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- [Instructor] Now that we
understand the very basic
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of using an armature,
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let's do a new bouncing ball animation
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but with some more advanced mechanic.
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For this animation,
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we will be exclusively
working from a side view.
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It's like working on a
2D animation in a way.
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So I will create a new action
by duplicating our keying set
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and I need bouncing ball.
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It means that this action
will keep the keying set
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we have created before
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or the keyframe we have inserted before.
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And I've enabled the only
active keying set option
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in the auto keying
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and enabled the filter available.
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On frame zero, I will
position my bouncing ball
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at about nine meters on the z-axis,
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using the root controller.
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This controller will allow us
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to move the ball in space,
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while the other will be used
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for secondary motion
like squash and stretch
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and rotation or revolution of the ball.
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We can plan our animation
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by directly drawing on the screen.
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I'm holding the D key
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while left clicking and
dragging on my screen
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to use the grease pencil notes.
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Here I've made a beautiful drawing
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of the path of the ball
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that we are going to animate.
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The idea is to bring a
bit of physics into it
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so that it looks more believable
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and input a bit of damping
until the ball stop.
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You can access your
annotation in the view panel
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under Annotation and
click the minus button
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if you want to remove it.
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As soon as you make a new drawing,
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a new annotation will appear.
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You can change the color
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by clicking the little
vignette next to its name.
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These annotation are in 3D,
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so you can rotate around them
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and you can create new annotation layers
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or new annotation slot by
clicking the plus button.
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If you make multiple drawing
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on multiple keyframe,
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a new drawing will be
created on each frame,
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allowing you to do awesome animation
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with the annotation
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or a crappy drawing like this one.
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All joke apart,
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it's very handy whenever you want
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to review your animation
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or plan the next move.
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Let's start animating our bouncing ball.
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I will select all the existing key,
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press T and set them to constant
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so that we can start our new animation
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as we did before by the blocking stage.
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We will be animating in pose to pose
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by first setting our main
keyframe on golden keys.
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Then create some in between
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and then start polishing.
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So I'm currently trying to match
the different extreme poses
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of the ball.
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The different poses when it hit the ground
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and the different poses when
it is at its highest point
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in the air.
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Seeing that I don't have a
green line between the keys
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on my action editor,
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I figured there was
still busy interpolation.
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So I've pressed T
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and reset to constant all the keyframe.
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As I've erased my annotation,
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I have a hard time figuring
out the position of my ball.
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But there is tools that could help me
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and that we have already used.
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It's the motion path.
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So while I'm trying to
figure out the spacing
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of the ball from one frame to the other,
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it would be easier if I add an ID
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of the previous position of the ball.
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So instead of fighting
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with my animation and my brain,
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trying to figure out or remember
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where the ball was in the previous frame,
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I will simply add up to
the armature properties,
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not the object properties.
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And here I will find exactly
the same motion path menu
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that we have seen previously
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but this time, we are using
it at the armature level,
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meaning that I'm currently
tracking my root ball.
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And I can track any of
the bounce of the ball
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or even multiple bounce at once.
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I've previously set a couple
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of quick favorite I can
access pressing the Q key.
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You can create your quick favorite
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or assign your own shortcut
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to any tool in the window
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by right clicking on it.
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From there, it's way
easier to position the ball
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from one key to the other.
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I'm creating a new
keyframe every five frame.
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This is pretty arbitrary.
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You could use every 10 frame or whatever.
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I'm used to use every five frame.
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And when all my golden keys will be done,
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I will then go into a slight timing path
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where I will move all those
keyframe left to right
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to revise the timing of the animation.
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Here I'm writing the ultimate pose
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and then I will play my animation
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or scrub through the timeline
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to fill the motion.
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See if the up and down
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and forward motion feels natural.
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And this is something
you have to train about.
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You have to train your eye about this.
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And this require experience.
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And you will get experience only
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by animating, not watching videos.
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So even if you are a
more advanced animator,
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I advise you to do this exercise.
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And if you are a
beginner, embrace failure.
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Failing is an important step
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in the learning path.
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The sooner you accept failure,
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the faster you will learn.
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And being a good artist
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is not really about your success
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but the way you bounce
back after a failure
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and the way you learn from it.
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All right, let's stop our
philosophical discussion here
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and let's go with animation.
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In my action editor,
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I'm moving all the keyframe of the ball
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on the timeline.
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The smaller the bounce,
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the fewer the frame I will
have between two keyframes.
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And then I'm moving the latest
pose pretty further away
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because the ball will be
slowing down before it stops.
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So it will take some time to get there.
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To quickly manipulate the key,
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you can box select them
as we have seen before
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or click the summary
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so that you will get all
the keyframe underneath.
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You can watch my timing on the timeline
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but don't feel wrong
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if your timing is not the same as mine
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because it depend on the
height of your bounce.
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And we will certainly revise the timing
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during the animation.
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But try to make it feel
as natural as possible
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as soon as possible.
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We will now start detailing
this blocking path,
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meaning that we will
add a few more keyframe
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and input a bit of squash and stretch,
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using the upper and
lower green controllers.
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I will start by adding those stretching
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and squashing information
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on top of the existing keyframes.
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As explained in the previous chapter,
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when the ball is contacting the ground,
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it reaches it at full speed.
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So it is full stretched.
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And since the first pose is the one
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where our ball has the maximum speed,
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it is the pose where it
will be the most stretched.
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You can use the stretching controller
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to orient the ball toward
its previous frame.
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Just translate it a little backward.
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This controller only allow you
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to move it using its
location, not its rotation.
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The ball will automatically stretch
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toward the green controllers.
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I will then scrub through the next frame
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and with my green
controller still selected,
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I will press Alt + G
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to cancel any location transformed on it.
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I will take the lower squash controller
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and I will push it up just a little touch
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to make the ball squash
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when it slow down in the air.
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I can see that I have
a little interpolation
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between my keyframe,
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so I will select them all, press T
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and reset them to constant.
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This happen sometime when you try
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to add the constant interpolation
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on a single keyframe.
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So I will go ahead
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and input a bit of stretching
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and orientation to the ball on each frame
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and as I go along,
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I will reduce the stretching strength
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on each consecutive bounce
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because the ball is losing energy.
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Each time, I slightly translate
the upper green controller
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toward the previous frame
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and when it's up in the air,
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I'm slightly moving the
lower controller up.
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I have forgotten to insert a keyframe
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on each channels.
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So in the action editor,
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I will go on each keyframe,
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press I and choose all channels.
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I can now add some breakdowns
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or in between to my animation.
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This will really help
me reading the animation
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in the blocking stage.
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So what we are going to do now
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is add the squash just
after landing of the ball.
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Be very cautious with
the squash and stretch
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because it translate the
softness of the ball.
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If you're going to extreme,
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your ball will look like a water balloon.
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As impact occur on frame eight,
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on frame nine, I will
slightly squash the ball.
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Then on frame 10, before the
ball is leaving the ground,
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I will stretch it a bit
toward the next position.
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To do so, again select
the upper controller
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and press G to move it
towards the frame 13.
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See how after the bounce I'm stretching
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the ball less than before?
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Because as it touch the ground,
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it's losing energy,
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so I can't make it stretch
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as much as when it was
going to touch the ground.
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Again, I did a little
mistake along the way.
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If you check frame 18,
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we can see that our bouncing ball
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is not touching the ground
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and I'm offsetting its root controller
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to fix the problem
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but the issue doesn't come from
the root controller position
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but from the second squash
and stretch controller.
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The lower one.
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When I inserted the keyframe
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on all the controller previously,
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I've forgotten to reset its position
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when the ball was touching the ground.
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So currently, this controller
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is still in its squash position
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as when the ball is in the air
position on frame 22 and 13.
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And this is why the blocking
stage is so important
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because if I was already
splining my animation,
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I would have a hard time to stop this
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and I will be fighting this
deformation with my curves.
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So with the lower green
controller selected,
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I will go over all the keyframe
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and press Alt + G
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and you can see the ball getting back
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into its original shape.
255
00:11:15,250 --> 00:11:17,960
And now I can fix the root position
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on each of those frames.
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Now, to make my action
editor a bit cleaner
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and more readable, I will
collapse all the panel
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because I don't need
to see all the channels
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00:11:28,150 --> 00:11:30,766
and starting with the
root bounce controller,
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I will duplicate the frame 18
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and move it on frame 20
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and get rid of frame 19.
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Since the ball position doesn't change
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between those two frames,
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I don't need to have
a keyframe in between.
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And duplicating frame 18 on frame 20
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will ensure I have consistency
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00:11:51,400 --> 00:11:55,440
into my animation or at
least onto the position
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of my ball when it's on the ground.
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I will also duplicate frame 26 on frame 27
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because the ball is still on the ground
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on this frame.
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Then I'm checking each frame
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and I see that I need to
revise a bit the squashing
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with the lower controller
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because it's still very
strong on frame 29.
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So I press Alt + G to cancel it
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and then press G and Alt + Shift
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to move it on the z-axis very subtly.
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From there, I will play
my animation several time
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to fill the timing.
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So I can see that on the first bounce,
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there is something a bit off.
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Having the first upper
position on frame 13
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is a bit too soon
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and we configure this in the timeline,
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the upper pose is on frame 13
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and the contact pose on frame 18.
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So I only have three
frame to get up in the air
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and five to fall down.
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00:12:54,760 --> 00:12:57,900
So I will offset all the
keyframe from frame 13
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by one frame
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00:12:59,270 --> 00:13:04,130
and then I will move all the
keyframe from frame 18 or 19
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by one frame back
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so that I get an even spacing
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between the upper pose and the lower pose.
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00:13:11,160 --> 00:13:15,060
The first bounce uses
eight frame to complete.
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So I guess we can use six frame
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to complete the second bounce.
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So frame 20 will be the contact post.
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23, the upper pose,
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26, the next contact.
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00:13:25,656 --> 00:13:30,470
And the final bounce
could use one frame less.
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00:13:30,470 --> 00:13:33,740
So our bouncing ball
timing is quite logical.
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00:13:33,740 --> 00:13:35,650
I start with an eight-frame bounce,
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then a six-frame bounce
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and finally, a four-frame bounce.
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It's totally fine if
your timing is different.
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The important thing is to
get this logical pattern
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between the first bounce
and the last bounce
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with a decreasing number of frame
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between each bounce.
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00:13:55,470 --> 00:13:57,850
This logical approach of motion
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00:13:57,850 --> 00:14:02,340
will help us solve some
animation problem later on.
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00:14:02,340 --> 00:14:04,030
It's not a rule of thumb though
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00:14:04,030 --> 00:14:08,190
because animation is also
a matter of randomness.
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00:14:08,190 --> 00:14:13,070
Our ball could be bouncing on
an uneven ground, for example,
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00:14:13,070 --> 00:14:16,700
so it will make the timing
a bit off at some point.
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00:14:16,700 --> 00:14:18,250
But in your learning path,
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00:14:18,250 --> 00:14:21,920
it's important to understand
the logic of motion.
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00:14:21,920 --> 00:14:23,460
In this specific case,
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00:14:23,460 --> 00:14:26,020
the fact that the ball is losing energy
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00:14:26,020 --> 00:14:28,280
on each bounce so the timing
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00:14:28,280 --> 00:14:31,430
between each contact pose will be shorter,
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00:14:31,430 --> 00:14:34,140
in the next video, we
will polish the animation
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00:14:34,140 --> 00:14:35,570
using the graph editor.
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00:14:35,570 --> 00:14:37,260
To summarize, we have seen
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00:14:37,260 --> 00:14:40,620
that we can use the
grease pencil annotation
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00:14:40,620 --> 00:14:42,880
to plan our animation.
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00:14:42,880 --> 00:14:46,610
Using the motion path display is important
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00:14:46,610 --> 00:14:48,840
even at the blocking stage
333
00:14:48,840 --> 00:14:52,760
as it really help us figuring
out the motion of the ball.
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00:14:52,760 --> 00:14:56,470
We have to be careful when
using squash and stretch
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00:14:56,470 --> 00:14:59,500
because it does communicate the softness
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00:14:59,500 --> 00:15:02,010
or the material of our ball.
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00:15:02,010 --> 00:15:05,900
So ask yourself what kind
of ball am I animating?
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00:15:05,900 --> 00:15:08,670
We can tackle our animation timing
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00:15:08,670 --> 00:15:10,800
with a logical approach.
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00:15:10,800 --> 00:15:13,080
Our bouncing ball will lose energy
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00:15:13,080 --> 00:15:17,363
on each bounce so there will
be smaller and smaller until.
25658
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