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- Finally, the polishing
stage of our run cycle
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or gem cycle animation, as you wish.
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With all of our keys
selected, I will press T
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and switch to Bézier interpolation.
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This is what we call
splining the animation,
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because we are just changing the curve
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from constant to spline.
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And I must say that from our blocking
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it already looks pretty cool.
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I will quickly clean up the ROOT bone.
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So I will select it
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and use the only selected
option in the action editor.
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When doing a locomotion cycle
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it's better to have a constant speed.
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So I just need to keep the first
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and last key frame and switch
them to linear interpolation.
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Linear interpolation means constant speed.
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And while we are polishing the animation
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we can enable or disable the ROOT motion
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to check the motion path of our character,
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while moving forward or in place.
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For the polishing stage,
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it can be interesting
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to use the properties I
have created on the streak.
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You can access them
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selecting the property bone
on top of the character.
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The hide properties are
not supposed to be keyed.
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That's a mistake I have made.
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So I will just try click on it
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and choose to clear key frames.
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Hiding the legs and hiding the tail
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while we are polishing the torso,
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for example, will help a lot,
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because we won't be distracted
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by the legs motion nor the tail motion.
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And so we can approach the animation
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of the torso of our
character as a bouncing ball.
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A very common rule in animation
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is that everything is a bouncing ball.
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That's why the bone simple
exercise is so important.
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Whenever you are learning animation.
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Finally, as always
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it's very important to use the motion path
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as explained before I've
added to my quick favorite
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so I can rapidly access
them, pressing the Q key
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but you can also find it
under the armature properties.
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Let's starts by polishing
the torso controller
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or the root of the torso, if you will.
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I've hidden the tail
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but I advise you to also hide the legs
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because they are a bit
distracting in the end.
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I've hidden them a little later on
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but it's better to hide
them right at the beginning.
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I will first work on the Z location curve
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since it's the most
influential curve in the motion
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of this controller, it's
pretty straightforward
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because it does really looks
like our bouncing ball curve.
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There are two main differences.
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I've slightly scaled the upper vector.
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So that my character is kind of
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floating when it's
reached its highest point.
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So it brings a bit of
style into my animation.
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And the second thing is
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that we have a slight
easing on the contact frame
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because the legs of our character
are absorbing the shock.
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So we don't have a broken vector
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on frame zero and frame 12.
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Remember that frame zero and
frame 12 must be the same.
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So I will basically revise a bit
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the position of frame one and
11, and then they I will scale
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my key frame on frame six,
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when I'm editing the curve,
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especially this kind of broad curve.
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I often only press the cue key
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in the 3D view port to
access my quick favorite.
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And I update the motion path.
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Don't forget to check the animation
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both with the ROOT enabled and disabled.
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Here the video is sped up twice
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but you have the curve in
reference on the top right corner.
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And at this stage
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you should be able to polish the curve.
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Again as an art form,
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I can't teach you
everything about animation
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because a lot of it is
about feeling the motion.
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So you have to feel if you
want to hold your character
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a little more in the air or
make him jump a little higher,
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a little lower, that's about you.
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The thing I'm pretty convinced here
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is that the leg are really distracting.
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So don't forget to hide them right now.
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I'm now switching to the X rotation curve
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and the weird thing here is
that we have our XYZ rotation
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but also W your rotation.
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And there is also this
strange quaternion name.
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Don't worry about that for the time being
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we will be focusing on the
X, Y, and Z rotation curve.
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We can kind of ignore the
W quaternion rotation curve
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for the time being.
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And I will explain you Euler
and quaternion rotation later
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00:04:46,530 --> 00:04:47,450
in this course,
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the X rotation curve allows us to
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lean our character forward and backwards.
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We can see, we have an
important change on the rotation
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or orientation of the
torso of our character
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when it's contacting
and leaving the ground.
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I've created a little
plateau in the middle when
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our character is floating in the air
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the key on zero and 12 are identical
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and I've rotated the angles
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so that we have a continuous
flow of the curve.
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When I'm editing this rotation curve,
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I'm thinking of how I want
my character to behave.
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It's a very light animal
with a lot of agility.
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So I want a very smooth motion.
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So I want to shape the body
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of my character so that it
follows the flow of the jump.
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And I curve the body even more
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when the character is landing
and pushing to jump again.
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When I got this feeling
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I fixed the first and last key frame
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aligning them using the individual origin.
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It allows you to rotate both
key frame independently,
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and then I've created this little plateau.
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To have my character slightly flatter
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or horizontal while in the air.
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It will make it float a bit more.
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And here is the result after
polishing the X rotation.
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The Y Location, motion of our
character is barely noticeable
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because most of the forward
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and backward motion is
generated by the ROOT bone.
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And I've used the Y location
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of the body control during the bulking
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only for very subtle
adjustment of the pose.
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So I've zoomed on the curve
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because the value are very subtle.
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And what I will do is
just to align the curve
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on frame zero and frame 12.
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This will remove any
jitter during the cycle.
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We can enable later on the cycle modifier
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so that you will see the
continuity of your curve,
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and it might be a little
more intuitive to edit them
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to align them.
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I will apply the same process
to the Y and Z rotation curve.
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They are here to slightly twist the torso
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of our character and slightly
rotate it side to side.
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So they just communicate
a bit, the fact that we
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haven't been using tweening
when our character is landing
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meaning that his front legs
don't land at the same time.
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So there will be a bit
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of twisting in the
shoulders and in the torso
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because everything is
connected on our character.
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And this is something super important
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when you are animating a character,
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remember that everything is connected.
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So if you move your hand,
it will, at some point
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make your legs move.
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I know it's a bit extreme,
but just keep this in mind
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so that you won't forget to
kind of polish a bit everything
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or think about it whenever you are working
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on the extremity of your contractor.
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So what I will do for the Y
and Z quaternion rotation,
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since those are very subtle motion,
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I will just create a
subtle flow in the curve,
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making sure that when the curve is going
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from one extreme frame 12 to the other
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frame zero, it does flow properly.
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So I create a slight overshoot
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by pushing the key number two, a bit down.
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The idea's to get smoother
changes in the curve
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instead of adding very
brutal changes in the curve.
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So it's a bit the same with the Z curve.
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When I zoom on it,
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we can see that we have a peak at the end.
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I will smooth the curve down,
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rotate the very last key frame,
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duplicated it on frame one.
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Now my curve is diving
between frame zero and one.
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So I will just push down a
bit the key frame number one
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onto the front two
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to get a smoother curve
on its whole shape.
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We haven't used scaling so
those curves are perfectly flat.
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So the first pass of polishing is done
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for the body controller.
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Those curves will probably be adjusted
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when we have polished the chest,
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hips and head of our character.
14839
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