All language subtitles for 03-16-02-Polishing idle part2
Afrikaans
Albanian
Amharic
Arabic
Armenian
Azerbaijani
Basque
Belarusian
Bengali
Bosnian
Bulgarian
Catalan
Cebuano
Chichewa
Chinese (Simplified)
Chinese (Traditional)
Corsican
Croatian
Czech
Danish
Dutch
English
Esperanto
Estonian
Filipino
Finnish
French
Frisian
Galician
Georgian
German
Greek
Gujarati
Haitian Creole
Hausa
Hawaiian
Hebrew
Hindi
Hmong
Hungarian
Icelandic
Igbo
Indonesian
Irish
Italian
Japanese
Javanese
Kannada
Kazakh
Khmer
Korean
Kurdish (Kurmanji)
Kyrgyz
Lao
Latin
Latvian
Lithuanian
Luxembourgish
Macedonian
Malagasy
Malay
Malayalam
Maltese
Maori
Marathi
Mongolian
Myanmar (Burmese)
Nepali
Norwegian
Pashto
Persian
Polish
Portuguese
Punjabi
Romanian
Russian
Samoan
Scots Gaelic
Serbian
Sesotho
Shona
Sindhi
Sinhala
Slovak
Slovenian
Somali
Spanish
Sundanese
Swahili
Swedish
Tajik
Tamil
Telugu
Thai
Turkish
Ukrainian
Urdu
Uzbek
Vietnamese
Welsh
Xhosa
Yiddish
Yoruba
Zulu
Odia (Oriya)
Kinyarwanda
Turkmen
Tatar
Uyghur
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:00,610 --> 00:00:03,320
- [Instructor] Let's continue
polishing the idle animation
2
00:00:03,320 --> 00:00:04,420
of our character.
3
00:00:04,420 --> 00:00:07,200
We will be focusing on the next portion
4
00:00:07,200 --> 00:00:08,600
of this animation
5
00:00:08,600 --> 00:00:12,740
where our character is
switching to a sitting pose.
6
00:00:12,740 --> 00:00:15,453
Let's have a quick look
to the body motion first.
7
00:00:16,330 --> 00:00:20,120
I will make a little draw-over
using SyncSketch here.
8
00:00:20,120 --> 00:00:22,400
When transitioning on frame 28.
9
00:00:22,400 --> 00:00:26,050
We can see that the body of our character
10
00:00:26,050 --> 00:00:30,330
is moving a little up
in micro-anticipation.
11
00:00:30,330 --> 00:00:33,060
This is an anticipation, very subtle,
12
00:00:33,060 --> 00:00:35,721
that occur on only one frame.
13
00:00:35,721 --> 00:00:40,450
The idea here is not to
input that much of energy
14
00:00:40,450 --> 00:00:41,650
into the movement
15
00:00:41,650 --> 00:00:44,490
but to give a little
contrast to the next move,
16
00:00:44,490 --> 00:00:46,400
and let the audience know
17
00:00:46,400 --> 00:00:49,290
that our character will be sitting.
18
00:00:49,290 --> 00:00:52,110
Thanks to the locally
style of our character,
19
00:00:52,110 --> 00:00:55,280
it's pretty easy to track its motion.
20
00:00:55,280 --> 00:00:58,170
I just want to show you
the design of the arc
21
00:00:58,170 --> 00:01:00,890
when our character is sitting.
22
00:01:00,890 --> 00:01:02,650
But also the spacing.
23
00:01:02,650 --> 00:01:05,950
Our character is
contacting with the ground
24
00:01:05,950 --> 00:01:08,050
but he will slow down.
25
00:01:08,050 --> 00:01:12,080
There will be an ease
into the sitting pose
26
00:01:12,080 --> 00:01:14,520
so that he doesn't hurt his butt.
27
00:01:14,520 --> 00:01:17,290
This arc and spacing
does read on the curve.
28
00:01:17,290 --> 00:01:21,640
On frame 28, I'm creating
the little micro-anticipation
29
00:01:21,640 --> 00:01:24,900
by just pushing the curve a little up.
30
00:01:24,900 --> 00:01:27,590
Then I've created the arc motion,
31
00:01:27,590 --> 00:01:30,420
using the motion path as usual.
32
00:01:30,420 --> 00:01:32,700
And I'm creating the easing out
33
00:01:32,700 --> 00:01:35,120
with our curve flattening in the end
34
00:01:35,120 --> 00:01:37,990
of the motion on frame 36 here.
35
00:01:37,990 --> 00:01:41,060
Once I'm happy with the
main body controller,
36
00:01:41,060 --> 00:01:42,960
I always work on the chest.
37
00:01:42,960 --> 00:01:45,020
So if we track the shoulder
38
00:01:45,020 --> 00:01:48,970
that is directly influenced
by the chest motion,
39
00:01:48,970 --> 00:01:51,400
I've created a dragging motion,
40
00:01:51,400 --> 00:01:55,060
mainly working on the
rotation curve of the chest.
41
00:01:55,060 --> 00:01:57,730
If you compare the
tracking of the blue line
42
00:01:57,730 --> 00:01:58,850
with the red line,
43
00:01:58,850 --> 00:02:03,010
we can see that we get a nice
C shape with the blue line,
44
00:02:03,010 --> 00:02:07,330
and a nice S shape with
the dragging chest.
45
00:02:07,330 --> 00:02:09,500
As we use the tip of the nose
46
00:02:09,500 --> 00:02:11,280
to track the head motion,
47
00:02:11,280 --> 00:02:13,307
you can use the neck controller
48
00:02:13,307 --> 00:02:16,650
to track the chest motion.
49
00:02:16,650 --> 00:02:18,810
Note that I've hidden the limbs.
50
00:02:18,810 --> 00:02:22,431
It makes the readability
of the torso way better.
51
00:02:22,431 --> 00:02:23,530
(screen whooshing)
52
00:02:23,530 --> 00:02:27,110
When working on the head
before I track my arc,
53
00:02:27,110 --> 00:02:28,330
the first thing I've done
54
00:02:28,330 --> 00:02:31,580
was to remove this bump on the z rotation.
55
00:02:31,580 --> 00:02:34,503
It didn't fit the current
motion of the head,
56
00:02:34,503 --> 00:02:38,080
just adding extra noise to the movement.
57
00:02:38,080 --> 00:02:39,410
And it doesn't make sense
58
00:02:39,410 --> 00:02:42,570
that our character shake
his head left to right
59
00:02:42,570 --> 00:02:45,060
when switching to the sitting pose.
60
00:02:45,060 --> 00:02:48,240
Motion wise, the head is
slightly dragging compared
61
00:02:48,240 --> 00:02:49,550
to the torso,
62
00:02:49,550 --> 00:02:52,000
but I haven't input that much rotation
63
00:02:52,000 --> 00:02:55,200
because I want my
character to be in control.
64
00:02:55,200 --> 00:02:59,160
If you input too much up and
down rotation to the head,
65
00:02:59,160 --> 00:03:00,880
it will feel a bit weird
66
00:03:00,880 --> 00:03:03,220
as if the head was very heavy.
67
00:03:03,220 --> 00:03:06,140
So we can see that the arc of the head
68
00:03:06,140 --> 00:03:10,970
is very close to the arc
made by the torso controller.
69
00:03:10,970 --> 00:03:13,950
Here we can see the result
with the body controller,
70
00:03:13,950 --> 00:03:16,400
chest and head polished.
71
00:03:16,400 --> 00:03:19,010
I did work on the ears and the nose
72
00:03:19,010 --> 00:03:20,609
as in the previous video,
73
00:03:20,609 --> 00:03:23,540
working with the straighter head method,
74
00:03:23,540 --> 00:03:27,053
meaning that I'm
animating quite on the fly
75
00:03:27,053 --> 00:03:29,370
as the animation goes,
76
00:03:29,370 --> 00:03:33,530
inputting a very, very subtle
follow-through animation
77
00:03:33,530 --> 00:03:35,000
to the ears.
78
00:03:35,000 --> 00:03:37,760
And then I did the same
with the tip of the nose.
79
00:03:37,760 --> 00:03:41,500
Since the sitting motion is pretty slow,
80
00:03:41,500 --> 00:03:44,760
pretty subtle, pretty light, whatever,
81
00:03:44,760 --> 00:03:46,681
your follow-through animation
82
00:03:46,681 --> 00:03:49,730
should be very subtle too.
83
00:03:49,730 --> 00:03:52,990
So it's just an extra motion
84
00:03:52,990 --> 00:03:56,550
that will give a bit more
life to your character.
85
00:03:56,550 --> 00:03:58,730
If you're not comfortable with this,
86
00:03:58,730 --> 00:04:02,782
it's better not to do
it than overdoing it.
87
00:04:02,782 --> 00:04:04,520
Before the head turn,
88
00:04:04,520 --> 00:04:06,950
I like to add an eye blink.
89
00:04:06,950 --> 00:04:08,810
I oftenly use eye blink
90
00:04:08,810 --> 00:04:13,090
whenever the character is
changing his head stance,
91
00:04:13,090 --> 00:04:15,710
like a big head turn in our case,
92
00:04:15,710 --> 00:04:18,290
but also if our character is surprised
93
00:04:18,290 --> 00:04:20,820
and push his head up very quickly,
94
00:04:20,820 --> 00:04:25,090
I like to use the eyes to
support this animation.
95
00:04:25,090 --> 00:04:28,180
I'm doing the same eye
motion on both eyes,
96
00:04:28,180 --> 00:04:31,680
and the idea is to have a slight ease in
97
00:04:31,680 --> 00:04:33,240
and a slight ease out.
98
00:04:33,240 --> 00:04:36,040
Shape wise, the eye is fully open.
99
00:04:36,040 --> 00:04:39,620
Then it's closing a bit on the next frame.
100
00:04:39,620 --> 00:04:42,900
On the third frame, it's totally closed.
101
00:04:42,900 --> 00:04:44,397
And then when reopening,
102
00:04:44,397 --> 00:04:46,990
it will open just a bit
103
00:04:46,990 --> 00:04:50,263
and then on the next
frame, it's fully opened.
104
00:04:51,377 --> 00:04:52,210
(screen whooshing)
105
00:04:52,210 --> 00:04:54,840
Next step was to animate the tail.
106
00:04:54,840 --> 00:04:57,780
In this case, the tail is not used
107
00:04:57,780 --> 00:05:01,580
to balance or in reaction to the motion
108
00:05:01,580 --> 00:05:03,360
of the character's body.
109
00:05:03,360 --> 00:05:06,130
The idea was to create a wiping motion
110
00:05:06,130 --> 00:05:08,470
before our character sit.
111
00:05:08,470 --> 00:05:11,670
As if he was relaxing
his tail before sitting.
112
00:05:11,670 --> 00:05:14,750
Think a bit as if you
were going on the beach,
113
00:05:14,750 --> 00:05:18,220
on the sand, and you were
just wiping your towel
114
00:05:18,220 --> 00:05:20,590
before laying onto it.
115
00:05:20,590 --> 00:05:23,223
That's exactly what I
wanted to communicate here.
116
00:05:25,650 --> 00:05:29,550
The final stage was to
polish the hands animation
117
00:05:29,550 --> 00:05:31,550
or front legs animation.
118
00:05:31,550 --> 00:05:34,480
As always, the arcs are
the most important thing
119
00:05:34,480 --> 00:05:35,610
you have to watch for,
120
00:05:35,610 --> 00:05:39,900
so make sure that you draw
nice arcs with the motion path.
121
00:05:39,900 --> 00:05:41,310
And using the rotation,
122
00:05:41,310 --> 00:05:43,600
make the tip of the fingers
123
00:05:43,600 --> 00:05:47,210
or the tip of the foot slightly
dragging in the motion.
124
00:05:47,210 --> 00:05:49,000
You can add a slight overshoot
125
00:05:49,000 --> 00:05:51,380
when you reach the top position.
126
00:05:51,380 --> 00:05:53,070
Beyond those classics,
127
00:05:53,070 --> 00:05:55,480
there are two things
you have to watch for.
128
00:05:55,480 --> 00:05:57,630
First, avoid the twinning.
129
00:05:57,630 --> 00:06:00,450
So we have broken the twinning in the pose
130
00:06:00,450 --> 00:06:01,730
during the blocking,
131
00:06:01,730 --> 00:06:05,930
making the left hand going
higher than the right hand,
132
00:06:05,930 --> 00:06:09,110
but it's better also to break the twinning
133
00:06:09,110 --> 00:06:10,440
in the timing,
134
00:06:10,440 --> 00:06:15,440
meaning that here my right
hand hit its highest point one
135
00:06:16,410 --> 00:06:19,410
or two frame prior than the left hand.
136
00:06:19,410 --> 00:06:22,930
Also, the right hand is
moving slightly faster
137
00:06:22,930 --> 00:06:24,250
than the left hand
138
00:06:24,250 --> 00:06:26,650
because the character is pushing with it.
139
00:06:26,650 --> 00:06:29,300
So there is an impulsion
on the right hand,
140
00:06:29,300 --> 00:06:32,830
while the left hand that
doesn't contact the ground.
141
00:06:32,830 --> 00:06:36,370
It's just continuing the previous motion.
142
00:06:36,370 --> 00:06:39,020
So beware of the spacing
between the right hand
143
00:06:39,020 --> 00:06:40,360
and the left hand.
144
00:06:40,360 --> 00:06:42,380
The next video will be a time lapse
145
00:06:42,380 --> 00:06:46,380
of me polishing this whole
section of the animation.
146
00:06:46,380 --> 00:06:48,090
Just double check the notes
147
00:06:48,090 --> 00:06:50,700
that I have highlighted in this video
148
00:06:50,700 --> 00:06:54,573
into the next one, and I'll
see you in the video after.
11273
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.