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- [Instructor] For this new
segment of the animation
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instead of polishing the
body controller first,
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I re-timed the feet steps.
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The idea is to avoid the
twinning as explained before
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and having all the feet
contacting with the ground
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at the same time.
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You can see here that each
feet is contacting the ground
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with an offset of one frame.
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The goal here is not
to polish the feet step
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but just to refine the timing.
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So I'm using the action in
the tone or the graffiti tone
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because it's easier to read.
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I can easily find whenever
the foot controller
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is changing position and change the timing
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by offsetting those key frames.
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As usual, I haven't
found the right timing.
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We've made first trail
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so I'm just playing the animation lot
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moving the key frame until I
feel like I have a good rhythm.
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As soon as I was happy
with this base rhythm
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I started working on the body controller
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as I have done in the previous videos.
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As usual I'm trying to get
a nice arc working first
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with the location curve.
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Since our character is moving on the side,
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the X location and Z location curve
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are the most influential.
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To make the character a bit more lively,
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I will input the slight
overshoot on frame 82.
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Since the motion is driven by the fear
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and awareness of our character,
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the head is leading the animation
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because he has heard something.
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So as we have seen before
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it's even the heels of that
are leading the animation.
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This is why I take a
particular care to have
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a nice head rotation and the head pointing
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toward the next point.
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So as usual, I'm tracking
the nose of the character.
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So it might not be the best move
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to start polishing the
head before the chest.
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But in this case, the chest
motion is not that important
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meaning that there is
not that much influence.
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And most of the emotion comes from
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the main body controller
I have already polished
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and the head rotation controller.
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And as usual once I'm happy
with the head rotation
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and I'm polishing the chest
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I can get back onto the head rotation
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to fix any bumps on the arcs of the head.
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And here we can see all
the nose motion path
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draw a nice arc.
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And as I move on polishing the chest
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I'm calculating the
motion path of the head.
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In the previous video, I was
using the neck controller.
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You can use weather the head or the neck.
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That's not the problem.
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And since I've already polished
the main body controller
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you can see that the arc
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of the root of the head
is pretty clean already.
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So I'm just very slightly
refining the rotation,
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the twisting of the chest
to make it drag a bit.
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There is a second step in
this head turn animation
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where our character is
looking backward even more
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because he has probably
heard another noise.
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So to input a bit of this fear
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I pushed down the Z location curve
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to create a micro anticipation
toward the next turn.
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So as usual for the second step,
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I'm working first on the chest controller
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or working on the location curves
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and then the bit on the rotation curve
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and then I will go ahead
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with the chest and head rotation.
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As I've made this micro anticipation
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to emphasize this new movement
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and as it is very fast,
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I'm creating a slight bump on frame 93
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to create a nice overshoot.
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Those little bounces on the curve
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tend to bring a bit of texture
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into the animation and make
our character less robotic.
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Later on, I've worked on
the head location curve
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to slightly extend the
neck of the character.
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So I (mumbles) the head up.
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It's really changed the
silhouette of the character
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and we can better even read the tension,
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the fear, the alert of the character.
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I've also added a slight bump
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on the Z curve on frame 93,
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creating a subtle head bounce.
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Working on the feet was very close
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to what we have already seen before.
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Since those are very short steps,
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X and Y location curve are almost linear
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or there is a very short easing
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in the beginning of the motion,
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making the foot accelerating
toward the next position.
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While making the next step
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make sure that you don't
trace the foot that much
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because every motion uses
energy and we are all lazy.
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So it's the same for this character.
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We need to make those steps very subtle
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and then we can make the
foot drag through rotation.
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So it's exactly as in the previous videos
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we raise the foot as less as possible.
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We set the end-all to vector whenever
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the foot is taking off
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and contacting with the ground,
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because in those case the
foot should be accelerating
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before contacting the ground.
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We then use the rotation
of the foot to create
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a nice dragging motion.
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And as the foot is contacting the ground
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I keep it rotated on frame 80 for example
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and then it gets flat one
frame later on frame 81
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so that we get this nice slapping
of the foot on the ground.
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As I was happy with the back leg motion,
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I then focus on the pole controllers
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that will allow us to change
the orientation of the knee
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and the ankle of the back feet.
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The idea here is just
to input a bit of delay
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in the knee motion so that
we have a bit of dragging.
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The knees pointing toward the next point.
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And then it settles just
after the contacting frame
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so that we will have a
little shaking in the legs
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that will look more natural.
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I did the same with the left back leg
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but with away most subtle motion
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since the foot doesn't move that much.
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I haven't polished those
pole target controller
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that much on this animation
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and the gain it's a matter of time.
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If you want to spend time
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to add those subtle
detail to your animation,
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it will sure look better.
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As any craft the more time you will input
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into your animation the
better it should look.
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For the front leg, it's
the same story as usual
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try to make good ox, avoid twinning.
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So we have offset the footstep
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in the beginning of the
video in putting one frame
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between the contact in the pose
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of the right front leg
and the left front leg.
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And then I use rotation
to input some dragging
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into the motion of the feet.
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Then I've tried reworking
the main body controller
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and the chest rotation
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to avoid the front right
leg to be over extended.
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It makes the character looking unbalanced
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which I don't like,
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but after a few trial, I've
decided to add a new step
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to the front right leg.
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So that's perfectly fine to
add new poses to your cat
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while you are polishing.
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I've created these new
foot pose on frame 95
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and I've duplicated the
curve until frame 99.
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Then I'm scrubbing through the animation
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to check the timing and
spacing of this new step.
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And from there I will polish it
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as we usually do working
first on the location curve
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and then on the rotation curve.
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Those little additional
footstep are very relevant
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for this kind of small mammals.
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It communicate the thrust
and tension of our character
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hearing some noise,
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but also their fast paced metabolism.
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If you watch mouse or cat references
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you will see that they moved
their feet all the time.
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I've policed the heaps last
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and I've slightly changed
the pose of the heaps
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by raising the back of the character.
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I felt like when I raised
a bit of my character
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help you looks more aware
and more ready to flee
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if any danger is coming
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then the second polish stage
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is mostly working on those rotation curve.
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Make sure that I have smooth rotation
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and make sure that the
silhouette of my character
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and the shape of your spine looks natural.
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As usual, the final stage is
to work on the tail rotation.
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So I always start working
with the root of the tail,
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working with its rotation axis
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and then I go along onto the chain.
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As usual, you can study
the full time lapse
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of this polishing stage in the next video.
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I will see you in the video afterwards,
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that is going to be the very last video
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of this idle animation.
14909
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