Video Games Course - Animating An In Game Attack | Opi Chaggar | Skillshare

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Video Games Course - Animating An In Game Attack

teacher avatar Opi Chaggar, Senior Animator + YouTuber

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction to the Attack


    • 2.

      Planning the shot shooting reference


    • 3.

      Blocking Part 1


    • 4.

      Blocking Part 2


    • 5.

      Blocking Part 3


    • 6.

      Blocking Part 4


    • 7.

      Splining Part 1


    • 8.

      Splining Part 2


    • 9.

      Splining Part 3


    • 10.

      Splining Part 4


    • 11.

      Polishing Part 1


    • 12.

      Polishing Part 2


    • 13.

      Polishing Part 3


    • 14.

      Polishing Part 4


    • 15.

      Polishing Part 5


    • 16.

      Polishing Part 6


    • 17.

      Polishing Part 7


    • 18.



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About This Class

In this class we will cover how to animate an in game attack back to idle. The course will cover the following areas:

  1. Introduction to the attack
  2. Planning the shot shooting reference
  3. First pass blocking the attack
  4. Second pass Splining
  5. Polishing the attack
  6. Conclusion


Meet Your Teacher

Teacher Profile Image

Opi Chaggar

Senior Animator + YouTuber




Hello, my name is Opi.

I'm a Professional Senior Animator working in the video games industry.

I have over 18 years experience in the Video Games and Animation Industry and I've created these courses to give back what I have learnt and hope to inspire the next generation of animators.

Companies I have worked for:

- Ninja Theory (UK)
- EA (UK)
- High Moon Studios (San Diego, California)
- Trion Worlds (San Diego, California)
- Sony Computer Entertainment Europe (UK)
- Warner Bros (Tt Games) (UK)
- Genjoy (A Scopely Studio) Seville, Spain/Culvar City, California)
- LavaLabs (UK)

My Mentors:

- Jason Schiefer - Weta Digital/PDI Dreamworks
- Steve Gagnon - Cady -Weta DigitalSee full profile

Level: All Levels

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1. Introduction to the Attack: Hi guys and welcome to this class where we will be animating an attack. So it's gonna be a typical attack from Idaho attack and then backyard or this is typically what we do in the game. There's one a idols, there's freehand arrows. So you can add lock combination on that, but we'll just do an attack and coming back to idle for this particular one. Normally in games, you do like three heads and then you split them. And you can split them all and have each one returned back to idle. Free ecchymosis, combos, whatever, depending on whatever company you're looking for, what style of game you're working for. So what we'll do in this class is first we'll start off with the reference. So you'll see me talking about a reference, breaking it down, finding out what poses are like. Then we'll take that, analyze it, and then we'll stop putting it into Maya and then blocking it out. It'll be quite a lot, quite a few videos where we're blocking the movies, planning it, and then you'll see me polishing it. And at the end we'll add little cracks on the floor just to add a little bit more of a believability. So grab your animation models. Anyone's like always say anymore, any rig is fine. You want to use the rig I'm using. You can support the independent artists as I always say, they do the work, they make an all these great rigs go out there and support them. I've put the link in the Skillshare course description below so you can download the rig from there. So follow along with me and go at your own pace. There's no rush. Really take your time and enjoy the process. All right guys, let's dive into the first lesson. 2. Planning the shot shooting reference: Guys, so this is basically my reference, as you can see the animation going back here. This is the animation as you know, and the reference. So this is the process. I filmed myself. Oops, and we get this backup. So I'm just filling myself. So if you look at this, I've just gone to object in there. I'm just trying to find out the weight, how it feels under timing. And also like this recoil here, coming up then Baca. So let's look at the trajectory I'm conscious of the hips and how it's moving, how it would play in Maya. I'm just figuring out what's the simplest way for me to show this way. Instead of, I'm trying to keep it as simple as possible, I want to show and communicate with the audience. Exactly the way that this character is picking up and the impact is coming down. And the poses make sure they're clear. Mixed with the staging, the camera and everything is clear. Somebody trying to be conscious of that policy, the character, this character, his big, it helps to have someone who's a bit bigger. Maybe I could have put costume on and we'll find someone with shorter legs and bigger torso. But that all helps because again, the character, but basically what I'm trying to find here is just the overall movement and trajectory of how the body is moving. Then what I do is obviously the first, first pose. I'm not copying that in animation is different. You've got to have a good silhouette, good posing, good staging. You're not going to copy exactly your reference and representative to give you an idea. Alright, Where are the main changes happening in the key, key poses throughout the animation, yet they're the main way, whereas the main weight shift happening, That's the kind of stuff that you're looking for when it comes to reference, you're breaking it down. And then there's, there could be referenced on YouTube that you find, don't be afraid to chop, chopping, put things together at it in Premier because I do that too like the star. So for example, this bit here. When he lands, when you land and he comes back, maybe lands and it comes back. Maybe up to here is good. And then in the end, on the Internet you might see someone get up in a really cool kind of pose and back to his idle pose. So you could cut it from here and edit that, put that in an export that as your whole reference and use up. So you can have, given you a star could be different. You could, you could let the middle bit of this. And I'm going to stop there. You might find some males which is a bit more dynamic or just more appealing. And you can put that in. Then it's just a matter of just working in blending those free clips together and through your breakdowns and poses and Maya, getting it how you want. So don't be afraid to chop and change stuff around. Then once you get all of that reference together, you can start to create your own kind of poses and movement through that reference is always there to help you. Mainly I use it for our weight shift and stuff to see where the weight is. Because if the weights of the coke is not going to be believable, because that's the best thing about process. Again, I should have put this video out first for a dentist would have been blocking part one, part two, part three. But check it out, go back and check it out again, plug blocking and then replicate your reference brought in one, part two, part three, and just work at your own pace. Yeah. Just to enjoy the process. Really enjoy try and do reference and stuff that you really want to animate in your hobby. You are in your free time. Because when you're working, you're working for someone else's idea, Right? But when, when you're doing your own stuff, that's when you really enjoy it as well. You know, you're really doing what you wanna do, and some of your, your, your best words will come out of that. So that's the process. There's some kind of insight to that. As you can see, there is standard stuff I learned at animation mentor. You do your videos referenced and you block it, get the poses that you can, even like from desk. You can even draw some thumbnails that you think, okay, I'm gonna use these. This might work, some people work like that. I normally do that. Or sometimes I go straight into Maya and just block out the pose is really sculpt each post. So either way, whatever works for you do what system works, where you find systems that work for you and more efficiently. And I'll see you in the next video. 3. Blocking Part 1: Alright guys, so we've got our planning, the reference out the way so we know what we're gonna do. We're spending half our time planning and now we're going to put those poses in blocking. So first thing I'll do is I'll just make sure that my interpolations old, select everything. I'll just delete these two, select these keys and just go here to constant interpolation. So everything is locked, pose to pose blocked. Alright, so what we'll do is we've got our, we've got our poses. You'll see me going through here, this side of the monitor to here just to check my reference out, you'll have your reference so planned. So let's do it. Alright, so it's going to go through references. Stop posing. Back. Alright. So frame one, everything is keyed here. Next frame. For your frames, four frames, completely up to you how you work it. So what I'll do is I'll just get this character back. My reference. Check my reference. Jewish rotating backwards. Reversals. Main body. Make sure the employee is in balance. Pose the arm higher here. Okay, got the anticipation going back. Block, block. Then we'll check out our reference. So we can do here is normally what I do is I'll come in here and unlike flatten it, whoops, Control F or flat key there. And then I'll move everything forward for, for your friend doesn't matter. And I want to hold that pose. So what I'll do is I'll come, I'll be like, alright, how far is this posed to the end on this? A little bit of a holiday. So we want a bit of a moving hold. So maybe the third frame, number six. So we'll do is we'll order control selected middle click and middle click. Bring it back to four and key, rotate and key. There's a bit of a hole there. And then I'll just come back. Stepped. So now you can see there's a bit of a hole. I can bring that came back to all freeze as well. We've got a little anticipation happening there. Then what we do, go back to a reference. Always good to check out a reference. Okay, so back there comes up, so it's a positive position. So the next frame, what we'll do is we'll just put that down to 0. So the foot is flat. Bring this in. Now, this is where the weight shifts onto that leg. Leaning forward. This leg starts to come up to turn this around the force and position vectors to make sure they're facing. Little feet are facing. I don't sit down, look right. If k were on the way coming down. Most importantly, he's looking down as well. So he's looking at waves going to hit, which is very important. Parsing position of the arm. Sometimes it's good to hide your controls. Is good practice to hydrocodone was actually because then you can see exactly mesh. We call it down here. We want to rotate their hips like that. Okay, so this arm is coming forward. This is 0, this out. Okay? Don't want that to look broken. Do better. Okay. See the weight in this leg. So let's check this out. So we flatten this again, the curves so we can see. Okay, now what we can do, we can move that forward free. Copy this frame, frame 11 to ten. So as a bit of a hold. And then we'll go back and make it constant. So we've got just an extra extra hold in there. So we've got our anticipation back forward, getting ready, and then impact. Next one we'll try and do that impact pose. Let's try and get that pose. We look, just checking out the reference. Should be fun. Alright. So then from there, we want to completely turn this around. So what we wanna do, we want it to go completely that way, like that. We want this firm becomes 0. Let's 0 out all the rotations. And also in the y, Let's put it to 0 so we know everything's on the floor there. Then here, pole vector, we can bring that into, move it forward a bit. Bring this down. And you know what, we'll just rotate this as well. The pole vector for that one. Got back. Now what we're gonna do now is there's been an impact. So we'll do here, we'll rotate this up so it's just about to hit down because that's what the reference is saying. Will come here. And then we'll come down here. Bring this down, this one down. So looking down, shoulder to shoulder, we want that to match. We want that to go and rotate that. Let's check out the reference. As he comes down. It comes down. 4. Blocking Part 2: Okay. So when you get the shoulder down a bit, bring it down. Try and break this joint a bit. Alright, so again, a bit of movement there. Blocking happening. So the full block, that's cool. So we've got a little bit of a momentum, right? We can see like the, the blocking is following, that there's a nice arc as following. From here. What I'm looking at is to say, let me just type in Kept this epic pen, right? Let's use this. You'll see here, is this the C over here? You've got the ball, then you've got the other ball. Then you got okay. So even while I'm blocking, I'm still thinking about the different trajectory of the whole animation. Where's it going to write? So you've got like a nice arc. I can put like here. If we select everything here. And I'm just spline, even here, I could if you want to put a good way, I normally does. If in-between them, you can just supply in it or flatten it, move this another three frames. And in-between here the computers. It's not like you want the computer to do it for you. You don't want to completely animate for you, but it's figuring out a pose for you there. So you can just key this pose here and you can edit it. Then it can be that, alright. Maybe you want you can keep 1916, So kinda frame before and be like have that, 000 that out in x-ray. Alright. You now you've got a pose where it comes in here. You can start adjusting this leg. And you can start playing around with the poses in between to create your in-betweens. If you know what I mean. You're already blocked out. But now you're just refining the in-betweens now by you put oppose it, put a pause here. You've got an constant interpolation. Then what you do is you flatten it out. Then what you do is That's what I've done. I've flattened out how to pose, to pose this one. And this one. All I did was this keyframe was 16. I just moved it to 1916. I just selected everything and K1. And then as I'm editing the pose, so this is what I'm doing. I'm editing the pose to how I want it. So then you can go in and delete. So like the hips. But you can do that later. You can go through, right now we'll just posing everything. So hey, I could be like move this back. Maybe move this forward a bit because it's going to come to attack. And then move that forward as well. Because you're going to land and attack down as well. Then you can just go select everything and go back to stat and just see how it feels. Night you're getting more of an arc now, right? But then here you can be like a Commie. And then it's coming out. I don't want it to come up. I want it to go wondering momentum to go like this. And I want the arm to come forward. I want to come forward, and then it's going to come like an attack. So then it's going to come forward here. And this is where the next poses. So what we'll do is we'll do the impact of hair. So it will come here. And then we'll do the impact pose is gonna be the chest is going to be opposing, yeah, like that. Then we're going to arm comes down. Obviously, this is going to be on the floor, so we just banged do this. He's looking as well. Then we move this to the hair, will move this back. This arm goes back, back here. Then raise, raise it back like that. So it's balancing is trying to balance out. And then we'll move the hips back to glue is we want that balance back a bit. A kind of blocking. Blocking out those poses. Say that always save your work. So when he's bangs on the floor, and then there's gonna be an impact. So bangs and then straight away comes up. There's gonna be like this leg goes in the hair color, the force here really feeling it. And then we'll bring this one down a bit. So it's like a shoulder comes up, the shoulders coming up with the impact. The arm is still down. And then the forearm is still coming down. This is still kind of holding back. So that's cool. We can just play around with the pose here. All we're doing is holding this to recreate a bit of movement here. I can always sort that out later. And the main thing here is we want to make sure that the weight on this leg feels like everything's coming on this leg. This one here, the weight. So we want to make sure that that feels that feels real ear. Then we try and do better. So we get that kind of a C-shape going on. So there's a kind of a weight like that. 50, got more. Bad, comes up, palms up, and then let's check the reference out comes up. Let's check it out. And then what we'll do. But again, we'll go in. All of our posts are flat and I'll just flatten these ones out. The constants are flattened out so we can see in between. So we want to hold this pose. So if we bring that out to six here, alright, let's go to 23 middle-class 2222 hold, hold. And then we might want to make this one come up a bit. So hold. Okay. And then we just come in the middle here, clear everything, and then put it on step again, then we can yeah. So there's lack of intact there. Animal and play with the timing layer within the poses. And now and then what's happening is check the reference out. Lands, lands, back, up, the hips go up. And then this leg comes down. This is 0 and everything out here. Then we can go back and pose. So this leg comes down. While this is still in the air. We could kinda have it come back. I see what's happening in the reference here. Okay, so, alright, so bounce. And then there's a slight upper body is going up a bit, which is cool with just the upper body go up. And then this all starts to come down. All recovering. Energy is starting to come down now because of the impact. So that's cool. Okay, So we've got that kind of a cushion where it's going up. And then the foot land, land. And then as it lands, the weight shifts. So the way it will become this leg, it comes down. That's very important too. Then we can kind of come down as well. So let's get the hips down. We can just start bringing the shoulder back. Bring the arm down. Then let me consult without out later. Might want to bring it back a little. Thinking about the balance here. We put the foot out. Forward, pass it forward. 5. Blocking Part 3: Down. Then obviously that comes up. Okay, So your tax comes back down. And then we want to, we basically want it comes back to it's idle pose again. So we'll do from there, we'll just go back here. Copy number one. So we'll select everything. Copy and paste, make sure everything that you want is keyed as well. Then we will go back, copy and paste that, bring it to 40 wherever you want around it, and then see it comes back like that. So then what we'll do, we'll start doing playing around with it. Now what we'll do is the next free frames. We belong or we wanna do, we want to plot this feed? The next few frames. Let's plot these feet so as the body's coming back, we can start playing with the post so we can go to the hips. The hips are still coming forward, again, back, but there's still fluid here. And make sure everything is in balance there. Okay? Rotate the hips, rotate the lower body. As the momentum is coming back. Upper body still forward. Trying to figure out on this rig where you can independently move because when I move the torso, everything moves right? Normally you can get rigs where? If I move the torso, the arm, them with a certain country, nothing, everything at the moment, which In Unit was a bit annoying. Okay, So bang, whipping back now, right? So it's coming back here. So we're going to do here, we can add a pause in position. So you could go up to the side. And then this leg comes up. This leg forward. You want a good balance there? So we'll move this leg forward. There is a bit more of a balanced like that, maybe up there, that's it. Then make sure you click this C-shape happening. The head could still be down. This The raises up, this arm comes up. Maybe this arm comes out. The balance. Rotate the hips back a bit. Alright. Then move the four frames out. Again. You can flatten, see what it looks like. Maybe here you can find a pose here you like 41. Copy it to 40. I'm just moving these keys back, Chris and all three. That's all I'm doing when I copy and paste. That's all I'm doing. Putting in these poses. Okay? Now what I can do now I can go back and be like, alright, copy that foot so it stays still. Stays still. Then pivots. Copy the end pose. So there's a, there's a, so let's get this into stepped. Keen everything. You feel the weight a little bit there, but we can do is here, you feel the weight. So we can rotate this axis and we can kind of move it like that. So there's that sense of waste. So it goes bang. Let's take a look at the upper torso. Then we'll move that. So here we could delete that and followed that momentum. Because something wrong there. So let's check that out. So we've got these blocked in. So the end is quite quick. So Dan and then straight away from there comes forward and quick back. So it goes and then hold. What we should do is we select all of this, move it forward a bit. Again. What we're doing here in this space is with planning or flattening. So we've got delete that because maybe we need both up. We need to move that one. And then we want to hold it. We want to hold that. We want to hold that pose. Delete. Let's delete this. Let's see, sometimes you have to delete, delete that to actually eat. So bang and then back. Okay, Let's check this up. So we block that out. So this chunk up here, okay? So bang, bang, bang. Also. Okay. We want that going in. Okay, so we know from there today we're going to break down because that's way too quick. Just add another breakdown in there. So we're just trying to get the timing right here. So that feels a bit more, kills a bit more better, because Let's just stepped up. 6. Blocking Part 4: Okay, so now what we can do, we've got the basic bang, like attack and then back to idle attack, and then back to either right. So got that basic blocking in. So what we'll do is just go back to animation. And I'm just going to visualize the hip movement, what's happening with the hips? So sine of u is always good for this as well. And then we'll check out the front. Okay. Motion trail. Check it out. Here. We can kinda, what we're doing is we're just kind of checking out the trajectory of how the hips are going very roughly. Know, oops, wrong one. Let's get rid of that. I don't want to miss the keys up at this stage. So yeah. Got it. What's going on there? This is your anticipation. Comes forward. Bank. Bank. A whole day going up. Hold backwards. We can just move this forward a bit so it's coming up. And then adding some more keys in here for the hips. But you know what, we don't need these right now. We want to keep it all simple. We can we can add that in later. That's fine. But really, you just want to keep everything simple at the moment. This distance is covering is quite a lot. So That's what I was concerned with. The end of the spacing was very short. So if we look at the hips now, we'll do is let's check the hips out here. And let's just flattening. And then what we'll do in between will display controllers whenever look. So we can see how they're moving. Okay, so now we can do is we go to our motion trail in Explorer or delete, and go back to our control here. And then let's do the editable motion trail again. Check it out. Check this out. Okay, That feels a bit more even. Okay. So what we'll do, we'll work with that for now. So we've got those poses blocked in. Okay, so we've got those bang, bang and then back, and then bang and then back, bank and then back, right? Then what you will just want to check that the mechanics, alright. And then what we'll do, we'll start refining the poses a bit more. Balanced. Check out the balanced, no things here That's going guys. So that's the first pass. We'll just try it. We're just trying to get a feel for it at the mechanics, right? See if the weights alright, when the leg shift, tapping them back. So that's what we're doing for the first part. I'm just trying to get a feel for that. Bank, that impact. Then we'll start breaking down more. And we'll start adding more breakdowns in-between and playing with the timing just to get it right. But that's the main, main kind of blocking basis where we're going for. And then we'll keep with finding as we go. Some poses can be refined a bit more. Alright guys. So that's the blocking stage. We'll move on to the actual proper breakdown on the next, next session. Then after that, we'll start breaking it down more than polishing, explaining it. So that's the process. Guys. I hope you learned something from this, enjoyed it. If you did please like and share much appreciated channels young, It's getting there, but I'm doing these tutorials now. I know I know there's been a lot of fitness videos are at the moment, but I'm getting back into animation now. So we'll be doing this and we'll finish this project, probably will see it through our guys. So that's part one. We're just blocking it all out, seeing how it goes. And then the next video we'll start with finding they're adding more breakdowns, getting more of a feel. The hips working probably get all the little arcs and everything feeling right. Getting the timing right, playing around with that. All right guys, I'll see you in the next video. And in the meantime, grabbed this rigorous law and animate along with me, you know, just to put the link in the description and you can check out the rig there. And also don't forget to like share, subscribe you helping my channel. Thank you is growing. Really appreciate that you guys support is not going unnoticed. Thank you so much guys. So happy animating. And I'll see you in the next video. 7. Splining Part 1: Alright, alright guys. So where were we last time? Let's see. All right, so let's play this. Okay? So we were all opposes in just kind of getting an order mechanics, right? So let's see, let me look here. Bam, we just want to see, check this out. Because the character comes in. Let's prove it more down. And of course, more that way. You can add it now. Make a few more adjustments. And then back, and then back. Okay, so what I think here is we select all of these things, kid, and let's move everything forward three frames. And then what we'll do and graph it out. From here to here, less spline this side, normally I got a short cost cut, S with splines. But you can also go up to here and splendid. Flatten out. And then splay. Might just blend that other key before. Alright. I'll do here is maybe he comes smack and then the foot lands. And then I might have them come back. And then there's a pause and position here. I think for the book has it comes up. Make sure the knee is following the foot. Important. And also let's copy this foot to the next frame. So it comes up. Okay, so what we can do is have it up here, maybe forward a bit, starting to come up. And then it's coming back. Knee in the right place. Yeah. We'll consult the spacing out later. But that's what we're trying to get. Salt that little frame out there. There's a bit of a whole day actually. Actually, let's do this. Let's click delete that. Okay. Let's get rid of that. Maybe that's yeah, that's alright. We've lifted up for okay. That's fine. It was a foot Dani lifting anyway. Let's bring that back. Okay. So what we'll do, we'll select everything and was blind it now. So we'll just come in a spline everything. So I'm going to go all over the place. Well, that's what happens. When you spline, then you see the sliding happening. But what I'm doing here, I'm just checking to see the timing. The timing is a bit. What we can do is, as he comes here, Let's see, Let's get rid of this. We'll get rid of that. So we're just getting rid of some frames. Moving this closer. Let's see how this feels. What's happening. They pass down something to do with the red dot. O when I keyed everything, then it went. Okay, That's cool. Okay. So he comes comes in. That's better. Actually. It's coming up. It's coming up. It comes up holding a bit. When it lands here. Nice to just be a bit more snappier, so we'll just move the keys have been I just moved the key closer so you can see there, let me do it in one frame. From their bank. Bank, you want to feel that? Well, what kind of feeling? Okay? So bang. We can hold this pose a bit more. Bang. And then we can keep that pose held a bit more, causes a bit of weight to that. Let's go back a bit the bank, and then we can drag the recovery bit, a bit forward. But let's see if that. Okay, I'm not happy with whatever happens is key everything and it goes away. That this bit is happening really quick here. I want that to be a bit slower. Okay. Let's make these a bit more. Somebody at the door, I'll be back. All right. Sorry about that. Coming back. Let's try this out. Okay. So we've tried to soft in the end. So we've got smashed it. Okay, so first thing I'm gonna do, make sure these hips are working properly. Select the hip control. Go to editable motion trail. Let's check it out. So logarithm. So now we can do, we'll go through each point and we can start smoothing this out a bit. So the hips are working. How we want them to. Y'all. Okay, that's alright when we remember we don't want to lose the perceiver. So as we're doing it, we're leaning forward. Okay, it's coming down. Maybe we could have it a bit up, like this straight. There's a coming down. Actually will have it a bit more down. Could even compress this mall. So we feel it as it comes up. Isn't this opposing force that's pushing him back. Coming up that much. We want it to recall that much. Maybe it wants to stay in front a bit. Bring this, like bring this forward, mess up the arc. That's the only problem. Bang up. And then comes back. To worry about the foot, we can sort that out. So we could either have this having coming down. Yeah, that makes more sense. Comes down. Step, a weight shift. We'll do that later. Comes up. Nice arc, going up, then comes down. Okay, so we've got a nice little arc we can work with. So at least we know the hips are kind of getting there, but I'm not happy with this bit. Okay, Let's see, Let's look at the slide and that's why as he lands. So we can do is you see the foot lands moving. So if we middle click this to the next frame so we can kind of plant that. Let's go to the co-op idea. The reason why it's moving. If you get to translate, the reason why it's moving, look, there's overshoots. Overshoot. This is commonly, you'll see in your beginning animation the foot there, that area here, look how this is moving. So all you do is you flatten this. And then what you do is you go chapters one out flattened best. That's alright then the checkout, the rotations, can, you can see here just go to flat here. I've got o, f is flat. But of course here there's a little bit of movement, flattening and flattening this. So if you look now stays the solid to that, then obviously this is your rotation and your y. We can see that there we flatten that no movement only translate movement. And of course, that's over there with this flattened to see. But you can do that in the policy and you don't have to really do that now, but I like to do on the way, as you start working in animation, you just start cleaning up stuff as you're doing it. Okay, so what's happening here is like this foot. Nice to be here. So from here, I reckon we should have it pivot to another. So let's take this last pose, middle click it to this frame here for Iran, we want it to get there earlier. And of course you've got that movement again. All to do with these. Just normally, what I normally do is select all of these, rotate, come in here, select laughter, point, flatten, Control F or F, and then it goes back in. So what's happening is interesting like stepping here. Let's try and see if we can get the translate value. What we'll do is we will steps in here. We wanted to translate the status symbol to rotate the, sorry, the rotate to be the same one that translate. We go here. Now we know that these are the last poses. 8. Splining Part 2: Okay, So what we'll do, let's just do this for a minute and let's we've got that foot controller. Let's copy from there. Okay, let's just copy this to this position here. The zed. Copy that. Paste it here. Copy that. Okay, so it's gonna be there. Copied that one as well. Copy this. Okay. That I wanted it to pivot, but don't think that works. Okay. Fine. So what we need to do is we need to hold this pose, me to copy this here. And just rotate, pivot, rotate this turning. I have this follow back one inch, back one. So let's have this learned a bit quicker. The backward. Here it goes up. And in back. Lands role, can we roll it a bit higher? Sometimes you have to roll it to compensate. I don't look right when it could be a bit more natural and do that. Okay, so the other thing we can do is this foot. That's the end pose of the foot. So when it lands there, let's put the end pose. Get rid of these. That might work better. Copy of that too, when he lands. When he lands, Let's copy that pose as it comes down already in that landing. Trying to match it to that pose that is going to land in. Let's check out the knee. It's going make that a bit quicker. Lands. Because what we wanna do is we want to make sure this stays grounded as well. We'll do. So that's planted first, which is what? We've got this system on the floor. Then that goes up. Yeah. Okay. That's fine too. All we've done is slamming down. Here. We made it land on the end position. So we don't have to worry about the balance is already like landed on there. And we have to worry about is. So here's can see the foot lands and then that's okay. So then as it comes down. That foot come up, can we just worry about the other foot going back? So let's check this out. So it's more grounded. But let's check this out and stop football Atlas. Okay, let's just copy that over. When I'm copying and just come in here, select nursing and flattening. Again, you can see how it's coming up. And there's all this movement here or this movement we want to get rid of. We want to make this all solid. So as we come up here, when it lands here, we want it to land look like this. So we'll just copy this pose here. Middle click, delete the in-between keys. And then here what we do is, as we said before, look wobbly there. It is flattening. When you flatten it stays solid. But even here, if you see this, we look at the why as flat. Okay? We can delete that middle one. Then we can go to the might still want it up. And then we can copy that here. Stepping, stepping, stepping over, do a little bit. We have a look here. This knee control should be like, Hey, wait to follow the foot. So following the following. Then it turns. Okay, now let's check out this arc on this. Alright, so we check this out. Let's go to the top one. Took out, sort that out and start to just make this come up a bit. Just trying to get these nice arcs going. Stationary there. Then it comes back, which is fine. You want it in the middle there, comes back here. We could even copy that and see if we can get it back. Just flatten this out. Flattening this bit out. Okay, that's not going to stop. This is flattened. This. Rotate too much locking going on. Yeah. I don't think that's working disparate. Pan. And then you land. He needs to learn this foot. Needs to land down. How we had it. Used to be like that naturally because it looked the other way. Keep that blanket. That matching. Next fine. Keep that needs to follow following the knee. Follow the knee here. Okay, We'll work on that foot layer. Let's get this working. Middle click that. Okay, So the fee seem to be alright. The hips out. Alright, so I'm going to do remove the hip. We moved that to 50, middle click 48245. So we'll try and get a cushion. A good way of trying to get a cushioning. And here we could guess, lift this a bit. It's not locking. Not locking too much. Just getting basic mechanics working right. And then my copy this. Oh, I select everything because doing that funny thing again, isn't it? I was wrong. You don't want to keep everything just the foot. 9. Splining Part 3: Okay. Pumping, going on the news there, Let's see that there is going up. Or I start hyperextension. The lunate. Don't want that one man. One. You see, you see you can notice that full extension, their spring the hips down a bit. And then you can see the hyperextension there. So as it comes down, maybe it's good to do a little role. Role coming up. Oh toe, good one too. So if we go like that, that might help. Not really happy with that snowpack. But I don't like this. Often does horrible horrible looking at how that knee is moving. And it is not good, man. So we need to fix it. Straightens there, which is shouldn't need a bend. Better than he's still not right. I recommend you just keyed up. It goes in. Come back. Check this hips. The hips down a bit. This is we don't want the hips to come down. We want the legs to if we add a role. So you want to do yeah. So look, step and then yeah. Okay, that's better because we wanted to step then the hips move. All right, So we could've made this forward a bit slightly. Then let's see. This is moving. So as you can see in the editor here, it's moving all over the place, which is wrong. So let's delete this middle bit and flatten this sort that and that's kinda feeling a bit better. We'll sort that other foot. Just getting the hips and feet working properly. Okay. For lifted in getting that motion. Alright. Okay. So let's check out. Check out the curves. These curves. Patients I tend to do is if you look at rotations in the torso, everything's moving back at the same time. We don't want that, especially in animation. We look at this key here so we can get rid of this. Cleans how these up this up to become a kid that I took out the rotation in the hips. So I needed lands. So many lands. See we get flatten this out. No, it isn't. Okay. Let's just try and keep a hold. Some kind of a hole. I can refine that a bit later, but we've got this movement going. Okay, now it's a bit clunky. I find it a bit clunky. They're all of this because everything's happening. I sometimes feel very well robotic. Let's check out these other controls. That's alright. We'll do, we're going to go back and go through this. Straight ahead is what we'll do. So let's check this out. So what I do is delete. Let's delete everything in here. Okay? Let's see how we can work with this. So we might want to do it going forward a bit. So it's going down. And then as going forward, his torso is going back. You can head back. So let's play that. Arnold. Delete this. The whole school In. This isn't gonna go back. Kinda second one, move it back. We're just doing straight ahead at the moment. Okay, Let's see how this looks. Okay, it could be a bit more looser. Think that's more to do with the arm. So we've got that working. Will do is again, what I'll do is select the arm, shoulder, just one of them. Okay, That's fine. So what we'll do is select shoulder control and this one. Okay. Alright, so let's delete all the keys in the middle here, and let's do the straight ahead. So it comes back. Obviously, the shoulders driving. So the shoulder is coming forward. Then the arm is getting a bit more forward than the form tool will do. Will break the joint here. And then we'll break, go forward more, break disjoint. So you can see there's a little movement. Here is like, but keep this in a bit. And then we'll just move the latest a bit more because just move this key a bit more. So as we get here, we want this to be higher up in the air for the pose was higher, straight up, straight up. And then this, we want to break this. 10. Splining Part 4: Okay. We can just move this forward and beard. I don't look right. Does not look right at all. I'm going to select this. All right. I don't like that. Don't do not lie that paint this back. All right. All right. As you know what, I'm going to get rid of this. All of this, 0 this out. Just how bad? This is gonna be me. It comes back. Still breaking back. When that last minute. No ground. All right, so oh God, a little bit of emotion going there. But as he comes back, Let's delete these keys here. Because we want, we want this to come. We want this to be a bit more delayed. Bang and then goes back down. So when we bang, we want, we want this pose. Push it. Push this. Let's just hold. This is a moving hold are trying to do with the slam. You want to get that kind of book. But we want, as it comes out, this going holding pose, holding pose, holding pose. But then we want this one to be a couple of frames. Have this brings up the last one. So there's some stuff happening there. You create that way reflect back. Okay. So we'll go back up and then down to the flow. Then it goes up. Wow. Okay, so let's check this. Okay. Okay, so yeah, there's a few things here. I need to swap the upper arm because it's static. You can make that move. 11. Polishing Part 1: Hey guys, welcome back to open mission. This is part three of the weight at attack from IDO to attack, going back to idle. And in this video we're gonna be doing more of the body mechanics, polishing that up, and also finishing it at the end, we were going to be polishing the clause. Little details like the hair doors, adding that little bit more that we'll add that layer. And you'll see in layers how a powder on. This is just showing my workflow. And a typical attack in game where you attack a start and an idol attack and come back to the idle. And with all the weight shift, basic exercises which are really important to sell, that believable character movement. Okay, So without further ado, let's dive straight into this tutorial. Alright, so let's check this out. Guys. So let's go into finished off. Alright, so we've got a lot of work to do him and sort that out at the front. Got to make this ball stopped, wobbling around, making more smoother, come back. Everything's coming back at the same time. They noticed this. All of this is rotating at the same time. And this foot. So first things first, this should this. As, let's check the torso. This try and rotate this more. Get more of the rotation induced because of the weight. Also, delete these keys and pushed us forward a bit delayed. Okay, So it is, Let's delete this key. Middle click the end. Last two of that key. We said, Bring it back. Keep everything here. So you get a little mini hold there. But you know what, it's not organic matter. You still can feel delete this. Delete that kind of kind of getting there. So we're gonna do here, delete this middle click, these, bring it back. Two frames as Dan frame. Wanna go two frames before, just to favor that pose. Nope, nope, nope. Something is not right there. I don't like it. I think it's the hips. I don't like that. Or I could do. Select the hips and the torso here. Start deleting some keys. Key they go up, they come back, pill the hips out. We might have lost something the hips early on. Isn't inherent control here to separate them. So this is what's happening. Feels better, right? And then hold bang and then hold bang and then hold. That feels a bit better. I think that feels a bit better. But we could just delete this and have this dragging more because of the way. And then it's torso comes back. But this is still dragging. So what I do is I come to the end frame here. We could middle click 49, bring it back to 42. So it comes back earlier because key everything because I also took up the shoulder and bottom but delete that key. Me. Copy this. To let the shoulder, the shoulder is coming back, but the upper arm is still catching up. Go middle click that. You know what, Let's put this 60. As he comes back and do that. Select everything. And let's let's try and stretch this. Timing. Snapped up. Yeah, maybe the timing was a bit. Let's try this 60, the end frame and move it to 60. A bit more of a cushion. Alright, so if we delete this, maybe have it come down a bit hold. So there's a bit of a cushion. 12. Polishing Part 2: I don't want that too much. We don't want that rotation. Chemokines subtle. Maybe middle click and key, so it eases into it. Let's try that. Yeah, so we've got a little ease, easy coming in, which is which feels better. I think this step, this step could be earlier. Frame back. Okay, So we'll add the steps as it comes back. Let's see this RIP pivot this no, no, no, no. Say this. Step in the I should be. Back doesn't feel right, it shouldn't be back. With get it back. Step, step. This rig is really smooth, should be another red, but never mind. Let's get this challenge. The challenge isn't it? With some of these rigs? Okay, so what we've got here, combat stamp. So that's landed step. And then that comes up that she did have this come up. Then it comes out. Little step back to cut the x. So this won't need to tone it down, but you want that foot doesn't feel right. Used to be quicker. Maybe being done the way down. Don't like that. Don't like that pulling happening. What is happening is to do with the yes. Does it need to straighten this up? Okay, so we've got a nice line. Keep those keys and actually, because keep it in the front here. Hello to intersect. We can go through this in the Polish, but I just want to get all the poses in the right area. We need these keys tonight. These ones could get this publishers or school could come in. 13. Polishing Part 3: Bro, compose this dark cocktail in a nice position at the start. And we have to do is copy that over. This foot. Goes from there to the right. Then lands. That learns lungs. The slide this, to cut this pop happening in the y. So we come down a bit to recap this, slide him back. We could even put rotate on this and then bring this copy that and who's quicker here? Down. So it comes back. Weight shift. Don't know. Not that good. I will put it in the middle. It will be shuffled. This could be quicker. Maybe dislike, rages playing up their key, everything. Yeah. That feels better. It feels a bit more natural. Let's check that armor. Let's go ahead and save. Save, save, save your work or is a member save your work. Last thing you want to do all this stuff. Down, crash. You don't want that ****. I've added that might not have. One of our friends had a focus on top of his monitor and Save, save, always save. So last thing you want or you can go into if you go to Save, Save As Maya tip here, incremental. Incremental, basically, Maya automatically saves your file every, I don't know, minute or two minutes as creating a folder where your file is already created, a folder called incremental saves, and then it will start saving. The only thing with that is you tend to take up a lot of space, but then you can always go in delete diversions previous and keep five or six files. The latest ones, if you want to save space. But that's how you do that. But I won't do that. I ain't got much space. So anyway, alright, this is starting to feel in the body, starting to feel a bit more. There's a bit of weight there is coming back as a bit slower. This way in the arm is coming back. Levy, look at this, the arms all coming back together. Nor non-normal can't have that. Don't have that. Just doesn't go together. ****, don't go together. So what I'll do, I'll just what I'll do from here on. I'll delete everything here. Like your tax tax and then it's coming back. And I'll just do a straight ahead animation from there. So this one is attacked. The shoulders are attacked. The shoulders coming back. Actually the shoulder. Keep the shoulder is going forward. There's something here which is messing up. Not good. To find out what it is. This. Get rid of those. Get rid of something's not right here. Let's check it out. Something is not right. We are going to find it. We need nice curves, man. Otherwise, it's not going to feel organic. We want nice curves in the hips. This is really important. Okay? Sometimes bit rocky. Okay, Let's check out the Y translation. Need these keys. Don't need these diseases causing all this problem. Yeah, look at that. See that brokenness, that was the god **** rotations then. See what I mean about getting the hips right? This is what I mean. You get those hips right. Once you get the poses all and you get the hips right. God, ****, it. Will start to come together. Alright, so what we wanna do is work on this arm and so we've got to boot. Okay. Now we're gonna do what's their services? I'm trying to fill out the textures on this character man, but alright, so let's go through this. Okay, so we come here. We lose key here, let's 0 out the upper arm. Let's check this out. Sometimes a good habit to 0 out. Bring it back where it was. Just reset everything. Bush. Push, comes back. It comes back as middle clip. Bring it back a bit more quicker there. So what I'm doing is now what I did is I selected the arm and I went to two frames before the end, middle-class. And I just want the upper arm to come back quicker, so I'll come back and cushion in that pose a bit quicker. See that? And then it moves down, shoulders moving down there because he that. So let's try and sort that out. There's a shoulder. We can do is we can middle click the last two frames before the end. Middle click there to the existing frame, and then look, it's a bit more subtle, right? The movement is still there, but yes, there's movement in there, but this feels a bit more natural. You what we'll do, we'll add cushion to the forearm. 14. Polishing Part 4: As well. Wrist. So from here, it's like you kind of want that you want that to continue. Because the momentum is still going to leave this habit carry on still. Then when it gets here, might want it to catch up. Then now it goes. Let's see how that feels. A bit too much. So we'll do the last two frames again. Middle-class, bring it back here. So it's a kind of catching up. But you can also, you can do is that last frame there. We go to this one. Just, we can always adjust this up or down how we want. So if you want a bigger cushion, is a bit of a bigger cushion there. We want it to hit the earlier, we can move it back to that. Alright. All right, let me just select this again key. Okay, let's check this out. So there's a bit of a or you could go a bit quicker and then come back slightly. Here. You could just add a bit of a cushion like that. So if we look now, it's kind of going back and forth. But then that loses the illusion of weight of ink, so it will move it here. There's a bit more, a bit more like, wait. What we'll do, even in the upper arm is delete these keys don't need. Given that out a bit there as well, served as a cushion. And then you can just add a little cushions like that. Then come back here. The upper control of the wrist, I'm choosing the upper one here that's controlling this scales for everything, but we won't be doing that. We'll just, we'll do is we'll just follow. So what we'll do, we'll just key, couple of move. These keyframes are a couple of rooms work. So there's a bit of a drag. Let's keep this Boleyn enough that there's a gap. You can see this. Right? So it's like I looked good, doesn't it? Look like coming up? So some of these sometimes you get these happy accidents, keep them in them and some things that have to go as you planned. In animation, you can get this kind of nice, happy accidents when you delete one frame, one keyframe to another. Keep them in them. And I always think that animation is like all these animations we've done. We're doing this activity being done thousands and thousands of years ago. And they're all up in the air. And some people just know how to grab, grab this. Some people like to grab these animations, these ones and they're putting it in, I think sometimes those happy accidents, maybe it's part of that and grabbing and stuff below. Some people grabbed D that some people go grab. These are grabbing stuff out the air and put it into your work. All being like up in the air anyway. Right? But let's check this out. So it's going. So I kind of liked that. I could even like looks like me, you look, he's going even from day is like we could even have it more like, alright, there's a bit more down like that. See how that looks. Okay, Let's get the last two frames, middle click to 40 Greer. We'll see how that looks. A bit quick. Move this. Okay, let's move this a bit better. A bit more slow. And I think there's a bit more weight to that. And it's nice little spin we got on it too. Which is cool. Let's just clear. Yes. Okay, in that spin, but all that's been stuff we can add layer. So it's getting there. It's getting there. With the spin stuff. You can just start. You got this. So if this arm's starting to look, alright man. We can do is with the rotations. As it lands. You could spin it like that. Maybe like from here. So in my mind to spin. So it's like for me, you could come in to the Graph Editor and below, alright, delete all this. It's spinning. Push. Where is it? You want it to spin more? Just bring this down, flatten these curves at the top. This push. So yeah, that's just, you can just really, you can go the other way. Let's see how that looks. If you spin, push, push, that looks calling it a lot. I mean, to be honest, you could even wind up here at the start. Let's see how that looks. We can't really notice that. Because we need, say if we put a key there, wind this up. Move that a bit. Yeah, that could be even slower, that wind up. But yeah, you can play with that at the end. We can do that already. So when it comes back, well, it could be seen from the hair. Let's play around with this. Actually, you know what, let's delete this. Let's go. Let's delete all of this here. Maybe we want this to rotate. Let's see if we could even from here. So it could be like, Alright, hold it. This is all going to be hold it. Overshoot. We okay, spinning a bit. And when it lands key. And then maybe spin that, spin that minus 3 sixth. So we've got monies, P6. Okay? Okay, and then we could carry that on spinning the same way. Let's see. Something you can add to. All right, let's leave that in there for now and we can sort that out later. But it's adding to think is cool. Then we'll add some debris and stuff later on the floor with lower layer, the other wall. So let's check out the other so let's check this out here. So normally what I do all my come in, select all of these and just delete industry. Had to be honest. So here for example, we want to, we just want to loosen stuff up, right? Let's delete all the key frames. Let's come here. What do we want to see? We want to try and get a nice, a nice line of action right in the sea. We can do it. These clothes are cool. You can just put them out like this. Get a nice silhouette, which is cool. Okay, that will work. So he's aiming. And then maybe when he, when he smacks, can bring this back a bit. Dislike. 15. Polishing Part 5: Push it back slightly. All of this, what we're gonna do is we want to do like that pose there. So let's say from E and delete that we built. Alright. We can like middle. If we go here. Go back to the pose here, to friends before middle-class, go back to say, copy that to 20. Then we can be like, alright, let's go back into this, overshoot this. So let's go x, y, satisfy. So it's kinda like Bush, Bush and then overshoot, push, and then bring it back. Okay, let's try some of this tree. Basically want to hold that pose. So let's check this out. Let's delete this. Okay, this is the key here and 0 this out. Okay, that's how it is, right? Bringing this up. This. Yeah, that's it. So it's coming in. But let's try this. You see that? Actually a good thing to do is come here and 0 this out. Right. Now we can do is have it like this. Yeah, so we've got, we wanna do is start bringing this pose up a big back pack. And then copy that those two frames day of the arms back to earlier. So it hits earlier that if you see that push, push and you might want to bring this down a bit. And bring this up. You're getting that kind of which will polish as as it's coming back this way. Which is what do we want? Shoulder comes in first because shoulders leading backwards. It's coming back. Then later on, the army still coming in. You've got forum, which will try and break here. And then of course, the clause which will sort. Okay. So kind of got an idea. So we'll do is we'll select all of these. Middle click here, bring it back to 54 or less. Okay, that doesn't look right. So what we'll do is that forum. We need to bring that back earlier. So the best way I normally do that is if I delete this key here and this one. So it's like, I'll go straight ahead. So I'll go like, alright, keep it out. And then two frames before the end, copy and paste it around. See this thing is jonas. Subtly move it out. It's not forget the upper arm. Well, another trick you can do is actually let's do that. So let's write it coming back at the same time they're right. We can middle click that, go to 44. Comes back. Then what you can do is everything's coming back here together, right? So then you can just offset, move that a couple of frames, move this four frames, and move that six frames. And let's just have a look at that. See how that looks. Yeah. There's a bit more a bit more alive there, isn't it? The only thing is when you look here, okay. We just need a bit of a delay here. When it comes here. Actually, we do to smooth this out there. What we can do here, we can just add a bit of a cushion. So if we come here, we look at that X. This bit here, you can come in here close. I'll just break the tangent or add a bit of cushion like this. So overshooting, overshoot and then land. Notice it too much there. So you can always move the keyframe down, but you can play around. Yeah, there's a bit of a cushion there. So you can see how sharp, subtle you want to be with it. Then you can get the wrist and do the same thing. If you go to the wrist. So we look at the rest. Push, drag. I like it when it's dragging. Dragging death is coming up a bit. Maybe it's a bit too. Middle. Click the last bit. And then you can add a cushion there. So you could be a lot. Alright, let's go ahead and just push it down slightly. See you're getting that little cushion. You can check it out in the other axis. See how that looks. Bring that down slightly. Add a little cushion. Y-axis t, x, sorry. If you want the ending, if you want that ending a bit softer, select everything. You could go to 65. Maybe you want to end at five frames later. Then check it out. Push. Push. Yeah. Personally, I think 60 was alright. Mine. 606060. Yeah. So you've got a little push. Normally I do these sound effects. I'm just trying to get the timing right. So it's a wind-up snap and then back, even snap and then back could come back quicker. But just to show you the workflow and what we'll do next, the next parses will do. What will work on now is the details here. So we'll get these little tails and feathers and all that close. 16. Polishing Part 6: Hey guys, So that would be the next one. So what we'll do or just took in what we'll do now, if we look at all, is it gone? So keep doing that. Alright, so if we look now, we've got, we've got a pair. This is controlling, so we're looking at detail now. So what's this? Okay, so let's do a head paths. We didn't never really did the head paths. So what I do is I tend to just delete the keys and go straight ahead. So I'll be like, All right, when I come here I'm like, What is the head doing? I want the head to be looking at the target. Characters, always thinking, where am I looking to attack? And then maybe here might just looking, but it's making an effort to looking down. Then down here, push, and then it comes up, recoils, Bush, and then down, and then back up here. So let's check this out. Push, push a filled out there, push, push. And then come back at the same time. Again, last couple of frames, move it a bit closest, see if you can settle in it quicker. We'll see that feels good. Yeah. So you're getting that cushion there and then what you can do while you're at it. Grab that face. Here, you can delete everything. And so it goes. Because open, open it there. You can rotate a translator. And then with the recoil, it opens and then close. When we get there. I would even say from here to here, have it open and then close. And then maybe we'll have a hearing. Has put his back, put some sound on this, then you start getting into character. Yeah, that's cool. I haven't got the texture, so let's leave the eyes for now. Same time possible and same thing with the head. There you go. That's all it is that you get once you get the basic mechanics and then you're going layer by layer, just going back-and-forth. Alright, let's go straight ahead. Let's see how this looks. Comes back. How does this look? It'll go back right here. We'll bow forward a bit. And then how, hold it back. I glossed moment, just going to hit a shock. So it's like and then forward again because of the okay, let's see this. So let's check that. So let's go forward. Carries on forward momentum and then as it steps back, you can go back. And then can you just see how that feels? Bush? So when it comes back back, I think it should be fills, it should be back. And then let's middle click the last two again and have it come earlier. Maybe we could just pushing it a bit. So we'll look here. I don't know if that's too much is too much. Back. Maybe we can just make it a bit more subtle. I said, you can always come in here and offset it by one because then the head is moving first and that's catching up, isn't it? Head moves first. And then when you come here, it's going in that direction and that direction, and then have it come back in. One control. But it's seems to be alright. Save that, Let's save your work. Save your work. Okay, so that's the like the layers, layers method, right? You get the mechanics in. So that's all working fine. There's anything else left. Let's check this out. Then you just go back and forth. So let's check out this table, right? So what's this? Then? These are the little details. Then you've got the tail here. Rotate this now. And then what's this? Then you can start adding. If you just delete everything in-between. So you've got the last cue from Keith. Alright, come here. Add a little tail. The tail is more like let's just follow the line of action of the whole body. So let's just do that as close as we can. So as it comes down here, you could be like, excuse me, you can be like a tail goes up. Because of the impact. This local transit scale exploitations. Let's set this up. Oh, oh, oh, that's what we need. Right? Became made a mistake. We need course. Fk is delete that. Perfect scenario you can go through and do a whole tail paths. Let's take out the start here. So this is a nice natural. It's going up nicely. So we'll just select these three keyframe and keyframe at the end. What we'll do normally what I do here is I'll just, this is like a little let's see. It's coming in. We move this down. So you could be here, it could delay. Let's do a little pause here where it's just rotate these all up. Then what we'll do, we'll offset them. See if that works. Just a little quick way of then it comes down. Obviously it comes down. Let's have this old coming down with offset them later. But for now we'll just go straight ahead. And then back, up. Back up. Just this out. Okay. And then it comes back down, down, following a nice line of action down. And then, alright, so we've got the basics down yet. So let's check this out. Tail, it's just moving, right? This is like one way. Let's see if this works is why not? Sometimes it works on the last slept, the second. If we select the second control here, Let's have a look at it. Now because this is cycling, we can set this at least set this to cycle. Would present these two. Or you can go up here and go to Curves. Prematurity cycle. Or we're going to do hold on one minute. Someone had to do all right. Sorry about that package for labor. But anyway, moving on, let's try this out. So we do recycle that. One I'm going to do is select everything, shift, a shift by middle, middle click the mouse, move it two frames. 17. Polishing Part 7: Same thing with the bottom one. I'm going to do cycle. The reason you didn't sarco is that the end, if you don't do it at the end, pose is what match. So cycling is really important, especially in games. Now this one, you want to do it full frames, because the other one was two frames. 1234. Okay, so if we look at that, see how that looks. You see like it adds a bit of floppiness. Adds a bit of floppiness. Let's see when it impacts. Let's have a look on it impacts. So it's a bit out of control there. But what you can do is you've got something to work, work with. What I tend to do is I come in here and let us look at the n. Now, the end doesn't look right. Then comes back here, and it just goes back. Now, I want it. If I select the two here and I'll delete these two keys here, I can play with this. So I can come here and be like, I want it to go up a bit, gone up a bit, and then and then back down. So it's like up. And then follow up, keep the same shape. And then kind of cushion. There's a bit of a cushion there. So it's just staying a bit. To be honest. This tastes. I'm going to delete this. And I'll be like TBN frames. Then bring this down. Okay, That's fine. Smoking. We can do is get that last one and then you just go straight ahead. That's what I do. I go in straight ahead and just animate. So there's a bit with that, to be honest, what we can do here is get the last two frames again, keyframe at the end. And then kind of overshoot the last few curves. So there's a bill. That's the best we could do that or I can still looks alright. Yeah, that's the only thing there is this bit. I would yeah, you can just do it. There's a little bit of movement still there you see, so just adding a bit more life to the static areas and it just really, and then when you save this, don't forget to save, then you can start doing the parcel. Alright, This looks cool. Let's check out the checkout. These days. Finger ones have got controls. So you can be like to come in when you get there. You can be like, Alright, I want these close, completely wide open, right? Because you know, you're aiming for that ship, you gotta get it right. So you could kind of get these hanger or we can control here. Awesome. Let's go back. You can do individually, individual, still cool man. You know, you go controlling ship. Let's set this up. Better man. Explored this. Coming in here. You could be laterally, a little anticipation, goes in, goes in until, let's say lactose 16. So it could be like this man should be in order. Yeah, we can do here is bring that in a bit. The keyframe that to the end. So it's coming out, hold, middle click, hold. It's the same thing you're doing is favoring that pose. I'm bringing, copying the last two, Last two firms, 14 to nine wherever. Then you can move that around. Getting to pose. And then bam, key here. It could be like a little recoil going in. Push, push. That could be quicker. Push, push, push, push. And then open and then close. Because the recoil doesn't have to be two. From a cupula. You could just slightly start opening here. And then here it could be, it could be like you're coming back is coming back. There's a question. Who asks what you're what you're trying to, depending on your character, of course, dish. So it comes back. How would even say make this come up? Then you can start adding stuff that you frequent. That will add to the character. Going up and then coming down. And you know what managers could even make enough to make that look good. You want the silhouette to be a bit clearer right there. That's better. Key that at the start. But you want, they want it to cushion as all into it. Cushion there. So you've got that nice, like at the end yet. Alright guys. So my audio messed up there. We didn't mess up the battery when but now it's working. Should be working. So that's it. That's that was the tutorial. But why are there at the end? I literally just, you come here or come to the top here, polygons, over here, polygons. And then I go to plane, and I'm literally creating a plane to go underneath there. And then I'll change the color to what I want. And then I'm just finding out where it's going to hit. That I'll just get some cubes. So basically you create a cube, two in the middle there. You can see. And I'll bring it out here so I can just model it. I just change the size of it and I just start duplicating that one block until I got a pile. And once I got that pile on, select everything and duplicate that. So I have more piles. And then I'll collect all of those pose. If you look here, I'll select everything. I'm just randomly moving these. I'll just move it underneath to where it hits. And it literally what I do a frame before. So like a frame before hitting. You can see on the timeline here, I'll go to the visible E and K, and then I'll keep a frame after. Then I go back to the frame before and I'll just put it on off. So when it hits, it comes on. Then to make it more interesting because there comes on, but then to make our interests and our start animating the little bricks. So you'll see here, I start animating these coming out, that one going out randomly anywhere you want, just have fun with it. When you start playing it back. You will see if I just forward it a bit more so you can see when you start animating a bit, it just looks a bit more animated. And I just add something too. Just a little piece like this would be a good piece for demo to show you during an attack where you're hitting. So that's all. It was really just a little bit at the end with that or something extra. You can add columns and stuff wherever just to make the scene look nice. But yeah, I hope you enjoyed it. Little demo I wanted to show you guys the play blast it here so you can see it. Just a little follow up. 18. Conclusion: Okay, My friends. So you have done a combo and you're happy with it. You can go in and keep polishing it, get the hips working right? What have you? In conclusion, this is another part of the video game series course that I'm doing. And this is a typical attack you would do. Normally in games. You would do like a, you'd animate all free attacks in one goal going forward. And then essentially, depending on what engineer working and what you're doing, split those animation into three. Then you would add a return for each one. So an attack and a return to either attack and returned to idle. In the Unreal Engine, you just put breakout rooms so that when you do attack and you're going back as a breakout frame in-between, which makes, doesn't interrupt the gameplay. You don't have to wait for the coat to go back into idle and then start playing. So going back to idle is always nice and clean, so it's good to add those extra touches. And when you're doing like a one-hit and then coming back. And that's basically how a combo works in video games. There's other ones where you can do in the aerial ones, but the concept is all the same. So I hope you enjoyed that class. The next one will be taken hits, we do a take care. We'll do a combo. So there's a few more coming out in this series seven in total. Yeah, look forward to those, so I'll see you in the next class.