The Ultimate Guide to Blender 3D Rigging and Animation

1. Introduction to the Ultimate Guide to Blender 3D Rigging & Animation: Welcome everyone to the ultimate guide to Blender 3D rigging and animation. And this is the introduction that will lay out what will be covered in this comprehensive course. First up is the basics of animation. This part of the course will cover the basics of animation, no bones or rigs, because keyframes, we'll also be looking into interpolation modes and how we can use them to smooth out animation. Next door, we have swing animation using the skills we learned from stage one, we can take this up a notch by creating our first rig and single bones. This is the basis of most animations you'll find out there moving onto, we'll turn in when working with anything spinning, it's important to understand how frames keys work. In this stage, we will be explaining how to create a spinning wheel. It's not only has to look realistic, but needs to be achieved in the shortest amount of time possible. Moving on through the course, we have basic waiting and in this part, we'll be looking at how weighting works and how to add weight to bones. This is important to create a certain level of realism. We'll also be looking at when and how to use bendy bones. Finally, for the basic part of the course, we have Shape Keys to a very powerful tool that we have at our disposal. And not only changed the shape of objects in ways that rigs simply cannot do, but we're also able to combine multiple shape keys. Now as we take the cost up a notch, we're going to be talking about multiple bones. And in some point in time, you will have models that will need a lot more than just one single bone. In this part of the course, we'll learn how we can create animations with multiple bones working independently from each other because it couldn't be an animation course if we're not going to be covering any type of wildlife. So in this part of the course, we'll be looking at fish and animates in any wildlife in a realistic way can be pretty difficult. Luckily, we have a fair amount of tools then blender to speed up both the workflow and realism. You'll be introduced to the graph editor and we'll look at modifiers and how to combine them with displacement. Next, we'll be moving onto morphing. Morphing is a process of taking one object and turn it into another. Now this is not as simple as just clicking a button. And then this part of the course, we'll be looking at how to set up this process and also how to change the textures along with the object. Now the one most of you are waiting for is actually tank tracks. And here we are. This has to be the number one asked for animation across all of our channels. And this is why I've included it in the course. We'll be going through how to stick our tracks to any terrain. And you'll finish this part with the skills to create handles and drivers have your own tank tracks move in a realistic way. Moving on, we're onto fire and light flicker. And there's always the abundance of models that require flames in some shape or form. This means is a key component of the course. Not only how to create flames from scratch, but also how to animate them. Empties and displacement will be the key to realistic flames without the need for complex simulations. Next run to mop and lights. It's the little things that can really bring a seem to live. In this part of the course, we'll be covering object tracking. And this can be used to create things like flying moths around the light source. Rather light goes, the muscle will follow all thanks to the boyd brain system, which is an amazing feature that comes with the particles settle. Also on this course, we'll be covering clouds and smoke and things like that. And this particles will create a really nice stylized smoke effect using mainly blend the particle system with keyframes and what's best. You can also then see your smoke in real time. Now again, we're going to be taking it up another notch in the next part of the course. And this will be covering complex change. This part will involve as bringing much of what we've learned so far and applying it altogether. This will involve as creating a complex rig and we'll also introduce you to inverse kinematics, Alright, Case for sure. We'll also look at bone check-in and really take the level of learning open up. Finally, it couldn't be an animation and rigging course without a walk cycle. We left the best too near the last year we'll be focusing on character rigging and animation. This will be done over a few lessons and there's a massive amount and learning to be taken from this. The only will be rigging your own character. You will learn just how easy it is to make a basic walk cycle. This is the most if you intend to create your own games and characters. And what's also a most, if you want to get into 3D modelling is of course, a camera turntable. This is the final part of the course before the main event. And if you ever want to show off your own 3D models, you're going to need a simple, effective cameras turntable that can be easily setup. And finally, we actually put within the course a massive scene. So you can actually take all of those skills that you've learned and test them out by curating things like rolling boulders, Jake in ceilings, and much, much more. This will be a really great way to finish off the course, putting everything that you've learned into practice. Or as you can see, it's a massive course. But of course, you will look at time and time again, like I said in the beginning, you've ever wanted to get into animation and Reagan, and even if you complete beginner, there's never been a better time to get started with the ultimate guide to blend the three rigging and animation. While you're waiting for, come join me on this course and see how far your imagination will take you. Happy modeling everyone. 2. Overview of the Blender Scene Layout: Welcome everyone to the ultimate guide to Blender, 3D rigging and animation. So why do we call it the ultimate guide? Well, that's because we'll be going through everything in this course from basic movements, animation, tank tracks, most animals and even a character rig. Finally, I've created an actual launch scene. We'll be able to test a majority of the skills that you're going to learn throughout the course. Now, we know modelling in this course is purely about rigging and animation. So I'm going to presume that you're going to know a bit about the basics of the blender UI, the movement towards the camera movement, things like that. They're not really going to be covered in this course. And what better place to start than our actual training scene, which I actually sets up. So let's quickly go through our training scene. So you will see at the moment I've got one that says basic animation over the right-hand side in our scene collection. You can see that we have all of these going 1-14 and then a special one called camera turntable. The first one is the lighting. All we have in this scene is just a basic direct light. Sunlight sets all and that is all. That's just so if you want to actually put your render on to actually see what we're actually doing in the scene. You can actually do that. Of course, it's on EV. And the other thing is if you just want to turn on your light, then just click on your song. Come over to the right-hand side, click on this little lump. I'm just going to pull this up so you can see what I'm doing. I click on the little lamb, then there's put this onto or something like that. And all that's gonna do is turn up the light within our scene like so. So now you can see it looks a bit better and you can see these things moving in real time in EV. So let's actually close out. Let's look at the first one then. The first one is called basic animation. This is the one that we're going to start with. And we're basically starting with something that's very, very easy. And as we work our way down here, they're going to get more complex and you're gonna learn more and more things. So the first one here, you can also see that we have a man in here, and he's actually really important. We've got a actual reference of a standard human is 1.8 m tall, I think something around there. And basically he's there so that you can actually understand that when you're actually going to animate and Rick things, you actually need to make sure that you are to scale is very important. Anything you create is to scale. So you can see here this beach ball, it's a pretty big beach ball. And you will see when we come to animate this, it will bounce in such a way that seems to be the size that is. In other words, if we add a little tiny bowl in there, it would bounce and move very differently through here if we have a big ball in there. So in other words, things like gravity, things like collisions really do have an impact on how big something is. But more than that, if you set up a rig on, let's say this barrel or something, and then you send it through to something like Unity or Unreal Engine five, or even Sketchfab. The animations aren't, probably not going to work the way you intended because it's first of all, it's going to come in the scene absolutely huge. Someone then is going to have to scale it back down. And then what it could do is destroy all of your animations. So they don't actually work correctly. So that's why you wanna do things where basically you get something, you scale it. And then the most important thing is if I click on here and I press Control a, we reset our transformations before adding any bones or any sort of animation. Really important we do that. The reason is that blender needs to understand the shape and size of the things that we're working with. Another words, if I got this query and I made it this big, if I did a reset my transformations, blender would still believe that this query was this size that we had it before. So whenever we change anything or scale, anything or anything like that, we resell transformations and then we can start adding animations, rigs, things like that. So now let's come to something like our second one. So you will see now we've got something like a swing animation. So we're actually going to come in and put in a rig on here to make this swing move in a realistic way. So you can see that as we go down here, we've got things like shape keys. How do you make a pumpkin, for instance, go from a tiny seed all the way up to a big pumpkin that looks realistic. You can see at the moment there's pumpkin doesn't look very realistic. But I'm going to show you how you can actually change that and make it actually grow into a proper pumpkin. We've also got things where you're going to need multiple bones like on this, you can see that we need to put multiple bones and adds to actually make this spin in a realistic way. We've also got things on here like fish. So we've got fishing here, you know, animals moving in a realistic way, like a fish swimming through the ocean and things. We need to actually make sure we know how to do that and we're going to actually go through that. You've also got things like tank tracks. We've got more thing on here and we've got things like complex chains. With a complex chains, you can see that we want this stone to go open a certain way and we want these chains to actually follow it along so that it's moving in a realistic way. This is gray in case you've got characters with chains on them. Or if it's a horse pulling the carriage with either a row per chains or something like that. You need to know how to actually read out correctly. Finally, then we've got our human OBJ, sorry, our human actual model. And you can see that we're going to actually rig this properly in an actual walk cycle. You can also say that other moment she's absolutely huge, so we're going to scale it down, get it to the right size, reset the transformations. And then we're gonna paul Reagan. And also in the download page, you will find in there an actual walk cycle reference guide. So your belt to animate this one very easily. Your belt to take that away for future use when you actually want to animate your own characters and things like that. Finally them, we've got something which is the camera turn table and we've included in this end because you can't really have a complete animation guide without showing you how to actually work with the blend the camera, have it going around a 360 degree turn and actually take a nice render of your actual model or your castle or whatever it might be. I think it's important that we put this in there. Alright, Finally, then let's move on to the actual scene before we get started. The way here is our main scene that we're actually going to animate once we've actually gone through all those processes. And what this will do is it'll give you a real actual test of all the skills that you've learned to animate things like these polling rocks will make this sealing gel to slightly. We'll have this monkey and the sand bag coming in and out. Of course, we're going to have the rock rolling down here like from Indiana Jones. And we've got the spikes that are going to be coming in. Now. We've got the arrows that are going to be firing. And of course we've got the floor that will be folding away and things like that. So you can see it's really good because we're going to take all those skills and put them into a real-world practice. So you might have a scene that you want to find a mutation in, or you might be going into industry and you've got things you need to animate. And he said, it's the biggest seen, there's lots of complexity there. You need to bring them all together. I'm going to show you how to do that once we've gone through all of these other lessons that we're going to go through. The main thing about this is it's settled. So it's really, really easy for you to actually work with. You're going to know exactly where you are with all of these lessons going down. We're gonna go through each 11 by one and just getting you used to working with Blender or everyone. So on the next lesson, the first one we're actually going to work on is going to be basic animations. And I'll see you on the next one. Thanks a lot. Bye bye. 3. Basic Transform 3D Animation: Welcome back everyone. So the ultimate guide to Blender 3D rigging and animation. And this is where we're going to style. The first one we're going to come to is this gray. Now, there are a couple of ways you can animate in Blender. One of them is actually just animating on the fly, where you just actually inserts in keys. And the other one is basically building a rig and using bones and waiting and things like that. So I'm going to show you both ways. Now it's important to know that the basic animation will only pretty much work within blender. You can bake out the actual animations once you've got them in place. But it's still more or less probably not going to work in the games engine that you want. So it's always bear generally unless you're only working in Blender and you want to do something simple to start adding in bones. But I'm going to show you both ways anyway. So I'm going to do is I'm going to grab this bar authors. I'm just going to move it over here, like so. Now the other thing you'll notice is we don't actually have any way to control how we're actually going to animate this. And the reason is because at the moment remodeling and what we need to do is you need to go to the layout and now you'll see completely changes. It's changed even back to materials, so it's non-random bone anymore. What you will see now that we've actually got a timeline. Now at the moment, in this timeline, we have a number of things that you need to be aware of. So the first one is the play bonds. So we have all played bonds here. If you press space bar, you'll see that it actually starts playing. If you press space bar again, you will see it stops playing. Now one of the most important things before we begin is understanding what this actual timeline is. This basically starts at one and ends on 500. If I put it ending on 25, let's say we can only have animations going in, wants to 25 keyframes, and then it will restart again. So it's very important to make sure that you keep frames are high in all your animation before you begin. You can also, on the flyer a guess, but what I'm trying to say is that you don't want to end in halfway through the animation. So if that happens, this is the reason why now you can change it here, but you can also change it where this little printer is. You have a frame star and you have a frame end, and you can also change it on here as well, which makes it handy for when you want to render out animations and things like that. Alright, so now, then, now we've discussed that when you go in into the timeline, you can actually zoom in with your mouse. You can hold the middle mouse button to move across. And you can also hold the middle mouse and pull it down. Sometimes if you can't see keyframes in here, they'll actually be hidden up the top. And the other way it's again back is just two. Get the mouse, middle mouse button and just pull it down. Or we can actually press the dot born on the number pad, but we'll discuss that a little bit later on in the course. Now, the other thing is it's kind of hard sometimes to put this exactly where you want it to go. So what I tend to do is if I can't get to that, I'll come over to the right-hand side and I'm just going to set this on one. Now. The other thing is, it's also important to make sure that you're not starting animations on zeros. Never style animations on zero, always start them on one. And the reason is because once that ends, pass 300, it's basically going to start on frame one again, if you have an animation Stein from, let's say frame zero, it's not actually going to work correctly and you're going to see a slight jaundice. So if that happens, you know that you've probably set the keyframe to zero. Now that brings us onto keyframes. What are they? So let's discuss what keyframe is a key-frame. So let's grab this actual crate, the eyeball on. And what we've got is a menu here telling us where we actually want to pin this in space and time within blender. That's basically what keyframe is. One point in space and time, this object is going to be here. And then in another point in space and time, the object is going to be here. And basically keyframes a lot anchor points to anchor either this scale, the rotation, All the location. Now you've got keyframes in just simple animation like what are we going to do here? Or you have them much more complex in bones and rigs because there are a lot more things what needs to be altered all at the same time. So that's where the complexity comes from, and that is basically what a keyframe is. Okay, so the first thing we're gonna do is we're going to press, I'm going to click location. Now that means that this crate at the moment on frame one is here, basically here in the actual viewport. Now the other thing is when you press in, I don't preside down here because it's actually going to not work well you need to do is press I in the actual viewport. Alright, so what I'm gonna do is I'll grab this cradle move LV. And let's say I want to keyframe this from warm to how many frames is over here. Now the problem you're going to have is the moment I move this timeline now let's put my keyframe and I'm going to make it jump back. So what you need to do is you need to move this timeline before actually pretty new keyframe. And I'm going to move it over here, and then I want it to move, let's say over two, just before this bowl. Let's say something like that. And then I'm going to press I and location. Now what you'll see is if I press Space-bar, the actual query is going to move over there too. The end, endpoint which is one faulty. Now you can see at the moment, it's going all the way over here. And then what will happen is the moment I go past this point, it's going to restart again. Now we don't really want that. So what we wanted to do is go back to this point. The other thing we want to do is it's a bit slow for my liking moving over here. So I really want to speed this up. So the way that I can speed it will pull the easiest way to speed up is simply come over here on frame one. So it's basically the start. And then where you're going to do is you're going to press a and you're going to grab both of these. So a will select everything. Now if I press S, I'm going to move these now to where I want them. If I put this from over here and I'll press S, You will see that we're moving them from this point. So it's important when you're scaling these to make it faster or slower that you all scaling from brain wants. So if I scale this story in the timeline, 60 frames instead, like so. Now press space bar and you can see it's much, much faster. Now the other thing is you might want to scale these down because it might be, let's say over frame 275 and you've got a wheel rotate him. Now 275/4, Let's say because you want that we'll rotate in 90 degrees, spread over four, which will show you when we come to our actual, we'll turn in animation. It's going to be really hard to work out where we actually needs par keyframes. So what you really want to do is you want to put your keyframes in with uneven number between them and then scale them down to wherever you need them. That is the easiest way. Now the other thing is, if I put this to frame, let's say one-twenty, let's put this on frame 120. Press the space bar. This will move over here. But then what happens is when he gets to one-twenty, it's simply just going to pop back in place. Now that's not something that I really want to happen. I want it to actually move back down to this space. Now because halfway point is over 60, we might as well make it to 120. So I don't really want to move this back here and try and put a keyframe into where it's actually going to be. So I'm going to do instead is I'm going to put this on one-twenty. I'm going to grab just this keyframe here because this is the star one. I want to press Shift D to duplicate it and then I'm going to move it over. Now you will notice as this moves big yellow bar on them, basically what that's telling me is, is that this is the same. So it's basically the same location as what this one is over here, the moment ago posterior and drop this in one-twenty. This will disappear because it's no longer the same. Then I can see if I restart this Space-bar comes to the stop and goes back, and then it should keep going backwards and forwards, like so. Now let's say I want to make it come to this point quicker than go back. If I grab the middle wall, press G just to move it along like so. Now, when I press space bar is going really slow here. But he's gonna go back really fast that you can see now you can actually speed, it will all slowing down. Now the other thing you'll notice is the fact that it starts off really slow and that's great for a rolling start and things like that. But the moment he actually gets over here, where actually you can see it slows down and then it's the same and then we want it basically the same speed all the way through. This is important that you learn this because when you're on a wheel or something, if you don't have that or if you don't know how to do that, you're going to end up with this kind of Judah remote motion. So what we're gonna do now is we're going to call them to our actual barrel. I want to spend my bow around, so all y, sorry, RX 90. And let's have it facing the right way. Then we're going to do is now I'm going to put this on a little bit higher. So let's try 200. Now you will notice the moment of parental wondered. This will go forwards and it will go back, and then it'll just stop because we've only begun this over 160 frames. So you've got to bear in mind that if you're doing like a large scene or something like that, if you're rendering out in blender, you really need to keep the animations altogether. So let's say you're doing over 500 frames. You need all your animations so you swings and things like that, all going up to 500 frames. Now, if you'll send it through something like Unreal Engine, the animations can be split up. The animations. We'll work over how many frames the animations all set up. In Blender though, we're doing over 500 frames and we can't actually say each individual one like that. So this is the way that we have to actually work this. In other words, the animation is not based over the model frames, It's based over the entire scene, so we just have to take that into account. Alright, so what we'll do then on the next lesson is I'll show you how to set up a role in barrels an hour to make it move in a realistic fashion. Alright, everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 4. 3D Barrel Rolling Motion: Welcome back everyone to the ultimate guide to blend a 3D rigging and animation. And this is where we left off. Alright, so now let's come to our bow. And the third thing I wanna do with my barrel is I want to rotate it. So in other words, I wanted to roll. Now when you're animating something that's always better off to break down location, scale, and rotation. This is because it makes it easy. In other words, if I'm trying to move this at the same time, is actually rotating it as the same time as making it bigger or smaller. It gets really, really complex fast. So you're better off breaking it down into small sections and putting it on location, rotation, and scale, unless you know that you're not really going to be alternate that much so then you can put it on all three. What do I mean by that? So if I press I, you'll see that we have options, location, rotation scale. All we have one which is this one here, for instance, which is all three together, which is really, really nice. Now, they're all ways of actually changing them independently. But it's better actually, if we start just with location, rotation and scale, if you're sure you don't want to alter an event. So for instance, if I just want it to start here, I can put on location rotation scale. And if I want it to move over here by pressing the G key, that will do it this way. So 100 G over here, i location rotation scale, and now you'll see they just moves over there. So all wave location, rotation scale. Now we could have done that with of course just location. And the thing is there. Now we know that we're not gonna be able to alter the scale or the rotation easily. So in other words, it stops us doing that as well. Alright, so now let's put it back to one because if I come in now and delete these keyframes, you'll see it still stays there, and that's not what we want. So if I press Control Z, and then what I'm going to do is delete the key frames once I put it back to one. Now you'll see that it's back to where it is. Now. The other thing is, as I said, because we rotated it, Let's press Control a and all transforms right-click origin to geometry. Now because we've reset all the transformations. If I scale this up, for instance, to get this back to what the transformation should be. All I need to press is also an S, and what they'll do is reset the actual scale. That's also important when we're using animations. So old tests, Alt G and all tall, basically will reset the actual location, the rotation, and the scale. So this is really important because it makes them very easy to get back what we had before. So now let's come to our barrel and what we'll do is we'll stop with the rotation like so if I press, I am going to click on location, rotation and scale, then what I'm going to do is it's based over 200. So I know I should put this on 50, so I'm just going to click on here. Then we're going to do is I'm going to rotate this. So all why 90? And just rotate it by 90 degrees. And I'm going to press I location rotation scale. Now if I move this, we should see that this starts to roll like so. Now we want to do is want to put it on 100. And the reason I'm doing this, obviously we want this to roll in a 360 degrees because then it can actually carry on rolling if we need it. So I'm going to do now I've got this here, is pressed all why 90 and then press i location rotation scale. Now 200 and just rotate it 180 degrees instead, rather than for 90 degrees. It's not worth doing it. If you're doing a turning or something like that, it's always better to break it down into four parts if you try and break it down into two parts, blender was sometimes mess up. So what do I mean that if I come over here and put it onto wondered and rotate this, so I'm going to press all why 108. So I'm going to press I location rotation scale. Now although this will work sometimes when you do this, it will stop here and actually start rotating the other way round because blender is filling in all of these keyframes independently, even though you can't see them. The way that this works is that blend is trying to get from this point with the rotation here to this rotation here. And it fills all of them in, in-between. So I'm gonna do is I'm going to put this on 150. I'm going to click it on here. Then what I'm going to do is I'm going to rotate it. So all y. In fact, because, because we've got it here, the other thing is, we haven't decided how fast it's going to go between here and here. Blender hard though. The real way to do this is actually to put it on here, delete this one out the way so we don't mess it up, but it Oman 50. Then what we're going to do is press 0, Y, sorry, 90. And then we're going to click i, location rotation scale. Finally, we're going to put this on 200. Then we're going to click off by 90. Location rotation scale. Now I'm gonna do is I'm going to play this through and it should start rolling. Then you can see it actually stops. So it's not a continuous roll, which is something that we actually need because we need it to keep rolling. We don't really want it to stop. So the way I'm going to actually do this is I'm going to grab these three. And then we're going to talk about interpolation. So once I've grabbed these three, I'm going to right-click and you'll see that we have interpolation mode. Now, if I put this on constant, for instance, you'll see now stops. And then it just spins around like so it doesn't actually roll. But you will see it does role in the beginning. But because we only change the interpolation mode on this point, nothing happens with this point here. That's useful because it means that we can have a slow start to our role and then it just can be a constant roles. So what I'm going to do is I'm going to grab all three of these. I'm going to Right-click interpolation. I'm going to pray and linear, Well that means is it's going to be a linear speeds. So now if I press, come to here, press the space bar. There you go. You can see it actually starts to slow and now it's picked up the pace. And the reason for that is because we probably need another key frame in here which is going to stop there, just jump in there because this is still a non-linear. So we just need another keyframe in there to stop it, kind of, as you can see, rolling. And then it stops and then it starts rolling again. Now we're not actually going to do that in this one because that's a little bit more complex, but we are going to discuss that a little bit later on in the course. But for now, what we wanna do is we want it also. He'll be moving from here to here. Now the problem we've got is we actually set the location, the rotation, and the scale. So the moment now we move this and change any of those, we're going to have problems. So the easiest way to fix this instead is to come over to animation. So once we click this button, will see that another actual tab opens. Now let's put this on material instead. What we're going to do now is just come round to all viral and you will see down now we have a lot more options on here. And this is sometimes why you wanna go into animation tab rather than just the layout. So sometimes easy just to work on the layout. And then when you gain something more complex, going to the animation tab, now if we open this object transformation, it looks like a lot here, but in actual fact it's not. Can I, here is the three locations of where this is in space and time, the rotations and the scale. You can basically discount the scale right out of the bath because we haven't done anything with the scale. So what we could do is in actual fact, we could come to our scale first B and grab them all like so. And then just press Delete. And basically we deleted those other way because we haven't altered any scale. So if you wanted to make this a little bit more simple, you could do. Now what we need to do now is we just want to alter or location. So I'm going to come in now. I'm going to press your space bar because I've come into a different tab, which means my gizmos disappeared. So while wants to do now is on frame one. So again you can see it's non-zero, we want it on frame one. Now the moment we can't actually see anything on here, and instead of it being on here, it's actually down on the ball in the air. So all I'm gonna do is I'm gonna put this on frame one. And then we're going to do is I'm going to press I location, rotation scale because then it's just going to follow them along. We didn't we could have just put location on there for press controls that again, and I just press I, we can actually set the location now it will still role. So if I come over here like so to frame 50, and I'll move it, let's say here. And I'll just press I location. And now pull this back. You'll see that the barrel will still roll. Move at the same time. Now you can see it's obviously not working very well. So what we're gonna do is I'm just going to press Control Z and just put that back to where it was. I'm hoping that it's not going to move, which is not It's just rolling. So that's great. So now I want to do is move this barrel from here, all the way over here. So we've pressed I, we've got it here. Now let's move it to 200, and let's move it all the way over here. Then we're going to first location. Now when we press Space bar, you will see the barrel will not move until right near the end. The reason for that is, is because we hit location rotation scale. So it's got both the location and that's why it's not moving because we only set the location over this side. So what we wanna do is we want to come down and we want to delete all of the location. So let's come in and grab only these location. I'm just going to click on one of these. Grabbing all the location will be like so the press Delete, and there we go. Now it should only be the rotation, which is great. So now let's come in, put it on their frame one, and press the eyeball on location. And then we're just gonna go over to frame 200. We're going to move it over here. Like so, I'm going to press I location. Now when we press the space bar, you will see that all barrel rolls along. Now you will see it's got a load of sliding in there. That's not something we want. And the reason is because this barrel basically is moving too much distance for the actual role. You'll see this a lot when you playing some games where the character, his legs will be moving, sliding along the ground. The reason for that is because the actual location is too far or too short based on his actual movement. So that's something that we're going to discuss in the next lesson. Alright everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 5. Digital Ball Soft Body Simulation: Welcome everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. Now what I want to do is I want to actually shorten this distance out. In other words, I don't want it moving pi so far. So I want to do is I want to come to frame 200 and I want to pull that back to say something like that. And instead now when I press i location, now what I should've done is it means that this now should roll a little bit better than where it did before. So if I press space bar and say rolling, it looks a lot more realistic now. And we haven't got as much sliding on there as what we had before. We still have some sliding on the end. And the reason for that is because when you're doing a rolling barrel or something like that, you actually want it to go slightly further than the actual role. In other words, if I grab all three of these, so I'm clicking on one, shift, clicking the next one. And the moments do is I'm just going to move them over. So I want to impress them. Move them over to, let's say 210, something like that. And then one we're going to do now is I'm also going to change the frames to end. On 210. It will press space bar. Now you'll see role in nearly, nearly in the correct place. What I'm gonna do is I'm gonna press G, moving back to 205. Well this on 205, press space bar. Now you'll see it's rolling along, rolling, rolling, rolling comes to nearly a stop. And there you go. You can see it's near enough, nearly, nearly there. So you can see that we can play around with this a little bit when you do get the idea of how this barrel now is made to look realistic in the way that we've set this up. Alright, so we've just actually gone through then how we do rotation, how we do location. We haven't discussed scale yet. We're going to discuss that a little bit later on. But these are the basics of animation within blender. Now if I go back to Layout now, you'll see all that disappears. If anything, they're not a lot of information there. Now, the other thing is, if I try and put this back over it, of course, when the moment I start the animation is just going to restart again. So now you can see I've got both of these moving exactly the way you wanted to. Now, let's say discussed as part of the basic animation, balls bouncing and things like that. Well, the first thing I'm gonna do is for anything that's bouncing in real time, you're going to need a collider. So you could have this power rolling down here on its own. That's something you can actually do. But what we'll do is we'll work on this ball and I'll show you exactly how it works. So let's come to the floor first though. Come over to our, whereas it's our physics property over here. And then what we're gonna do is we're going to put this on collision. So I'm going to click on collision. I don't need to alter any of this at the moment. All it's there for is to make sure that when this bowl actually drops down is going to actually collide with this block. Now, let's come back to this beach ball. And what I wanna do is put this on soft body. Now if I press space bar now, nothing's going to happen. The ball's not by a role or anything like that. There you go. It's just going to flow up and down like this, which is not exactly what we want. So how do we make this bold drop-down there? All we need to do is turn off the goal down to where it says edges. And all you wanna do then is put the bending on something like a. Now what will happen is the bowl will drop down. You will hit the floor, and it will actually look kind of realistic. So if I put this on here, you'll see all bounces. And there you go. That's based on the amount of bending. If I put the bending on something like bull, you'll see now just how much pain didn't actually happens with that. If I put this bending on something like 20, you guys bouncing a lot more like an actual beach ball. Now the other thing is what you can do with this is you can actually turn off gravity. So gravity is determining how heavy this ball is. We can also turn off. We'll just try to note the elastic plasticity and now press space bar. There you go. You can see these really do have a longer effect. So let's come down and we'll have something called field ways here. And what we wanna do is first of all, I'm going to turn down the gravity to something like nought 0.1, basically reducing the gravities, just something akin to on the moon or something like that. Now if I press space, you'll see it float downwards slower. But when it bounces, it bounces much higher because obviously there's less gravity here. Now if we put this, Let's say on two, that'll be two ball basically, which is twice as much gravity is what we have here on Earth. When I press the space bar, you'll see it really tries and pushes it into the floor because obviously there's a lot more gravity pushing it down. So let's just set that back to one. There we go. There's no beach ball bouncing up and down. Alright, so the things that we've gone through now is the basics animation of saying something with a roll and moving along, setting something outweighs just moving in space and time, just the location and going onto the beach ball. So now you know how to sell a basic animation to do with the physics. So base is something falling, something driving along, or something like that. Just the basic animation of that. Alright, so the next thing we're going to do then is move on to all swing animation. So I'm going to click off the base animation. Come to our swing. Here we are, Here's our swing. So swings and things like that. Everything past this point pretty much except morphine or things like shape keys will be used in basically a rig from this point out because the basic animation as a science, as I said, will work in just blender. But if you really want to learn about animation, you really need to start using bones and things like that. Alright, so the first thing we need to do is if we bring in our cursor, Shift right-click wherever this cursor is, that is where a bone will appear. So if I refresh it, come down and bringing an armature, you will see the bone appears that not very handy if we want our bone over there, I need to move it now over to where it needs to be. It's a really hard way of doing it. So the easiest way of doing it actually is to come to our tree. Chris top, I'm going to do is I'm gonna go over the top, like so. And then what I'm going to do is I'm basically going to double-tap the a just to make sure I've got nothing selected. I want to print it said to go into wire-frame. And then all I'm going to do is I'm just going to select all of these points here. So if I press B and select all of these points here like so, and then I'm going to press Shift S because it's a selected tab. Let's put it back onto material. And now you can see that that cursor pretty much in the middle of this actual trichome, exactly where it wants to do. Alright, let's double-tap the a limb moments do is I'm going to press Shift a, bringing a armature. Now it's important that you understand the first bone they bring in should always be something called a root bone. All one bone to roll them all basis what I call it. It's basically the bone where every other bone is attached to. It serves no other purpose over them. If you move this bone, every other bone moves with it. It's important because if you don't have a root bone, sometimes when you send through rigs and things like that too, unreal or even in Blender, you'll end up with the actual animation moving from where you initially wanted to do. So it's very important that we actually great a root bone and attached or other bones to it. Alright, so now this is the actual root bone. We're going to have this probably, I'll turn it sideways. So what I'm gonna do is I'm just going to press all why 90? I'll just pull it out a little bit. Now they're all view all the things that you need to know about bones. First of all, we've got a armature in here, so this will give us an armature. So what do I mean by that? If I come in and just I'm just going to put these into a nice order. So I'm just going to click all of these up. And then I'm going to find you the armchair. I'm going to pull this down a little bit so I can see what I'm doing. There is no armature here, so this is this bone. It's very important when you bring in a new armature that you rename it because there is a bug in Blender where if you send the armature or rig out to another program like Unreal Engine, it doesn't actually work correctly if it's still left with the name armature. So I'm just going to rename this to swing, like so. And then I'm going to grab the armature and put it in swing animation like that, then I'm going to open it up. You can see at the moment, if I open this, you can see that we've got all material one, they open this. We've got one bone, which is this one. This is important because I'm going to show you in the next lesson that you will be able to see all the bones that yeah, I didn't hear why it's important that you also call them bones. Alright, but once I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye. 6. Swing Animation Rigging: Welcome back everyone to the ultimate guide to blend a 3D rigging and animation. And this is where we left off. Now I'm going to do is before we actually do anything with this is we're going to bring in one more bone. So if I press Shift a, I'm going to bring in another bone. Now the thing is, if I press Shift a in object mode is going to create another bone next to this one, which means these are two separate objects now and we really don't want that because it's creating a new armatures. So I don't want that. What I wanna do is I want to click on the first bond of built-in press Tab so that I'm in edit mode and then press Shift a and you'll notice you don't even have to go and find it. It will just literally bring in a bone. Alright, so now we've done that. We've got two bones here, like so, now we need to name them. So I'm gonna come over to this little bone icon over here and you'll see that this one is called bone. So what we're gonna do is I'm gonna go away and pull this route bone when it come to this one here. Now, I'm going to call this swing bone. And the reason I'm always calling them bone is the fact that now you can see they appear in here. Now if I want to do a search, all I need to do is for in bone. And he's going to bring up all of the bones that I'm looking for. If I just put in swing without bone, then it'd be waste time putting in bone because I won't be able to find it. So that's why we're actually naming them correctly as well. And it's very important, might not seem important now. But the moment you have hundreds of bones in this scene, you really going to want to make sure that you've named them bone and you've named them what exactly they do. So really, really important. Now the other thing is, if I go over the top of this, you can see that it's not quite in line. So over the top with this swing, That's also important because when this bone is swinging with the swing, we want it in line with the swing. So first of all, I'm going to rotate it around so that is pointing down. So if I press all x and 90, we can see we have another problem in that this bone is rotating from the center up here. Now, even if I grabbed this here and rotate it, you'll see nothing happens. So I want to rotate it correctly. Now, the best way of doing that is to press the little sideways V next to the question mark. And it'll open up a menu like this. And the one we want is 3D cursor. What that means is anytime I'm pulling anything, it's always going to be pulled from this actual case. So if I'm scaling this, you can see from the 3D cursor, if I move the 3D cursor over here, it will scale from over here. Well, I want to do is I want to rotate this, so x hundred and 80 and rotate it so it's pointing down. Now at this point, we should put that back. So we're going to press the little sideways vegan and we're going to put it back to individual origins. And then what we're gonna do is we're going to reset all transformations. Now we don't need to reset the transformations of the actual tree because we're not actually rigging or doing anything with the tree. Well, we need to do is reset the transformations of the actual swing here. So if I press Control eight, all transforms. Click its origins geometry, and now it's all set, ready to attach this rig to this actual swing. All we nearly all set. Now the other thing is you can see if I go back to this bone now, if I press seven and go over the top, if I press Add wireframe, you can see that this is not really in line with the actual swing and that's important. I want to actually put this in line before I start because then it's going to make sure I swing is going in the correct way. So if I press Alt Z though, you will see nothing actually happens. What you need to do to rotate that is if you come over to your bone over here, you will see you've got one that says roll. Now if I turn the role, you will see that I can roll the bone in the correct way. Now the other thing is that the moment I can't actually move this bone and a neat too. So I'm going to press Shift Spacebar, move tool. And what I'm going to do is as well, because if I'm moving this, It's moving like at this angle. And I really don't want that. What I wanted to do is move the angle of point on. So if I set this to normal now, now I can move it basically along that branch into the middle where we actually want it. And now we're perfectly so I'm going to press said, go back to solid, put this on material, and there we go. Now it's ready to actually be attached to our swim. We've named our bones, we've resale transformations. We've put up bombs exactly where we want them. We have our root bone. Now we can actually join needle just before we do that though, if we press Tab when we go into object mode, when calm down now and you will see that we have one that says Not in the bones on here, viewport display. They can see that we have the viewport display here. Now what we can do is we can actually show the names of the bones, which is really, really handy to make sure that we've named them all. We can also have them in front. So in other words, nothing will be hidden by these bones. It will basically always be in front of them, really handy if you've got things like arms and legs and you can't quite see the bones and things. What we can also do though, is we can change the look of the bones. Now, I like the way these bones look for U1 mount. Want to change them to just be a wire or a B bone or something like that. But I liked I liked the octahedral look. So I'm going to keep mom there, but you want to change your look, then you're welcome to do so. Now I wanna do is we want to attach this swing onto these bones. So I'm gonna grab my swing. I'm going to come over, grabbed my bone. I'm going to press Control P. And you can see now we've got a new menu that pops up, set parents who. Now the thing is, we want to set this in a certain way because if we don't, it means it's going to cause us a lot more work. So I'm just going to quickly go through these. So if you're saying it with empty groups is basically making this swing that we've got here. Have no way to name whatsoever the way or be the thing that actually carries the swing forwards or sideways and things like that. But we have no weights on there. It means it's free for OLS to put the weights on the bottom right-hand side. I'm just going to put an image on there which shows you what weighting is. You'll see on the left-hand side we have waiting in red, which is 100% way. And on the other side where waiting in a really, really light greeny bluish color. And that basically is no way whatsoever. On the other side is dark blue, it means absolutely zero weight. So in the middle you can see that it will be yellow, we orangey, something like that. And what that means is like, well, it's nought, 0.5 is halfway between. This is important because that dictates how much a bone will influence that particular part of the mesh based on the weight, what you've actually gone there. So that's why it's so important. So if we put an empty groups, it means that we have control of weight painting or waiting this actual swing. Now if we put it on with envelope weight or blender does, is it kind of put some weights on there but not enough to actually get the job done. So it's basically a hall, no way between no weights and automatic waves. You might want like you're doing a character and you actually want to sort out where the joints are moving and things like that. You actually want to do it yourself. You've got the expense, do it, and you wanted to move in in a certain way. It could even be something like an octopus. He's got an arm and you want a waiter way because of how the bone is laid down, things like that. And that's when you might use something with envelope weights. Now the other thing is with automatic weights, which is this one here, means that blended does all of the job for you. This is great when you're dealing with something like a character or something like that. We need a full rig waiting and you need the arms to move in a certain way. But it's not very good if we're talking about swing because we only have one bone in here and we don't want it really to be weighted the bonus. So what we're gonna do on this occasion is choose with them to groups. And there we go. Now this is actually waited to this. So the next thing we wanna do now is if I come to my swing, you will see that now under the modifies tab. Open minute the pole is sold, we have something called armature already put on there. So you can see now it's gone armature attached to this. Also, if we come down to this little green arrow here, you can see now at the root bone and the sphenoid bone attached to our swing, ready to go? Now if we come to our actual bones, so I'm gonna come to my bones just for now. I'm gonna come over to where it says object mode. And I'm going to go into pose mode. If I grab this bone, you'll see it does nothing, actually nothing against the swing whatsoever. So the pose mode is basically how you are going to do your keys, basically how you insert your keys, same as what we did on the basic animation. But we're going to be doing that with the actual bones. You can insert keys in object mode, Edit mode. The only way it can do it is in pose mode. Now let's go back to object mode. What I'm going to do now is I want to weight this up. So let's quickly go into our swing now. We're going to press the Tab button. The moment you press the Tab button, you will see we have another option here, which is how much weight do you want to assign to each of these bones? Now the thing is, the real bone, as I told you, doesn't want any weight on it. So if we go to the root bomb, will basically remove 100 per cent or one of the weight on there. So we're going to click that. Then we're going to go to our swing bone. And basically we want to make sure that all of these swing 100% of the weight on it. So in other words, if I press a and grab it all and then come over to where it says Assign 100 per cent, the assigned bond. Now, if I go over to here, come down to where it says weight paint, you can see now that this bone here as 100%, this bone here has nothing. So the real bone has nothing. In the swing bone has 100%. Now, while you're in white paint, you can actually come over and actually paint the weights in as well. So there is that, Well, we're not going to discuss that right now. While we're just going to do is discuss the real bone and the swing bone and the weighting options that we just gave it. Once you see this knight can go back to object mode, like so. Now that means that if I come to pose mode now, so I'm just going to go to click on my bones. Oh, to pose mode. It means now when I grabbed this bone, the whole swing moves with it. It means when I grab this bone though, nothing happens. And the reason is, uh, go back to object mode. Whenever you make a root bone, all of the other bones, she'll be parented to this route bone. So one way to do now is I'm going to press Tab. I'm going to grab this actual swing bone, rubbing my route bone, press Control P and then keep offset. If I kept the connected, you'll see I'll move the bone and they don't actually want to do that. What I want to do is press Control P and keep offset. Now if I move this bone now, you will see nothing happens, but you will see there's an actual line there. And that means that this bone is connected. What that means is though, if I come now to pose and now grabbed my route bone, everything is going to move with it because this route bone, as I said, is the one that controls everything, is basically controls where it is in space and time. And it doesn't matter what you do with all the other bones. They, wherever I put this, the animation will still move. So I'll show you that actually what I mean by that on the next lesson. All right everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 7. Water Wheel 3D Rolling Animation: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left off. Alright, so now let's come into this bone and what we wanna do is we basically want to set our timeline to one to one. Like so whenever you're doing a swing or anything like that, you don't want it to start in the middle, obviously, you want it to stop. If I press R and X and pull it back this way, you want it to start over here. Now the other thing is make sure that you're on normal and now global because if I go over the top of it and I rotate this on global, so our x, you can see that that's when he's going to go in the wrong way because it's basically going straight. And we don't want to go in straight. We want to go in the way that the bone is actually facing. So that's why we're going to put this on normal. Then what we can do is now we can actually press RX and move it back to, let's say something like here. And then I'm going to do is I'm going to press I location rotation scale. Now I need to do is you need to move it. We need to have a moving over to the other side. So if I put this, let's say on 100, and then I'm going to press all x and move it over to here, like so. And then when I press location rotation scale, now it should move from here all the way down through here, like so, and then stop. Now we want to actually move in all the way back as well. Now the moment we've still got this on 205, so let's just put this onto wondered what I'm gonna do now. Instead of again, trying to position it wherever I think it needs to be, I'm going to grab this and I'm going to press Shift day, bring it along and just put it onto 200 likes. So now we should start actually going back. Now the thing is as well. If the swing isn't moving properly, what you wanna do is you want to make sure that the interpolation, as we spoke about when the barrel is on the right side. So in other words, if I go to interpolation and put this on constant, Exactly, It's just going to click between them. So you might want that if it's a clock or something like that. Now we don't actually want that. The one we want it is linear. It will put it on Bezier as well. You will see this also a reason why we don't use Bezier as well. You can see that, sorry, no Bezier, linear. I'll show you what linear looks like. So if print on linear like so you'll see as it comes back, slows down. And it looks really, really clunky. So we don't actually want it like that. What we want it on the Bezier. And you'll see that the interpolation is perfect. It's perfectly weighted. You can see how it comes up. He has some weight to it, and then it goes actually back. And that is exactly what we want. As we've been doing this, we've not exactly been very accurate with this. So in other words, it might swing further backwards than it does for words, and you might actually not want that. So what I'm going to do is I'm going to come through here. I'm going to press C n born. What I'll do is I'll open up the transform panel. Now you can see that it's mainly the excise movements. So you can see this is on two to nine. As I move this over, you'll see that that x moves backwards and forwards. And you can see now it goes to 229 here. You can see in the center though it's only on two to six. In other words, where a little bit out on this, the easiest way to do your swing actually installed, you swing wherever you want it, home over to where the axes and press Control C, then it will be exactly copied there. And then what you're going to do is you're going to come over to the hundred, 100, like so. And then what we're going to do is I'm going to press Minus Control V. And there you go. Now the swing will be going as far back as it is boards and the perfectly in line. The one thing though I did forget to do is you can see it's two minus naught 0.2 to 60 shouldn't be, she'll be nought 0.2 to nine. So I'm going to just going to click here again, it looks like minus Control V Enter. And then what I wanna do is now I want to reset this actual key. So basically I need to insert the key. So I compress over here as well, or a compressed I in the actual viewport. And now you'll see that this should move really, really nicely backwards and forwards. Like so. So there you go. That's our actual Swing. Actually done. Once you've done that way you can do is you can come to object mode and you can just hide these bones out of the way. And then we can swing and let it swing. And you can see just how nice it looks. Now the thing is we can actually as well, we could go in there and obviously alter how far this swinging, because it's swinging quite a long way. What we can also do, the best thing is this is why we made our root bone. So I'm going to do, I'm just going to click on here. And I'm going to press Alt H just to bring our bones back so he's H to hide them all tastes to bring them back. Now, the moment I come to pump mode, wrap this bone, moving out over here. When I press space bar, you'll see that this root bone, because it actually has no actual keys actually inserted wherever I put it is where the actual bone is going to go. In other words, where is the swing going to go? If I press Alt G Now, it's going to actually put it right back into the place where it was. That's really important that we actually have that on there. All right everyone, so that's basically the swing exercise done. So what I can do now is I can put this back on to object mode and come over now. And I can shut this down. Now. Let's open up our wheel turning. Like so in this exercise where you're going to do is you're going to find now out to ultimately put in movements without actually pressing the Insert key, which is really handy if you've got a lot of movements to actually get through. So let's actually look at that now. So the first thing when to do again is we'll base it over 200, like we did with the last exercise. So I'm gonna put it on one and then one wins. There is a need, first of all, the root bone in here. And then I need another bone to actually move the wheel again with the root bone. The root bone will do nothing except bring all the bones together. So if you've got root bone, you really don't want to just use a root bone to move this wheel. You want to route bone and then an extra bone to actually move the wheel. So I hope that makes sense. So first of all, we need to get the root bone in the center. So I'm going to click on the wheel. I want to press Tab. I'm going to come grab the center of my wheel, press Shift as Christa selected, press the top blog. And now I'm going to bring him a bone. So shipped a bring in an armature and there is my bone. I want to scale it up a little bit because the scale of it really doesn't make any difference to the wheel whatsoever. Then I'm just going to press Alt and why? 90? And you can see, I've pulled it out here. Don't really want it pointing this way because it's the root bone. So I'm just going to press all dead underneath and you can see it's not moving correctly. The reason is not moving correctly is because I'm still normal. So I'm going to put in global, then repressed all that pungent AT, and just spin it going the other way. Now what can do now I've got my route bone in there, can just pull it out a little bit like so make it a little bit bigger. And what that means is really, really easy for me to see and really easy for me to move this around if I need to. Now let's bring in another bone. Now it's important that we press the top bonds so we're in edit mode, then we'll press Shift a and there is our new bone. Now I'm going to grab this bone, I'm going to press S, and I'm going to press 0, Y, 90, and put it into place. I'm going to pull it back a little bit like so. Now before we begin, again, the checks that we need to go through is grab your, we'll press Control a or transforms right-click Set Origin geometry. And now we can do is we can come to our bones. Before we join them all up, we just need to name them. So if I come in now and grab this bone here, so I'm going to come down to my bone again. I'm going to call this a root bone. Like so. Come to this bone, I'm going to call it we'll bone. We'll get rid of these things after it. Like so press Enter. And then finally, when it come down to my armature on the color wheel on a drug though, then put it in my wheel turning. I'm also going to save my work. So I'm going to click File and Save. You've not saved out before. I'll just click Save As and then save it out like so. And now we can do is I can just open this so you can see everything's in here. The bones are named as you can see. So if I open this up, you can see root bone, we'll bone all named. You can see as well because we're working on a new armature. It, if we come over to our actual armature, we just need to plug names on again. You probably going to have to do that every single time you bring in all mature in. So just make sure that you've done that if you want those on. Now finally, we're going to join this bone up to this bone. Because again, it's a root bone. That's the bone that we want to control everything. So I'm going to grab this bone, Shift-click this bone, press Control B, sorry, Control P, and always keep offset. So keep upset. And there we go. Now if I move this bone, so grab this one first G, you'll see that little line that goes between them. Finally, now let's join them all together. You'll notice that the moment if I come to my modifies tab, there is no armature on there. If I come to the little green icon, there's no actual bones on here as well. What I'm gonna do is I'm going to grab my bones. Grandma, we'll press Control P I'm sorry. Go their own way around. Grab my we'll grab my bones, press Control P. And then what we're gonna do is again, we're going to put it on with empty groups because it's going to make it just far easier. Because it's just going to be one bone that's going to turn the whole wheel. So we put an empty groups like grandma, we'll now, now you can see there's bones there. Grab my little spanner and you can see there's an arbitrary on there as well. Alright, so on the next lesson, then, we'll get this wheel moving in a really nice realistic way. Alright everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 8. Stylized Tree Animation: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. Now let's put the waiting on these. So the first thing I'm going to do, I want to come to my wheel. I'm going to press Tab. I want to press a to grab everything. I want to come tomorrow bone and, uh, basically wants to remove all of the weight from the root bone. Really important that you do that because if anything ever goes wrong, you know, you've already done this. So, you know, it's not going to be down to the actual root bone. Next we want to do go to the wheel bone. I'm going to click Assign with 100% on the actual wheel. And then if I press Tab now, I should, if I click on my bones, come to my object mode, go to pose, grab this bone and the wheels should move with it like so. And now if I grabbed my route bone, everything should move with it, like so. Alright, so far so good. Now let's click on our whale bone. A moment to do. First of all is I'm going to actually click on this bond here so you can see if I hover over this, it says all tolkien. Now what this does is it basically does the keys for you. So now if I press all x 90 already has a key frame in that if I could then come to 50 or 90, another keyframe in, and let's go to 100 or 90. Then finally, one-fifth x 9,090. Press the space bar. There we go. Everything is already Keating for us now, I highly recommend once you've actually done that, you turn off this automatic keen because the amount of times I've actually missed domain animation because I've left the arm and just forgot to turn it off. And instead of key frames in when I'm just trying to speed up something, I'll slow it down and just did a load of key frames and have to go in and delete them all. It's just making sure that you turn it off. Now the other thing you'll notice, of course, is that the interpolation is incorrect. So let's actually go in and fix that. So what I'm gonna do is I'm going to press space bar. I'm going to right-click come to interpolation and I'm going to put it onto, I think there'll be on linear on this one that's of a log linear. Reach us restore, and there we go. Alright, so if I press come up to Object Mode. Hi my bones. There we go. There is a beautiful turning wheel and you can see how quickly and easily it was to do that. Alright, let's press space bar and then what we'll do is we'll come on over. I'll show the wheel turning. And then what we're gonna do is we're going to come now to our basic waiting on an actual tree. So what we're gonna do on this one is we're actually going to weight it with something called bendy bones, which is something that you can use if you want something like tentacles or trees swaying or even a bendy arm like Harry Potter or something like that. It's a really good technique to use if you want something like this. Alright, so what we're gonna do is first of all, we're going to bring in our first bone. So I'm going to press Shift day bringing our armature. I want to go over to the right-hand side then. I want to make sure I'm clicking on this little running man and I'm going to put on names. First of all, I'm going to put it in front, and I'm also going to put this on B bones instead just so we can actually see what we're actually doing with this one. Next of all, what I want to show you is this at the moment. So you can see the armature is named armature. If I press F2 instead, we can actually change the name of the armature and we can call it tree rig or something like that. And there you go. You can see now on the right-hand side, it's actually changed it. So I'm just going to drag that into there. We can also press F2 as well when we're actually dealing with bones instead of going over to the right-hand side. So there's just that take into account. So the first thing I'm gonna do is I'm going to actually grab this and I'm going to pull it down. So I'm going to make it smaller. I'm also going to press one, so I'm in the front view, like so. And then what I'm going to do is I'm going to press Extrude that to hold it along the z axis. I'm going to pull it all the way up, like so. And then what I'm going to do finally, I'm going to press E and Z, and we're going to pull up a really small one right at the top. So you should end up with a small one, a small one, and then all of this big one on here like so. Now we're going to do is we're going to come to this top bone here. And I'm going to press Alt and P, and I'm just going to clear the parents. So now you should be able to grab this with G and it should be cleared off from this large bone here. Then what I'm going to do is I'm just going to click on this large bone. And then what we're going to do is I'm gonna come over to the right-hand side here. I'm going to click on this actual bone here. And we have something that's called bendy bones. And this is what we're actually going to use to actually make this tree sway and all that good stuff. Now, it's important on this one that you do have B bones on. So be bones, which is this over here. Because if not, if I put this back to octahedral, you'll see that when it comes to my bendy bones and put the segments. So this one here onto ten, you won't actually see anything happen. The only way you can actually see it happening is if you put it on the bone and now you'll see that we've got all of these little bones are broken up like so. Now let's first of all, before we do anything else, let's just grab this bomb bone. And what I'm going to do is I'm just going to press Shift a bringing another bone. All I'm going to do is press all why 90 and bring this one round. And of course, this one is going to be our actual root bone. So I'm going to grab this bone, I'm going to press F2 and I'm going to rename this to root bone, like so. Then I'm going to grab the bottom bone. So I'm going to press F2 and I'm going to call this it's very bottom bone, like so I'm going to grab these middle bones, have to I'm going to call it tree. Then the bone. Then finally the top. So I'm going to press F2 and I'm going to call this tree top bone like so. Alright. So now we can do is we can actually grab all of these. I can grab my route bone last, I can press Control P and I can keep offset. So this now when I actually move this, you should see all of those lines actually connected to these parts, which is, again, we need the root bone to move this tree wherever it wants to. So now I wanna do is you want to come to pose mode. And then what we're going to do is grab this middle bone. We're going to come over to the right-hand side and we add something called add bone constraints. And the one we're going to do a click is the stretch two. So we're going to click our stretch two. You'll notice it goes and actual different color. And the target of course, is going to be our armature, which is Object Tree rig. As you can see now, the actual bone now we're actually looking for is going to be the top bone. So it's the tree top bone here. So this one here should be the one that you're targeting. Now when you click on this top bone, you try and move. If you press G, you will notice that all of these bones actually start to stretch with this one, although they're not actually moving in the right way yet, because we've not set that up. But you will see that it can actually stretch out. So, just so you know this now, you can actually use this for other things if you really wanted to have something bouncing up and down like this. So now let's click on our middle bone again. And what I'm gonna do is I'm gonna come over to the right-hand side onto this little bone icon. And if we actually go all the way down, you will see that we've got a start and an end, Handel. And this is what we're actually going to change. And what we're going to change these two is we're going to change them to absolute. We're going to just going to change them both to absolute light. So now the start and lonely should be this tree bottom bone here. So if I click on this, we'll have tree bottom bone and then the N1 should of course be the top. So if I click on this now, we should have tree top bone like so. Now the moment of truth, if we come to our top bone now and we try and rotate it. So if I press R and Y, you can see that the whole thing starts to sway in the wind. And of course, if I press all Todd, just to put that back, I can also move it as well, like so we have a lot of control now of it. Now if I grab this bottom bone, the root bone, everything should move along with it. So now we've done that, it's finally time to come to Object Mode. Grab our actual bone, grab all tree, press Control P, not the wrong way round, grab our tree, grab our bone Control P, and bring it with automatic weights, like so. And then what we can do is now we can come back to pose mode, grab this part here. And now you'll see that our tree looks as though it's swaying in the wind. We compress all and why as well just to sway it like so, so very, very gently, like so. And you can see it's a really, really nice effect. So now we can do is we can actually come in to our actual timeline. We can set this up a little bit bent already. So what I would do is just bend it just slightly like so. And then what I'm going to do is I'm going to have it on automatic here. So I'm just going to put this back to one. So I'm going to put this on automatic. And then what I'm going to do is I'm going to put them faulty. And we've grown to 200 or something like that. So then we're going to do is I want a bit of randomness and near as well. So I'm just going to swipe back the other way. I'm going to grab it then to this way because it didn't actually sets it. And I'm going to press Alt and y this way. Like so. Then I'm going to come to, let's say 100, something like that. And then sorry about the other way. Like so. And then let's come to one-sixth. Then we'll sway it the other way. And if you notice, all I'm doing at the moment is just the rotation, I'm just going to sway it that way. Then finally, I just want this one to be exactly the same on the N one because basically I wanted to finish on the end. So it's a repeating animation. So if I grab this one now, press shift D and bring it all the way over 200. And there we go. Alright, so now we should have, is this thing slowly sway in late? So there we go. Now I want to do is we actually want to actually make it move a little bit as well. So gotta be careful though, when we actually make a move, we can't actually move it with this. So what we need to do is we need to move everything with this. So again, I'm going to come back to 1.1. I'm trying to do now is follow the way that the actual tree is going. So if I press G and just move it a little bit this way, like so, then if I come back to here, then I press G and move it the other way, like so. Then I come to 100 and then G, like so, and then come back to one-sixth. Again, everything's doing, doing automatically, like so. And then finally what I want to make sure again that I've copied this, so I want to make sure that I'm copying this. So what I'm going to do is I'm just going to click on this, but this two actually in there. One is a rotation and one is the location. So I'm just going to make sure that I grab them both like so and then press Shift D and bring them both over, like so. Swap them in there. And now what I should have is a full animation. So if I come in now, just put this on object mode, hide those out of the way with H. Whoops, let's bring it back with old age. Let's grab this part, hide out of the way, and now let's press the space bar. There you go. We're all getting a little bit of frame loss just because of the fact we've got some materials in here. If I put this onto our object mode instead and try it, we should actually get higher frame rate, which were slightly higher frame rate. Well, there you go. You can see it's looking really, really realistic, stylized way of actually doing that. Alright, so I'm really happy with that. So what we're gonna do now is we're actually going to go back to material mode among going to do is just bring back the rig. So I'll teach bringing back the rig. And finally while wants to do is I just want to make sure that it let's have a look. Yes, if I move this, everything moves with it. And also in pose mode, if I move this, everything moves with it just to check now, then we know that this has actually done. Alright, so what we'll do is now we'll just close out the basic waiting and then we'll open up the next one which is shaped keys. And basically we've got this then sell for the actual next lesson. And what we're gonna do with this one is we're going to make it actually into a real looking pumpkin. So we're going to have it going from a tiny seed into an actual pumpkin. Alright everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 9. Vegetation Growth Using Shape Key: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off, so we're actually on our actual pumpkin. Now I'm going to actually click on my pumpkin. And we're going to show you two things with this actual maybe two lessons we might get done in one, but we'll see, while I'm basically going to show you is how to actually use Shape Keys in your animation and also how we can actually use I'm colors. So we can actually change shaders as well with animation. So the first thing I want to do is I wanted to come over to my little triangle here. And basically you can see we've got one that says shape keys here. Now when I click one plus and I'm going to click it again and again. Now the first one, we never actually touch, so we never actually touch that one at all. We just leave it. It's basically like the root bone. In this case it's the root, root shaped key. The next one we're gonna do is we're going to have seed, so we'll call it C. And then finally, we'll call the last one pumpkin, like so. Alright, so let's first of all come to the seed one. And then what I'm going to do is I'm going to try and turn this into a pumpkin seeds. So if you've got an image or something, I will put an image down on the bottom right-hand side here are what are the actual pumpkin growth actually looks like, and you'll see it's really thin and small and kind of comes off of an actual a vine or something like that. And then it gets heavier and heavier. Finally, it goes down onto the floor. And then as those really broad parts of the pumpkin that actually come out when it first starts off as well. The actual pumpkin is green, It's not orange. So we also need to take that into account. Alright, so what we'll do is we'll press Tab. So we've got this one selected in our Shape Keys. We're going to press Tab. And what we're gonna do is we're actually going to change this. So I'm going to come in, I want to press Alt Shift and click on that then is going to give me a line going all the way around there. Then we're going to do is we're gonna put proportional editing on. And then I'm going to actually try and turn this now into more of a seat. So you can see now, I've great like this, I'm going to pull it down like so. And you can see now it's looking a lot more deed like the walls. I'm also going to make this a little bit thinner as well. Now you can actually just grab one phase and you can bring it in as long as you're careful with it so you can bring it in. Like so. Don't worry about any anything at all apart from the fact that you really don't want to break the mesh so you're not going to worry too much about the shape. Alright, so that's pretty nice. You can see now when I press tab, it basically bounces back to what we had it before. And why is that? Well, what you've actually done now is you've actually created a Schottky where now you can actually go in and move this on the fly. So for instance, if I've got my seats selected now and, uh, come to value, you can see that I can change it into the actual seed, which is really, really great. Okay, so now we've got that. Now we want to make the actual pumpkin. So let's come to the actual pumpkin patch. And what I'm gonna do now is I'm going to call me in this time with edge select, Alt, Shift and click, and just grab a few of these edges going round. Like so, like so, like so, and maybe like so, something like that. Still with proportional editing on. Now what I'm going to do is I'm going to bring them in now. Like so, press the Tab button. And now what I can do is I can actually bring this up and change it into my actual pumpkin with those those lumps that you see on pumpkin. So it actually looks a little bit more like it. Now the one thing I wanted to do also, I just want to put this back again. I want to go back into it. And what I wanna do is I want to bring this in so I can actually press control law. I can't actually bring it in from there as you can see. So some reason that's not actually working. But what I can do instead of that is I can grab all of these going round. So I'm going to press C to grab them all. So see in the middle and then I'm going to do is just press I and bring them in, like so. And then I'm going to do is I'm just going to pull them in. So I'm going to pull them in. Like so. Then what I'm going to do is I'm just going to check that out now. So if I bring that up, now we go, That's exactly what I'm looking for. Normally, they would have some sort of stem on here. This one doesn't go on just to keep it simple for you. But you can see now that's exactly what we're looking for. Alright, so now what I want to do is I want to put this back to zero again, so we have the basis of our pumpkin. Now, let's put the timeline over something like 300. We don't want it too long. We want to just long enough so we can actually learn something. And then what I want to do is I wanted to put this onto zero, not zero, so one, always on one. Let's then go to the shading panel. You'll see that in the shading panel, we've got everything set up in here. It doesn't really matter what. Most of these can actually be edited, so you can edit you. What I mean by edited is, I mean you can actually insert a keyframe on most of these. So just take that into account. So the first thing I want to do is I just want to pull this over to the side and actually wanted to just bring in a timeline. So I'm going to do is I'm going to click on this down arrow. I'm going to come over and bring in my timeline. And now you can see that beta, we can see our timeline. So we can move this backwards and forwards in the actual shavings panel, which is exactly what I want to do. Okay, so what I'm going to do is I'm going to put this first of all on 300. If you can't click it, just remember, just type it in here. Like so. And then what I'm going to do is I'm going to come to my view, my saturation, my value, and my fact i'm, I'm gonna do is I'm going to press I, I, I, and I like so then we're gonna do is I'm gonna go back then to zero. So now what I want to do is I actually want to make this a color which would be the seed. So for instance, is quiet at Blue, greenish color. So I'm going to do is I want to mess around like you want and then you've got your green. Now I do want to lower the saturation of this, and I also want to load the facts a little bit so I'll bring it down, bring the saturation down, and just play around with it until you're happy with how your seed. He's going to look some jaws trying to, I think something like that. I'm just going to say impure one, maybe something like that. Yeah, I think I'm happy with that. So this kind of deep green color. And what I'm going to do now is I'm going to go down, I'm going to press I, I, I, and I liked. So now what should happen is as I move along, you will see that this will change from this nice green color to an orange color. So if I press Space-bar now, you'll see it starting to change. And eventually it should become that beautiful orange color of pumpkins. And there you go. There is the orange color. Now we can also go in if we're not happy with the color in the middle, which I'm not. And they say turn it, turn it to any color that we want. So I'm just going to bring the saturation down. I'm going to also pull this down a little bit and just mess around. I'm not going to actually mess around with the value because that's really messing it up. I'm going to bring the hue down to nought, 0.55. Maybe. Let's try that. Let's try and bring the saturation up a little bit like so. Let's mess around with this value. Yeah, something like that. And then again, I, I, I, and I, and let's give that another try. So from here, it should get the middle now and go to the color that I picked. It shouldn't be too bright of a green because that's not what I wanted. Should go to this greenish color belt like potato, and then actually turn into this really nice orange color that we're actually looking for. Alright, so there you go. That's that part done. Now we can do is we can go back to our layout. And what we wanna do is we want to put this onto one. And then what I want to do is I want to make sure that I'm making it smaller from this part here. So what I wanna do is click on the little sideways V again, come to 3D cursor. And while I wanna do is I want to, first of all, I need to put this on 300 light, so we'll do the end part first because that's the easiest part. So what I wanna do is I want to turn this up. So if I turn this up here, and then what I can do is I can hover over this value. I can press I. And then what I can do is and come back into my viewport, I can press, I location, rotation and scale. Alright, so now let's come back to one. Now we want to basically make this into the seed. So what I wanna do is I want to make it smaller. So if I make it smaller, you'll notice because we've made it smaller from that point. It gets smaller from here, like so. And then we'll start off at that size. We've got automatic on. So just remember that you've got this on. I mean, it should be okay on this part here. But just remember if you've got the unjust to turn that off, you don't want it on. Now I want to do is I want to turn the pumpkin. So this part here all the way down. So I'm gonna turn it all the way down. I'm going to press I. And then what we're going to do is I'm going to come to my seed. I'm going to turn this all the way up, like so, I'm going to press I liked so, alright, so now let's see where we are. So if I press space bar now, we can see it starts getting bigger, bigger, bigger, bigger. You can see we have a problem. And the reason is for that is because we need our seed to change as we come up. So in other words, once we get to around about here, like so we need our seed on this one to actually change. So if you put this down to zero, now, press the I born. And then as we come up now you can see that it gets bigger. Then it starts to come out. Now I don't like the fact that it starts coming out here because normally pumpkin is the girl really, really far. And then these kind of things come out. So we want to go back to our pumpkin now, this down to zero and press the I button. Now you'll see that as I come in and press Space-bar starts to get bigger changes. Did this really round pumpkin? Then we start to have it where it actually starts to bulge out, like so. So there you go. That is a way that you can actually create pumpkins. Now I know there is more to it than that, which you could do with it, instead of it actually getting bigger in that kind of way, you could use shake keys to actually enlarge it, which would probably look a lot more realistic than it just kinda growing from this part like, so it doesn't look very realistic at the moment. It needs to topple over as well and move a little bit to get that real realism in there and things like that. But this is basic shape keys in a nutshell. And I think actually you should have learned a lot from this actual part of the course. Alright everyone, so I hope you enjoyed that. What we'll do now is we'll just close that down. And then what we're gonna do is we're just going to open this one up and we're going to actually create some multiple bones in this which are going to be rotating round. All right everyone, So hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 10. Multiple Bone Animation for 3D Globe: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left it off. Now on this one, what we wanna do is we want to work with multiple bones all moving at different angles and it around at the same time, just to really pick up that complexity, all building actual rigs. Alright, so what we're gonna do, first of all, he's going to make sure that your actual curses in the census. So you're going to grab your actual globe. You're going to press L on this one, do it an edge select just to make sure if there's any seams or anything like that. You're grabbing the whole of the actual sphere. And then what you're gonna do is just going to press Shift S cursor to select it. All right, I'm going to press Tab and then what I'm going to do is I'm going to bring in my first bone. So I'm going to press Shift a all mature. I'm going to actually put this bone on names and I'm going to put it in front like so. Then we're going to do is I'm going to press Shift a again, but I need to be sure I'm actually in edit mode, Edit mode, shift day. And then all I'm going to do now is I'm going to bring this one down. So you can see that I can't bring it down at the moment because it's actually grabbing the whole thing. So all I'm gonna do is I'm just going to grab it like that through that and then I'm going to bring it down to here and then rotate it around. So all why 90? 90, something like that. I'm going to make it a little bit bigger. And as we've discussed many times now, this is actually going to be my actual root bump. Alright, so now we'll actually bring in another one. So I'm going to press Shift a and then I'm going to press all why? 90 and then Shift a, and then our y -90, and then finally Shift a and then our X 90. And we should end up with bones like this plus a full bones like this, plus a real bone like so. Alright, so now let's go and actually name these things. So first of all, I'm going to press Tab. I'm going to grab my actual armature. I want to press F2 and I'm going to call this globe rig Enter. And then what I'm going to do is I'm going to drag my globe break into multiple bones. One like so, open that up and then we go, It's all in there. And then we're going to do is I'm going to press Tab. I'm going to come to the bottom one, press F2. I'm going to call this root bone. Like so. Now we'll come to the middle one here and what we'll do is press F2 and we'll call this sphere. And then I'll come to this one here, and I'll call this one the inner ring. So we have three rings ear. So we'll call this inner ring. And don't forget to put, I need to put bone on here actually. So I'm just going to press F2. Always, always put bone on the end. Now with this one, I'll call it to inner. So we'll call it inner bone. Like so, this one we'll call middle bone. Middle. And of course you can call these whatever you want to call them. And then the top one, we'll just call it out. So F2 out to bone, like so. Alright, so now I want to do is we just want to make sure first of all, that all of these will be connected to the root bound. So I'm George is going to grab each one of these, grab this last press Control P and then keep upset. And now when I move this, we showed that of all of those actually coming from there because they're all in the center. By the way, you'll only see one line. So don't worry actually about that. If the lines, by the way, are annoying you. I think there's actually where is it? I think it might be on here. There we go. So we can see that we've got bones, we can turn off. We've also got origins. We can turn off. We've got relationships, lines. So you can actually turn those lines off if you don't want them on there. Alright, so moving on. Now what we need to do is you need to obviously wait this. Now, we're only going to wait this with no weights like we've done before, not with the weights, weight painting or anything like that. So what I'm gonna do is I'm going to grab this, I'm going to grab my bones are going to press Control P, and I'm gonna give it with empty groups again. Now what we're gonna do is I'm going to grab my actual mesh. I'm going to look first of all to make sure that there's the armature on. Now you can see on this one. So this is actually a good thing that I'm going to show you that we've actually got an armature on already. And this is because I brought this in from another scene. So when you go and check this, just make sure that you can see here that this is red, which means it's not actually working. So you can just actually come on and cross that off. Now the other problem you're going to have is that you can see here that I've got a lot of extra bones here. Now I can see that if I come all the way up to here, they can see sphere middle bone in a bone to bone, root bone that from the root bone here. So if I pull this down a little bit, so it kinda pull this down, you'll be able to pull this down. There we go. These are all my bones. So you can see I've got my sphere all the way up through. I need to basically get rid of all these. So I'm going to come to this one. I'm going to click the minus r minus, F minus, and the minus off. There we go. Now, I'm not sure if in the course you will actually have this issue. We've still got the actual armature attached. I hope I take them off. I might leave this one on just so you're aware of that. So you can actually make sure you might have already put an armature on it. It might come in with a non maturity on it which you don't want or something like that. This is how you clear them all off. So now when I press Space-bar, nothing should actually move with this because there's no armature, There's no bones attached. Alright, so now let's actually come in. And what we're gonna do first is we'll click on our globe and we'll come down to our root bone, which is this one here. We're going to press tab. We're going to grab everything. And then again, we're going to remove 100 per cent of the way. Now we'll do is we'll come to our outer bone. So this one here, so this is this here. I'm going to grab it on nucleic, a sign on your percent of the way the inner bone is going to be this one here. I'll assign on your percent of the way the middle bone is going to be this one here, l assign 100% of the weight. And finally the sphere bone, which is this one here, click Assign. Now we showed the half. If we come up now to wait paint, we should have now the sphere, the middle, the inner, the outer, and finally the root bone with nothing. So just have a quick check on that and it should look like that. And now finally we can go back to Edit Mode, which is what we're on. Now, what we should be able to do now is grab any of these bones. So if I grabbed my armature, go into pose mode, grab this one for instance, and say, let's rotate it like so you can see that outer one now is actually moving around like so. And that is exactly what we want. You can see we have got a bit of a stretch in there. And the reason for that is is that when I turn this so as you can see, if I go to my front view now, so one and I press all unwind spin this. Can you see how it's actually going out of line? Now that's really not something we want. And the reason for that is because this actual cursor is really not in the right place for this one. So let's actually fix up first. So we're gonna go back to Edit Mode. What I'm going to do now is I'm going to press tab, come back to my globe. I want to grab all of this going round here. I'm going to press Shift S cursor to select it and you'll see how it moves very, very slightly. And that is exactly what our issue is. Now what I'm going to do now I'm going to come back now to my bones. I'm going to grab this bone. And when I move this to start with, so if I press Shift S selections cursor to keep offset is going to put it in the middle and that's really not what we want. So just put it like that. And then what you can do is you can come down to the bottom shift S again and selections cursor, keep offset. Now you'll see it goes in the middle, albeit it gets a bit smaller. Now you can do them. If you grab it, you can actually pull it out like so. Now when we actually come into pose mode, we should now if I press Alt and why we should be able to move that perfectly. Alright, so now let's check to see we've got the same problem with the other ones. So I'm going to grab this one. I'm going to press R and y. And you can see exactly the same issue with this one. And let's try this one as well. So our NY and exactly the same issue with this one. So let's actually get those fixed. So I'm showing you so you actually understand if something's going wrong, how you can actually fix it, or good ways to actually fix these things. Okay, So let's go back into edit mode among going to do is I'm going to come now to my globe. I'm going to grab this one first, so the middle one, Shift S cursor to select it. And I'm hoping that that actually move. I think it's moved because it's a selected like so. And let's grab my inner, which is this one here. So I'm going to press Tab and then one Wednesdays I'm going to press Shift S and selections cursor like so. I'm going to grab this bottom bit here, Shift S, selection cursor. And then we're going to do is I'm going to grab the whole thing and pull it out a little bit like so. And then I'm going to do the same thing with this one. So I'm going to grab this one here. So L shift S because it's a selected. One way to do is I'm going to press Tab, grew up this one. Shift S selection to cursor. And then I'm going to grab the back of it here, Shift S selection to cursor, grab it all s, pull it out. Alright, so the moment of truth, Let's see if these all work now. So I'm going to go into pose mode. I'm going to check this one first. I think I know that this one works, so yeah, that one's working fine. And then all, and why working fine now? And then we can say R and Y working fine. And finally then the actual globe, which is this front one, so it can press Alt and why? We can see that one is also a little bit out. So what I'm going to do on that one is I'm gonna do the same thing, pretty much what I did. You can see it's a tiny, tiny bit out, so I'm going to come to object mode. Sorry I didn't mode, comeback, grab my actual lobe, like so. And then one way to do is I'm going to press, actually I'm not going to do that because I think that this should be more in the middle with the sum. I'm actually not going to do that. What I'm going to do is I'm going to grab this one like so. And then I'm going to press one, I'm going to press Shift S and selection, selection to care. So like so now I think that's actually going to work. I'm going to grab the back of it, Shift S, selection, cursor, keep offset, and then make it bigger. S like so I'm hoping, hoping that that actually fixes it. So let's come now to pose mode. Grab this one, are, and why? There we go. Now it's moving perfectly. Let's see if it's actually moving the other way as well. So our x, and there we go now, yeah, I'm very, very happy with that. Alright, so now that's fully set up. I'm going to actually come up to the top, save up my work. And then what we'll do on the next one is we'll actually get this rotating around. All right, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 11. Globe 3D Animation Loop: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. Alright, let's set our time frame, time fun timeframe down to one. And then what we'll do is we'll start now, actually, I'm putting in a key, so I'm going to press I, location, rotation and scale. Now I'm gonna do is I'm going to come up to we're on 300 at the moment, which is kinda going to make this I'm a little bit difficult because you've got to basically break it down over 300. So we're better off actually pulling it over 200 and having each frame on 50 because there's always, there's going to be for actual frames per revolution. So if I put this now onto 200, like so, and then we can go to frame 50. So let's put it down one. And then we can rotate it around. So 90, like so. And it's going to ultimately poor framing. And then we can go to 100 and then our 90, and then 150. So our 90, and then finally 100 or 90. Now we do know that it's going to start off slow before it starts picking up any speed. Like so we don't actually want that. So what we wanna do is Right-click interpolation. And I think we want it on linear, strand, linear. So it should now just keep going around like so. Alright, so I'm happy with how that looks now what I'm going to do is I'm just gonna put this back on one. And then one way to do now is I'm going to mess with this one. So if I press R and X, we shouldn't end up with this one going around like so. Let's start then. What we'll do is we'll press i location rotation scale, and then we'll come to the 5D Mark, and then we'll press all x and 9,100 X 91, 50 or 90, and then to 100. So, and then our X 90. And then what I'm going to do is of course, Right-click interpolation, put it on linear. Alright, so now we should end up with something like this, which is looking really, really nice. And now we just go back to one again. Now because we've done this one, Let's do the middle one. So let's do this middle one. And I'm going to press I location rotation scale. And then what I'm going to do is I'm gonna press all that 90. Whoops, I'm not gonna do that because I need to put on 51st. And then we go and then all said 9,100. And I'm basically just pressing F9 to get it right back. So 200, so I was at 90, like so. And now we should end up with something like this. And it's looking fairly, fairly complex. And they're all meeting in the middle. And he's looking really, really nice. Alright, so now we've just got the outer ring left. So let's put it back to one again. So with the last one, let's go a little bit nuts with this one as well. So what we'll do is we'll grab this one, will basically press location, rotation and scale. And then what we're gonna do is I'm going to rotate it by, let's say our X 90. So let's rotate it there. In fact, no, I don't. I need to put on 51st, so I'm 50 and then our X 90 and then 191 fifth dy x 90, and finally back to 290. Alright, now let's come back to the 5D Mark. And what we'll do is we'll also spin it a different way on this one. So what we'll do is we'll press all why 90. So no, yeah. Oh, why 90? 90 will spin it that way. Then we'll come to the 100 mark. And what we can't do here is to repress all why you'll see those just going to spin it on there so we don't really want that. So what I wanna do is all x 90. And then what will happen is we'll have this feeding into this one and we don't really want that either. So all I'm going to do, we're going to come back to one-fifth. I'm going to put it on all why? 90, like so. And then it should move like so. And the last thing I'm going to do is I'm going to right-click on here, interpolation mode. I'm going to grab them all actually impress a Right-click interpolation mode. And let's put it on bezier, just make sure because then what we'll do is we'll smooth everything out. So this is going to be a bit erotic, this one, but it's going to be smoothed out because of the interpolation mode. So now if we go back, hit Spacebar, and there we go. And you can see it's following on after each other. It's kind of erratic. This outer ring, which is exactly what I'm looking for. Like so, alright, so now let's actually come up, put this onto object mode. Let's hide these other way. First of all, I just want to make sure it all moves with it. I'm just doing the last check before I do anything, I'm just going to grab this one, making sure that all moves with it. And the other thing is, we could make sure that the whole of this moves with this because there's no point just moving this. So what we'll do is before finishing will actually come back to edit mode. We'll press tab, we'll come back to our globe. We'll go over to here, will come to our route. Then I'm going to press Tab among gonna do is I'm going to grab the whole of this part and then I'm going to set this to weight of 100 light. So now if I press tab, come back to my pose mode. So I'm going to grab my bones back to my pose mode. And now for grab this, it should move the whole thing. So I should theoretically be able to put this here or over here. And it also carries on moving like so. And then it should be able to place Alt G and put it right back to the beginning again. Alright, so now let's actually, you can, That's exactly what I've worried about. You can see because I've got this on, it's actually moved it over there. I'm just going to click that off, delete these out the way, and then I'm just going to press Alt G and just put it back. And now it should just move us as intended. Alright, so now let's come up to object mode. I'm going to hide these out the way, so I add all the bones. And this is what you should be left with a really, really nice rotating globe. All right, everyone, So that is that part done. So you can see now how we've brought up the complexity of actually adding bones and the complexity of moving bones around them, things like that. So that is basically that actual part of the course done on the next one, what we're going to look at is our animated face. This will be a shorter lesson. We're going to end it here because that one is a little bit different from oldest stuff we've been doing before. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 12. Fish Swim Motion: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. So we finished up on our globe. And the next one we're going to come to is our animator fish. So let's close that out and let's bring in our animates fish. Now within this scene, you can see that we have some water. We have on beautiful base and some, some stonework and things like that. And we've also got some lilies and things just to make a really nice scene. Alright, so what we want to do is we basically want this fish to be in this part of the pond and swimming around and we want it to look to be swimming in a natural way. So you could use this on any fish kind of things that you have. You can use it on certain types of animals. You can use these techniques for even birds and things that are flying around or even butterflies. So let's get started. So the first thing I'm going to do is I'm actually going to bring in a curve and set that up for me. So the first thing, let's press Shift a and we'll come down and we'll bring in a circle. Then I'm going to press seven. I'm going to go over the top. And I'm just going to first of all, position my circle exactly where I wanted. The thing is it needs to be under the water, of course, around about there. We can move this up and down once we've actually got our fish in there. But I think something like that debt is about right. Then what I'm going to do is I'm going to press Tab. I want to press a to make sure I've grabbed all of these actual vertices here. I'm going to right-click and I'm going to do is sub-divide. Alright, now I'm going to do is I'm actually going to pull these over. So this is basically going to be the path full of fish. So I'm going to do is I'm going to come in, grab this here and while I'm over the top, so I'll press seven, scroll to the top. I want to press G and you'll find them that you should be able to move that out in a nice, smooth actual way. So we're going to move it out over to here. And what you don't want to have happen. I'm with when the fish is like swim around or anything like that, you really don't want it to have too much of a gradient, so you don't want it to be really, really sharp. So you can see this one here. It's a little bit sharp, so I'm going to actually try and smooth it off. Now if you're having problems moving it off, like so, just come in, grab the, both the vertices that you want to, where you want it smooth enough, right-click and click sub-divide. And then what you can do is you can come in then and just smooth it off a little bit like so. So now you can see it's a really, really nice curve. It's going under the actual lily pads and things like that. Alright, so that's the actual curve. Actually Don ready for our fish to follow that. Now we're gonna do is we're going to actually come to our fish and we're going to add in a displacement because we've displacement, you actually can animate things like fire or fish or birds or marks and things like that. We can actually use the displacement to actually animate something. So what I'm going to do is I'm going to come to our little spanner here, adding a modifier. And we're going to use displays like so. Alright, and you'll see at the moment, it's made him kind of weird, but don't worry, because we're going to fix that. So next of all, what we want to do is I want to put it onto knew. Then what I want to do is rename this, so I want to call it fish, swim large. Now the reason I'm calling it large is because you can actually add, you can stack displacements. So in other words, you can have like large movements within the fish, but then you could also have very tiny fast movements within the fish. It all depends really what you want. So as long as you've named this fish large, when we come to our texture map, which is over here, you will see that we've got fish large if we bring in another displacement. So if we add in another displacement and call that something else, it will appear in here. So you can actually alter them buggy and say at the moment we've got a flame in there, don't worry about that. So now I want to do is I want to put this onto Cloud. So we're looking for the one that says clouds, and you'll see it goes like that. And the reason is because the scale of this at the moment is way, way too small. So this displacement is actually working, kind of go in on the black and white within this actual image. If I turn this up to something like 1.66, you will see now that our fish is not looking right, but he's looking certainly better than what it did do before. Now the reason he looks more like a Gopi than a fish, or which is a fish bowl is much smaller fish is because we need to change the coordinates if we put the coordinates on global instead, and let's set the direction something like y. Now you'll see we've got our fish back. So what did we actually do that? Well now, if we actually drag him along, you will see that there's a very, very tiny movement of them actually swimming side-to-side. That is exactly what we want. Now of course as well, you can mess around with our actual textures. So you might want to try some of these textures out, but I find for fish, especially cloud seems to be the best one. Now we're going to go in here and I'll change a few of these once we actually get this fishing. So the thing is now we need to actually have him swimming around this actual pond here. So what I'm going to do is I'm going to grab my fish. And I'm going to in fact, first of all, actually, I'm going to, I'm going to grab the Walter and I'm going to hide it out of the way. Then I'm going to come in to where my actual Half is or a curve, what we're going to turn into a pub. And I just need to make sure that the fish, he's not actually going to be going through this bit of mod here. So what I'll do is I'll grab it. I'll press seven to go over the top, and then I'll press G and I'll just move it out there so he's not going to actually go through them, just making sure that I'm happy with it. And then once I'm happy with it now, if you come over to the right-hand side, you will see that you have the curve option. But if you scroll down, you'll actually see that you've got one that says path animation. Now at the moment you can see that this is over so many frames, so 100 frames, in other words, we PowerPoints on here. It would go around this hundred frames, so we want this higher. So let's put it on something like 300. And let's also set the n value of our actual timeframe to 300 as well to match up like so now we want to put off fish against this. So I'm going to grab this, I'm going to grab the actual path pressing Control P. And we have one that says follow pop. The moment you click that arm, you will see that you have a line now to your actual fish. And if I press Space-bar, you'll see that the fish is trying to follow it, albeit it's in the wrong way. It doesn't look like it's doing anything right now. Now what we need to do now is we need to put this back to one and we need to reset this fish to here. So I'm going to come into my actual curve. I'm going to grab this point here. I want to press Shift S cursor to select it. And then what I'm going to do is I'm going to grab my fish and I'm going to press Shift S, and I'm going to pick selection to cursor. Now all fish should follow this around. Now we have a few problems here. First of all, he's going to be going the wrong way. So we need to spinning around. So I'm going to do is I'm going to try now lining up with the actual curve. So if I press Alt and said, Let's lie anymore with the curve like so. Now when we press Space bar, we can see that it's following that curve, like so. And he's actually swimming around, as you can see, if I double tap the a now you can see it's kind of got that beautiful fish movement as he goes round. Now the thing is, when you're doing something like this, it's sometimes a bit bare. If you make him a little bit smaller because then they actual turns aren't as obvious as you can see now swimming in a much, much better way, but you can see why he was reluctant as well to make it such a sharp turn because you really, really don't want sharp turns with this. Now then let's discuss what we can actually do to make him swim a little bit more. So first of all, we can come down to our actual strength of our displacement. If we put this on, let's say something like 50, you'll see that it's really, really crazy. But if we only put it up slightly, so one point to something like that, it does make the actual action of the fish much, much more. And I can see swing around. Now the other thing is, I think actually with this and eating something a little bit slower. So I'm going to do is I'm going to come back to my curve. I'm going to go over to my curve options. And what I'm going to do is I'm going to put this on 400. And then one wins do is change the timeline to also be on 400. And now you'll see is swimming much, much slower and he's looking a lot more realistic. Now the other thing is that we can do is we can grab our fish. I can press shift D. I can make it much, much smaller this fish, make sure it's relatively close, like so something like that. And then what I can do is I can come over back to my modifies tab and I can change this to, let's say 1.4, something like that. Then what I can do is now if I press space bar, you'll see that these facial though they actually follow each other, they actually move in a different way. So this one will be moving more because if we click on this page, you'll see this is still set 1.2 and this fish is set at 1.4. Again, the only thing you can't do though, is the actual texture to the moment you change this texture, it will change. So if I put this on nought 0.1, it will change both of them. As you can see now the boat actually moving in that certain way. Now, the other thing is you need to be careful that you don't set this to hide so you're not getting a lot of movement or anything like that. Now if we bring back haul water, so if I press Alt H, In fact, I will go in and just hide this out of the way. So if I press H hide out of the way, and now we can look at our fish swimming around our actual pond. And you can see now they look pretty realistic. And obviously you can have a shoal of fish as well in there or something like that. Alright, so that's a really easy way of animating fish with displacements. So we've learned another way of actually animating something based on an actual curve which we turned into a path and also based on displacement. So you can see now it's a real part of the kit of the whole kind of Blender animations. Alright, I hope you enjoyed that and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 13. Stuffed Animal Body Morphing: Welcome back everyone to the ultimate guide to blend the three rigging and animation. And this is where we left off with our fish that's now done. So if we close that one down and let's open up the next one which is called molten. Now what we want to do with this one is we actually wanted to take these cute little guys and actually turn them from one to the other. So into a verbal and then into a sheep, from a sheep to a favorable to an actual rabbits. So that's the idea here. And this actually then will give you the skills to actually go ahead and modify things like barrels into crate. So 0, whatever, wherever your imagination mine take you. Alright, so the first thing I want to do then is just go through actually the shader. So if we come over to the shading panel, the issue, what you're going to have with these is you need to make sure that you shader is set up correctly. Now, if you look at this, it might look complicated, but as soon as I go through, you'll actually understand what it is. It's basically just for shaders brought into a mix shader. So these two are mixed shaders. One is the bunny and the sheep. So what that allows us to do is swap between them. So for instance, if I come to this one and bring this up, you'll see actually changes over to the sheep. While this is allows us to do then is as we're more thin, we're also able to change the textures on the fly at the same time because you can actually animate textures as well. Now that's explained, we will be coming in and covering this a lot more once we've actually finished the molten, but for now, let's actually do them open. So the first thing I'm gonna do is I'm going to bring in a sphere. I'm going to make sure that each of these has the orientation in the center which shows Should I want to press Shift S cursor selected, and I'm going to press Shift day. I'm bringing a UV sphere. I'm going to make it a little bit smaller, like so. And what I'm also going to do this, use these spheres. I'm going to actually sub-divide it. So I'm gonna come over to my modifies tab. I'm going to come down to where it says subdivision. I'm going to bring you 12 and then one wins do is I'm going to press Control J just to actually apply that subdivision on there. And then I'm going to right-click and shapes move. Alright, so for now, we've actually got a sphere in. We've got our rabbit and we've got our shapes. So now let's actually come in and think about morphing them. The first thing I want to do though, is actually bring our sheep over to our robots. So while we've got this cursor here, I'm just going to press Shift S selection cursor, and then we go, we've got our sheep over there as well. I'm Jules going to pull him down just a little bit, just so it fits a little bit there within there as well. The next thing I'm going to do is I'm actually going to join the sheep and the rabbit together, but I'm going to grab the sheet first, then the rabbit because that actually has the right material on. And then I'm just going to press Control J, like so. Now I'm just going to come over. In fact, I won't do that, but I need to actually take off this bottom actual material because we only want one material on here because then that will make it much, much easier for us to wait width. Alright, now I want to do is we want to come over and now we've joined them all, come to our modifies top. And what we're gonna do is going to add in a shrink wrap. So come down to where it says shrink wrap, bring that in and the target wants to be the sexual sphere. So the moment I click on this sphere, you'll see what happens. Everything disappears. Now if I hide the sphere, you'll see, whoops, I didn't hide the sphere. Let me just grab the sphere by hide it out of the way. Here is our actual theme and our Bonnie turned into an actual bowl, which looks kind of cool. Alright, so what I'm gonna do now is I'm going to click on My sheep and my bunny. And then what I'm going to do is I'm going to come over, click this little down arrow. What you wanna do is you want to apply it as an actual shape case. So apply a shape k. Now I'm gonna do is I'm just going to press Alt H. And I'm actually, you can see that we've got this, this line appeared here. And the reason for that is because it's a Bezier and it wants put in him with our animated fish like so. That's actually hit another way. Now this sphere here, we can actually delete it. We don't actually need anymore. And you will now be able to come to your sheep and rub it and come down to where this is here. So this shape per key here. And then what you should be able to do now is if I scroll down, you can see I've clicked on my shrink wrap, your love, the shrink wrap in with the shape keys. The moment I bring this up, you can see that the bot actually start turning into a lovely sphere. Now, I want to do is I want to add another couple of shape keys. So the first one I'm going to do add ion is plus, I'm going to call this rabbit or Bonnie, whichever one you want to call it, like so. And then what I'm going to do now is I'm going to press Tab, come to my rabbit, which is ESR here. And then one wins do is I'm gonna make him really, really small without proportional editing on really small. So it disappears into the actual sheep. I'm also going to pull him back a little bit. So he's actually really in there so we can't actually see him at all. Then we're going to do is I'm going to press tab and you'll see actually appears the moment then I put this up, you'll see actually disappears and reappears like so. Okay, so now we're going to click on one more and you guessed it, we're going to call this one sheep. And we're gonna do the same thing with this guy. So I'm going to grab the sheep this time. I'm going to press S, pull them in like so rarely small. And then one we're going to do is I'm just going to pull him back into place. So he's actually in our rub it so you can't see the sheep, all the rabbit. The moment I actually click the tab button again, you'll see E appears and then he disappears, like so. Alright, so now we're ready to actually start animating this. So if I come over and put this on one, we can actually start with there. Let's actually bring down our sheep. So I'm going to come to our sheep. I'm going to bring him all the way in like so. And then what I'm going to do now is I'm going to make basically a keyframe for each of these overcome to this. I can value this, I can value over here. And all I'm doing is pressing the eyeball on down all of these. Now at the moment we've got it over 400, which is fine. We will shorten it down as we go on. But the first one I'm going to do is 100. Now what I wanted to do is I want him to turn into a third ball and then swap with the sheep and turn into the sheep. So that's what we're trying to do here. So what I need to do is I need to come to the shrink wrap and I need to bring that down like so. And then I need to come to my sheep and I need to bring him down like so. And you should end up with something like this, which is a mixture of the rabbit, the actual sheep. So all I'm gonna do now is we're going to press i, i, i an eye on all of those. And then what I'm going to do is I'm going to come to the 200. Like so. Now I'm going to do is I'm going to turn this back into the sheep. So the first thing we're gonna do is I'm going to bring this up. Like so. No, not in the sheep, sorry, I'm going to bring that down. I'm going to bring the shrink wrap down. So the shrink wrap down like so. And then the rabbit, I'm also going to bring up like so. And now I should be able to press i, i, i, i, now let's see what that actually looks like. So you can see those molten the rabbit to the sheep. Alright, so I hope you have to relax. It's pretty nice, but we can do better than that. So what we're gonna do now is the other way. So we're going to move them back into a rabbit. Now, I'm not sure. I think we might be able to grab this one. I'm bringing it up, so let's see if we can actually bring that up and put it on 300. Let's just have a look what that does. I think that'll work and then I just need to molt embark into the rabbit. Now if I bring this one, press shift D, bring it all the way up to 400 gold than mole back into the rabbit. Like so. So we've got rabbit, sheep. There we go. Really, really nice. Now I'm happy with that. The one thing I do need to do now is I need to go in now and alter the basic textures of this. So what I'm going to do is I'm gonna put this on one again. I'm gonna go to my shading panel now. I'm going to open that up. While I'm going to do is I'm also going to delete this actual material off because this was just really to show you what the sheep should look like. So if I minuses off now, we should just be left with this. Alright, so you can see on mine, I've got my timeline over here. If you've not very timeline on here, just click on here and put it on your actual timeline, like so. And then what you can do is you can lift this up if you needed to. If you need to view what you're looking at, I don t think actually need that so so far, so I'm just going to pull it down. I'm just going to zoom in a little bit to it. Alright, so what we wanna do is we want to put this basically, well, first of all, I want to make this smaller. So I'm gonna do is I'm going to grab them all with a I want to bring them down to around about 200, I think something something around 200. So I'm just going to zoom in, make sure that these are on 200. So for presses and pull them out, and there you go. So now we can actually set the end to 100, and now you'll find that that much should be much quicker. Like so. Alright, lets just to make it a little bit easier for us. So what I'm going to do now is at the moment, I'm going to keep this on like that, basically like this. So I'm going to do is I'm going to come in and I'm gonna go to each of these. So I've got these facts here. I'm going to press I, I and I. And then I'm gonna come back to I think I'm going to leave that on there. I'm going to put it on one again. I'm going to press I and I. And then what I'm going to do is I'm going to come to the 50 mark. So just by one. And I want to change it basically to the third bowl of the sheep. So what I'm going to do is I'm going to bring this one up. There you go. There's our sheep and I'm not sure. Yeah, I'm going to leave that one as is. Yeah, that's the sheep. So I'm going to bring it all the way up like so then when you press i i i and then one month to do now is I'm gonna go to 55. Like so what I want to do is I want to basically have my sheep in there. So I want this down. Let's have a look. I want it on. I'm thinking I want it on that that's why I want it on. And then I want to turn that up to the actual sheep. Yeah, that's how I want it. So i i, i now, let's see what that actually looks like in real-time. So it should turn it into the sheep, like so. And now we want to turn it back into the actual rabbits. So on here, It's absolutely fine. We don't need to change anything at all on here because we're already at the sheep. So now it wants to do is we want to come to 145 and basically just swap them over 145. And water wants to do at this point is click I, I and I, and then one-fifth, I'm going to put this on 150. A Beta wants to turn it the other way now. So what I'm going to do is I'm going to first of all put this to the table. I'm going to bring this verbal down to wear blue then. And then one way to do is I'm going to click i, i, i. And then finally I'm gonna go to 155. I basically want to turn this from the third ball to the rabbit. So I'm going to click that up, lake that down. I, I, I like so. And now we should note with its swapping between them. Both like so. Rarely really nice way of actually morphine things. I'm just going to check actually in C if I grabbed them all right-click and put it onto where Bezier. I just want to see if actually that makes any difference. So I'm just going to see if it makes it a bit smoother. Okay, So I'm going to actually try and put it onto linear. Yeah, that's definitely altered it. So I just want to see if that's actually smooth it. I'm not sure which one I like best, but either way, they still pretty nice. Alright, so basically that covers the whole of the actual morphine. So I'm just going to set this back to once. So it just looks nice when we actually open it. And then what we'll do now is we'll close that down. And on the next one we're actually going to be working on tank tracks. So I hope you enjoyed that. I hope you got a lot out of it and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 14. 3D Tank Track Curvature Setup: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And that's why I left it off. Now, let's close the morphing down and come to our tank tracks. And you'll see that when you open up this one that we've got all of our terrain here where we're going to make our tank tracks. So go over. This was done just using a displacement on a plane. It's actually important how bumpy you actually have this because that then will have an effect on how much your tank tracks actually do dig into the sand or whatever terrain you're looking at. Because of course it's based on vertices. So in other words, this is trying to stick to this terrain. So what I'm going to do first of all is I'm just going to show you how that works. So if we come to our actual wheel here, we've got tank trucks going around here. So if it comes to this, well, I'm just going to press Shift D and just bring it out a little bit. And then what I'm going to do is I'm jaws now come in to show you that this point here is very important. So you need to have your orientation down the bomb. The way you do that is you just press Tab, you go underneath it, grab the edge there, and then all you would do is Shift S goes to selected, and then you just right-click origin to 3D cursor. So then you can set up there. Alright, so how do we do? Well, what we do is we come to our actual wheel. We're going to come to over here and you'll see one that's constraints and object constraint. And the one you're going to put on is a shrink wrap. And they actual target is of course going to be our actual terrain. And then you, what you wanna do is you want to actually change this where it says nearest surface point and change it to target normal project. And the reason I changed that is because then I have actually some controls. So now if I move my wheel out, you will see that if I move my wheel up and down now, like so, you can see here where it's actually going into the sun. So if I press dark, just zoom in. So now what you can do is you can actually press tab. You can grab the whole thing. And when I bring the whole thing, now you'll see that this still won't change. So if I bring it up in edit mode, you'll see that our orientation stays there the moment I press tab now, it will be appearance that now you will see that the wheels still tries and follows this, but it's not actually stuck in the ground like that. Which means now we can bring this down and actually control how far we actually want that sat on top of the ground. So that's why that's so important. Alright, so we've got all we'll basically set up, we're happy with where it is. The other thing of course to remember is that your tank tracks are going to be underneath here, so you need to give it a little bit of leeway on there. Now I'm going to do is I'm basically going to crop close this off. I'm going to bring my wheel back then and just put it into place. So now we know how that works. We've got our tank track here, as you can see, I'm going to do now is just going to delete this one, delete this. You can see now when I click on my wheel, my orientation is there. And all I'm gonna do is I'm basically going to make another wheel. I'm going to press Shift D. And you could make five wheels and have it as a tank travel. What we'll do is we'll make it a little bit different just to show you how this actually works. So if I press seven now to go over the top, what I'm gonna do is I'm just going to press S and why bring this in so it's the same size as the other one and you basically you want it as close as you can so you don't really want a big gap in here, so you don't want this overhear or something like that. And the reason is because obviously they wouldn't work. Tank tracks simply have to have something that actually the tank tract is able to rest on. So it's very important that we put them relatively close together, like so. Alright, so I'm not going to join them up. All I'm going to do is I'm just going to pull them over here. And the reason I'm going to do that is because then if I press one, I can actually see what I'm doing. Now I'm going to do is I'm going to press Shift S cursor to select it. And of course it's going to put in-between both of these orientations here. And then I'm going to bring in a curve, and it's going to be a circle. Now I'm going to spin that round. So our X 90 spin it round and I'm going to lift it up like so. Now the other thing is when I brought a circling, you will know that this circle will only have four points. So if I come to this circle and press the Tab button, you can see it's only got four points. Now you might want to work with these POB. What I find is just to grab the whole thing, right-click. And then all I'm going to do is sub-divide like so. And I find that just much easier to work with. Now what I also find easier to work with those voids when I grabbed my circle. Now I'm going to bring down proportional editing. And then we're going to do is press Shift Spacebar. And then I've got my move tool and I'm able to move this into place. So the first thing I tend to do it, I tend to just get this one into place and then I get this one in its place, like so. And then a think about how to kind of move these around. Now what I tend to do is I will come in and just delete these off. So grab both of these vertices oppressively verses and you can see already that makes it much easier. Now, tiny proportional editing off and what we can do now is we have a lot more finesse and control over this. So what you wanna do is you want to get this as close as possible. While not as close as possible, you want to, you want to leave a band around there so that you can actually track, can actually go in there. Alright, then what I'm going to do is pull this one up. I'm going to bring it down then. Like so you can see now we've got a nice flow of jaws, wants to probably come up a little bit more. So it's got that nice flow. Now, let's work on this one as well. So we're going to get a nice flow on this one. You can see that's looking quite nice. And then on this one what I'll do is I'll just delete it. So if I delete, that says, uh, now you can see we've nearly got that flat because we want this to be relatively flat, because our wheels are relatively flat. So if I grab, let's say this one now and pull this up, you can see now I can actually get that to be relatively flat so I can bring this over like so. And then I can also bring this one up. There we go. Now we can see we're getting somewhere, like so. And let's bring it down a little bit. Let's bring it across. Let's have a look at that. And yeah, that's should do. We don't want to play around with this for too long. So I'm just trying to show you how to actually do this. Alright, so then once you've got this, we've got basically a, the wheels, we've got our circle that our tank tracks are going to follow. So now we need to do is we need to actually ports on. I think actually, yeah, we can bring it over to our actual sun. So I'm just going to bring it over to my son here when I press down again just to zoom in and then I'm just going to, I think put it there. What we'll do now is now a great old. I'll press Shift S Again. I'm gonna do cursor to select it like so what I'm going to bring in now is an empty, so shift a, bring in a empty now empties if I press one are really, really important because what it enables it to do is it enables things to follow along. So you can actually do a lot of animations following an actual empty. And it's called an empty because it will not appear in the render. So for these tank tracks, we're going to actually have them. You could have them following a cube even but it's better to use an empty because then it's invisible to the render and you don't actually have to worry about it. So what we're gonna do now is if I grab both of these and I attached them to me, I'm too. So if I grabbed my empty last, so this empty here, press Control P and come down to object. And now you can see we've got some lands. Now wherever I move that empty, of course, these actual wheels are going to go along with it. Next of all, what I wanna do now is I want to put these wheels down to the actual floor. So the way I'm going to do that, as we've talked about, we've come to Object Constraint, go to shrink wrap. And what we're gonna do is we're going to put this down to the last one, which is target normal projection. And then I'm going to put the target onto this actual floor, which is the ground. Same on the other one. Don't worry if you if you curves over there, it doesn't really matter because we're going to solve that in a minute. So shrink wrap one target floor, like so. Alright, so now let's pull this circle down. So if I press one, I wanted to pull it down. I'm going to press Z just to make sure that I'm rounding again. So I'm going to pull it all the way down, like so. Again, solid. And there we go. Now that's looking pretty nice. We can bring them down. We've got control over this if we need to as we know. And now I want to do is want to put the circle first of all, more in the middle because you can see these have kind of moved out a little bit. So let's pull this over here. Like so. And then you go, now you circles more in the middle. Now what you need to do is you need to grab your thirst wheel, grab your actual circle. So we shift selecting this circle and then we're going to press Tab. And what I'm gonna do now is I'm going to attach these three points here to match your wheel. So if I grab these three points, so this one down here, and all I'm gonna do then is press Control H. And you're going to see one that says hook, selected, hope to selected object. Click that on. And then you're going to press top grubby. Next we'll grab the actual circle press tab, and we're going to grab these two. Now, what we're gonna do is exactly the same thing. So Control H to selected objects like so. Alright, so now what happens is if I move this empty, you should see that the actual tank tracks and the wheels all move along independently like so. That's exactly what we want to do here. Alright, so what we'll do then on the next lesson is we'll actually come and get our tank tracks actually on here. And then it should all move around together over this terrain. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 15. Animating Tank Track on 3D Terrain: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left off. Alright, so let's come out and grab our actual tank tracks. I'm going to move those over like so. We're going to have to mess around with these a little bit. The other thing I'm going to do is if I press tab, you will see that I have subdivided my tank tracks up. And the reason I've done that is because obviously going to be bending around and if you don't, they're actually going to end up with a lot of stretching and that might not be something you actually want. Alright, so what I'm going to do now is I'm going to actually bring in an array modifier on my tank track. So I'm also going to press Control a Ultron Psalms right-click Set origins geometry and then add, sorry not unconstrained, go to my modifies tab, add in an array. And then we're going to do is I'm going to put my array to fit, curve, fit curve like so. And the curve of course is going to be our actual circle like so. Now the next thing that we want to do is we want to actually bring in another modifier, which will be a curve modifier. So come down bringing the curve and the curve of course is going to be our Bezier curve, like so. And you can see already that is looking pretty nice. Now, the thing is you can see we've got some issues in here. One of them is that it's way, way too big at the moment. Now, we don't actually want to shrink it. And what I wanna do is just bring it down like so. And then what you'll find is that actually goes around it like so we need to move it over as well, of course, because it's a little bit too far over and we might need to make it a little bit smaller now. So if I bring it down, Joe's going to make it a little bit smaller and just play around with it a little bit, just getting it into the right place. As you can see, that I'm Joel is going to pull it out just a little bit. Now you are free to move your curves. So if I come to my curve, for instance, and click on my curve here, as you can see, we are free to actually bring this in a little bit. Still. Don't worry about that. We are actually able to do that. So you can make it fit a little bit better if you need to. And the other thing is now you can see that we're not quite fitting this. And the reason is not that in the actual curve of the moment is because all I need to do now because of move this around. It's press Control a all transforms right-click origin geometry, and now it will actually fit perfectly. Okay, so there we go. Now if we want to move this, now if I move this, for instance, it's not actually going to do anything because the moment our actual curve isn't really moving with this, the only reason the curves move in is because it's attached to these wheels. So what you need to do is instead is you need to grab your Bezier, you need to grab then your empty press Control P, and then you're going to click object. And what that's gonna do now is it's going to parent or the actual Bezier, as you can see, to our tank wheels and our actual curves. Now if I come to my curve and I move it, you will see that we've got tank tracks that actually move up and down. Now the problem we can see is then moving the wrong way and that's not something that we want. So what I wanna do now is I just want to go into my curve. I want to press top. I want to press a. And the normal gonna do is right-click and you're going to have one if you come down which says switch directions. So just click that on switch direction, press the Tab button, and now when I move them, everything should move perfectly. Again, remember, you have got control over how close to this law that your tank tracks move. But that's in a nutshell. What we can do now is I can put this on one, for instance, so, and then press i location rotation scale, and then that's probably on 200, like so. And let's move it all the way over here, like so. And then let's press i, location rotation scale. And now let's go. And there you go, you can see you've got moving tank tracks that move perfectly with the actual terrain. You can see that as I said, if you train is really, really jumps up, what will happen is the more wheels you've actually got in the mall tank like it is not wally for instance, the battery, it's actually going to be at moving over things because each of these wheels would be smaller and the level much more surface area that's connected to the actual floor. All right, everyone, so that's that one done. So what I want to do now is I just want to tidy this up. I want to put this into my actual tank tracks. I want to put my also my curve in there and just make sure everything's in there. I just want to make sure that it's still working which it is. And then more wants to do is I want to close this down now. I want to open up now my fire lights and Flickr, and this is what, this is the one that we will be doing on the next lesson. I'm also going to go up and save it. And basically I hope you learned a lot from that. Tank tracks are quieter, complex is something that we needed support in this actual guide. If it's going to be a full course on animation and Reagan. Alright everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 16. Materials and Nodes Introduction: Now before we actually move on to our next bit, what I wanna do is I want to play you a short video, because when we move on to our fire and light flicker, you need to know a little bit about materials and nodes. Now if you don't want to know about fire and Flickr, then don't bother actually watching this and just move on to Matson lights if that's what you want to do and you can come back later if you want to. But this then here is the materials and maps introduction. So enjoy. Welcome everyone to this short introduction on important texture maps and creating materials within Blender. Here will be going through basic materials setups and easy ways to import your texture maps or within blender. Then we'll be moving on to an explanation of what maps do and why they're important. So with all that said, let's get started. So in this basic scene that I've set up, you will see that I've got these three objects and the role UV unwrapped. So now let's come to our first object. And let's say we've already marked all seems as you can see. Now let's come up to Edit. First of all, what we're going to be bringing in is a add-on called Node Wrangler. And this is going to make it very easy to set up materials within your scene. So let's come to edit, come down to Preferences, come over to where it says add-ons. And then we're going to search for node N 0 D, E. And you'll see one called Node Wrangler. Make sure that's ticked on. And then let's close this down. Now I want to do is actually create our material. So if we come over to the right-hand side, you'll see this little football kind of icon. Let's click on the plus. And then what that actually does is create a new material. And let's click New and give it a name. Let's call this would. Because I've already created a wall. It will come up as one.001. If you've got a 001, it will come up as wood.002 and so on. You'll notice as well that this has come in as a principled BSD F. And this basically is the magical node shader within blender that makes it easy to import all your maps and things like that. So now we've got this. What we need to do now is we need to head on over to our shading panel, which is this button here. Once in the shading panel, you'll see basic setup, same as what we had in the modelling panel. And now if I zoom out here a little bit, you'll see that we've actually got a basic setup already. So we've got all material output. And of course, this is where all the nodes end up in the end. Then we've got our principles, which is what I told you about, is the magic kind of blend the node. And if we zoom in a little bit, you'll see we've got all of these things where it can plug things in or we can mess around with these without actual map plugged in. So now let's come and click on our principal, BSD f, and what we're going to press Control Shift and t. And that then will open up the file of where you want to actually find your map. So make sure you store them in a place where you know where they are going, find them, and then you should end up with five maps. Normally it's five maps. Actually you can download. One is the base color, the next one down is metallic. Next one down is roughness. The next one down is height. And then you've got normal. They're normally the basic five maps. So now we need to do is you need come to the first one and shift select the bottom one, and then that'll select them all. And then come over to where it says principled texture sets up and click down. And there you go. The vole actually come in. You'll notice blender is automatically set everything up for us. This is part of what the No granular actual dose. Now if we zoom in a little bit so we can see what we did. And now we can actually go through some of these nodes over here. So let's zoom into here as well. The first one we've got is texture coordinates. Now, basically this node tells Blender whereabouts to place this texture on this object. So you notice that the moment is basically clubbed in from the UV. Now, if we quickly just go over to the UV and I grabbed everything, you can see this is our UV map and this is how basically this texture is placed on this. So for instance, you can see that this one has been turned round. So it's going the correct way. Now let's go back over to our shading panel. And if we plug in the generated instead to the vector, let it load up. And you'll see now that blend is trying to generate how this texture is actually gonna go onto this object. This is useful when you create textures within blender itself without maps, but useless if you're actually bringing in your own map. So let's put it back on UV. Next one across is called mapping, and this basically is how this texture is mapped onto this object. So you can see here that we can actually move the location of our actual texture. And this basically is kind of moving the UV map. Now if we call me, can also scale this up as well as you can see so you can stay lit smaller and bigger. And it gives you a lot of control within actually the shader, to mess around with the scale and things like that. Normally, I would actually do this in the UV map. But if there's any small details that I want to make, a little bit smaller or something like that. I will do it within the shader. Moving across, you can see that all of these nodes over here, which are our maps, are plugged into our mapping node. So let's come to the first one. The first one is color. And basically down on the right-hand side here, I'm going to be showing you exactly what they mean. And then if you want more information, you can go onto the blender website and find all of the rest of the information out about all of these maps that we're talking about. So as I say, the first one is the color. And if we unplugged that, it's basically what we can see is it's just the base color. Now, sometimes you will get colors where they come in with ambient occlusion. And I'm going to talk about ambient occlusion just in a few minutes. So if we plug this in, we can see, we can actually alter the color with other nodes that we can kind of slide into here. So I'm quickly going to show you that. So if we press Shift a, do a search and we'll just bring in a gamma, which is going to lighten or darken our actual color. Now, I've put that in, then you can see if I bring that down, I'll bring it up. I can make it much darker and much lighter. So that's something that we can actually do. And then Node Wrangler enables us to bring in a new node and just drop it in there. So what we do now, I'm just going to delete that and I'm going to plug that in now to go on to the next map is metallic. So I'm just going to head on over where I've actually brought in a metallic texture. So here we are in our setup now with our actual and metal texture and material. So if we zoom in now, we can see that we have the next one down which is metallic. And we can see that if we call them and actually unplugged that, you'll see that not a lot happens and this is because this metallic is very close LI based on the metallic that's already there, which is zeros, quite dull metal. Now if we come in and we turn upon metallic, you can see that it goes really, really, really metallic like so. And you don't have to actually use a map to make something metallic, or you need to do is turn off this metallic. Now normally when we're doing things like using this slider here and no map, even something is metallic. So if I turn this down or it isn't like so we don't really have anything in-between when we don't actually use an amount. So if we plug this back in now to all metallic and let it load open, There you go. Now the next one down is roughness. Roughness is basically if you think of a sheets of glass, when you look at it, it's not completely see-through. You might have certain scratches on there. You might have things like smears, Han mark, things like that. And basically that is what the roughness map doors, basically the roughness is determined by this map. So if I am plugged this map, you can see we've got a lot of the kind of shinier parts and dollar parts on it. So let's unplug this and then you'll see that it's all one kind of shine. You can also see if I come in and actually turn the rough and assault alternate down. I can make something like ice or I can make something very, very dull. And this is why we use this map because it gives us a lot of control of how much smearing and things like that and makes it look a lot more real estate. So now let's move over back to our wood. And what we'll do is now we'll come down and look for all normal maps. So if I double tap the eight quickly, that'll just highlight this. And then we can just zoom in a little bit and look what this normal mount bills. As you can see, the normal map always plugs into a normal map node and then we can mess around with the strength. So if I turn this strength right, you can see now we've got a lot more pushing through of that actual texture. Now, just be very careful when using this node. You can turn it up too high and it will, it will look, it won't look very real, in other words, so try and just get it somewhere where you're really happy with it and it still looks realistic. For instance, you do get some wood which looks like this, where it's really kind of elevated from the base. But I wouldn't go again to high witness. Okay. So that's the normal map. And now let's move to the displacement map. For displacement map, I'm actually going to bring in a new material now, so I'll head on over to that one. So here we are with our cobblestone texture, which we're going to use for our displacement example. So what displacement does is it basically gives this texture. It basically pushes it out. It's like using tessellation, as you'll see shortly. Well, the one thing is if you're using this displacement map, you really need to, well, you really need to know two things. First of all, it doesn't work in EV. Second of all, it really needs a lot more geometry than what you would normally have. So here we can see we've got a flat plane and we can see that they're slightly pushed off. And you can still see that this is a, basically a 3D texture. So how do we create displacement on this? First of all, we're going to do is you're going to come over to our little spanner. So first of all, we're going to do, we're actually going to sub-divide this a couple of times. So let's press tab and what we're gonna do is right-click and sub-divide. Right-click sub-divide. And now we're going to do is I'm going to press Tab and we're going to bring in and modify it. And what we've done now is basically increased the geometry a lot. So let's come over to add, modify it. You're going to come down to where it says multi-resolution. And when a sub-divide, sub-divide. And again and again four times. And now if you press Tab, you'll see that it's still actually looks like this. So you can't really see all the subdivisions on here. But when we finish this, I'll actually apply it and then you'll be able to see them. Next of all, what we need to do now is we need to put this on cycles. So if we come over here and we change it from EV and we put it on cycles. And then what we can do is we can come down now to our material, which is this button here. Scroll down and you'll see one where it says Settings. And under settings you'll have one that says surface. And what you need to do now is change this. It should say Bump only, change this to displacement and bomb. Once you've done that, then all you need to do is go to your cycles shader, which is this bone here. And there we go. You can see now how actually realistic that looks. Now you can actually mess around with these. So it can really, really bump up the scale as you can see. And we can also change the mid-level, like so. So it really pushed it out or you can rarely pull it in as well. Okay. So that's a bit of an explanation on there. Now as I said, I will move over now to the actual Spanner where a modifiers on, I'm going to press Control a to apply that, I want to press Tab. Now you can see just how much geometry that actually taught. Now you can get away with a little bit less geometry. So if I press Control Z and just bring it back and just bring it down one. So if I bring this down one, like so, and you can see that it's still looking quite good for if we put the viewport level up a little bit, it's nowhere near the level of this, so you don't put it on three, press Control, press the Tab button. You can see now there's not so much geometry, but we're still getting a pretty decent effect. Okay, So the last thing I wanted to show you is if we come back to our material shader and we put this back on EVs overcome to our computer. I can't put it back on EV. And now we'll just scroll around and zoom in to this word. Now what does ambient occlusion do? So I'll pull a brief explanation down the right-hand side of what actually ambient occlusion is. What we can actually enable it by coming over to our computer, putting this on EV, and you'll have one that says ambient occlusion. When you click this on, you can see already that we really, really get much more shading on here, much more realism and things like that. Now as I said, you can get textures where they are. Ambient occlusion already built in, but I find actually doing it this way generally gives you a better result. Now the other thing you can do is you can mess around with the ambient occlusion and really bring it up or down, mess around with factors and things like that. I'm really get the shadows that you really want on the surface of the actual object. So that concludes the material and texture introduction part of the course. And I hope you all got a lot out of it and have a much better understanding of maps and materials within blender. So with that said, let's get on with the show. Welcome back everyone. I hope you enjoyed that. And what we'll do actually on the next lesson now is we'll actually start on our fire and light flicker, and I'll see you on the next. And everyone, thanks a lot. Bye. 17. Creating Stylized Flame Transparency: Now the thing is I've got this set up just so you can see what it's actually doing. So if I press the space bar at the moment, you will see again it's based on an empty. And you can see that this kind of wobbles. Now, the good thing is here, if we come to our materials panel, press the space-bar, you can see exactly what we're doing here. See if, you can see, we've basically got three lots of colors in here. And if we also put this onto our EV render, you can see that we've actually got some glow here if we come in and we actually put this onto blue, like so. Now you can see we've got some real glow there. Now you can see the one thing missing on here is where the light is actually not flickering. I'm going to actually do that as well. So this is basically set up so you can see if you actually want to do this part of the actual cost because we're actually just going to quickly recreate this. It will only take a lesson or two, so don't worry, it's not a long process or anything like that, but it is used in a few of the nodes to actually get the materials and, and things. But I feel like it's something that we need to cover. All right, everyone, so let's get started with that. So the first thing we want to do is I'm just going to put this back onto my object mode. I want to come in, I'm going to delete everything out. I'm hoping that that Yeah, there we go. I left my actual empty in here, so I've got flame driver, don't want that. Now, Let's pull this cursor in the center. So I'm going to press Shift S cursor to select it right in the center. And then what I'm going to do is I'm going to press Shift a and we're going to bring in a ecosphere. So if you come down, you've got one that says ecosphere, like so I'm going to leave it pretty much the size it is. We don't need to change or anything like that because not actually working to a scale just to show you what we're doing. Obviously, when you've got a Bezier or a torch or something like that, you will need to scale it up. So now I'm going to do is I'm going to come in and I'm going to grab the very, very top of it like so. And then one Wednesday is going to pull up proportional editing on presses, one on the act, on the number pad and then just bring it up like so, make it a little bit smaller. And there we go, you can see we've got that nice flame actual shape. Now let's press the Tab button. And what we're going to do is we're going to control a or transforms. Right-click Set origins, Geometry. Right-click. What we're going to do is shade smooth and then I'm going to bring in a subdivision surface. So add modifier, calm down subdivision surface and then put it onto or something like that. Now as we've done before, we're actually going to bring now in a displacement modifier. So add modifier. Let's bring in a displays and we'll click New. And this time we'll just simply call it flame. Like so. Don't worry if yours has gone like that, We will fix it like we did with the fish. Sometimes makes it look a bit weird. And now we're, the actual first part of the magic happens is the actual coordinates. If we put the coordinates onto actual object, and then if we bring in another empty Soviet press Shift a, bring in a empty. So I'll bring in an empty, like so then what we're gonna do is we're going to actually move this up to something like here. I'm going to grab then my actual flame. I'm going to put the empty, sorry, the objects as my actual empty. Now if I move this empty opened down, nothing happened yet. And that's just simply because we haven't actually put in our displacement. So what are we going to displace this width? What else wants to do is I want to actually put both the ecosphere and they empty into my actual fire and light flickers. So drop those in there and let's call this empty flame movement. Like so. Alright, so everything's pretty much set up. Let's also call this flame so we know what this is like. So now let's come back to our actual flame. And then what we're gonna do is we're going to go now into our displacements. So we're going to click on our displacement, this little texture icon over here. Now what we'll do is we'll actually come and we'll put this on Veronica. If I come down, we've got one called Ronnie and you'll end up with something like this. And then all you want to do is you want to come down and change the size to about 1.4, something like that. Maybe a little bit less at 1.3, maybe something like that. Then what we're gonna do now is we're going to come down to where it says Color. And we're going to change the contrast to nought 0.3. And there we go. Now what if we actually move this actual flame? Now, you'll see that we actually have flame, which is really, really nice. Alright, so now we've got that. And now we're going to do is we're actually not going to animate this going up and down. We're actually going to let blender animate this going down by going up and down by using drivers. Now, drivers is basically a way to tell blender to use a mathematical expression to move it up and down. Now you can use this in textures. You can, you can basically use it in bones. You can use it on everything. It's just an easy way for something to go so far, so fast and then reset again. And that's why we're actually using them rather than trying to keyframe every single part of this actual MT going up and where do we want to go in up to and things like that. Yeah, actually gives you a lot more control and you can change it on the fly without actually having to go in. And change all of those individual keyframe. So that's why we're actually going to use it. The way we're going to do is we're actually going to click on our actual M2. When I come over to this little yellow box over here, click on this. And the one that I want to change is this set. So you can see already mindsets actually moved. If I come in and I press, let's see, hashtag, where's my hashtag but one? Not that one. Is it this? No. All right. Fine. My hashtag and then we're going to do is type in frame, like so, and then dash, and then ten, and then press Enter. Now you'll see that if I press space bar, that this will go up like so. And then when it will happen is you'll get 200 and then it will restart again. So there you go, you can see it restarts and again. Alright, so the next thing then is we can discourse that for instance, if I want to come in and change this now, you'll see I can't see it, but if I actually click on it, then you can see that can actually change this to something like five, sorry, not 5065 or something like that. And now if I press space bar, you can see it's moving much, much faster. So you have got control of how fast this actually moves, how far it moves, and things like that. It's now called flame cell. Let's bring in some actual material swan rents do is I'm going to come over to where I'm going to click on my plane first come over to my materials panel, click the down arrow and we're going to call it flame, will call it flame, red. Flame red, like so. And then what we'll do is we'll come over to our shading panel. I'm going to actually pull this over like so, just so I've got a little bit more room in here. I'm also, if I've got this on here, I don't really want this here. So I'm going to do is press the N bond just to close that off. Then I went to lift this up. Now let's bring in a new. So let's press Shift a. And what we'll do is we'll look for first of all, in fact, we've probably, if I zoom out, yes, we have, we've already gotten material output there. We need all material output because that's obviously the output for the actual material. I'm going to delete the principled. And then what I'm going to do is I'm going to bring in a emission. So shift day emission, like so. And then I'm going to bring in a, we're going to bring in a noise texture to kinda make it so that the flame looks as though it's actually moving. And the one I'm going to bring in, if you come to textures, you will see that you've got all of these noise textures. The one I wanted to bring in is called Verona texture. So I'm going to bring that in and then going to press Shift a I'm going to bring in a collar around just to give us control over the actual colors. So let's actually look for it. So we're going to put color on the Shelby one that says color ramp. Alright, now I'm going to duplicate this. We've shipped they like so. So now we're gonna do is we're going to plug everything in. So you can see that we need to plug it from the distance into the fact of our color. And let's just pull this a little bit over. And then the color goes into fac of this one. And finally then the color goes into our emission. I'm also going to plug our mission into our surface so we can actually see what's going on. Now the thing is we want to put this one, this color ramp here on constant. So if you come down, you'll see you've got one on constant. And now if we pull this down a little bit, so if I grab this arrow over here, pull it down. These are actually what we're going to use for not all color. These are going to be the ones that represent the actual parts in-between where you can't actually see them. In other words, these parts are actually going to be invisible. So I've got control now of how I want my flame to be. Basically these are going to be the hard edges that make up the flame. And as it's moving now you can see that at the moment these aren't moving, but you do have an idea when these are moving up and down, how it's going to create that kind of flame effect, which is what we're looking for. So now let's actually make it transparent. So all I'm going to do is I'm going to put my emission down here. And I'm going to bring in a mix shader. So search mix shader. And I'm going to drop this here. And then one Wednesdays I'm going to plug my emission into here. I want to plug the mix shader then into the material output. And then finally I'm going to plug the color ramp into the FAQ and when a disconnected from here as well. So basically you've got this sort of set up. Now what we want to make this transparent is obviously a transparent notes. I'm going to press Shift a, bringing a transplant so TRA, transparent the SDF like so, and then just plug that into your actual shader, like so. Now, over on the right-hand side of where your actual material is, if you scroll down, you've got one that says Settings and you just want to put this blend mode onto alpha clip. Then finally, you just want to invert this now, so I need to bring in an invert. So shipped a search invert, like so. And I'm just going to drop that in there like so. Alright, so on this lesson now we should be left with actually this. You can actually see through there now. And at the moment we've got no color on, but you can actually get an idea. What we're actually trying to do here. What we're gonna do is we're going to create three types of flames. We're going to combine them. And then finally we're going to have the moving up and down basically along with a few more drivers and then find them. What we're gonna do is you're going to bring gain a point light and we're going to have that point light flickering to give the effect of an actual flame. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 18. Working with Graph Shaders for our Stylized Fire: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. Now the first thing that I want to do is I want to bring it in a texture and coordinate. So if I come over to my actual Verona texture and I press Control T, you will see them. We get two extra coordinates and mapping exactly what I want. I'm basically this allows you to change where this texture is in space and time. If I move this, as you can see now, we can actually move the actual texture along and things like this. This is a very powerful way actually then of actually changing our texture a little bit like we did with the pumpkin, but this is taking it one step further. You can also see that we can base it on the normal, so the way that the mesh is facing or we can base it on the UV, we can even base it on the camera. And that's taking it to that next level. Alright, so the other thing I wanna do is I want to change the scale of the Ronnie. I want to put this on something like eight, like so. And there we go. That's looking much more like fire. Now we're gonna do is if we actually zoom out, what I wanted to do is I want to create a frame around these actual three here. So I'm, Joel is going to pull my texture coordinates a little bit away. I want to actually unplug this. And then one Wednesdays I'm going to grab all three of these like so. I'm going to press the Enter button then, and you'll see that within the Node Wrangler, if I click on this, we can actually frame this selected so I can add in an actual frame. And I can also change the name of it. So if I come up now to the actual node, you can see that the label and the frame have an actual name. If I put in something like main flames are large flames. Let's see. So you can see now we've got a name called actual large frame. So this is really good because then it means I can actually make ANOVA three of these. Yeah, two more of these. So if I grab this press shift D, I can bring it up and then Shift D again, bring it up like so. And then I can come into this one, grab it and change the large flames to small claims like so. And then walking nose and grabbed each three of these compressed ship date, drag them and drop them in there. And actually, I need to bring this down because I didn't think we would actually do it like that. So I'm going to grab all three of these now. I'm going to try. Yeah, No, no. I actually bring them into there, so I need to take this frame off. So what I'm going to do is I'm going to come in and remove that frame by grabbing it and just pressing Delete. And then what I'll do is I'll, I'll make a nova couple of frames. So you can see here I've got main, large flames. So while there is, I'll bring this down. I'll bring this one up and grab it. And I should be able to move it like so. And then what I'll do is I'll now I should be able to grab these three and drop those into there and you can see that move them. Alright, so now we've got it now we should be able to move this along like so. Alright, so a little bit fiddly, I made that a little bit too hot myself. But anyway, we got there in the end. I'm also going to grab this one as well and move these up. They're just underneath that nice and neat. Alright, so the moment you can see that we can see through this and the reason is because we need to reconnect or actual texture coordinate soap. So I'm going to bring this into the vector of the large flames. I'm also then going to bring it into the vector of the small flames. And basically what it means is that these will be in the same space and time as each of that. I'm also then going to grab all these and just move them over to vary slightly. And I think as well what we should do is just unplug this. I'm going to unplug this one as well because we need to mix these together in some way. So I'm going to bring in is I'm going to bring in a mix shader. So mix actually will it be a mix shader or a mix RGB? Yeah, we'll bring in a mixed RGB instead. So we've got mics RGB there. And then we're going to do is you can see the small flames here. Very important that you do this. The small flames she'll be underneath. So they showed come down. So this one here, and then the actual large flames should come to the top of this one here like so. Now I'm going to do is I'm going to actually plug this, so this mix shader into my actual fact now. And finally now I want to do is I just want to duplicate this, this one here. So this small flame. So I'm going to do is I'm going to grab it, going all the way round, like so. Then I'm just going to press Shift D. And that then means that the actual frame will come with it as well, which is exactly what we want. Then we're going to do is I'm gonna name this two mid-plane. So I'm going to grab this and we call it mid made claims. Like so. Okay, and before actually doing that, what I wanna do is I want to come back down to my large flames and I'm going to actually set this to, I'm going to leave this actually on hate. And while wants to do is I wanted to save this small claims to 16. So I'm going to change the scale up to 16. And then I've got my mid planes, which I'm going to change this to something like four. Yeah, let's change it to false, something like that. Now, let's bring in another mix, RGB. So I'm going to do is I'm going to press Shift D and I'm going to bring this over to here. And then we're going to do is I'm going to drop this into the bottom of here and then put this into the top of here. And then finally grabbed this makes RGB and then drop that into the bottom there. So you can see now, we've got three. We've got main flames, small flames and large flames. And we've got the two bottom ones mixed into the mixed RGB. And then this mixed RGB is mixed in with the mid plane. So basically we've combined all three of these actual flames, which gives us a ton of control over how this by actually it's going to look how, what color it's going to be, for instance, because the reason we've done that is because if you look at any fire, you've got the red, which is the very coldest part of the fire. You've got them the yellow, which is a bit warmer. And finally you've got the white, which is the red hot part of it. That's why we've actually done it in this way. Before we go on, this doesn't actually look right. So I'm gonna do is I'm just going to swap these around. So I need to grab this one and put that into the top, and then that one will go into the bottom. Okay, That's looking much better. Now, let's come in and change the mix to soft light. So we're going to go with soft light and red is gonna do the same one on this one. Oh, soft light. And then I'm going to put the FAQ up to one. And I'm gonna do the same on this one as well. Now let's just make sure that everything is connected so we can see that we've got our texture coordinates needs connecting up to our vector on this one as well. And there we go. We really need to do is have a look at the thickness of each of these parts. So we've got mid flames and you can see as I bring this down or up, we can actually control that. We've got the small flames then for bringing this down again, you can see we control that. But the problem is if I do this now, I'm not really going to see what I'm actually doing, but it's good that you actually understand how we actually control these before actually going ahead. So the first thing we wanna do is actually get these things move in. And then finally, we can actually bring in some colors. And you'll understand, Okay, I want my small claims to be this big, this big, and you actually understand how this whole of this setup actually works. Well, let's first of all bring in a gradient texture. So shift day, let's look for a gradient. So, so gradient texture, Let's drop that in there. Let's also then bring in a mixed, mixed RGB, sorry, mix RGB. Let's drop that in there. And then what we're gonna do is I'm going to plug in the color from the gradient into the top of our mixed RGB and then take the large flame so where the color is. So we're going to pull the color and drop that into our mix RGB like so. Then what we're gonna do is we're gonna take the color from, which was originally in this one and just swap it with this one here. Like so. Alright. Now we should have an actual gradient that goes up and basically it should get lighter or darker as they actually tapers off. Alright, so what do I mean by that? Well, if I come into my gradient, I'm just going to pull this down here along with this, I'm going to grab my texture gradient. I'm going to press Control T. And they say I want to bring in a mapping and texture coordinates. Now if I come in and I change the y, I think it'll be, Let's have look, change the y. Then if I bring the local, bring it down. We can see now that we showed and dope with some control over how this actually is. Now, the problem here is you can see that this should be a -90 -90. Turn it round. And then let's try bringing this up now. And there we go. That's exactly what I'm looking for. So you can see what we're trying to do is we're trying to make it thicker at the bottom. And as it goes up to the top, they actually starts to disappear like actual flames do. So flames are really thick down the bottom, but as it goes up to the top, they're really thin, spindly and then eventually disappear. And that's the kind of result that we're trying to actually get. Now, let's actually get this moving. So how are we going to do that? Is we're going to come into, and we're going to add in a drive. So let's come to our large flames first. Now the thing is we're going to add them to the z-axis, but you might actually need to rotate them around. We would pull frame and then you would put -30 or -60 or or whatever it is if it's going the wrong way round. So let's do the first one first. So if I come in to the z, I'm going to press my hashtag. I want to press frame for the driver. And then I'm going to press forward slash. And then let's try first of all 30, something like that. Now if I press Spacebar now you can see that it looks as though my plane is actually going the wrong way, which is what I said. But now for press minus the t, like so now you can see my flames going the right way. So you're looking basically for the flank going up. And you know now that each time we do this, it's basically going to be minus, not just there to just take that into account and yours might be the other way round, so just keep it on 30. All right, everyone, so you can see now how we've got the large flames moving. So what we need to do now on the next lesson is we need to get the older actual small flames on the mid flames actually moving as well, then we can actually bring in some color. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 19. Animating Light Flicker: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. Alright, so let's get all small flames moving now. So if we call them again to the location on the Z, I'm going to press hashtag and I'm going to click on frame. I want to press forward slash and then minus. And we'll put this onto 60, like so. Now what we'll do is we'll come to our mid flames. Same thing again. So I'm going to click on this Add and click hashtag, brain minus, sorry, forward slash minus and 15, like so. And now press space bar, you should end up with something like this, which you can see now is really, really nice. You can already see exactly how this is actually going to work out. Now the other thing is if, again, you can come down and change your gradients, so just don't forget you've got a gradients on here. We can move it up if you, if you want your flames not to be quite so thick down the bottom, I think I'm really happy with mine. So the next thing we need to do now is we need to actually bring in our colors. And then finally we can bring in our light flicker on top of that. Don't forget as well. We can also speed up how fast these are actually moving because it's based on our actual, Where is it? There? It is this here. So this is also remember had a driver as well. So if we want to change that, we just need to come to here and you can change your driver from here, like so. Alright, so now let's go back to our flame and let's bring in some colors then let's come over, first of all to our emission shader. Let's put it on a nice red, orangey red or something like that. Then what we'll do is we'll put the strength of it up to six or something. And you can see, am I happy with that color? I don't think so. I think you need to make a little bit orangey. Something a little bit more like fire? Yes, something like that maybe. Alright, We'll start with that and then as we work through them, we'll be able to change them on the fly. Okay, so now I wanna do is I want to grab my ecosphere. So I'm just going to press shift D. I'm going to rotate it. Rotate it round. I'm gonna make a little bit bigger. And then woman's isn't just going to come in and press the tab bar. And I'm actually going to jaws make this a little bit different. So I'm just going to press G, bring it in. Like so this one is basically going to be the hottest part of my actual flames. I'm jaws moving it around like so. And then one way to do nice press tab, I'm going to come down. I'm going to change this color to maybe a. You can see that I need to actually duplicate the actual material as well. So I'm going to do is I'm going to come over and when it comes to where it says a flame red and I need to change this to another one. So beta one Windsor is going to click the Plus. I want to call this plain white, so blame white, like so. And then what we're gonna do is we're going to copy this. So if I come down to this, it'll say copy material. And then if I come to this, you can see pace material in now we should be able to, if I give it this color. So I've come to this one and just minus off this flame red. There we go. And now if I come in and I put this on why we should end up actually. Okay, I remember now there's, there's actually an issue where we need to, It takes a little bit of time actually to update for some reason. So I'm just going to unplug this. And there we go. We actually updated now the thing is why did it take so long to update? The reason is because what I actually did in the end is actually minus the off. So basically what I did was I came to where it said flame, why I took it off. Then what I did was I read, put it back on. So I actually come down to the little arrow here and I think he's just a little bit of a bug actually in Blender. Then I'm just going to put it on flame white light. So now you can see it's actually working. So now let's move it over like so. And if I press space bar, now, there we go for double-tap. The a's where you've gotten even better view of what it actually is actually going to look like. Now the other thing is the red one. I don't actually want go in as high. So if I click on the red, so you can see this flame white. And let's try and hide that one out of the way. Let's click on the flame red one I'm going to do is I'm going to bring back the actual gradient. So if you come down to here where your gradient is, actually then going to pull this back. So you can see here, we can pull it up or we can pull it back like so if I press Alt H now to bring back this flame, now you can see it's looking a little bit better. Alright, So now let's make 1 mol. You can also see that they're kind of moving a little bit the same if you want to change that as well, what you can do is you can come in to your mapping, click on it and just put in something like, Let's put this on 60 or something like that. And now if I press space bar, now you can see they're actually moving very different if a double-tap the eight, now, there you go. Alright, so I'm happy with that. Now, let's bring him 1 mol. Then we'll have this on a, maybe a real dark red or something like that. So I'm going to grab this one. I'm going to press Shift D. And then one went to do is I'm going to bring it in, make it smaller, like so, and I'm going to bring it down like so. Alright, now I want to do is I want to, I'm actually going to pull this up as well. So I'm going to grab the center of it. I'm going to press Shift Spacebar, bringing the Move tool and then just move it up. Like so. And then we're going to do is I'm going to copy this again. So we've got flame, why? We've got blame, whereas it flame red. Let's hide that. Yeah, flame red. So let's have a flame, yellow as well. So let's press Alt H. Let's come back then to the center one. So I want to come back to my center one, which is this one here. And then we're going to do is I'm going to make a new one, new. And we'll call it flame yellow. Like so. And also, I want to be able to change these as well. So what I'm going to do is I'm going to also sort this out because at the moment it's really, really hard to select them and I really don't want that. So I'm just going to put all these up just so it's nice and neat for when we come back in. So it shouldn't take too long and it's just an easier way then of dealing with it. Now, the flame, we should have then the flame. So we've got flame one, blank two, and then we've got blamed three, which are okay, so let me just see. So flame red, plain white. And then we've got the flame yellow. So I'm just going to again minus this off and then I'm just going to paste this in. So paste material in. And then all I'm going to do, I'm going to come back to this now. I'm going to make it a yellow color. Now it's not going to change, of course we know why soap and minus that off now and then bring it back in. So I'll click the down arrow, blame. And then we're going to put it onto flame yellow. There we go. Now if I press Alt H, Now everything comes in. Double-tap the a. There we go. We have blames. Alright, so these ones on the outside that probably, probably going the wrong way round at the moment. So the white ones should be the ones that are on the inside and the yellow ones should be with the ones on the outside. So let's change those around. So if I grab I think it's this one here. Yes, it is. And then I'm going to press space and I'm just going to bring these out a little bit like so. And then one way to do is I'm going to come to the inside. I think it's that one. Yes, it is. And then come to the top one and then bring that out. And there we go. Now it's looking a lot more like an actual flame. Alright, so I'm really happy with how that flame actually looks. Now the one thing that we need in is our flame flicker. So let's come back to modelling now. I'm going to press the top button. And what I wanna do is I want to bring in an actual point light. So I'm going to press Shift a, I want to come down, I'm going to bring in a point light. Let's move that over then. And you'll see that once I put on this, which because it's on Evie, if I put this on now, now you can actually see or point light, but we don't actually get a lot of lights off it at the moment because we need to actually bring it out a little bit. So if I come to my light settings over here, you've got a point light. And what I wanna do is I want to turn up the power. First of all, I want to turn up the color. So we want it on something that's kind of the yellowy orange, something like that. Let's turn it up a little bit more. And that's also as well. You can turn up the radius, which gives you that kind of now this movement. Now if I move this now you can see that we've got, we can put it over here now. Now the thing is when you put it, you don't actually want it over because it will basically destroy your light so you don't want that. So what you want is something, Something like that. Okay, so now we've got a point line, Tim, what we want to make sure is that first of all, you're on TV. Let's set the screen space. Reflections on. And let's also turn on our actual render. And you should end up with something like this. Now, this might not be bright enough at this moment, believe it or not. So we'll just actually find out if it is. So the first thing we're gonna do is I'm gonna go over to my animation. I'm going to come back then to my actual light here. And then what I'm going to do now I'm going to set it on number one, frame one. I'm going to press I hovering over the actual power. And then what I'm going to do now is I'm going to come all the way over 200. I'm going to press again, and that basically is just going to duplicate it over there. Next of all, now what I want to do is click on my actual point. You see we've got one that says power here. And now if I come over to this little arrow down here, I want to put it onto graph editor. And now I'm going to do is I'm going to press N. And you'll see now that we've got actually all of these options here. The one we want is the actual modifier. Now, don't worry, you won't actually be able to see anything yet. And the reason you can't see anything yet is because of the fact that this is around 200. So if I call them and scroll up, you will see that we should, if we zoom in around, what is it, 270, let's go to 270. There we go. There is our actual graph here. Now the thing is when I first did this, I couldn't actually see where they actually live, moles, but now I know that we have to actually move around where it is. So like so I wanted to bring these in a little bit. So I've actually got better idea of what I'm actually looking at here. The way to do that is simply come over to the right-hand side and you can actually bring this down now much, much closer together, which is going to make it so you can actually see a much easier now, what are you actually doing? Because you can see these much, much close together. Let's bring him down even small. And now we've actually got a good idea. Alright, so let's bring in that modifier. So click on Monday fire. Let's bring in the noise. And you'll see already now that we've got something happening. Now what you wanna do is you want to turn up the strength of the noise. And as you turn that off, you can see now that we're gonna be bouncing around 200-50 ish to around 300. So now if I put this arm, press the space bar, now you're end up with that beautiful flame flicker. Now, obviously you can make this a lot more extreme. You can make this a lot brighter, for instance, all we need to do then is if we go back to frame one and we put this on something like 500, for instance, Aldi. Other thing is I need to put this onto rendered view. There we go. Now we can actually see much, much better what that's doing. Now, let's put this on something like 1,000 on this frame and let's turn it off. So press I. And you can see we've got a big jump there. And the reason is because we put it on frame 77, which is not something I want. So I'm going to press Control Z. I'm going to come to frame one. But at least you get an idea of understanding how this actually works. And let's put it on 2000 likes. So let's press the eyeball on and then let's come to frame 200. And again, we'll put it on frame 200. So let's just move this up. Let's put it onto 2000s. So let's press the eyeball on. And now I'm going to have to scroll all the way up now to say exactly where we also, it's somewhere around here. And now if I press this, you can see you've got that tiny flicker, but at the moment I turn this off, so let's turn this up even higher, like so. Now you can see it's very, very hard to see actually. We can actually accentuate once you've got a few more actual walls around the EU belt, say much, much more. But the higher I move this open, the more I pull this down. So let's pull this down just a little bit. No, 0.7. And now you can see flicker in a way like so. And that's exactly what we want. It only needs to be solved. Of course, you can make this much, much more pronounced like so. You can make it Flickr much, much more like that. Alright, so that's basically it for that one. Let's go now back to modelling. And let's have one more last look at this. And there's your life flicker in a way with your actual flame. Alright everyone, so hope you enjoyed that. I hope you learned a lot from that bit of a long one, this one, but we got there in the end. So the next one we're gonna be covering is Moss and lights. And we'll see how we go with that one. Alright, Thanks a lot of Rom. Bye bye. 20. Creating Moth Animation Using Particles: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left the all. Alright, so let's go to the next one which is our malts and lights over. Click on that. We will see that we have one light, we have a mouth. All light is actually split off away from our mouth. And this means that we can actually animate this leg. So it's moving backwards and forwards or something like that. That's the same animation as what we went through in our swing animation. So this one here you could use that I can actually click on no, clicked on both. Let's just pick that one off. This swing animation is pretty much the same thing as what you could do on this slide. So let's close that down. Alright, so let's first of all get our moss actually flapping their wings. So first of all, I'm going to go into my mouth. You can see at the moment that the actual orientation is around the actual center. Now this moth just does a real basic, actual, just a material on it. So it's just very basic, but you can make it a bit more complex if you're doing your own, make some biomaterials and things like that. Alright, so let's come in then. What we're gonna do, first of all, we want to give this actually a shape key. So I'm going to do is I'm gonna come over to the right-hand side. When my little triangle is, I'm going to click it twice. So first one is the base, and then the second one is what we can actually alter. So let's come in. Then what we'll do is we'll grab this fall wing. I'm going to press 0 on why. And I don't want to pull it from there. What I want to pull it Brom is this point here. So I'm going to do is first of all Shift S because to select it, and then I'm going to grab my wing again. But now if I play it, you'll see it's still pulls from here. I don't want that. So I'm going to press the little sideways V and I'm gonna go to 3D cursor. Then we're gonna do now is press Alt and y and I can bring it up. Now I'm going to go across the left-hand side and down the bone where it says rotate, just open this if it's not open. And what I wanna do is I want to copy this, I'm going to select it, Control C, copy it. And then let's come to the next wing. I'm gonna press L and then All, and why query all black. So then I'm going to press control V and I'm just going to minus, get rid of this minus. So if I minus, then it's going to be exactly the same as this one. There we go. Now if I press Tab, you'll see that we have control over these wings, which is really, really nice. Alright, so now what we need to do is we need to come in and we need to give this some noise to make them actually flat. So let's do that now. So the first thing I'm gonna do is I'm going to come to layout. I don't want to make sure that this is on one. So make sure it's on one. Press dot to zoom into your mouth again. And then all I'm gonna do is I'm just going to come in and put the value, keep on zeros. So I'm going to press, I, put them Insert key comes to 200. Then let's put in another key. So i, and now finally we can go over to our animation. And then what I want to do now is I want to actually animate these. So you can see here it is. Now if you don't say, it's probably going to be up here somewhere. So just be aware that it's not on zero or anything like that. Well, from the via Flickr that we did before with the lights and stuff. So just make sure that it's scroll down sera and then you should see that. Now because this is self on the fire Flickr, you should already have on the right-hand side your modifiers. So we're going to bring in a noise. And you can see as soon as we bring that in, we will end up, you can see a tiny, tiny flicker. Now all we need to do is just turn up the strength of this. Then what will happen is you'll end up with a flapping wings of an actual mock. Good stuff right? Now. Let's actually turn the interpolation to Bezier, I think it will be, which makes it a bit more fluid than what it was before. And now we've got our mouth. So all we need to do now, I'm just making sure it goes all the way through which it should do. All we need to do now is basically turn this into a load of malts going around a line. So how am I gonna do about, well, first of all, I'm going to go back to modelling now. Then what I'm going to do, I'm going to come to my actual light and I'm going to turn this into an emitter. So if I come over here, let's click plus, and there you go. You can see that we can actually use this if I press space bar, you can see that we can actually use this as an emitter. So we want these basically bouncing balls to be our most though let's actually solve that out now. So the first thing I'm going to do is rename that. So I'll call it molts, like so when I'm renaming them, I always rename this as well. So I'm going to put this as moss. And this is because sometimes when you click this down here, you'll see now that it's called moss and we've got one called pi equals settings. And I do this just to make sure that everything's going to work correctly. I also make sure that this little shield is ticked on. And that is because let's say I say blend around. I don't have this emission there to do that, to make sure that I keep the emission regardless if there's one in the actual scene. This means then if I want to actually send through this emitter to another blend file, I'm able to do that. So that's another reason why I do that. I'm actually going to come up and actually save that out as well. Alright, so now let's come in and let's alter a few of these options. I'm going to pull this up all the way up here just so I can actually see what I'm doing. And the first one we want to alter is this number I'm going to parent and 50 just to make sure there's nowhere near as many officers that I'm also going to come down. I'm going to put the start frame and won the end frame and one. And then basically the lifetime on something like 1,000. This make sure that these will stay around for as long as we need them to. Alright, so the next thing then I'm going to do is I'm going to scroll down and I'm going to port. Where is it? Our display as? And then what I want to do is where it says rendered, I want to change this from a low and I want to have this on object. And the object is going to be my actual moth, like so. And now on a press space bar, when it restarts, you'll see that these actual miles, well, they start bouncing up and down like that, which is something that we don't want. So what I wanna do now is I want to scroll up and I want to come to where it says physics types. I don't want to put this onto boids and I want to make sure then that this is set up correctly. So what I'm gonna do is I'm going to pull the muscle naught point, naught 85, then going to put it on 211.7 on here. And then going to put it onto, the minimum distance is going to be nought 0.171, nought 0.458. And we're just going to put these in for now. And then once we've done them, we can go through them and Traveloka what they actually do. Alright, so something like that. And then the air personnel is going to be on zero. And now if I press space bar, there we go, we're actually starting to have something happen. Now the other thing is as well, they can see that the way, way too small at the moment. So we need to make them much, much bigger than they are. You can also see that the flying off all over the place and that's not something we want. The reason that is happening is because this emitter at the moment, we haven't actually told it what we want to do with it. In other words, we've got something here called Boyd brain and we've not told him what we want to do. So I wanna do with this. First of all, is we want to minus VO for these off, I want to click the Plus and I want it to be follow the leader. The leader is going to be this lump like so. Now when I press Space bar, you will see that all of these are flying around here, like so. Now all we need to do now is actually make sure that the scale of these things is much, much bigger than what it was. Hilbert's up the a, there we go. You have moss line around the line. Now the best thing is about this, of course, is that you can change how fast they go. And also, as this light actually swings, you will see that the mouse will just literally follow where the light actually swings. So in other words, if I'm rotating this like so, if I rotate it like so you can see the most are actually sticking to it. Alright, so you will notice that the moment it looks really, really nice, bold, there is a problem. Whenever we try and move this, you will see that they just literally stake to the actual movement of basically actually movement of it. So what we need to do is actually show you another way of doing this. So what I can do is I can press shift day. In fact, what I'll do is I'll just grab this. I'll press Shift D and just make a duplicate of it. You can see now that they fly to the other one, which is really great. Because then what that means is now I can actually move this one and they won't actually stick to it. So that means now we can actually use this. So how do we use it? Well, first of all, if I grab it and make it a little bit smaller, like so, and then a movie it actually into this other ones. So if I press space bar and move it into the other one like so and just hide it in there. That now means that I can actually have them attached to this one here. So this lamp here, if I bring this down now, come into my mouth light and call it, let's call it lamp, follow like so. And then take the emitter off of this. So if I take the emitter off, so if I come back to my emitter, which is going to be on here, and then remove it offer here than the emitter, then this should now be on the one on the inside. In other words, if I move this now, you will see that they actually fly over towards this. Well, there's still coming out of this, submits it. So basically cannot be omitted to whatever you want to be. So that means now when I put this back on here and I moved this, for instance, with, let's say your bones or something like that. So if I press pause and I'll put it over here, Let's just get it in place and we'll just do a quick movement of it. I'm just going to put in place blank. So then what I'm going to do is I'm just going to move it from here. So I'm going to grab, let's say Alt Shift, click, Alt Shift, click Shift S, because to select it, and now I'll just move it from here. So I'll just put it on to layout just to quickly show you. I love it onto one. Whereas adults. And then what I'm going to do is I'm going to press 0, Y, and I want to move it from there, of course, so little sideways V 3D cursor, our y. And then I'm going to move it to 100 and then our y, I need to, I need to actually put it. So what I'll do is I'll press I location rotation scale, bring it to one. Then our y, like so, and then I location rotation scale. And then what we'll do is we'll just bring this one over now to 200. So if I bring this over here, Shift D, bring it over here, like so. And now let's press space bar. And there you go. You'll see it moves. The eye. The moss actually follow along even though it's actually moving. Now what you could do that and it's from there is you basically put your Emitter inside this one. Now I'll show you one more thing just before we finish this lesson. If we come over to our political systems and we come down to viewport render, you will see we can hide our emitter. If you come to render, you can also hide the emitter like so. So now, now we've hit that makes it, that means that I can grab this one. So this one here needs to press the little sideways V again, come to individual origins. And then what I can do is I can make it a tiny bit smaller and bring it in to this one. Like so. So let's put it inside this one. Like so, small enough. Like so. And this could be a fear or anything like that. Now if I hide this image, so I'm just going to click on this and we'll just hide it. So object, where does it show emitter? Emits a hide them. It's a double top. The I press the space bar and there you go. Nice. I've got moles. All right, everyone. So let's come up, Let's save it out. And then on the next one, we're actually onto Clouds. So we'll pull up clouds. These are really great if you want some stylized clouds coming out of chimneys and things like that. But you really don't want to use simulation because simulations in Blender and notoriously hard to use, and they also require lock the GPU CPU power. So this is another way around of the gain, some really nice clouds without using so much of that. All right, everyone's hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 21. Metaball Animation for Stylized Clouds: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And here we are in clouds. Now, mainly this we'll be looking at how to create smoke. Basically, that's what we're actually going to be doing here. And just exactly what is this thing I have on the screen here? Well, if you press Shift a and you come down, you have something called metabolic. And if you click on the one that says bowl, this is exactly what it is. So this is the best thing because this can actually change in shape. And it's also really good because it actually sticks together with each other. So let's just delete that out of the way. And what we're gonna do is I'm just gonna move this over to the side. And then one went to do is I'm just going to bring game another plane. So I'm going to press Shift a, I'm going to bring in a plane and just imagine that this is the top of a roof or something like that. I want to bring you a little bit smaller. So you've got a chimney stack here and these will be coming out of it. So let's click on this plane. What we're gonna do is we're gonna go into, go over to again our physics panel. Just before I do that though, I'm actually going to pull my emitter and file colleague Cloud or smoke, let's call it smoke emitter, like so I want to grab that, drop it in my clouds, opened on my clouds now. And you can see this one's already named. This is the plane here, so everything is named. Now. Now let's come to our emitter. Then let's come over and click the plus button and we're going to call this smoke. Like so again, I'm going to rename it on here to smoke, like so I'm going to click that little shield icon as we've discussed before. And then the bone when a presser you'll just see a load of balls come out there, man, just drop on the floor. Now what I wanna do is I want to change the brain start to -200. I don't want to change the end 200. Now the reason I'm doing that is as you see as it gets to the end, which still actually golf balls there. Rather than if I change this to frame start one, you will see that as I put it here, it takes time for them to build up. Once it gets to the end here, they'll stop. And then it will take time for them to build up again. As you see that, we don't really want that because we want our clouds to kind of mingle into each other when it's starting again. So that is why we're putting a -200 because that then gives the clouds start time to actually start. Even though it starts at zero again, it's still starting off down here, which we just don't see. So all we see is the clouds kind of midway through frame one or something like that. That is a real handy tip if you want to have a emitter that seems to be constant because the problem with that is, is that they always start their life basically at frame one. So you could have, let's say a flame, the flame will get bigger, bigger, bigger as the frames are going through, but it will always start at zero, so it will be nothing there, frame zero. So that's why we actually put that -200. Next one I want to do is I want to put the lifetime at 195 joules people this actual 200 for now, the lifetime randomness I'm going to set to nought 0.116. Alright, something like that. So the moment, not a lot of change, it's come down to the velocity, which is how fast these are spouting out of our emitter. And let's change the normal to nought 0.8, something like that because we want them to flow up into the air. We don't want them to be like a fountain or something like that. Now how do we get them to float into that? Well, it's kind of similar what we did with the bowl all the way over L basic animation. If we come down, you will have one that says field weights. And we're just going to put the gravity onto zero. Now when we press Space, you will see that as this thing restarts, all of the balls, them will just float in the air really, really nicely. Now that's kind of what we want already. The thing is we want to change these to be this meatball. And also we want to, we want to be able to control the direction that they're going in as well. So let's do that now. They can see if we scroll up here, this is where the aligned objects are. So if I press play and I move this, let's say a little bit to the side like so you will see now that they're actually in Australia, I'm actually gonna put this on zero and I'm going to actually turn it the other way. So I'm going to actually have them going that way. Now it doesn't want to be too much, it just wants to be slightly like so. Yeah, something like that looks absolutely fine. So you can see if this was a chimney. You can see that they're gonna go all the way up to year before they actually start disappearing. Now this is the lifetime of how long our actual particles are going to last. So you can make this a lot less if you put this on 50 or something like that. Now you'll see. They should die off a lot sooner. So this actually controls how long your stream of smoke here. So let's put it to 150, something like that. Now the problem is why I put it to 195 is because it's actually based over 200 frames. So in other words, when this thing starts again, you'll see that it doesn't it? Yeah, you can see it just swaps over there. That is why we actually put this then at -200. Can you see it's just a slight swap over here. And that's exactly what we're looking for. Alright, so we've got that so far. Now we need to do is we also need to make sure that this meat ball is actually being used with this political system, which actually really brings it to life. Now something else we haven't spoke about so far is children. Now, if you want a lot more particles, basically what you can do is you can actually add children. And what that does is it makes more of these onto each of the particles with already got. In other words, it's actually better to use this rather than just turning this off to like 100,000. It's actually better and easier on Blender and your GPU if you use children instead. So if we click this on simple and a potluck display amount to two or something like that. Now when it renders, they'll actually be slightly more of these actual particles than what the world's before, as you can see now. Alright, so now for the moment of truth, Let's go up to our renders panel, which is this one here. Change it from halo and what we're gonna do is pray on an object, and the object is going to be our actual meatballs. So now if I press on my meatball, I will have to probably wait to get it until it gets them. And I'll probably have to scale it up as well. It's probably going to be a bit small. So let's wait to get to the end. You can see the really, really tiny there. But the moment I start actually to scale these up, there we go. And you can see that is moving like actual clouds. Now we do have one problem in that. We can see it's got, it's a weird kind of color. It's just based on I'm pretty much how the light shining on it. And that's not something we want. So we do actually want to give this some color and then it will, it will do is really, really accentuate how these clouds actually a lot. But you can also change the randomness of the scale. So for instance, we can put that. All right, so, and then turn this off. And there you go. You've got a bit more realism in our clouds. You can also have things like the rotation on here, so we can actually rotate in as they come out. So sometimes that actually helps make each cloud even more independent code. They actually rotating. They are actual spheres though. You might not notice that much difference unless you really crank this up really high. Now of course, the best thing about this is we can also alter how the velocity, so my velocity which is here, how this velocity actually works. So for instance, if I comb, let's say to frame one, like so. And if you can't get it, just click that on and then go over to where it's aligned to. So if I'm putting this on, let's say put this on I, and then I come to, let's say frame 50. And I want to have it going the other way. So let's press that on I now you'll see that as this comes out, that'll go short on the next one. You can see now how that's actually going and moving. As you can see. Now if I put this up to here, like so, and then press the Space-bar again. You'll see now it actually starts to have that little wiggle like so. Now the problem is you've got to be very careful because obviously where it's actually starting from. So normally if you're doing this, you would actually put these frames as well down into the -200 to make sure that it's lined up a bit bad. But you can see if I put this onto one, grab all of these, and then push them in, you'll see now that if I press space bar, you can actually get some real wiggle in the actual clouds, though. Again, that's just using a few key frames and we're able to get that really nice effect of those clouds moving in the wind. And that's exactly what we're looking for. Alright, so the next thing now you've pretty much got everything you need to know about how to make these clouds. The next thing we need to look at that he's just giving them some textures and we just wanted to give him a simple texture just so you know how to do that. Because if you don't have to do that, then you clouds on when to look as good as they should do. Alright, so let's go over to all material best and we'll give it a material, cold clouds. So new clouds you can see, you will see now that that is actually disappear. And the reason it's disappeared is because we haven't actually made it into any type of mesh. So the moments of press play, nothing's going to happen because we've actually gave it a material. But let's take that material off and let's restart this. So now let's give it an actual material. Now if I come down to material, click New, you will see that it kinda disappears. And that's because we just need to put on the render panel. And then what I'm going to do is I'm going to call these clouds like so I'm going to press space bar, let it actually come out. Just so I've got something to actually work with where I can actually see like so. And just let it restart again. There we go. Alright, so now let's come over to our shading panel. When I press the adult bonds, zoom in, make sure they actually own rendered. And then all I'm gonna do now, get rid of my principles. So delete all the way. Then I'm going to bring in a cholera. So color ram, bring that in. I'm going to bring in an RGB curves. And the reason I'm going to do that is because that then is going to give me full control over how light or dark these all. I'm going to plug this then into the color. And the finally going to plug this into the surface. And then to actually give me control over how this is going to look, I'm going to grab my color ram, press Control T, and then we're going to get a mapping. And we're going to get an image texture which we don't want. So just delete the image texture and then plug this in. So then what we're gonna do is we're going to base it on the normal, so which way these are actually facing. So I'm going to plug this into the vector. And now finally, I should be able to come in and alter this colorRamp. Now you'll see if we come in and we alter this. So what I tend to do here is I will come to the bottom one and I'll put it on something like a green, something like that. I'll come to the next one and I'll put it on a blue something like that. I'll come to the next one, then they'll put it on a pink and then I'll come to the final one and I'll put it on something like a read file, make it a different color just so they're not quite as contrast in there. There we go. Now, why have I done that? The reason is because now I've got a good idea of how dog this is going to be for wanting. So I know I need to bring that down, but also I know now where these colors are going to be. So I can see, for instance, this blue needs to be the blue right on the kind of the outer, so the most brightest path. So I'm going to put this onto why the moments do is I'm going to turn this up like so. Then I'm going to come to my pink now. In fact, I'll come back to my green. So my green needs to be the darkest part. So I'm gonna put this on here. I'm going to turn this down a little bit, like so, then I'm going to come to this one and the print on it all a little bit like so. And then finally I'll come to this one. Like so. And there you go. Now you can see that we've got some really, really nice fluffy clouds. Alright everyone. So let's go back to modeling. And then Walgreens do is I'm going to press Tab, I'm gonna go to File. I'm going to save that out. Like so. Then we're going to do is I'm just going to pull that bill. I'm actually going to close my clouds off now. I'm going to open up my complex chains. So we'll let this load up. And then the next one, what we're gonna do is we're going to animate this stone going up and down and these chains actually moving along with it in a realistic way. Alright everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 22. Bone Chain Rigging: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left it off. Alright, so the first thing I wanna do is I want to split all of these chains off away from this, away from each other basically. So I want this center crystal in the center will not split off as well. So I'm going to press L in it. I want to make sure that I'm actually in Edge Select, so l p selection. And then one way to do is I'm going to grab each one of these now. I'm going to grab them into quick way instead of grabbing each one of them. So all I'm gonna do is I'm going to is present, go into wire-frame. In fact, I'll make this even easier on myself. What I'll do is I'll see if I can actually hide those other way, hide these other way, unhide the stones out of the way, and then all of this you'll be left with now is my chain, which is going to make it even easier. So now if we go into wire-frame, select this chain, I'm going to grab just this one. I'm then going to press B for box-like, grab all of this one, press Control plus just to make sure you've got it all. And then I'm going to press P selection, like so. Now I'm going to grab the next one. So p selection, and then next one, the control plus P selection. And finally the last one. So b, Gabrielle P selection, like so. Alright, so now these are all split off from each other. Now can just go to where solid among gonna do is I'm just going to grab everything. I'm going to press Control lay, all transforms right-click cell origin to geometry. And that means that they're all split off all the transformations or reset. And basically these are really, really good now for actually putting in our actual armatures and bones. So let's call them two of those chainsaw come to this one here. And what I'm gonna do is I'm going to grab this edge around here. So Alt Shift and click Shift desk because to selected. And then we're going to do is bring in my first bone. So if I press Shift a and now bring in, where is it? Armature, my bone. I'm going to call this chain like so. And then what I'm gonna do is I'm going to actually bring it to the edge off here. So what do I mean by that? First of all, though, I've got to rotate it around. As you can see, this is not rotate to the right way. So if I press R and Z, rotate it around like so. And then what I can do is I can grab the top of this. So if I come in, make sure the tops grabbed, press Shift Space, move and you can see at the moment it's moving in the wrong direction. I don't want that. So I'm going to do put it on normal and then I can actually move it to where it actually wants it, which is going to be here. So now I can line it up so that it's perfectly in line, just in there. Now I can actually grab this bone and I can right-click and I can come down and sub-divide, sub-divide, sub-divide. And now you can see I've got a lot of bones and I've got a lot of control actually, how this change is going to move because of the amount of bones, the more realistic you want your chain to move them all bones basically you want in it. So I'm going to come now. I'm going to put this song global, I think, and get away with global. Now, I want to put my proportional editing on. And then what I'm going to do is I'm going to actually try and pull this out. So if I grab this, can actually use my proportional editing. I'm not so sure if I can or not. No, I don't think I can use proportional editing on lab for some reason, but what I'm gonna do is I'm just going to hold them down. Like so. Just getting them in line with the actual chain. Making sure it's got that nice curve, like so. And then just going to check once I've done this and just make sure that they're all actually lining up. So there we go. That's looking quite nice. Going over the top then I can see my actual bone's going all the way along there. Alright, so I'm happy with the first one. Now I want to do is I want to duplicate this around. So I'm going to keep it at the same basic armature. I want this ometer chains, which if I press Tab shouldn't be cold chains or six, he'll be cold chain, Omniture, like. So, there we go, that's better. Now I'll also drove die in my complex, the armature as well. And now I just want to make sure that this bone if I hide this, I'm just making sure that's going to the right place where I want it. I think before I finish, I'll just bring this back a little bit. So I'm just going to put it on normal and then bring it back. Just a touch because they are all going to come together. Alright, now I've got that wall wants to do is I want to make sure I rotate these going round to my older chains. So what I'm gonna do is I'm going to press Alt H, bring back everything. I'm going to hide these again out of the way. I'm gonna hide these stones, just make it a little bit easier on myself. And now I'm going to come to this part here. Now. My rock here has an orientation so I can press Shift S because two selected. Now I can hide the way. Now I can come to my actual armature. And what I wanna do is I want to press Tab to make sure that I'm in edit mode. And what that means now is I can copy all of these bones. So if I go over the top now, I can press the little sideways V 3D cursor and I can press shift D, then rotate it around there, hopefully without normal. So have global on all that. I'm rotate it around to my next. Came and then Shift D, and then I'll rotate it around this one and then Shift D. And then I'll zoom and rotate it around. Now it's important that you actually make sure that all of these all lined up. So the first one I'm going to do, I'm just going to come to these now and actually land them up. It's a bit tedious, but you want to make sure that it's done. Because if not, it just makes things harder in the long run. So you might as well make sure it's done correctly. So now if I click the little sideways V again, come to individual origins, and now I should be able to move these bones across. So the first thing I'm gonna do is just make sure that they're all lined up properly first, you can see there are quite a deal way out on some of them. I don't really want that some Jaws going to line them all up like so even on this N1, as you can see, it's a little bit out. You can also see that because we're moving in a normal, maybe that wasn't the best way to do this. So I'm just gonna go back. I'm going to put them back. And you just want to see if they're lining up. Yeah, I think they are. So I'm just gonna put this back on global. And I'm actually, I'm going to pull them off actually first just so I have a better, clearer view of how these bones are going to look. Now luckily, with the chain, it doesn't matter too much. If they're not perfectly rotated the right way. That was something like chain doesn't matter so much. What does mother always just that they actually follow in the chain correctly. So you can see here that we have a lot of that around. So I'm gonna go over the top. I'm going to press G because that's gonna be even easier because it means it moves along the x, y axis. So I'm just going to grab this one, G, and then I'm going to grab this part G, like so now that change perfectly in line. Alright, so now this end of this chain, I'm going to pull out a little bit with G. And again, I'm going to just use g Now. Make sure that all of these aligning Nope, really nicely, like so. And then I'll go in. And what I'll do is align them all up then going the other way. So on the z axis line the Zope, think I've done the first one, so I'm just going to put that in there like so then I'm just going to check this one. This one's pretty much all lined up except this one. Maybe I'll go around this side now. And then what I'll do is I'll start pulling these down. And what I'm looking for is this where the links are. That's where I'm trying to line them up too. You can see that one's okay. I'm just using g now and I will go and check them as a final check. I always want the N1 as well to come a little bit out. Like so you can see this one's a mail out. So let's pull this down first. I'm going to grab the whole thing. Whereas g let down and pulled the end up a tiny bit. Now let's get them lined up. Like so. Then I'll go over the top. Now. Just check and make sure that they're all lined up right over the top. You can see we've lost a little bit of it, so they're a little bit out now. So again, I'm going to press G, goes to line them up like so. And I think that is looking pretty nice. Alright, so once you've done that, you should have the same armature. As you can see, this is all part of the same armature and they should all be lined up really nice. You should have some bones poking out of here. I'm going to move this one over just a little bit like so. You should also have some bones, fuels nearly poking out of the bag. Some of them can be poking out. It doesn't matter too much because we're going into some rocks anyway, so don't worry about that too much. Okay, so now before we finished, the last thing we wanna do is we just want to make sure that these last bones now a not coming from here. We basically want them kinda halfway in each of these links because these are actually going to be IK bones. So if I go over the top and when I press tab, I'm going to grab this one first. I'm going to press G and just pull it to there as you can see, and then pull it halfway in this one and the same on this one. Like so. And then the same while this one is actually okay, I'm just going to move that one a little bit to the side so we can see what we're doing. Now I'm gonna do is I'm going to click on one of the bones. I'm going to press, Let's press F2 and we'll call this IK bone one, like so. And then let's call this one's at basically the same but IK bone to bone. And this just makes it easier than for me to actually go in and name the others. So not to name the other, sorry to go in and actually make sure I'm actually on the IK. So IK bone three, then F2, IK bone ball. And I'm also then going to go over to my options and we're going to put on, where is it, this one here and one to have viewport display. And I want my name's on. There we go. Now I can see these are actually IK plus when I go do make these IKEA's, they will actually go a different color as well. Alright, so that's it for that one everyone. I hope you're enjoying it so far. I hope you learned a lot and I'll see you on the next one. Thanks a lot. Bye bye. 23. Creating Inverse Kinematics Controls for Character: Now we've named all these bones, so we've got IK. Now what we want to do is we want to actually split them up. So I'm going to come to this one. What I'm gonna do is press Alt P and we disconnect the bone. Now when I grab this bone now you'll see it's still got a line there, but it's actually disconnected away from this one. I'm going to now come to all three of these 0 P disconnect bones. And I'm hoping that these for press dot will all be the same. Yes, they are. Okay, they're all done now. Alright, so now we want to do is we want to put an IK on this one. We'll do this one first. If I come to this bone here, I need to make sure that I'm imposed mode, so pose mode. And then one way to do now I'm going to come down to my actual, this part here. And what I wanna do now is actually put an IK. One thing I forgot though, ever come back to this one and I click on my bones, I need to make sure that this deform is ticked off on all four of these because we don't actually want this deep Bowman or chain. So now if I grab this, you'll see that it should just do that. And even if I'm in edit mode, that deforms should be off. So just you can do it in either edit or pose mode. In other words, alright, now let's come to this one. And what we wanna do now is come to add bone constraint. And we're going to add in an inverse kinematics. I'll put down on the bottom right-hand side what Inverse Kinematics do. But basically what it does is it makes a chain reaction so they can control it from one bone and it moves very loosely. So for instance, when you're full, actually moves forward with your leg. It always moves together with it. You can't move your leg and leave you fall behind or anything like that. And also it kinda moves in a certain fluid motion. And that is what inverse kinematics does, is trying to basically corral all the work and all of those keyframes you'd have to animate if you weren't using these. Now the next thing we need to do is we need a target. So the target is going to be our chain. I'm armature. So if you just hover over the, anywhere on the chain, you will see it comes up, click it on, and then you'll see it's there. Now the reason why we name this is because now it's really easy for us to see which bone is the bone we're going to be looking for is going to be IK bone to, which is this one here. Now, now what should happen now is when I grabbed this bone and I press G, you will see that all of this bone actually moves with it in a really nice, fluid, realistic way, which is what we're actually looking for. Now if you drop that down, just bring it back. It's Alt G, as we spoke about many times. Now you will notice those really, really jewelry at the moment and we don't want, but don't worry because we're actually going to fix that. So to fix that, what we're gonna do before we do anything else is we just going to add in another bone. Now, this cursor right at the moment is in the center. So if I come to Edit mode and then I just press Shift a and bring in another bone. I want everything basically to move from this bone. So I'm just going to make this one a little bit smaller. Then what I'm going to do is I'm going to grab this and I'm going to attach it to this. So I'm going to grab this one and this one, press Control P, and then I'm going to keep offset. Now if I go back to pose mode and I grabbed this bone here, well this one here. You can see now that as I move this, it's not flicking about everywhere. It's really, really smooth, and that is exactly what we want. Now this is also good because as all, if I press G and Z as our stone goes up and down, the actual chain will follow with our actual stones. So that makes it even easier now for us. So now let's come and do the same thing on the rest of these were in pose mode. We've got, we need to attach all of these first, I'm just gonna go back to Edit Mode. I'm going to grab this one, this one, this one, and then finally the center one. I want to press Control P and I'm going to keep offset like so. Then what I'm gonna do now is I'm going to make sure I think I've took the form off of all of those. I've disconnected all of those. So if I grab this one, just making sure if disconnected it, and now I can go into pose mode and do exactly the same thing for all of these. I've come to this one. I'm going to go now at a constraint inverse kinematics, the armature is going to be our chain armature and the bone on this one is going to be IK bone tree. Now if you're having trouble finding it because a lot of bones here just put an IK and then you'll see IK bone three. Now let's come to the next one, which is this one here. Same thing again, inverse kinematics are mature bone IK and because we've got names on you can see IK bone fall. And then finally, this one which is here. Same thing again. There we go. And now the IK bone one. So IK for an IK bone one, like so. Alright, so now when I grabbed this thing, the center bone, sorry, I should have all the control over all of these actual chains. Hopefully. Now, let's actually go in and actually wait these now so that we can actually turn our bones off now we don't need those on. We'll also do that. We'll go back to Edit Mode to actually do this. And then what I'll do is I'll just press Tab, go now to my viewport display, not on there. Where is it? Fine that then up the names like so. And now we need to do is wait all these and then bring our stone back, and then we can wait out with it as well. Alright, let's do that now. So the way we're going to weight these, first of all, I'm going to save that my work. The way we're going to weight these independently. So I'm gonna do is I'm going to grab my chain. Sorry, my bones grew up my chain. Sorry, that's the wrong way round. So I'm going to grab my chain, then my bones Control P. And we're going to do with automatic weights like so. And now you'll see happens is if I come back to my bones, put it back onto pose mode, grab this, this middle one, press the G born. You'll see now this chain moves really realistically. Now the reason I split these up into do them independently is because if I didn't do that, what would happen is that it will try and put weight onto each of these. So you might end up with this bone moving slightly as this chain moves. That's why we did it independently. So now let's come back to object mode. Like so grandma got my bones. I'm just wondering which one I actually did. Yeah. Let's go and check that again. I think I'm working. Yes, I am okay. Working this way, round object mode. There we go. Now let's grab this, grab this control P, wrong way round again. Let's grab this, grab this control P automatic weights. Let's work our way around now. So we'll grab our chain, Guevara, armature control P automatic ways. And now find, Let's come around and grab this one and this one, Control P, automatic weights like so. Now I'm hoping that these all go. Okay, so let's the moment of truth. Let's go to pose mode. We've got our middle one grabbed. And if I press G, There we go. There is our chain moving rarely, rarely nicely. Now of course it's not going to be moving, it's only going to be moving slightly because we don't actually want this chain to be stretched or anything like that. No bendy bones this time. Alright, now the final thing is we need to obviously bring in our stone now. So if I press object mode, press Alt H, bring everything back. I'm going to basically hide all of these except this stone. So I'm gonna hide these as well, Just this 1 st. And what I wanna do is I also want to have this weighted to my actual chain. So again, I'm going to grab this, I'm going to grab my chain. I think it's the right way round. Yes, it is. And we'll give it with empty groups. And the reason I'm giving it with them two groups is because I want this center bone to be the only one that has some weight bearing on this. In other words, I want to now go to my armature, come down to bones in front. And this one here, this one here, I want to be weighted to this. So what I'm gonna do is I'm gonna go into edit mode. I'm going to call them. Actually, I'll come to this and that'll make more sense. So this bone here, I will call this the root bone as well because that makes most sense. So if I come here, we'll call it the root bone. Like so. And then what we'll do now is we'll come to our stone. And then what we'll do is we're looking now for the root bone. So again, I think it's gonna be down the bottom. There it is. Let's see me. There it is the root bump. Alright, if I press Tab now, press a and then click Assign. I can also as well move this bone all the way down to the bone. It's going to make it much, much easier. If I do that, then I'll be able to find it like so. Now if I come in and I grab just this bone here, come to pose. So grab this bone by press G. Now, everything will move with this bone as you can see. Now, the moments of truth, all we need to do now is basically gets animated. So if I press Alt H when I've gone back to object mode. So now I'll teach, bring everything back. And now again, let's come back to pose mode. Like so. Let's go to layout so we can see what we're actually doing. Let's put this onto one, like so. And then we'll just zoom in a little bit again onto pose mode, like so. And then what we'll do is we'll start this on here. So I'm going to press I will do I think we'll just do location because we don't need to scale or anything like that. So just location. And then we'll do is we'll come to, Let's say 100. We'll do it over 200 frames. So come up, bring it all the way up there, like so. And then we'll press i location. And then all I'll do is I'll press Shift D and bring that over 200. Like so. I'm not sure. I'm going to zoom in a little bit. Yeah, it's I think it's on 200. Yes, it's onto wondered. Now, if I grab this Right-click interpolation, Let's put it on Bezier. Let's bring you over. Let's press the space bar. There we go. Realistic moving chains. Now the other thing you could do is you could pull these in. As this is moving. You just basically put a bone in here, attach them to the IK, then they would move in with it as well. But that's making it a little bit more complex. I'm quite happy with how this is working. It looks very realistic. And basically it's something that you should have in your own arsenal for when you want to animate. Not just to change. It could be ropes and things like that, which are notoriously hard to animate. Alright, so I'm gonna do is I'm going to save that out. And then what we're on to the next one is if I come down and close this up, just close this chain's off, and I open up our guy here. You can see that we finally that we're on now to the actual character walk cycle. So I'm just going to pull my materials, let the materials load up. And you can see that this, this one is out of the Unreal Engine. So, and you can see there we've got our little guy here. So this is the next one that we're going to do our walk cycle. So I hope you enjoyed that everyone, and I'll see you on the next one. Thanks a lot. Bye bye. 24. Character Rigging: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left it off. Now before we start off, I know that some of you might want to start on this part of the course from the get-go. And also, I recommend you to familiarize with all the stages first to get a better hang in animation, I'll make sure to walk you through this with a nice pace and all the information needed to understand more technical aspects of these lessons. So this is gonna be broken down basically into, first of all, Reagan or a little woman here. And then what we're going to do is we're actually going to do a walk cycle. So let's get started. The first thing you can see is that this woman is absolutely huge in comparison to our little guy over here. So we should actually make them much, much smaller. So I'm going to do is just press S, make it smaller. I'm going to try and get to be the right size. Now, if you're creating something like a stylized character, you might be able to get away with something. They cite, something like World of Warcraft for instance, the characters are like seven or 8 ft tall in reality. So you just have to take into account though, if you've taken this through two games engine or something like that, they're going to move much, much faster pace rarely. Plus if they are much, much larger, then the movements needs to be a lot more slower and a lot more deliberate. If you think of any movies you've seen when you're looking at giant things walking around, it's very slow. It's very deliberate, but they do walk a lot faster in comparison to an average size humans. So all these things need to take into account. So what I would recommend is, first of all, work out how tall your character is going to be actually based on your scene, all based on the games engineered, taking it into, is it going to be a giant? Is everything in the actual games engine that you actually creating the game for going to be much larger than in real life. This all needs to be taken into account. Plus not that as I said before, you take this in and it's not actually the proper size, then what will happen is it will cause problems a lot further down the line. A lot. Some people might have to scale your human or you humanoid that you're taking in there or your dog or whatever, you'll have to be re-scaled. That will then will cause problems with the animation, problems with the games engine or something like that. So always bad, first of all, to get the scale correct. So the first thing I'm going to do is now I've got it here. I'm just going to make it a little bit smaller. Like so. And you can see it's round about the right size. Now, this OBJ human here is 1.8 m tall, which is around the average height for a human. So this lady robot on the left-hand side, being a little bit taller, won't actually make any difference really. Alright, so once we've done that, I'm actually going to put it in the center then like so then I'm going to actually delete my human. Now I don't want if I want delete them, I'll just hide him out of the way. I don't need them anymore. Then I'm just going to hide out this and this. And then I'm going to grab it. And what I'm going to do just to make this a little bit easier. I've called it called the robot undo. It was going to be a male robot from the film. The film is called now while it was about a robot, but anyway, let's just call her Andrew. So let's pray over it down at the bottom. So I'm just going to drag it all the way down to Obama thinks she's gone into my actual camera. So I'm going to take her out there and put her down at the bottom if I can. There we go. Alright, so now she's out of there, which means then I can control up turning on and off. If I need to see bones or anything like that. The third thing then we're to do is I'm going to put my cursor to the center. So Shift S because it's a world origin. And then I'm going to press on my robot Shift S selection to keep offset. And then we're going to do is I'm just now going to polar up. This is going to make it easy because when creating bones and things like that, we want to be able to mirror it from, from one side to the other, that, that makes it much easier to actually work with rather than create every single bone ourselves. Alright, so the first thing then we're going to do is we're going to pull in our first bone. I'm going to do is I'm just going to press Shift S. Now we're going to have shift us because it's selected which is put my cursor right where orientation is. Now I recommend when you're starting to put the bones in, always start down here just where the hips are as you can see, because then that's a great start for going upwards and then you can work off that coming down to the legs. So now we're gonna do is we're just going to press Shift a and we're going to bring in a armature. And I'm actually going to make it smaller festival, bring it in like so. And I'm also going to turn on names and I'm also going to put it in front on this one just so we can actually get an idea of where they actual bones off. Now the other thing you can see, it's slightly, slightly above where the hips are. I want it realistically to be around this hip joint, which is going to be where this blue line is. So I'm just going to pull it down just a tad, like so. Alright, so the other thing is you might actually want to change your bones to be, be bones or something like that. It might actually make it a little bit easier to work with. I'm going to make it a tiny bit smaller, like so. Okay. Now before we carry on, Let's come over and rename it. So we'll call it a robot rig or something like that. And then that makes sure then as we spoke about, if it's being sent through to Unreal Engine or something like that, then it's not going to cause issues. Because if we don't rename the armature, sometimes it causes issues. The other thing I should point out here is we're only going to do the main rig. The hands and things like that we're not actually going to do. We're not going to create a very complex rig here. This is all about giving you the basics to actually create your own rigs. That happens pretty much are going to be using the same techniques as what you're going to learn throughout rigging this actual characters. So just bear that in mind. Now for me, I do actually always liked working on octahedral bones. And the reason is because I like seeing where this bone gets thinner at the top. It gives me a good visual, for instance, of which way this bone is actually pointing to. I'm going to do now is I'm going to grab the top of this bone. I'm going to pull it down to the actual bottom of here. And then we're going to do now is enjoys going to lift it up. Like so something something like this. I'm also obviously keeping in mind. I really don't want to twist my bones or anything. I want to keep it as straight as possible. And that is why I'm working on number one on the number pad, which is the front view. The next thing you wanna do before moving forward as if you press three on the number pad, you can come to the side. And what you wanna do is really, you want to align this up so you want to line it up just a little bit back, just so it's kind of going up this way. We don't want too much bend in it, so we don't want to have it light coming down or anything like that. We want it to be relatively straight. And the main reason for that is one, it's easier to animate. And two, it's easier than for Blender when we come to automatic waiting. Actually wait it onto this actual mesh. So the next one I'm going to do is if I come around to this side, press one again, I'm going to come down to the bottom now. And what we're going to do is I'm going to extrude out another bone. This bone is going to be sort of like the main controller of the, of the whole rig. So you will see sometimes you have rag dolls, for instance, when you're moving them around and all the actual robots moving with it, that is what this bone is going to be. It's basically it's like the root bone but not quite the root bound the root bone really should be done. The Bumble would discuss that as we go a little bit more into it. So if I now press E for Extrude, I'm going to pull it up. So I'm going to press the zed to actually tie it to the actual axis. And I'm going to pour it joules there like so. Joseph below it, like so. Now that you've still got this bone, the best thing you can do now is bring in another bone. So I'm going to do is I'm going to, I'm going to actually pull it up just so it's worthy. Actual belly button is around here and then I'm going to extrude it up. So E again, and this time I'm going to pull it up to roundabout the chest area. And then finally I'm going to pull the next one on Jaws below the neck here. So basically tying into where the actual shoulders will come. This is basically the same rig you'll be doing, no matter what kind of humanoids you're going to be animating. If you keep these points in mind, then you should be absolutely fine. So again, if I press now E and Z and pull it up yours to where the shoulders are coming around here. We might move these down as we work on or something like that, but that looks, that looks fine for now. So now let's extrude it up for the next. So if I press three, go to the side view, you can see them a little bit out of the month. I went to fix all these in a minute. So I'm going to press E and Z. I'm going to pull it up to where Joel's below where the head is, and then eat and zed and pull it up all the way. So this now is the actual head bone. Now I'm gonna do is I'm going to grab this one first and I'm going to start pulling these bank like so. And you can see, it's a nice move on here, and it's actually following the actual contours of this actual robot. So you can see now, when we straighten that up, it's nice and smooth. It's not actually jogging, and that is exactly what we want. Now honestly, I recommend you really take your time when you actually doing this because if not and you just try and rush it as something, you're going to make mistakes and it's not gonna be in the right place, which is going to cause you a lot of problems server down the line. So this part of actually creating our rig is the most important part because that is where everything kinda feeds off. Now let's think about our actual shoulder bone. So I'm going to do is in front view, I'm going to press Shift and right-click. And I want it to be round about here because this is going to be the shoulder bone. So I want it basically coming from here up to here. So if I shift right-click here and then what I should do is press Shift a, bringing the new bone. I'm going to grab the top of this bone. So grab the top. And then what I'm going to do is move it round to my actual shoulder, something like that. I'm probably going to pull it back a little bit as well. Now I'm going to check on three. So sideview whereabouts, this is in real time. I'm going to actually move it back a little bit like so, and then move this point back like so. And now you can see that's fit in really, really nicely in there. Now what you wanna do is you want to actually extrude this out. So we're trying to extrude this out all the way down to the elbow. Now the thing is, a lot of times you will actually have a character that comes in a T-Pose. I'll put down the bottom right-hand side here, what a T-Pose is. But honestly, when we're actually creating characters, if you're a beginner, it's quite hard to actually create that T-pose. So you probably more than likely going to get a character that comes in like this. So as long as it's got its arms out and not actually stuck at the side or anything, All right, above it said or any kind of weird pose or anything or disarms different from the other side, you should be okay as a beginner, actually pointed rig on this, you can basically rig anything but you need a lot more experience if you were against something along those lines. So now let's press one again. Among going to do is I'm going to press E and I'm going to drag this out. Now you can see it's actually twisting at the moment. So what I tend to do is I want to lock it first of all to the actual x axis. So bring it to here, and then I will pull it down like so. This means that we've got no role on the actual bone. Because if you have that, it's going to cause you problems in the long run. Now let's go to three again. Just make sure that this is where I actually wanted it to be. So you can see the elbow is coming round about here. Let's press one again. And I think in Let's go behind as well. So control one that then is fitting the elbow perfectly as you can see. So if we take a look around now we're actually down to the elbow. We've got actually all the chest, the stomach, the head, everything else done, and we're only going to rig one side of it, as I said, and then we're going to mirror it over the other side. I'm going to show you exactly how to do that. And then a bit later on we're going to put in IKEA's, and we're also going to put in polls as well. Which means that the elbows and the knees and things like that follow a certain direction because you don't want your bones actually spinning in a weird way or anything like that, but that's for a little bit later on. All right, everyone. So I hope you enjoyed that. I'm actually going to save this out like so, and I'll see you on the next one. Thanks a lot. Bye bye. 25. Naming Bones for 3D Rig: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left off. So let's now carry on down our actual arm. And now what we're gonna do is we're actually going to extrude it out a little bit. And what we want to do this next bone is you want to come to the wrist. Now, even if you're rigging hands and things like that, you still want to have a wrist bone. So I'm going to do again, I'm going to go into front view. I'm going to pull this out, then I'm going to pull it this time on the z-axis. So eat and z again to stop this bone actually rolling. And then what I'm going to do is I'm going to pull it across and Pull it first of all in front view to my actual wrist, which is around this point here. And then one wins do is I'm gonna go into three. So side view. And then we're going to pull this now to the actual wrist as you can see. So now it should be something like that. Then what we're going to do finally is we're going to pull 1 mol bone out to the actual hand. Now the thing is, when you're doing hands like this and you're not actually, let's say that he's got no fingers or anything, or he has got fingers, but you still want to actually just use one bone in it. You might actually end up with some issues which we'll cover a little bit later on if we do have those issues where it doesn't actually weight correctly. And this is because obviously we've got a thumb out here. So when I recommend when you bring this next bone in, like put it along this finger here. So it's halfway between the thumb and the little thing I'm gonna do is I'm gonna press one. I'm going to press E and zed, pull it out. Like so I'm going to pull it into place and I'm going to press 32, go to side view. I'm going to pour it around this finger, something like that. And I think that's actually probably going to work for us and get most of this actually weighted. Alright, so you should end up with something like that. That's looking pretty nice. So now let's come in and actually do our hips. So what I'm going to do is I'm going to grab around my hip here, which is going to be around here. I want to press Shift and right-click bringing my cursor. I'm going to press Shift a and bring in another bone. And then what I'm going to do is I'm going to pull this all the way down with a little blue Zed. Gizmo, pull it all the way down and we're gonna go to, is nice. So somewhere around there. Then I'm going to go into side view again. I'm going to pull all of this back pretty much into the hip and then pull this one back into the knee. Basically, when you placed in these bones, wherever you weights in it, you don't want it to be out here. Because what you're gonna do is you're gonna end up losing some of the weights. So it's going to be really read around here and as it goes back, it's gonna be kinda blue. We want to give blender a real good accuracy on where we're actually waiting there. So now if I press one, we can see probably move it a little bit over, get it right in the center of that kneecap there. Alright, so the other thing is when you've got to think about this as well, is that the kneecap where this is going to be a bright red strip over here. And as it gets further up to each parts of these is going to get more green while it's gonna be yellow and get more green and then finally more blue as there's less weight applied to that part of the rig. In other words, you don't want this part of the actual rig, this on the thigh bending when the needles that's just not natural. So that's what you're trying to avoid. So now let's actually bring this bone down. And what we're gonna do is we're going to bring it down to basically the heel and then create the fault. So we're going to press E and Z, bring it down, pull it across a little bit like so three to go into side view. I'm going to pull it back just a little bit like so. And then one way to do now is press E and pull it along this side. So if I press Y, I can pull it along, something like that and then pull it down just to the bottom of his foot. So you should end up pretty much with something like this. We know bones really bent or anything. They're all facing the correct way. So because we've actually been doing it on front view and been using the gizmo properly. It means that this now is pretty much rigged the best we could possibly do it. Now one thing I'm going to do actually, I'm just gonna go over the top and I just want to pull this out a little bit, out a little bit. Just so it's following that for a little bit better. I'm going to jump into three and just make sure I'm happy with where it is. So it's following this line. Alright, so yeah, I'm happy with that. Alright, so now it's time to actually name our bones. Let's go down the center first. So I'm going to come to the top bone. I'm gonna go over to the right-hand side when my bones are. And we can also as well press F2. So don't forget that you can even name them over here. All press F2. If you press F2, will call this head. And remember always ports on bone after it. And the reason is because obviously because if I'm searching for it, I want to be able to see where my bones are through all of this here. It's a lot of the parts in here now. So head bone, press the Enter button. Okay, and let's click on the next one and we'll call this neck bone. So Nick bone. So let's come to the chest bone now. Chest bone. Then we'll have let's call it stomach. You can call it whatever you want as long as you'll see in a minute when we do the actual arm bones in the leg bones, they have to be named in a certain way. I think of spelt stomach. I'm not sure if that's correct. Now, the one you want to name here is this one here, not the downward one. And this one we're going to call hip bone. Thanks. So now with the actual arm and leg bones, what we wanna do is you first of all want to come to this one. We'll call this the thigh bone. So I'm going to call it thigh bone. But what we want to do on the end of it is put dots because we're frontward facing. And this is the Burroughs, this is the right side. So it doesn't really matter if you name it.org or dot L. It doesn't really matter because what Blender will do is it will put it over the other side with dot L, or obviously the opposite to what you actually put that. I'm going to have it as thighbone dot all I'm going to come to the shin bone. So I'll call it shin bone dot. And then I'll come to the foot bone. So I'll call it fought bone. Dots are and then find them. We're gonna do the right hand side now so we'll come to the shoulder bone. So shoulder bone, the odds are and then we'll come to and make sure you capitalize it as well, because then it will capitalize on the other side. Then we'll come to the upper arm. So upper own dots are, and then we'll come to the lower arm. So lower bone got R. And then finally the hand, hand Bone got off like so. Alright, so now we should be able to see that everything is named except this middle bone here. So now we're gonna do, is going to add in some constraints. And we're going to do this now because then when we actually mirror this over the other side, it means that we can actually mirror these as well. So what I'm gonna do is I'm going to come down to the bottom bone. I'm going to grab this large one here, as you can see, I want to press three and then Walgreens do is going to extrude it out along, I think it's the y. So along the y axis like so. Now while we're inside view, what we wanna do is we want to actually bring in another bone. This bone wants to be level with the actual knee. So you can see on NI here, if we come across here, what we wanna do is we want to shift right-click and put the cursor there. And then what I'm going to do is I'm going to press Shift a. And what that's gonna do is bring in another bone. Now I'm going to pull this bone down and have it pointing this way, like so. It doesn't need to be straight or anything like that. I want to make it a little bit smaller. And the reason what we use in this bowl is basically to make sure that this knee lines up perfectly with this pole bone. So in other words, it's always going to be facing that way. If you don't actually put these bones in when you come to move your leg or something like that, you'll end up with unique camps pointing outwards or something, or inwards. And it will just look really weird as he walks along. This actually just make sure that everything is pointing in the correct way. Which means that when you do your walk cycle is going to be a lot easier to actually do that. So what I'm gonna do is I'm just going to grab this bone with L and I'm just going to move it across a little bit like so making it in line with that knee. Now we're gonna do is we're gonna do the same thing for the elbow. So if I press 32, go into side view. And then what I'm going to do is I'm going to come behind it this time, overhear something like that. Shift right-click and then Shift a, and then I'm going to bring in this bone like so bring it down. Again. It doesn't need to be level or anything like that. I'm just going to make it run about the same size as the bone, like so. Alright, so now I'm gonna do is I'm going to press Control three. Sorry, three. Not three, control one. And then there we go. Now we can go behind it. And I'm going to do is I'm going to align this up now with my actual elbow, like so. And now that means that when he walks along, this will actually, while his elbow will be pointing at this at all times again, so we don't end up with his arms crossing over m or something or his hands flailing out like that. That's the reason why I put it in these in, It's basically to show that these two connecting bones here always follow this elbow bone. Not want to do is actually make a new hand bones. So I'm going to do is I'm going to grab this bone here. I'm going to press Shift D. And you'll notice when I've actually done that, it will have a line pointing to it because this means that this one is connected as well. I want to right-click to drop it back into place. And then all I'm gonna do is I'm going to scale this up so I can't scale it up at the moment as you can see. So I'm just going to press S and just scale it up just so it's actually a little bit bigger than the actual bone that we already created. It's going to be in exactly the same place. Now while we've got this bone here, let's come in and name it. So what I'm going to do is I'm going to call it hand dots. Right? Dots and control. Like so. Didn't put a dot there. So I need to make sure that is dot like. So. Now let's come in and name all the control so you can see it's got two shin bone, so let's call it let's see what our ohms, sorry, this hand control. So we'll call it a leg dot, right? Control. Like so. And then we'll also come in a name there. So we'll call this knee. Alright. Don't write like so. And then we'll call this one elbow pole. Elbow, pull. Don't write like so. All right. I'm just going to make sure that they the same. So elbow, knee, poll, leg, right control and this hand control. Alright. So we're pretty much done now with the actual rig. The only thing left to do now is actually bringing a main control button, which is going to be basically our root bone. So what we'll do is we'll come on, put the cursor in the center. So Shift S because it's a world origin shift a and we'll bring in a, another bone. And then I'm just going to pull this back a little bit. Like so. I'm going to press 32, go inside view. I'm going to pull it back and then just lift it up just so it's along that line there. And this one we're going to call it root bone, like soap. Alright, so now we're, as I said, we're pretty much done with the actual rig. We've got everything in there that we're going to need. We just need to put it onto the left-hand side. So what we'll do then is on the next lesson we'll start parenting these bones up now before moving them over to the left-hand side. For instance, they all have to be parented up because if you move the root ball and everything's not parents adult, you're going to be moving it and you're going to leave the pole bones behind and things like that. So that's really important. All right, everyone. So I hope you enjoyed this. I hope you learned a lot and I'll see you on the next one. Thanks a lot. Bye bye. 26. Creating IK Controls for 3D Character: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left it off. Alright, so now let's actually parents this one up. So I'm going to do is I'm going to grab my elbow, pull bone, I'm going to grab my shoulder bone and one wins do is I'm going to press Control P and I'm going to keep offset. And you should get that little two dots. They're actually go into there, which means it's now connected. Which means that when I move my route bone, this is going to move with the shoulder bone and everything. Of course, he's going to move with the root bone. That's exactly what we're trying to get to. Now let's grab all actual knee bone. And then what I'm going to do is I'm going to grab the right controller here. Again, I'm going to press Control P and we're going to keep offset and then the little dotted line there should appear. Now let's come into the main bone that we saw, the first bone that we're actually start to web. So it should be the one pointing down. And what we're going to call this is torso control. So torso control, like so we don't need to put it right on there because we've only got one right in the center, so we don't need to worry about that like the rest of them. Now we need to do is we need to grab the hipbone and we need to grab the stomach bone. So this one here, if I click on this or the hips bone, sorry. So we've got all the thigh and the hips bone and then we need to press Control P, We're going to keep offset. So again, we've got that little dotted line. Now let's grab our shoulder and we just need to attach this to the actual chest bone. So I'm going to grab shoulder, chest control P and keep offset. And finally now we need a way to attach all the bones to everything else. So now let's grab the three control bones. So we've got our leg, we've got our elbow. We've also got our wears it, not the elbow, so we've got our leg. We've got our hand, though, this one here, 0 handwrite control. And we've also got this main one here, which is our torso controlled. Then what we're gonna do is we're going to grab the root bone down here. Like so, press Control P, We're going to keep offset. So you should end up with something like this. I think now if I, if I pull this out, you can see where they're actually connected. So just make sure yours are all connected to that bone like so. Now it's time to actually bring in our IK bones. And again, the reason we're doing this first is because of the fact that when we actually obviously duplicate over the other side of merit, we want to have all of our IK is already in because then it'll speed up your workflow. So you're not creating to IKEA's. Well, actually for IKEA's. And this then is just going to make it much, much easier. So what I wanna do is I want to grab this shin bone here. And then when they come over to the right-hand side and we're going to go to bone constraints, which is add up Object Constraint. And it's not over here because I need to be imposed mode. So let's go into pose mode first. So pose mode, and there we go. Now we've got add bone constraint, not object constraint. So let's come in and add in an inverse kinematic like so. And the target, of course, he's going to be our actual rig. So anywhere on your robot you should be able to see it says robot rig like so. Now the controller for this, so the bone folder, this is going to be this leg, right controllers. So I can click on here. I can put in leg. And then what will happen is you can see leg, right controllers. So this one here like so. I'm just making sure that's the right one because they are when two different ways. Hello. Yeah, it should be this leg right, controller. So just make sure yours is like bright controller. Now we're gonna do is we're going to change the chain length to two, because basically we're going to class this as one and then this is two. So don't forget, this is always going to be the first one. We've got 1.2 because we want this to control the actual shin bone and the thigh bone. So if you put this now on one and then click it again, you should have to. And you can see now that there's a little line going up there and it's actually touching that actual bone up there. Now what we have to do is we need to tell this inverse kinematic that we also want on there, a poll targets. So the pole target again is going to be our actual robot rig. And then the bone is going to be this one which we put here, which is the knee poll, so ni, so K and E Ni pole, right. There you go. You can see it actually moves it out a little bit, and that's actually fine. Now you can see that at the moment now that this is facing the wrong way. So you can see what's happened. Is this, putting this to this poll as twisted this around. So you can see that this fault, we no longer have a foot bone. So we need to turn this around by 180, 180 degrees. And now you can see that that's now facing the correct way. It always happens when you bring in a poll. It will always spin it around in some weird way. But as long as you've put your bones relatively straight, it should be just an even number. So 9,080, something like that. So now that should be absolutely fine. You'll find that's mostly the case. Every time you build a rig, every time you use a pole, you'll always have to twist it around in some way. So now why have we gone to the trouble of doing all that? Well, the thing is if I now grab this bone and I bring this up. You can see that now is facing, is facing the wrong way. So I actually need to rotate this around. So you can see it's actually moving multiple bones. But the problem I have is that this bone, for instance, is facing the wrong way now. So how do we actually fix that? Because I mean, at the moment the leg can't really move this way. So the first thing I'm going to do if you come across this problem, I'm glad actually it's happened because it means that I've come across a problem which you might come across, which means I can show you a fix for it. So the first thing you wanna do is look at the side of your leg. Now normally you can see that this as it comes down here, is actually going slightly in, which means that blender is thinking that this is going inwards or not outward. So in other words, we need to make these bones a lot more obvious that the kneecap is actually on the frontier. So let's now come in and actually fix that. So first of all, I'm going to take off the inverse kinematics, so remove that completely. Then I'm going to go to object mode, sorry, Edit mode. And then one way to do is move these bones around. I'm going to grab this bone first one and press three on the number pad and make them a lot more obvious. So I'm going to grab the top of here to where they're actually going to go. So I'm actually thinking of moving. I'm gonna hide this bone out of the way when I grab it, press H, and then I'm going to grab all three of these bones a moment under his jaws, pull them back just a little bit. Now you can see that is a lot more obvious. I'm going to pull it back just a ton because I don't actually want it interacting with I want it actually to wait on the back of this, so I don't want you going back to fall. Alright, so I think that now looks bad. It's a lot more obvious that this is the actual desired way it's going to go. And now I'm going to do is I'm going to press Tab, I'm going to press Control a, all transforms. Not then he's going to put my cursor right in the center. Now let's give that a try. So I'm gonna do is I'm going to come to this bone. I want to go to my pose mode first. So pose mode, I'm then going to come to a bone constraints, inverse kinematics. Let's pick the target is again the rig. Let's pick the bone as the leg, our control, so we'll put in control. And then the one we're looking for is this one leg right control. And then what we're gonna do is we're going to put the chain length up to two. Pole target is going to be the rig. And finally then the bone of the target is going to be that knee poll. So ni, poll, right? And there we go. Now let's now spin this around. So I'm gonna go to pole angle, turn this around to 180, and now I'm going to grab this leg, and there we go. Now it's actually fixed. So that is how you fix it if you're going to come across a problem like this. So now you can see if I pull this up and move this, let's say out to here, you can see how perfectly now that leg is actually moving. Alright, so I'm going to do is I'm going to press Alt and G just to put it back there. And then that is the end for this one on the next one, then we need to do the same thing with the actual elbow. So we need another IK in there. Alright everyone, so I hope you enjoyed it. I hope that you learned a lot and actually found now to troubleshoot things with rigs just in case you come across those problems. And I hope that you understand now how to actually fix them. All right, everyone, So hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 27. Mirror 3D Rigged Character Controls: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left off. So now what we need to do is we need to do this with the actual arm bone. And luckily for us because our arm bone isn't straight, it's really obvious where the elbow is. It's really obvious which way the arm turns. We shouldn't actually have the same problem on here, fingers crossed, but we might. So let's just say we're in pose mode. We're going to go down to click on our arm. And then what we're gonna do is we're going to come down and add bunk constraint and know the inverse kinematic like so. So the target is going to be, of course, the rig again. So I'm going to grab my rig. The bone is going to be the hand controllers. So if I put in hand, we've got one that says hand, right control. The poll target is going to be again the rig and then the actual bone is going to be the elbow. All right. Like so. Now you can see that we do have a few problems in that it's moved everything and we really don't want that. So again, we want to put the chain length iterations up. Now let's turn it up to two, like so. And now we can see that we do have a little bit of a problem. First of all though, let's see if this hand actually moves. So you can see all of the actual arm moves correctly. The only problem we've got is the elbow is not in line, so this elbow is not in line. So let's come back to it. Again. It means we're going to have to mess around with the actual poll. So I'm going to do is I'm gonna put it at -90, as I can see that just pulled it back. And now if I actually move this, it should move correctly. So no matter where I move this, you can see the elbow is following the actual poll targets, so that now is working absolutely fine. Now again, if you do have problems, just go and do the troubleshooting that we did with the actual knee just to make sure that your elbow is moving in the correct place. Alright, so I'm really, really happy with how this rig is now. Now the moment all hand. So our hand bone in here is not actually moving as well. So the problem will have is as we let say rotate this bone. The actual hand bone in there is not actually going to rotate, so we need to actually fix that. So what we're gonna do is we're going to come in, we're going to grab this bone on the inside. So I've just hit that one out of the way. And then one went to do is I'm going to add in another constraint. And this time it's going to be copied rotation. So we're going to go copy rotation. The target of course, is going to always be the actual rig. And the actual bone we want to copy is going to be the hand. Bones control like soap. So now when I move that the, rotate it, this hand is actually going to rotate as well. And we can test that out by pressing Alt H now. And when I rotate this, we shouldn't actually see anything because that bone behind that is also rotating. Now, the easiest way just to see this in action as if you press that, go into Wireframe, grab this bone now you will see as I rotate it, this actual hand bone rotates with it. Alright, let's go back to Solid mode. And now let's think about putting this over the other side. Now before we actually move this over the other side, we can actually give this a quick test. So if we come into this main bone here, you will see that as which one is it? This one here. You will see that as I move this bone now, this tall so bone, you'll see that the whole rig moves pretty much with it, so it can actually jump up and down. The hands are moving up and down and everything like that. The problem we have is if I rotate this, so if I rotate this on the x, you will see that all of this rig is actually moving with it. And that's not particularly what I want to do. I want sometimes the hips to move and not the actual chest. I want it to move, in other words, in a more realistic fashion. So what do we mean by that? Well, when I actually press Alt and actually can see how it's all kind of bending forward. And if you think about when you move your hips, you want to be able to keep your chest in line so perpendicular, straight down without bending your hips and your actual chest bending with it, we need a little bit more movement in the way that we're gonna do is we're going to click on our chest. We're going to come over to this little bone icon over here, and we're going to open up relations. You just going to turn off inherit rotation. Now if you come back to your torso bone and you press an axial, see now it's actually moving in a lot more of a realistic fashion. So now you'll see that as well. We have the same problem for the actual chest, which if we press all in x now you'll see that all of the rig actually moves, the head moves forwards and backwards. And again, it's not realistic. So what we're gonna do is we're going to come to the neck. We're going to come over and turn off inherit rotation. And now when I get my chest and rotate it, you will see that we get a lot more realistic movement on the actual head. The head stays exactly facing forward, which is exactly what we want. So now we can see that if we grab our center part, everything is moving as realistic as possible with this rig. If I press R and X now, you will see the head stays fold, the chest pulls out and it moves just him in a much more lifelike way. Alright, so we're happy with that. So now let's move on. Now. The other thing that you might wanna do peer rig is if we come to this Bombay here and you press Alt and why you can see at the moment as we bend this. This part here, the stomach part, if we bend this the other way. So if I press R and X Men it forward, it might need a little bit more of a bend to it. So what we can do to actually fix that is we can come over to our little running man here, put this onto B bones, and then what you can do is you can come into this bone, go over to the right-hand side and you'll see that you've got one called bendy bones. And if I turn this up or down, you will see now that because we've got that on, if I rotate this now, can you see how much Ben That's actually got now in it? Anywhere we want a little bit more bend. You might actually want to put that in another words, if I should just show you this now you can see how much that is actually bending and it's bending a lot more lifelike wave. For instance, if you look at your neck, it has maybe like a few bones in there which enables it to scrunch around and things like that. With this rig though at the moment, it's only actually got one bone in there which is kind of limiting it in some way. So just bear that in mind if you actually want to actually do that for me, I'm going to put this back onto my octahedral bones. I think I'm happy with that. And you'll see now because of where it back on there, that we still got the same kind of bend in there. Alright, so that's covered pretty much most of the problems you have with a rig. Most of the things that you might actually want to change to make it better and things like that. I think at this point, if you really want to take this rig a little bit further, print hand bones in or putting more foot bones and things like that, then you're able to do that. Now, the last thing we wanna do is if we come back to this bottom one on here and I bring this up, if I rotate this, so let's say I put this here and I want to rotate my fault, then I want to do everything from this point. So you can see if I press Alt and x and rotate this, I'm actually just rotating this. I'm not actually rotating the fourth. Now, if I actually copied the rotation on this one of this, that means then easier than to move the fault. So if I put this back to where it was with Alt G, What I wanna do is I want to again hide this one out of the way, Come to my fault. And I'm going to bring in a, another bone constraint. And this time it's going to be, again the copy rotation, same as we did with the actual hand. So now I want to copy the rotation of this lake control. So my target is going to be the rig and the bone is going to be the control. So five-point in control here, leg, right control. And of course it's going to spin it around the wrong way, exactly the same problem we had before, but we need to fix this in a different way this time. Now we need to do is just change the target to local space with parents on both of these. So local space with parents. And now when I actually bring this in, so if I press Shift Spacebar, bringing my Move Gizmo and alpha, bring this up, bring it out. And now when I rotate this so all an x, you can see that the fault moves with it and the knee more importantly moves with it. So if I'm pointing my leg down, you will see as you push your foot down, unique kind of tries to push out a little bit. And that is exactly what we're trying to get here. Alright, so Alt or Alt G, Let's put it back into place now before we pour it over the other side. Now, all we wanna do is we want to come in and change all of these bones. So the main bones, which are the control bones, the root bones, things like that, and change them to undeformed. Well, takeoff deform because we don't actually want those waiting with the rig and we also don't want those bones actually doing anything with the rig. So in other words, we want to move this controller here and only move these bones. We don't actually want to have it having read weight on it or anything like that. So what I'm gonna do is I'm going to come to this first control. I'm going to go over to the right-hand side and you will see if we scroll down here, we've got one that says deformed and we just want to take that off. We want to tick off of basically all of these. So this one, this one, this one here. And also not forgetting the hand. So turn it off. I think that's all we missed. One here, which is this one here. Tick off deform. So I've got that one. No deform node form. This one, nobody phone. Alright, that's pretty much the check of everything that we need to go through. Now. Now we're going to do just before we actually put it onto the other side. Is it so important that you make sure that this all is at the end? So if I come to this now, I go to my bone where I'm naming it and I just change this now to all uncontrolled dot, right? Because if we don't do that, what's going to happen is that this then will not actually be duplicated over the other side. So just make sure that this all is not in the center. So you can see it's in here again. So let's just delete that out of the way. And then there's polka dots are like so. And now pretty much we're ready to put it over the other side. I'm just making sure that all the R's are on the correct side going down the mall. They're not actually there. Alright, so now let's go into edit mode. So go, go into edit mode. I'm going to press one on the number pad. And then all I'm going to do is and when should you use the circle select. So I'm going to press C and come over and grab all of the ones on the right-hand side. So now I'm going to just go around making sure I've grabbed them all like so. And then one Wednesdays I'm gonna press N comb-over to where it says Tools. He shall have a new taller open here, click on the X axis mirror, and then all you're going to do is right-click symmetrized. And that then is just going to put them over the other side. Now, you just need to make sure that all of the bones now so you can see there's two bones in here. They've all gone over it like so. And then the next thing you just want to make sure is that they all are working correctly. So I've just put it in pose mode and then just grab this leg so you can see that one's working correctly. All the mesh is actually moving. The actual knee control, for instance, is working correctly. Let's go to the hand and make sure that's working correctly. So you can see that that's working. You can see as well that you can control this as well. Let's have a look at the elbow. And there we go, pretty much everything. I'm just going to check this as well just to make sure that everything's working. And now let's bend this ECS and I'm only doing this check just to make sure that everything works as intended before actually wait this open, I think. Yeah, that is a really, really nice rig now. Alright, so now we've actually done the actual rig. What I'm gonna do is I'm going to come over to the right-hand side. And I'm going to where is it, this one here? I'm going to turn off the names because it's getting a bit confusing with all those names. So you rig, if I double tap the a, should look something like this. So now let's go to object mode. There we go. Now let's think about weighting this to our actual mesh. Now think as the time is getting hot in here, it's probably better off that we do that on the next lesson. So at the end of this lesson now you should end up with pretty much the rig dawn and just waiting to be weighted to the actual robot here. Alright everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 28. Weighting 3D Character: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. So now let's think about weighting or actual mesh. So I'm going to do is I'm gonna grab my actual rig. I want to grab my woman and press Control P, and that's not the right way around. I'm going to grab my lady robot, grabbed my rig, Control P and with automatic weights and let blend to think about it. And hey presto now with the magic should have happened. So what we're gonna do now is go to object mode, put it on pause mode, and hopefully, hopefully everything should move really nicely now. So if I press G, we can say we have a fully hopefully working mesh. Now you want to move them both at the same time. You can just put X axis on, grab the hands for instance. And there we go. We can make a fly or whatever. Now let's check the other things that we're looking at these pole points to see how the shoulder joint is moving. You can see that you'd never move the shoulder this much by the way, it wouldn't actually be like that. You are going to get some stretching. And the reason the stretching happens if I come now to object mode and I go back to my rig, you can see that the higher or more dense the actual mesh is, the better probably it's going to move. Now you can see as well that the way this mesh is Bill, It's got a lot of vertices and edges in the actual joints, which is really important. Now if this had a few more of these coming out here, you're probably not gonna get quite so much stretching. The other thing is as well that you need to take into account. Let me just grab my bones is the fact that the more bones you have, the better the rig is probably going to move as well. This is why when you look at Disney characters and you look at their rigs, they're extremely complex. Some of their rigs have like 100 bones in their face, for instance, just for all those tiny and muscles moving and things like that. You'll also see this if you look at the rigs from the film for World of Warcraft, you'll see exactly the same thing. These very, very complex rigs and then make them muscle actually move underneath the skin and things like that, really, really complex stuff, but we're just doing back in the real-world, we're just doing a basic rig. So now let's make sure all the legs move in the correct way which they should do. So there's no problem there. Let's make sure the head, so if I rotate the head, for instance, moving in a realistic way, Let's make sure as well that the torso or the hips is also moving. You can see now she's moving in a very realistic way, then that's exactly what we want really. The other thing is as well, you can see if she jumps now, you can see she also moves in a realistic way and that's exactly what you want. So everything now is moving will check one more thing as well. If I move this torso now, yes, you can see how she moves backwards and forwards now, again, in a realistic way. So that rig is basically perfect, Really good, really, really simple, basic Rick. Now the next thing we want to do then is actually do a very simple walk cycle. Because what's the point in having a rig? If you don't know how to do a walk cycle. Now you will find online a ton of them walk cycle references and things like that. I actually believe the very, very hard to actually follow along those actual walk cycle. So in other words, you'll get your reference out and you'll move her along and then try and actually copy the reference and move in-between them. It's really, really complex. So we're not gonna do that. What we're first of all gonna do, we're gonna go on to layout. We're going to zoom into our little robot. We're going to take this off and put it on object mode because we really don't need to see what she actually looks like. I should move along. You might as well see that once you've actually done the actual walk cycle. And then what we're gonna do is we're going to put the star on zero. Sorry I'm one. Then we're going to put the end on 32, walk cycle based from frame one to 32. Well, the interesting thing is that we now actually going to make the first actual keyframes on frame one. What we're gonna do is we're going to put it on to frame zero and make the first keyframe on frame zero. This is because it will then start on frame one go-to, to start on frame one again. And it's a much more fluid walk cycle as you'll see once we've, once we've got it actually working. Now the next thing to discuss is the fact that we don't actually need to stay all these bones actually when we're actually doing the walk cycle because what it does is it just complicates it. It makes it a lot more things to see on the screen. So what I'm going to do is actually, I'm going to actually go into pose mode and I'm going to hide most of these bones and when to leave the head bone just in case you want to turn her head, ash is actually walk in, but for me, I'm going to hide. So I'm just grabbing these bones and Haydn them all. You only really want one of these bones down here. You don't actually want them both because you'll see I can rotate and now from this bone here, which is perfectly fine. Now the other thing is, do want to keep these bones here, but, uh, certainly don't need the arm bone, so I can actually hide those out of the way as well. And I can also hide the thigh and the shin bone out of the way as well. The one bone I do want to keep here is this one here, the root bone. And that is because I might need to move up and down. So I think pretty much with these bones I've got here, I can actually work with this, apart from these ones on the inside. Let's hide those as well. I'm just going into the inside hiding those hand bones because the hands basically it can be removed from here anyway. So in other words, if I'm rotating them, I can move them from here. Now the other thing is you will see that if I come in and I press Alt Z, that, that is moving from here, straight up from the z axis. If you don't want that and you want to move them from the axis of the bone if you press all y now, you can say that we're moving it from that axis. It will. It's basically guess, guess which axis is because I'm never sure. I normally just go through it. Now. Is it said nope. Is it why? Yep. That's the right one. That's normally what I do when I'm working with normals. Alright, so let's go back to global. And now what we can do is we can start putting in the first part of our walk cycle. So the first one we're gonna do is we're going to work on the legs. I'm going to put on three. I'm just thinking of a forgotten anything before we start? I don't think so. What I'm gonna do those safe out my web before we start, I suggest you do the same because you've got everything set up now and you really do if you need to go back to, let's say you screw up your walk cycle or something like that. You want to go back to it so you've got everything set up like it is now. Now let's focus on our legs them first. So the first one I'm going to grab is this bone here. I'm going to make sure that my gizmos on with Shift Spacebar. And then what I'm going to do is I'm going to move my leg in. I'm going to pick it up slightly so we've got a tiny, tiny bit of a bend there as you can see. And then I'm going to rotate it back. So all x rotate it back like so. Then I'm gonna get the next leg. Oh, this one over here. I'm going to pull this leg back like here. I'm going to make sure there's a tiny, tiny, so I'm pulling it up tiny, tiny little bit of a bend in the bone and then when the press all NX and rotate that one. Now I'm going to do is I'm going to make sure that my character is on the floor. Because if I come around this way and press Control three, I can't see through there, so I just need to put them in front. And now you can see the bones in front and I need to drop it down. So I'm going to grab this one. I want to drop it down to the floor like so now I'm going to make sure that she's actually probably tilting forward a little bit. So you can see here that this is not tilted, it's not in the right place. So in other words, I'm going to just put that back a minute. I want to come I'm going to bend the leg up a little bit more. I'm going to bring this one down because this actually is the most important part of it. But if I bring it back now, tilt it a little bit. So our x, like so bring it up a little bit. And there we go. Now we can see we're getting somewhere. Alright, so let's tilt it up a little bit. Like so, let's bring this down now, just a little bit more. Now you can see it's Jocelyn, the floor there, and that's exactly what I want. Now I'm going to do is I'm going to mess around with this one, bring it down. Like so I'm going to try and tilt it just a little bit. Like so when I move it a little bit like so you're just going to stay how much I need to bring it up. Actually have it bending. I think then I can come to the center one. This one will be sent to one in there. Like that. Let's go back now and just recap so we can see if I bring this down just a little bit more. Oldest soap, little bit like, so, make it go. Alright, so that is a good start for the legs. So you can see we've got a slight tilt on the knee going up. We've got a slight tilt on this leg going up. We've got this fall actually bending back this way and this foot bend in this way. Now, don't worry because in the end of this, we can actually go in and refine it. So I will actually show you how we go in and actually refine what we're actually doing here because it's pretty complicated. Well, this is the actual angle that you're going to want feel like you can of course pull this back, pull it back a little bit, and that might actually work out there. But this one a bit further forward. Yeah, I don t think actually I think actually I'm going to leave it alone then as a work on it a little bit more than I'm about to tell rather than keep fiddling with it in these in these stages. So basically just have your legs set up, something like that. All right, everyone. So I'll see you on the next one. On the next one, we'll actually start with the hands. Alright, thanks a lot. Bye bye. 29. Creating Character Walking Cycle: Welcome everyone to the ultimate guides, Blender, 3D rigging and animation. And this is where we left off. So now let's actually do the hand. So the first thing I'm going to do with the hands is I'm going to grab this hand and I'm going to pull it further back like so. And I'm going to rotate it so an x rotate it like so. And then with this hand I'm going to put it forward. Like so. Then I'm going to rotate it just a tad. Like so. All right. You can see at the moment she's walking really weirdly. So now we need to come in. Don't just go to the side first. So this is the angle that you want it to start with. And now let's go to the front and we're going to bring these arms and because at the moment they look a bit silly. So let's bring it in. And you can say, I'm going to have to drop it down a little bit, like so. I'm going to bring this one in. And again, when I drop this one down just a little bit like so now you can see that's looking a lot more realistic. Now the other thing is if I come to the front, you can see she's woken at the moment, like John Wayne or something. So what she needs what we need to do is bring this in and bring this one in. Just a little bit closer together also, the gate is just too far away. Alright. So we've got the front. We're just going to show you the front now. I'm going to turn this a little bit more so all y this time just turn it in a little bit. I want to turn this one in a little bit. So our y, like so. And then I'm just going to have a look round. Press three so you can see. So it's like that, like that, like this, and like this. Now the thing is, as I say, if you need to alter this, then we can go in and alter it. But for now what we're gonna do is I'm going to press a and we're going to press I, location and rotation because we've actually done the location and rotation, we haven't altered the actual scale, so we're okay with that. So location, alright. Now if you hold down, you'll see that nothing has happened. And the reason is just hold the middle mouse, pull it up, and there you go. There is all your keyframes. Now the moment you won't see all the bones or anything like that, which is understandable. And the first thing we will do though, is we'll go to here and click this on to make sure that we've got automatic movement in there. So actually picks up every time we move a bone. And then I'll just show you, if you come over to the animation, you've got all of your bones actually in here that we've actually put a keyframe to. We're not actually going to be working in here. This is for the more complex. So walk cycles when you're trying to really refine it and things like that. We're just going through the basic walk cycle in this course. Alright, so let's now go back to Layout. Let's put this on pause mode. I don't know why it changes every time a golf that but it does. And then what I'm going to do now, I'm going to come to my bones. I'm going to press Control C. And then we're going to do is I'm going to come over to frame theta2 and I'm going to in the viewport press control V. And then one going to do now is I'm going to come to the middle frame 16 and I'm going to press Control Shift and V. And what that's gonna do is it's actually going to put a keyframe, but it's going to invert. These are now you'll see that we have actually got some kind of actual walk cycle. As you can see. Now you can see that we do have a problem. As I said, there will be problems with this. So what we need to do at the moment, as you can see, she's walking, hips aren't moving at all. Our head is not moving or anything like that. And that is something that we need sorts out. Also, you can see that our legs, although they moving backwards and forwards, they're clearly not right to them on because they need to be this one. In particular, this one's far enough, but this one you can see it needs to be going further back. And I told you there would be some issues and this is where you can fix them. Now the other thing is, of course, is that this is a simple walk cycle. We've got a lot more to do well on it yet. So don't worry too much if yours doesn't look very good at the moment or anything like that. So what we're gonna do is I'm going to go back to my first frame. Then we're going to come to these frames. I'm going to press B drug and just delete them out of the way at the moment. So let's do a little bit more work. So I'm going to do is I'm going to get this leg. I'm going to pull it further back like so I did once a little bit of a bend. So a little bit of a bend, let's press all and acts and Joel's put it down onto the floor, like so. And then one we're going to do now is I think we said Yaro, hips needs to move in. So as this leg's comes forward, if I select this bone here, this hip wants to be moving. So if I press all and z will move this hip like so. Now the other thing is, as I said, you might want to also have your head moving so as she moves forward, ahead will actually go up. So you can actually have a head going up. It's always a good idea actually, if you have a head going up and down, That's always a good idea. Alright, so I'm happy with that. Again, we're gonna do the same thing now. So a Control C and then go to frame 32. And then we're going to interview pulp press control V. And then finally on frame 16, and we're going to press Control Shift and v. There we go. Now let's have a look at what that looks like now. Alright, let it load up. A knight can see much, much bad as she's walking along. I don't think actually the head moving at all. Yeah, I think we'll solve our little bit later on actually in the head. I'm just looking now. Think actually we need to probably bring in another bone. So I'm going to put this back. I'm going to delete those out the way. I would delete those. Let's press Alt H. And I think what I need is I need to put these in from, I think I need this one. Let's have a look. Which one is it going to be our z naught the hipbone, I need to move. I think it might be this one. Let's have a look. Yeah, there we go. We need the chest bone and we're going to have the chest bone in as well. So what I'm going to do is I'm going to come now and hide my other bones out the way that I want to leave all of these. And the reason I want to do that is because her body isn't moving the way I wanted. So I'm just gonna go in idle these bones. And I wish there was a quick way of doing this, but actually you can't set these in a group or anything like that. So we just have to come in them like so now if I grab all of them, they should actually be there. Alright, so now we wanna do is we want to grab this. And as the hips turn, we want to turn the, I think we want to turn them that way a little bit. So I'm just going to turn them like that. Yeah, I think that's how we need to do it. Alright, so now what I'll do is I'll grab them all. I'll press I location rotation. And then what we're gonna do is I'm just going to promote over here. So 32 again Control V, and then in the middle 16, and then Control Shift V. And now let's have a quick look what that looks like. That is looking pretty nice for now. Alright. Now I want to do is we want to come in-between the frame. So we're happy with this because looking again, you can see it moving slightly from side to side. Yes. Okay. I'm happy with that. Now, the other thing is you can see that our knee isn't actually moving. So I'm just going to come back to this frame. Instead of deleting them all, what I'm going to do is I should be able to move or press one, move a knee a little bit further out like so I move this one a little bit further out, like so. Now I'll do is I'll grab them all again. I'm going to press I, location rotation control C. Let's go over now to 32. I'm going to press control V. And then what I'm going to do now is I'm going to come to 16 and I'm going to press Control Shift and v. There we go. Now let's see what that looks like. So now we're knees. Once you start working. Now you can see it's moving in a lot more realistic. Yes. Alright, that's looking really, really nice. Okay, So now what we need to focus on is filling in these other frames. So we've basically got a near enough three frames at the moment. We need to put one on a frame 8.1 on frame 24. So we need to fill those frames and we're going to do that on the actual next one. Alright everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 30. Adding Detail to 3D Walk Animation: Welcome back everyone to the ultimate guides blended 3D rigging and animation. And this is where we left off. Alright, so let's go to frame eight. So we're gonna go to frame eight, which is here. I'm going to press three and I'm going to look at how our rig is looking. And you can see straight away that we do have some issues in that these are basically floating in the end. We don't actually want that. We want to bring this front for actually down. So if I grab this, I need to bring it down and plan my fault down to the actual ground like soap. Now we're going to do with this other leg is we're going to pull it back slightly like so. We're going to lift it up a little bit and we're going to rotate it. So our annex and rotate it. Like so no, sorry, it's on the floor. Press Control three you can see it's now on the floor, but it's like kind of in-between. Alright, so something like that. And again, we can actually fix this if we're not happy with how that looks. So just remember that as well. Now the next problem you can see is that she's kind of tilted down too much, so we need to actually put her up because when you think about when you're on like the middle, so you mid stride, it's probably where you're at the tallest. So if you actually walk along, you'll see That's probably when you actually pushing up off your feet. So I need to do is I need to bring her up. So I'm going to grab this one. I'm going to pull a rope like so. Now you can see she's got a full weight onto this actual fought like so, which is looking much better. You can just see, it just looks a ton better as it is. Now what I'm going to do is I'm actually going to just pull this down. I'm going to grab all of these. So a again, I'm going to press I and location and rotation again. Then while wants to do is I actually want to come down here and I want to make sure that I'm jaws grabbing these ones here. So I'm going to grab these like so. And then what I'm going to do is I'm going to press Control C and then come to frame 20 full. Then I'm going to press Control V, like so. But I can't press control V. I need to press control shift and V. So let's do that again. Control Shift and v, like so. And now we should have it where she's actually walking along, like so. There you go. Now you can see that is looking much, much better. You can see the leg is still floating a little bit, but our arms are moving pretty nice with the actual walk, so we're actually getting somewhere. Now what we'll do is we'll actually saw the handout as well. So if we go back to wire frame eight, you can see at the moment and our hands are pretty much straighter sides, which we don't actually want. So we're gonna do the same thing again, but this time with the hands, what we did with the feet. But what I wanna do is I want to come in and just have this, whoops, I click on my hand and just have this a little bit of a lag like so and just pull it back just a little bit, like so now a lot actually what we're going to do that and then we're going to do is I'm going to press a grumble my bones. I'm going to come down here, grabbed just these, so be grabbed them all. And then what I'm gonna do is I'm gonna go to frame 24 and I'm going to say Control Shift and v. There we go. Now that lag, let's have a look. If it's still lagging a little bit, there's that thing. Actually what I'm going to do is instead, I'm going to come to here. I'm just going to delete those off or delete like so. Then I'm going to come to here and I'm going to press I location rotation. Then I'm going to come here, grabbed them all with Control C, come over here to 24, and then Control Shift and V. And I think that then fix this. There we go. You can see the hand now behind it. That's exactly what we're looking for. Alright, so now let's give this a try again. So you can see now there's a slight lag on a hand actually being left behind. And that's exactly what I wanted. And now you can see she's moving pretty realistically. Alright, there's still work to go to do though. For instance, head as she moves forward. So you can see at the moment, the head is straight, straight up and then Bob down. So what I'm going to do is I'm going to put her head slightly up. So if I come to a head, you'll be able to then turning up. So if I press R and X, she'll be able to turn it up. Like so. Yeah, I think that's going to be as we want it. So I'm gonna do is I'm going to press, I'm just going to grab this one. I'm going to press a. And then what I'm going to do is I'm going to press I location rotation scale. Then I'm going to come to 32 now. And I'm going to make sure that I delete these first. So I'm going to grab them all with B elite and I'm going to press Control Shift and V, and hopefully now should have copied that. So have a look. Now once ahead, you can see that I had didn't actually get copied. So the reason for that is because I didn't copy it. I'm going to grab all of these, Delete and back to frame zero again, Control C 32. And then what we're gonna do is we're going to have control shift and v. There we go. Now ahead. You can see it's still actually going up and I'm not sure why that is. So what I'm going to do is I'm just going to copy this here. So Control C, then I'm going to come back to 32. I'm going to have it control V. And there we go. That's what I want. Alright, so now let's have a look. There you go. Now we need to make sure that she's actually going down. So as we walk down, we'll just do a head. You can see a head comes down here and then it should come back up here. So what we wanna do is want to copy this again. So Control C, Let's come back now to the middle. And then what we're gonna do is press Control V. And there we go. Alright, so now let's have a look. Another thing that mess that up. So Rob, all of these now. So all of these when I grab all of these, right, so I think what I did is I didn't actually take all of them. So I'm going to do is now I'm going to grab all of these over here. So a, and then I'm going to press Control C. I'm going to come to the middle 16. And then when we introduce now when to delete all these. So I'm going to press B, grab them all, delete, and then Control Shift V. And hopefully now we should have fixed that. So let's have a look. Now. We're still not fixed it. So you can see that now we need the opposite. I think this, this one here is causing the issue. So let's go in. I'm going to grab all of these. So be on Charles C. And we're gonna go here, and I'm going to grab all of these and delete them. So delete and then Control Shift M V. And hopefully now let's see how we fixed it. Now. We're still not fixed, I think is the M1 now. So let's come in, grab the N1. That'll be Control C, come to the end. And also I'm just going to press Control V now. So I'm going to delete them first, so delete then control V. Now I'm hoping that yeah, there we go. Now she's walking fine. Ahead is bobbing. There we go. Perfect. Alright, so there you go. You can see as well how you can fix that once you've actually done it. It's basically the first two frames. So basically these will not frames, but two parts of it are exactly the same as these parts, except that the opposite way round the M1 being the same as the first one of course. Alright, so that's that now I want to do is want to do just a few more little pots to this just to make sure that we've got it moving right. And what we'll do is we'll do that on the next one. Alright everyone, I hope you enjoyed that. If you struggle actually following along, as I said, make a separate copy of it and then just go and restart to practice this a few times because it's going to take a little bit of time just to get in your head what we're actually doing here and getting that walk cycle as nice as possible. All right, everyone, so I hope you enjoyed it and I'll see you on the next one. Thanks a lot. Bye bye. 31. Refining Our Walk Cycle: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left off. Now there's a couple of things that we did forget about. First of all, let's come to wear for a mate. Let's go and press three. And what we need to do, we pulled this handbag slightly on this one. Well, we need to do is we need to pull this hand slightly forward on this one. So if I bring it forward, like so Something like that, That's then press i location or rotation. And then what I'm going to do now is I want to grab mole actually impressed I, so a location rotation. This makes it easier actually because then I can do is I can calm down. I can grab all of these then, like so press Control C, and then I can come to frame 24. I can come in then and grab all of these, press Delete, Delete, and then working versus control, shift and v and put them in. And now you'll see that that hand is slightly behind. Now let's have a look of what that looks like. So there we go. There you go. Now you can see it's looking a lot more realistic than where it was looking at before. Alright, so now we need is a little bit of hip twist as well in there. So what we'll do is we'll come over to frame again. And then what we'll do is we'll grab this part here. And then I'm going to actually tilt it a little more on this one. So I think it's going to actually because she's bringing up right leg, you can see that we probably need to tilt this to this way. So if I turn it this way a little bit, so what I'm gonna do is I'm going to press all and Z until this. Just a little bit like so, very, very slight. Now press i, location rotations, scale grubbing all of the bones. Again, we're gonna go with now select these. To select them all. Control C. Let's go over now to frame 20-fold. Going to select these, be to grab the mole, delete and then what you're going to press Control Shift and v and then put those in. Now, she shouldn't have that little bit of a role that we're actually looking for. There you go. She's looking really, really nice. Now the one thing I'm not happy about is that head is, I think rolling a little bit too much. So I'm just looking homes down here. So I think on this brain now, it should be a little bit too high. It's actually tilting a little bit too much. So I'm going to grab this, I'm going to press all an x Joules till, till very, very slightly like so. And if you're unsure, you can actually go back to this frame. And we can see that our index is -0.119. Let's have a look at where it is on frame 8.0, 0.11, 106, as you can see. So let's have a look at the next brain. So back to 0.118. And you can see It's here where the issue is. So frame 20-fold, we need to set that as the same as here. So I'm going to grab this one went to theirs, I'm going to copy this, so Control C. Then one way to do is I'm going to go to frame eight at 24 when I press control V. And then I'm going to press I location rotation. Now I should have fixed that. So frame 32 is 0.119. Darryl 0.119. Alright, I can see the head is going down very slightly here. So minus 106, minus 106. Okay? So you can say it's moving very, very slightly now. It's rarely, rarely so tiny. You can't really see it, but you can see because we've done it. It looks really, really realistic now. Alright, so now we need to just refine it even more. So basically we're going to refine it just a little tiny bit more and then we shouldn't be there. Alright, so how are we going to do that? Well, we're going to come to frame bowl, which is in-between 0.8, of course. So what we're gonna do to refine this more is we're gonna go to frame four. We're going to press three. And what we're gonna do is I'm going to flatten this down. So if I come to this backup here, I'm going to press all tall, blonde it down and will need to do is bring it down very slightly. So if I've got it here, I can bring it down yours very slightly like so. Now I'm gonna do is I'm going to press a, I'm going to press I location rotation. I'm then going to come up to now so it's fall before which would be frame 28. I'm going to come down here first. I'm going to press B when a copy these, so Control C. And then what I'm going to do is I'm going to come now to frame 28, and then I'm going to press Control Shift and v. There we go. Now let's see what that actually looks like. That's not working out. Let's see where it's going wrong. So it's going wrong here. So we've actually, I'm going to actually leave that off. So I'm going to press V, delete it off, and instead I'm going to press control V. Now let's see if that's working now. There we go. Now it's working out. Now you can see that it's lifting up there and that's not how it should be. These are the wrong way round basically. Have a heel should be open this one and down at the other ones. So what I wanna do is I want to come to this one. I want to grab everything, like so on and then come to here and press B, like so, and press Control C, and then come over to this one. And then I'm going to press B and delete those off. Then what I'm going to do is press Control, Shift and V. And I'm hoping now, thanks a lot everyone, and I hope you enjoyed that and I'll see you on the next one. Thank you. Bye bye. 32. How To Fix Animation Sliding: Welcome everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left it off. So what we're going to do to refine it a little bit is we're gonna come to frame full. The more Wednesdays I'm going to press three. And this heel at the moment is kinda floating in the air. So if I press space bar, you can see it doesn't actually come down and we don't actually want that. So what we wanna do is come to frame fall. And we want to press all tall, drop it down onto the floor. And then what I want to do now is because it's already in there for us, is grab everything. I'm press Control C, and then come to frame 20. And then what I'm going to press Control Shift V and drop that down like so. Now if we actually press the space bar, you will see he's walking along. Now that I'm really, really happy with. Alright, so now let's come in and let's put this onto object mode. Let's also save out as work as well. Let's put it let's hide the rig. So H to hide the rig. And let's put this onto material mode so we can actually see what we're doing. Let it load up. Now let's press the space bar and it might actually speed up after we get past the next one. Let's see. Yeah, We still lagging a little bit in the frames. Let's put it onto this one here. We're lagging a little bit and let's have a look. Are we on? We're on EV. Let's pull the viewport. Let's put this on something like two, something like that. Let's see if that speeds it up a little bit. And yeah, we're still not getting a lot of speed upon it. It's a shame that we can't look at it in real time. But if we put it onto object road, now we can see pretty much in real time, alright, so I'm really happy with how that looks. And we can see we all gain a little bit flicking on there. So it's always a good job that we check this. I'm going to press Alt H and I want to fix this actual flicking. First of all, I just need to, first of all, they'll see where it's actually on. So let's see where it's actually flicking out. Let's have a look. Or it's flicking. From here. You can see probably theorem is, as it comes back here, you can see it's bending a little bit too much here. What you can do to fix those, you can move it very slightly on. Let's go and do yeah, we'll actually copy it on the other side. So while there is now, I'll stop this flicking by bringing them up just a little bit. So if I bring this up, like so, which means that it should be if I've got this on here and I'm going to grab all of these. So let's press Control C, and then let's come to brain. Looks so this one here, I want to bring her arm over here, though, I'm thinking that's probably gonna be on frame six. So Control Shift and v, we go, there we go. That's actually fixed. Alright, now let's see how that looks. Dope is moving much, much more realistic. Alright, really, really happy with that now. Alright, just not tiny, fixing the end. Okay, everyone. I hope you enjoyed that. Let me actually turn this off now. So we'll go to object mode, we'll go back to modeling. And then what I'm going to do now is I'm just going to press Tab. I want to hide my rig out of the way. Now I've one more look at it now. So here's our rig is I'll let a robot. And of course, as she's moving along, what you need to do now if you was actually going to, Let's say render out, you would have a walk-in. So you need to actually balance like where the actual root bone is and how far she's walking along to get rid of that sliding. Now you will see on a lot of games character slide law. And the reason is because they're moving too fast or too slow, It's a very, very fine line and how fast they move, especially when you call them, let's say from flat ground to going up hill, all going upstairs and things like that. So the best games actually slow the gate down, really, really fine tune it. So they actually look as though they're not sliding. Let's finally press Alt H, bring back, we might as well bring it all back. So if I press, let's come to here. Let's go on to edit mode, not edit mode. So pose mode, Let's press Alt H, bring everything back. And now we'll do is we'll go to frame zero. And we'll start this. Let's say we'll start this over here somewhere. So I'm going to press I only on this one I location. So then I'm going to come up to 32. And you can see already put that in for me. So let's see what that actually looks. You can see way, way too fast, so we need to actually get rid of all the keyframes. Let's have a look where he moves to, where is it going to move? But it's going to be up to what I wanna do. It's clear that is I want to go to my animation. I don't want to call them. You can see my route bone here. Now, this is important because I can actually come in now and delete all of those. And then while happiness, she'll carry on walking, bought there won't be any root bone moving, so that's the best thing we could have done. Now let's put it back on 010. And then what we'll do is we'll press Shift Spacebar of Shift space, move. And we'll start our over here. I'm going to press I location just on the roof bone. And then let's go to 32. They should still moving over here and I'm not sure why that is. We can see those root bones being pulled in there. So maybe maybe if I put it here, delete all of those so I can come in, be delete all of those. Now. Should be as as I want it. Now. The other thing is I've still got this TikTok as well, so that's not helping. Now if I move this now you'll see that's not moving. All right, Finally, let's put her over here. Let's press i location, and then let's bring it over here. So 32, we'll have a walk-in maybe that fall below eye location. Now let's put it back on here. Way, way too fast, so we don't want to go in that fast. Now what I wanna do is I want to call to the N1, want to press B, leads all those out of the way. And what I wanna do is I want to move in only maybe two here, so i location. And then also in fact non 22 won't blame frame 32. I will move on now. Maybe to here I occasion. And then what we'll do now is we'll grab all of these and we'll put it onto linear. I think it'll be linear. There you go. That's much better as you can see. Now what you would do to carry this on it, you will duplicate the frame is basically to make a walk much further along, you need to duplicate the frames. Now you see there is a little bit of sliding. Now to stop there, you just prompt frame 32 and just bring it back slightly and then press I again. Occasion. I'll just restart it. There you go. Now you can say she's walking much, much better along. All right, everyone, so let's come back to modelling now. Let's press the tub born. Let's actually come in and save that out. There we go. So on the next lesson, I'm actually going to put the robot into my walk cycle. Now. I'm also going to put Andrew into the walk cycle. So on the next lesson, and now we've done that one. We're actually moving on to our actual camera. So we've got a camera turntable on the next one. Then after that, we actually get to rig our own large seem. All right everyone. So hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 33. Creating A Camera Turntable: Welcome back everyone. The Ultimate Guide to blend the 3D rigging and animation. And this is where we left off. So we're on the actual camera turntable now. First of all going to do is just make sure we feel putting your camera to go around something. Make sure that your cursor is in the center of what actually you going around just makes it a lot easier rather than messing around. Once, once you've actually brought in your camera and things like that. So the first thing I'm going to do is I'm going to press Shift S. So too will the origin put my cursor right in the center? And then what I'm going to do is now I'm actually going to go into modelling because, believe it or not, I actually don't need this on the bottom here. I don't actually have to keep very many thin. So what I'm gonna do is I'm gonna go to modeling. And then we're going to do now is bring in a circle. So shift day, Let's shift a, let's press Tab just in case. Now shift a, let's bring in a curve. We're going to bring in a circle. And then what we're gonna do is I'm gonna make this circle much, much bigger, like so. Then one wins. Do now is I'm going to bring in a camera. Now I'm going to press Shift a to bring him up cameras. So shift a, let's bring in a camera. It's going to come in the center. Then what I'm going to do is I'm going to press Control Alt and zero. And I'm going to move my camera. It's where it was looking at that point. Now the only reason I've done that is just to move the camera out of the center. Now I wanna do is I want to have this camera tracking around this actual circle. So to do that, one way to do is I'm going to grab my camera, grab my circle, press Control pay. And you're going to have one that says follow path. The moment you click on follow path, you will see now you get a little line, go into your actual circle. Now, if I press space bar now you'll see, well, my camera goes around it. It doesn't go very far around it. He doesn't even go all the way around it. But why is that? Well, the reason is because if we come over to this bond here, sorry, not this one, the printer, you will see that we have a frame storm one and a frame finish on 32. So you need to work out how many frames you want your camera to move around this end. So how long over basically, now, I would say that anything less than 300 brains for a whole turntable, anything less than that, you're gonna get a lot of jaggedness, blurriness, things like that. So if you can, and I know it takes a long time, make sure that your camera is at least 300 frames. So going around turntable, but well, I'm going to do here is I'm going to put this actually on 500 frames, which is what I recommend you do. So 1-500 frames now. Now because I've pulled down 500, you'll see my camera goes all the way around to the beginning near enough, it might even freeze there, actually, I know it's not. So how then do we make our camera and circle actually line up on the frame. So if I click on my circle, come over to my frames. If I scroll down here, there's a little button that says animation. How many frames do we want this over 500? Because then that is going to match the amount of frames that we've got, you know, of the overall actual blend file. So now if I press space, you'll see it's much, much slower. Now. They're all some problems. Of course, if I press zero, go back to my camera view. We're looking like this. It's not in the middle or anything like that. The camera's right up here and nothing's kinda making a lot of sense at the moment. So how do we fix that? First of all, we want to do is you want to come to your circle and you want to find where these cameras join the group because this camera line tells you where the cameras should be. Now, if I press Tab, you'll see it near enough. Always lines up with one of the vertices on the actual Qu. So I've come to this part here, press Shift S because it is selected and then go to my camera now, Shift S and selections cursor, our camera moves that. Now the other problem with guys are Cameron now he's looking at nothing and that's not what we want either. So I wanna do is we want to bring in an empty to the center of here. So if I press shift this person's world origin and then bring in an empty, shift, a empty plain axis. And what I tend to do with my empty is I'm making massive. And the reason I do that is because then I can actually see where it is at all times, It's not going to get hidden and I'm having to hide the hotel out of the way or something like that. Alright, so now we've got that we want to do is now want to point the camera. They actual empty. So if I click on my camera, come over to the right-hand side, object constraint, and I'm going to track to, the thing I'm going to track two of course, is going to be my actual empty. So I'm gonna come over here empty. And now you'll see my camera is tracking to my actual empty. Now we do have some more problems in the five-by-five press space bar. Now, you can see, we can see the bottom of the hotel. We can't see any of the other parts of the hotel. So now it's just a case of splitting our screen up and moving our camera nor empty and our curve to get the perfect view that we want. So I recommend you come over to the top left-hand side. You'll end up with a little cross hair here. Although over now you'll see that you've got the same view on this side. Now if I press N and when to close that down, press T, I'll close the other one down. And then it just gives me the full view of what I'm actually looking at. Now if I come over to the other side, press N, press T, close them down. And now I can do is I can actually mess around with my actual circle. So if I bring my circle up, like so, you can see that that camera is following this empty, which I don't really want it at the moment. What I mean is I don't really want it falling all the way down there. I want it kinda something like that. Now we'll need to do is make my circle bigger than five process, bring my circle out. And then what I'll do is I'll bring my empty up. Now you can see it's more in line. Let's say we want to bring it more up. So I'm just going to bring it up like so. And then we'll bring our empty down just a tad like so. Now if I press space bar, you can see we've got the perfect, perfect view of our actual hotel going round. Now the thing is, you can see it's right in the middle. The one thing you want to check for is you don't want these overlapping. For instance, we can zoom into this by the way, we'll zoom into this like so. So we're looking at this point here. As we press Space bar, we can see it's kind of a little bit near there, and we don't really want that. So what we wanna do is you want to come back to our circle and kind of play with that a little bit more and then bring our empty down just a little bit and now see what that looks like. Now what I'm looking for now is the top. So I want to make sure that my top is not actually going to disappear through the top so you can see it, oh, it's a clash in there. We don't want that either. So I want to bring it down just a tiny bit just so that it's not clashing. Now what we're looking for is to make sure that this bit is also not going out of our actual frame. It might go out of the frame here is what I'm saying. So what you might need to do in that case is just make your circle a tiny bit larger and then just play around again with your actual empty. Alright, something like that. Now you can see about the perfect view. Now finally, the last thing I want to discuss, if we put this to frame one, so let's go to Layout now. Let's put this on frame one, and let's look where our camera is on frame one. So the moment all camera is on here on frame one, and that might not be something that you want. You might want to start on frame one view in the front of the hotel, for instance. Now to fix that, all you wanna do then is go to your circle, press zero to go back to your camera view and then just press, sorry, then just press all zed and rotate it around. So let's say we're going to start from, I think that's the, that's the, that's the side of it. So let's press Alt Z, Let's go round the other way. So all zed. And then just move it round all the way around to the front. So like so, and there we go. Now we can say that unframed want, we're going to start here. It's gonna go all the way to 500. And by the time we get to 500, it should, should actually just repeat. So you're going to have a continuous now turntable going all the way around. Now, I also recommend if you want to improve your compositions and things like that while we're on this subject, that something like a hotel is normally bear taking it from a low, an actual low angles. So if we go back to modelling again, I'm going to come in, I'm going to press Tab and I'm going to do is I'm going to grab my circle. I'm going to pull it down. And instead of that view, what I would take his more, this sort of view like. So because this is, you can see is a lot better angle. Looking at something which a building which is very tall. It's just gives you the sense of just about composition, gives you the sense of having to look up at something and getting a good idea of the kind of scale of what we're actually looking at here and things like that. Now of course you can see there's some clip in there. So it's important when you do that just to make sure that you make your circle bigger and move your empty and things like that. But not everyone is the ease at which we can actually do a camera its own table. So I'm going to do now is just going to drop these in. My camera turntables. Dropped my camera into my turntable, and then I can close that hole. So now this brings us to the end of the course, but he certainly brings us to the end of all the things that we're going to learn in the next lesson, what we're going to do is we're going to jump into our main scene. But before we do that, let's just go through what we've learned. We've learned actually will go to Layout. We'll put this onto a rendered view and then we'll get rid of the of the camera and then we'll just go to the scene. So we came right from the beginning of learning the very, very basics of the barrel and things like that. And then we went through the swing moving backwards and forwards. So simple bone techniques all the way down to things like animating our fish going round a pond and things like that. And then finally, all the way up to creating a chains, complex chains, the walk cycle, and finally a camera turntables. So you can see we've learned a lot of things in a very short space of time. And I'm hoping that this actual course you will take away with you and you'll be able to reference pretty much anything you want to animate in the future in your own. Blend the projects and things like that. Alright, that was the idea here. I hope I've achieved and I hope you enjoyed that. I hope actually you carry on to the next part of the course. We're really actually becoming too, are actually Indiana Jones scene. As you can see. This is the scene that we're going to be starting on. We are going to be doing a lot of different animations in here. Some of them will be using noise and things like that. A bit more complicated, but it just gives you an idea. If you actually want to create your own models and things, what it takes to actually then go in and animate and bring your scene to life and things like that. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 34. Breaking Down Our Large Scene: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is not where we left it off, but this is where we go into proceed to. Now, this basically is our actual Indiana Jones themed scene that we want to actually come in and actually animate. So what I've got here basically is the actual scene, and this is what it should actually look like once we've actually finished it. So if I now press the space-bar for play, you can see that we've got a massive boulder rolling down. We've got some spikes that are actually coming out of the wall here. So going backwards and forwards, as you can see, we've got some arrows being fired out here. We've got some rubble falling out of the sky. We've got a monkey that's going to be moving up and down in here. Not sure why that's not actually platelets. Just have a quick look. Let's put it back and there we go. Alright, So it's just because I've actually extended the animation on it, I forgot actually to move the monkey up and down. So we can see here that this shakes, you can see it shake the rocks actually dropped down. The monkey is actually going to go into there and be replaced by the sand bag. We've got overhear them. We've got a actual rope or whip. And you can see as that moves, the branch actually bends down with the weight and then it flips back Corp, as you can see, again, the rock that we've got here. Let's actually take a look as well. That's all arrows. So you can see the arrows of this back now they are all starts off in these actual heads here, and then they get fired. Now they go to the world, the drop-down, and then disappear and then reappear back. And finally then we've got actually the platform. So you can see actually these, if I put this back, they actually breakaway, so drop down into nothing like so. Then they actually reappear. I think the reappear very slowly on this one actually, there you go, they actually pop back up like so. So basically that is the aim of this and get all of these animations in using all the skills that we've actually got. So what we're gonna do now is we're going to open up a scene and we're going to basically have no bones in there or anything like that. We're basically going to start from scratch and we're gonna go through each of these processes one by one. Alright everyone, so I'll open that up now. The way we are in our huge scene. And the first thing I want you to do is just come over to the right-hand side. And what you wanna do is you want to go to your cycles actual settings home down to where it says simplify and just take that off. Now what you're going to do is you're going to come down and you're going to turn the maximum subdivisions down to zero. You're going to turn the child particles to zero and you're going to put the texture limit on something like 512. Now what this is going to do basically is it's going to limit everything in the actual render view pole. So now you'll see if I click on my render, what's going to happen is it's going to reduce all of these actual textures down to 512, so they're going to be very low. Res. It's also going to get rid of any child particles that we might have. And the last thing of all, it's also going to get rid of the maximum subdivisions. Now this is important because you can see it's a huge scene. It's got 500 polygons and it basically, so we need to actually reduce this down. So you can see now I can actually come in and reduce them down to 128. It will take a little bit of time to think about it, but then you can reduce that down even more. So just depending on what cell you've got, you might want to reduce down your actual textures and things like that, because this is what actually creates all of that stuttering. You can see the frame rate once I go round is going to drop really significantly depending on how complex the scene is, how many polygons It's got, how much, especially textures. I mean, if this has four K textures in, it is going to really slow it down drastically. So that's why we need to do to start with the next thing that you should do when dealing with a large scene like this. As you can see, we've got one with a lot of light in there. We want to be able to turn off all of these lights. We've also got an empty in there. I think that empty can be deleted away, so I'm just going to delete that out of the way. So delete your empty as well. Then what we'll do is we'll grab all of these. And then what I'm going to do now, I'm just gonna put this back on material now. And then I'm going to do is I'm going to grab all four of these lights and just drop them into my light some plane. And now I should be able to just close that all up, turn off this bond here. And now basically it should be much easier to see everything that you're doing. You might want to also get these spider webs and actually put those out of the way. It's really up to you. But I think starting out like this should be absolutely perfect for what we need. Alright, so the first one we're going to actually start with is going to be this one actually here. So this is the actual spikes that are going to come in and out. Now, the other thing is we don't really want a basis over 620 frames. We want to actually base it over 300. And the reason for that is because I want it relatively small. I don't want to actually deal with tons and tons of keyframes and things like that. Because all we're doing is just repeating the process. We have a cycle of animations. And then the longer this goes on, the more we just have to repeat that cycle. So that's quite important. The other thing is when you come into animate anything, just make sure that it's not actually got a animation on it already that's important in case you actually get something in your own scene or you've got someone else's work or something like that. So the way you check for that is basically you can see we've got no bones in here, but that doesn't mean there's not an armature attached to this. So if you come over here, you will see on the Modify tab is a red armature here. Just click that off. So basically just go round the parts that I actually going to be animated. So all of these parts here click off the armature. Same for the rock, like a tough thing for the actual whip. Some Jaws going to zoom in here like so. I'm going to click that off as well. We're going to call them then to the monkey head. Do the same thing here. We're going to come to this big rock, click that off. And we're gonna do that for the small rocks. So nothing should be on E and now everything should be set so without an actual armature on there. Now the next thing we're going, you should do is just make sure that whatever you got actually going to animate is actually broke off away from the scene. You don't really want to be having to wait things when it's part of the whole scene. So you can see, for instance, my scene here is broken down into little parts, especially the things I'm going to animate. You can see we've got all of these here, which altogether with our pillars and things like that. But because we're not actually going to animate them were only animating these actual stones here. Then we can actually split those off away from everything. They'll basically now, we should be actually ready to start. Now the other thing is, although it's nice to look at this at the moment, we can also come to our binds. You can see we've got one that says vines here and actually turn that off as well. We'll make sure that we've got nothing in the scene, making sure everything runs smoothly. Last of all, I tend to work on object mode. So this one up here, rather than trying to work on material mode, because you simply don't need to see it until you're ready to have a look at what's being, actually animate it. So that's also really important. Alright, so that's pretty much everything. And then what we'll do now we'll, we'll stop this lesson here and then we'll make a fresh start on our actual spikes coming in and out on the next lesson. Alright everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 35. Creating The Spikes Animation: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. Alright, so let's come to our spikes. So I'm going to grab my spike. I'm going to press the little dot born on the number pad just to zoom in. And then also, I'm going to set my key frame to frame one, like so. Now what we want in this first one is we want a real bone and we only need one of the bone because it's simply moving in and out. So that's what we're going to do. While my actual orientation is here, we might as well press Control a all transforms right-click set origin to geometry like so, and then Shift S because it's selected. Then we're going to do now is I'm going to bring in a bone and when to bring in a root bone. So first of all, bringing in an armature like so I'm going to make this bone much, much bigger. So Joe's pokes out of there. And then while I'm there, I'm going to press tab and then we're going to press Shift a and create another bone. I'm going to also make this bone really, really big. So I'm going to pull it out with the S button. Hopefully I've grabbed it. I don't think I have. So if you want to see you bone presses that go into wire-frame. And now we can see our bone is this one here. I'm going to rotate it round as well. So all x 90 rotates it around so it's coming out of there and then make it a little bit bigger. Now if I press said go back and solely mode, we should end up with something like this. Now what I wanna do is I want to rename my bone. So I'm going to come to this first one. I'm going to press F2 and we call it root bone. So root phone. And then press tab, come to the next bone, F2. And we'll call this, let's call it spike, something like that. And of course you can name yours whatever you wish. Alright, so now let's come to actually waiting this out. So like we've done in the previous parts of the course, we're going to actually have our root bone way into nothing except this one here. So just this bone is going to be parented up to it. And then this bone here is going to be doing all of the major works. So I guess the first thing we should do is we should grab this bone, this bone, press Control P, and then keep offset. And now we should have a little line that goes from here to here to our bone. Another words you can test that out. If I grabbed this bone, press the G. You can see that there's a little bone there. Now also, if I go to pose mode now, grab this bone and I press G, that bone should come with it. Alright, so far, so good. So now let's go back to object mode. And then what we're going to do now is we're going to weight this up. So I'm going to grab my actual armature, grabbed my spike, press Control P, and it's not that way round, so it's going to be the spikes first, then the armature press Control P. And we're gonna do it with empty groups. So empty groups like so. Now we're gonna do is we're going to come back to our bones, press the Tab button. And just on this occasion what we'll do is we'll just make sure that they're actually named. So you can see root bone and spike bone. Now what we'll do is we'll come to our spikes. Then we're going to do is I'm going to come over it. So a little green triangle here. And you can see that I've got a few bones on here that are not that shouldn't be with it. So I'm gonna do is I'm just going to minus those off. That is another thing to check for what these bones are there from the previous one. So like we deleted with the armature than the actual one in particular has those two bones from previously. So I'm going to do is I want to make sure that I'm going to delete those. So I'm gonna delete those off like so then I've got my route bone and my spike bump thing is on the rest of them. I have actually delete that those off, so don't worry, it's just to show you what actually might happen, why you might have more bones than what your intended. So now finally, we can get on with the task of actually weighting these up. Now, if I come to my spikes, you'll see now we've got a root bonus bite bound. Now if I press Tab and grab everything, I want to make sure first of all that my route bone has no weight, so I'm gonna remove 100 per cent of it. So let's remove that. And then what we're gonna do now is come to our spike bone. And while wants to do is make sure that my spike bone as everything bought this part in it. So I'm going to first of all, remove everything. And then what I'll do is I'll grab all of this part in here. We can also as well before we do that, actually isolate it out. So if I press Shift H, it will isolate everything out, including my bones. But for this, I don't even need to see my bones, so it doesn't really matter. So what I'm going to do first of all is I'm going to call them, press the tugboat. Now, grab all of this and press H to hide out of the way. Now I know that everything else that's left, she'll be attached to my spike bone so I can just come in and press the a button and then comb and assign 100% of the weight. So let's assign that now. Now let's go and see if it works. So first of all, I want to press Alt H to bring back the actual place where all these spikes are in. I'm going to press Tab, I'm going to press Alt H then to bring everything back. And because we hid everything over here on the right-hand side and our collections, the actual lights and the vines and things like that shouldn't actually appear. So that's really great. Now you need to do is just double-click the a button, and there we go. Now let's see if this actually works. First of all, if I come to my bones, home to my pose mode, grab this bone first of all and move it. Everything should move as you can see. So everything is moving except the actual part which is in the center, which we don't need any way. Then the next thing we wanna do is check this. And as you can see, the spikes now are actually working. Alright, so now let's actually start with the animation. So first of all, on frame one, I actually want it to be here. So what I'm going to do is I'm just going to press I. Location and I don't need to bother with the scale. I don't need to bother with the rotation or anything like that. So I'm literally just going to click location. I'm also, I'm going to put this on, which is my auto keying. And then what I can do is I think we'll have it coming in four times, over 300 frames. So that means that we basically just want to do this once. And then what we'll do is we'll copy it and paste it over 300 frames, rather than trying to use some maps and work it all out, which is going to be a little bit hard. So what we'll do is we'll come to frame 50. Like so. Remember if you can't brown frame 50, just put it in over here, then what I'm going to do is I'm going to bring this out. So I'm going to bring it out there where I want it, so something like that. And then we're going to do is you can see it's already keyed in forest, so that's fine. So now we should have just going in and going out. Now let's press shift D on this one. So to grab joules this keyframe here, bring it over, press shift D, like so, so now what we should have is this. For me now, I'm going back in like so now there is a point where I do actually want it to pause. So when it's come out and then I want it to pause, not quite like this. And I will also want it to come out faster, but I do want it to pause once it's here. So what I'm going to do is I'm going to grab this bone. I'm going to put it on something like maybe let's put it on faulty. So if I bring this down for zooming more, middle mouse button to zoom in more, Let's put this on 40, then Walgreen's to do is I'm going to press Shift D and bring it up to 60. And now we can see there's a line over there. Well, that means is it's actually going to come out, just going to pause, like so, then it's gonna go back in. That is exactly what we want. Now. We need to actually make it come out much faster and go in slower. So in other words, let's grab our star. What we're gonna do is we're going to move this up to maybe bring 30. So let's give that a try. So I'm going to press space bar. There you go. Much, much slower going by kin. That actually probably is the perfect. Actually perfect too, I want it. So now we're gonna do is we're going to press a, we're going to grab all of these. Then I'm going to press G and move him back to my actual stock, like so. Now what we wanna do is we really want it to start from here and exactly the same process. So we want it to come, It's coming back in, and we want it to actually stay there for a little bit of Mount of time. Now you can see at the moment, this is actually on 71. I don't particularly want that. So I'm gonna do is I'm going to move that down then to 70, just to keep it a little bit more even. Now I want to do is I'm going to have it stay here for another ten frames. So I'm going to move it up to, let's say for a mate tea. Then I'm going to press shift D, drag it over and drop it in there, like so now this should then come out. There's going to come out. And then it's going to stay for ten frames, and then it's going to come out again. That is what I'm trying to achieve here. So I'm going to do now is I'm going to grab all of these now. And I'm going to drag them over. So I've grabbed them all. I'm going to press Shift D and bring them over like so. So if I press shift D, drag them over and I'm going to drop this last frame in frame eight t. So now you'll see that if I grabbed these, comes out, goes in, these in a bit, comes out. Now the one thing I'm not happy with here, you can see it stays there a bit of time, and then it actually comes out really, really fast. Now I'm not sure that I actually want it coming out that fast. I think I want a little bit of more time basically between them. So I'm going to do is I'm going to grab this, press B, drag along. And then what I'll do is I'll bring this up to frame hundreds. So bring you up to frame 100, right? So now let's see what that actually alters. Actually think it's just Oh, yeah, that's exactly it. So there you go. That's exactly what we want, something like that. Now we just need to copy this again. So what I'm going to do is I'm going to grab all of this. I'm going to press shift D when a bright during, bring it all the way over to the last keyframe that we had and drop it in there. Now for now, let's just put it on 350 frames, something like that. And then we just want to make sure that it's actually working correctly. So if I press space bar now you'll see it comes back. They said bit of time comes out a bit longer. This time comes out. There we go. Alright, so you can see it's a little bit of randomness to it, and that's exactly what we want. Alright, so now we're gonna do is we need it based over 300 frames. So I'm going to put it back 300 likes. So I'm going to go down then to frame one, like so I'm going to grab everything and then we're going to do is I'm going to press the S button and just shrink it down now to 300 frames. So you can see, I've drunk all of those down to make them fit. And now for press space bar comes out. There you go. That is exactly what we actually want. Alright, so now we wanna do is I wanted to just put it back to frame one. And then all the ones do now is put this on object mode. And you will be able to see now that even if I hide my bones out of the way, which is what they will be now the way in the render view anyway, if hide them out the way you can see night working rarely really nicely. Alright everyone, so that's it for that one. On the next one then what we'll do is we'll actually look at, I think we'll do something, well actually come to our arrows seen as we're here. So we'll have these arrows firing now, hitting the wall, dropping down and then basically coming back to the point of these actual layer faces here. And what we'll also try to do is we'll not try and get rid of the randomness that we wanted random because it's supposed to come out when somebody is walking past it or something like that with the arrows or don't quite want them to be as random. I want it to be a lot more linear. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 36. Invisible Animations: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. Alright, so now let's come back and I'll put that back to frame one. And then what we're going to do first of all, is we need to actually bring in a couple of bones for our arrows. So three bones on this one. So what I'll do is I'll grab both of these. I'm going to press Control a or transforms right-click. So origins geometry, very important that you actually do that. Shift S then cost, select it, and let's bring in our first bone. So shift a will bring in a armature. I'm gonna put the armature, but there again, this is going to be our root bone. And then what we'll do is we'll bring in our ANOVA couple of bones. Now the other thing is, as you can see, what these arrows are not really lined up, right? So I might as well lined them up as well. There's no reason why it shouldn't. So one wins is just grab this one in edit mode, pressing L and just put it back there. Doesn't need to be exact in line with that one. Alright, so now let's bring in another bone. So when I click on my bone, I want to press Tab to go into edit mode, I want to press Shift a, bringing another bone and then moments do is I'm going to rotate it around. So L y 90, spinning around. And then what I'll do is I'll come and grab this edge going round here. So I'm gonna be in face, select Alt Shift, click to grab it, going all the way round. That's because to select it. And yeah, I've grabbed that one as well, didn't mean to do that. So Alt Shift click, there we go, shift us because to select it and that's going to put exactly in the center. Then we're going to do is I'm going to move this bone now. So I'm going to come back to my bone, grab this bone with l. Make sure you've grabbed the old Shift S election because keep offset and then that's going to put it right in the center there. And then one went to make a little bit smaller like so I'm going to move it along like so. And there we go. Alright, so now let's bring in another bone. So all I'm gonna do is I'm going to press shift D. I'm going to move that over any way. It doesn't really matter because we're going to do exactly the same thing here. So I'm going to come to this arrow here. Hold Shift click going all the way round Shift S because the selected tab back to my bones now grab this bone Shift S, selection, cursor, keep offset, and now you'll see they're exactly the right place that we're in. Need them. Alright, so now we just need to weight them up, a name them. So first of all, when it comes to this bone, I'm going to press F2 and we're going to call this root bone. Then I'm going to come to this bone and we'll call it a right arrow, something like that. So F2 and right arrow like so. And then let's come to this bone and we'll just call it left out. So F2, left arrow. One thing I did forget on the other one is just to put bone on the end, which is also really important. So F2, right arrow, phone, like so. Alright, let's get these weighted. So I'll grab my, I think it's this way around. I always get the wrong way round, but we'll try this. So grab our arrows, grab our bones, Control P, and yes it is. So with empty groups. Now again, what we wanna do is we want to come in now and we want to put these two bones to our root bone. So I'm going to grab these two, grabbed my route bone, press Control P, keep offset, and there we go. Now we can come in and actually wait these up. So I'm going to do is I'm going to come into my actual arrow now. Um, while wants to do is basically I want to make sure first of all, that the root bone doesn't have any weight. So I'm going to grab everything. I'm just going to remove them all and just get into the habit of doing that. Although it doesn't seem like it's actually doing anything, it's just in case that the real bone has any weights attached to it for whatever reasons. So it's just a simple procedure. And if you get into the habit of doing it, you shouldn't actually have any problems. Now it will do is we know that this is the right bone, so I'm going to call them now and grab this arrow. Like so I'm going to come to my right bone. I'm going to click Assign on 100. And then we're going to do is I'm going to come to the left arrow, grabbed the left arrow, grab this one, and then click Assign, like so. Now let's give it a quick test. So I'm going to press top when I come up to my music, grabbed my bones first actually come up then pose mode, and then I'm going to grab this bone and all it should move is that arrow like so. And that's perfectly what we need. Alright, so now let's come to frame one. As you can see here, mall wants to do is put these right back. So I'm going to move these right back into place. Like so maybe even a little bit further. And maybe still a bit further, something like that. I think. Absolutely fine. I'm just looking to make sure that this bone you can see it's not quite pointed out as much, so I just want to grab just this bone here. So I've just grabbed it through that. If you can't see it, just press Add and then you'll be able to see through that and then just pull it out very slightly. Seven scroll to the top. Now you can see this one's poking out and this one just wanted to be poking out goes to slight bit like so. Alright, perfect. Now what I wanna do is I want to come, I'm going to actually press that so you can actually see what we're doing here. So wireframe, I want to come to this bone so you can see at the moment now that both actually got their location in there because we've got auto key-frame on. But let's say, let's go to frame faulty, like so. And I want this arrow to have traveled all the way to here. Now, the other thing is, I don't want my arrow to travel straight away out of the block, so I do want it to sit there. So let's put it on frame 20 actually, and we'll have it sat in that actual block. There. Then one way to do is I'm just going to press I and location. And the reason is because I have not moved it anywhere. Basically, it's actually just sat in there. Now the other thing is that it's really important because we know in this that we're going to have to make the arrows really, really tiny and then bring them back. So it's also important before we forget to actually press i location rotation scale on this one because we know that we are going to be dealing with some scale in further down the line. I'm also then going to come back to frame one. And I'm going to grab this other bone here, this one here. I'm going to press I location rotation scale. And then one Wednesdays I'm going to come to frame 20. But no, we'll come to frame 30. And then what we're going to do is press i location rotation scale. And the reason I've done that is I want these hours to be split up. I don't want them coming out at the same time. Now, if we come back to this one now and we say, let's go another 20 frames. So let's say we go from frame 20, frame faulty. And then what we're gonna do is we're going to move it over to this wall. Now for this, I'm just going to go back into solid mode and I'm gonna see my arrow striking the wall right there as you can see. So actually going a little bit into that wall. And now I want to do is I just want to test and see how fast this actually is. So if I bring this back, press the space bar. That looks to me, although it's not realistic, this is quite a stylized scene plus one where animates and we actually want to see something. So at the moment that might be moving about the right speed. So just make sure that you're happy with the speed it's coming out at. You can also see it starts off slow and then it speeds up and then it slows down. That is not something we want. So what we wanna do is we want to grab both of these now. So grab both of these. We want to right-click and we want it to be on interpolation mode of linear. And I think now they showed, if I bring it back to here, there you go. Now it's the same speed all the way along. And now you can get actually a better idea of if you're happy With this being this speed, I think I need to speed it up slightly so I'm going to bring it down by maybe a few frames. So if I come in now, that's the middle mouse button. If you can't say I'm going to bring it to 35 instead. And then what I'm going to do now, I want to come in and press the space bar. And there we go. I think I'm actually happy with that speed now. Alright, so now we're gonna do is we're going to come to the next one. So I'm going to grab this one here. And then one went to there is exactly the same thing. So again, we know if we click on this one, then it's over 15 frames. So we want this one to be over 15 frames as well. So I'm gonna do is I'm going to come to frame 45. And then one wants to do is I'm going to grab this and bring it all the way up. Who? Here? Like so. Now, I also know that if I come in now and then Right-click interpolation mode Linear. And now I should be able to come in, press the space bar. Like so. Now you can see the bot fire out. Now, there is a problem in the fact that with the auto key in, it's not going to, it probably is only going to key in the location, so we just have to be a little bit careful there. Another way as well, I mean, is because we're gonna be altered in this scale, we really need to make sure that we're actually keying in location, rotation and scale. Well, I'm going to do is, I'm going to grab the last frame on here. I'm going to press I location rotation scale. I'm going to grab this one then. I location rotation scale. Now you might be asking me, well, why are we all turn the scale? But you're going to find that out in a little bit as we actually move along. Now finally on this lesson, let's have these dropped down to the floor. But what I want to do is I want to have this one. First of all, it hits the wall and then I wanted to stay there a little bit. So maybe maybe five frames or something like that. So I'm going to press I location rotation scale. I'm going to click on this one. Then I'm going to make sure this one stays here for five frames again. So I'm going to click i location rotation scale. I'm actually gonna just going to zoom in, make sure that that's five frames there. Make sure that this one is also by frames there. Now let's have a look what that actually looks like. So nothing should happen in the end, they should just post it there. So bang-bang, both sit there and now I want to do is make them dropped down to the floor. So I'm gonna come the brain 55 with this one because this one came out first. So what I'm going to do is I'm gonna make this drop down to the floor from here. So I'm just going to bring it down, drop it down to the floor so that we can still see it. So I'm going to press adult wants it to be on the floor, like so. Then all I'm going to press his eye location rotation scale. Now I'm going to come to this one and then one going to do is I'm going to have this one come to frame 60, let's say. And this one also dropped down to the floor. Again, you can press the little dot bond to zoom in, just make sure it's actually sat on the floor. Like so. And then you're just going to press I location rotation scale. Now let's actually check what that looks like. So if I come all the way back now, press the space bar, bang, bang, then dropped down exactly what we're looking for. You can see one drop down before the other one. That is exactly what we want. Alright, so on the next one, what we're gonna do is we're going to actually get these. You go back to where we started from. Alright everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 37. Finishing The Arrow Animation: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. So now what we're gonna do is we're going to come to our arrows and what we need to make them do is basically disappear. So what I'm gonna do is I'm going to come to, let's say frame 61 because they've just dropped down. So if you look, they dropped down. Now from here they can actually disappear pretty much as soon as a dropdown. So let's say five frames. So I'm gonna do is I'm also, I'm just going to check this one. You can see here this is a frame 55, so we'll have them both actually on frame 65 disappearing. So how do we make that happen? So the first thing we do is we come to frame, let's say 64. And then one more inch do is I'm going to press I location rotation scale and then click this one and click i location rotation scale. And then what we're gonna do is we're gonna go to frame 65. And then I'm going to do is I'm going to press S and zero and then Enter. And the reason we're doing that is because we actually want it to disappear basically to zero, nothing. So we can't actually see it because you can't actually turn it invisible. So the next best option to actually do this is actually just to decrease the scale down to absolute zero. And that's what we don't want to go back or you can do is you can come over Airport and 11.1, like so Enter and there you go. It's actually bike, but we don't actually want to do that, of course. So S zero and then just press location rotation scale. Now let's come to this one. We've already got the keyframe in for our scale, so we're just going to press S and zero, like so and put it back. Now, what we wanna do is now we want them to come back to where there was placed before. So all I'm going to do to do that is I'm going to come and grab this one here. So this is the keyframe weather right over here in the beginning. I'm on, I'm gonna do is I'm going to move that to frame 67. And the reason I'm gonna do that is because we can see the scale of this is scaled at 65. So let's bring it over. So Shift D, this onto 67, zoom in if you really want to see it. So this is seven here. And then what should happen is as you'll see if I press Spacebar now, it will come and disappear and be straight back in there as you saw, bang straight back in there. That is what we're trying to do. Now let's come to our next one now. This one will be on the floor here. So if I can grab, let's come out, zoom out a little bit and all that one there. So again, we're struggling now to see where this one is. So if I press B though, hover over it, hopefully, rub this one. Now I can actually grab it at the moment. So I'm gonna do is I'm going to call them to the right-hand side. I want to see where my poses. We've got root bone and then we've got two bones here. So we want the left bone here. So once I click on that now you can see that we've got this out again. So again, now what I want to do is I want to put this. So what we've got this one you can see on this one, we've got this bone over here brought in to 67. So I need to now go to my left bone and while I need to do is I need to grab this shift D, bring it all the way over to 67. Now what you should happen is, as you can see on 67, it's back there. So now I'll put this back here. Both bones disappear. Then the back there as you can see. So let's just run through this now. But if I press baseball now, Q arrows go out, drop-down, disappeared. Now you can see that we saw the bone kind of go over. Now what I would do here is I would just come in to our bones. So instead of doing that would press tab, then go to object mode. I doubt my actual bones out of the way now, so I'm going to hide my rig like so. And then one we're going to do is I'm going to press space bar and I'm going to look at it in real time now without the bone. So if I press Spacebar, bang, bang, drop-down, disappeared. Now we did see them zoom back there. If you saw that, you can see them zoom back. Now we don't actually want that. So what we need to do now is we need to press Alt H bringing our bones because we don't actually want to see that we need to fix that. And then we're going to do is when it come to my bones again, I'm going to go to pose mode. And then one wants to do is I'm going to grab this bone here first. And what's happening is in real time. You can see that as it comes back, it actually starts scaling up. And that is not what something we want. So what we wanna do is we want to press S zero and then press i location or rotation scale. Then come to this one and we're going to press S zero and then I location rotation scale. Now there shouldn't be any, anything now because there's only three frames here. And then going from this place here to this place, and they're not changing in scale. So now if I come round and I just check this, now it's important that we check this on this one because we're just learning actually how to do it and then hide this bone out of the way and now come back and we shouldn't see anything. So what we're gonna do now is we're going to find them down there. Bang-bang, dropped down to the floor, completely disappear, and then go straight back into that. That is exactly what we want. Alright, so now I want to do is want to press Alt H, bring back our bones. And then while wants to do now is the moment. We probably, we've got this roundabout 70. So what we can do is now we can actually come back to pose mode. And then one went to do is I'm going to grab this one. And if it's on 70, we can get kind of full lots of these out. What do we want to make sure repeating all the time. I'll do we just want them repeating twice in 150. In other words, I'm going to grab all of these verse, so we've got the right bone. So I'm going to grab all of these like so I'm going to press Shift D and remembering them up to 150, something like that. And then what I'm going to do now I'm going to zoom out a little bit. So we've got 300 frames. You all wanna do really is I want to divide these up between. So I'm going to grab all this, I'm going to move it up now, 300. And like that. Then one way to do now is I'm going to grab them again. So Shift D, I wanted to place them somewhere in the middle. Roundabout there, something like that. Alright, so let's see what that looks like. So I'm going to press space bar buying drops down. His back. Days they're buying drops down, disappears back. There you go. Now what you can do is you can come to this one, going to grab everything with a not sure actually why why those bones are in this one. I think it's from the other ones. So I just want to make sure that I've not got these bonds in. So I'm going to grab this bone when a hide it out of the way. And I'm left with just the bones now from to this one. Now what I can do is I can see it comes up to here. I should be able to, I think, delete these bones out of the way. So I think what it is is add the other bones grabbed when I actually copied it over and that's not something I want. I only want to do the left bone now. So I'm going to do is I'm going to come in, grab all of these, just delete them out of the way. Then I'm hoping that now, even though I've done that, so have a look. Let's press Space bar just to make sure this one's working. So you can see fires out again, drops down, comes back, out again, drops down. And there we go. That's exactly what I want. But now just dealing with this bone, the left arrow, I can actually press a shift D, drag them all the way over to 300, like so just make sure that they're around 300 and that's perfect. And then I'm going to grab them again, Shift D, and drop them right in the center. Like so now this should be pretty different from each other. So now I'm going to do is I'm going to double-tap the a. Yeah. When I make sure I've got everything, I'm going to go to object mode like hide the bones out of the way, put it back to one. Now let's watch and make sure that's working properly. Bang-bang. You can see before we actually want to duplicate it, the main thing is, There you go, and actually in a actual loop now, the main thing is that we want to make sure the initial animation is actually perfect before we actually do any fun else. And that's the main thing. You don't want to be duplicating things. If you've not sorted out the keyframes properly, if you've not shorted out the interpolation mode or anything like that. So everything wants to be right now. The other thing now as you can see, is that these actual animations are running independently from each other. And the reason for that is of course, is because we've got separate armatures, which brings me to my next point. The one thing we forgot to do so far for bringing this back in is renamed micrometers. Again, never leave your armature is just called armature and then armature one, it's not going to work if you send it through to Unreal Engine, there will be a point in time, I guess, when it does work, but moment in time it doesn't. So let's come to this armature face. And what we'll do is we'll call it alright rig. And then we'll come to this one and we'll call it arrow rig. Like so. Alright, let's put both for those. Both of those are working now. And then in the next lesson, I think We will deal, Let's deal with these ones first because this is a few bones on this. And then I think we'll move over to something a little bit to do with weight and maybe, or maybe even this vibration on here, but we'll work on these actual stone steps next. Alright everyone, so I hope you enjoyed that. See on the next one. Thanks a lot. Bye bye. 38. Weighting The Stepping Stones: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. Alright, so let's come to the stone steps. As I say, this is broke off from all of the other parts, so that's fine. And the first thing we're gonna do is press Control a or transforms right-click. So origins geometry. And then we're gonna do is Shift S versus Selected Shift a. And let's bring in our first bone. This is cost will be the root bone. So what I'm gonna do here is I'm going to rotate it around. So all x 90 doesn't matter which way round its face and I'm going to probably face it around that way or something like that. And then I'm going to go over and rename this so we'll call it a stepping. So own rig, like so. Alright, so now we need is more bones. So the first of all, what I'm going to do is I'm going to bring 12345678 bones in there. So the easiest way to do this is just depressed top. And then the moment you bring a bone in, you just going to appear here, of course. And then one we're going to do now is I'm just going to bring them all in. So I'm going to press Shift a and then Shift a and then shift a week. Hopefully, she'll be able to see now these bones actually appearing. So we need eight of them. We've got our main bone, which is the root bone, and we need to know the rate. So we've got 12345678, like so. Alright, so now we might as well go and name them once we've actually got them in place. So what I'm going to do now is I'm going to come to my actual stones here. I want to press Tab, I want to grab this one, press Shift S because it's a selected. Come back to my bones now tab, grab this bone and then one going to do is I'm going to press Shift S and selections cursor, and there's our first bone. Now I'm going to come to the next one. So again, it's just a tedious way of doing it, but this is the easiest way to do it because disliked it. Back to your bone. Rubbing your bone, Shift S to elections cursor keep offset. And now the next one. So just let's go through this now. It literally is point and click at this, at this point. So this one L S to this one S election. And the reason we're doing it this way, by the way, is because we want these bones to be independent. In other words, we want these bones Paisley to be coming from each other. In other words, ones have control over actually how they're going to work each of these steps independently. If we wanted all the steps coming up at the same time, that would be a lot easier. So, but we have gone for the harder rule. And now we've just got to pour a little bit more work into actually doing this because it's selected the bone if the S and selections because I mean all told it probably only took a few minutes anyway, so not not too bad. Because to selected grab the last bone I'm hoping so Shift S elections cursor, offset. Alright, that's all the bones done now the next thing we want to do is make these actually bigger. So I'm going to do is I'm just going to kind of pivot myself here. I'm going to press B, grab all of these bones. I want to make sure that I'm making them bigger individually. And then we're going to do is S, bring them up. And the reason I'm doing that, of course, is just to make sure that we're not losing. We can actually see what we're actually doing. Now the other thing is that I'm noticing is if I put this plane back on, I actually need this plane on. One wins do is I'm just going to open up my light and plane. And the one I want is this plane here. So I'm just going to actually bring that out into my main rigs so I want it Let's have a look. When I just pulled it out and I want it to be out of here. So I'm just going to bring it out now and just drop it in the bottom of there, like so. And now you can see that's there. A reason I want that and I'm just going to move it up above this one. I'm just going to bring it all the way down to the bottom of bring it down there. I don't want it right in there, so I'm having a little bit of trouble busy in there. Can we bring that down? One reason not to move it millivolt is the one that says move up. Now there's not I don't know. Okay. I'll give up on that for now. It's not that important, right? Let's come to our bones then. So what I'm going to do now, I'm going to come to our bones. I'm going to rename this one to wear root bone. So root and then bone, like so. And then I'm going to come to this one. I'm going to call it step one. So F2, we'll just call it step one, step Bone. Then we'll just call it one. So what I'm gonna do now I'm leaving that little space control a, control C. And then coming to the end, pressing one, that then will speed up your workflow. So now if you press F2, press control V, and then just pointing to, and there you go. You can see how easily that is now to be sped up. So Control V or Control V. So F2, F1, F2 control V. And then all, let's keep moving along. So five. So Control V, five. Oh, F2 control V and 67. And finally the last one which is F2 control V and eight. There we go. Alright, so now we've done that, let's actually start putting these together. So I'm going to grab all of these. Like so I want to grab my route bone Control P and keep offset. And there we go. Now let's come in and wait these up. So what I'm gonna do is I'm going to come to this now. I should have all my bones named, but no, I'm not because I need to first of all, grab this here. They'll grab my object, grabbed my bone Control P and with empty weights. And now if I click on these, we've got all of our bones and including the real bump. Alright, so now we need to do is just assign the bones. So basically first of all, I'm going to grab them all. I'm going to call them to my route bone. So the top one and I'm going to remove all the way up close like we've done many times. Now let's come to bone one. So I'm going to come to this one, press L, grab all of this, that bone, one-click time. Let's come to this one then that bone to click Assign and just work your way down 39. I'm going to also if I can kinda pull this down a little bit. Anyway. There we go. Now we can see what we're doing. Now. Let's come to the fourth one. Sign 19619. Work your way down here. All of these like assign. Now let's see if they work the moment of truth. So we'll come to our bones, form to our pose. Let's grab this one so that one, the Whigs just test them. All you're doing is pressing G right-click to drop them back, like so. So just making sure they all work before carrying on because the worst thing is that they don't all work. Then you've already done all of this work. So let's press G, making sure they all move. Perfect. All right, That's exactly what we want in the beginning. Now I want to do is we want to actually come. You can see here it's actually putting a keyframe. I don't actually want the end, so I'm just going to grab them all, press delete because I don't actually want a keyframe in on something I don't want. So now what I'll do is I'll grab this one. I'll come to frame one and let's say they disappear every five frames or something like that. Let's start with that. So in the beginning we don't want any to disappear. So basically we want them all to stay here. Now, I don't actually want a keyframe, my route bone-in or anything like that. I just want to keyframe these in. So all I'm gonna do then he's grabbed them all and press i location. So we're not doing anything with this Galea or anything like that. Now I want to do is I want to drop them down, Let's say every ten frames. So we've got ten, we've got 40. So the faulty of frame, I want this one to have dropped down. So I'm going to come to this one. I'm going to drop it down below this point here. So let's bring it down below, like so. And it's going to put that in now frame 50. Let's come to this one, and we'll drop this one down below low. Now let's come to frame 60. Got this one down below the floor like so 70. Drop this one down below the floor. Like so frame eight T and you just basically work your way along in this kind of tedious process. But when it's done, it's going to lock that down. I'm going to look fantastic. And that's what we're down below that floor. 90. Yeah. And that's gone to this 100. Bring it down. And frame 110. And bring it down below there. Alright, I'm happy with that. Now the moment of truth, Let's actually see if that works. So it should be. You can see at the moment that we do have a problem in that they're all going down at the same time. And that's not what we want. But we will sort that out because just me, it's really easy to sort out. Alright everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 39. Creating Stepping Stone Trap Animation: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. So let's come to our first one so we can see if we click on this one, the problem we have is that as soon as 20 is gone, they start moving in and that's not what we want. And the reason for that is because we need to grab this 20 on each one and decide how fast we want it to move. So in other words, do we want it based over five frames or something like that? So all you need to do is just step back five frames. So if I grabbed this one, press shift D, whoops, not both of them. Let's just double-tap the grabbed, just this one. So this one here, press shift D, bring you up to 35. And now it should happen. It should come up. Go, go, go, bang. There we go. That's what we actually want. So we want it to disappear like that. Now if it's too fast, just reduce the amount of frames if you don't want it like that. But I think for me, I'm actually happy with that. Now all you do is you just click on this one. You grab this keyframe here, and you're just gonna go back to five frames again. So we've got five frames on this one. So from 45 on this one we've got 50-45. So on the next one, we're gonna do the same thing. And all we do five frames again. So 55, you can see it's actually shift D really, really quick actually to do this now. So we'll grab this one, this one here, and shift P on five frames less. Bomb. The A25. This one, this one should be. Then finally grabbed this one and this one. And then Shift D. We go. Alright, so let's see now if that works. So baseball, bang, bang, bang, bang, bang, bang, bang, bang. Perfect, That's really cool. Now we need to grab all of these and basically invert them. So basically we're going to put this at, let's say 120, like so. And then what I'm going to do is I'm going to grab this one. And you can see that I needed to start coming back up from 120. So very slowly actually start inverting itself by Coke. Not want to do is we're basically when I copy this and have it mirrored over to the other side now we can come in and do it the hard way. Oh, what we could do is we can come to frame, let's say 110. What I'll do is I'll grab all these, I'll press shift D, bring them to 110. And then one window is going to right-click and you'll have one that says here, mirror, and I'm going to mirror it by times over current frame. So click on that, and there you go. Now I'll do is I'll mirror it backwards to the other points. So if I come back now, you will see if we notice this one Spacebar and then it will start popping up. And there you go is back to where it was, which is what we actually want to leave this on 110. We'll grab this one now and then one wins. Do is I'm going to press shift D. I'm going to bring it up to 110 and then went to control them. Because you can also use that tomorrow By times over current frame like so. Now we'll see if we come in, should pop up independently from each other. And that is exactly what we're going to do. 110. Now, let's go to this one. I'm going to press a shift D. I can actually drop them around knee or still do the same thing if a right-click. Now, I can go to mirror overcome frames. There you go. You'll see, actually does it all for you. So you'll see punk bank, bank. But you can say actually, I actually came up before then, so I need to move that a little bit. So what I'm gonna do is I'm going to press G and just move it up 110. And then coming up at the same time, which is not actually what I want. So what I'm going to do is I'm going to just delete that, go back. I'm going to actually put it on 110, press shift D, drag it all the way up to here. Right-click mirror, overcome frames. Now it should actually work. So let's see if it actually works. Ac, it's coming up too fast now I'm not actually happy about that. So I'm thinking that if I come to this one, it starts in over frame hundred and have a look. Yeah. We need it from this one to be let's say 115, something like that. So if I come to this one now, I can drag those up through. Let's say 110, maybe several. Yeah, They're coming up at the same time as you can see over press G. Now. I'm bringing it up to there. Now it should be bang, bang, bang. You see it's still a little bit fast. So I wanted to do is I'm going to put up 220 bytes. So, alright, so now we'll move to the next one. And what we'll do is we'll just put it onto 130. It's just going to make it easier if I grab this one now, I'm going to grab all of these with a I'm going to press shift D, bringing them up to 130, like so, right-click then mirror over the keyframes and we see now I just need to drag them all. Who didn't say, alright, now let's have a look. There you go perfectly. Alright, so now let's come to 140. And what we'll do is we'll grab this one a, and then Shift D, bring them over all the way. I will have to move these as well. Let's mirror it over by value over zero. Maybe it's that one. Yeah, maybe it's that one actually, I think that's actually you can you can see what's happening. So that's not going to work. So let's put it on the zoo where let's put it onto this one and then we'll just mirror it the old-fashioned way over current time. And then G, bringing them up to frame one faulty, then we should have it working. Now, bang, bang, bang. Alright, perfect. Now let's come to this one again. The same thing. So one was this. Let's have a look. One faulty, so wrong frame, 51, 50 now, which will be this one here. Alright, so grab this a and then we're going to press shift D, bring them over. I'm 50, I'm gonna have to move them again anyway, mirror over time and then zoom out a little bit and G, bring them over like so. And then let's go to this one now. So same thing again, a, if d, I'm just hoping that I'm married that one over. I'm not sure if I did. We're going to actually put it on 160 this time. So right-click over time and G move them to 60. And then finally the last one I think we've just messed up on one of them. I think that will do is now 170. Like so then I'll just grab all of this last one and then a 50, bring it all the way over, right-click mirror over time frame and then G all the way up. Like so. Alright, so now let's see what these actually look like. So let's see if we've actually missed one. So it should be bang, bang, bang. The air actually should work properly. There you go, The pop in my cup now. Like so. Alright, so I'm really actually happy with that. The one thing I'm not happy with is how quickly they come back up. I'm going to do is if I grabbed them all. We can see that from, let's say. Again, you can see that they're starting to come up before even the last one actually went down. So you can see this one here. That's not something that we want. So what I'm gonna do is I'm going to grab these and I'm going to move these a little bit up. Now, the thing is if I grab this, I'm going to grab them all from frame 90. That's basically it. So you can see as this one drop-down, There we go now it's dropped down. So I need to move this one. First of all mops, I'm going to grab all these. Just move them. I'm actually going to move them all the way over here because then I'm going to have a better idea where they're going to come up from, never come to this one. I can see that they're starting from this frame here. So they're starting to already go, look. Now, they start to come up. Now the stones pop-ups. And now I can see that if I grab everything from this frame, I can move it up. So if I press a, grab everything from this frame, Let's move them up to say 140. So I'm going to bring them all up. 140, like so. Now what should happen is the old should stay down. So all stay down, bang, bang, bang. They start popping up. As you can see. Now I need to do is I need to now grab these ones and put them in the right place so I can see at the moment, we've got frame full T4, T5, and so on and so on. So now if I grab all these, I need to put them at frame 35. So I'm going to drag them along when I press G, the main frame, 35, like so. Now what should happen is as these drop-down bang, bang, bang. Now you can see the pupil perfectly. That is exactly what you want. And what's more as well as when they come up, we can see now they actually wait there. Why a long period of time before they start dropping down again. And we can base this already over hundred frames. Now it might be that you want to actually have two of these. So two cycles of these over the fringe of frames, which means that these realistically need to end. Well, let's say zero needs to end around 150 mark and then restart again. So phi com to frame one, grabbed them all. And then I'm going to press S and I'm going to bring it all the way down to frame 150. And I'm all I'm gonna do is I'm going to press shift D, bring them all the way over to frame 300, like so. And now when we press a bang, bang, bang, that will just repeat itself. So now for me, that is too fast. I only want one of them, but I'm just showing you how to do it. If you want them to have another cycle. The other thing, of course, is if you put in this on more than 300, then obviously you can have another cycle in there or something like that. The thing is if you change the cycle that you've got now from 300 frames to 600, let's say you are going to have to go in and actually repeat the cycle on the spikes and things like that. So there is that to take into account. Now if you're doing a turn table or something like that, I would say the minimum amount you really want is around 500. They can just go in and either repeat it or extend the animation. You should have the skills now to do either of those. Alright, so what we'll do now on the next one is we'll actually work on the actual width. So I'm just going to come in. And when I press object mode, I'm just going to also close that up now. And then what we'll do is we'll actually come to the web and we'll actually do the same thing on here, although we'll have to use a certain amount of maybe some weight painting on there. It's not going to be so easy as what I'm saying. All right, everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 40. Weight Painting The Branch: Welcome back everyone. So the ultimate guide to Blender 3D rigging and animation, and this is where we left off. Alright, let's come then to our actual whip. So we've already in the actual cost on a swing cycle, we need to actually mix that now with the actual branch as well. So the first thing we're gonna do again is I'm going to press Control a or transforms right-click. So origins geometry shift us because to select it. And then let's bring in our first bone. So shift day, let's bring in an armature. This is gonna be the root bone. Of course. I'm gonna move it back to something like that. Then we're going to do is I'm going to press Tab and I'm going to press Shift a bringing the first bone. So all why 90? Let's have it points in the right way. I'm going to move it a little bit, not with that bit, with this bit here, like so I want to bring it out a little bit as well, like so. And then just have it like so. Now you could actually use probably bendy bones here and I've abandoned little bit, but don't think I'm actually going to, but you do have the capacity now to actually do that. So that's great. The next thing that I wanted to do is the next bone is actually quite important because I don't want these actual, these parts here moving. I just wanted to move in with the actual whip here. So what I'm gonna do is I'm going to come in, I want to grab than these two here, so you can save a grub these two here, then y should be able to do is press Shift S because it's selected like so I'm putting bang in the middle of there. Now if I come back to my bones, press tab when I bring in a new bone, it should appear right rail. Want it. So now I need to do is our X hundred and 80, spin it around, make it a little bit taller, like a little bit smaller, like so. Now that should be right in the middle and I'm just going to move it over there somewhere just so it's a little bit more in line with my actual width. Alright, so now let's come and actually name our armature and we'll call it a whip rig, like so. And then we'll come to this bone here, F2 and it's going to be root bone. And then this one F2, and we'll call this one branch. So I'll just delete that out of the way and call it branch bone, like so. And then finally I'll come to this one, F2. And this will be the actual whip, whip bone, like so. Alright, now let's call them too. Our brunch. Let's grab our armature, press Control P, and with them to groups. Now the other thing is of course on each come in now and apply these to make the parent of the root. So Control P, keep offset. And there we go. Now let's come in first of all to our WIP. I'm just going to click on my bone so I've not got that highlighted as well. Come to my route bone. And then what I'm going to do, sorry, I've done the wrong way round. I need to come to my brunch and then come over to my route bone, press the Tab button, press a to grab everything and just remove them off. Now let's come to the branch. Now the thing is with the branch, this is the one that's going to cause a little bit of issues and we need to make sure that we're doing this correctly. So we're just going to leave that one for now. What I'm going to come to is the whip and I'm going to grab all of this going all the way up. Make sure by the way that you grabbing it in edge select just to make sure that if there's any seams on there, as you can see, there's a seam on there that you're grabbing the old way. In other words, it's grabbing the whole of the islands, not just one island and that goes up to the seam. So very important that you click on it with the edge select on. Now I'm going to do is I'm going to click assign 100 per cent. Now let's come to this middle bone here. So we want our brunch bone and what we wanna do is one actually come in and put this onto weight paint. And then what I'm going to do is I'm actually going to paint in where this actual bonus, so you can see I'm going to paint it going all the way over here. It's actually in pull him up to a certain point that this is all red. So you can also see that these are also being highlighted red. And that's not something I want I'm gonna do is I'm going to press Control zed and bring that back. So controls alt said Bring it back like so. And then what I'm going to do now is I'm going to come in and actually hide these out of the way because I don't want those in there. And then what I'm going to do is I'm going to grab this up to a certain point so you can see brunch, I'm going to come in and grab the first ones around here. So I'm just going to press C, grabbing all of these like so. And then all I'm going to do is press Control and plus on the number pad now, have them going all the way up to here, like so. Then what I'm going to do is I'm going to click, maybe have gone a little bit too far, as you can see, it's going around here. So Control minus to go back as well. So something like that seems fine. And then all I'll do is I'll assign 100% of the weight. Now what I can do is I can actually go in to my weight pain. I can actually minus this off now. So the moment we've got draw, we don't actually want it onDraw. We want it on to lighten all subtracts, even bare light and you can see still kinda doing the same thing. So we don't want it online, so we want it on to subtract. Now when I come in, you'll be able to. Subtract it off. Now you will say I'm just going to subtract these ones off, just rounded for now, just get rid of most of that red, like so what I'm going to do is I'm going to subtract this off a lot less than where it is at the moment. Now, wait, painting is based on how the mesh looks like. If I press tab, you can see we've not got many subdivisions on here. So we're not going to have a lot of variation in the weights or anything like that. Plus these are triangles as well. And it's not actually the best actual mesh to actually do this. But it can be gotten away with when we're dealing with something like branches, if we were using them, it's a character. The actual mesh, as you can see from this, would need to be much, much better. The topology of the mesh, which I'll put down on the right-hand side actually and show you what good topologies versus bad topology. And then you'll actually have an understanding of that. So now let's go in and what we're going to do is turn the strength down to something like, let's say nought 0.25. And now you'll see as a command and click on this. I've actually got less strength now as I'm going round, and that is kind of what I want. So I'm just going to make sure I'm just bringing that down just a little bit. Like so. Yeah, and I think that's going to be absolutely fine like that. Alright, so that is what you're looking for basically. Now the moment of truth then. So let's come in, put this back onto object mode, and now we should be able to do is come into our bones. Now, put this onto pose mode and the first thing we can do is grab this bone. And you can see it's grabbing all of those bones because they're the ones that are actually with this. So there is a point on this one, for instance, when you want this bone here to be grabbing everything. But the problem is you don't actually want it to be able to move anything. So what I'm going to do, I'm going to come to this, back to my branch here. So let's put it on object mode. Like so what I want to do is get this rig, this bone, the root bone to be dragging all of this branch. So I'm going to come into my branch. I'm going to grab all of this branch here and one runs do is the root bone. I'm going to click Assign with 100% of the weight. Now I'm going to do is I'm gonna go back now to my bones. I'm back to my pose mode. And now when I move this bone, everything should move with it. And that on this occasion is what we actually want because we didn't do that. It would just try and move this branch here. And that's really not something we want. Alright, so now I want to do is I want to actually move this width first. Now, as we spoke about at the moment, you can see that these have already got something in them because apparently I've moved my timeline, so I'm just going to delete that off onto this will make sure there's nothing there. Come to this one, make sure there's nothing there. Then we're going to do is I'm going to go to frame one. And I'm going to move the whip over, let's say over here. So 0 and x, move it over here, like so. You can see it's already pulled out in. Now let's see how slow we want it so well, tend to do is I'll tend to come to frame 100, and I'll basically press 0 and x and move it all the way over to the other side, like so. Now you'll see how slow that is. So if I press space bar, you can see it's pretty slow. But you can see another thing is the weight is actually perfect on there. So now slow that down. I'm just going to put it on frame one. I want to press S and let's try putting it on something. It needs to be really divided up between 300, but you really need the other side going first and then you can divide it up. Another way is if I put this on, let's say 50. I know then if I grab this one, for instance, press shift D, bring it to the other side, so 100, now it should be a continuous loop up to 100. As you can see, that actually looks really nice. Now why is that correct though? Yz every weight, because if I press a to grab all these, right-click, go on to interpolation mode. This is already on Bezier, it's non-linear. So if yours is looking a bit jagged, just make sure that interpolation mode is on Bezier. And now I can simply do is I can simply grab all these shift D, bring them up to the next one, and then Shift D again and bring them up to the next one. So shift E bring them up to the next one to 300, like so. Now if I come in now, press the space bar, you'll see a really beautiful swing going backwards and forwards. All the way. Brain free Anja. Now you will see that there's a little bit of jaggedness there. And to fix that, all we need to do is bring this one, G, bring it up to frame 200. Grab this one, bring it back to frame 200. And now this should move in a really nice flowing way. So let's just make sure of that first. There we go, There we go into showed restart again once we get here. And there we go, a continuous loop. Alright, really, really happy with that. That's that bit done. Now what we need to do is work out from this one. Now when I move this, as you'll see, if I press on why you'll see the branch moves up and down. And you can see how gold dot control looks now because the end of the branch is moving much more than the actual backside of the plan. And the reason we wanted those because it really is going to be much stronger around here than it is on the end of it. So now we need to do is we need to imagine that someone is moving from over here. So the grabbing it. Moving through here, letting go, and that's when the branch moves up. So let's try and actually repeat that. So the first thing we're gonna do is put it on frame one. And then we're going to do is going to bend this plant down a little bit. So if I press Alt and why bring it down a little bit like so. And you will notice we do have another problem in that these actually should move a little bit with it as well. So we need to actually also bring that into kinda moving those with it. So let's actually fix that now. So I'm going to again go to object mode, back to my plants here. And then one way to do is I'm going to press Alt H, and now I'm going to grab both of these warm reds there is going to come into brunch and just assign them. Now I can do is press tab, go back to pose mode. Away rays, gamma bones that might help pose mode. There we go. Now want to move this, so I'll y, here you go. Everything's moving as it should do. Now. We only want this to be very slight and subtle. You don't want any huge movements or anything like that. I'm going to do is I'm going to basically bring this down. So I'm going to press online, bring it down, maybe to something like that. And then this, this is going to be over to here. Now, we already know if I click on this, it's going to be a frame 100s, so frame or it's not, it's going to be at frame 50. There we go. Frame 50. So let's come over now. While I wanna do now is at frame 50, which is on, I want this to have moved up now you can see we do have a little bit of an issue with these bones here. And the reason is I think that they're actually also attached to this one here. So I'm going to come to this one and I need to take them off of this here. So you can see that we've actually got weights on these from this one. And what it's doing is it's really stretching it out and that's really not something that we actually want. So let's fix that before we finish this lesson. So we'll go to object mode, like so. And then what I'll do is I'll come to my brunch. What I wanted to do is on the whip. So I wanted to come to my wit bone. I want to grab both of these now, which are already grabbed on to want to remove those. Now for press Tab, you will see that still they're actually having some weight from them. So I'm going to do now quickly, I'm going to go to weight pain and see what's actually control nodes and pulling down. So I'm gonna go to my branch there on 100. Let's go to the root bone. And there you go. It's to do with the root bone. So the root bone is actually not pushing that down with them. So I actually need to make sure that it's coming down with the root bonds. So all I'm gonna do now, I'm going to press tab, go to my route bone, click Assign, and there you go. That is actually fixed. The issue. The other thing I want to do is I want to come to object mode now. I want to hide these out of the way, like so, and just make sure that my WIP still looks as though it's in the places you can see now, is that whether it's so-called down, it will still look as though it's in in the right place, at least where another words what I'm trying to say is we're not having to move this whip up and down with the branch. It should move with it. It should look natural the way it is without doing too much work. All right, everyone. So yes, it's sometimes it can be a bit more complex than initially thought. Sometimes you actually have to go in and fix things, but it's good that we actually go in and fix these things now because you will see actually how to fix them. All right, everyone, so I'll see you on the next one. Thanks a lot. Bye bye. 41. Shaking Ceilings With Noise Modifier: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left it off. Okay, so let's now press Alt H. Bring back our bones. Hopefully, I'll teach, bring back my bones. There we go. Let's now come into our branch bone. So I'm going to press pose mode. I'm going to come to my pose mode. And now I'm going to do so. We know that it's going to go from here. And it should bend down from here. In other words, it should be up here in the beginning. So as they're leaning on to this now, then it should start to come down. So I'm going to do is I'm just going to all this up now we know a frame thick d is where it actually ends. I need to pull this up, let's say to frame ten, something like that. Then if I bring this soap, soap, sorry, frame ten. And if I pull this up to here, so from frame one, now I'm going to do is just press Alt and then it's just going to reset that. Now you can see that as they come in, that actually drops down. Now you can see it should drop down near enough, up to frame 50. So if I bring this over now, so if I grabbed this as g, bring it over. And now we can say that as they come down, they pulls it down. Now that's probably a little bit too slow as you've seen, is probably going to come to the lowest point much quicker than that. So I'm going to do is I'm going to bring it back a little bit. Like so. There you go. Still probably a little bit too slow. So I'm going to bring it down to 20. Have a look at that. Yeah, that's looking much, much better now has they come over and they release. Now, there's somewhere around here they're going to be releasing. While I wanna do is probably around here. I want to keep it there. So I'm going to press shift D, bring it over like so. And then as it starts coming back, I want it to flick up now. So I wanted to press Alt and let it go by cope. So now let's have a look at that. Villanova. There you go. Now we want not to restart now from this position here. So we can see that's going to be on frame 100. So now I'm going to grab all of these redshift day, bring them over like so. Then we're gonna go to frame 200. And we're going to press shift D again and bring them over to frame 200 likes soap. Alright, let's give that a try. Let's also come in object mode, hide our bones out of the way. And let's actually have a look at what that looks like. So there you go. Drops down, legs backup. Drops down. Thanks, Bye cope. And then drops down. Thanks, back up. So you can see someone grabbing this thing bringing over, let's go. There you go. That's exactly what we're looking for. Alright, so that's not bad. That looks really, really nice. But I'm going to do now, I'm just going to go back to frame one. I'm going to press Alt H and bringing everything back. Now I want to do is I think we will stop on this bit here just to give it some kind of movement. And then we can actually base our rocks around that. So I'm going to come to this ceiling here. Walgreens do is I'm going to say that every, let's say we wanted to shake in every hundred, let's say 100 frames. So we're going to be basically wanted shaking twice in the 300. Yeah. So we wouldn't say if you take the halfway mark, which is hundred and 50, you basically want it to be I would say roundabout. Roundabout probably. So you can see we've got 80 from here, so there'll be 220. So the AT mark and 220 markets when we want it to shake, I think we should base it around then I think it'll be fine. So while there is, I'll come to the ATM arco press i location rotation and I'll just put it down as location. And then I'll come to what did we say? 220. Something like that. Location. Yeah, I think that should be good. Roundabout that. Alright, so how do we make it shake? Well, we want to actually give it some noise. But what I want to do is I want to come back to 80, maybe 75. We wanted to shake him for, let's say 75-85. Now a bit longer than that. So I'm going to say 70. 70. Now let's come back even a bit further. I'm going to say 6,160 to 60 to 100, so that's 20 each side of here. So we'll do that. Let's come over. And what we'll do is we'll go into animation this time. Like Don let it load up mine, take a little bit of time because what it will be loading up if it does, is the materials and everything like that. So those time you click on it, probably going to take a little bit of time and then we'll, let's come in and put it on object mode straight away. Now you can see at the moment, if I click on this, I've got actually some animation already in there. And you can also see that the moment I've not actually got a root bone or anything like that in there. Now the thing is if you're taking this through to Unreal Engine or something like that, then you're going to need a root bone it in here. What I'm showing you is the moment that we can actually do this without an actually, without actually a root bone. The other thing is I can actually click on that. There we go. It's highlights and just click this button on if you want to have your highlights it what I wanna do now is bring in a modifier. So I'm going to bring in a noise modifier like a knight can see. It's actually shaking like so. Now we'll just carry on shaking. The reason why I've put these in here is just have an idea of when I wanted to start and when I wanted to stop. But now I can zoom in either on here or on here. The move this, where once you see as I move this timeline, this timeline moves as well. So now if I come in and I said I wanted to start on 60, like so, and I want it to not be there after 100 for instance. So I'm going to put it on one. And now if you come up here, you can see restrict frame range. So if I come on here and I pulled brain starts to be on frame 60. So start frame 60 and end on 100. Like so. Now when I come in, I click on this, I get to frame 60. There you go. It's thoughts actually doing something. Now, I need to put this on one. Well, let's put this on one, and now we'll do that again. So frame 60. There you go. You've got all that shaken. Now remember too, you can decrease the strength. It might be a little bit too high. Let's put it on 0.7, something like that. Again, we can do it again. So now you go. That's exactly what we want. Now we also want to make it as well on where is it frame, so 20 frames, less, which will be framed 200, 200 and faulty. So let's add in another modifier. So we're going to bring in a noise, modify it. We're going to make sure that this is on no 0.7. We're going to restrict them, the frames. So restrict frames. We're going to have this starting on frame 200 and we're going to have a finishing on frame 240, like so. Now we've got two lots here, which should be exactly the same. So now let's come through. So it'd be on frame. Let's put it actually also zoom out. Actually shake frame 60. Stop to wonder. Now, I think that this should be I think actually, no, I think I'm happy with that. I think we can have our rocks dropping down, coming back cope in that timespan, and then we've got a real big gap. The thing I'm worried about is the gap. That's what I'm actually worried about. Is the gap too long. I think actually we should have a, let's say if we move this one back a little bit. So from frame, full T2, frame 18, bed, so afraid vol t to t. Now let's see the gap so faulty. Are you going to have a big gap where all the rocks of kinda fell down? Another shake then nothing that's gonna be okay. I think I've been three and they're probably going to be a little bit too much. But you can see how easy it is to actually do this. Now the thing is you can also animate bones with noise as we went through in the rest of the course, though, I'm just showing you with this one, we can simply just grab the object and actually create noise or shaken. Now we can also do that, of course, with our bones as well. So if you all taking this into unreal or something like that, just make sure you've given it a root bone and then all you need is one single bone and then put this noise on and you'll get the same effect. Alright everyone. So I hope you enjoyed that on the next one then what we'll do is we'll focus them, I think will actually focus on these, these two here. So we'll have the monkey going up and down and swapping over with this actual sand bag. We haven't actually got a lot more left now as you can see, rocks, we've got our Boulder and we've got our monkey. Alright everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 42. The Monkey Idol Animation: Welcome back everyone to the ultimate guides blended 3D rigging and animation. And this is where we left off. Now let's come back to modelling. Let it load up and not modeling layout. So we have all timeline down there. And then what we'll do, first of all, I'm going to hide this roof out of the way so I can actually get to my monkey. And then one went to do is I'm going to base my route bone around this here. So first of all, I'm going to come in, grab this in Edge, leg, in breast, one by the way, on your actual keyboard or 2.3. To actually do this, you don't want to actually come up here and actually do that. I'm going to do then is press Shift S because to select it. And then when I press Tab and I'm going to press Control a or transforms, right-click origins geometry. And now we're gonna do is I'm going to bring in a bone in the adult bone as well just to zoom in so I can actually move around here and see exactly what I'm doing. So I'll do is I'll bring in a root bone first. So shift day, let's bring in an armature. I'm going to do is I'm going to turn this around. So all y sorry, all Rex on 90. I want to make it bigger. And then woman's do is I'm going to put this down on the ground like so. Now let's press Tab and bringing on next bone. So shift day, this will be the bone that actually controls this actual part here going up and down. So I'm gonna do is I'm going to spin this around. So I'm going to grab it all. And I stopped there a little bit, so grab it and then all x 90 and then our hundred and 80, Let's spin it so it's going around here. And what I'll do is I'll put it more in line with it, like so. Now let's bring in another bone. I think first of all, before we do that, what we should do is put our monkey actually on the actual slump here. So I'm going to press tab, go to my monkey and I'm going to bring him to there. So I'm going to grab them all in edge length so l, make sure you grab his eyes. I'm going to press Shift S selection, cursor, key offset, and then I'm just going to pull him up jaws so it's on the top where it actually wants him. I'm going to also put in more central, like so. And I think that looks good there. Now I'll grab my sand bag as well. Make sure you've grabbed it all. Again, shipped us because to selected, that's not the right one. So let's go back shift desk because to select, to grab me some bag shipped as selections cursor. And then let's bring it up. Put it into place. Like so. Alright, so now let's bring in another couple of bones. So I'm going to press Shift a once I've grabbed my bones. So now grab my bones shift day, bring in one bone. So L and S. Let's make this one a little bit smaller. Now because we're only moving our bones opened down, we can actually wait them. Still. We need to weight them basically from the bone. In other words, I don't really want them to be, I still want them to be central is what I'm saying. I want to be central, but I can actually rotate them around. So what I'll do is I'll press X 90. And then what I'll do is I'll make it smaller and then just bring it up because this one I'll say is for my monkey. And then what I'll do is I'll press shift D instead of shift day and just bring it down then. And that then can be for my son back. So you can see I've got two bones that have actually can grab a hold of whenever I need them. Alright, so now what we can do is we can actually grab all three of these bones, grabbed my route bone, press Control P, and then keep offset. And now we can actually go in and name them. So come to this bone first, now press F2. And of course this one will be as always the root bone. So root bone like so. This one will be the slab bone. So F2 stone slab, we'll call it stone blob. Then we've got the sand bag bone, so F2. So sand bag. Then finally this one, so F2. And we'll call this monkey on key idle phone. What we'll also do then is come over to the right-hand side and we'll call this idol rig. Rig. Like so. All right, everything's done. Now we need to do is put them together. So I'll grab my monkey and my slab, I'll grab my bones, I'll press Control P. And with empty groups, now we'll do is we'll come in and actually attach some weight into these. So the first one I'll come to is my slab. I'm going to press the top. I want to make sure that I've grabbed the whole image select and then Walgreens do is I'm going to come now to i stone slab. Fine. Then I'll come to my bag. Oh, this one here, handbag, click Assign. And then finally I'll come to my monkey, making sure I grabbed his eyes again. So don't forget about his eyes. Monkey, idle, click, Assign. And then finally we'll come to my route bone base. I'm going to grab everything and then I'll just click Remove. Now, let's give this a try first of all, before we do anything, so come to our bones, home to pose mode. Let's grab this one. This should just be the slab, which is the root ball, should move everything which it does. We've got the sand bag. Then finally we've got the monkey. Alright, so now we're ready to rock and roll. Now again, we can see that we've got lots of, we've got keyframes on here. We don't want them. I'm going to grab everything calmed down, press Delete just to get rid of those. Now let's come to wire frame one. Now, on frame one, we want our actual idle to be here. So this is this here. So this one, we're going to grab this one. I'm going to press I location rotation scale. Now it's over 300 and we need to swap it over twice. So let's come in. And what we'll do is we'll start bringing it down, let's say around frame 60. So unframed 60. I'm going to have it on I location rotation scale. And then we're going to do now on frame, let's say 80, we're going to bring it down. So if I bring this down to, let's say here, like so I'm going to press I location rotation scale. Now let's see how fast that actually is. So if I press space bar, you'll see stays there and it comes down, which is really nice. So now we know we can go on frame, let's say frame 100, so it's another 20 frames. I can grab this one then because I know that's the top one. Press shift D, bring it over brain 100. Now I can do is I can come back now, press the space bar and let's see how that's going to work down. And then now you can see it's too much of a gap there and coming up and I don't really want that. So what I'm gonna do is I'm going to grab this. I'm going to press G and put it on frame 120. And then I'm going to grab this one. I'm going to press shift D and put down frame 100 just to make it stay down there a little bit. So now you can see, I grab this, it's gonna go down. Stay there a bit before moving up. That is what I actually want. Now we want this to come down, come up with the sun, and then come down and up again. So that's basically what I wanted to do, wants it to keep swapping over. So let's do that now. I'm going to grab all of this, so a, and then what we're gonna do is shift D and bring it over to frame 300 so you can see the first one. So if I bring it jaws to here, as you can see, you can see now that we've got a gap of 40. You can see on here we've got a gap of 40. That is exactly what we want apart from the first one is going to be obviously a little bit long. I'm just going to move that off to frame 300. Now let's see if that actually works. So it's gonna be Monkey. It goes down spots with the sand bag, comes up, sand bags there now. And then it's going to stay there. And finally it's gonna go down. What does the monkey? Monkey is going to sit there, and there you go. That's exactly what we want. Now. The Monkey needs to go down with this. So let's come now to the actual monkey. I want to grab my monkey, want to press i location rotation scale. And then one going to do is I'm going to go now back to this one. And I can see on this one, this is a frame 60 before it starts doing anything. So I'm going to grab my monkey and a frame 60, we're going to press I location rotation scale. And then what we're gonna do is we're gonna go to 80 now. And that is when he said The most bomb point, though, I'm going to grab my monkey. I'm going to pull him down into here. Now, if you're struggling, you can actually come in, put it on object mode and hide this out of the way. So just hide the other way. And then you can have a much better idea if that's actually sat on that. Now come back to you monkey, go into pose mode, then back to monkey, bring him down. So he sat on there like so. But now if I, if you can see it's already keyed the end. So now if I come down, so it's gonna go down, monkey drops down with it perfectly. Now we've got a little bit of time now to swap those over. So you can see that until frame, I think, of a low frame 100, but we need them to swap now with the bag. So I'm gonna do is monkey bone here and went to grab this monkey bone. And now I'm going to press, so from here to here is where we need to shrink him. I wanted to say at this one here, I'm going to keep him this side. So it should be for PSI location rotation scale. And now by 85, I want him shrank down. So S, the row rank now, like so. Now you can see that it comes down and it shrinks, disappears. Now I want to do is swap the sand bag over now to this one. So I'm going to do now is I'm going to do the same thing with the sand bag. Apart from the sand bag, wants to not be starting not be starting here, wants to be starting down at the bottom. So when we come here, so the sand bag for now wants to be invisible. So if I grabbed my son bag, I want to press S and zero, like so. Then what I'm going to do is I'm going to now come to frame or is it 80, 60, it starts going down. So again, we're going to talk about my son by clicked on. I'm going to press I location rotation scale. And now I want to do is I want to bring my son back down through here. So I'm going to bring my son back down. Now the moment of calls, we can't see whether some, I guess. So we need to actually make it to be the right scale again. So if I press Alt S, we can actually bring it back, and that will make the scale back. So now I can just bring it down where the monkey is. I can then press S and zero and then I compressed location rotation scale. Now as my monkey comes over, I want my son back to appear. So as I go up here from 85 here, now while my son back to reappear, so old tests, some bug appears. High location rotation scale. The other thing is, as you can see, it only pops up over here. And now as this goes up, we want it to stay there. So i location rotation scale, Let's go more than 220, and then now we'll lift our sum by group. So bring all sung by gold where I want it to sit, and then I location rotation scale. Now let's see what actually happens there. So if I press space bar, monkeys there, goes down, shrinks over, brings it up, and there we go. Perfect. So now what we can do now is basically we can move this over to the next part. And they said duplicate that. And we should have this sand bagging, this idols swapping over, just like on the phone. Alright everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 43. Weighting Our Falling Rocks: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left off. Alright, so now I want to do is want to come to this part here because we're going to look and use that to stay. This is where it's going to start again. So you can see it starts from here again. So basically we want to go in and copy. We want to swap these over. Basically, we want to actually invert them. So our monkey at the moment, as this comes down, it should reappear around here. So it should reappear here. Now we could do this in a very sophisticated way and say, hey, that's great. And swap them over and mirror them and things like that. But we're not gonna do that because if we do that, we're going to actually probably not get it right. So it's easier on this occasion just to do it manually. So I'm first of all going to do I'm going to bring my monkey back her up that bone. And then as soon as now, this pops back down. So I know once you see it, so it's 260, I know on to 6055. Yeah. I'm gonna make my monkey appear. So I'm going to press all tests, bring him back, and then I'm going to press I location rotation scale now need and still be invisible at this point here. So I'm going to press S zero and then I location rotation scale. Alright, so, so far so good. Now I need my monkey to be moving up when this comes up. So I'm going to bring it up, up, up, up, up to 300. Let's move my monkey up. Frame 300. Let me just hide this one. We're just going to take up this 1 s. I'm just making sure I'm a monkey now is sat on there, which he is. So now if I press, I occasional rotation scale, the moment I moved back, back that sand bag, I'm gonna go back perfectly. Alright, so that's good. So far. Now we've got the sunlight coming up. Then we need the Sandberg going down so we can see from frame 240 bags here. So let's press i, location rotation scale, and then down to brain 260, we need the sand bag moving down. Like so. Let's press i location rotation scale. And then within that six brains, we need to make that some bug disappear. But we're gonna do is now press S zero. Then I, occasional mutations scale. There we go. Now you can see my monkey is going to move up a little bit fast, and that's not something that I'm happy with. Oh, I need him to be on the platform down here. So sometimes you can actually go in and move the point when the monkey goes up. Oh, you can actually add in just some frames. So on this occasion, all I'll do is I'll bring him down to here, like so. And I'll press I location rotation scale. And now I'm hoping it will actually move up with it. So you can see now it goes down, goes up, and then we go. Now you can see that we could have this a little bit more accurate if we wanted to. You can see it's not quite accurate. So all we need to do if we come up, you can see it needs to be moved down a little bit. So I'm going to add them down a little bit like so. And I'm going to listen, I'm going to press I location rotation scale and now you'll see that as the swap. So as we come on, He's near enough in line with it now. Alright, so let's give that a play all the way through so we can see those down swaps over there awhile. What we wanted, because we wouldn't have that with the monkey as well. Comes down, swaps over there awhile, then comes down again. Alright, really happy with that. Now let's go in. And what we'll do is we'll press Alt H, bring everything back. We'll also then go back into object mode, like so. Press Alt H, bring everything back, doublets up the a. Now let's just hide the bones out of the way. And now we'll do is we'll just press space bar and let's have a look at this thing shakes. And so they're a bit shake, drops down over a monkey, comes up. There we go. Alright, really, really happy with that. Now what we need to do is the rocks. Let's do the rocks verse before the boulder will leave the boulder to last. So first of all, these rocks, they're all in the wrong place, but we're not going to worry about that. We've got a lot of rocks here as well. Now, I would say we could either tie these rocks to the same kind of tone or we could just make more bones, maybe make more bones. Alright, let's grab them all. Press Control J, press Control layer transforms, right-click the origin to geometry. So now the thing is as well that we could also use with this. We could also use a gravity on this. But the problem there is that you're going to still have the same problem where using gravity, but you need them to drop a certain time. So that's probably not going to work, is probably actually going to be bad to do this manually in something like this. So now I've done that, I'm going to do is I'm gonna do the same thing I did with these steps here, which requires a little bit of tediousness. Going to do is I'm first of all. I'm going to press Shift S, I'm going to press cursor to select it. And I'm going to bring in my first bone, which of course will always be my root bone marrow bones here, I'm gonna go over, rename the armature and we'll call this falling stones like so. Then what we'll do is now we'll bring in a another one. So we've got 123, 456-789-1011. Actually, this is a bit harder to count than a fault. So 245-67-8910, 11 121-314-1516. Alright, so we need 16 bones. So what I'm gonna do is I'm going to open this. I'm going to then open this. Then what we're going to do now is I'm going to press Shift a. Sorry, I'm going to press Tab and then shift a. That's 1234567 bones. Now the good thing for us on this occasion is I'm going to leave all of these bones named this, except this bone here. So all I'm gonna do with this one is I'm just going to call it I'm still going to call it root bone. So I'm gonna go in all it routes bone. Then what we're gonna do, just leave the bone names as, as you want. Now the good thing is as well, that these are near enough in the same line as these bones. So we don't really need to do anything with them. All we need to do is move them sideways. So if I press seven, in other words, I come over the top, let's say so I'll grab one, move it over here, and then I grab the next one and move. Now the top of that, I just need to press L on it. So l, and move this one over here. Like so. Then I press L and I move this one over here. Now the only problem you're going to have here is the fact that these are gonna be hard to see where you need to add the weight. That's the problem you're going to have. We're going to deal with that in 1 s and actually place them out. So, well, random over the middle as you can see, I don't have to be too accurate, so don't worry too much about it. Get them into place. Though. On open raise. That's great. Now we need to do is we need to wait up to these bones. So what I'm going to do now is first of all, we have to obviously join them altogether. So I'll grab my rocks, I'll grab my bones, then I'll press Control P, and I'll do it with empty groups, like so. Okay, so now let's go to, let's press Tab. And then what we can do is we can come now to sorry, we need to go over, first of all to our rocks like so then what we can do now is we can actually come over to wait paint like so. Now what we can do now is instead of doing it that way, we can actually calm. Can we see if our bones here, I don't think I lighten them up. The root bones not being highlighted. I'm going to ask to click on each of these bonds. So instead of doing that, what we'll do is we'll just come to Edit Mode. More we'll do now is we'll actually come, actually we should just easiest way to do this. While bones report display, just turn on. There it is. So viewport display the names, and there we go. The easiest way of doing it. Alright, so now we know Bono two goes to this, this rock and things like that. Now let's go back to our rocks. And then all we can do now is bone, our one, which is this one here. So we can come in now, press the Tab button. Grab this bone, make sure nothing else is grabbed. You can see another bones grabbed day we don't want to make that mistake. So we'll be NH select, we'll grab this bone and it's 001. So I'll click Assign. Then we've got this one which is O2, will click Assign and then beta will just work our way down. So O3 sign, hello, full sign, and this is the lazy way of doing it. So just make sure you only do this if you think you can get away with it. Don't do it. If you've got some complex movements and things like that, don't do it then just if you can get away with it over six also don't do it if you go into thinking about selling your, your model or something like that. Oh wait, that everything should be named at that point anyway, 0910. Now, so we've got this one here which is 12. And we've got this one here. 11 will do that. Thanks. And we've got this one here which is 15. And then this one here which is 16. Down a little bit. Hold on. No, we've got 13 there, so 13, 14. And that is my phone. Now, let's come to our bones again. Let's grab all of these bones. So I'm going to grab all of these. I'm going to grab my rule bone loss. I'm going to press Control P and keep offset. Alright, now what we can do is we can go to pose mode now and now we just need to make sure that they're all moving at the same time. So if I press G, right-click, G, right-click. And all I'm looking for is to make sure the right bone is moving with them. And as long as that's happening, be absolutely fine and be ready to rock and roll. Okay, Hey, I'm the last two. There we go. Alright, that didn't actually take too long. Let's give this a root bone, a test. There we go. Alright everyone, so I hope you enjoyed that. On the next one, we will have falling rocks and we will align them up when they actual the ceiling shakes and things like that. All right, everyone, So we enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 44. Falling Rock Animation: Welcome back everyone to the ultimate guide to blend the 3D rigging and animation. And this is where we left it off. Alright, so what we wanna do first of all is we need to get them in a place where it's actually going to work. So first of all though, I'm going to grab all of my bones, I want to press Delete and just delete any key frames that we've got. That next level while I'm going to do is I'm going to bring it on to frame one. I'm going to bring them down then into the place where I want them. So make sure they're in a place where you can't see him underneath there or anything like that, then we can actually leave them there now so we know that the just going to stay there, if I move this timeline all the way over, you can see the rock space. They stay there. Alright, so now actually we can work on our actual rocks. Now one thing we do want to do is we want to make sure that the role in this position every time this thing shakes. So from here, we're going to grab all of these now. So be gribble of your bones. In fact, we can actually hide this bone out of the way because we don't need that one anymore. Actually, I'm going to grab all of these now, like so, I'm going to press location rotation scale. Now I'm going to do is I'm gonna come over the moment they start shaking. I want them all to be there. So frame faulty. I'm going to press I location rotation scale and now they're going to stay there. Then what we're going to do is now we're gonna go over and look for when it shakes again. We want all these bones to be on frame 200. I location rotation scale. Now basically we've got everything now that we need because we know they need to be here. They're going to shake down here and they see a frame 300. They're going to all be back here again. So we've sorted out now where they're going to be. Now the best thing is we know that unframed, faulty and frame 200, that is when the need stuff falling down. So we can actually come in now and hide this part of the way. So if I come into object mode, I'm coming now, hide this other way. Now what I can do is I can actually come and start making these drop-down. Well, let's come in and put this on pause mode. And then what we'll do is now make them fall down. So we're going to have this one falling down to now, the issue is you've only got a certain amount of time to let them drop down before they need to be back up again. So that's something that you need to take into consideration. While I wanna do is I want to grab this bone. And let's say I wanted to drop down to here now. So if I bring this down to the floor, like so you can see it's already a keyframe put there. Is that going to be there? And that one looks okay, Well the next what next problem we have, guys? We can see that there's going to be frame faulty brain 50, so ten frames. So now I want another one to drop down. So we'll have this one, frame 50 also dropping down to the floor. So and then we'll pick another one, which is this one here. And we'll have this one also dropping down to the floor like so making sure it's in the floor. Now I want to do is we want to move it up a little bit. So if we have it on brain 45, can see them frame 45, some of them start to draw. I want to grab this one, this one, this one, this one, and this one. And then one way to do is I'm going to press I location rotation scale because I want them to stay there. Now as these ones are nearly dropped on the floor, frame 50, I want these now to start dropping as well, but I needed to drop again over ten frames. So we're gonna put this on frame 55. Now what we're gonna do is we're going to grab all of these, put them through the floor like so. Now you should have is if we press Space Bar is you should have like so you can see the mall dropping down individually. Now they are a bit fast with each other, so we're going to sell the house. So don't worry because they're all too fast the moment are we going to do now? They're also not broken up as well, so we need to also fix that as well so we don't actually want them to drop like so we need to have actually some noise, but we're going to create it ourselves. Now I'm going to do is I'm going to make sure that when those have dropped. But you can see it frame 50 is when these should be here. So I'm going to grab all of these now. So I'm going to press B, grab all of these like so I'm going to press I location rotation scale. And then by frame 60, I want them to evolve drop-down. So I want them all to drop down now into the floor like so I location patients. Know now that over these many friends, bam, bam, bam, like so. Now what I wanna do now is grab them all and from frame faulty. So I'm going to grab all of these with B. I'm going to pull these out now a little bit. Let's say we love it over to frame AT. Let's try that first. So you can see on here though, I only want to grab them from here, from here, and then pull them out with us for a mate to now, they should drop much, much slower. And there you go, they look absolutely perfect. Now the thing is though, the role drop-in, weird and spills, all you need to do now is you just go to each one like this. Now you're going to do is you're going to grab this middle one and you're just going to move it randomly. And then you'll see it actually moves in a random place. It just bring them all back to all up to where faulty grab one of them, hide it, grabbed the next one, where it's going to actually drop the middle one and just move it. A few frames left are a few frames right? And then we'll grab this one. When is this thing that starts falling straight away? All I'll do with this one is I'll move it. You frames this way. Now it's short, like that. I'm going to hide that one out of the way from this one, times this way and now the way, way, way down them and move in the way, like so. And by the time you get round to the, you know, the beginning one, you've basically got them all done. Some of them you can leave as well. You don't need to move. Every one of them. Will move it. Yeah. Because what we can do then we've got them like that. It's actually help you there. So it's just tedious. The moment, not too long. Once you've got them, as I said, Brady, easy then the reason by the way, we're not moving them by many frames. Because if we did that, it would be dropping too fast or the eye. So that's why we're only moving them very slightly. Alice of this. We'll leave that when actually they're going to rub that one. Alright, let's press Alt H, bring everything back. And now let's have a look at that. There you go, falling rocks. Now the next problem we've got is the fact that we need them also to fall on this point here as well. So from 200, we need to see that is when the rock is going to shake again. So what we can do now is we've grabbed the, grabbed the mole is grab it from here. So we're going to grab all of these females will just press a to grab them all, Shift D and bring it all the way over. Now you can see we've got our frame here, which we simply, we don't want this, we don't need to include this frame. So all I'm gonna do instead of that is come over here. Instead of pressing a, I'm just going to press B. Grabbed them all. And then all I'm going to do is press Shift D and bring them all to frame 200, like so. Now they showed all down MLP than they should fall down again. Like so. Now the one thing we just need to check now before we go on is just making sure that the level with the shaking of the roof. So if I double tap the a so thank roof should shake. Rocks drop, mop. And again, roof should shake. Rocks drop Humboldt. And as you can see, they actually didn't come up them because we didn't make them come up. But let's actually sold out now. So we know that perfectly in line. Let's go to where object. Let's hide this out the way. Let's come now to our bones again. Let's put this onto where pose mode. And now we can see that we do actually need them to come back up. So on here, little girl down here, we need to just grab this one here. So that's all of them hoping. So I'm going to press B, grabbed them all and press shift D. And hopefully if I put this here, should make them all moved back. Cool, Perfect. That's exactly what I want. Alright, so the next problem we've got is once the down on the floor, we need to make sure that they're all in the philosophy. You can see ones lagging a little bit there. It's already starting to come back up. That is not what we want. So we need to make sure all of these rocks are down on the floor. So we need to grab them all now and make sure they're all in the floor. Though. I'm going to just grab all of these. I'm going to make sure I'm frame AT that every rock is in the floor. So I went to make sure hold them down. I'm just going to actually probably put it on. Yeah, I'm thinking you and aid them in. I'm going to put it on A25. I'm going to make sure they're all down thereby 85. 85, make sure they're all down in the floor. Every single one of them is in the floor like so you can see it's already put that there. So now let's overload thing, thing, thing that they go, they're all in the floor. Perfect. Now let's come to this side now in the same thing again, they want to make sure by 145, the roll down in the floor again. So I found in the floor, there you go. Now let's try that. So bang, bang, bang, hold down on the floor perfectly. Now what we want to do is we need them to be all shrunk now. So also we can go here to 91, like so. And then what we'll do is we'll shrink them all down so we'll press S zero. Like so. Now what should happen is as the payload stop, can you see them start getting bigger there? That will come to here and we'll just press S zero, like so. Then they should pop back. There we go. Now what's going to happen is as the drop-in coming back code, you can say they're all invisible basically, and then they pop back up, then they dropped down again. Now what we need to do now is the same thing on this one. So as we get to 46, we're going to press S zero, like so. And then as they come back up and save the game bigger. So I'm going to come to frame 2990. There we go. Now let's just see if that wicks thing. Bang-bang. Drink my cope, hop back into place. Bang, bang, bang. Bring on my skin's place. Alright, let's give that a try them before the end of this lesson. So we're gonna go to object mode. All teach, bring everything back, double-tap the a. We're also going to hide this rig out of the way. And we're going to come back. Let's press the space bar. This will vibrate. Rocks fall down. We don't see any rocks. Vibrate rocks fall down. We don't see any rocks again. And jobs done. Alright, so now at this point you could go in and you could alter, you could even start it again. You could come in and alter how fast the rocks are falling and things like that. You can even add more rocks and things. It's entirely up to you now you've got the skill to actually do that. What we're gonna do now on the last one is, of course the role in Boulder. So I've left the baby the hardest one and till last. But you'll see exactly the way to actually approach this and get done. Alright everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 45. Rolling Ball Setup & Location: Welcome back everyone to the ultimate guide to Blender 3D rigging and animation. And this is where we left it off, all rock, boulder. So let's come in. First of all, what I wanna do is I want to we'll put our rock into place. So we'll just put him into place. Every is going to go maybe and something like that. I'm going to lift it up a little bit. Yeah, something like that. Alright, so what we're gonna do is first of all, same as we do every time we're going to press Control a all transforms right-click origins geometry, Shift S because to select it like so. Now let's bring in office bone and it's going to be, of course, a root bone. And what we're going to call this as boulder rig. Like so then we're going to do is I'm going to come in and make sure I'm on Edit Mode. I'm going to grab that bone and I wanna make him much, much bigger poke canal there so I can see where it is. Now I'm gonna do is I'm going to bring in another bone. So we shipped a, bringing another bone and I'm going to make this one also much bigger just so I can see what I'm dealing with it. As you see, I can actually grab that new bone, so I'm going to come in. I've the other one, grab this one, process and bring that one. Now. Now what I'm going to do is I'm going to rotate this one around. So all why 90, then our Zed hundred and 80, because I actually find a better view from here because I can see actually rolling down there and things like that. Alright, you can see that this is kinda rolled over. Don't worry about that. It makes absolutely zero difference on on this. If you want to turn it straight, you can turn it straight. Let's press Alt H then. And then what we'll do is we'll name the bones. So we'll call this one route bone as we always do. First of all, I'm going to come in and press F2. Well, it routes like so. And then we're going to do is this one I'm going to call it bolder bone or bolder own. Like so. And now we'll do is we'll just wait them out with our actual Boulder. Boulder bones Control P, empty groups. There we go. Now then let's say attach this one to this one. So this is going to be attached to our root bone. So Control P, keep offset, and now we can actually put some weight on there. So we're gonna go in now to our Boulder. We've got a root bone and bone to bone. When I press tab a to grab everything because it is just one mesh route, bone, click, Remove, folder, bone, click, Assign. Let's go in now and give that a try. So first of all, let's click all bones. Always mode. And then we'll grab our root bone. Everything should move from this bone, everything should move. Now, more importantly, let's rotate it round. So if I press all and x, this is what we're looking for. That rotation is definitely what we're looking for. Alright, so now I want to do is we want to stop and put our bones into play. So first of all, I'm going to come over here and I'm going to grab this one. You can grab, this will be the easiest way to actually doing it with the actual root bone. So I'm just going to press I, I'm gonna press location rotation scale. And then all I'm gonna do is I'm going to drag it across now on frame, let's say frame 120 on this one. So frame 120, I want it to be over here. Let's say this might be too fast or too slow, but we'll certainly see. So over here in there, like so. That's already done orals. Now the other thing is they have a press space bar. Actually that's not bad peso. Now the other thing is that we want it to actually start off slow and speeds up as it actually moves along. So that's no problem. We also want to though, to kinda follow down here. So at this point, as you can see, it's kinda floating in there and that's not what we want. So what I'm gonna do is I'm going to come to frame 38 and I'm actually going to pull it down to the floor. So I'm just going to look making sure that it's on the floor. So maybe maybe there something like that. And now I can do is I can actually see, is it going to flow or is it going to come down? So there you go. You can see as a part of it where it's still floating, um, that's the point where we have to fix these things. So is it floating here? Yes, it is. Kind of in the ground there, so we don't actually want that. Now let's bring it down, down, down. Let's look at this one. Float in there. Is it following the ground? It looks pretty good there. Let's follow it all the way down to here. Floating here. Yep, is a little bit. So what we'll do is we'll bring it down very slightly. Then what we'll do is we'll now go dive a little bit of jump up here. So as you can see, loads in a little bit that will bring it down. I'm going to actually as well, to make this easier for myself. Oh man. I know all of these aren't the way I know my walls out of the way. Now I can rarely see what I'm doing. I'm going to also hide the other way as well. Maybe this out of the way. Yeah, I don't want to hide that. So we'll just leave it as that. Alright, so now we'll go back to older pose mode. This one here. And now we're gonna do is we need a little bit of a jump there, so we're going to bring it down. Yeah. And then as it goes up, it should lift up a little bit here. So we're going to lift it up. There we go. Alright, so now let's see what that actually looks. Yep, there we go. That's looking pretty nice. Alright, I'm happy with that. Now we need to actually start rotating it. Though. I'm going to grab this bone now. I'm going to press I location or rotation and scale. And then what I'm going to do now is I'm going to move it by here. And all I'm gonna do now is rotated. So if I press all x and it needs to be going this way round. So if I spin it that way, we can see it's a minus. But if I put this -90, now if I move this from here, you can see it actually starts rotating, which is great. Now we've put this on frame 20, which means we can go now to frame 40 and we can press all. Which one was it X, is it yep. -90, like so. And then we can go to frame 60, then all X -90, and then frame E T 0, X -90, and then frame 100, 0 x -90, like so. And then frame 120 where it's actually stored in there. So we've just got to be careful that we don't do that too much. So in other words, it stops around frame hundred and ten, which means that it's only going to be half of 90, which is 45. So if I press R x -45, alright, let's see what that looks like. So rolling, rolling, rolling. You can see we're getting a lot of sliding. The reason for that is, is because it's not quiet rolling fast enough. So you can see in the beginning, patrolling nice. And then from this point here, it should be sped up a little bit. So all I'm gonna do, I'm gonna grab all of these. So just these ones because we're happy with the style of it. We're going to grab all of these and just bring them in by ten, something like that. So bring them to 100 instead and you can see the movement from there. And now we'll just put it back. I'm going to have a look. So now you can see that it's moving on bare except the point on the end now, which it needs to move another 45 because we gave it 45. So let's put it at frame 110. And then what we'll do is we'll press all X -45, like so. And now let's see what happens there. Nice rolling, rolling, rolling, rolling. There we go. You can see near enough perfect, except that last tiny little bit where it needs to roll just a little bit more. So I'm going to actually put it again at 45, at one-twenty. So our x -45, there we go. Now let's have a look at that. There we go. Narrow enough, perfect. So you can see now that's looking pretty nice. Now the next thing we need to do is we need to just refine this a little bit if there's any refining to do so easily, go in and off. I actually don't think that's about it. I'm thinking maybe, maybe, maybe it's slide in a little bit from here. Let's say from this point here, move those by mistake. Slide in because it's not quiet speed and enough. So from this point here, roundabout there, that's where we probably need speed them up. So I'm going to grab it from this frame here. And then I'm just going to grab all of these and press the S bone and jewels, bring them in just a little bit. Now let's have a look at that. There we go. That's moving much, much better as you can see. Now, the one thing we've got now is we have a problem when it gets to here. It needs to be rolling a little bit more. So you can see it's kinda slide in there. I'm going to do is I'm just going to bring that went over. What that looks like. There you go. You can see now it looks absolutely perfect. So I'm really, really happy with that. Now we might as well base this over 100 and sorry, 150 frames really, because then that will be the halfway point. And then we can have it starting again from frame 150 go into 300. In other words, I've got to get rid of it now. I've got to somehow on the next lesson, get it back to here and get them rolling again. All right, everyone, so I'll do that on the next one. I hope you've really learned a lot. I hope you enjoy the course up to this point, and I'll see you on the next one. Thanks a lot. Bye bye. 46. Final Lesson Summary: Welcome back everyone to the ultimate guides Blender, 3D rigging and animation. And this is where we left off. So now we're gonna do is we've rolled it in there. As we can see, there's all bolder. So now we basically want it to disappear. So what I'm going to do is I'm going to have it's there in frame 120. We're going to keep it here. So in other words, if I grab my route bone folder, Let's grab the roots bone here. So this bone, then what I'm going to do is I'm just going to press I location, rotation scale, like so. Now I know that this root bone overrides this bone. That's why it's called a root bone. So in other words, from 13131, I can now scale this back to zero. Like so. Now I can do is I can grab all of these up to this one-third, two marks. So I want to grab them all like so. All of those grabbing this one here, then I'm going to press shift D, drag them all the way over up to nearly 300 marks. So somewhere like so. Now, if I come in now and I'll say, right, Let's go there. You'll see that it disappears. And then as it starts to get there, it starts again. It'd be that size. So we now want to say 169. Yes, there, there we go. Now let's see if that works. So here we go, here we go, rolling, rolling, rolling, rolls into there, stays there. Second pops back. There we go. It's going again. Now the thing is, as you saw, because I've copied that over from here, I didn't actually grab both bones. So the easiest way now is just to grab all of these bones. And then what we're gonna do is gonna press a and I'm going to bring them up. So shift D all the way up to 300, like so now let's see what that looks like. So rolling, rolling, rolling along, their peers reappears. And it should restart. Now we go. That ego animates a bolder. Now let's press Alt H, bring everything back. So object mode, like so. I'll teach everything comes back. Now what you should do if you've done everything. First of all, let's take off the names of these bones because that's kind of annoying. Then what we can do is we can come in now and hide our long bones. First of all though, let's put demand to their own rig, sorry, their own collection. So this is basically the part of the course where we just tidy everything up. So we're gonna do now is I'm going to right-click new collection. I'm going to call it rigs. Like so. Then I'm gonna grab all of my rigs, drop them into there. And now I can hide all those out of the way. Everything should still work, which it does now I'm free to do is bring in my vines, bring him a light, some plane. And now we're going to actually go back to our cycles. We can come back to this simplify. What you want to do is put this on six, put this on one, and then put this either at Orange and forth for k or two k, Whichever one your machine can handle. I want to put mine on for K. And then finally won going to do now is I'm actually going to hide the lights out of the way because I really don't need to see them. But you don't actually have to hide them out of the way over here. You can just turn them off on here. Now we can do is we can put this onto cycles and then everything should be back there. In fact, we won't do this on cycles because you won't actually be able to see. You can see if I press Space-bar, things start to move, but it's really, really blurry. We don't actually want that. So what we'll do is we'll put it on material mode, let everything loaded up, and then we should be able to press space bar. Now, I never written work and so we get a real good view of how this is actually going to work. Now the other thing is that this point, you could also bring in a camera turntable and then you can see how you can get a full animation. You've already done the camera turntable a bit earlier on the course, and now you can actually put it into action. So we can say, well look at this first, so it's shaking rocks coming down, monkey goes down, somebody comes up. They can again, mall rocks come down. As you can see, the swaps over now for the monkey moving on them, we've got the width going down. You can see the little branch moving up and down. We can see that we've got a rock rolling along out of the vines, disappearing into here. Then it will reappear here and start rolling again. We can see a golf steppingstone disappearing and reappearing. Like so. I'm wondering if I think of head that plane, yeah, just hit that plane, does the math. And finally then we've got spikes as well coming in and out look like so. And then finally we've got our arrows, which are going to be firing into the wall here, disappearing. Fire out some more. Hope. There we go. There's the arrows. Alright, everyone, that basically brings us to the end of the course. I hope you really enjoyed it. I hope you learned a lot from it, and I hope you can actually use this in the future for anytime that you come across an animation we're not quite sure about, or you just want to reflect on something and actually use it too. Remember how you actually did something. I do that a lot. So this is also behind me to me, just in case I forget. How did you do the morphine or how did you do the growing of vines and things like that. So really, really handy for in the future. If he caught a B, really appreciate it. If you give us a nice review, then people know what they thought about the calls, all the good things about it and things like that or everyone. So that's it from me. I hope you enjoyed it and I'll see you on the next one. Happy modelling everyone. Bye bye.