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- [Instructor] It's time
to finally start polishing
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our squirrel idle animation.
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It will be kind of similar
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as when we have been
polishing the run cycle.
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We will start with the
most influential controller
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of our character like the
torso or the body controller,
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then polish the contact paws, the feet
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and then all secondary motion
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and follow through like
the tail and the face.
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You can choose whether to polish fully
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each controller one by one
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but when I work on long
sequences like that
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I prefer to work by chunk,
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like working on the first
two paws and polish them
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and then go to the paws three and four
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and polish them, et cetera.
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I think it's a little more motivating
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when you do this by chunk
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because doing a long shot like that
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and polishing only one controller
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will show results only on the long-term
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and sometime it can be
hard to stay motivated.
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But this is really a
matter of personal choice
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so you can work the
whole animation at once
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focusing first on the
torso and then the legs,
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and then all the secondary motion
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or do as I will polishing
each segment of the animation.
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(air whooshing)
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Just a big warning in here
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I selected all the key frame
and switch them to busy.
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And this is a mistake since my root motion
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is supposed to use a linear interpolation.
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This is not a big deal, but
it leads to some mistakes
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into my transition between the
run cycle and the idle pose,
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so make sure you select
your root controller
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and press T and switch it back
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to linear before going further.
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When I play the animation
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it doesn't look that bad when
we switch to spline mode.
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And this is because we have
detailed a lot our blocking.
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But there is definitely
something weird happening
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about the head rotation.
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The head of our character is twisting
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or flipping the wrong way.
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This is a super classic bug
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whenever you switch to spline
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and we will see how to fix this.
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I will explain our rotation behavior
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in a more detailed video
in the next chapter.
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So before we even start polishing class
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we'll go into the graph editor
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and we will fix it when you
get this kind of bug, it's 100%
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because of the curves as we
are using quaternion rotation
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for the neck and head, we
have four rotation channels.
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And when I frame my curve
pressing the dot key
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on the num pad, we can see this
huge drop on the W channel.
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And basically what's happening is Blender
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using the shortest path to turn the head.
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So instead of rotating
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with the nose facing the
front part of the character
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it's going back because the
turn is short term this way
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and this is the common
problem with quaternions.
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To fix this I didn't
really fix the curve first
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and then try to match the previous pose.
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So I will simply push this W curve up
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so that it has a better continuity.
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And then I will slightly
tweak the other curve
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so that the head is getting
back to its original position.
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When you get this kind of curve dropped,
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you generally have a whole chunk
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of your animations that
is slightly offsetting.
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So I will select the Z rotation curve
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and push it a little up.
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So I'm guessing it's the Z rotation curve
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because I have a huge drop
on the Z rotation curve too.
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And I can see that
between frame 72 and 95,
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the head was offset compared
to what I have done before.
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So the trick here is to test each curve
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and see which one is
bugging and then offset it.
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So that it's betterly aligned
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with the previous key frame of this curve.
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So I'm just tweaking the
position of the curve.
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And I just focus on the pose
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of my character on the current key frames.
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I am fixing the pose.
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I'm not thinking about the animation,
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the interpolation of
the curve or whatever.
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I'm just kind of reshaping
the poses of my character.
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And so if you're happy with
the current poses I have
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meaning that they are close
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to what I have during the blocking stage.
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I can move on and start polishing.
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(air whooshing)
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So this is something that
is becoming very common
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into this course is that
the first thing I do
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is work on the torso root of my character.
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Because as I've explained before,
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this is one of the controller
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that will add the most
influence onto the character
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and to get a good
visualization of the spacing
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and the arcs I've
calculated the motion path.
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The first thing I'm working on
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is the follow through
animation after the landing.
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This is why I've pushed my curve down
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in an overshoot just
after the contact pose
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our character has a huge speed going down.
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So we need to absorb the
impact and then it recovered
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and we have our Z location
getting stabilized.
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So we have just created some kind
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of overshoot and now I will
switch on to the Y curve
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and I will do exactly the same
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as our character is contacting the ground
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while we're moving forward
he's absorbing the inertia.
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So I do create a slight overshoot here,
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so whatever the trend
form channel you are using
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you will see this kind of
shape in my curves very often.
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This is really the archetype shape
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of a curve for a follow
through or an overshoot.
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So it doesn't apply for impacts
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where the curve will stop
right on the contact pose.
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But as soon as you have a
lot of verticality in a curve
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that means that the motion is
very fast or very important.
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So as soon as it stop,
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you will have a bit of overshoot
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or follow through animation,
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meaning that there is a bit of inertia
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and you can apply it to
scaling rotation and location.
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The more you will input
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and the longer there
will be, the more weight
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and lack of control, you will get,
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the tighter and smaller those overshoots,
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the lighter or controlled
the motion will look like.
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As the main body controller
arc start to look decent,
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I can now switch to the
rotation of this controller.
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I always apply the same rule.
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I start with the X rotation curve
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because it's the most
influential into this motion.
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So I'm kind of tracking the head,
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when I'm rotating the whole body
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because this is what will
give you the curvature
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of the whole body.
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And as I polish, the X rotation,
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which shows the most from a profile view,
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I also rework the Y location.
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So when I'm polishing my curve,
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it happened that I offset a lot of them.
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This way I'm retiming the animation.
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If I feel like the landing
animation is too long,
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I can offset a bunch of
key frame by one frame back
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and it will happen a little faster.
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In front view, I'm
working on the Y rotation
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which is the twisting of my character.
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When he lands, I twist
toward the left hand
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which is the first contacting the ground
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and where the character
will put his weight
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and when he's raising on the right hand
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I'm twisting toward this point too.
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With the Z rotation curve,
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I'm creating the side-to-side rotation
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and what I will do here
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as I have a drastic
change in the orientation
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of my character is input
a very slight overshoot.
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So creating those
overshoot, or follow through
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in the curve is not an automatism,
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but when you see this kind
of shape in your curve,
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meaning that it's going
down or high very fast
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and then it stopped creating a plateau.
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Just try to add a bit of an overshoot
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and see if it does fit your animation.
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Again, I can't tell you
this is the way to go
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because animation, as any form of art,
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is about experimentation
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and what we work for this
specific squirrel animation,
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won't work for all the squirrel animation
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you're going to be doing.
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This might not fit the type of style
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you are looking for into your animation
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whether it's super realistic
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or it's super stylized.
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But what I want to say here,
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is that it's a matter of experience.
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I'm giving you the foundation
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to create this kind of animation,
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and then you have to train your eyes
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by animating and animating again.
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But this is a cool tip
you should keep in mind
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and when you get more experience
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you will know when you have to dial
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the intensity of your
overshoot, get rid of them
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or add even more of them.
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On the specific pose I'm
rotating the body controller
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and lowering it and also
rotating the chest controller
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to avoid the right leg
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contacting the ground to be overextended.
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This is something you can also fix
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in the second time using the
little tweaker controller
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the small sphere on the
elbow of the character.
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Unless this is something
you are looking for
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if you're doing on purpose
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having a stretch, lean on
your character, very straight,
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will look stiffened,
won't look that natural.
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00:10:17,570 --> 00:10:19,150
So here I'm not saying
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that you can't have this leg
fully stretch as I am here
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but I will not all the pose
with the lean totally stretched.
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So I've done whatever I could
to fix the shape of the arm.
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But if I can, then I'm totally
fine using the tweaker bone
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pushing it back a little to
have a slight bend in the arm.
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Even if in the end, it's a
little longer than it should be,
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we won't see it
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and the silhouette will look better.
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(air whooshing)
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When polishing the head,
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the first thing I do is to track the nose.
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So here I have a controller
for the nose, so that perfect.
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I will calculate the motion path onto it.
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As usual, I start with the X rotation
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because it's the most
influential controller
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00:11:09,060 --> 00:11:11,630
on this part of the character.
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00:11:11,630 --> 00:11:14,970
And the idea here is to
make the head dragging
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compared to the rest of the body.
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So since the head is further away
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from the center of
gravity of our character,
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that is represented by
the main body controller,
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it will kind of drag, it
will be delayed in its motion
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but I want to make this subtle again.
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00:11:35,000 --> 00:11:38,470
We are working on the very light character
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so I don't want its head to
wobble all the way around.
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It will drag, but just a touch.
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The overshoot must be
as short as possible.
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If we were animating a baby, for example,
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it would lack of control in its head.
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So that will be a great moment
to make it drag a lot more,
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build stronger overshoot,
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and even made the head wobble.
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But this is not the case for our character
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is currently very agile.
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And I want to show that
he's controlling his landing
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and his head is more driven by curiosity
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than its own weight.
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As soon as the rotation are fixed
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and I've done it also on the
chest controller previously,
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I work on the location curve of the head.
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The idea is to squash
the head inside the body
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whenever he is raising very fast.
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And then when he get curious
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or when he hit its final
poses, I push the head forward.
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One very important thing
248
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is that squash and stretch
249
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is not only about scaling something
250
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or really squashing it.
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It can be represented by the distance
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between two controllers in this case,
253
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the head getting more into the body
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but the head doesn't get squashed.
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The neck does get squashed a bit
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but we currently don't
really see a deformation
257
00:13:11,260 --> 00:13:15,380
but the silhouette of our
character overall get shortened.
258
00:13:15,380 --> 00:13:18,220
So it gets squashed a bit.
259
00:13:18,220 --> 00:13:20,870
So here you can see that
I'm playing in the plane
260
00:13:20,870 --> 00:13:23,140
and throbbing through my timeline,
261
00:13:23,140 --> 00:13:26,320
playing with the Y and Z location curve,
262
00:13:26,320 --> 00:13:29,240
just to get this slight head bop
263
00:13:29,240 --> 00:13:32,500
when it comes to its extreme pose,
264
00:13:32,500 --> 00:13:35,840
creating the slight shake of the head
265
00:13:35,840 --> 00:13:39,100
using the location
instead of the rotation,
266
00:13:39,100 --> 00:13:40,603
as we explained before,
267
00:13:41,860 --> 00:13:44,430
won't translate a lack of control
268
00:13:44,430 --> 00:13:48,440
because our character eyes are stable.
269
00:13:48,440 --> 00:13:51,420
He's looking at a point in space.
270
00:13:51,420 --> 00:13:55,680
While if we were doing this
overshoot with the rotation
271
00:13:55,680 --> 00:13:58,410
the eye will be kind of jiggling
272
00:13:58,410 --> 00:14:00,980
in the space, in the screen space,
273
00:14:00,980 --> 00:14:03,880
on what we are seeing in our animation.
274
00:14:03,880 --> 00:14:07,490
And it will then look like
our character is controlling
275
00:14:07,490 --> 00:14:08,700
what he's doing.
276
00:14:08,700 --> 00:14:12,120
As I'm getting close to
having the head polished,
277
00:14:12,120 --> 00:14:16,230
look at how I slightly move
this point on the curve.
278
00:14:16,230 --> 00:14:20,350
So I don't want to get a
perfect plateau of the curve.
279
00:14:20,350 --> 00:14:23,210
I want to keep very subtle movement
280
00:14:23,210 --> 00:14:25,203
that we call moving holds.
281
00:14:25,203 --> 00:14:26,711
(air whooshing)
282
00:14:26,711 --> 00:14:27,930
As I'm pretty happy with my head motion,
283
00:14:27,930 --> 00:14:31,610
I will now be working on
the nose of the character.
284
00:14:31,610 --> 00:14:34,630
The idea here is to
create a secondary motion.
285
00:14:34,630 --> 00:14:37,960
So the nose will simply be dragging a bit
286
00:14:37,960 --> 00:14:40,770
while our character is raising the head.
287
00:14:40,770 --> 00:14:44,810
If we watch the motion path
from frame 14 to frame 17
288
00:14:44,810 --> 00:14:47,410
we can see that we have a lot spacing
289
00:14:47,410 --> 00:14:49,630
meaning that the head is moving fast.
290
00:14:49,630 --> 00:14:52,020
So this is where the nose of our character
291
00:14:52,020 --> 00:14:53,580
will be dragging the most.
292
00:14:53,580 --> 00:14:57,090
And it does show onto the curve here.
293
00:14:57,090 --> 00:15:00,280
So I'm not using the graphing
tool to control the nose.
294
00:15:00,280 --> 00:15:03,040
I am moving it directly into space.
295
00:15:03,040 --> 00:15:04,990
And then I may use the graph editor
296
00:15:04,990 --> 00:15:08,730
just to slightly polish
the position of the nose.
297
00:15:08,730 --> 00:15:13,150
On frame 19, I've created
a little bump in the curve
298
00:15:13,150 --> 00:15:16,990
so that we have some kind of
bouncing motion of the nose
299
00:15:16,990 --> 00:15:21,640
as our character reaches its
highest point with the head
300
00:15:21,640 --> 00:15:26,240
all those little element give
texture to our animation,
301
00:15:26,240 --> 00:15:30,090
small details and I will be
doing the same with the eyes.
302
00:15:30,090 --> 00:15:32,670
I won't be animating the night blink
303
00:15:32,670 --> 00:15:35,410
but then we'll very
slightly close the eyes,
304
00:15:35,410 --> 00:15:38,060
our character is raising his head.
305
00:15:38,060 --> 00:15:42,210
All of these little details
are like squash and stretch.
306
00:15:42,210 --> 00:15:44,740
They are supporting the animation.
307
00:15:44,740 --> 00:15:48,620
So I haven't been using the
squash and stretch controller
308
00:15:48,620 --> 00:15:51,070
on top of the head of the character
309
00:15:51,070 --> 00:15:53,430
because it doesn't really fit
310
00:15:53,430 --> 00:15:56,070
what I wanted for this animation,
311
00:15:56,070 --> 00:15:58,900
but using the eyes and the tip of the nose
312
00:15:58,900 --> 00:16:02,820
and slightly dragging them
backward kind of input
313
00:16:02,820 --> 00:16:06,270
this squash and stretch
feeling of the motion.
314
00:16:06,270 --> 00:16:08,303
I will proceed the same with the ears.
315
00:16:08,303 --> 00:16:11,970
I will make them drag whenever
there is a fast motion
316
00:16:11,970 --> 00:16:14,695
and I will create a slight overshoot
317
00:16:14,695 --> 00:16:16,960
or jiggling of the heels.
318
00:16:16,960 --> 00:16:21,200
Very subtle whenever there
is a stop into the motion.
319
00:16:21,200 --> 00:16:24,040
So I've been animating the nose,
320
00:16:24,040 --> 00:16:28,410
the ears and the eyes using
the straight-ahead method.
321
00:16:28,410 --> 00:16:32,350
And it's ideal for this
kind of secondary motion
322
00:16:32,350 --> 00:16:34,260
where you can't really predict
323
00:16:34,260 --> 00:16:37,610
where the heels are going to be rotating,
324
00:16:37,610 --> 00:16:39,830
where the nose is going to be,
325
00:16:39,830 --> 00:16:44,580
while you have all the other
controllers to polish first.
326
00:16:44,580 --> 00:16:47,770
This is the kind of motion
that is really hard to block
327
00:16:47,770 --> 00:16:49,360
or to predict.
328
00:16:49,360 --> 00:16:51,800
This is a technique that I use a lot
329
00:16:51,800 --> 00:16:55,450
whenever I'm animating
fingers, for example,
330
00:16:55,450 --> 00:16:58,700
I will shape the end
ring, the blocking stage
331
00:16:58,700 --> 00:17:02,500
but I won't necessarily
put a lot of detail
332
00:17:02,500 --> 00:17:05,630
during the breakdowns and stuff like that.
333
00:17:05,630 --> 00:17:08,900
Since a lot of things can
happen in the animation
334
00:17:08,900 --> 00:17:11,830
of the eyes, the fingers, the ears,
335
00:17:11,830 --> 00:17:14,080
the ponytail, whatever,
336
00:17:14,080 --> 00:17:18,300
all those secondary
elements of a character,
337
00:17:18,300 --> 00:17:22,380
I oftenly animate them using
the straight ahead method
338
00:17:22,380 --> 00:17:27,090
meaning that I've blocked my
character, or least most of it.
339
00:17:27,090 --> 00:17:32,090
And then on top of this, I will
add those additional motion
340
00:17:32,540 --> 00:17:34,890
or additional animation
341
00:17:34,890 --> 00:17:38,520
that are currently following the broad
342
00:17:38,520 --> 00:17:41,170
and main animation of your character.
343
00:17:41,170 --> 00:17:44,010
And you've probably,
haven't seen me working
344
00:17:44,010 --> 00:17:46,120
on each curve of those controllers
345
00:17:46,120 --> 00:17:48,110
and that's perfectly fine.
346
00:17:48,110 --> 00:17:51,870
At some point you don't
need to polish each curve.
347
00:17:51,870 --> 00:17:55,440
You can simply watch the
animation and watch the spacing
348
00:17:55,440 --> 00:17:59,320
in the 3D viewport and
see if it does work.
349
00:17:59,320 --> 00:18:02,350
Curved editing is super important
350
00:18:02,350 --> 00:18:06,400
but it's not mandatory
for every controllers.
351
00:18:06,400 --> 00:18:08,750
So I rapidly polish the hips
352
00:18:08,750 --> 00:18:11,650
because it was mainly compensating
353
00:18:11,650 --> 00:18:13,290
the motion of the character
354
00:18:13,290 --> 00:18:15,200
or the movement of the character.
355
00:18:15,200 --> 00:18:17,510
And I can now switch my attention
356
00:18:17,510 --> 00:18:18,685
to the feet of the character.
357
00:18:18,685 --> 00:18:19,568
(air whooshing)
358
00:18:19,568 --> 00:18:22,430
I tend to be kind of
lazy whenever I'm working
359
00:18:22,430 --> 00:18:23,970
on the feet of character.
360
00:18:23,970 --> 00:18:26,170
And that's a very big mistake.
361
00:18:26,170 --> 00:18:27,940
So this is one of the thing
362
00:18:27,940 --> 00:18:31,120
I'm trying to improve in my animation.
363
00:18:31,120 --> 00:18:33,820
Feet tend to have a lot of motion
364
00:18:33,820 --> 00:18:38,710
and a lot of beginner tend to
keep them still on the ground.
365
00:18:38,710 --> 00:18:40,300
So you should avoid it.
366
00:18:40,300 --> 00:18:43,290
Whenever you feel like your
character is losing balance
367
00:18:43,290 --> 00:18:45,310
maybe offset a bit the foot
368
00:18:45,310 --> 00:18:48,800
and create some kind of very small step.
369
00:18:48,800 --> 00:18:52,380
One of the very important
thing regarding walks
370
00:18:52,380 --> 00:18:54,800
and whatever kind of steps you are doing,
371
00:18:54,800 --> 00:18:58,810
is that any character,
whether it's an animal
372
00:18:58,810 --> 00:19:02,460
or a human being will try to put as less
373
00:19:02,460 --> 00:19:05,170
energy into it as possible,
374
00:19:05,170 --> 00:19:10,090
meaning that you will raise
your leg as less as possible.
375
00:19:10,090 --> 00:19:12,330
When we see the original motion path
376
00:19:12,330 --> 00:19:13,750
shown on the screen right now,
377
00:19:13,750 --> 00:19:16,920
we can see that I had
the very eye position
378
00:19:16,920 --> 00:19:18,950
of the foot on frame 14.
379
00:19:18,950 --> 00:19:21,940
This is why I edited the Z curve
380
00:19:21,940 --> 00:19:23,530
of the location of the foot.
381
00:19:23,530 --> 00:19:24,410
And when I update,
382
00:19:24,410 --> 00:19:27,870
you can see that now the
curve is looking a bit better.
383
00:19:27,870 --> 00:19:30,630
The forward spacing is a little weird
384
00:19:30,630 --> 00:19:33,660
because I have a big
acceleration on the Y curve
385
00:19:33,660 --> 00:19:35,367
and then it slowed down.
386
00:19:35,367 --> 00:19:39,040
So I'm kind of flattening
them with the Y curve
387
00:19:39,040 --> 00:19:43,550
and also lowering the foot
just before the contact pose.
388
00:19:43,550 --> 00:19:45,800
When the foot was moving forward,
389
00:19:45,800 --> 00:19:47,830
I edited the rotation of the curve
390
00:19:47,830 --> 00:19:52,200
so that it just drags a bit backward.
391
00:19:52,200 --> 00:19:54,740
And then when it's
contacting on the ground,
392
00:19:54,740 --> 00:19:57,920
I will slightly raise it to have this kind
393
00:19:57,920 --> 00:20:00,840
of slap motion only on one frame.
394
00:20:00,840 --> 00:20:02,430
That's perfectly fine,
395
00:20:02,430 --> 00:20:05,380
but we will feel this
is a very important tip
396
00:20:05,380 --> 00:20:07,950
that will make your animation
looks a little better.
397
00:20:07,950 --> 00:20:10,030
Whenever you are doing a step
398
00:20:10,030 --> 00:20:13,820
whether for a whole cycle
or an animation like that,
399
00:20:13,820 --> 00:20:17,980
you should avoid flat curve
on the rotation channels
400
00:20:17,980 --> 00:20:21,250
during the contact pose on frame 16.
401
00:20:21,250 --> 00:20:25,590
Having it flat on the next
frame is totally fine.
402
00:20:25,590 --> 00:20:29,530
There is always a bit of
control of foot slapping
403
00:20:29,530 --> 00:20:33,600
on one or two frame, and
then the curve get flat.
404
00:20:33,600 --> 00:20:36,350
So as this first step is polished,
405
00:20:36,350 --> 00:20:39,620
I can work on the elbow
joint of my character
406
00:20:39,620 --> 00:20:42,200
as the front leg get over extended.
407
00:20:42,200 --> 00:20:44,700
It seems to be bending the wrong way,
408
00:20:44,700 --> 00:20:48,860
so I will just frame by
frame, push a bit back
409
00:20:48,860 --> 00:20:53,600
this tweaker your controller,
just to get a slight bending.
410
00:20:53,600 --> 00:20:56,160
I don't need to care about the curve here,
411
00:20:56,160 --> 00:20:59,187
I'm just caring about the
shape of my character.
412
00:20:59,187 --> 00:21:00,020
(air whooshing)
413
00:21:00,020 --> 00:21:02,520
All right, let's move
on the left front leg
414
00:21:02,520 --> 00:21:04,290
or left hand if you will.
415
00:21:04,290 --> 00:21:06,490
The first thing I will do as usual
416
00:21:06,490 --> 00:21:09,500
is calculate the path of this hand
417
00:21:09,500 --> 00:21:11,750
and it has really become an automatism
418
00:21:11,750 --> 00:21:14,880
for me to use the motion
path in production.
419
00:21:14,880 --> 00:21:16,950
With it, I can see right away
420
00:21:16,950 --> 00:21:20,710
that the motion of the
foot is not correct.
421
00:21:20,710 --> 00:21:22,610
The arc as in it's shape
422
00:21:22,610 --> 00:21:26,730
where I'd like it to have
more of a C-shape forward.
423
00:21:26,730 --> 00:21:29,400
I'd like to create a foot roll motion
424
00:21:29,400 --> 00:21:33,060
on the next frame from
the tip of the foot.
425
00:21:33,060 --> 00:21:34,370
So from the side view,
426
00:21:34,370 --> 00:21:38,760
I shift right click on
to the tip of the foot.
427
00:21:38,760 --> 00:21:40,890
Then I will switch the pivot point
428
00:21:40,890 --> 00:21:43,030
to be using the 3D cursor.
429
00:21:43,030 --> 00:21:45,930
And I will rotate the foot forward.
430
00:21:45,930 --> 00:21:49,050
Since this is a pose I would spend time
431
00:21:49,050 --> 00:21:51,570
to get right, using the graph editor.
432
00:21:51,570 --> 00:21:55,210
It's better to pose it
directly in the 3D view.
433
00:21:55,210 --> 00:21:59,010
So is that Blender will
write the curves for me.
434
00:21:59,010 --> 00:22:02,900
And then I just need to polish
using this in-between curve
435
00:22:02,900 --> 00:22:04,570
we've just created.
436
00:22:04,570 --> 00:22:07,020
From there, I have enough information
437
00:22:07,020 --> 00:22:08,810
to start polishing the curve
438
00:22:08,810 --> 00:22:12,480
working first on the Z and Y location,
439
00:22:12,480 --> 00:22:16,320
here I'm building a slight
overshoot on the Y axis
440
00:22:16,320 --> 00:22:19,980
so that the character will
push his hand forward.
441
00:22:19,980 --> 00:22:24,039
And then the back as it
reaches the highest point
442
00:22:24,039 --> 00:22:26,900
and they will update my motion path to see
443
00:22:26,900 --> 00:22:29,390
if my arch is looking good.
444
00:22:29,390 --> 00:22:31,736
And then I will slightly tweak
445
00:22:31,736 --> 00:22:36,270
the plateau shape of the Y and Z curve
446
00:22:36,270 --> 00:22:40,510
to avoid having a pure holding here.
447
00:22:40,510 --> 00:22:43,530
I want to add a slight moving hold
448
00:22:43,530 --> 00:22:47,560
so that the hand feels
connected to the body
449
00:22:47,560 --> 00:22:49,270
that is still moving.
450
00:22:49,270 --> 00:22:53,900
The left-to-right motion of the
front foot is pretty subtle.
451
00:22:53,900 --> 00:22:57,240
So I will just smooth out the curve
452
00:22:57,240 --> 00:23:01,130
and input a bit of an
overshoot on frame 20
453
00:23:01,130 --> 00:23:04,710
and a bit up jiggle on frame 25.
454
00:23:04,710 --> 00:23:07,643
So when I polish to location
channel, for example,
455
00:23:07,643 --> 00:23:11,510
I always double check my animation
through different angles.
456
00:23:11,510 --> 00:23:13,630
I also play the hold section.
457
00:23:13,630 --> 00:23:15,050
I'm polishing to make sure
458
00:23:15,050 --> 00:23:19,440
that everything looks
connected and relevant.
459
00:23:19,440 --> 00:23:22,010
From there, I can work on the rotation.
460
00:23:22,010 --> 00:23:27,010
So why the rotation is the
main motion of this front leg
461
00:23:27,300 --> 00:23:29,800
on this part on the animation,
462
00:23:29,800 --> 00:23:33,030
polishing the rotation of
the front foot or the hand
463
00:23:33,030 --> 00:23:37,000
of the character will
really improve the motion.
464
00:23:37,000 --> 00:23:40,550
So I'm just mainly working on the X
465
00:23:40,550 --> 00:23:45,340
but only on rotation first,
adding a bit of dragging.
466
00:23:45,340 --> 00:23:49,480
Then I work on the Y and
Z pattern on rotation
467
00:23:49,480 --> 00:23:53,580
just to add a bit of twisting
and a bit of dragging
468
00:23:53,580 --> 00:23:56,830
on the left and right motion of the hand.
469
00:23:56,830 --> 00:23:57,940
And the here again,
470
00:23:57,940 --> 00:24:01,550
I will bend a slight
overshoot on the curve.
471
00:24:01,550 --> 00:24:04,850
So you can see that curve
wise in the graph editor
472
00:24:05,850 --> 00:24:09,830
you will often get the same kind of shape
473
00:24:09,830 --> 00:24:12,370
the same curve behavior.
474
00:24:12,370 --> 00:24:14,993
So don't be afraid by the graph editor
475
00:24:14,993 --> 00:24:18,400
this is something you will
get used to very fast,
476
00:24:18,400 --> 00:24:19,639
if you practice.
477
00:24:19,639 --> 00:24:20,472
(air whooshing)
478
00:24:20,472 --> 00:24:22,730
Polishing the tail was
pretty straightforward
479
00:24:22,730 --> 00:24:26,650
as it is mostly a follow
through animation.
480
00:24:26,650 --> 00:24:29,510
So I do believe you now understand
481
00:24:29,510 --> 00:24:32,070
that I always work with the channel
482
00:24:32,070 --> 00:24:34,700
that input the most motion.
483
00:24:34,700 --> 00:24:39,060
This is why I stopped
with the X rotation curve.
484
00:24:39,060 --> 00:24:41,490
So this is a pretty different behavior
485
00:24:41,490 --> 00:24:43,960
compared with the run cycle
486
00:24:43,960 --> 00:24:47,230
or the gym cycle we've made before.
487
00:24:47,230 --> 00:24:50,660
Here, I want faster whipping motion,
488
00:24:50,660 --> 00:24:53,540
meaning that the motion of the tail
489
00:24:53,540 --> 00:24:57,680
is not supporting the
movement of the character.
490
00:24:57,680 --> 00:25:00,171
It's not drawing the shape
491
00:25:00,171 --> 00:25:04,600
and the path of the
character through space.
492
00:25:04,600 --> 00:25:09,550
I'm using the tail here with
fast and snapping motion
493
00:25:09,550 --> 00:25:12,160
to show the attitude of the character.
494
00:25:12,160 --> 00:25:13,980
When we watched the reference,
495
00:25:13,980 --> 00:25:16,860
we can see that the tail move very quickly
496
00:25:16,860 --> 00:25:18,640
and then just stop.
497
00:25:18,640 --> 00:25:23,640
So I want those the little wavey
motion to happen very fast.
498
00:25:24,570 --> 00:25:27,410
On the first contact,
the motion of the tail
499
00:25:27,410 --> 00:25:30,790
is here to balance the character.
500
00:25:30,790 --> 00:25:32,490
But as soon as he stop,
501
00:25:32,490 --> 00:25:37,490
the tail motion will be mostly
used to show the character
502
00:25:37,530 --> 00:25:39,890
the emotion of our character
503
00:25:39,890 --> 00:25:43,280
whether he's happy, curious, or whatever.
504
00:25:43,280 --> 00:25:46,240
And having those rapid change
505
00:25:46,240 --> 00:25:47,920
in the shape of the tail
506
00:25:47,920 --> 00:25:51,110
really translate the fast pace
507
00:25:51,110 --> 00:25:56,110
of the metabolism of small
mammals, like the squirrel,
508
00:25:56,220 --> 00:25:58,460
the mouse, et cetera.
509
00:25:58,460 --> 00:26:02,480
If you think of the tail
of a cow or an elephant
510
00:26:02,480 --> 00:26:07,000
it can move quickly, but
it won't stop instantly.
511
00:26:07,000 --> 00:26:08,470
There will be inertia.
512
00:26:08,470 --> 00:26:11,060
There will be follow through animation.
513
00:26:11,060 --> 00:26:13,140
While on this character,
514
00:26:13,140 --> 00:26:14,820
the follow through might be like
515
00:26:14,820 --> 00:26:16,600
on two or three frame maximum
516
00:26:16,600 --> 00:26:19,010
and you just freezing the hair.
517
00:26:19,010 --> 00:26:22,100
So I'm repeating the same
concept again and again
518
00:26:22,100 --> 00:26:24,620
but all of those follow through animation
519
00:26:24,620 --> 00:26:27,670
can translate the weight of your character
520
00:26:27,670 --> 00:26:29,330
or the stiffness.
521
00:26:29,330 --> 00:26:33,300
Here, for example, while
the tail is very flexible
522
00:26:33,300 --> 00:26:35,784
at some point it's full of muscle
523
00:26:35,784 --> 00:26:39,750
and our character can
kind of hold it in place.
524
00:26:39,750 --> 00:26:42,360
Like whip it's tail and it stop it.
525
00:26:42,360 --> 00:26:45,470
And I think this is a very specific motion
526
00:26:45,470 --> 00:26:49,080
of the squirrel tail that
will make it more believable
527
00:26:49,080 --> 00:26:54,070
or at least that will input
this squirrel-like motion
528
00:26:54,070 --> 00:26:56,840
to our digital character.
529
00:26:56,840 --> 00:26:59,520
On those fast-paced motion,
530
00:26:59,520 --> 00:27:03,390
It's pretty hard to get a nice tail shape.
531
00:27:03,390 --> 00:27:06,160
And this is why on this specific part
532
00:27:06,160 --> 00:27:08,653
I'm almost animating on the ones.
533
00:27:09,570 --> 00:27:14,210
It means that I have a key
frame on almost each frame.
534
00:27:14,210 --> 00:27:17,370
This is what animating on ones means,
535
00:27:17,370 --> 00:27:19,960
is that you will have a different pose
536
00:27:19,960 --> 00:27:24,580
or different key frame on
each frame of your animation.
537
00:27:24,580 --> 00:27:26,920
When animating digitally,
538
00:27:26,920 --> 00:27:30,020
we kind of always animate on ones
539
00:27:30,020 --> 00:27:31,587
meaning that our character
540
00:27:31,587 --> 00:27:34,520
has a different pose on each frame
541
00:27:34,520 --> 00:27:39,490
but when animating traditionally
or making 2D drawings
542
00:27:39,490 --> 00:27:43,370
it happened sometime that you
will keep the same drawing
543
00:27:43,370 --> 00:27:45,710
on one, two or three frames.
544
00:27:45,710 --> 00:27:49,860
In this case, you will be
animating on two or on three.
545
00:27:49,860 --> 00:27:53,530
So it's not correct to say
that I'm animating on ones
546
00:27:53,530 --> 00:27:57,280
because I'm putting a
key frame on each frame
547
00:27:57,280 --> 00:28:00,460
but that's kind of a way of talking
548
00:28:00,460 --> 00:28:02,730
or saying that at some point,
549
00:28:02,730 --> 00:28:07,380
you might need to detail
your animation on ones
550
00:28:07,380 --> 00:28:10,410
and insert a key frame on every frame.
551
00:28:10,410 --> 00:28:15,410
And for each of those poses,
especially on action motion
552
00:28:16,540 --> 00:28:18,370
or on very fast motion
553
00:28:18,370 --> 00:28:21,080
like the tail motion of your character.
554
00:28:21,080 --> 00:28:25,020
In the end of polishing the
segment of the animation
555
00:28:25,020 --> 00:28:28,760
I've been working with the
tweaker bone of the back leg
556
00:28:28,760 --> 00:28:33,290
to keep the back leg
slightly bent the right way,
557
00:28:33,290 --> 00:28:35,360
slightly bent forward.
558
00:28:35,360 --> 00:28:39,510
That was kind of a long video
with a lot of information.
559
00:28:39,510 --> 00:28:42,653
I will keep the next one
as short as possible.
44594
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