Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:00,750 --> 00:00:03,020
- [Pierre] One thing
I'd like to do early on
2
00:00:03,020 --> 00:00:06,370
is to determine the
tempo of the animation.
3
00:00:06,370 --> 00:00:09,000
I'm still using blender
default frame rate,
4
00:00:09,000 --> 00:00:11,760
which is 24 frames per second.
5
00:00:11,760 --> 00:00:14,580
And my ultimate method
to figure out the rhythm
6
00:00:14,580 --> 00:00:19,273
it's to do noise with my
mouth. (mimics bouncing)
7
00:00:20,830 --> 00:00:23,910
So we can argue this is ridiculous or not,
8
00:00:23,910 --> 00:00:26,090
but if you've ever animated before,
9
00:00:26,090 --> 00:00:28,340
I'm sure you've done this also.
10
00:00:28,340 --> 00:00:30,940
And this is currently a very good method
11
00:00:30,940 --> 00:00:33,890
because animation is about rhythm.
12
00:00:33,890 --> 00:00:37,350
So don't hesitate to sing your animation
13
00:00:37,350 --> 00:00:39,400
or to make noise with your mouth
14
00:00:39,400 --> 00:00:43,480
because you will input
natural tempo that fits you,
15
00:00:43,480 --> 00:00:45,050
that is appealing to you.
16
00:00:45,050 --> 00:00:48,140
And when I was doing those
stupid bouncing noise,
17
00:00:48,140 --> 00:00:52,210
I was almost into a perfect
two time per second.
18
00:00:52,210 --> 00:00:56,650
So don't hesitate to record
yourself or do whatever you need
19
00:00:56,650 --> 00:01:00,470
to be able to make the sound
and measure the tempo of it.
20
00:01:00,470 --> 00:01:02,550
So this scientific method
21
00:01:02,550 --> 00:01:05,990
pushed me to set my
animation loop to 12 frames.
22
00:01:05,990 --> 00:01:08,910
So I've set the error
extreme on frame six.
23
00:01:08,910 --> 00:01:10,340
As we are doing a cycle,
24
00:01:10,340 --> 00:01:13,910
our character will move
forward at a constant speed.
25
00:01:13,910 --> 00:01:17,250
So to help us figuring the
position of the root bone,
26
00:01:17,250 --> 00:01:19,370
I can select all its key frame,
27
00:01:19,370 --> 00:01:22,000
press T and switch them to linear.
28
00:01:22,000 --> 00:01:23,970
This is not something mandatory.
29
00:01:23,970 --> 00:01:28,010
If you prefer to go ahead
and move the root bone by eye
30
00:01:28,010 --> 00:01:31,090
and figure out the spacing,
that's perfectly fine,
31
00:01:31,090 --> 00:01:34,910
but it will help us
figuring the foot position
32
00:01:34,910 --> 00:01:38,800
on this first breakdown
that I will set on frame one
33
00:01:38,800 --> 00:01:41,070
and it will be the pushing pose.
34
00:01:41,070 --> 00:01:42,280
Going back and forth
35
00:01:42,280 --> 00:01:45,870
I'm trying to match the
position of the back feet
36
00:01:45,870 --> 00:01:47,850
on frame zero and frame one.
37
00:01:47,850 --> 00:01:50,840
But again, don't worry
if it's not perfect,
38
00:01:50,840 --> 00:01:53,720
because when we will
be polishing the curve,
39
00:01:53,720 --> 00:01:56,230
there are methods to make it match.
40
00:01:56,230 --> 00:01:59,920
Here, the important thing is
to focus on the silhouette
41
00:01:59,920 --> 00:02:03,590
of your character and the
goal of this position.
42
00:02:03,590 --> 00:02:06,680
So I'm currently adjusting
the edge rotation,
43
00:02:06,680 --> 00:02:11,350
but before I was adjusting
the main torso controller.
44
00:02:11,350 --> 00:02:15,060
The idea is to make these torso controller
45
00:02:15,060 --> 00:02:16,870
pointing toward the target,
46
00:02:16,870 --> 00:02:20,560
the target being the
highest point in the air.
47
00:02:20,560 --> 00:02:23,090
So most of the power of the jump
48
00:02:23,090 --> 00:02:26,590
is due to the pushing of the back legs.
49
00:02:26,590 --> 00:02:31,440
So the front legs will be
dragging toward the initial point,
50
00:02:31,440 --> 00:02:33,460
the point where they come from.
51
00:02:33,460 --> 00:02:37,060
And they will drag or
point toward this position,
52
00:02:37,060 --> 00:02:39,960
both in their location and rotation,
53
00:02:39,960 --> 00:02:43,670
that's why I'm rotating
the hands backwards.
54
00:02:43,670 --> 00:02:46,820
I will try to shape a
bit the tail, but again,
55
00:02:46,820 --> 00:02:50,583
I won't put that much in the
energy into it right now.
56
00:02:50,583 --> 00:02:52,600
I will mainly work on the tail
57
00:02:52,600 --> 00:02:54,620
during the polishing stage.
58
00:02:54,620 --> 00:02:58,930
I will also try to break a bit
the position of the back feet
59
00:02:58,930 --> 00:03:01,720
by rotating one of them a little bit.
60
00:03:01,720 --> 00:03:04,090
Again, the idea is to break the twinning.
61
00:03:04,090 --> 00:03:07,200
One of the foot is leaving the ground
62
00:03:07,200 --> 00:03:09,150
slightly after the other.
63
00:03:09,150 --> 00:03:12,650
So there will be a bit of back
and forth with the back legs.
64
00:03:12,650 --> 00:03:15,250
Because even if I want to avoid twinning,
65
00:03:15,250 --> 00:03:18,090
I need to keep them tight timing wise
66
00:03:18,090 --> 00:03:20,600
because they are influencing the bounce.
67
00:03:20,600 --> 00:03:22,160
They are giving power.
68
00:03:22,160 --> 00:03:26,180
Now I'm comparing my new
pose with the next one.
69
00:03:26,180 --> 00:03:30,910
And I see that I need to revise
the orientation of the torso
70
00:03:30,910 --> 00:03:35,910
because my character was diving
or pushing too much forward,
71
00:03:36,840 --> 00:03:38,600
not high enough.
72
00:03:38,600 --> 00:03:41,770
Then I will slightly lean the head forward
73
00:03:41,770 --> 00:03:44,280
because if you watch the reference,
74
00:03:44,280 --> 00:03:46,580
the head is pretty stable.
75
00:03:46,580 --> 00:03:50,310
So we will give it a bit
of overlapping motion,
76
00:03:50,310 --> 00:03:52,800
but we will try to keep it stable,
77
00:03:52,800 --> 00:03:54,780
looking at its target point.
78
00:03:54,780 --> 00:03:57,090
While I've started stretching the hips,
79
00:03:57,090 --> 00:04:00,140
I keep the chest pretty squashed
80
00:04:00,140 --> 00:04:02,100
throughout the middle of the torso.
81
00:04:02,100 --> 00:04:05,910
And since the root interpolation
is a bit annoying to me,
82
00:04:05,910 --> 00:04:09,350
I will switch back to
constant interpolation.
83
00:04:09,350 --> 00:04:12,780
From there, I will scrub
a lot into my animation.
84
00:04:12,780 --> 00:04:17,230
I will try to fix a bit
the feet orientation,
85
00:04:17,230 --> 00:04:18,830
especially the front feet
86
00:04:18,830 --> 00:04:23,490
that need to be oriented a
bit inward in the front view.
87
00:04:23,490 --> 00:04:26,010
So that's also a mistake to avoid
88
00:04:26,010 --> 00:04:30,600
when you are animating a
character, especially cycles,
89
00:04:30,600 --> 00:04:33,790
you will tend to animate
them from a side view
90
00:04:33,790 --> 00:04:36,130
because it's more natural for us
91
00:04:36,130 --> 00:04:37,950
to feel the motion this way.
92
00:04:37,950 --> 00:04:40,270
But don't forget to check your character
93
00:04:40,270 --> 00:04:43,120
from the front view,
that's very important.
94
00:04:43,120 --> 00:04:47,480
You should turn around your
character as often as possible.
95
00:04:47,480 --> 00:04:50,700
When animating a character,
it's like sculpting,
96
00:04:50,700 --> 00:04:52,780
we are sculpting the pose.
97
00:04:52,780 --> 00:04:56,130
So you need to rotate around the model.
98
00:04:56,130 --> 00:04:59,430
When sculpting, you spend half of the time
99
00:04:59,430 --> 00:05:03,870
rotating around your character
and watching how it behave.
100
00:05:03,870 --> 00:05:05,990
This is the same with animation.
101
00:05:05,990 --> 00:05:08,450
If you want to create good poses,
102
00:05:08,450 --> 00:05:11,520
you need to check them
through every angles.
103
00:05:11,520 --> 00:05:14,580
At this stage, you can shape
a bit the ears if you want,
104
00:05:14,580 --> 00:05:15,850
that's not a problem.
105
00:05:15,850 --> 00:05:19,220
It will help reading the
silhouette of your character,
106
00:05:19,220 --> 00:05:21,160
but it's a secondary motion
107
00:05:21,160 --> 00:05:23,450
so you don't need to do it right now.
108
00:05:23,450 --> 00:05:24,780
It's a bit like the tail,
109
00:05:24,780 --> 00:05:27,660
this is something that will
be easier to figure out
110
00:05:27,660 --> 00:05:29,920
when we are polishing the animation.
111
00:05:29,920 --> 00:05:31,660
So I'm still struggling a bit
112
00:05:31,660 --> 00:05:33,440
with the position of the back feet.
113
00:05:33,440 --> 00:05:35,860
I've kept one of them flat on the ground
114
00:05:35,860 --> 00:05:38,260
because I feel like it
looks more grounded,
115
00:05:38,260 --> 00:05:40,070
which is the case, for sure.
116
00:05:40,070 --> 00:05:44,040
So (indistinct) let's
jump into the next pose,
117
00:05:44,040 --> 00:05:45,200
the landing pose.
118
00:05:45,200 --> 00:05:47,330
To start to working on the landing pose,
119
00:05:47,330 --> 00:05:50,300
I will duplicate the last pose
120
00:05:50,300 --> 00:05:53,240
so that I have the position of the feet.
121
00:05:53,240 --> 00:05:55,600
This way I know where
they will be landing.
122
00:05:55,600 --> 00:05:57,900
Then I will roughly give the orientation
123
00:05:57,900 --> 00:05:59,370
to the torso controller.
124
00:05:59,370 --> 00:06:02,460
So I will push it up and I will rotate it
125
00:06:02,460 --> 00:06:04,360
toward the landing point
126
00:06:04,360 --> 00:06:07,610
or toward where our character come from.
127
00:06:07,610 --> 00:06:10,330
Beware as I have made a little mistake
128
00:06:10,330 --> 00:06:12,160
that I will fix later on,
129
00:06:12,160 --> 00:06:15,040
but if you called avoid
it, that will help.
130
00:06:15,040 --> 00:06:18,910
Don't forget to move the
root bone a little backward.
131
00:06:18,910 --> 00:06:22,130
It will offset the whole
character a bit backward,
132
00:06:22,130 --> 00:06:25,760
and then you can place the
feet and the torso as you want.
133
00:06:25,760 --> 00:06:28,160
If you're like me and you forget to do it,
134
00:06:28,160 --> 00:06:30,160
don't worry, it's not a big deal.
135
00:06:30,160 --> 00:06:33,120
That won't be a pain to fix afterward.
136
00:06:33,120 --> 00:06:34,520
So the first thing I will do
137
00:06:34,520 --> 00:06:37,809
is to give the right
orientation of the whole body.
138
00:06:37,809 --> 00:06:39,450
I will also pull it back
139
00:06:39,450 --> 00:06:42,560
so that I get a very stretched pose.
140
00:06:42,560 --> 00:06:44,170
The idea is that the front feet
141
00:06:44,170 --> 00:06:46,810
are just about to touch the ground.
142
00:06:46,810 --> 00:06:51,440
So our character is stretching
between the target point
143
00:06:51,440 --> 00:06:54,580
and the previous position
from where it comes from.
144
00:06:54,580 --> 00:06:57,260
As I did before, if I can't feel the pose,
145
00:06:57,260 --> 00:07:01,920
I will press Alt + R and Alt
+ G on the chest controller,
146
00:07:01,920 --> 00:07:06,920
for example, to cancel any
rotation or move I did before.
147
00:07:07,690 --> 00:07:10,463
And I will just sculpt
the pose of the character.
148
00:07:11,480 --> 00:07:12,860
As for the other poses,
149
00:07:12,860 --> 00:07:16,650
you have the reference on the
target pose we want to match
150
00:07:16,650 --> 00:07:19,250
in the lower right corner.
151
00:07:19,250 --> 00:07:22,760
Since I don't have that much
to comment on this part,
152
00:07:22,760 --> 00:07:26,350
I will see you at eight
minute and 50 seconds.
153
00:07:31,299 --> 00:07:33,882
(serene music)
154
00:08:52,467 --> 00:08:55,070
One thing I've input into this pose
155
00:08:55,070 --> 00:08:57,010
and that we need to input
156
00:08:57,010 --> 00:08:59,440
into the other pose while polishing
157
00:08:59,440 --> 00:09:02,230
is this slight twist on the torso.
158
00:09:02,230 --> 00:09:05,490
So since the left front
leg of the character
159
00:09:05,490 --> 00:09:08,200
is the first that will touch the ground,
160
00:09:08,200 --> 00:09:12,870
I slightly twist its chest
toward this left hand.
161
00:09:12,870 --> 00:09:15,490
And a very common rule that we will see
162
00:09:15,490 --> 00:09:18,020
when we will work on humanoid character
163
00:09:18,020 --> 00:09:21,050
is that when the chest or
the shoulders are twisting
164
00:09:21,050 --> 00:09:23,460
or leaning toward the point,
165
00:09:23,460 --> 00:09:27,320
the hips are twisting or leaning
in the opposite direction,
166
00:09:27,320 --> 00:09:29,790
giving a nice curvature
to your character's
167
00:09:29,790 --> 00:09:31,360
spine and balance.
168
00:09:31,360 --> 00:09:32,700
While working on the pose,
169
00:09:32,700 --> 00:09:35,110
I felt that the timing was a bit off
170
00:09:35,110 --> 00:09:39,000
because the change in pose
between frame 11 and 12
171
00:09:39,000 --> 00:09:40,770
was too dramatic.
172
00:09:40,770 --> 00:09:43,620
So I've offset the pose to the frame 10.
173
00:09:43,620 --> 00:09:47,010
This pose was the hardest
to make right so far.
174
00:09:47,010 --> 00:09:49,190
So I'm going back and forth a lot,
175
00:09:49,190 --> 00:09:51,670
I'm modifying the position
of the legs a lot,
176
00:09:51,670 --> 00:09:53,980
I want to avoid twinning.
177
00:09:53,980 --> 00:09:56,300
I'm reworking the torso orientation,
178
00:09:56,300 --> 00:09:57,800
a lot of different stuff.
179
00:09:57,800 --> 00:09:59,440
There are very little chance
180
00:09:59,440 --> 00:10:02,540
that you're able to
match the perfect pose,
181
00:10:02,540 --> 00:10:05,180
which doesn't exist at the first time.
182
00:10:05,180 --> 00:10:07,600
So don't hesitate to come back on it,
183
00:10:07,600 --> 00:10:10,460
don't hesitate to even
modify the previous poses.
184
00:10:10,460 --> 00:10:13,300
And since we are starting
to feel the motion,
185
00:10:13,300 --> 00:10:16,210
it's a good moment to
display the motion path
186
00:10:16,210 --> 00:10:17,760
of the torso controller.
187
00:10:17,760 --> 00:10:21,380
This give us a rough idea
of the motion of the body
188
00:10:21,380 --> 00:10:25,100
and it makes me confident
enough to shape a bit the tail.
189
00:10:25,100 --> 00:10:28,060
But don't worry, you don't
need to do it right now.
190
00:10:28,060 --> 00:10:31,630
Again, we can do it during
the polishing stage.
191
00:10:31,630 --> 00:10:34,900
Nothing special to
comment during this stage,
192
00:10:34,900 --> 00:10:37,120
so I will leave you and see you
193
00:10:37,120 --> 00:10:39,743
at 11 minutes and 38 seconds.
194
00:10:42,778 --> 00:10:45,361
(serene music)
195
00:11:38,820 --> 00:11:41,030
As I told you a little early on,
196
00:11:41,030 --> 00:11:43,300
I forgotten to move the root bone.
197
00:11:43,300 --> 00:11:47,520
So I will move it backward
in the position it should be.
198
00:11:47,520 --> 00:11:51,400
And then I just need to
select the chest controller
199
00:11:51,400 --> 00:11:55,340
and all the foot controller
and move them all together
200
00:11:55,340 --> 00:11:57,570
to fit my previous pose.
201
00:11:57,570 --> 00:12:01,600
Since all those controllers
are child of the root,
202
00:12:01,600 --> 00:12:05,000
moving them together is
like moving the root bone.
203
00:12:05,000 --> 00:12:08,990
And again, I will fight and
fight refining this pose
204
00:12:08,990 --> 00:12:11,180
until I'm satisfied with it.
205
00:12:11,180 --> 00:12:12,530
And as soon as I am,
206
00:12:12,530 --> 00:12:17,470
I will add a last breakdown
or in-between on frame 11
207
00:12:17,470 --> 00:12:20,590
because we can figure the
position of our character
208
00:12:20,590 --> 00:12:22,440
from frame to frame six.
209
00:12:22,440 --> 00:12:24,980
There will be specific error motion,
210
00:12:24,980 --> 00:12:27,450
but we can track the position of the feet,
211
00:12:27,450 --> 00:12:32,130
the position of the torso, and
try to get a smooth motion.
212
00:12:32,130 --> 00:12:35,920
And this is a big strength
of the graph editor
213
00:12:35,920 --> 00:12:38,090
and the fact that we are using a computer
214
00:12:38,090 --> 00:12:39,400
to do the animation.
215
00:12:39,400 --> 00:12:42,410
It's perfect to create
a smooth interpolation
216
00:12:42,410 --> 00:12:43,930
between two poses.
217
00:12:43,930 --> 00:12:47,090
But since we have a big difference of pose
218
00:12:47,090 --> 00:12:49,590
between frame 10 and frame 12,
219
00:12:49,590 --> 00:12:52,120
you can't let the
computer do the guesswork.
220
00:12:52,120 --> 00:12:56,670
We need to build this new
breakdown or in-between ourself.
221
00:12:56,670 --> 00:12:59,330
So this time I won't do the same mistake
222
00:12:59,330 --> 00:13:01,630
of forgetting to move the root bone.
223
00:13:01,630 --> 00:13:05,370
And since it's supposed to
have a linear interpolation,
224
00:13:05,370 --> 00:13:08,730
it's position between
frame 10 and frame 11
225
00:13:08,730 --> 00:13:12,570
should be right in the
middle of those two poses.
226
00:13:12,570 --> 00:13:15,520
And there is a tool that
we haven't used yet,
227
00:13:15,520 --> 00:13:18,020
because I didn't want you to use it
228
00:13:18,020 --> 00:13:20,010
and it's called the Breakdowner.
229
00:13:20,010 --> 00:13:22,210
You can select it with the tool panel
230
00:13:22,210 --> 00:13:25,010
and with any bone or
group of bones selected,
231
00:13:25,010 --> 00:13:26,900
when you left click and drag,
232
00:13:26,900 --> 00:13:29,230
you will see a breakdown percentage
233
00:13:29,230 --> 00:13:32,010
appearing in the top left
corner of your screen.
234
00:13:32,010 --> 00:13:35,530
It currently gives you
the level of interpolation
235
00:13:35,530 --> 00:13:36,810
you are performing.
236
00:13:36,810 --> 00:13:38,430
So if I left click and drag
237
00:13:38,430 --> 00:13:41,060
or press Shift + E to activate it
238
00:13:41,060 --> 00:13:44,300
and set the interpolation value to 50%,
239
00:13:44,300 --> 00:13:46,770
I'm sure I will be right in the middle.
240
00:13:46,770 --> 00:13:49,600
You can constrain this tool to rotation,
241
00:13:49,600 --> 00:13:53,270
move and scale by pressing G-R-R-S.
242
00:13:53,270 --> 00:13:56,500
You can also concentrate
it to specific axes,
243
00:13:56,500 --> 00:14:00,120
and there are two other tools
under the Breakdowner's menu
244
00:14:00,120 --> 00:14:02,590
that we are going to see later on.
245
00:14:02,590 --> 00:14:04,170
With my root bone position,
246
00:14:04,170 --> 00:14:08,290
I can press I to insert a key
frame for every controllers.
247
00:14:08,290 --> 00:14:10,760
From there, the first thing I will do
248
00:14:10,760 --> 00:14:13,830
is try to match the feet position
249
00:14:13,830 --> 00:14:17,110
so the feet are targeting
the landing position.
250
00:14:17,110 --> 00:14:19,790
It's exactly the same workflow as before.
251
00:14:19,790 --> 00:14:24,270
Then I cancel the rotation and
move on the torso controller
252
00:14:24,270 --> 00:14:26,190
and I rework the pose.
253
00:14:26,190 --> 00:14:29,510
So I did a bit of twist by pressing R,
254
00:14:29,510 --> 00:14:33,380
then Y twice to rotate
on the local y-axis.
255
00:14:33,380 --> 00:14:37,670
And now I will push the root
of the torso toward the ground.
256
00:14:37,670 --> 00:14:40,560
The right leg is the first
to contact the ground
257
00:14:40,560 --> 00:14:44,240
as it is the first one to be
raised when leaving the ground.
258
00:14:44,240 --> 00:14:47,570
So I can have the left arm slightly bent,
259
00:14:47,570 --> 00:14:49,730
and they wouldn't put a lot of squashing,
260
00:14:49,730 --> 00:14:51,440
both in the chest and hips,
261
00:14:51,440 --> 00:14:53,660
by moving them toward the ground.
262
00:14:53,660 --> 00:14:56,400
I also make sure that I rotate the foot
263
00:14:56,400 --> 00:14:59,270
so that the plant is facing the ground.
264
00:14:59,270 --> 00:15:01,820
It's like the food are dragging
265
00:15:01,820 --> 00:15:05,170
so the tip of the food will later
266
00:15:05,170 --> 00:15:07,282
than the base of the foot or the heel.
267
00:15:07,282 --> 00:15:10,640
That's also a form of follow through.
268
00:15:10,640 --> 00:15:14,330
If you animate a hand or a foot moving,
269
00:15:14,330 --> 00:15:17,720
you want the fingers of
the toes to be dragging
270
00:15:17,720 --> 00:15:20,460
to have an overlapping motion.
271
00:15:20,460 --> 00:15:23,490
One important thing I've
learned through my classes
272
00:15:23,490 --> 00:15:25,590
is that says is that you
should track your motion
273
00:15:25,590 --> 00:15:26,960
as soon as possible.
274
00:15:26,960 --> 00:15:30,879
This is why I've calculated
the motion path for the feet,
275
00:15:30,879 --> 00:15:34,000
so that they can see their
trajectory and timing.
276
00:15:34,000 --> 00:15:37,490
And this will be the perfect
tool to double-check ox.
277
00:15:37,490 --> 00:15:41,480
We will talk more in depth
about the ox in the next video.
278
00:15:41,480 --> 00:15:45,240
I will also add a bit
of squashing on the head
279
00:15:45,240 --> 00:15:47,830
by moving it a bit backward.
280
00:15:47,830 --> 00:15:51,310
And to counter this I
will slightly rotate it up
281
00:15:51,310 --> 00:15:56,310
so that our character is
watching towards its next step.
282
00:15:56,340 --> 00:16:00,310
I will also calculate the
motion path of the head bone
283
00:16:00,310 --> 00:16:03,850
and while I'm posing it, I'm
trying to create a smooth curve
284
00:16:03,850 --> 00:16:05,873
between the different
position of the head.
285
00:16:05,873 --> 00:16:08,120
This is the arc of the head.
286
00:16:08,120 --> 00:16:11,590
So try your best here to
get a smooth transition
287
00:16:11,590 --> 00:16:13,040
between the different poses.
288
00:16:13,040 --> 00:16:15,600
But if it's not perfect,
again, don't worry,
289
00:16:15,600 --> 00:16:18,810
we will see that in-depth
during the polishing stage
290
00:16:18,810 --> 00:16:22,610
and by reading the curve,
it will be even easier.
291
00:16:22,610 --> 00:16:25,460
Once I'm done with that,
I can check my animation.
292
00:16:25,460 --> 00:16:28,360
So we really start to have
the feeling of the emotion,
293
00:16:28,360 --> 00:16:31,460
but the problem is that my
character is jumping forward
294
00:16:31,460 --> 00:16:33,630
so I would like to see it looping.
295
00:16:33,630 --> 00:16:36,990
Just uncheck the route
controller so that your character
296
00:16:36,990 --> 00:16:40,210
will be jumping and looping
without moving forward.
297
00:16:40,210 --> 00:16:41,850
Now, as for the bouncing ball,
298
00:16:41,850 --> 00:16:44,350
since frame zero and frame 12 are the same
299
00:16:44,350 --> 00:16:48,700
I will just read the animation
from frame zero to frame 11.
300
00:16:48,700 --> 00:16:50,690
It already looks very good.
301
00:16:50,690 --> 00:16:53,200
But one last thing I'd like to address
302
00:16:53,200 --> 00:16:56,320
is the squashing of the character
on the very first frame.
303
00:16:56,320 --> 00:16:58,870
I think we can push the pose even more.
304
00:16:58,870 --> 00:17:02,240
So I will just push the test
controller a bit backward,
305
00:17:02,240 --> 00:17:04,120
the hips a bit forward,
306
00:17:04,120 --> 00:17:06,880
and the root of the torso a bit lower,
307
00:17:06,880 --> 00:17:09,480
Since we are animating on once here,
308
00:17:09,480 --> 00:17:13,710
meaning that we are creating
a key pose on each frame,
309
00:17:13,710 --> 00:17:16,210
there won't be any specific interpolation.
310
00:17:16,210 --> 00:17:19,020
This is why I use the motion path
311
00:17:19,020 --> 00:17:21,710
to make sure that I have a nice spacing.
312
00:17:21,710 --> 00:17:24,440
With this pose on frame 12 updated.
313
00:17:24,440 --> 00:17:27,650
I'd like to duplicate all
the key frame on frame 12
314
00:17:27,650 --> 00:17:29,590
and move them on frame zero.
315
00:17:29,590 --> 00:17:32,980
But I don't want to
duplicate the root key frame.
316
00:17:32,980 --> 00:17:35,180
So I will lock the root,
317
00:17:35,180 --> 00:17:38,880
press Shift + D with all the
key frames selected on frame 12
318
00:17:38,880 --> 00:17:40,800
and moved them on frame zero.
319
00:17:40,800 --> 00:17:41,960
And that's it.
320
00:17:41,960 --> 00:17:45,900
You've just blocked your
first character run cycle.
321
00:17:45,900 --> 00:17:49,560
It's not something easy so if
you have failed, don't worry,
322
00:17:49,560 --> 00:17:51,740
just restart from the beginning.
323
00:17:51,740 --> 00:17:53,580
I'm here to give you the method,
324
00:17:53,580 --> 00:17:55,240
but it's only through practice
325
00:17:55,240 --> 00:17:57,240
that you will become a good animator.
326
00:17:57,240 --> 00:18:00,090
Don't stress out, watch the video again.
327
00:18:00,090 --> 00:18:00,923
And if you're ready,
328
00:18:00,923 --> 00:18:04,513
I'll see you in the next one
to polish this animation.
26426
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.