Let's continue with the bouncing ball and make it look even better, so currently we have something
that is kind of hard to see if we play it back in the timeline here.
So, I mean, it all be and we can see it kind of is hard to see exactly what's happening.
Let me show you how we can actually export a movie so we can see our animation a little more accurately.
Let's right click on the timeline here.
And at the bottom, there's the option for play blast.
And you can also get to it from the animation shelf here.
There's this little button that says play blast.
So if we click that, it will play blasted out into a movie file.
If you want to see the options from play blasting, you can right.
Click on the time line and go down to the little box in the bottom right here.
Going to bring this up for two seconds.
And if you right click here, you can go down to play blast and then click on this little box here and
you can get all the options for how you want to play, blast it out and where to save it and all that
kind of good stuff.
So basically, what you want to do is just choose this AB foundation means quick time and the type of
encoding and whether you want to do from window or from the render settings.
And I like to do from Windows because it gives you exactly what you're seeing in the viewport and you
can say make sure that save to file is turned on so you actually save it.
And now we have our movie that we can watch.
So it's much better to do this to evaluate the animation than to playing it back in the viewport all
the time because it can kind of stutter and you can drop frames and not get an accurate representation.
But in a quick time movie now we can actually see what's kind of happening.
So let's evaluate what's happening.
What kind of ball is this is what we need to start asking ourselves.
How bouncy of a ball is it?
If we look at the height at which it's leaving here and it bounces back up only this high, it's not
a very bouncy ball and a more bouncy ball.
Of course, we would have a higher bounce up here.
So let's adjust that so that it gives us more room to add more bounces because each successive bounce
is going to be at a lower height.
So it's going to have this kind of descending height in the top of each bounce.
OK, so let's recreate that in Miami.
Someone hit spacebar and go into my graph editor, which if I, I just opened up my eye so it doesn't
remember that panel setting.
So I'm just going to get those panels back by going to layouts, two panes stacked and then going to
panels and panel and opening up the graph editor.
And now I have that selected.
And so now I can see and isolate the trancelike Y and pretty easily we can just I'm going to hold down
K and click in the graph header.
That's another little shortcut.
If I click in the graph header, it's not going to move the timeline here.
But actually anywhere that you click the press k and hold it on your keyboard, you can actually scrub
from the viewport, you can scrub from the graph better, you can scrub anywhere if you hold down K
so it's kind of and click and drag.
So it's kind of a nice little shortcut, especially in the graph editor when you kind of want to stay
in this view to use K so we can get to that key frame and just drag it up a little bit and we can zoom
out here so we can see relative to the height of the top, which we can also really do from here, because
this kind of represents height here, right?
This is the Y axis is the values of how high it is.
So the other thing we need to do is just adjust these tangent handles to to kind of better represent
to that kind of arc that we're going to want.
And the other type of tangent that we might want to do is to, let's say, extend this up.
We want it to have more time at the top of the arc so we could do the same thing that we were doing
over here before, where we could drag up the keys on either side of the main key here to try to keep
it up longer.
And but that's that's adding a lot of animation.
And so let's use these tools to our advantage in the graph editor.
So I want to be able to extend these handles out.
I'm holding down shift of middle mouse dragging and nothing's happening.
So I can click these tangents here and go to Curve's.
Weighted tangents.
So when I click that now you can see the tangents themselves actually kind of change how they look.
We have these little open squares here and if I shift middle mouse drag with them selected, I can actually
change the type of curve that's happening with these tangent handles.
So it's very useful.
So if we just shift middle mouse, drag this out just a little bit, we can actually get more hang time
at the top of this arc.
So it's pretty cool.
So let's make a quick play, a blast of this and we're going to hit spacebar here.
And now we can see there's a lot more bounce to this and it stays in the air longer.
But the other thing is it's kind of the rate at which it's going back up on the bounce is almost faster
than the rate it's falling here.
So let's take a look at that.
So if we click on this and we go to this little button here, we can ghost the object.
So when we scrub through, we can actually see the spacing here.
So this is called spacing and animation, and it's a very, very important concept.
So we can see what's happening on either side of these frames.
It's a very slow start.
And then almost like a Venn diagram, you can see where these each frame is overlapping each other.
And then the further along in the animation we get, we can see that the spacing is getting further
apart.
So that means the ball is speeding up.
So this is another way to visually represent what's actually happening in our animation so we can see
and compare the spacing between each of the bounces.
So it's actually doing pretty well, actually.
So, you know, what we wouldn't want is for the spacing on the bounce to be further apart than the
way coming in, because that wouldn't make any sense physically in physics, this should be losing energy
and not gaining it.
So we are in fact doing that properly.
And ghosting is kind of a nice way to do it, especially if you have geometry like this, you can get
a little bit bogged down.
But for the most part, it's really nice.
So let's add a couple more bounces here.
I'm going to extend the timeline out and I'm going to turn off ghosting for now, clicking this little
button up here, no ghosting.
And let's go back into the graph, Ed.
So I'm going to go for five frames.
One, two, three, four, five.
The drag this up just a little bit.
I'm going to go for five frames, one, two, three, four, five.
And I'm going to copy paste this value down here by hitting Command and Command V after selecting that
key frame.
You can also see that we get these values in the graph editor.
We can see the frame number that it occurs on and the value so we can also manipulate whatever we have
selected by typing in a number here.
So let's create one more bounce here.
Let's go one, two, three, four, five.
And let's drag this up.
Just a touch and then we'll go, one, two, three, four, five, and then we'll hit Command V.
So what we have here is we need to create a descending order of bounces so the ball is losing energy
as it's bouncing and continuing down.
And the other thing we need to take a look at is, first off, these tangent handles are a little wonky,
but also the, you know, understanding the fact that as the ball is not going as high, we're giving
it the same amount of time, which is incorrect.
Right.
We want to keep this type of a slope at this angle of a slope through each of the bounces.
But as we get lower and lower, that angle is getting much more shallow.
So we need to reduce the amount of frames that we're giving this to occur so that this slope maintains
is the same way.
So let's take a look at this.
Let's take two frames off of both sides here and one, two.
So now we can already see this angle right here is already starting to be way more accurate to what
we're seeing over here in the first bounce.
So let's get that kind of set up the way we want it.
And we also need to reduce this one by frame on either side.
Remember, we did two here on either side of the top, so let's do one on either side of here.
So instead of five on each side, we're going to do four on each side.
And then this last one is three on each side.
So I'm just going to maybe bring that down and then increase the hang time at the top by dragging those
out.
These look OK and that one looks OK.
Maybe drag this one out.
Just a touch and let's make one more.
And instead of three, remember, this one is three on each side we can see one, two, three to the
middle.
So instead of three, let's go one, two and drag this up.
Let's go to forward and at Command V, we can actually reset these by going to the auto tangent button
over here and then just kind of getting back into the tangent here to make them be what we want them
to be.
Cool, so you might have noticed that the ball is bouncing in the same place.
So if we take a look at this and we scrub the timeline, we can see it just kind of goes there and bounces.
Well, we can see that it's not going forward here when we scrub the timeline.
So that's because it's not going for it and translate.
And we can see it, Zebb, because it's the color blue and we can look over here and see translate translates
is blue.
And if we go into the graph editor for that attribute, we can see that it does just stop here.
Let's go back to that keyframe and we can actually, without adding more keyframes, we can extend this
animation out.
So if we go to view infinity, we can see these dotted lines, which means infinity.
And if we want to continue this animation, we need to change this tangent handle because this tangent
handle is flat over here.
So let's choose another different type of tangent here.
Let's choose the spline tangent.
So I'll straighten this out.
But still, the dotted line is flat.
So we need to do one more thing.
Let's go to the curves.
You go to post infinity, meaning post after the keyframe we have and let's go to Linear to continue
that animation.
So now when we scrub, we can see this actually continues all along the timeline.
So let's just extend the timeline out a little bit and then we can hit a key frame over here on Translate
Z.
And now we can kind of save that animation that helped us project that kind of angle that we had going
forward.
I just want to extend this out so it kind of maintains this angle here.
And I'll maybe even adjust this middle one just a touch so that it's a little more straight all the
way through, and then it'll slow down and stop towards the end of the ground that we have.
So now we've already done the translate.
Why?
So let's just play blast this real quick and see what we have.
So now we have a pretty legitimate animation of a bouncing ball.
Now it seems like it has weight and that it's bouncing properly.
And in the next lesson, we're going to discuss very quickly the idea of squash and stretch.
Thanks for watching.