All language subtitles for 03-16-02-Polishing idle part2

- [Instructor] Let's continue
polishing the idle animation

of our character.

We will be focusing on the next portion

of this animation

where our character is
switching to a sitting pose.

Let's have a quick look
to the body motion first.

I will make a little draw-over
using SyncSketch here.

When transitioning on frame 28.

We can see that the body of our character

is moving a little up
in micro-anticipation.

This is an anticipation, very subtle,

that occur on only one frame.

The idea here is not to
input that much of energy

into the movement

but to give a little
contrast to the next move,

and let the audience know

that our character will be sitting.

Thanks to the locally
style of our character,

it's pretty easy to track its motion.

I just want to show you
the design of the arc

when our character is sitting.

But also the spacing.

Our character is
contacting with the ground

but he will slow down.

There will be an ease
into the sitting pose

so that he doesn't hurt his butt.

This arc and spacing
does read on the curve.

On frame 28, I'm creating
the little micro-anticipation

by just pushing the curve a little up.

Then I've created the arc motion,

using the motion path as usual.

And I'm creating the easing out

with our curve flattening in the end

of the motion on frame 36 here.

Once I'm happy with the
main body controller,

I always work on the chest.

So if we track the shoulder

that is directly influenced
by the chest motion,

I've created a dragging motion,

mainly working on the
rotation curve of the chest.

If you compare the
tracking of the blue line

with the red line,

we can see that we get a nice
C shape with the blue line,

and a nice S shape with
the dragging chest.

As we use the tip of the nose

to track the head motion,

you can use the neck controller

to track the chest motion.

Note that I've hidden the limbs.

It makes the readability
of the torso way better.

(screen whooshing)

When working on the head
before I track my arc,

the first thing I've done

was to remove this bump on the z rotation.

It didn't fit the current
motion of the head,

just adding extra noise to the movement.

And it doesn't make sense

that our character shake
his head left to right

when switching to the sitting pose.

Motion wise, the head is
slightly dragging compared

to the torso,

but I haven't input that much rotation

because I want my
character to be in control.

If you input too much up and
down rotation to the head,

it will feel a bit weird

as if the head was very heavy.

So we can see that the arc of the head

is very close to the arc
made by the torso controller.

Here we can see the result
with the body controller,

chest and head polished.

I did work on the ears and the nose

as in the previous video,

working with the straighter head method,

meaning that I'm
animating quite on the fly

as the animation goes,

inputting a very, very subtle
follow-through animation

to the ears.

And then I did the same
with the tip of the nose.

Since the sitting motion is pretty slow,

pretty subtle, pretty light, whatever,

your follow-through animation

should be very subtle too.

So it's just an extra motion

that will give a bit more
life to your character.

If you're not comfortable with this,

it's better not to do
it than overdoing it.

Before the head turn,

I like to add an eye blink.

I oftenly use eye blink

whenever the character is
changing his head stance,

like a big head turn in our case,

but also if our character is surprised

and push his head up very quickly,

I like to use the eyes to
support this animation.

I'm doing the same eye
motion on both eyes,

and the idea is to have a slight ease in

and a slight ease out.

Shape wise, the eye is fully open.

Then it's closing a bit on the next frame.

On the third frame, it's totally closed.

And then when reopening,

it will open just a bit

and then on the next
frame, it's fully opened.

(screen whooshing)

Next step was to animate the tail.

In this case, the tail is not used

to balance or in reaction to the motion

of the character's body.

The idea was to create a wiping motion

before our character sit.

As if he was relaxing
his tail before sitting.

Think a bit as if you
were going on the beach,

on the sand, and you were
just wiping your towel

before laying onto it.

That's exactly what I
wanted to communicate here.

The final stage was to
polish the hands animation

or front legs animation.

As always, the arcs are
the most important thing

you have to watch for,

so make sure that you draw
nice arcs with the motion path.

And using the rotation,

make the tip of the fingers

or the tip of the foot slightly
dragging in the motion.

You can add a slight overshoot

when you reach the top position.

Beyond those classics,

there are two things
you have to watch for.

First, avoid the twinning.

So we have broken the twinning in the pose

during the blocking,

making the left hand going
higher than the right hand,

but it's better also to break the twinning

in the timing,

meaning that here my right
hand hit its highest point one

or two frame prior than the left hand.

Also, the right hand is
moving slightly faster

than the left hand

because the character is pushing with it.

So there is an impulsion
on the right hand,

while the left hand that
doesn't contact the ground.

It's just continuing the previous motion.

So beware of the spacing
between the right hand

and the left hand.

The next video will be a time lapse

of me polishing this whole
section of the animation.

Just double check the notes

that I have highlighted in this video

into the next one, and I'll
see you in the video after.