All language subtitles for 03-19-Climb inbetween

- [Instructor] Since it's
a pretty complex animation,

we do need more poses
in the blocking stage

so let's add some in-betweens.

The first pose I've been
working on was the pushing pose,

the character is getting
almost fully extended

the front legs or hands are
just about to leave the trunk,

the back legs are not extended yet,

pressing Shift S I've snapped the cursor

to the leg of my character,

now I can push the foot backward

and then move to root bone forward

or upward since our
character is rotated to match

the previous position of the foot

so that we don't have this
sliding contact effect.

The trick here is that I input the value

of the movement with the keyboard
pressing G then Z to move

along the global Z axis

and press 0.08 to move
by eight centimeters,

this way, I do know how
much I have moved the foot

and I will offset the root bone,

but also the hands of the
character by the same value

this way I'm sure that I will
have corresponding motion

for all the parts of the characters.

It's a good way to do this
because it's very accurate

but it's also a bad way

because it's a very constraint
way to do this thing,

this is why I advised you
not to use any root motion

for the blocking of this
animation in the previous video

but to show doing so that's not bad

because this is something
we will have to do later on,

so it gives us a base to work on,

doing it the hard way
here might not be the most

intuitive way to do it

that's what I'm meaning

but I will have a solid base
to go into polishing them.

Dispose is the one where the head

has the biggest spacing compared

to the previous pose,

it's one of the first pose

where the character is pushing forward,

so I will extend the neck of
the character quite a bit,

it feels like the front
legs are a bit too extended

and on the reference we can see

that the front legs are not
touching the trunk anymore

so I will put them into a pose

where they just took off the tree trunk.

Since this in-between
is starting to define

the emotion of the character

because we have the extreme
poses and this is an in-between

so it makes the transition
between those two poses,

this is why I'm playing the animation

of curbing through the frames a lot

beyond matching the reference pose

I'm trying to feel the
emotion of the character.

Try to fix the orientation of the arms

I'm facing some kind of
issues with the rings,

some limitations, this is pretty usual

with this kind of inverse
kinematic controllers

so I reset the rotation

and instead I'm using
those tweaker controllers

to give a better shape to the arms,

so I advise you to deal

with the shape of the arms
using those controller

for this specific animation.

The next critical pose for me is the one

whenever the character is contacting

with the surface of the tree trunk,

this contact frame is occurring
between frame 15 and 20

so I will set it up from 18

for example, it really doesn't
matter from the time being

we are just breeding the different poses

and then at the end of the video

we will do a rapid timing paths.

The first thing I do to switch

to this new pose is to move the root bone

so I've been trying to move
it using the same technique

as for the previous pose

meaning that I'm moving the root bone

entering a proper value with the keyboard,

but since my character has no
contact with the tree trunk

it doesn't really matter if
shall not really accurate

with the position of the root bone

right now, there won't be
that much of the problem

we will be able to
offset a bit the position

of the root bone during
the polishing stage.

What's important here is that

since there is no contacting frame,

no part of the character contacting

with the tree trunk or with the ground

for example, the fact
that the root bone motion

is not perfect, doesn't matter,

we won't have any sliding foot effect here

because there is no
contact with the ground.

So in the end, because of this foot motion

and the squeal to have
everything perfectly aligned

and to try, I spent
most of the time trying

to figure out a way to
position the hands properly

while it wasn't important,

the only thing important is
to make sure that the position

of the hands are correct
compared to frame 20

and even if there is a bit of a challenge

a bit of a difference this is something

we'll be able to fix when we are polishing

by moving the curve or
duplicating the curves,

what's matter here is really
the pose of the character,

so the front legs are
almost fully extended,

the back legs are catching up pointing

toward their landing pose.

And finally, we have
still the hip sat down

dragging a bit, but they
are slowly catching up,

while the chest and head
are getting very close

to their final pose or to
the pose we have on frame 20,

so you can see on the reference

that the curvature of the body

of our character is slowly
getting back into it's S shape.

The next pose is more of a breakdown

that in in-between onto this breakdown

between frame zero and
five, because on frame five

our character ends a normal
angle contacting the tree trunk

with all my read controller selected,

I'm pressing a Shift E,

then when I moved the mouse left to right

I changed the value of the breakdown,

I will set it to 50%,

then they will left click to confirm

this way blender has
automatically interpolated

all the controller of my character by 50%

between frame zero and frame five,

now I don't want to move
the hand controllers,

so I go back on frame zero
select one of the hand controller

press Shift S snap the cursor to it,

then I go back onto frame
two my break down pose

and press Shift S selection to cursor

the hand will be snapped
on to the same position

as on frame zero,

I will repeat the process for
the other hand and this way

my whole character body
and root has moved by 50%,

and I can work on this pose
and the feet position is fixed,

thanks to this little manipulation.

So now I can work on the torso
controller to refine the pose

and offset the different element

because if everything
is interpolated by 50%

I will have a very robotic
motion of my character.

So here, as we have explained before

during the reference analysis

I'm pushing a lot the neck
and chest of my character

while the hips are dragging a bit back,

from there what I did is that I have taken

all the key frame of each pose

and I have set them every two frames,

so one on frame zero one on frame two,

four, six, eight, 10, and 12.

I feel like this cycle
should be 12 frame long

so I'm just kind of distributing
the different posts evenly

for the time being because I'm not working

on the timing of the animation right now

but it does help reading the animation.

The last pose I wanted
to create is the one

where the back legs are
contacting with the tree trunk

as explained why we were
locking the idle animation

you should create a
bring down pose each time

there is a drastic change in
the pose of your character

meaning that here the back feet are abohm

and then they are
contacting with the surface

in this regard, their mechanical function

and the way they move is changing a lot

because when they are floating in the air

you should be looking for arcs

while when they are impacting
with the tree trunk,

you're not looking anymore for arcs

but mostly for a linear interpolation

as the foot is sliding along the surface.

So it's better to add a breakdown

to this pose than trying
to figure this out

during the polishing stage,

this pose was pretty quick to achieve

because we have already depends

on the front legs already
contacting the tree trunks

and the only thing we
had to do is to make sure

that the back legs are
contacting and the hips catch,

I've made a quick timing paths
here, but I will show you

how to get a better timing
paths in the next video.

Lastly, I couldn't help
polishing a bit to tail motion

but honestly, at this stage
it's mostly a waste of time,

don't work the tail for the
time being since it's ending

and following the body, we will work on it

during the polishing stage
once we have finished

the whole motion of the body.

What was a little more
important here is to rotate

around your character,
check out all the poses

and then fix a bit the pole
target to give a better

orientation to the knees and also check

out the elbow tweaker bones,

you can see that my elbows
are pointing in word

and it doesn't look super natural,

so double check each poses
and check that the silhouette

show character, the shape
of the arms of the legs

et cetera, looks good
from every point of view.

In the next video, we will revise

the timing of this animation is still

in step mode before jumping into spline.