorge Control tab to go to the pose mode, and we already have this pause. So what you do here, press A to select all the controls that are active here. And place I on the keyboard. This is the pose. We go to the next this pose. We're going to pause George like this here on 7-7. Select the tonsil and make him so this hand like so. The head should rotate to where clin is. This time, let's also begin with the highest. For the highest, press I here and on from 77, the highest can go like so. From 77 here when you press prey, Okay. So let's go to frame 85. On 85, select the tons and the hand controls, and just make odd G for the tonsil and just move it and make him straight. And for the hand, you can make them for the hand on 77 We can make them like so, and we can undo the folding on the fingers here, book select them or here on frame 70, let's add a Q frame. Let's cross the tonsil, press A to select all the controls and press I. So when we go to frame 77, for this one, we can press O G and OTR. And also for this one, we can press OG and OTR. Okay, so on 8-5, we can activate the hand control, this one, and this one and just make the hand like so. It can be down and relaxed a little bit. Okay. Okay. Let's now go to frame 90. Okay. So you just stood straight here on 90. We can activate this and make you just stand straight looking at Colin. Okay, so we can rotate a little bit here and we make him turn a little bit. Okay. So we can here make the fingers relaxed and make use of this. This is the palm and try to make the fingers laxed so a little bit. And for the head, you can rotate it down a little bit. And so that when we activate the table and caring Okay, so make sure that when you look through the cameras looking here where Colin is. So come here for the highest, make the highest, be looking on Clin exactly. Oh, yeah, like this. And also the head the head, you can lotate it a bit like so. Okay. I think now for this part, the first part, animating the mouth, I've touched, I've touched animating the mouth movement, following the reference video, and I've also touched the body on body movement, how you follow the reference video. Next, is an Ibn. I'm sure you know how to make an Ibn because I showed you in one of the videos previously. Select cling and go to the control tab to go to the pose mode for calling and activate these two layers here and select these layers are surrounded the airs. If this is why you want to add an ebrink, you can just zoom in here on frame six. You press I and then you move eight key frames, which is to frame 14. Here on frame 14, you also press I. Then when you come in between on from ten here, you begin to make the Is closed, like so. You can activate the mirror, make use of the mirror here and make the is closed like this. Just make sure that you put her in the position where the face is facing you straight. Okay. So when you press play, all right. Now, if you want to copy this bring to another position, you box the same layers here that are surrounding the Is and cop this keys here. Control C, and bring the timeline in to get to where you want it let bring to be. Let's say here on 42, you can just click and paste. When we press play, we have another I bring here like SO Okay, that is how you add hyping. You can just be coping and paste it where you want it to be added. Okay, so this is all for this lesson for the facial animation and lip animation. In the next video now, we got to look at rendering and also editing in a video editing software. 26. Rendering and Editing an Animation : In this video now, let's look at endering and also editing in a video editing software. Whichever video editing software that you're using, mine in my case, I use Adobe Premiere Pro. We're going to look at it and see how we can edit your animation, following the same difference video and using the same audios that are in the difference video. Okay, so next, Control tab to go to the Object mode. Let's hide our difference video both in viewport and in Lenders here and activate the office and some asset and, okay, so view from the lender view, this is what we have. Let's activate the extras, and we need to have another light. Let's duplicate this light, let's shift D and move it in the Y axis here. So now halfs is lit. And for the camera setting, try to rotate the camera a little bit like SOW and we can push this share inside. And also this table, since it's not shown in this shot, we can deactivate it in the lenders and and also for the depth of field here, let's make the F stop to 1.5, and the focus distance, the focus must be on her. Like so. And now, one more thing for George. We didn't do any facial animation. Control tab to go to the pose mode sect, the Jamster. Let's say on frame ten, press I for the Jamster and on frame 15, when the hand reaches here on the chin, we can try to rotate the Jamster and for the eyes, they look to be too wide open, we can close them at a bit. So now, we'll try to export this first animation. It's ending on 100. So on 100 for George, let's rotate him like so. And let's make him. And here on Caren, Controllu to go to the pose mode. And let's let's just make some little movement. Okay, let's copy the blink that we had it here, Control C, and let's paste it on 70. And on 80, we can add some little movement for the shoulder, the chest, and the head. Just some body movement. So when you're done with this setting, you can serve the fowl. And save the copy. And here on layout on Lender here, we are using EV and we have ambience inclusion and also we can use screen space reflection and come here on output. The other thing, like I said, area on the pot here, here on the format, measure that it's on 23 frames per second. It does to match with the difference video. Now, choose the folder where you want to you want it to be exported too, you can put the name here for the video and press accept. On FL format, we use MPEG video, and on encoding, on Metrosca you can either use MPEG four or QuickTime. Now, let's use QuickTime. So these are settings, you can leave them as they are, and then come on lender and lender animation. So when the first frame start lendering when you see that something is not okay, you can cancel it later and go back to the settings and change them. So now after lending the clips, you put it in your video editing software and put it on top of your reference video. Okay? When you look at it and see how it has come out, if it's not perfect, you can go back to the file to Brenda and make some adjustment in some keys. If you need to extend some keys and some controls, you extend on the timin and make adjustment until you are satisfied that yes, this is it. That's when you put the clips in your video edting software and go to the next clip step by step until you finish the clip, the script. After that, you can now add some sound, some ambience, just to make it original. And then after you're done, you can now export from your video 18 software and make it fine. 27. Animating a Walk with a Reference Video : Now, let's continue animating, following the difference video. The last video clip ended on frame hundred. Now we can make our starting frame to be 95 here and make our end frame. Let's put it to 300 for now. So now, animating the work like this one here as he walked toward Colin as he's talking, I'm going to quickly show you how to animate this one. Activate the foot for George. Okay, so pay attention closely on the movement of the leg. Here on 104, press spray. This leg move first from 110. This is the leg. Press eye on frame 110, and then it's ending on frame 118. So you move the foot like so. Push it this side and also pay attention to the movement of his waist and the whole body. So the whole body is rotating. So what you do on frame 110, add a holding frame for the tonsil and the hand, and then rotate the tonsil on frame 118, set the tonsil and the hand and push push it like so, and you can rotate it in the Zetaxis like this. Okay, so now the halfway 110-118 is 114. You can push the foot up a little bit, even the tons just a little bit. Okay. Next, from frame 118, we concentrate on this other foot. So from frame 118 to 122, here on frame 118. For this foot, press I for the holding key frame and then come on 142. On 142, we can move now the foot forward. All right. And the tonsil together with the hand and rotate it like so, and and then for the head, had a QF here on 118, and then here rotate it back so that he looks on Karen. Here on the camera, you need to face Karen here as you work, so we can rotate him a little bit like this. Okay, now continue animating the movement up to where Karen is. He's taking two step. Don't forget, holding keys for the foot that is on the ground. And in between the keys for the moving foot, don't forget to push the foot up a little bit together with the tonsil and the hand. Another thing, since we not capture the foot, there is no need to define the foot movement in the glove editor. And now when you are done animating the body movement, that's when you go back and start adding facials and deep animation following what the person in the reference video is saying. So now, if you can't see clearly how the mouth is moving here in Brenda on the reference video, you can go to the video 18 software and try to pray it in here and analyze nicely how and hand on what frame the mouth is moving so that when you go back to Brenda you can know where to start, okay? And also when animating the face, make sure that the difference plane is near the face or the character you're animating so that you are able to see clearly how the mouth is moving. So here on frame red, let's select all the active controls for the face and press I then come to re seven and begin unmating the face. You follow exactly how the lips are moving on frame, but not on every frame, but on intervals. For example, here, this is from 110. So on 110, the mouth start open a little bit. You can do the same here. You can make the mouth open like so. And then on 14, we try to open it. All right. Just be mindful. Don't forget to be adding the ordin keys for the controls that are not moving at that particular frame because when you come and move the control at another frame, and if you did add a holding key, that means the control will start moving from that last key that you added and up to the new key that you've added. That's why the hording keys are very important. Sometimes when you are done with the pose, you can just box rect all the controls that are surrounding the mouth. And press I to add the holding keys for those controls that didn't move so that when you go to the next frame, the controls who have the holding keys, they weren't moving unnecessary. So after you had done the rip and mentioned, then you can come back and try to exert in some areas. You exaggerate some pauses or in some areas. So here cross the mouth Okay, you continue admitting and throwing the mouth in the difference video. Another thing, if you have two characters here, you don't need to be animating all the characters. For example, here, this one, George is the one who is in action. So you can just set up the camera and capture George on the close up shot for George only so that you don't waste a lot of time animating the two characters. And when she start talking, that's when you bring the camera on her and leave George out. So here, let's clear the animation data and set this camera for George only. Like so. And now let's set the off stop and animate the focus distance. Since George is moving, you need to stay in focus throughout this movement. And now, when you are done, activate the office sin and activate the reference video. Okay, our end frame, let's put it to 200. And when you are done, self and go to the output and make these settings. Dname the video here, the video clip. And Lender Animation. Okay, so this is how my animation has come out. I edited it and composed everything in Adobe Premiere Pro. You can take a look at it. Bingo. What the hell, Karen? Look at this. Okay, so in our next last visual reason, we now make our last class project, where now we are going to apply everything that we've learnt and make our last animation. 28. Class Project Animation Lesson : Now, this is our last video lesson where we are now going to apply everything that we've learned, starting from the beginning up to now. We're going to make this clamsn. Like I set ea, I recorded myself and my friend, Fema for the difference videos. If you have your friend or someone whom you can record with this difference video, you are free to record. There's a script in the lesson resources. If you want to record your own difference videos and your own audio. Alright, let's go into it. This is our detective claims in Brand fw. I've set everything up for you. We have three cameras, and the cameras in this correction here. This is a long shot camera here. This one, it's the one that is going to capture the establishing shot for the scene. Okay? I've already added the animation for the camera. So when you press prey here, this is a establishing shot. Then in this same first shot, we have our character here, George, we are going to make the walk circle from here where he standing to somewhere here. And this will be doing the establishing shot, and we're also going to do the same to Karen from where she's standing to somewhere here will make a work circle. Four step is enough for the establishing shot. And for the reference video for this detective crime scene, we have our reference video. This is our reference video. It's in the same folder where you downloaded this brand file. Okay. So the first thing you do, you get the reference video, you put it in the video editing software like so. So the audio in this clip is what the characters will be speaking. Like the first part here, where it said Karen wait, code. Okay? According to the script, the script is also in the same brand file which you downloaded. You can check it out. And if you want to record your own audio, you can record your own audio. The first part here is said Karen wait. So this part can be in the establishing shot. For this part will not need to animate the mouth and the lip animation because we are not going to capture the face, make a work circle in this establishing shot and then put that same first part audio in this same clip when we lender it and put it in the editing software. This part where he said I was thinking, well, maybe we should call for backup. This is a part where we animate the face and the mouth for Karen, we have this part here. She says, Are you scared? Then he said, No, I am not scared. Then she says, good. And she turns and continue going. Okay? So like you were doing in our previous video, we animate step by step. When we are done with this establishing shot, the next step is a close up for George. Like George is going to move from here closer to this camera. So this camera is the one which is going to capture the close up shot for George. So we focus on George mating his clips up to the end of the reference video. And then after that, that's when you come and start animating for Karen, following the reference video as well. Okay, so this is the camera for Karen. She's going to turn and face George. Okay. For the Ok secona, let's take George back to this point to his original location and also for Caren, let's bring her somewhere here. Let's put this camera make it an active camera. Okay. So here I put everything in order on the correction here. If we hide the correction for the environment, like so, we only remain with the floor. The correction for the floor is this one here, and the correction for the car is this one. When we hide it, we only remain with the characters so that we can see cleared. Now, for the work circle, I taught you how to make a work circle, to make a hook circle. You first just activate the foot controls, the hand and the tonsil. Then go to the pause mode and you can add extras here. And both of them are cutting pupils because they are detectives. So you can change the kinset here, go to animation and then change the kinset. Then contract up to go to the pause mode, you select O and press I to add the first g frame here, and then activate the autokine and begin to make the first pause when you select sect the foot and make them like so the work pause, the first work pause, okay? Thing like so. And then you just now, after doing that, you sect all the controls, and then you copy this keyframe, the first one here, you press Control C, then come on frame number 32 and press Control V, and then come on frame 16 on the middle, let click and past frap. So we have this work circle. Now you can define the pause here on the key frame. Make this should make this shoulder come in front, a little bit like saw. And also the chest can rotate just a little bit like saw. When you're done making this adjustment, you select all again and copy the frame. Control C and then come from two and past and then come back on from 16 and pressed frap. Here you can go to the graph editor. But before you do anything, come on a mid here on fm number eight here, select this foot and together with desctvated tonsil and the hand, then press shift, selected tonsil and the hand and push them up just like this. When you're done, you press up, then cop this gif frame here, Control C, and then come on frame 24 and let click and past flip. Past flip. Okay, so this is the foot which is sreding back first. So it's not supposed to have any key here on this frame head, so you can box sect this if frame and delete. Okay. So for this foot, that's for this foot only so that when you come to the graph editor here, deactivate all these cave layers and only remain with the Y this one, book sect these dls, press V and set it to vector. Okay. Do the same with this foot. We don't need this frame here. You can read them, and then you box sect the andles like so, press V and set it to vector. Then come back to this foot here, plus shift and activate the loot, select the loot, plus to bring this menu here, come on the me on top here, and then come on the location for this one here. Let click here and you click on inset single Que frame. The timeline indicator has to be on frame one. Let click here and place inset single Que frame. We've added the location for Y line only. Pres N to add that, come back to this foot. And then box select this keyframe here for the Y location only, click and copy. Okay? When you copy, select the lute and then let click and paste. Okay, so now we flip this movement like we press S plus Y, and then we type negative one. Okay? So we've changed the movement of the lot to forward movement, and then we add a second modifier, add a modifier here, then after mode, set it to repeat with offset. O. Okay, let's put our end frame to android. When we render this animation, we clear the animation from the characters right so that we start animating them afresh without the work circles. The next thing after doing this movement, we can for the movement of the foot in the Z axis, activate the Z location here and the ando type set them to free and you put these dos. Then on the modifier here you add a circle modifier to both foot, right. And then for the top part of the body, we activate the tonsil and the hand only. Then we select or box select this keyframe, Control C, and then bring the timeline indicator on frame 32. Let click and past, and then come here. Let click and past up to the end of the timeline, okay? You click and past. We forgot to add the saco modifier to the y cave, select it and add the saco modifiers to both foods. And we were done for the work circle. We capture this shot when you activate the environment before you render it you need to make also the work circle for clin from somewhere here up to there. And when you lender this clip, you take it to the video editing software and put it here on top on the first part here, right? And then the next animation for this part here where he's talking, you are going to undo all the animation on him, including the work circle and only concentrate on the facial animation. You export it and you bring it here as well, and make sure that you sink you sync with the animated clip right with the do, and then you do the same with the parts for Karen until you finish this O animation. When you finish the O animation, you edit it, put some sound, export it, and you share on our class project Garrad so that you can deceive the feedback. Okay? So the work circle for her is just the same as the one we made on Adora. So if you can't remember how to make the work circle for her, you can go back to the Ok circle lesson that we made for adora. So I made the work circles for both of them, and I landed the clips about five times. I couldn't get it light because the foot are always trick to get them light. Okay. So until I I decided to unmit the camera, this one, and avoid capturing the foot. So I made the establishing shot like, so it shows starting from up and coming down to this shot, okay? So this is the first shot that I ended. And this is the last shot. When you are satisfied with the clips and you are sure that you are going to use one of these new final animation, you can now go back to Brenda and you can just clear the animation from the leaks and deposition the characters. Okay? For example, here we are on frame number one. Currently this one, you clear the animation data like so, and you deposition them, okay? Okay, so you can also deposition the cameras like so. After that, you can now import the difference videos. You press Shift A, you come on image and go on image as plain. Then you set the claim same difference, video this one, then you click on Import. So this is the video. You can scale it out. Let's bring it out here and bring it behind George like so. Also, remember what I said that in a format in the output tier, the frames has to be 23 frames per second. It has to match with the frames per second for the difference video, right? So now you can begin animating George for in the fference video. First, you met him take one step forward toward the camera like so. Okay. And also the tonsil, the same way we make the work circle. Then polish it up, make sure that it's perfect, and then next, you can continue met him now on the face. Make the face and lips animation, following exactly on the lip reference video, just like we were doing in our previous lessons. Okay, remember that this guy is scared, so we can make his face look scared before you even start talking. Okay. So this is how you animate this is how you follow the reference video animating the mouth movement. So I animated all the clips for George and this is the sixth clip that I've exported. I had exported other clips before I reached to this final one, which I thought now it's complete. So now I'm rendering for the girl. This is my first clip for the girl. So while I've left the gaps, this is where I have to render clips and then mate clips for the girl. This is my first lender for the girl. She says, Are you scared? When you export it, that is when you are able to see the mistake, and that's how you can know where to start from when you go back to Brenda and which controls to define and change. And for the Airs, like I said, when a person is turning, the IS is the first thing to look at that, which you want her to look at, right? So I animated this from this. I moved it first here on this frame and in the next film, here this one, I balance the position of the highest to focus on the object she's talking, which is George. Okay? This is the same concept that is applied on the head. Okay. So now, when you're animating a ten like this one, be mindful of the tonsil rotation. This is the rotation, the Zt rotation, this one. Okay? This is the graph for the rotation of the tonsil. It's called Z Ctenon rotation, and this is the cave that you need to control its movement, the handles, all right? The other thing is that when you are animating, for the girl following the difference video, here on the timeline, you don't delete this is, you don't clear. For this part, this is where she says, Are you scared? Animate this part, you lend this clip. You can go to the next clip like this other part where she says, Good. This is because when you are done animating, and you're eight now in the video 18 software, you may want to come back to these animations and make some adjustment. When you look at the clips and you see that they are not that perfect, you may want to come back to this timeline and make some adjustment. That's why we leave the kiss as they are, okay? Another thing is that when you want to animate a character on a different location, you can just go to the object mode and add the queue frame for the leak and then move the character to that new location where you want to animate her from, okay? And before you start animating the first queue frame, on that timeline where you want to start animating her, you can also add the key frame for the leak while in the object mode so that the character will be fixed at that location where you want to animate her from. So this is all guys, I'm sure you've gotten the points and the techniques that I wanted to share with you and I can't wait to see your project. Thank you very much, guys. I can't wait to see your project in the class project section, and I can't wait to give you the feedback, alright. So for my animation, you can take a look at it right now and see how it has come out, but I've already shared it on the class project section. You can also watch it from there, right. Take a look at it. Current wait. I was thinking, maybe we should go for backup. Are you scared? No, no, I'm not scared. It's just, uh Good. I have a daughter. I have two sons. 29. Conclusion : Thank you very much guys for this class. If you've enjoyed this class, you can leave a positive review so that others can also be able to find this class and learn. All right. And also, if you want more skills in Brenda, the car set area, you can take a look at my other classes. I also have other big class where I'm teaching how to model cartoon characters in a likeness of a real person. It is a complete modeling class where I share the whole motoring process, starting from the modering, legging, texturing, clothing, and adding air. So you can take a look at it. Thank you very much.