Transcripts
1. Introduction To The Class: Hello everyone and welcome to this video games
animation series. This year is going
to be all about how to animate in the industry. As a working professional, I will share with you exactly how I'm animating
in the animation industry, in the games industry, what animation sets we're
gonna be covering runs, jumps, idols, attack,
combat, take care. We're gonna be going
through all of these combat idols that you know what to expect
when you've been given an anime set to do when
you're in the industry. So it's just to help you prepare for any students out there, anyone wanted to
get an industry, what type of jobs
you will be getting. And also the timeline
behind all these, which is normally
about a week or two to get all the Adam sets done. It's just a little introduction to how it is when you work in, in the actual industry, what kind of item sets and
animations are expected to do. There's loads we can go over. These are the default sets. You've got your eyeball. I'll do two runs, walks
and what have you, which we will be covering
in this series of oblique is 67 class. We won't be covering.
In this class. We will be animating a run right from the
start to the finish. What will this class involve? This class will involve an
introduction to running. We'll also be showing you
useful shortcuts that you can use the scripts that I
will be sharing with you, the importance of matching, tangent whom recycling and
games, which is so important. And I will go over that
in a separate video. We'll be covering
the first parts of blocking out the run will be covering the second part
which is coming out or blocking from step
becoming out to splicing, smoothing and
flattening some curves. Then the last stage, which
will be the polishing stage. At the end, we will just have little final thoughts
on what we've done. I hope you enjoy this course. Have fun with it. The rig you can get from the website or you
can just download it if I leave a link at my Dropbox and you can
download it from there. Okay, guys, so make
sure you have fun. Play around with the rig first. Get used to it. Please have fun animating. Follow along with me. Long videos, but the broken
into ten minute chunks. So take your time and
enjoy the process. And then there's some tips on ways that you can learn as well, which I will share
with you guys. So good luck. Have fun, enjoy. See you next video.
2. Introduction To The Run: Hi guys, welcome to
the first video, the introduction to the run. Just a quick video on
going over for your run. Just talk about it very briefly. The main thing with the
run is you're trying to do supposing there
were both feet off the ground that
distinguishes the run from. We want to get these key poses. Obviously with the
run, the characters leaning forward as well. It's running with pace. There's a force going forward, so we want to put that
in and we'll try and get that timing. First. We'll animate on
all free frames. And then we bring it down to, to see how the timing is. Then we can refine from there, runs AAC use quite a lot. You see them more
than you see works. It's crucial that it feels good as well when
you're running. Make sure the characters, the interaction with a
character that feels right the way it turns and
moves and what have you. But the main thing is the feeling of the
character running. And thus could be like this, the way straining, trying to
get through or sprinting. And what we'll do with
just delve straight into the next class and
finding reference first, of course, and then
we stop blocking its planning and doing
the publishing as well. Runs are important
in video games. Probably the main thing you see. So let's get this right. Guys. See you next video.
3. Useful Shortcut Scripts: Welcome back. So in this video, I'm going to be talking to
you about the useful scripts that I have that I use
while I'm working. And these are shortcuts. These shortcuts
are in the script. You'll see them flattening tangents and flattened splines. How to do it, how to get rid of controls on the viewport so you can see the Hamada
without your control, so it's not distracting and attributing the controls back, which I'll use 12 from which
we'll see in the video. Without further to do,
let's check out this video. All right guys, so I've got
a script here that I use. Basically what you see on
the screen now, in fact, when I press walked to
the controls come off. When I press F3, the
controls come on. Csr flip between so I can see how the model is
without the controls. I shared a script. This one here.
Literally what you do, like essay at the top
is 0 translations. So dizzy descript for it. Duplicates selected
objects or don't use. These are the only
ones I use is gone. Show joints and controls
in current mode. Show polygons and show all
objects in the model plane. Dead three that are used. And I'll show you how I do it. Then what I do is I go into,
I've already got this setup. I don't do settings, hotkeys. And I'll go here and I
go to custom scripts. Now when you go to
Custom Scripts, you go to Run command
editor, right? Then you go to New. So for example, let's use, let's use the Zero,
Zero Internet. What I'm gonna do
is you don't, you can copy the top one bar. Actually. Think I have complementary. Yeah. Okay, Let's go to New. You want to run a
new command and all you're doing is
copying all of this, not this dotted line, just all of this copy. I'll leave the script
in the resources and electric is
entering in there. That's all you're doing. Any name, what you want like 00 or trans translation, rotation. And then you go to
archetype anything there. Then you go to save
runtime and inherit it has been saved. And then what you do is
allocate a key cellular. Alright. Let's do out all to
one. Already assigned. Okay, so let us do OTF be barrier and press
background-color. We'll take an ILS
do auto know tea. I don't use that anyway.
So this has got to yes. And then you go to
Save and Close. Now, if I go and
select the chest, if we allow our OT is zeros out, everything zeroed
out. See checkout. What I do, you could check
out all these clips. Clips, but I use 0. Show joints and controls
and current panel. Show Ollie polygons and show all customers I use Show joints and so
polygons if we go here, he editor custom,
you can see here, see my show polygons.
You're going to run. You can see here the Hayes
Manuscript number two. Don't use joints code. I wanted to show all objects. Then the same thing.
Just allocate a key wherever the kids start simple, those two data say male or time ago back if we said
always going up here, show curves, show this. I should do it for the other
staff to motion trail, but then that is a little
tip I wanted to show you that you might want
to use those scripts. Leave everything, the
resources, you can find those. Yeah, I hope you enjoyed this. Just for either
share that with you. Brief video on that. And
I'll see you in next video.
4. The Importance of Matching End Tangents In The Graph Editor For Cycles: Okay guys, In this video
we're gonna be talking about the importance of tangent matching and recycling
and animation. Now this is very important
because in video games, a lot of animations I, those Walk runs the cycled. So we want to make sure that
they're cycling smoothly. And you'll see in the next
video how you can do that. Because by default, when
you create a cycle, so tau is the ends,
often not cycling. So you have to turn the tangents and you'll see what I'm talking
about in the next video. So without further to do, Let's
check out the next video. What are the, what do I
mean by the tangents on? I'll show you what I mean
matching the tangent. When you first do a cycle
and new woman blocking and we're doing everything cycle. What happens is we need to
cycle all the animations. Let's, for example, just have
this on constant for now. Just for example, normally
you will find a lot decimal, it's not cycled, which
it won't be like this. As soon as you add cycle. If you look at
this tangent hair, they're going ease
in and ease and out. And it's going to
cycle back here. You're going to get easier, ISA, then it's going to ease in, ease out while it's
playing an animation. And you will find that the end, there'll be a little
slightly or delay them backspace back to the
speed. Lay back to sleep. You always thinking
about what's that? What that is always very likely to be is that your
tangents aren't matching. What you do is just
select the tangent and you move in them like this. When you move them, you
see it changes here. You're moving them down. It is matching, that's
all you're doing. You're matching so it's smooth
because next post-sale, you'll find this a
lot in our idle. All of the series of
in-game classes I'm doing will all have this because
I keep talking about it. You start, start coming. Second nature is so
important because a lot of times when genius
go in the fall, the victim police
when they weren't got their first job and they're thinking once the cycle not work in this and
that in my experience, the teachers might be more
bad now showing that, but I never got
this first slide. So this is very important. So this is just a
quick video that we will be doing
this on everything. On the torso, the hips, torso, head, everything, arms, making sure
everything is matching. Just right. So just
as a quick video, I wanted to show you on
tangents, really important. We're gonna talk more about
that as we do the clauses. Okay, I'll see you
in the next video.
5. First Pass Blocking The Run: Okay guys, We already gone
through the other stuff. Now it's all about blocking
out the first pass. And this is just literally
the poses. We're gonna do. Solid poses. Pose every single
person that run, put it in a constant
interpolation, just pose to pose so
we could see how it is transitioning over to do, Let's grab our models wherever, what do you want, the
concepts the same. Let's go for it. Let's
have fun animating. So animate along with
me. Take your time. Now let's dive straight in. Okay, guys, let's open
this rig, Maya connection. This is the RIG we're gonna
be working with. Hhs, Yes. Okay. So you might
know it as two grids, a bit smaller, so we'll just
pick that a bit bigger. Better. What I tend to do is because my references
facing this way, I just turned a
character around. We'll use this reference. The only thing with
this references, these hips are not right. Leg is leading forward. The hips is going in
the opposite way. It's leading forward,
but we'll fix that. That's the reference
would work with. We don't have to edit
it. All right guys. What I like to do is I like to work in a
sign of v for this. And what the first thing I do is I'll look at the reference here. Just check out
where the front is. Thus backs earliest turnover and work you would fight back. Now the first thing I'll do, I'll make sure that the
stretch function here, sorry, the stretch
function on ten. And the other length. We can get away with
stretches and stuff, which is, which will
be good for us. We'll be more flexible. Okay, so the first
pose, Let's do this. Let's knock this out
your first post. Just make the simple and fun. We'll come back here,
check out the first pose. Leg forward. This
leg is forward. I will use this control to
make the leg up like that. So that's gonna be the contact. Hips will be leaning
forward because it's running in the back here. We will have backflow in backlog that because this leg
will be like this. What we'll do, we'll just
rotate this a bit more. That's it. Not that not that what I do now. Did you guys, when you, when you get this character
in some I need to say to you is select everything and go to new layer and add
everything in that layer. And then if you press this, go to R, which means
you can't select it. And then if you do the
controls, you can either, I've got shortcuts to three that show controls, no control. So the shortcut, I can
put that script in the resources so you guys
can do that as well. Do a video on that as
well. How to do that? Or you can just go
here, show curves. Well, I've got a
shortcut for efficiency, or I've already got that here. I can delete that,
but that's what that's a good thing
to do because then it's quick workflow.
We've got this. And when you select everything, you know, selecting the boxes, the mesh story, we'll do, we'll just keep this.
So we keep it here. What we'll do, we'll go to frame for the next pose is
gonna be the step-down. We know that this foot, we could just 0, this could, you know, he's gonna be flat. And we know that an, a walk can see it
from the reference is that the knee is bent. What I do, I move the
hips until the knee is bent and forward like this. In this following down here. Like so. Flipping this. There's a down pose,
they're keeping it simple. What we do, you should
have graph editor. I want to make sure
we've got a stepped. So we would have to do this
step mode, press this one. Now you'll see there's
no in-between, it's just dispose, dispose. Now we're going
into the next pose, which is gonna be the
parse in position. Again, the possibility of we know that the leg that's on the floor in the
previous position, it's going to be stretched. That's gonna be the backlink. We want to make that back
leg posed bit like this, coming off the floor slightly
so we'll just rotate this. Go it up, slightly. Move this slightly up. And in this one will
be coming forward. Why do all here I just 0 out these controls that are reset. Then I moved it forward. Whoops. This control around here. I might just the total, this one, that's it. You can't get the axis, just do it for the
channel box like that. I didn't, this was
slightly forward. Just about to push off. You could lock it
out if you want. I'll just keep a slight
bend. Then that pose. And the next one,
this next one is the key one to the run
with both feet or India. You see both those VR,
Indian acid we're trying to get will just select
this, select this foot. Move it forward. I
still highest point. Here, we've got Pi and back. Again, we'll get
these controls here. Just 0 that out. Then we will get those same controls
again and just rotate. Use the x here. Just to get the correct
axis. We push it off. And this is gonna be
like forward, forward. And use the x-axis. Going up. With this pose with creating a strong kind of triangle shape, we've got that nice line
of action going through. They might want to, What we'll do is we might
want to move this food. I didn't go back to
your gallbladder. Just constant that. See you because he
does not constant. So we'll select
everything the key, key because it in-between there, as you can see here,
just want to go here and constant and
it blocks it all out. Now if we look po pose, pose, pose, to pose, pose. The next pose is gonna be
the contact on the opposite. So same thing,
contacting the opposite. This one's coming out. We know that y is going to be 0. It's going to be on the flow. And we're going to just
move it forward a bit. And also these controls
here, the total role. And if we have a look, 0 that out and 0 the
Toyota to control, then we'll just come
back here and rotate this contact pose out that move the hips forward until we get that
straight in the leg, round this leg, it will
be bowling like this. Good thing you can do
here is the value here. If we go to the
start, first of all, I get that wrong
because I killed it. On this frame. It
should have been free frames force.
Let's undo that. We've got that pose. Now we move free frames
forward, made a mistake there. Now, what I'll do, let me just reset this. I'm going to be 0. The toe and the heel
are going to be 0. The main foot control, we know the y is going
to be that was 0. Then we just rotate
this back control here. Move this leg forward. I want to move their hips so that the
leg is straight here. Kind of like that. This
will move back here. Now what we can do is if you
look at a start pose here, we can get this value,
which is a 112. Copy that, and go here. And we can put it in
the opposite leg. Too far off. Same thing with the toll will
get that copy that. To the end, select the opposite leg because remember it's contacting
the opposite leg. Now. Select that. If I can select it
and then paste that. We've got pretty similar, then you can check
the poses out. Poses a bit higher, isn't it? Doesn't have to be exact, but also the hips two,
Let's check it out. One y-axis. So if we go here, we can paste there. There you go. And you can
see here is a spacing. Spacing is similar. Okay, and then now
we could just kill this artist key order the
controls on all of these keys. That's just a habit I have. No, everything is keyed
in that just makes you in the graph editor that everything is constant, deceptive
population here. Or you can go pick tangents, stepped, everything
will be stepped. We've got those poses
and the same again. Now we're gonna do the
next pose, which is 0. Another thing I forgot to do, which is really important. The hips, the start frame. The hips are going to naturally
turn this way, right. Then when it lands
and the next contact. So if we look at the
value of that is Twitter, Let's do minus 20 just
for simplicity sake. Now if we go to the end, is going to be the opposite way. So it's gonna be 2020. That's very important. The other thing that's
important and we should do is the torso. The torso is going
to be opposing. So there's gonna be
that way, right? What we'll do, we will
pose this like that. But in the bottom one we
will pose a bit more. And the last one we will
pose a little bit more. Yeah. So it's like
little, little. So if we look now going to
rotate, rotate, rotate. So you've got that kind of
sea level at that. Gradually. The head. What we'll do, we'll
leave that for now. We can do that at the end,
but we've got that pose. Now what we want
to do, key that, go to the, that's the pose. And then now we
want the opposing. So what we wanna do here
is get the top one. Get the top pose
here to the star. And it says nine.
Yeah, copy that. Put it in here and
just put minus quiz the other
direction, minus right. Same with the bottom, this bottom squared
that we've got a value unless the
bottom squared value. Let's look at the controller. Let's go to frame 1.612. Then we go to the contact. Next contact one. Oops, copied it. So we do again
back to the start, copying this, these values. So that's 12.6. Then we go into our latest key
and we're just going to go paste minus, so it's
rotating getaway. Same thing with the second one. Go to the Star,
12.24, copy that. Paste it again and put a minus. In fact, that's what you're
doing because you're opposing minus. So we know that that
way then that way. The leg, obviously this hips
is going to be leading. So this is leader leading,
going forward, leading. The hips is that way. So these are opposing. This is going to be this way. It's always going opposite. Feed it out. Got that posing? Posing. Next pose is contact. Which means in the bend. Which means this
foot comes forward and then comes up is gonna be this point here is going
to be coming up slightly. Fluid. Select this toe inhale. Control. 0 that out. Have that come down. Stretching. Then again,
we want that pose, the next pose, which is gonna
be so the key, everything. Let's put 0 here at the
stock. Select everything. Move it to 0 so that
the legs frame is 21. Then we can move
this forward and up. The high point number. This will be both
legs are in the air. Again, we will be rotating this. We'll get this pose right, move this back so it's
a triangular shape. All right, so we've
got that indeed. If we look at the
other one in the air, this one was we'll
do with this one, make it similar to another one. We can sort these out later. But for now, just for
blocking, blocking sake. Getting about day, that
should be all right. Then we just block the try
with getting that motion. Now, basically the
end frame is going to be let me just get
my outline layer. I'll show you the end frame. Pretty much gonna be
the same as the star. What I do is I just literally select
everything middle click. I don't know what
these extra frames are here. Let's delete these. Sometimes it is common. We do this, we
select everything. And the first frame,
middle click, and that's already
doing, dragging that middle click to the end, press S. And you'll notice that same frame is copied DC
at the end, that different. Now what we want to do
if we go back to our geo here, you know what? What we'll do, I'll accidentally keyed every link on the
geometry I didn't have. Are there. You see? That's right with it is really
everything in the here. We'll just delete
all these keys. It doesn't matter,
affect the animation. What was going to do is
get rid of your curves. So you can go in here and
just get rid of curves. Now select all your geometry. We want to do you want
to press Control D? Control D will duplicate. Now you won't see
anything in here, but now would control D, You've just pressed
now press Shift and P, and you see all of
that comes out. But if you notice you
can't translate slopes. What you do is you then
you press Control G, do it in those steps, and you will get
downloader group. And then as you can see
here, you can move it. What we want to do,
we're going to use this, GO as geometry as a guide. So when we get here, we're like, All right, I'll
get to the end frame here. Would I want the next
step around here? Seems all right. Then what I do is I just
put that GO on the ankle. All I'm doing there
unselect in the foot, some selecting this for this
foot control and the hips. Then I'm going to the end frame. We know the end frame is here. Then what I do is
I move everything. Much better I'll do is
I'll go to wireframe. When you go in wireframe, you go over the wire. You know exactly when you've matched because it goes Finn, like this is more
or less matched, then what I do is I'll just
go back and I'll be like, All right, let me go in today. Let me delete that material. Now. Cycle, they're
just select everything. Make sure in the graph editor,
everything is constant. Then that's you're
blocking, blocking. Blocking, blocking. See you got that way, that way and in the
middle of that way, which is what we want and we can show all our stuff out later. But that's it. That's your
blocking. Thus your basis. This is what we're gonna
be building on next. So that's the first pass. Then we start adding
the other stuff later. Don't worry about the arms
yet, we can do that later. But yeah, I'll
actually know what. Let's do the arms now. Let's just put the poses in. This is going to be the
opposing, opposing. So we'll have this
moving forward. This one common fluid will just slip proof of this and
just rotate them for now. Press F to go close in and
just rotate the largest. The term seams are going
to worry about that. We'll just move it
down like this. The head or Mars or do
their head is low. On back. Same with just press F to do close-up is
papillae built in. So that's really cool.
What we want to do, just want to keep the
same kind of line. The arms. Don't worry
about it. Intersects. Can oppose a bit like this, like that
going forward there, that's more than volume poof. Now what we'll do,
we'll just select, because select all of this
top bit. Step for the hips. And we can just middle click
again, drag it to the end. We know the end has
it. Yeah. You can see is coming out there. So that's easier we can
do is what we'll do. We'll just select
all of these arms and the shoulder, shoulder here. And shift this. Let's
let the arms here. And then go into the graph idea you can
see going back here. So we want to delete
these large enough. Basically. We can
leave that we have to key in the middle of all we can do is let me cut
to the middle here. We'll just move this back. Move this one back. Pose this hair. Similar to that. And then we'll have
this one coming fluid content. Let's sit down. Was that What was that like? Low down. A bit more lower. End up in the head can
be straight. Isn't it? The hedge trip. Middle click for the end is all
get the edge to it. Now we go to graph editor
and just constant that. If we look now, we've
got that blocking. Just what we want. I would say might want to tone this down. This path. Then we'll just constant
that everything is constant. So we've got those poses. Now, the other thing we
can do is we can check, check that trajectory, which
is a good thing to do. If we go here. Just turn off to control,
select the hips. Go to visualize quite
edible motion trail. If you can't see it, go
to show motion trail. There you can see it. Now. This is interesting because
now we can see translate. We can make this a bit more
even in bring it back. This food this down. What we'll do is adjust
the feet accordingly. That's the highest point we can do here. Is if we show motion
trail show controls. We can bring this
one back slightly. We can do here is
middle, click that back. And middle click that back
here, that foot control. This packet. We get. Fined can start adjusting this. You see coming up. Now we can move this forward. Copy that. We can copy that foot control for
the make slight adjustments. Maybe a bit more of a pounds, but we can sort that out. We polish but that's
just to get like even run the curves. Because this is down. We've got that down, up, down, up, down. We can delete that. That's your blocking done. And then we'll move on to
the next which is planning. Then we start polishing the up. Yet, let's move on
to the next video, which is the splicing with smoothing it out and
playing with the curves. All right guys. See
you next video.
6. Second Pass Splining: All right guys, so we've
got that first blocking. It looks it looks perfect. Now it's time to come
out of the blocking. We're gonna be splicing
and flattening curves. And you will see all of
that in the next video. So let's dive in and carry
on, push into energy. Let's just keep animating
and try and get that run. All right, guys.
So let's dive it. All right guys, welcome back. We are going to supply now. Let's make this my
face a bit smaller. We'll do the last time we
were blocking everything out. It's all blocked out. Now what we'll do, we'll
just select everything. Move them like a bit closer. Excuse me, guys. So what we'll do, we're
going to start blocking. We're going to select, what we'll do is select everything, go into the graph editor, as we can see here. Join there. Now what we'll do, we'll
just select everything and go to I normally go to flat. It's all like over here if we go to spline now than it was pilot. So the in-between
currents as plane, just to get the ease in at
the front and at the end. Let's have a look
at our animation. It's gonna be all float you
with things that don't worry. Let's look this up. There. You can see this wall a
bit jerky. That's fine. That happens. Don't
worry about that. The first thing I do,
we'll check out the hips. So we'll go to the hips here. Check the ups and downs out. Now, normally we want these. This is the high. This bit is the highest point. The highest. Now
this highest point is a bit higher than this one. So what we can do, misled this. Go to Copy and paste it here. So they both the same. Why is not that working copy? That should work Cleveland.
They're both the same now. Flattened out through
a select these and we press flattened, flattened, you dare, you can see there
it's gone higher right? Now what we need to do,
let's just move this leg up slightly because we'd
have to adjust it because the hips and
gone. That's fine. We can do that if we
look completeness now. Now if you notice
when he's going forward is pausing a bit. That's because we've got this. What we want to do,
we want to delete, sorry. We've got this. If you look at the
Z going forward, it's not constant is slight, slightly going up like that. What I normally do is take
everything here, delete it, and then this curve here, I make it linear,
which is this one. It's constantly
just going forward. If we play it now, there is
constantly going forward. I'd be up and down. It's still not right. What we
need to do, we'll get this. Let's check this up here. Contact down. We just have to adjust in it. Because we've made the
forward motion constant. Let's go for each pose
and let's just fix this. Let's go here. We want this to be higher. Basically, let's take this, this pose here, this point here. Copy that from this and this. Let's make this all the same. That's wrong. This is
minus two, minus one. We want it there yet. So
it's a bit more even. If we look now, a bit more even. But you can see we need
to adjust his feet. Let's go back to the hips. Get this working properly. When it comes down and
it's in that position. And then it comes down,
it in down position. So what we'll do,
we'll make all these down position is the
central copy, this one. Okay. We've got that work and we've
got the hips working nice. We've got the nice curves here. Now what we can do, we can
go in and adjust the feet. Now, what we'll do,
we'll come here. You can see we just
move this in a bit. We'll just do one
flight attendant will come, will be like okay. We can do here is we
can even move the, move this down straight. Either. We can move that up to you either
way. We've got that. Then it jumps off and you can see that
it's going down here. Down, up, down. It's not on the fluid
loss because of this, you see this overshoot. So all you do is you get
those. I just go to flat. Now, what's happening
is, is the rotation. So if we go to the rotation
here, we can see it there, see it's overshoot, so we just flatten this,
which is that one. I've got a flat
shortcut is Alt F. I'll show you how to do that.
That's all you're doing. And I believe the toad toes
will look at the total. You can see that
it's been flattened, that the front ones, probably only these bacteria,
as you can see there, will just flatten these
our C Now that's exact, you know, floating
there on that land. That's what we want. Let's
go through that foot. Comes up there. We can
push that back a bit. Thus file. Now this one we wanted to, wanted to come in a bit. Then it comes in
a bit like this. We had it before. Then this was like coming up. Let's cover it up, then. Play it through. What we can do here. We could rotate the foot. We can do is get the other
foot and have a look at that. Looking back up here. Then it comes down and
then the same here. What we do here, look
at all these controls. Controls, shift select this. We'll see access to
one out of time. Cdc or overshoots here to select these and just flatten them. Same with this as well. When we land here, there is
a movement because of this. Because it's going like
this little S wave there. So we just flatten that. In the front 12, we have
a look That's okay. The toes, the toes is the same. We flatten that. And obviously the main controller, we'll
have a look at that. Look all of that while
it's on the floor, it was like this wobbling. This this represents
this control. Why? We can see
when it comes here. You can see it's
going down here. It's going down on the floor
there because of this curve. As soon as you flatten
it comes at the top. That's what we want to do this. Every time the
foot on the floor, you want to flatten
it like this. Then we look at the other poses will just flatten this forward. And that one, I'm
pressing Alt F, That's my shortcut,
is a video on how to do shortcuts in this class. You can check it out from there. The other curves are fine. Invitations are
fine, that's fine. Now if we see this, that's on the floor solid. Now if we go back, lands there, then
this pose is fine. We can rotate this a bit lower. The leg. A bit straighter here. There's just an act to
take off. It takes off. Readjust this this, and
have it back a bit. Because both fee
earlier him numbers. Then it lands. If we check this out Now, bit rocky, but we're
gonna be working on that. So don't worry about that. All right, so now what we'll
do is just check it out in the hips and
then fixing fine. What we need to do now is
work our way up the body. So let's go to the hips here. So we'll select this hips, this one, the bottom one,
and we'll have a look. You can see here we had,
remember we add a twist, start the start
and in the middle, we don't need these
keys in-between. We can delete this. Now if you look, go
to the second one. The second one is the same as though we don't need these keys. We just want f3
keys on it, right? And then this one here, third one is the same. We want to delete those. So we've got just one key in
the middle and then back. All we got, if we look now, yeah, sort their head
out to look at the head. The head is got all
kinds happening there. We are in rotation here. What you can do is let's
delete all these y. Y, what we will do the same thing. We'll delete the
in-between keys here. Z. Same, delete all the
in-between keys. And if we play this now,
she is still moving, so we'll sort that out so we can basically we could straighten
it every third frame. Just straighten their
head every third frame. Make sure it's just
looking forward. Just going over the same keys. At least us in the right place. If you look without
the controls, a character is
moving side to side. If we go to the top one now, same thing we want to do that
as the main chest control. So we want to delete that. Now if we look at
this, is moving. That's what we want.
So starting to start looking like a run now, just a bit slow, but we
can work on the timing. That's not a problem. Now, what we could do is now that we've
got everything working, mechanics seemed to be working. Will go and get the
hips now we're below. Alright, let's do weight shift. What happens when you
plant the plant the leg? Then the next frame,
the weight shift. The way shifts on the side where the leg is. As we come up. We plant the leg. First ten weight shift than
the leg goes the other way. Then we come back. We'll look at here. We shift a shift so we don't need
these keys in-between. Then we can just flatten
these curves out like that. Then what we can do is
we can select this. So let's change this
to three up here. So the value is research
largely random number. And below here we can
change that to minus three, so they're both
going in the same, same distance in both
directions there. Now if we play, you'll see that there's
a side-to-side. Now you can adjust that
if you think as less. So we can go bit more. Here's his 4.8 something. So here we can just
copy that value here and put a minus in front of that with
the opposing way. We can check that out. May want to adjust that accordingly. As for the head, flip the head, they're going on. Let's delete
everything in there. Delete this. Just delete
everything there. Let's see how this is. Let's rotate this 0,
everything out here. Let's concentrate on that one. So normally what I'll call 01, I just select one here and then press Shift and
middle, middle click. Go to the next frame. The next frame. Just in the y-axis and you know, it's nice and clean. This part is just
adjusting a few things. And we click and middle click, Go to the end and press S. Looks like the star. So it's the same as the pose. You can always
just a little bit. You can always adjust them. Generally looking forward right? Now what we could do,
select everything, go back, select everything, select everything
that our timeline, and just move it to say 18
and go to right-click snap. We were basically want
to do everything on Tuesday every two frames. Just check that everything that every two frames there are 16. Let's change this to 16. We won't make the
relevant quicker. Okay. Let's check
the trajectory. Looking nice. Let's
check their trajectory. Let's check out the trajectory. That's a bit harsh coming up. But what we do this is
where we start polishing, but we'll go through
that. We're gonna do now. We will let us see
if let's go to 18. Try and see how
the frames on 18. We've got it on all
twos as far as 1616. Fine. We'll do check the trajectory. I hit F9. We can publish our last
problem. That's fine too. All right. Now what we can do is start really
polishing the foot. Let's go to decipher and below. Alright. We wanted to
stamp down quickly, right? So we go to the next
very next frame. All we're doing with this
zeroing down first, stamp down. Then we can movement there. Let's see what that is. This translation. Now it should be locked.
We call it that. Then we're the same one
here, the opposite 0. Then we can do is
delay the tone. So from there, the toe is still up because
the heel comes first, then the toes up,
then ditto is down. That will add a bit more
result, which is really cool. The toe is up. When
the heel is landing, then it goes down. We've got that working. We can polish it a bit more. Let's check the arms out. So let's check the
shoulders up, shoulders, our file. The arms. Let's check the arms. Those are fine. The only thing with the arms at the moment
is only things. Even though we'll sort that out. Shoulders find their
shoulders fine, they're fine. Wrist will sort that all out. What we'll do with the forearm. We'll just add a
little movement here. There's something
happening there and add movement here like that. And then we'll do the
same for the other side. We'll just add a
movement going forward. We'll start in the
polishing phase will start refining it. So we'll add offsets, make it more organic. The moment this is
basically how you supplied. So basically what you're
doing is blinding is your what's your spine. You notice everything's floaty. The fee are going underneath
the flow of value. Don't panic, that's
normal, that happens. Be excited about
cleaning up. All right. Let's go in. Then for example, I'm like, yeah, let's
check the fear. Oh, they go up and
down. Let's select it. All right, let's have
a look at the curves. Normally the Phi anomaly, then you can just clean this up. Normally the fee are
going underneath is because when you
supplying you do this, this is blind as well. If you look now,
that's what happens. That's what happens.
It just going underneath it just
overshoots that order. That's why I like to flatten for us because when you flatten, when you do the flattened, it keeps the keys flattened. Then you go in-between that I select supplying,
supplying in-between. But it doesn't matter
wherever works for you. But this is just years of practice for linear
own preferences. But'm just be a bit
excited about doing that. And then once you've done that, then you can play like
we did with the timing. Once you've got everything
all working properly. For example, that the torso, remember in the torso we add
all the keys in the middle. We deleted those keys. All learning how to keep them at the start middle and
end at the start. The shoulder like this. At the end is slightly spend
the middle, it's like this. Then you just got free. Then we'll opposite those layer and then we'll add it so
it's a bit more organic. Then we'll talk about
matching tangent, which is so important in
games when you're cycling. And there's a whole section
on that class lesson on that, which I talked about. But overall, that's
the splicing process. That is, let's describe
what we could do. We can push some of
these poses a bit more in the polishing,
which we're doing next. So that's from
blocking to splicing. So it's looking clean,
side-to-side, good stuff. So we're happy with that. And we'll move on
to the next lesson. So I'll see you in
the next video.
7. Polishing: Okay guys, we have made it to the stage where
we are going to be publishing and this
is where we bring our animation up a notch. You will see how we start
tracking arcs and refining and adding keys going
through each frame. Then when we're
doing the extras, which are little band
and also a little belt. Lord is little things or add a bit more character and
believability to your character. All right, so without
further ado, let's dive in and check this out. All right, guys, we
are going to polish this tonight unless start, let's check this out
now in the next stage, we've got splicing
happening is feeling good. The hips are moving well. Now we're gonna make
it a bit more organic. We're going to start adding
some offsets to the arms. Little bit more detail
on the legs, hands, everything just touch up a
bit more Andy's little bit. We can see this is
the polishing phase. We're taking it up
a little bit more. If I make this a bit bigger or smaller than a,
so you can see. All right, so we've got
the controls up here. And let's start with. Should we start with, I was going to tell you how to cycle, but I do that the end might
be better if we do add stuff. Okay, so what we'll do, as
you can see in video games, I'm gonna be talking a lot
about this in the next video, which is on tangents and stuff, might be previously above, I think is gonna
be the next one. Yeah, I'm putting an order at
a moment thinking about it. But in game, you want the
character to run on the spot, because code works like that. You can animate it forward
like this. This is fine. But then you want to
put it on the spot. Now how do you do
that little trick that I've learned at work? What you do is you can either
animate on the spot or you can animate it forward like this and then bring it back to the spot which
we're gonna do. How do we do that? What we
do, we go to the end pose. I will select the root. The root. We looked at z translation. What does the z translation
statements? It's a 150. So we do is copy this wherever
the value is, you copy it. Now. What you do now, we get the root checkout, the press a key at the
start of the route, delete the End key. So we just got key
at the start of the root. That's what we want. Now what we want to
do, we want to select the feet and the top. Let's see this. Because what we're gonna
do, we're gonna select, so it's moving forward. We have to select the root. You can see the router
going to just copy this copy and then go to, so that's the center of gravity. So you've got the root. Now, we want to
select the route. Make sure there's a
key at the start. No other kids there
and just edit, paste. Thus it and then if you do, infinity forever is just
keep on running forever. We will leave it on for
now. We'd have to do that. Now if you watch this rolling
on the spot, see, I'll do, I'll just take that post
infinity of Constant, Constant, see how it keeps it at constant, constant matter. It's running on the spot. That's how you get into, Okay, now we can do from here, we've cleaned up the
curves and we'll start doing more refining. We've got that sorted
out on the spot. If you ever want to mute that. All you do, you come
in and go to y. We zed and go to mute selected. Then it won't go
forward. We want to unmute. Let's check this out. We want to first thing I do is I will select the hips. And then what I do
is if you come here, you see these two
signs, a cycle, cycle. When it's, when it's running, you can see there's
a bit of a jerk. Whoever pause is at
the end is there, then it comes down.
What you want to do. This is so important in video games and this
is what the video, the next video is going to explain why the importance
of tangent matching tangent. But I guess as I
mentioned it here, some may not do that video
committing see on here. But I might do it
just to remind you, what we do is you
just literally, you're matching these tangents
because if you don't, what happens is there'll be like an ease in and then when it come back to the
psycho gonna easily. And so you're always
see these kind of slow run, fast, slow run. There'll be that little bit over some it isn't
right in the cycle. It's because of these tangents always match the
tangents of always. When you're doing
cycles because it will give a smooth cycle, it makes a lot of
difference. That's fine. And then also want to put
a cycle on here too again, you see here we're just
doing Sofia, look. Actually let me just put it in. I want to show you the
important stuff is so important to just match these because it's going to
make all the difference. Just have it like that matching. You want to go through rotations
and irritations on it. That's fine. I just go
through each one and just make sure everything
cycling okay. This will be fine because let's see, everything's flowing file. Even this one, if we go here to psycho
Everything, that's fine. You can see nothing wrong
there. That's fine too. There's no is easily nicely. Top one, that's fine. Their head to head. We can just delete this. Keep the head
linear if you want, because then sustains straight. That's fine as well. Bringing in a bit. Now, we
can change the value of this. Copy that here says equal value. Nope, that doesn't work. We want to paste
it but get rid of the minus. That's better. Looking straight there. Okay. That's looking all
right. That's fine. These are fine for
the head. No problem. Torso is fine, hips are fine. So that's all cycling nicely. So we can check that out. See how that's working. Working better. The body to work on the legs and the arms
will do at the end. Let's go to the lengths. Let's check out the legs here. Put this on cycle. And we can see there, there's a bit of a jerk there. So we wanted to just
smooth this out. Just says flowing. This is obviously
moving forward. We have to worry about that. Going in z direction fluid. These we haven't touched really stretches nearly one as fine. I'm going to go into this one. See how this cycles.
That's fine. Yeah, we can just flatten this. Values are different.
So they looked at, look at this because
it's a digit here. When asked to select
that different. We will copy this over to this. It's all flat because that's
when the foot's on the flu. Could move it down. We
can tweak these layers. Napoleon got all that
at their school, and now we'll just
go one by one. Let's go into this Cycle. This let me just flatten this. Why does it translate on this? See, we shouldn't
let me translate. Should think that should have a translate. The Translate. Yeah. Is it on here? No, it's not. Yeah. And I shouldn't
have a translator. I don't know how
that got on there, but sneaked in somehow and forward translate,
how is this happening? This is something
that should be all 0. This should be
translated soleus, just sort that out. You'll get stuff like this. Just move it back. Cleaning up phase.
We don't want, don't want no translations on. That's fine. Okay, So Autodesk don't have it. The cycle here is fine. Exactly what we want. We want instant
down. That's fine. These are fine. So let's go to the next
control which is a hill. There should be no
other controls, yes, just that one. Let's cycle this. Tangent fills. All right. Let's see
what's happening. A flattened this, what I'm
doing is I'm using out f, which is, I put the shortcuts on the start of the
video so you know, but basically I'm just flattening,
flattening these keys. Just trying to see
if a flattened this. When they turn our
discipline, I'm pressing Alt F flat. Let's see. Fine, we can leave that
out of this class, even delete, delete that. Just have it like this. We want to do with this. We're gonna have you up
with that. With this. We want it to go up, up, up, and then in. All right, ten come in. You want that push
man, V1 to light? Let's take the other leg up. We want this one out as Wellman. We want it to be coming in. And it comes out bit over. Hold the ends listed out. This one. So we want this contact. We should have this
contact up higher as well. What we'll do, we'll go to
the Z here at the end 150. And then we'll do
this little trick. Moving and changing
this position. Middle click to 16 is pushing it back because
I've made it animate board. And to bring that
back, all you do is you go to the end and you go and you
just type in this formula, this work, if it
happened plus equals and you paste the
value of the hips, which is a 150 onto it. It is, brings it back
to that position. Same position. We've
got that little pause. I see that. Let's see. Bring it in. Let's check the
tangent sound on this. You see That's why
it's happening. We flatten this out a little
bit of that adenine there. So I noticed the analysis
phase if we look now sure. Yes, flowing a bit better there. Still a bit of a pause,
but we saw that up. We've got that working. Then we'll go to
the check that out. The toes. Yes, Check this out. This matching is
fine. That's fine. It's fine on here to
cycle this chaos. Fine. Let's see what happens if we, you need that. Let's put that rotation back in. Skip that in. This is all we do is just
going back and forth. Then what you can start doing is now you can go
frame by frame. So you've got all that working. Now if you get the
foot, you can be like, alright. Let me see. Each frame now. It comes up. We can visualize
editable motion trail. Check this out. You
see, you see that. Now you can just smooth out the curves however you want. That's the power, that's the
beauty of this. So powerful. This is all flat. You can push off a bit more, some more if it comes back here. So you're getting a
nice kind of curves. That's what you're looking for. Not remembering, not to mess
up the posts, you guys all. If you play, pay it. Now, a lot more of
a curve happening. Smooth flowing now, isn't it? There's no really do it right at the end polishing this
is what the arcs, the power of the arcs. If we come back here, come here. We can add another color here just to make
it more fluent. And even here you could
have it instead of, instead of going up, it could come down. You've got nice arcs. That's one arc. Then what we'll do, We can go into the
outline and delete those, delete it because when you don't delete it and you
work in the other one, it starts delaying Maya.
You don't want that. You don't want that.
Can't have that. I don't want you to suffer. Spontaneous. That's how we do. What we'll do now. We'll
do the same thing, visualize credit edible. But this one is actually
where I afford. This was a bit more sliver. But hey, let's go and
publish this anyway. So all we're doing. It just looking to create a stretcher here to
find stretch it. That's fine to get
in a curve in there. Actually, we'll leave
that one a bit too. Nice that is coming
back, which is fine. And then you can
have this slide. That's fine. We can
bring this down. Again. We'll go down here
to create a nice arc. Come up. Then contact. Now we'll just delete
that motion trail. Look now, you're getting more of that run organic feeling now, isn't it in the feet? And then we'll check out the
toes. We'll do the toes. If we go back to the
toes, what you can do, you can go when you're doing it, Just going back. You
could be like, alright. Maybe they start was
a bit like that. Comes in, still comes in. Then goes back. We could try that. See that works. Go in here. You can rotate it that is just checking. Maybe have it straight here
and then it comes back. Yeah. So you've got that
a little bit of a think it goes
forward a bit more. Then. Here we can drag a bit as it comes up. As it comes up. Feeling that a bit. Okay, so you've got
that. That's fine. We can do it in the alberto to copy paste that. When I move this,
all I'm doing is at historic frame and just
kainate middle click, move it to 16 and then press S middle click
and drag it to 16. Whenever you're copying pasting, it is mirror click while do a video on that
separate video on that. We just saw these. This turns out this backlash. Just going straight ahead. Now this is already in,
strike it out animation. Straight ahead is you just go
in through the timeline and just seeing where down. So we want that to be 0. Oops, not that one. This TO here, sorry, I'm looking at this one dot to hit because a hero came first. We don't know who came first. Denver told us, right? We add it. All right.
We've got that working. Phi cosine Phi now so
we won't touch those. So now we'll move on
to the arms, right? So if we look at the arms, what we're gonna do here is
a simple because regard. Moving the hands are
key to open skew. What we'll do, we'll
select over the top. We can select like this half. Actually know what,
let's just go and select shoulders, shift,
select everything. And then just do cycle, cycle, cycle. These are cycling. Now. Let's do this. For now. We'll leave the shoulders
are moving right? Yeah, we will do we do the upper arm and
literally select everything. Press T for Translate. Hold your Shift button down, the middle mouse button, press it and move it one frame forward and then
get the forearm selected. Just press a in the gravitational framed,
select everything. Same thing again,
shift middle button. The residues shift Marie
button is you can only go, it can only go. It will click when
it goes sideways. So you know, it's like slapping. We move that to the
hand is the same. Select everything,
shift, middle mouse, button, move horizontally, 123. I see there's a bit
of delay there. If we look now, the arm, There's a bit of a delay. The NRC in the hand is
kind of going like that. What is kind of going like that? See if the wave effect they call it that's coming
in. We're looking for. Now if you want a bit
more in the hand, all you do is you've got
the hand selected there, so I'll bring it back. Remember you're not
bringing it back. Just go to show curves are
just got shortcuts here, which I'll show you about. Now what you're gonna do,
you gonna select the hand. You might want to
offset it a bit more if you don't think
there's too much, if you go one more, you can see it moving there. Do another one. You can do
it another one. So six. Let's have a look now. Not working as much. So we'll just bring
it back one to see. Now, what you can do here is you can just
start playing around. So if you look at a stock pose, this key here, Let's see, Let's select both
of these are the n keys that we've moved. To select. Everything will be alright. We want the hand to
go back a bit more so we just move it like
that, everything down. Then maybe when it comes back, we want it to be a bit higher. Yeah, there's a bit
more of a drag the sea. Then you might want to, might want to move
it a bit more up. See other three, it is a
bit more organic, easy. The forearm, you might
want to go in and get the form and be like, All
right, You know what? Let's go in and
select all these ns. Move it one more. Then you might want
to do the same thing. You go, alright, let
me stop this playback. And I'd be like,
Okay, how is this? We want this to be back more. So we were all right. Put
the arm back a bit more, but then maybe we
want to make this go forward a bit more.
Then it is player. There is Clara. Again more of that organic
field coming through. Then what you do is
the same loosening up. It loosens up everything. The same window on
the other side. So we'll go to the other side. We'll do the same everything
cycle so we know that we do, we're coming to the same thing. Get all of them, move it one. Just to start off with
let me get the forearm. Move it to one too. You'll know because
of the clicks. Get the hand, move it. 123. I will look like,
how does that look? Doesn't look as organic. So what we'll do,
we'll go, All right. Why don't we get their hand? Same thing we did last time. How does it look? Meant to be going in more so we can get this and go
alright, to move it up. Move it up. Let's go in. But on
the way back down, the way back down, we
might want to flop more. So we bring this down.
Let's have a look now. There's a bit more of a
flipped it and maybe, alright, well, not flopping
as much as I'd like it to. So then what you do is you just offset a bit more vigorous, go 11 more and have a look. Yeah, that seems a bit there. And then you go back
and get the forearm. Have a look. Same
thing we did before. We have an a look. I'm just pressing too to get
rid of the controls. An entry comes back. If you go early on in the class, there's a script
on how to do that. So everything's all in one area. And I'll do what
I'll do. I'll do a video specifically
on that unit. You see it will do here. We know that already this form
is to be back a bit more. Let's select everything is
moving down until we went to the desired area,
let's say around here. But when we come here, we want it to be going
up a bit more through this leg. Let it go up. Now if we play there, you go. You've got that run
going and you've got a nice little waving
kind of effect. Then what you can do here is now you might want to go
a bit more extreme. And it might be
like, You know what? I want the rotation to
be a bit more extreme. This is where you can
start changing around. You can be like, okay, this
is the chest movements. If I select everything here
and press R, R is scale. Requests are same
as enhances scale. It works in the Gulf area. And you want to go to
the middle area here. And you can scale, if you scale like that, it kind of equally scales
both sides, top and bottom. If you do it here,
I'll do it like that. You want to do in the middle,
depending on what you want to do, what you can do, you can keep scaling until you think autonomy, just try that. See how that is. You could do a Lambda and
then if you have a look, sedans feels like it's got
a bit more energy to it. Yeah. Then what you can do
is you can delay. Then you can come in here again. And it can be, alright, I want the chest to delay a
bit so I'll move it. I got to translate this time. Move it one. Let's
check that out. Now. You've got that little delay
happening, which is cool. And then what else you can
do is you can delay it. We delayed it by one, I believe. Yeah. If you delay it by two, then select the bottom control, the bottom torso,
which we should cycle to delay that by 11 and
then the top one by two. So it's like off of and we'll check that
out. Let's check that out. Because that will break up
and make it more organic. And then we can start
adding the head. So if we turn it off,
have a look at the head. We can have a look at the head. And then go to our channel
box here because we just want to rotate the y. We can go for each
key that we've said. Just line it up, basically, line up straight, straight. So it's always looking
at the target. The character has a reason
to what it's looking at. The middle click, save
it, save your work. I'm just saving this. Going forward. And then here
you could have a slide. Maybe when he lands, There's slight jerk
down. And then up. As it comes down. This is like joke
again. And then up. I'm looking at a
little bit of that. Then you can just go
in here with the head. Sorry, let me just
find the head again. Go in here with the head. I'll just check the controls. Select their head,
make sure their head selected day cycle that makes this was cycling. Again, you see these areas
where you might want to just pressing Control S
for spline, OwlTest, sorry. Just want to get those
nice smooth tangents. Then you might want to move it, delay it, like we
did with the others. So the head delay their head by one because their
lands and then. Little bit, little
bit more hectic. But we can do is you can be
like, alright, the rotation. Let's put this back to where
it was and have a look. The side-to-side
still happening, which is fine, but it's not as much you could tell
him that download, we can go to go here. You can just go
through each key. Like for example, you
could move it forward. The next key, move it forward. Then the next key is
fine there. That's fine. In this key, which
there's no key, but we can put one
there. This one. You can put in here,
smooth the end. It's kind of smooth.
It's getting there. You've got that happening. And then you can, if it's too much up and down,
you can delete that key. There is too much up
and down again scale. Bring everything down. You go. And then we have that
little bit more toned down, their bit more
character to that now, Conda and is a bit more rotation in the chest stuffing does, it gives a sense
of urgency there. What you can do, you can
rotate, come back here. And then maybe you
weren't. We might want to rotate it forward a bit more. You could just move it for automotive wanted to just
leaning in a bit more urgency. Heavier you want?
Yeah. What else? What else is left after that? Well, you've got
these controls here, which you can, you can
play with. You can polish. If we come here, we can have these light kind
of hanging out like this. Because it's going to intercept and have this
coming out as well. This is just a matter
of just going in. If we select all of these, then you can just delete all
the keys in the end ones. But in literal you
can just go in here. You could just do that that way. Then it comes back that way. You literally just got
three keys, right? So you've got you've got a key intersection there. So then may want to
bring it out here too. Then it comes back. You can literally just, you've got animation
on that one axis, which is blue mainly. Let's check out the blue axis. Copy this 30 and we
go to Edit, Copy. I'll select all
of these squares. Press key, and I go to Z. Z. Just select Control. Z, delete the indicator. There's only, actually we
can delete this as well. There's only one key here. What you do is you just
go to edit, paste. Now if you look at that, it's moving. It's moving. Now what you can do
here is all you do is because everything in
the same keys and we know is select all of these controls here
and go to cycle back. Remember we talked about cycle. Now, forget the first control that's the base one will require animation in which
we copied everything to get the second one, literally all you're doing is
go to select or lowercase, move it one, then go
to the next block. Move it 12, then go
to the next block, z, one to free. Next one, z, 1234, Four, That's it. That's
all you're doing. Now if you go ahead
and check it out, see it's like organic is
moving like organically. Then you can just go back
and just copy and paste. The same you can do
with the band here. We could just keep it,
keep it simple here. Key I do hit on this key, this key, the end. And it's rotate
everything up like this. Then I'll get a block of
all these and just move it down, down a bit more. Then as it comes down,
move it down again. Now this random isn't it? So if we look now, there's a bit of
movement they see. And if you want to
break that up more, just go into Gulf area, cycle everything and be like, You know what, let me
grab these bottom ones. Let me grab these two. Just move them 12. Let me grab this
and move them 1234. And then that will
create a bit of an offset and it should
look a bit more organic. Diego see, there's a
bit of fluency there. Yeah. Yeah, guys, I just
made it a bit bigger. That's how you polish. Bring it up a bit your run. You can do the other animation as well on the other one there. But that's the run for human. You can just play around
with that and I start exaggerating the hips more than you got base day
you can work with, you can lean them forward more. Having looking more
or less, right? Using layers, we'll have
you arms are offset. Making it more fluent. I hope you enjoyed that lesson. Just polishing. I'll see
you in the next video.
8. Conclusion: Okay guys, so final
thoughts and conclusions. That is the run. So the main thing you got
to really focus on the run is that there is a pose and there were both
VR in the air, which distinguishes
from a run and walk. And also it's quicker. You want that kind of shape, that triangle shape we talked
about in the tutorial. You'll get those
appealing shapes in rotation of the hips. And all these things
are opposing. The flattening, the stepping
of the foot and the overlap, and the arms overlapping. So as you can see, everything wasn't like in rigid. There was a little overlap going up and that's all we're looking for, breaking it down. But firstly, you want to make
sure you block everything, get the blocking
right or solid makes us work in solid in
blocking acquitted. You're literally just
doing pose to pose, to pose to pose in
constant interpolation. Then once you're
happy with that, then we switch to spline.
Let me clean that up. Then we can check
out the timing. The timing looked a bit
slower than we just sped that up and then you
just play around with that. And the polishing was where we brought it up a little notch. This is where we
start offsetting. We started going
frame by frame and really trying to polish the curves and the ox and the legs and obviously the
arms we started offsetting. And then we start
offsetting the spine a bit, and the head. And the little
details of the band, which obviously you
can go ahead and play around with that to
how you like it. But I'll just showing an example that rule does the run solid. It'll just get the
block and inline were saying keep packs and
go over it again. Again. It's just
practice now that you've got workflow that
you can work for. This other workflows
out there too, but this is particularly
just my one. You can just keep going over it and you'll
master it will be second nature to you
and then you can just do runs as you please. Alright guys, I hope
you enjoyed that video. I'll see you in the next class. Should be coming soon. I'll
see you in next class. In the meantime, happy animating
and have fun animating. Take it.
9. Maya Animation Mastery: Hi, everyone. Congratulations. This
is just something after the conclusion
that I just wanted to put into all my courses. If you're really serious about leveling up
your animations, I have a brand new course
that you can enroll in. It's called Maya
Animation Master. This course, I've redone
it with four K Good Audio, came out in January 2024. And this course is
designed in a way how I would have liked to be taught animation when I started. So It basically gets rid of all the pain pain
pressure points that I had when I
started animation. So I want to get rid of those
frustrations and give you a direct line to what that aha moment was for me when my mentor Steve Gagnon Kati taught
me about animation. Something just clicked, and
I teach that in the course. So if you're interested
in enrolling, you can go to the about
me page where I'll have a link there called
My Animation Mastery, and you can go
through the webinar. Then the course breakdown.
You can check that out. And then if you decide, you can enroll, if
not, that's fine. There's a private
Facebook group. There's a link in there
about me for that as well. You can join that
where we get feedback, and there's a nice
community there. And also, when you enroll, there's a private
Myers Mya animation Mastery inner circle
group where it's just exclusive for students
where we give feedback. So, have a look at that webinar and let me know your
thoughts as well. If not, you can join the Facebook group to
the private group. Obviously, the inner Coco group is for people who have enrolled, students who have enrolled,
but check it out, and it's just for
leveling up, and really, it's got all the
theory and practical, heavy on the practical
stuff, video game stuff. If you want to learn
about how to get a shot from reference to
blocking to splinding, to polished, show real level. It goes
through all of that. And also, I talk a lot about networking and
how to get jobs and context that I have within the industry that I can
ph your work out there so at least it's in the right
hands and people can see and at least consider
you for applications. F of my students who
have already got jobs in the industry going
through the course, so have a look at it. And yeah, let me
know your thoughts. So enjoy your animation journey, stay healthy, and
I'll see you around. I'll be around on the
Internet on YouTube and a giving tutorials as
usual. I'll see you later.
Opi Chaggar, Senior Animator + YouTuber
