All language subtitles for 03-16-06-Polishing idle part 4

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These are the user uploaded subtitles that are being translated: 1 00:00:00,860 --> 00:00:03,450 - [Instructor] For this new segment of the animation 2 00:00:03,450 --> 00:00:06,890 instead of polishing the body controller first, 3 00:00:06,890 --> 00:00:09,850 I re-timed the feet steps. 4 00:00:09,850 --> 00:00:13,610 The idea is to avoid the twinning as explained before 5 00:00:13,610 --> 00:00:17,440 and having all the feet contacting with the ground 6 00:00:17,440 --> 00:00:18,600 at the same time. 7 00:00:18,600 --> 00:00:22,650 You can see here that each feet is contacting the ground 8 00:00:22,650 --> 00:00:24,563 with an offset of one frame. 9 00:00:25,670 --> 00:00:29,480 The goal here is not to polish the feet step 10 00:00:29,480 --> 00:00:32,260 but just to refine the timing. 11 00:00:32,260 --> 00:00:35,680 So I'm using the action in the tone or the graffiti tone 12 00:00:35,680 --> 00:00:37,380 because it's easier to read. 13 00:00:37,380 --> 00:00:40,940 I can easily find whenever the foot controller 14 00:00:40,940 --> 00:00:43,940 is changing position and change the timing 15 00:00:43,940 --> 00:00:46,280 by offsetting those key frames. 16 00:00:46,280 --> 00:00:49,310 As usual, I haven't found the right timing. 17 00:00:49,310 --> 00:00:50,544 We've made first trail 18 00:00:50,544 --> 00:00:54,200 so I'm just playing the animation lot 19 00:00:54,200 --> 00:00:58,620 moving the key frame until I feel like I have a good rhythm. 20 00:00:58,620 --> 00:01:01,370 As soon as I was happy with this base rhythm 21 00:01:01,370 --> 00:01:04,340 I started working on the body controller 22 00:01:04,340 --> 00:01:07,130 as I have done in the previous videos. 23 00:01:07,130 --> 00:01:11,460 As usual I'm trying to get a nice arc working first 24 00:01:11,460 --> 00:01:13,180 with the location curve. 25 00:01:13,180 --> 00:01:16,330 Since our character is moving on the side, 26 00:01:16,330 --> 00:01:18,970 the X location and Z location curve 27 00:01:18,970 --> 00:01:21,170 are the most influential. 28 00:01:21,170 --> 00:01:23,430 To make the character a bit more lively, 29 00:01:23,430 --> 00:01:26,563 I will input the slight overshoot on frame 82. 30 00:01:28,110 --> 00:01:31,290 Since the motion is driven by the fear 31 00:01:31,290 --> 00:01:34,250 and awareness of our character, 32 00:01:34,250 --> 00:01:36,680 the head is leading the animation 33 00:01:36,680 --> 00:01:38,890 because he has heard something. 34 00:01:38,890 --> 00:01:40,490 So as we have seen before 35 00:01:40,490 --> 00:01:44,660 it's even the heels of that are leading the animation. 36 00:01:44,660 --> 00:01:48,270 This is why I take a particular care to have 37 00:01:48,270 --> 00:01:51,810 a nice head rotation and the head pointing 38 00:01:51,810 --> 00:01:53,650 toward the next point. 39 00:01:53,650 --> 00:01:56,730 So as usual, I'm tracking the nose of the character. 40 00:01:56,730 --> 00:01:58,870 So it might not be the best move 41 00:01:58,870 --> 00:02:02,010 to start polishing the head before the chest. 42 00:02:02,010 --> 00:02:06,710 But in this case, the chest motion is not that important 43 00:02:06,710 --> 00:02:10,000 meaning that there is not that much influence. 44 00:02:10,000 --> 00:02:12,270 And most of the emotion comes from 45 00:02:12,270 --> 00:02:16,020 the main body controller I have already polished 46 00:02:16,020 --> 00:02:18,400 and the head rotation controller. 47 00:02:18,400 --> 00:02:21,880 And as usual once I'm happy with the head rotation 48 00:02:21,880 --> 00:02:23,560 and I'm polishing the chest 49 00:02:23,560 --> 00:02:26,310 I can get back onto the head rotation 50 00:02:26,310 --> 00:02:29,960 to fix any bumps on the arcs of the head. 51 00:02:29,960 --> 00:02:33,230 And here we can see all the nose motion path 52 00:02:33,230 --> 00:02:35,120 draw a nice arc. 53 00:02:35,120 --> 00:02:38,000 And as I move on polishing the chest 54 00:02:38,000 --> 00:02:41,320 I'm calculating the motion path of the head. 55 00:02:41,320 --> 00:02:44,800 In the previous video, I was using the neck controller. 56 00:02:44,800 --> 00:02:47,080 You can use weather the head or the neck. 57 00:02:47,080 --> 00:02:48,320 That's not the problem. 58 00:02:48,320 --> 00:02:52,910 And since I've already polished the main body controller 59 00:02:52,910 --> 00:02:54,610 you can see that the arc 60 00:02:54,610 --> 00:02:58,060 of the root of the head is pretty clean already. 61 00:02:58,060 --> 00:03:02,070 So I'm just very slightly refining the rotation, 62 00:03:02,070 --> 00:03:05,393 the twisting of the chest to make it drag a bit. 63 00:03:06,750 --> 00:03:09,970 There is a second step in this head turn animation 64 00:03:09,970 --> 00:03:14,000 where our character is looking backward even more 65 00:03:14,000 --> 00:03:16,570 because he has probably heard another noise. 66 00:03:16,570 --> 00:03:19,330 So to input a bit of this fear 67 00:03:19,330 --> 00:03:21,970 I pushed down the Z location curve 68 00:03:21,970 --> 00:03:26,650 to create a micro anticipation toward the next turn. 69 00:03:26,650 --> 00:03:29,050 So as usual for the second step, 70 00:03:29,050 --> 00:03:31,690 I'm working first on the chest controller 71 00:03:31,690 --> 00:03:33,790 or working on the location curves 72 00:03:33,790 --> 00:03:35,890 and then the bit on the rotation curve 73 00:03:35,890 --> 00:03:38,030 and then I will go ahead 74 00:03:38,030 --> 00:03:41,240 with the chest and head rotation. 75 00:03:41,240 --> 00:03:43,820 As I've made this micro anticipation 76 00:03:43,820 --> 00:03:45,880 to emphasize this new movement 77 00:03:45,880 --> 00:03:47,840 and as it is very fast, 78 00:03:47,840 --> 00:03:51,640 I'm creating a slight bump on frame 93 79 00:03:51,640 --> 00:03:54,160 to create a nice overshoot. 80 00:03:54,160 --> 00:03:56,510 Those little bounces on the curve 81 00:03:56,510 --> 00:03:58,460 tend to bring a bit of texture 82 00:03:58,460 --> 00:04:01,743 into the animation and make our character less robotic. 83 00:04:03,190 --> 00:04:07,750 Later on, I've worked on the head location curve 84 00:04:07,750 --> 00:04:11,430 to slightly extend the neck of the character. 85 00:04:11,430 --> 00:04:13,580 So I (mumbles) the head up. 86 00:04:13,580 --> 00:04:16,380 It's really changed the silhouette of the character 87 00:04:16,380 --> 00:04:19,000 and we can better even read the tension, 88 00:04:19,000 --> 00:04:21,420 the fear, the alert of the character. 89 00:04:21,420 --> 00:04:23,750 I've also added a slight bump 90 00:04:23,750 --> 00:04:26,300 on the Z curve on frame 93, 91 00:04:26,300 --> 00:04:28,443 creating a subtle head bounce. 92 00:04:29,470 --> 00:04:31,420 Working on the feet was very close 93 00:04:31,420 --> 00:04:33,530 to what we have already seen before. 94 00:04:33,530 --> 00:04:36,440 Since those are very short steps, 95 00:04:36,440 --> 00:04:40,760 X and Y location curve are almost linear 96 00:04:40,760 --> 00:04:43,330 or there is a very short easing 97 00:04:43,330 --> 00:04:45,620 in the beginning of the motion, 98 00:04:45,620 --> 00:04:49,690 making the foot accelerating toward the next position. 99 00:04:49,690 --> 00:04:51,650 While making the next step 100 00:04:51,650 --> 00:04:54,880 make sure that you don't trace the foot that much 101 00:04:54,880 --> 00:04:59,880 because every motion uses energy and we are all lazy. 102 00:05:00,270 --> 00:05:02,890 So it's the same for this character. 103 00:05:02,890 --> 00:05:05,490 We need to make those steps very subtle 104 00:05:05,490 --> 00:05:10,010 and then we can make the foot drag through rotation. 105 00:05:10,010 --> 00:05:13,800 So it's exactly as in the previous videos 106 00:05:13,800 --> 00:05:17,030 we raise the foot as less as possible. 107 00:05:17,030 --> 00:05:19,620 We set the end-all to vector whenever 108 00:05:19,620 --> 00:05:22,060 the foot is taking off 109 00:05:22,060 --> 00:05:24,360 and contacting with the ground, 110 00:05:24,360 --> 00:05:27,640 because in those case the foot should be accelerating 111 00:05:27,640 --> 00:05:29,460 before contacting the ground. 112 00:05:29,460 --> 00:05:33,030 We then use the rotation of the foot to create 113 00:05:33,030 --> 00:05:35,570 a nice dragging motion. 114 00:05:35,570 --> 00:05:38,070 And as the foot is contacting the ground 115 00:05:38,070 --> 00:05:41,690 I keep it rotated on frame 80 for example 116 00:05:41,690 --> 00:05:46,690 and then it gets flat one frame later on frame 81 117 00:05:46,860 --> 00:05:51,023 so that we get this nice slapping of the foot on the ground. 118 00:05:52,360 --> 00:05:55,150 As I was happy with the back leg motion, 119 00:05:55,150 --> 00:05:58,100 I then focus on the pole controllers 120 00:05:58,100 --> 00:06:01,430 that will allow us to change the orientation of the knee 121 00:06:01,430 --> 00:06:03,830 and the ankle of the back feet. 122 00:06:03,830 --> 00:06:07,350 The idea here is just to input a bit of delay 123 00:06:07,350 --> 00:06:10,690 in the knee motion so that we have a bit of dragging. 124 00:06:10,690 --> 00:06:13,570 The knees pointing toward the next point. 125 00:06:13,570 --> 00:06:17,580 And then it settles just after the contacting frame 126 00:06:17,580 --> 00:06:21,290 so that we will have a little shaking in the legs 127 00:06:21,290 --> 00:06:23,020 that will look more natural. 128 00:06:23,020 --> 00:06:25,810 I did the same with the left back leg 129 00:06:25,810 --> 00:06:28,470 but with away most subtle motion 130 00:06:28,470 --> 00:06:31,370 since the foot doesn't move that much. 131 00:06:31,370 --> 00:06:34,550 I haven't polished those pole target controller 132 00:06:34,550 --> 00:06:36,630 that much on this animation 133 00:06:36,630 --> 00:06:38,855 and the gain it's a matter of time. 134 00:06:38,855 --> 00:06:40,589 If you want to spend time 135 00:06:40,589 --> 00:06:44,534 to add those subtle detail to your animation, 136 00:06:44,534 --> 00:06:46,280 it will sure look better. 137 00:06:46,280 --> 00:06:49,020 As any craft the more time you will input 138 00:06:49,020 --> 00:06:52,577 into your animation the better it should look. 139 00:06:52,577 --> 00:06:56,160 For the front leg, it's the same story as usual 140 00:06:56,160 --> 00:06:59,490 try to make good ox, avoid twinning. 141 00:06:59,490 --> 00:07:01,720 So we have offset the footstep 142 00:07:01,720 --> 00:07:05,450 in the beginning of the video in putting one frame 143 00:07:05,450 --> 00:07:07,166 between the contact in the pose 144 00:07:07,166 --> 00:07:10,860 of the right front leg and the left front leg. 145 00:07:10,860 --> 00:07:14,820 And then I use rotation to input some dragging 146 00:07:14,820 --> 00:07:17,050 into the motion of the feet. 147 00:07:17,050 --> 00:07:21,110 Then I've tried reworking the main body controller 148 00:07:21,110 --> 00:07:23,310 and the chest rotation 149 00:07:23,310 --> 00:07:27,650 to avoid the front right leg to be over extended. 150 00:07:27,650 --> 00:07:30,540 It makes the character looking unbalanced 151 00:07:30,540 --> 00:07:32,140 which I don't like, 152 00:07:32,140 --> 00:07:35,980 but after a few trial, I've decided to add a new step 153 00:07:35,980 --> 00:07:37,270 to the front right leg. 154 00:07:37,270 --> 00:07:42,080 So that's perfectly fine to add new poses to your cat 155 00:07:42,080 --> 00:07:43,740 while you are polishing. 156 00:07:43,740 --> 00:07:48,220 I've created these new foot pose on frame 95 157 00:07:48,220 --> 00:07:52,760 and I've duplicated the curve until frame 99. 158 00:07:52,760 --> 00:07:55,060 Then I'm scrubbing through the animation 159 00:07:55,060 --> 00:07:58,540 to check the timing and spacing of this new step. 160 00:07:58,540 --> 00:08:00,760 And from there I will polish it 161 00:08:00,760 --> 00:08:04,950 as we usually do working first on the location curve 162 00:08:04,950 --> 00:08:07,000 and then on the rotation curve. 163 00:08:07,000 --> 00:08:10,390 Those little additional footstep are very relevant 164 00:08:10,390 --> 00:08:13,250 for this kind of small mammals. 165 00:08:13,250 --> 00:08:17,600 It communicate the thrust and tension of our character 166 00:08:17,600 --> 00:08:19,060 hearing some noise, 167 00:08:19,060 --> 00:08:22,540 but also their fast paced metabolism. 168 00:08:22,540 --> 00:08:25,750 If you watch mouse or cat references 169 00:08:25,750 --> 00:08:28,873 you will see that they moved their feet all the time. 170 00:08:30,130 --> 00:08:32,420 I've policed the heaps last 171 00:08:32,420 --> 00:08:35,230 and I've slightly changed the pose of the heaps 172 00:08:35,230 --> 00:08:38,210 by raising the back of the character. 173 00:08:38,210 --> 00:08:41,220 I felt like when I raised a bit of my character 174 00:08:41,220 --> 00:08:44,470 help you looks more aware and more ready to flee 175 00:08:44,470 --> 00:08:46,690 if any danger is coming 176 00:08:46,690 --> 00:08:48,380 then the second polish stage 177 00:08:48,380 --> 00:08:51,400 is mostly working on those rotation curve. 178 00:08:51,400 --> 00:08:54,890 Make sure that I have smooth rotation 179 00:08:54,890 --> 00:08:58,200 and make sure that the silhouette of my character 180 00:08:58,200 --> 00:09:01,610 and the shape of your spine looks natural. 181 00:09:01,610 --> 00:09:05,850 As usual, the final stage is to work on the tail rotation. 182 00:09:05,850 --> 00:09:09,520 So I always start working with the root of the tail, 183 00:09:09,520 --> 00:09:11,910 working with its rotation axis 184 00:09:11,910 --> 00:09:14,710 and then I go along onto the chain. 185 00:09:14,710 --> 00:09:17,810 As usual, you can study the full time lapse 186 00:09:17,810 --> 00:09:20,930 of this polishing stage in the next video. 187 00:09:20,930 --> 00:09:23,870 I will see you in the video afterwards, 188 00:09:23,870 --> 00:09:26,510 that is going to be the very last video 189 00:09:26,510 --> 00:09:28,603 of this idle animation. 14909

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