Original subtitles

Hello and welcome to this chapter, so in this chapter we are going to continue on doing

some animation, specifically we are going to do some kind of attack slash animation

for this character.

In the last chapter we did a running animation for the character, and that's the one I currently

have open.

But we want to do a fresh new animation, and many ways of doing this, you know, you could

delete the animation that's already there, save a new file, all that good stuff.

But when you are exporting things for games, it can be very handy to have all the animation

just in one file, and kind of neatly organized and so on.

And Blender actually has a way of doing that, and those animations are called actions.

So each animation in Blender can be stored as an action, and that action is just, you

know, an animation for a specific object.

So each object has their own action and can have multiple actions.

So to set this up we are going to just drag the timeline up here a little bit, and I'm

going to drag a new window up, right from here.

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And then this one is going to become the Dope Sheet.

And then we are going to switch from Dope Sheet to the Action Editor.

And then I'm just going to make this one go down, because essentially it's the same, but

I still want to have the timeline available here.

And you can see right now here, you might see some kind of name for the action that

is currently on, when you have your thing.

And I've just named mine Run Cycle.

And there's also going to be some other stuff here and there.

I've been doing some other things, and there might just be anything, if something gets

an animation, then it creates an action essentially.

Now if you want to create a new action, what you can do is you come over here and click

a new action.

And that's going to create a new one.

And actually what it's going to do is it's going to copy the action that you currently

have.

But I'm just going to name this one Attack Animation, like this.

And then I'm going to go into the object, and you can see this new action also has the

Run Cycle.

But I'm going to delete everything in here.

And that actually deleted everything, so I'm going to do this again, wrong order.

Attack Animation.

There we go.

No, there's two there.

So Attack Animation.

Okay, somehow it just...

So now there's two Attack Animations.

But Attack Animation, it just disabled it when everything was gone.

And then I can reset the entire pose like so.

Now, if I then switch back to Run Cycle, you can see that my Animation Run Cycle is still

intact.

And that's kind of what we're going for.

So I'm going to go back to Attack Animation, that one.

And here we can start a completely clean, new animation I have within the same file,

so that's kind of the idea.

Like we did with the Run Cycle, we are going to hide some stuff up to make everything a

little bit easier.

So I'm going to select all these items here, and deselect some of these like that.

Then I'm going to hide this stuff.

And then I'm also going to hide the skirt itself here.

There we go.

So it's a bit easier to animate everything.

And we're going to be starting with the sword in hand.

So I'm going to come over to the sword here.

There we go.

And I'm going to set this to the hand here.

So Item Right, I think.

Should we put it in that hand, or should we put it in the other hand?

Doesn't really matter, but I guess it would be interesting if the guy had the sword in

the two hands.

Maybe let's do it in the left hand there, left item there.

And then we'll put it over there.

And then I might also hide the wrists here, because we don't really need those.

We'll be animating the items there instead.

Okay, then we're pretty much set up.

And we're going to be doing everything kind of in keyframes.

So we're going to be doing different poses for each action slash here, and then slowly

breaking them down.

And I don't know how long the animation will be.

Maybe it'll be something like 60 or 40 or something.

I don't know yet.

But essentially, we're going to be doing a double slash kind of animation.

So I just want to hide that there, but then I need to get, oh, it seems like this one

really shrank down here.

There we go, so you can see my full timeline.

Awesome.

So let's do some kind of initial pose.

And we want a kind of, not like static pose, but like a resting pose that then transforms

into a quick slash here.

So we're going to be having the sword, actually, no, I think I'm going to do it in the right

hand instead.

It shouldn't really matter, but it's just a bit easier for me as I am right handed.

So that's the way I think the motion.

Okay, cool.

So then we are going to go into our asset here and then we're going to start posing

and creating some kind of initial pose.

And probably we are going to start with the leg back here a little bit, something like

that so that we can step forward.

And then the sword is going to be down here somewhere, just resting here like this.

And the body is also going to be twisted a little bit, like so, like so.

The head is going to be looking kind of forward.

And then this foot here coming in like so, something along those lines and like that.

And the sword here is going to be in this hand, kind of like that, and the elbow here

can come back like this.

And let's just put the hand here, something somewhat neutral, like so.

And the other hand can kind of just be resting in front here a little bit, like so, like

that.

And then this, we need to put on some kind of balance here, something, it's a little

bit too much twist here in the body.

This arm can rest back like this.

The head is definitely, let's see here, something more like that.

Maybe this leg can come forward a little bit.

This one can come back a little bit.

Getting ready to kind of strike and pounce.

I think I have a lot easier time finding the motion if I get the first pose kind of right.

And that's just for me personally.

Then I can see how the entire motion is going to swing.

So the idea is that the guy is going to be doing sort of like a backhanded swing.

So it's going to come swinging that way, something, let's see here, like that.

And then he's going to kind of rest in that position and then swinging backwards for another

attack.

And when he's swinging this way, he's also going to be taking one step forward.

Then when he's swinging back, he's kind of going to settle a bit more back into a position

and then end with a sword kind of over here as he'll be doing like a big arc sword here.

So two slashes essentially.

So that is our first pose here.

And then I think I just want to establish those key, big key poses.

So I'm going to jump to six here and just make that happen because I don't quite know

the exact frame to frame breakdown yet.

That's something that I will feel.

So we're doing a backhanded approach here.

So this one will have to be turned a little bit like this, and then it'll come over here

and the whole body returning, returning, returning like that.

So that's kind of where the slash will end up, hopefully, that we're twisting the pelvis,

making the leg move forward.

And the whole thing is kind of going to be stepping forward and the knee is going forward

also here.

So let's try that like so, and then this knee here also kind of come forward a little bit

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and we can twist that leg a little bit to make space.

Let's see here.

And we have the head here also doing its thing.

Okay.

And this elbow here, let's see what we get like this.

That's a little bit extreme.

And the wrist is not going to be looking great on this one, but we'll just have to live with that.

It would have to be all the way over there somewhere.

Let's see if that counts as a pose here, and then this arm will kind of be falling backwards

to balance the whole thing out.

Like so, that's the knee there, then this one, and perhaps the arm will go all the way

back here.

So just looking that the whole thing feels somewhat balanced.

Something along those lines here could bring this more front.

I think actually the sword should swing way more to the side here.

And then the body twist can go over there, and then this hand sits.

So that's going to be a little bit tricky to figure out exactly where we want that hand,

but I think the motion will tell us.

At least there's some form of balance here now.

Might have to bring that leg in like that.

Bring the torso in a little bit more.

And then we'll see what we get.

Oh, that's a little bit too far here.

Okay, let's try that.

So we don't have the swing yet.

The swing needs to come all the way up here, but we'll get there.

This is just blocking out the timing also.

Might actually be good enough timing here.

I'm going to put it to 8, just to give it a little bit of time.

I want to do a backhanded attack.

And it's going to be the next pose.

I'm going to go to 16 here maybe.

And then this pose is going to be...

Wait. Okay, I didn't move everything.

I'm going to move everything to 8. There we go.

Let's open this one so we can see everything.

Everything to 8, and then let's see here.

Oh, it looks like I actually put everything on 1 instead of 0.

I'm going to put everything on 0 instead.

And then 16.

And let's see. So we want a backhanded attack.

That actually might mean we come all the way back to our neutral pose.

In a way.

And then we might end up something like that.

Or maybe we just keep that pose.

And then swing.

Let's try that for now.

And let's see here.

Let's get the sword here.

And just swing that the other way.

And maybe here the grip has actually changed.

So maybe this grip has changed.

Over there somewhere.

So that we now can do a backhanded one.

In this sense.

Then we're bringing that over there.

Something along these lines.

And then twisting the body here.

Twisting the body, twisting the body, twisting the body.

And then seeing if that is what we need here.

And just checking out what we get here.

And this arm.

I'm really not feeling this arm.

I think it's supposed to do something quite different.

Maybe it's supposed to be a little bit closer to the body actually.

And do this movement yourself.

Use yourself as a reference.

Do the motion and really try to understand the motion.

And the different key positions of that motion.

Let's see if that does anything for you.

There's something kind of cool in that pose.

The way it's striking.

Oh, I put stuff on 17 instead.

So just to break down the poses here.

That's supposed to be a slash here.

So that's a slash.

And then it transforms into a slash there.

Fling, kind of like that.

Fling, fling.

And animated it doesn't really work yet.

And that's not the point.

It's just to space it out.

Fling, fling.

So I think the biggest thing is that the standard pose is okay.

I think that kind of works for me.

Except for the fact that the weight is probably on the wrong leg.

So I think maybe he's going to have his weight on this leg first.

So he's going to be shifting his weight over there.

Like that.

And then that's going to be something to counteract in that sense.

Let's just try this here instead.

And then we go over there.

And we kind of twist the body.

And then we get this shoulder hanging down a little bit more instead.

And that feels a little bit better actually.

And then the arm here needs something else.

And then this leg here can come in a little bit.

This can come out.

This leg stands here maybe.

This leg goes forward a little bit.

And the knee kind of sits there.

So a little bit like this.

Where...

And then this one goes there.

Looks straight ahead.

Something along those lines.

Classical kind of contrapposto pose.

That's a lot stronger pose than we had before I think.

Something a little more interesting also with the counteractions going on there.

Okay.

Then we have that.

Then we move on to the next pose here.

And I think the step that he's taking is just maybe not big enough.

This foot definitely needs to stay.

So I'm going to copy it and just paste it.

So we get exactly the same foot there.

And then he goes here.

And then I think the foot there.

Let's see.

He can maybe lean way more into it I think.

So I'm going to lean way more into this.

Actually go a lot further.

And really lean into the cut here.

Putting the weight over there.

Then the weight can...

Maybe even...

Maybe it should stay on that leg there.

Because it kind of...

That's where we land.

Right.

And then we counterbalance with the body here a little bit.

Then we see what we get.

And maybe actually the arm needs to cut all the way over here.

Because let's imagine the opponent over here.

We're kind of cutting all the way through there.

I think that makes some amount of sense.

And let's see. Here we got that.

Yeah. And then the arm here.

Maybe it actually just stays closer.

To...

To our body a little bit.

Ok. Ok.

Let's try this.

He is very sideways. So maybe I can do a little bit less sideways.

A little bit less sideways there. Ok.

It definitely has a little bit more...

Dynamicness.

It feels like somebody just cut something.

And that's...

That's what I want.

Like that. So it kind of goes from...

There to that. Then we need something in between obviously.

And then something is going back here. Over there.

And here he is kind of going front.

And then he is making space.

And then he is cutting. And then the leg kind of does that.

Which I don't actually mind that much. It's a little bit interesting.

In how it...

That is actually kind of interesting.

Ok.

Let's add that one then. And then let's try to bridge this out.

So here we need the guy to take a step.

So I am thinking that we can think a little bit about our timing here.

So I think the anticipation...

Not necessarily the anticipation but like the build up.

So when he is getting into the slash.

He is kind of putting up the sword somewhere where it makes sense.

And then cutting. That could be almost the entire motion.

Because we don't land on the cut until here.

So if we just have like 2 frames for the cut itself.

Then this can be really interesting.

So let's try that.

So we are going to go maybe here.

Somewhere.

I am going to put in a keyframe on all of these.

Like that. I am going to take this and put it to 6.

And then this motion here will be taking a step.

Taking a step there.

Kind of like that.

And then we are also going to be shifting the weight I guess.

Over to the other side.

As we are shifting that leg here.

Slam. Like that.

And maybe even going up a little bit.

Because we are actually taking a step.

Doosh. Like that.

And then the sword here is there.

Then maybe that one is there.

And then the sword is there.

Then maybe that one is getting itself ready.

Somewhere.

Out here.

And then cutting.

Like that.

You can see that snap already. It's doing something.

Right. If we just put it to 8 maybe.

Then we will see what happens here.

He is building up the tension there.

Putting up the sword. Taking a slash.

The slash is very fast.

Almost immediate.

Doot. Doot.

And maybe in here we can do something like this.

Forget that.

Let's see here.

And he takes a step.

Takes a step.

There is also a lot of funky stuff going on right there.

But we can solve that.

And then he is definitely like.

Then suddenly it snaps into that thing there.

And then he suddenly snaps.

So he is moving quite a lot there.

Maybe we can move him back a little bit. I want a little bit more snap.

Yeah.

Yeah. Something is definitely happening there.

And then the knee is kind of bending in a strange way here.

And he is taking a step. Maybe the foot is actually rotating a little bit here.

Maybe it is even doing something.

Like that.

Yeah. So he is snapping there.

That is pretty good. Then let's see what he does with the other side here.

So then he snaps.

Then he is kind of supposed to just maybe stay there a little bit.

Like he is doing now.

So I actually duplicate this one up until here.

And then put that one there.

So he slashes.

And then he needs to do some kind of similar anticipation

for the next move here, which is going over there.

And then he needs to build up that tension again.

So he is going down.

And then he is going to be turning the other way.

We could probably also lean his body a little bit more into the cut here.

That is not happening super much.

We could let him do that a little bit.

Just kind of...

Yeah.

And for games you definitely want your animations to be a little bit more snappy than in real life.

But for most stuff, just so that stuff is responsive.

So that is the slash one there.

And then it snaps in there.

You can even try doing stuff like this where you just move everything a little bit closer.

And see what it feels like with that extra snap.

You can see that is a little bit too fast.

Then you can see what it feels like if you go the other direction.

With this softer thing.

And we kind of want that snap.

We could also let it build up for longer.

Something like taking all of these here.

And just say, okay, what is that going to be like?

Then he is anticipating.

And then the snap.

Also try giving it a little bit more space.

Then it becomes more like cutting through butter or something.

Where here it is an actual punch.

It has some force behind it.

But the body could go even further down I think.

Like that kind of.

Tuk, tuk, tuk.

And then it suddenly snaps there.

So maybe that is not the best place for that sword in that motion.

Maybe it jumps a bit too far that way.

Maybe it is a bit too early.

So maybe if we bring that in a little bit.

And then bring it back.

A bit closer to where it might have come from.

Like there. Maybe that feels...

A little bit better.

There is a snap there.

And then here we are maybe going backwards.

Then we need to go all the way up there.

Then we are maybe building some tension.

Okay, I am going to keep this tension going for at least up until 16.

And that could actually be even more, so this one.

So you see that tension, tension, tension, tension.

And then snap.

So that is what I am working towards.

Building a little bit of tension here.

Where the entire body is going to be turning.

Before the sword does.

That is kind of the point.

And then snapping it out.

But the question is, should we move the body back here?

Then we are...

Twisting the body.

Let's see here.

And then we can go over here.

So let's set it to 24.

With a little bit more tension. All the way up to 18.

And then that.

And then this final pose can really be...

The very dramatic finish.

Where we really go all the way.

Here comes a higher slash.

Then the body kind of expands outwards like this.

Like that.

Like that kind of.

And then...

Maybe this one can come forward a little bit.

Oh, let's set it to 24.

I think this one was going a bit too fast there.

So let's twist, twist, twist, twist, twist.

And then twisting the hips all the way.

And then leaning that way.

That way.

Something like that.

And then this one can follow along here a little bit.

Let's see. So it goes here.

Then it builds some tension.

And then it snaps.

So this snap here is tension, tension, tension.

And then snap. So maybe this snap is supposed to be over here.

And then snap.

Like that.

OK. Maybe here somewhere.

And then here we can bring out the sword.

And here we can lead with the shoulder maybe.

The shoulder can start curling in.

And then...

Like that.

And then we're ending there.

There, there.

And there.

And then we're also getting a lot of twisting of the...

So we're going down, and then...

As we're coming down here, we probably need to start twisting the arm.

And then there, there, there.

And then the arm is twisted now.

Going forward.

Like so.

And then coming out here.

And then...

Then motion like that.

Motion like that.

Yeah, starting to make some sense.

Then we've got that going on here.

And then...

That there.

OK.

So we've got the first slash kind of there.

And then the second one is kind of like...

It's not a slash, but it's just like cutting.

And that's because of that snap, right?

So we want to build the tension here.

And then we could build this tension even more.

Bringing it in.

And then...

Here we're already slashing quite a lot.

So maybe we need to build even more.

Like...

So it's...

It's taking a little bit too long over there.

So we're going in, and then...

There I feel like we need to already start snapping.

So I can bring these in here.

And then we're twisting.

And then...

I want to snap it.

Then we're getting...

Oh, a lot here. OK.

OK.

So let's see here.

So building tension, building tension, building tension.

So there.

Building tension.

There.

Maybe this one can already...

Appeal a bit earlier.

And then...

It could probably come in there.

And then this one can...

Then there I want to...

Let that one sit for a little bit maybe.

Tuk, tuk, tuk, tuk, tuk, tuk, tuk.

So there.

Let's see here.

OK.

So this one works.

So we've got to get Slash in there.

That's good, we've got that.

Then now we need to build that tension.

It's like the sword is.

It needs to go...

Maybe instead of going forward immediately, it needs to go backwards here.

So it needs to go further in to build up some strength.

And that's kind of more traditional anticipation here.

So let's see, we're going in.

OK.

OK, something's happening there.

I'm going to take this pose here.

So that one...

This pose here.

And set it to...

That's this one here. Eye, Location, Rotation.

And then this pose, I can move that one up a little bit.

Then I get a little bit of fake anticipation.

Like that.

Then I don't think I want this one.

I think we're just going to have...

This one.

Where does this one go? Maybe here already.

So this almost has a bit more of that timing that I wanted.

I mean, obviously it's a little bit stepped.

But I'm kind of doing the double slash with the timing.

And timing is really everything, even if it looks a little bit jank.

OK.

And then maybe this one.

Come over here.

Do that.

So it's like that.

Like that.

And then it starts cutting.

And that's the crucial cut there.

Let's see if we give it just one more frame here.

How does it feel?

Let's see.

Seeing it from up here.

So it's getting that anticipation there.

And then cutting back.

Do that.

Then this one could be a little bit better, of course.

Let's just see our playback here. We've got frame dropping.

It's fine if we say play every frame.

Frame dropping is fine.

OK. It's closer.

The only problem is that we're getting...

Our entire body motion is stopping right there.

So if we get everything on our body here.

And then we...

Except for this one.

Then we move it to the right here.

There maybe.

OK. Something's happening there.

OK. Cool.

So we are cutting.

And then we are anticipating and cutting again.

And here we want maybe a little bit of overshoot or settling.

So now we've rested.

So maybe we should make this even more extreme.

Maybe we should actually copy this pose here.

Since that's the pose we want to save.

Copy this. Put it on 24.

And then this one becomes the really extreme pose.

This way we're going to get a little bit of that extreme overshoot.

Where the whole body just twists and turns.

OK.

Let's see here.

Yeah. So you're getting a little bit of that pushback there.

So if I set this to 28 or something.

Then you're going to feel that.

Now it's a bit more like a slash.

And that's a little bit of that secondary action.

Or reaction to the entire movement.

Hup. Hup. Hup.

We could do even more of that.

Because now it's only happening in the body.

In the upper torso.

But we could make it so that this here is really reacting to it.

So like that.

And it could be that he's a little bit unbalanced here.

So when he ends there he could probably be a little bit more over here.

Like that.

But then that one he can get to just go really ham.

Yeah.

And his whole body is kind of shaking there.

From that backslash.

There we go.

And we need to fix the hands and stuff.

But it also has a pretty cool effect the way the hand shoots forward.

Like that.

Let's see here. So we got that.

We could probably give him a little bit more motion on the first slash.

So when he comes in here.

His slash there. Maybe we could give him an overshoot also.

So we just select everything.

Then we copy this one, put on the next one.

And give him a little bit of an overshoot.

Let's see. So he comes in.

And then this one frame of overshoot.

Just to give him a little bit of...

So that one there.

Like that.

Then like that.

Like that.

Like that.

And settling back in.

Now the sword is turning a little bit too fast.

We might want to hide the whole sword thing in the motion instead.

So the fact that the...

The action switches there.

Maybe it's better to hide that when we're actually cutting.

So here. Maybe here already.

I want to...

Do it there.

So after we've made our cut.

Then maybe...

Let's try. Let's see if we can...

Is that possible actually?

So now the sword is there.

And then we put that one there.

So we cut it down there.

Then go to the next one here.

Put that in.

Put that in.

Then here we can...

Then maybe we can get a bit more of that overshoot.

So we come in there.

There.

This one there.

Like so.

Then we're going back a little bit here.

Let's see how that feels.

It definitely looks a little bit cleaner in terms of the hand there.

We do get the jitteriness right there.

So there the motion switches.

Then here the arm jumps around a little bit.

Because it goes back and forth.

So we're overshooting.

Resting.

Then that's the one that's the problem there.

Because then we're going forward again here.

So maybe we can just remove that one.

Remove that one.

Yeah, that definitely feels a lot cleaner.

That has some motion to it.

I kind of like that arm now.

Something weird is happening to it in the beginning there.

But I think we can...

I think we have to start figuring out the beginning here, because it is a little bit...

It's a little bit...

Not working super well here.

So we are going to use the arm here to balance stuff out.

Like this.

And then maybe some kind of...

Stepping where the foot kind of...

Maybe the foot here raises itself first.

Let's see.

Something like that.

Just a little bit of...

I think I like the arm actually.

This makes everything really snappy.

Let's see with the leg here. I think the leg is smoothly...

Happening there, so maybe we can...

That's probably because of this one.

So that one is smoothly going over there.

And then it twists, so maybe we can...

Do it a little bit more.

Like a jitter.

Like that.

Yeah, like that.

And something is happening with the hand in the beginning that is not desirable.

But it's also creating kind of an interesting effect.

Where it's like he is doing something with the hand too.

Because he is kind of bringing it the wrong way around.

It's...

Let's see, how would he do that?

Probably lift it up so that it would be...

Somewhere around...

That's actually interesting.

It goes up there.

I think maybe we want it to be...

Rotating this way instead.

And then...

Here he is doing that.

So let's see, we kind of want it...

We kind of want the inner arm to twist outwards.

So it's twisting...

Not that way, but the other way.

Okay.

So let's see here.

And then...

He is kind of getting that one there.

Let's see...

How do we get it?

How do we get it from there to there?

So he is there now, and then he needs to come...

Out.

With the hand here.

Then I think...

Do something like that.

Oh, and it really wants to twist there.

Okay, so...

I was kind of doing something with it there in the beginning that I don't want, of course.

So we got these motions here.

We almost have to go through every frame.

So we got this one there.

Then we got this one here.

So that one seems right.

But then this one...

There we go, kind of.

Okay.

Yeah, that actually looks pretty good.

Then all we need to do now is for him to come back to a more neutral position.

So we got that thing happening there.

Let's set this to 32.

And then that happens there.

Then he can come back maybe.

So let's select everything, do a duplicate of the first pose.

To see how that feels.

It would definitely be good to let him rest on that pose for a little bit.

Give him...

And then we got a pose like that.

Maybe there's a pose here that we can use on pose 7.

We could reuse that pose.

Let's see, like that.

Then, because there he's actually kind of taking a step.

Oh, I thought he was taking a step there.

So here...

He is taking a step there.

Okay, I'm going to set eye location rotation.

That's why, because there wasn't all of them there.

To 29.

Oh.

And then he's going back.

Maybe 32 is a bit too little. Let's set it to 36.

Okay, here. Oh, Blender is being a bit funny.

There we go. Select everything.

And then...

This one can be there.

Maybe this pose here can be...

Holding it for a little bit longer. Maybe all the way to 28.

And then this one can kind of just...

Go back to this one.

Yeah, and there we kind of have this slashing animation now.

Okay.

Pretty good. I'm still kind of lacking that hand.

Okay, yeah. I'm definitely looking at it from this angle here.

To see what we get.

That's pretty good actually.

And you can just keep doing this, because it's kind of looping.

Yeah.

And he ends his pose like that.

And then the hand is kind of twisting in that sense there.

So we got to get that out of the way here.

Oh.

So just this one twisting like that.

That's not so good. So we got it there.

Then maybe coming down here a little bit.

A little bit.

Let me just play with the timing here.

Yeah, pretty good.

He's definitely not going back to a very actiony pose.

But this is just his neutral stance.

So I'm thinking that that works pretty well.

Okay, so we got a few more things to fix.

We got to bring in the cloth.

And then we got to fix the hands.

They're still looking a little bit limp.

I'm thinking we're just going to do a fist for all the hands here.

So let's go and do that.

We could actually go into the run cycle potentially.

And just copy the hand pose from here.

So I'm going to grab the hands here.

Like so.

Like that, like that, like that.

And just get the fingers here.

Like so. And then just press CTRL-C.

Then go into attack animation.

Hand still being selected here and press CTRL-V.

And then I'm thinking actually just removing all the hand stuff.

And just pasting it in again here.

Then it just keeps being a fist on that hand.

And then we got that going on there.

Cool.

And then the other hand could potentially also get a fist.

It might not need it.

But the hand here is definitely a little bit weird.

So maybe we can bring in the fist on this one here.

Maybe just at the end here.

So press CTRL-Shift-V.

Then we get that mirrored hand action on that one.

We could bring in these ones a little bit.

Just to get some extra depth here.

Let's try to see what we get here.

And it actually unfolds there.

Let's see there.

Okay. I think that's pretty good.

We could also do a little bit of motion on the scabbard here.

But I'm going to do that after we do the cloth.

Just so we have that to work with before the scabbard.

Because most likely there's going to be some intersection.

So the cloth will actually be easier to figure that out first.

So let's go back here.

Then we go into the actual rig again.

And then we're going to unhide this stuff.

And then we're going to select all this stuff here.

We got all those things selected.

CTRL-I and then H.

Then we're only dealing with the cloth right now.

On top of our animation. And that's what we want.

And then we got to find our cloth here.

And we have it under items.

There's our cloth.

Okay. So let's start going through that.

So first we are...

Let's see where are we by default here.

I think maybe I'm just going to reset all of those.

I think there were left over from the run cycle here.

So let's start by posing it initially.

We can get some stuff going on here.

And once again we can use that auto IK thing.

To our advantage if we want to.

That can definitely be a little bit handy.

With this one here.

Let's see. We got that there.

At least that is not clipping.

Then we got this here.

And this can come down a little bit.

Maybe this one also.

So that's kind of our standing pose there.

Then we can move forward a little bit.

Let's say 6 frames forward.

And see what we have here.

Then I'm going to adjust this cloth.

And maybe do the trick where we...

Rotate this out a little bit.

Oh I guess it's actually not really covering up that much.

So let's just bring it in a little bit.

Do that.

Maybe that's ok.

Do a little bit of control here.

And this one could probably use a little bit of...

Let's see here.

Something along those lines.

Yeah let's try that.

Then maybe on this pose here.

Where he actually stomps down.

There. So on 8.

And then we say...

Not that one.

This one here.

Like that.

And then getting on this one.

Probably like...

In need of a little bit of...

Maybe it's the kind of thing where it comes down a little bit slower.

Than the rest here.

And then it settles in.

Kind of around here.

Right.

Let's see what we can get from this one here maybe.

Yeah.

So we get a little bit of that kind of motion.

It is a little bit stiff when he's moving.

But let's see so it's...

So it could be dragging behind here a little bit maybe.

On some of these.

So we kind of get that going on there.

And then once he's landing.

Then maybe it should settle.

But also go forward then.

So on 8 they land here.

And then here maybe they should go forward.

A little bit.

Yeah.

There's a little bit of motion there.

It's a little bit stiff.

But we can probably...

Deal with that.

Let's see here so we get that.

Then it becomes stiff here.

So let's see maybe we can start moving this one.

Out a little bit.

So here he's moving backwards.

So maybe it can move forward a little bit.

As it's being.

Maybe this one is a little bit earlier.

Okay.

Then we got that.

There.

And then.

This just needs to move a little bit here.

As well.

Let's try this.

Okay cool.

So let's try going to 21.

That's where we kind of.

Slashing backwards here.

Let's put something there.

And then.

The motion kind of.

Flop.

Like that.

Then maybe.

Up till here it kind of settles.

So maybe that's where it kind of flares out a little bit.

Okay.

That's kind of.

So it's like.

As he goes.

And then.

Hmm.

I think it's starting to flare out way too soon.

I probably made a mistake there.

Where I flared them all.

Let's see if we can just undo a little bit here.

Take a few steps back. Like that.

Just have it.

The way it looks here maybe.

Then just set in a keyframe for all of them.

Then we can start letting them.

Fly a little bit.

Let's see what that looks like.

Then settle them down immediately.

Let's see here.

Okay.

Then it kind of.

It flashes out like that.

It's maybe a little bit too.

That this one is flapping out on that side.

So maybe I can bring.

That one in here.

Feels a little bit more like.

Something else is going on.

But definitely gives it a little bit of a.

Dynamic feeling.

But it's maybe happening.

A bit too fast or a bit too late.

So it's kind of.

And then it's inflating. So a little bit too late maybe.

Is the problem here.

Then it's happening there.

That's a little bit better.

Okay. Then we can just go in and correct some of those areas.

Where.

The stuff is poking through a little bit too much here.

So right there for example.

Okay.

Then next one here.

Okay. Then we can bring in the beginning here. So we take all of it.

Bring in the beginning to the end.

Then here we have a problem.

Stuff falling together.

Let's see how long it lasts.

Let's put it there then.

Okay.

Like that.

Pretty good actually.

And the scaffold is not even clipping that much.

So that's kind of awesome.

Okay.

Yeah. It's actually kind of cool.

Pretty good.

I think that actually looks pretty damn eye catching.

Actually the scaffold just kind of works on this one.

So that's super amazing.

And then that pretty much marks the end for this chapter.

And then we're going to move on to the next one.

And probably the final one.