All language subtitles for 03-17 Squirrel climbing analysis

- [Instructor] The last animation we need

to complete our squirrel sequence

is the climbing animation.

I've already explain you

that studying reference was very important

and I found two nice references

for this animation.

And to be honest while studying them,

I was really surprised

on how the squirrel
move while its climbing.

If I was to do it without reference

I would have not done it right for sure.

When studying reference,

it's better to study each part separately.

I will start with the
silhouette of our character.

And I will try to draw

the hips, chest and head.

Whether it's the squirrel character

or a human character.

It's very important

to check out the position

between the hips and chest

and chest and head.

Look at how during the motion,

the hips, chest and head gets aligned

and how the space or the distance

between each features is growing.

The whole body of the character

is stretching toward the next part.

(wind howling)

The next thing you can do

to help you read the
shape of the character,

is draw what we call the line of action.

We will have a deeper look

to what line of action is

in the mastering pose chapter,

but for the time being,

just think of a curve

that connects the head,

the chest and the hips

and that define simplified
version of the curvature

of the body of your character.

This is the most simplified version

of the shape of the body.

That we're going to create.

It's really fascinating

to see how we start with an s-shape

and how it gets stretched

and get back to this s-shape.

(wind howling)

The next step is to track the hands

and the feet of the character.

While the shape is not that surprising,

the thing is that I don't know when

the feet are contacting,

compared to the hands,

and this is why I'm
tracking those elements.

I'm trying to figure when
they take off the trunk

and when they contact again with it.

And we can see that the ends

of the character take off very early on,

while the feet stays in contact.

There is a moment where our character

is totally our bones.

So it means that he's jumping

and then the hand and the feet

have like one frame offset or the contact.

If I quickly do the same
with the second reference

you will find a link to the YouTube video

in the documentation.

The behavior of the character

is pretty close to what we
had on the first reference,

the front legs or hands,

are taking off very early on

while the feet are still
in contact with the trunk.

The main difference

compared to the previous reference

is the timing of the contact pose.

On this reference,

both the ends and the feet

seems to contact at the same time.

(wind howling)

The next thing I wanted to check

was the spacing of the hips

and the spacing of the head.

So I've tried to pound a point on the hips

that allow me to track them.

There was a different of color

in the fur of the character

and to track the head,

I've simply tracked the
eyes of the character

and we can really see

that the head is going very fast

in the beginning and stops,

and then the hips catch up.

So there will be quite of a difference

between the hazing of the hips

and the hazing of the head position.

(wind howling)

The last thing I've
checked was the distance

between the chest of the character

and the tree trunk.

And it's pretty surprising,

as the character is pushing forward,

his chest is getting
closer to the tree trunk.

This isn't something I would have guessed

because when you are
used to make run cycle,

you tend to push your character

away from the ground,

while he's pushing on his leg

to move forward.

While here as the character is pushing on

his legs is getting closer and closer

to the tree trunk.

And as you get in contact

with the tree trunk

is slightly get away from it.

And that's a major difference

compared to a run cycle.

Let's block this animation.