Video Games Course - Animating An In Game Idle

1. Introduction To The Class: Hello everyone and welcome to the introduction to the IDO in-game class. In this class, we're going to be covering basic ideas and the mechanics behind it. We're going to start off with the central gravity, which is the hips. And we're gonna talk about failure rates, the different types of cycles, the up and down the circle. What do I mean by this? What we're looking at when we look at our hips, we're looking at all the Figure eight movement, the circle movement up and down. This will be explained more in the lessons. We'll go in great depth with that. We also be doing appealing poses, will be using the famous classic Street Fighter pose. Because there's motto We're working on. It looks like it's inspired by Raju from street fire. So we'll be doing that, but we'll be showing examples of different types of rocks used within the central gravity just to get the initial movement going first. Because if they're remember that it all comes down to the hips, if the root is not working properly, it will affect the rest of the animation. We want to get that base in first and then we're going to do what's called a layered animation. We will work up from the base and then down. And creating this autopilots will start animating the outer pose was taught polishing it. Then we'll talk about the importance of the tangent, which I keep reminding in all the classes, the importance of matching the tangent so that the cycle goes very seamlessly. So that will be a reminder in each class because it's good to remind ourselves. So we'll have the same kind of lesson from the other courses in the same part in game video series. I will always mention the tangent has been matched because it's very essential in video games that, that's happening because then you'll start getting glitches in your cycle. So without further ado, let's dive into this course. I remember have fun. Rigs are available in the resource section. You can use your own rigs to have fun, enjoy, animate along with me, and I'll see you in the next video. 2. Figure Eights, Circles, Up & Down Cycles: Guys, so in this class we're gonna talk about the figure eights up and down and soak a movement. Now what do I mean by this? As you'll see in the examples that I will show after this introduction. You will see the hips. We're just going to be constrained the hips in this particular video. And then when we actually do the animation in the blocking, not the blocking phase, sorry, just, we're just going to be animating straight into spline. You will see how you use the hips first in this particular IDO will just be doing an up and down. And in this video, I was showing you the different types of movements as well, depending on what kind of iodo you cope. So without further ado, let's dive straight into the demonstration because demonstrating is much easier than talking. So let's check out this video. Okay, my friend, so we're going to do now in this video, I'm gonna explain to you, when we start animating an idle, the hips are really important. So what we're gonna do is a layered approach of animating. So we're gonna start with the hips first. Then we're going to work up from the hips. We're going to start with the hips first. Have that movement up and down in this particular case. But I'm gonna show you a different other variance you can use. Then from there, once you've got that working, we're gonna do the up. Then we'll work on the knees. And then we have someone is. In this video we're gonna talk about, we'll do, we're going to construct the hips and different types of curves you can use to start your idle animation. So what we'll do now is because this is the hips here. So if I just put the controls on what we'll do, we'll create another layer here. Just for example, I'll select everything and then I de-select the hips here. And I'll put everything in that layer. Actually, what I can do is I already got everything in the layer hearing right. What I'll do, I'll just select that and go to right-click remove selected object from layer. That didn't work for some reason. But anyway, we've put what we've selected for the hips in here and we'll call it his hips. Why that didn't work. But Maya. Maya for you. Okay, That's better. Still not working. That's strange. What we'll do, we'll delete that layer and then select everything. Create another layer. Had it in their college, GO. Give it a color like we do there. Thus it will do. Now. We've got the controls right? You know what, we select everything. We put that in G12. Just so confused. Let's go to none and go to polygon. We've got the hips here. No, We'll do, this is 0, this out. What we'll do, we'll get the hip control here. This 10, this out two guys. So we've got this. Use the side view for example. For example, this is the hip. Now, There's loads of ways you can do the idols. But most, most of them I would say like breathing up and down, up and down. But you want to have you don't want to go up and down directly. You want to have a bit of a circular movement. Circular movement because nothing goes up and down exactly in real life, there's always some variation because of the weight shifting or what have you. That's what we're going to find, the simplest curves that do that. We've got a good basis foundation. Like we talked about layering the animations as we worked from the root upwards and then down. Three types that I normally use. I'm sure there's loads more than other animators use. But what we'll do for now, we just showed those examples. So for example, I'll get the hips here, key everything ki the hips here. And I'm looking for a motion of which starts from here. And it goes like this, figure eight. So it's going to allow, you might use this for combat pose because it's like a figure eight and it's getting ready. That's one example you can use for that. So that's what we do. So what I do first is I just roughly, I know for example here. Start pose. Now be at two frames later. I'm like, alright, I'll bring it down here. And then two frames later. Alright, I bring it forward just roughly. You just want to get a figure eight going and bring it back, go up. Then come back down to there, and then go back. And then go back. You just want to roughly two because then what we'll do, we use the motion trail. Then we will edit that. And then we'll edit that. Okay, So let's, let's see how this looks in the motion trail. If we go to animation motion trail, there, you can see through messed up, right? But we know 1234. But then this one, we want it to come down here. So we just move it down. Then here. We can move that here. Then we can be alright, the next two frames we'll just put a key here, set a key here, set a key, set a key here. Now what we'll do, we'll just carry on roughly the trajectory. Next one up here, maybe move it forward a bit. And then the last one. I don't know if we need that many kids, but we'd be alright. We've got 1212. I can delete that one. Bring this back. We can do with the last frame. We can just copy the first frame, middle click to the last one is exact. So we've got a figure eight there. But it's not, obviously, it's not pretty, but it's there. Now what we can do, we can equal it, we can just equal it out. So let's go here. Let's bring it down, say there. Actually, let's leave this where it is and go, alright, this one. We can bring it back a bit here. And then bring that back a bit and that bit down, and then bring that in. What we're doing now is equaling out with chronic, equal and opposite keys. Yeah, I was just trying to bring this back in here, suicide. And then we'd bring this here, which we will copy the end pose from the start to the end. That should be starting to get a more cleaner curvier. That's all you're doing. You're coming in. We can bring this out here now, so it's more even around here. Then we can maybe bring this out a bit more. That's fine. And this one we wanted to just match the top. Maybe bring that down, right? Thus Pretty much more done that one. We can bring that in the middle because same right there. Now. We've got to stop this, go to 1717 yet. That's the cycle. We've got a bit of a cycle happening there. Now what we can do is we are okay, it's working with cool. We might want to bring this keyboard. You might want to stretch it yet we might have to stretch the duration. So let us go to say 25 frames. Then we would be like select the hips. Let's see what the hips are doing. We can delete these, delete this, delete this, and we can delete all of this. Now if we look now, the animation, we go to, let's go to motion trail. Delete that. Now let us go to get that back. Let's go to check the curves out now see how the L, That's cool. See the curves are a bit more. This a bit. Now that you've got on every two frames, you can stretch out your animation. And it's not literally every three frames now. So as you can see, the motion. There's the motion there, right? You've got a nice figure eight. Now with this, what you can do is this figure a, it can be big or scaled down as well. What do I mean by that? If we come in here, I'll just delete the keys. If I get this. Let's look at the up and down here. Okay, Let us cycle this cycle it, you can see we're matching the tangent. Remember we are going to match the tangents. Can get delivered. We can get rid of these middle keys. We don't need those top ones. We can just copy. The values are the same. Each ones copy the bottom. This one too, so the values are the same. Now, go here and we can cycle this to obviously remember we talked about matching tangents because the cycle we must move a micro circles more smoother. Now, that's one way you can do. The other thing you can do is you can select everything here to stop the playback. Go to scale, all. Go to, go over the key here, press Shift and the middle mouse button, and then move, just move the mouse down. It scales the movement so it makes it minimal. Same thing with the y. Select everything into the middle here at the star, select R and scale everything down. If you see now is toned down. Now you could tone the up and down, down and then it can go back to the forward and back. You could turn that up so you can come here and told it up. But you're keeping that same smoothness. And what happens is that smoothness affects the whole body. If we look here now, if that's the type, if you want more up and down, just come here. Slept all. Make sure you're in the middle. Make sure you're not here and selecting because look the top, we'll go with scale. You want to be in the middle, so both scale uniformly. Now if you check now with the edible mesh, the curves will always be smooth because number two values. What we've done, we went in here and we made sure that this value here is the same as this one. And this one we just copied and paste that into that one. So everything's equal. If we go up here, same thing here as well. See what we can do it because starting at 0, but even here, everything is like we can move this down a bit more to make it a little bit there, so it's a bit equal. Now if we play, you get nice. Move. Look how smooth that arc is when we first started. Nice and smooth. Now that if we reviewed the whole model, now, if we check the whole model out, you will see when I select everything, his legs are locked, right? This is perfect example. All you have to do is select that. Go to Raju. Shift, middle, middle mouse button. On my presser T for translates, sorry, the middle Shift and middle mouse button and bring everything down. Keep moving everything down until the knees start bending. There. Now if we play it, see you've got a little bit of movement there, Dan, you can start working on the torso, the top bit, start animating that. That's one curve you can do. Another curve you can do is if we go through hide all this again. And let's go back to the controls. Delete the motion trail. Going to go to a side view again. We'll start our number one. Now. Another one you can do is up and down. Very simple. That one. If we go to wireframe, select the hips, Delhi older keys here. We can be like, All right, this is your everything. Everything zeroed. Now we can do we want to go up. You want to go up and down, but we want it to be like an oval shape. We'll do, we'll come here, we'll go to frame four. Move it up to decide. Then we'll go to up here K cycle. The reason why is because its cycle, what we'll do, we'll just make everything constant, constant. So we've come up there. Then we go back here. And then back here. Now again, which is roughly doing it so we can get a good idea of the curve. So comes up, goes up here, then comes. Then back there. Okay, so we want to make this come in a bit. Then we'll copy that to the start because we want that to match. Now we can start this unit out slowly. You can make this as big as you want because we can scale it after and do wherever we have two. We've got that motion happening right? Now if we look here. The other thing you can do 0 this out. The other thing you can do, sideview is key. Key, hey, roughly, so we're just going to roughly key. We've got like a circle, roughly, right? I'll just make it every four frames, but we can change this whenever we want to this 17. Then we'll go to visualize create a motion TO and you've got a circle there, right? Bring this up. Go. So we've got a circle there, right? So if we look at this animation, looking at this, going up and down, now, let's take this hips control. Let's check this out. Recycle this. We can get rid of these keys here. And also here we can get rid of this. And then we can just cycle. This, makes sure the tangents are matching. Thus fine, that seems fine to me. Then it is smooths everything out. Go back to visualize. You will see perfect circle. That's again, that's your basis. Now when you believe reveal the that's disconnected from the rig, but that's fine. Don't know why that happened. But the point is, you can get the same movement up and down, up and down happening there. So that's one way. Another way is you can go very strange that it's working as brilliant. What you do, again, because it's really high, all you do is you come in here and in lower everything. How you want it. There you go. So you've got that. Then you can just basically tone that down. So you can be at the wise too much. Again, select everything, all. Go in the middle Shift and middle mouse button. We just scale everything. Ci is made it more subtle. Then the same thing you can do horizontally. So for example, here's the curve. Study. If you want the up and down to be a bit more squashed. If you bring it all the way down, causes even more. And then you might want to elongate the movement forward and back, forward and back. Then it is going to again select everything. Press Shift, press R for scale. Then shift. The R W ER rotation is all the same in the Gulf area as it is in the viewport. And say if you want to elongate, that doesn't really do. Look. The curve, adjust accordingly. But you've got the nice curves, right? Even though, even though it's like that, you've got a nice curves, we thin and flat as well. Then you can check that out. You can go back, see how that is. Maybe too much there. Then you can go back. Then you can go to your up and below. Alright, that was too much. You can play it while you're playing it. You can go to the middle here, scale it, and then come back here and have a look. And then you get into dust where you want to do. That's your main motion. Once you've got that, then you can start playing with the top. Then you can be like Danny can start adding. For example, if we come in here, if we select all three of these controls, we keep them. Let me go to the End key and if you go to the middle, just a quick example. Let's rotate forward. You've got that happening now, right? What you can do here, just to loosen things up. You can also select the head. So we'll do an example here would be going in the middle. We're just keeping the head so everything's moving at the same time, right? Because looking mechanical. Now what you can do, select the torso. All these controls I animated on In, just go to cycle these buttons here. So cycling. Now what you can do if you select, will leave the bottom on how it is. We select, actually we select the bottom one, select everything and move it one, select the second one here. This key, this, don't worry, we put a callee. Now cycle this. Move that one too. The third one, we select everything 123 head will offset it by 41234. Now, you'll see there's a bit more of a kind of overlap happening. If you want a bit more, select this control again, move that by one. Then the head. We can select that, move that by two. Then you see you get more of a over overlap happening there. But the hips are working. That's the main thing and everything else follows from that. Guys. That was just an example I can give you on the different curves you get in the hips. And it's very important because if they're jittery. And I'll show you an example. For example, if you got curves in here, which are like ordinate messed up, just randomly, you know what, a lot of students can fall victim to. Which is why I'm doing this example because I did when I was growing up. This is an example of why the hips are so important. If you look at that, look at, look at that is completely messed up, then sometimes we wonder why CSMA animation not smooth? Thus the reason because look, this doing all that. So we want to get all of that. It's very simple animation like if you can get the hips working simple, but of course in a simple things are the hardest things to master. Practice, practice, practices. All it is keep doing these idols. And then you know this either here. So for example, if I undo all this, got a nice move. His legs could be out like this or this. The poses completely different, right? We can go here to our white translation, bring it in, bring him down. It could be that this court, you pose Nisan. There's so many different, say, any pose you do, that circle is still the same. I guess that's what it is stressed in this video. The hips. Make sure you decide, do you want your character to be in a combat post wherever pose? And do you want to be in a figure eight going down and up? You know, what do you want it to go around or round upwards? These are the main organic movements. Figure eights, round nuclei do like a squared squared, squared squared plus a robot, right? So think about your character. I think what I do, the character is what personality is. And then you just put that alkyne. And if it's a heavy character is slow, the timing down. It was a quick, agile goal of agility. Quick and it would've, these are the types of things you think about the animating an idle. But these are the basis I used to get a smooth idling, breathing. And then your attitudes which show a bit more personality might be. But this is a basic idea of breathing I do, which I'm showing you and how to build that foundation. Or a guys, I'll see you in the next class. 3. Creating An Appealing Idle Pose: This class is about finding reference and creating that pose, that appealing pose. Now we're going to be using Raju, the classic, I've got the reference preserve video. Even though I know how Raju moves, because I played 35 millions of times. It's good to always have reference. I will also get the reference for the poses which is in the video release so we can use the video reference. So without further ado, let's dive into this pose, right? So we can start animating. Welcome back guys. So now we have our pose. A source solid, ready, the silhouette, everything line of action all working fine. Now it's time to bring this character live. This is what we're going to do. Let's dive straight in and let's start animating my friends. So now we're gonna pose the character. So let's check this out. So I've got my reference here. I'll just make this a bit bigger. This is the pose to pose like similar to this row. So let's check it out. So what we'll do, I'll just put it on the screen here. We want the first thing we wanna do, we bring this foot in, bring it out. This one is more out. Then what is was this one looks like coming outlet that bend the legs. Right? We've got this pose happening, so let's rotate this moon display. Head is this way. Net causes the shoulder slightly up. Bring this down. We can just Curlin this hair to call it. What else we got coming in. Okay. We'll bring it up here on always just having a look around to see the angles, like to worry about that. Let me just bring it here. Then it's ready. It was like in a fight pose. This one we could bring out a bit higher head pose. Maybe the mound here. Coming in for our bit. Seems a bit better. Thinking this lumping this back a bit and this one folded it. There is a bit more of a balance. The pose. It's a bit more like that. That's the kind of row pose. Call here. Ready for fight. Bring it down a bit. We've got a little negative space there. Notice business. So yeah, that seems might want to, sometimes good to pose it out. Move this back. Move this back a bit better, isn't it? Move that back. Maybe this food a bit better, we'll be back. And then maybe move that down a little. Alright guys. Maybe move this in a bit. Not quite happy with this. Move this down. Slightly, back. This come up a bit, That's better on. There's a bit of readiness. Pose. They're really happy with that at the moment. C line that does cool. Black dust it, we wanted to get more of a line going through you, right. So we want to get kind of going like that. Right? That'll do for now. That'll do yeah, he's ready. It's in a boat. Pose. More. We've got our pose already there. What we can do, we can start animating. So I'll just turn their head lag a bit more. Maybe the heel up slightly. Seems to be that nice line there. It's very there. Alright guys. So what we'll do, we'll work for that follows. We can refine it a bit later, but that seems pretty cool. And call it negative space. Steady-state gaps will move on to the next and it will start animating this, bring it to life. All right guys, I'll see you next video. 4. Animating The Idle : All right guys, this is gonna be classic Raju pose, so I'll pose the character out. I just need to put, bring this, pose this back in a bit. So what we'll do, your characters and just start posing out like this, Yeah, acid at that. And I just wanted a little check that the characters in balance and just move this forward a bit. That looks pretty cool. I just moved the poses, so I've got my reference here as well. If we look at a reference, the timing, down, down, duster timing, we're trying to get your character into that pose. Just move it around. What I just, I just moved. Move this out. Getting into the right pose. Once you've got the right pose, then I'll show you how to start animating. First thing we're gonna do is start with the base. You just want to make that going up and down. What we'll do, we'll key one and key at 24. And unless check this out. Up, down, hold down. It's going up there. But it's a bit quicker. So what we'll do, we'll just grab all this movie in a bit. Let's move it to 20. Let's see how that feels. A bit better. Move it here. B got central gravities and that's the main thing, the hips, we want to make sure that's moving properly up and down. So we want that breathing. Let's check it out. Let's check out what else is happening just yet. So, let's check out the chest key at the start and at the end. We also want the chest to kind of brief. I'll just do it, which is fine and just do it in that. We'll do with cycle will offset. We're just getting the movements in first, It's going up. Then maybe like this way as well. That we were just up and down yet. Just on that axis. Then what else? What else is here? Let us see the shoulders. Let's get both with his shoulders. Rotate it in x. What we'll do with key up the Start Here and then will go up. Then let's see. Everything's happening at the same time, but that's fine. We're just blocking it all out in the moment. Even the head, let's just put a bit in the head. Key, foreign key, the front. This, I actually know what. Let's select all of the character and is key the front. The last keys. We'd have to keep on doing the same thing. Air will just, we can always make the changes later. Boone, who are coming up. That timing feels right to me. If we go back to our camera, you can buy you that. Let's check it out. Let's see. This is fused about right. So then what we'll do with the arms, Same thing. This back. This back as well. The wrist a little bit. Even the other one, move it back. Just doing it all blocked at the moment. This in a bit. Slightly lower it too much. We've got the timing right. But I think there's too much movement. Let's undo all those arm movements. Think there's too much. Do lightly. That's a bit there. Let's just back down and we'll just move the forearm a bit more. Now, like we did before. So if we select all the controls, go into the graph video and let's go to cycle. Cycle, cycle on both sides. Now. Also rotate. Rotate this as well. We'll click that. And a little bit of rotation on the bottom one. We call it as a basis. We can do, we can start. Let me just select all that and psycho everything again, cycle, cycle, cycle. What we'll do now, let's bring this forward a bit. We can do that because the offset, so we can start coming in midsection and we can get, all right, Let's offset that by one. Then let's offset. Grab, hold, Shift and press middle mouse button. That will move it forward. Then I moved up by, move the bottom one by one, the other one by two. And I move this one by three. So you offset by one frame 12123, That's their head. If you look now, a bit more of a delay, That's all we did. We just we just delaying it. Then. We start doing the shoulders. Shoulders. If we select the shoulders, Let's delay the shoulders by one. Then we select the upper arms. Delay that by one to the low rooms. Select both of them forearms and 1234. And the hands will delay them by five because they're cycled. Won't matter at the start and influence 1234 $5 match. If we look now, see, you've got like a pose working there. And it's all offset. Ready. Then what we can do, we can start playing around with stop playing on their knees now. So if you come back to the Kneser, look at his knees, we can be like maybe it comes in a bit, coming out a bit. So we got that. And then what we can do with this is we can offset one of them as well. So we can check this one. We can make sure we cycle. We can offset one, see how that feels. Because it's breaking it up a bit. Yeah. The other thing we can do is if we undo that, we come here, we can write out the other one you had. You can be like out. As it comes down. There's a little lock. Yeah, there's a bit of movement there. Thus breaks up as well. Same thing with this one. So we can delete this. It didn't go out. We might want to go in a bit. Then come out. Then you might want to because it happened at the same time, you just get in one of them and he just offset that. So if recycle that one, offset it by two, Let's have a look. Then. Even the hips, look at the hips, hips out. We could even make the down a bit more. Let's check this out. Looking. The app's already up. You can make a bit more higher. Maybe even bring it down a bit more. Breathing room for that kind of goes a bit more. The knees might be a bit too much so we can do things when you push these poses. It's kind of good because then you can just turn it down. So you just toned everything down. Just move all the controls, just tone, tone. If you play again, this one's a bit too much so we can bring that down. Then what we'll do, we'll do the same on here. As you see that it's not matching. So we need to match. Remember we talked about it in the tangents, will do that at the end, we will publish that. But for now, we just got the basic movement. And what we can do Control F out, F on pressing to flatten and is unprecedented flattening the curves. Still moving around. And then we can do with look at the other controls be like Okay, let's check out a tangent. These are not matching. Bring it down, tone it down, tone it down. Turn this down. Tone this down. Bring this down. You've got that kind of pose happening, the Raju pose. So you've got that. I'm trying to keep it true to this. Think I can just get his shoulders a little bit higher. Will do that too. I think the hips are holding a bit more so we can do that. So we'll go into that and do that. We'll start polishing that more in the next, in the next class. We'll do, we'll look at the reference and we'll start pushing it to make just the camera a bit more truer. That's your basic. You get in your poses and offsetting. Then we'll start polishing. 5. Polishing Part 1: Okay guys, so we've got the basis, the mechanics, everything moving right, the timing as well as the shoulders are moving. We're trying to get that timing right. Happy, happy with how it looks. Now we're gonna do, We're gonna start polishing the animation, bringing up a bit more. So without further ado, let's dive in and start polishing this. Okay, guys, so now we're going to polish pushing what we'll do. We'll animate this. The belt, the bandana, and the hands, a little bit of the fingers is long. Also will do. Look at this. Just put this all in frame. That is out. Let's go to our motion, but you'd see if you look at that, it's just going up and down, isn't it? Only want to do like in the previous video that the motion trail we made like a circle will make like a very squashed circle. Because we know things move. Isn't it? Like this? We've got a couple of just breaks it up a bit. We can move it out a bit more to see. Because it gives you a bit of a variation. Nothing goes up and down. Exactly what, so that's a little poets change will do there. I'm thinking. Let's see. Yes it is. Try and push this back a bit. Doc doesn't work. What we'll do here. Let's try and offset this one more frame. Which means we'll just offset the head one as well. Because that was offset before. All right. What we'll do is albumin movement here. Then we'll add a bit on the thumb later on. Just a little bit immediate there. And then what we'll do, we'll add, we select the hand control here, go to the chatbot. And in-between we just add a bit of movement, opening up. There's a bit of movement there. That's what we want. Just one a bit. So it's a little bit, oops, little bit there. The same with the thumb. Just come out of it and then it comes in. Make it come out. We could do with this term cycler, which it probably already is, and just move it one to one to create a little over overlap. Then we'll select, in selecting the channels here. And we select this to go down a little. Look at that. Maybe it's a bit too much, but we can just bring that down. Tone it down a bit there. Ready to fight, fight. Then the rest. Well that's pretty simple. The rest is the same. Like for example, if we're going to animate this, think of this as the center of gravity. This belt, this bid, same as the hips and you're working your way down. Same thing. Principles are exactly the same. Make sure it's not intersecting, bringing it out. Just thinking, just be hanging down really, isn't it? Going to be hanging down like that? To straighten this a little bit? We'll do, we'll just move it down here. Gravity will be doing its part. So we'll just put, will do this disorder because I've got keyframes at the end. Is animating the end poses LOW. So I'll just select all of these, delete the end. Some movement. Some of them. This one. Let's check it from air and agriculture at it at the end. All right. This one has it. That's okay. Must be on the right. We'll do, we'll just get the top one keyed at the start and end in the middle. This slightly move it. So it's moving. Cycle that the next one, same thing here at the end go in the middle cycle that maybe I have this outward. Then. Another way to do it is if we select all of these qualities. Shift select, Shift, Shift select. Okay. Let's see if this works. We'll just come in here and go to bloom and slightly move it. So we've got them all moving now, right? Now, what we'll do, we're going to graph editor and we'll just psycho Everything in the controls on here. We'll go to the bottom one, will just move this by one. And then the next one, we'll just offset that by 21 to the next one will offset it by 3123. Professions shift 1234. It's not, you know, what you can do. What you can do is you can start playing with the curves AAC. If we go back up to this one, we can start playing with literate plate and we can start playing with this curve. There you go. You start to, start to see there's a bit of a movement. Then we can stop moving this up. Then we can go to the last one here and just mute this up a bit. Maybe move this down a little bit. If you think there's too much. We can move that down. Move it up. The same Medici's. We've got animation on here. Let's get rid of the two. Skip it on the Z. I'll just shift, select all of these key and key at the end, go in the middle. Just slightly. If you come in and select the channel is better because it does exactly that channel. I'll just move it like that makes Louis cycled. Then we'll go back. Then we'll go one by one, this one, and we'll see one, move it by one. This one, move it by one to this one unit by 123. This one, we can move it by 1234 day. Then what you do, you come back up here, Play and you can just move this up as you're playing. Stop it, go to the next one. Play this, move it up while you're playing, and then play this outwardly play, tone it down a bit. Last one you could try. The end, dN dt is down. That's a bit too much. But having said that, one off of it, could even still rotate this. So it looks bit of it happening there is that C is a matter of playing around really until you get the right field. Then if you think this is happening at the same time, everything here is what we do is grab, grab all of these controls here. Let's do that again. One to grab this, then get all of that and move that. You can see it's moving now. Move it about three frames. What you see all but all those offsets, it will offset from the other ones. Then you can go in. You can just go in and maybe be like Come here, maybe rotate it out, give it a fill. Then you can try and do any other axis to this you'd like. You can see they're both offset from each other. 6. Polishing Part 2: With the data, I know I know this is like floating a bit in the gravity, should be pushing it down. But just for animation sake, we'll just have it up here. Same thing. We will do a select all these. I'll sit. And then the end, we'll just treat the end keyframe that idea and go ahead in the middle. Just let's see this 1 first, rotate this up. We rotate this as well. Right? Now we'll just get all these done is I should have selected all of these anyway. This would have been the same thing. Actually really mind? Let's see. No, it wouldn't see. Okay, we'll select all of these and just bring it up. And then we select all of these. And then we'll bring that up. And the same thing applies here. We'll just get this one will come. You'll see me do it before. It's all cycled, which is offset one. Offset one to offset 123 and offset this 1234. Then you can just come in and see the kinds of degrees. If you want it to go down more. This way. We could even come in straight ahead and blur on the rotate it a bit first, let it drag. Then delete this. So you've got a bit of a dragon, then you can use the last one. You can delete that key and go straight ahead and be like, All right, but you don't want to keep the start. You want to key store key here, where we've moved the keyframe. Then you come in. Then key within this not outside the cycle intersecting. So what I can do is whereas intersecting various intersecting or just move it up. You're getting a little bit over. Then maybe this one you can see how this is. Maybe that way. Yeah, something like that. So you're getting that kind of same on the other side. One one, then the second one, we're going to move this another 11. This is going to be 3123. And then the last one is 41234. That doesn't seem too bad, but it can still be a bit delayed. We could even delay this motion. Let's move this part one. And then the last one way or another one. Then what you can do is that last one normally what I do with the last one is I delete that middle frame around that. All right. At the start frame was I shouldn't do that actually. Let's say it's going down 1s2. Actually that will be going up to come here and we just bring it up a bit. Then we can bring the last two down a little. You go Now look at that. That's what you're trying to get. So just going back and forth and getting it. So if you look now, that's the wave, sera, That's the kind of wave effect you want, man. That's what I'm told. This one hasn't got it as much as I can work on that, but that's what I'm talking about. That's the wave effect you want. That comes with check, let's do it on this. Maybe we offset this. And then what we'll do here, Let's see this. If we delete that, this one. If we just move this down a bit. If we move this down a bit, when we come up getting there. But this one, That's what we want. And then we just set them both. If we look at this now, dusk or atmospheric feel to it, then yeah, you just polishing a little bit like that. That's all you're doing. Then you can play around with the timing a bit if you want. I mean, looking at this, I probably would add rotation here, going up. This one. Going down, three more down. Maybe tone it a little bit. Add a little bit more rotation, rotation on this forum to here, I'll just go into the Curve Editor. I'm just playing around with this. Just very subtle, just to give it. But yeah, then you can publish more if you want, but that's perfectly fine. The hips you can, you can go this way as well if you want, you can animate that way. But all in all, that's how you animate. And I do a breathing iodo right foot, we just do Raju on because it's fun. Street Fighter one. All right guys. The other thing we need to do, which I will be mentioning and all the little video courses I'm doing is always, always, always, always, always. Check your tangents. Will come in. Look at these tangents. Matching, matching, matching, everything has to match, match. Just make this clean this up if you want to. That's fine. Then we go to the rotation. That's fine. We know that those are ease in, ease out, ease in ease outs there, That's fine. Tangent or find the tangents are gonna be fine on here is because we know. That's just how we do it. Tangents are fine on. These will be fine in other rotations are normally these ones defined on here? Just check these, look alright. This one, these are translation, so you make sure that they're all matching because that will make your cycle seamless. Must. Because when you don't do this, I didn't the gaming industry don't do it. And you're running character's body, you will fill that glitch all the time. Glitch. Glitch. Glitch. Okay. That's fine. That works. That's it. That's it. So it's all working. That's why seamlessly cycling there. That's how you do an IPO. All right, guys. See you in the next video. 7. Animation Layers Adding Extra: Okay guys, so we've got the finished animation. You know what, say, for example, later on you might want to director in game lead SAT, you know what, Let's put some head tones. Let's make him, his arms go a bit higher. You can do this with hidden layers. Layers are very powerful animation layers because you can add on top of your animation. It's like Photoshop with different layers. Same thing in Maya. But when you add those animations, you can then check with your lead to see if you like if they're just delete the layer, it won't affect the animation underneath. Layers have a place. They are very powerful when you use them. We'll dive into that and I'll show you how to do that to add actual changes without affecting the animation that you've worked so hard on, right? So without further ado, let's dive in and check this out. All right. All right. All right guys, so you've done your animation and you wanted to add a little bit more. I'm just gonna show you the power of animation layers won't get too much debt, but this is only needed to know about animation layers. For example, you have a little area equal to animal. This is where your layers will sit. So basically what I'll do is I'll select everything. Or you can just go at this and go new layer, this corner behavior and it creates this new animal. Now you can rename this if you weren't are related. Let's rename it to head movement for our head movement. Right? We're gonna do, we're going to add a little bit of shift, head shift because the quick animation I'll do quick and shifts. Then we're gonna do you want to select truly controls and right-click on that new layer and go Add selected objects. Then basically this is a powerful is. What you can do is I can put a keyframe at the start, keyframe at the end of the head. Now when you animate on this layer is not going to affect the base layer. The base layer is all the animation you did. That's locked. It's not going to affect that. You can animate on top of that. So you see how that's read. And this one is active blue and thus active. Now, if I select this, now all the keys on it. If I select this, there's no keys. Only the head has the keys. Then what we're gonna do, we're gonna do a quick we'll do a quick shift, yes. So we'll do like looking this way. Holding, holding again, there are key frame there, then look in that way holding and then it's gonna come back. If we watch this, is this very quick, but it's just an example. The other thing we can do is let's go to, let's call this ohms. Now we can select everything again and we'll go to right-click Add Selected. All you need to do that. Now here what we can do is we can select we select these arms, this forearm and hand. This forearm and hand key at the start, key at the end and in the middle, we'll just have it is coming out. Let's see how this is. Just a little examples. What we can do with move that here, and we'll just around two frames. Middle, click that back to seven. Now, this is where the power of the layer comes in. You see here. All you have to do is pass this where it says stop sign and it stops, put it on. And it's playing the animation. Same thing with the head turned off. Look, normal animation that we were doing, right? Let me just go here. Normal animation. That head movement, I'll just press this and the head movement comes on. Then I press this and the movement come from. It's a very good way of like if you lead or someone direct and needs to change what he made the arm come out of this. So you can quickly do it. You could get up. I don't like that. And then all you have to do is come in here and delete the layer. And then you're left with is the head layer. You can mute it. That's basically a meeting. It does the power. So if you want to add so you can delete that too, and it's back to your normal is going to display she base, base animation is playing. That's a very powerful tool you can use to add extra detail. You, you could have one layer for fingers, one for hand, one for wrist. Colleague, friend of mine who has won for the rope, the belt, and the bandanna. So it will separate. And that's how he just likes to work. Just want to show you layers. There's loads more depth, two layers, but this is just what you need to know. Really don't even really need to know much. This is what we need to know about layers. You can just organize your animation. You can just delete layers if you don't like them. So it's a very good way over quickly trying something out. Feedback, we like it or take it off. Guys, I hope you liked that and I'll see you in next video. 8. Conclusion: Okay guys, so that's how you animate an idle. So the conclusion to the ideal is just the hips first. Always start with the hips like with everything in my Fundamentals course in global, the Belsen Bowlby in the hips, Kane those curves, right? If the curves are not writing the hips, everything that was going to be affected. And that's all to do with layering the animation. Starting from the COG, the central gravity, the hips, working your way up. Everything moves according to how that's moving. If that's messed up, everything else will be messed up. It's very simple. Decide whether you want to do, do you want it to go round or figure eight or up and down? And you decide that depending on the character animating. But all in all, that's what you need to remember with idols and raving. And then you have other ideas in game that, for example, companies I worked for a year at IDO Aldo one, either two or three. So 23 would be more to do with showing the personality of the character. Either one would be the standard breathing item which we're doing. The other one would be where you're adding personality and depending on what the character is, you can go to town with that. So all in all, that's the key. And then obviously then once you get everything working, you can start offsetting the cycles and make sure everything's organic and moving. How we broke up the arms and we broke up the chest. Everything is all got that wave principle that we talked about. Secondary emotion came in. And then you've got the rest of bandana, then you had the belt and at the end, always, always remember the tangent, match them. Because if you don't match them, is gonna be like an ease in to the cycle is apt to soccer is going to be like constantly going out. It's gonna be an ease in, ease out, ease in. And we want straight seamless cycles. Everything we do walks, runs, attacks as well. We'll come back, we'll do those as well. Take it at all that is part of this video games cause. All right guys, thank you for viewing this and I'll see you in the next course in this series.