So this is going to be a special bonus video, I'm basically going to do a demo of how I am going to
animate this and it's going to be wrong because it's that animation for you and I don't entirely know
what I'm doing.
So this will be kind of like a real world example of what it's like to kind of start with an idea and
just try to work as fast as I can and animate this thing.
So I basically have my set on a reference layer so I can't select any of the geometry.
I'm only going to select the nerves, curves and just to double check that, I'm going to undo those.
I made speed this up.
But but let's get going and take a look at this.
So basically, I want the Skull Bones character here to pop out of a grave and do some kind of like
a little gesture.
And so I'm going to first set my scene to 1001 and set the end frame maybe for 200, something like
that, as too much, maybe 150.
And I'm setting it at 1001 because I know I'm going to be doing simulation on a lot of different things.
And so I want to have enough run up time in positive frame numbers, meaning zero to 1000 and to run
kind of the base simulations.
And with that being said, I also want to save this tempo's because that is going to be how the character's
going to get the cloth simulation started and then get into place.
So I'm going to go to frame maybe, let's say 800.
All right, let's say maybe like 500 and I'm going to hit a keyframe on everything by hitting us, and
so I'm going to come back to this frame and actually I'm going to go to frame 500 for a minute.
And basically what I'm trying to do is get him into the start pose.
But we want to save this.
We want the tempo's to start.
And then somewhere in here, we want him to get into a pose where he's going to be underground.
So I'm just going to yank this around and make that happen.
And then I need to get his feet in the right spot.
Scores of these town.
Maybe somewhere in there.
OK.
So I get these behind him as Paul Vector's.
And what I'm thinking about right now, too, is the vest basically that we're going to I think that's
what I'm going to do at the moment, is do a cloth simulation, create a vest on that might change later.
So ignore that if I had to change my mind and we don't learn that part.
But this is kind of what I'm thinking right now.
So I'm talking about the cost simulation, how how that's going to affect him going.
And let me just make sure I play back right clicking here and play like speed real time.
So it looks like that should work and.
When I set a key on everything again here.
I want to move all of this down because I don't think we'll need that much run up.
We're going to start here.
Let's say somewhere in here, say nine, 20, cool something, I go back to my start frame of animation
and start animating some set of frame here, key here on everything, and then give this a few frames
to run up.
Maybe.
Let's just to a second.
I guess we'll have everything before one thousand one if we change our mind, let's just give it a second
and I want to have him bust through his hand to your bust through to the ground, that is.
So want to get his hand in place.
So maybe move him down a little bit.
And you know what, and I go ahead and change his hands to WorldSpace, want to break the connection
or not break the connection and delete selected fabric connection, it might actually delete the center
and innkeeper's.
And I want to do that.
I just want to delete, selected and choose world because I know he's probably going to.
He's probably going to.
Put his hands on the ground and so, yeah.
I want I want his hands to be able to stick on the ground.
So.
Let's see where I want him to punch through, I want him to punch through here.
Let's move him over a little bit.
So we get a clean shot from this and.
Make this into a fist and we're going to see any of this.
I'm not worried about anything yet.
I'm just kind of you be kind of messy down here when things are going to be off screen.
Basically, you know, we're going to be we're going to see this up here.
And then his hands are going to punch through and he's going to jump out.
So I'm just kind of getting everything ready for that.
Switch to my tablet pen clicking a lot with my finger, and that gets old.
He said they like to have a nice little hand posed to start with and not be so symmetrical here.
Season and then might need to animate him up, but.
Also need to start thinking about the actual simulation itself.
So let's say he's going to punch through there, his arm goes.
Works.
Cool.
I go to world, so I know I'm going to go straight up with this hand.
So I'm going to get a pretty close.
And let's go for a punch through.
Seriously, it's crashing right now,
the joys of my.
And we're back.
I don't know why that would have crashed to save this.
Now.
OK.
Boom.
Maybe a little fast.
Well, what's happening there?
What's going on there?
That's CUFI because it's in the world, um.
To in the world, women might have to deal with that later, too.
Let's go to frame five hundred because I switch that up.
Think it's fun.
I was down here, yeah.
Not to worry about this.
Oh, I'm thinking about is the vest on his chest so his arms aren't going to mess with that.
And yeah, anyway.
And.
So let's see how Caparo.
Kapow!
I'll leave that up for a minute about.
Now, all the dust is going to have to settle and then.
Tricky thing is, I think.
I don't know whether I don't know where the destruction is going to be, so I just have to make my best
guess here.
And.
I think I want his hand to kind of.
Rotate out.
When he's done.
Not to be perfectly straight.
So could his thumb to go first.
And take this a little bit.
What's.
This is going to be kind of the antique for.
Him slapping the ground and.
As a way to help himself up.
See, punch pwn.
Punch and make it clear what's happening.
Bome.
Bom, bom, bom, bom, Bom says.
Pumbaa want that to keep going Bumba.
Oh, I keep that going, keep it alive just a little bit.
Scale all this slow down just a little bit, snap everything.
Yeah.
Hmm, well, uh.
So I'm just kind of trying to figure out the timing and kind of the comedic timing nature of it.
And.
But, hmm, I think he needs to go up on all these more solid ground.
The graph editor, and do this kind of globally, see, it should be translate why on everything.
Tili, that one that's looks weird.
Breaks up that curve.
And what's.
Yeah, so I'm asking all of up.
And.
Hmm.
Brome Bloem.
And let's keep everything here
kind of a mile marker, I like to even though I have an animated thing down here, I like to have keys
on the same frame that was kind of like, hey, something someone's about to happen here.
I'm just going to double check the rotations to make sure the curves aren't super wonky, something
like that.
They can see they could maybe be relaxed, they're a little bit.
I'm.
Drew
and slapped a hand on the ground.
Something like this.
Let's just get the pose and then I'll worry about everything else and later.
I may have to.
Tweak this animation based on the effects, I can just kind of do my best right now.
And get him in position to jump out his feet under him.
Where is Paul Vector's oh.
Raise it up a little bit.
I get this and ready to go.
I think let's see if we can't figure out a way for this post to work out to rotate the arm up like that.
And wireframe, yeah, that's something.
Mean a little wonky, but.
Let's get him there.
He is a skeleton so he can do maybe some crazy things and keep his body rotated back.
Maybe.
Yeah.
Yeah, I think we're going to need something like this and then boom.
So let's give ourselves some room for that to actually happen, so meaning?
What I'm saying is the idea is I want to see this elbow move before his whole body jumps out, so it's
like an antique for his body jumping out.
So, yeah, just getting everything kind of ready for that because with the effects.
But the effects, everything that had to come through the center here.
And so what I'm probably going to do once we get into that is just use like a ball or something, a
simple shape.
So I'm not having to.
Sam, all of the all of these interactions and collisions, because that would be way too intensive
for probably not a ton of rewards, I want him to kind of come out of this thing as one ball.
Some may rotate in with that in mind, I mean, you try to get him ready to go like this.
That's going to mess up the in between and make that harder.
So.
Yeah, that's a weird, super weird transition I have to work on, so.
Get the pull of actor and a good spot.
Make this more of an arc snap at a snap.
Schlapp and I want this to be linear, some left clicking just so I don't have to open up the graph.
Editor Slap slap goes the slap and I'm out of frame here, but the hand still up.
So slap, slap.
Two frames want that to be one or two.
So, yeah, I'm just going off screen and left clicking on that key and selecting tangent linear.
Yeah, this is a weird.
It's popping here.
I guess the armed extending the way I think I need to get this shoulder up sooner or just get involved
here.
So, yeah, that's like hitting a wall right there.
Is that Paul Vector?
SLAPP.
I should immediately the shoulder should.
Can I see this without.
And this thing, I mean, she can hide it.
And.
No.
Snag all of this curve's.
Put that in a display layer.
Yeah, that is the one thing about.
Parenting things to hers is you get the geometry with it, you know what, it might be just the root.
I mean, deselect the route.
There we go.
The town might be trouble.
OK.
That to spoil their turn off playback so I can actually see what is going on.
Yeah, I mean, it's not bad, but slap.
Slap.
SLAPP.
It's more for demonstration purposes.
This isn't going to be the most polished animation in the world.
It's mainly just as a demo for having an excuse to do some effects work.
I think it's weird that all that moves over beforehand does, I think that's what's throwing me.
Whoa, wrong shortcut.
And I think we need an antique here not to snag all this stuff and move it over three frames one, two,
three, and then one, two, three.
So that's the same.
So I just basically moved everything over three frames.
Because I want I think I need like a final big Antec on this hand.
Yeah.
Yeah, that makes it read a lot better.
POME slap just need to get the CELMO thing worked out, how it swings around here, not a good look
and I think I can resolve that in the Antec maybe.
Let's get this positioned a little better.
There we go.
And I don't want that to keep going in.
It's like from here to here.
Want that elbow piece to keep going up?
Yeah.
But I want this to go.
This needs to be more hot of here.
Trying to get that arc better.
Mr..
Where's the Antec, here's the Antec needs to go straight up more.
To start.
It's like a wall here.
I think this goes too far.
Yeah.
Slap it, ask them about it when he pops out, Pops.
We saw King.
SLAPP.
Some.
OK.
And then I think we need and I want to make this to be too long, though.
I'm trying to think 20, if we make it two hundred and forty frames long, it's going to be ten seconds.
So that's not a crazy pop slap bust out.
Slap boom.
I think I think I think this should have boom pretty, pretty immediately, I think they should just
keep the action, should keep going.
I don't want to slow everything down here.
Slow this.
Should it go, I think it should go up right.
Maybe a mix that up on the once it's there, should go up here.
Salaam.
Hmmm, no, maybe this town.
And this and then it goes up.
Slough.
Yeah, or boring.
And and so they can do a little something, something while that's doing that.
Stop the hand, come back a little bit.
What
started here?
The thumb was wrong all the time.
Mac.
Just kind of cornered the ground a little bit.
Sorry, I haven't I'm not talking much because.
You know, amazing.
Smack that needs more time, like not moving, it needs to just chill in the smack zone.
I mean.
And keep going.
Is this not that geometry is not included, it appears in this layer to add it to that layer?
So now I can't select it, I guess, and turn that.
Oh, yeah.
Because I was trying to select the the dirt.
OK.
Okay, delete.
Save it a little mouse dragging to get that key, was that moving and just said, don't move?
Oh, I guess I didn't.
Same for you, buddy, and a drag these frames out, one, two, three, four, five, at least bomb.
CMAC.
It's.
Too many friends.
I guess I guess that is what I'm going to do.
This is kind of straight ahead animation, by the way, because I don't know what I'm doing.
And just kind of figuring it out on the fly.
So.
SLAPP.
I think it comes up too high there.
Mm hmm.
This kind of thing probably would be better on Twitch or something, maybe, but you are getting it
in this course because you don't have to watch this if you don't want to.
I'd rather you have too much stuff to watch than not enough and want more.
We like you know, I never saw him make that animation.
How did he do it?
And so now now you're going to know.
Still wonky and a little bit, but I honestly.
Yeah, I think that's better.
It's just like a little it's just like a little thing like let me get my grip and then he's going to
blast out of here, OK?
So.
Let's blast off what was that frame?
It's him going down, so one, two, three, four, five.
Turning now, I want his hand, I move these together.
Oh, what's happening there?
That should be world well crap that is not following the world.
What is that about?
Oh, boy, I was driven.
Key problem here.
Why is that not following the world have a real issue.
I just discovered and.
I need to uncover it here is real live troubleshooting.
So world.
So zero.
So both of those are on zero and for this one, that one is not on zero.
This is the problem right there.
OK, let's save this good thing.
I'm using a reference file because.
I can adjust the rig and make updates and.
Driver is a driver, and it is not going to hurt my information.
So.
I just think I just never said a key right or driven.
No, dummy, I want the constraint.
And this is on your shoulder, so if I go to world.
Wait a minute.
What the hell?
Oh, no, it's on.
Yeah, there you go.
OK.
OK, so.
Now.
You should follow correctly.
No one in the world he dumdum.
This one zero, that one is still one.
What the what I said.
What I said, zero, I mean, I have a record that I can play back for you.
Sorry, that's off screen.
You're not seeing what I'm clicking.
I'm just going through the rig.
What the hell?
That is on world, that is on follow, this should be what the hell are the wrong -- thing?
Jeez Louise, OK, this is this is the deal here.
Now.
This is one world, I think that's it.
I wonder if that's what I did last time.
Yeah, now it's working.
Immediate problem solved.
OK, and see, I didn't screw up anything else, save it now when I open up my animation.
File.
I heard you say that, but what I heard, boom, see, now that's an WorldSpace, OK?
Yep.
Okay, let's basically delete everything, I guess.
Let's go to where we're going here and let's just delete all that, because that's on helping us.
And these are rotations I'm looking for.
You know what?
Get down there.
How about that?
I don't want it to go through his chest for sake of the.
Vist.
OK.
So now delete all that and.
Make sure I don't know what those are.
Then why is that our visibility?
OK.
So let's get a look at our graph editor, where we made that last big keyframe, where it's about to
go down on that one.
On this one.
OK, so I want to get this in position.
That one is going to be there, so, you know, just can position there, buddy, buddy.
Oops.
It's on the wrong frame there for a second.
What's unhide the dirt so we can see where that kind of limits are here?
I need to be and Haroche and.
Elbow tie.
Let's get this going, let's get this kind of over is.
Thing here.
That's right, that's
OK.
OK, I said get over there.
Pete King.
OK, I was going to be jumping through Skype, bam.
It's got the shoulder marking.
I'll probably screw it up.
This is.
Skin-tight.
So keep it down here, just make sure it's not crashing into human bodies.
The vast has room.
Just kind of kick out of his face.
You see his face when he's popping out.
And.
He's in position like he's jumping out of the bottom of his thing.
My teacher has Cofan.
So I'm just blocking in the major poses here on the job.
I'm not super worried about much else.
Um.
And you can tell I'm just ignoring the Hans.
And when I compress everything a little bit, so there's room to stretch it at the top, so I'm thinking
ahead of.
What the next pose is going to be,
it is 3:00 in the morning here and I'm probably going to call this quits because I have work in the
morning.
This is part of trying to create courses while having a full time job working in the industry.
I stay up until very late trying to make these courses or making them and not trying, I'm actually
doing it, but.
I don't want him to be higher than the.
Flaw is, you know what I mean, and he needs to be coming forward some.
Yeah, because he needs to, like, land in the front Skidelsky douche douche.
Scrooge, this is going to be the hangtime, hangtime, hangtime, hangtime.
Awarenesses, knees, oh.
Make kind of a cool pose, you know, the one thing I'm not doing that is animating to a camera, which
is kind of a no no, I should have already picked out a camera.
So let's do that super quick and create a well, my eyes are really going to go to bed here.
New camera.
Let's name this render cam.
And let's do something, not 35, that let's frame it up so we can see what we're doing, and I want
him to land like in the camera layouts to paint side by side.
Give me the perspective now.
Turn all this junk off.
Give me the texture, because I want to look pretty, OK?
Skardu.
Duche, skin, skin.
Do I look like he's coming out of that side?
I think he's coming out of the side too much.
He needs to be more over.
I guess that's fine, right?
He's just gonna call us.
What's going on over there?
Pop in the middle now we need to get him back over, let's look at the graph better or just see what
I'm changing.
It should be probably X.
Hip.
OK, same for these
to translate these centre.
Say
Skidoos.
But.
Oh, by all means, go higher, yes, feels good, his and.
On World Briem straight up.
He needs to keep floating.
This is kind of maybe much or.
He feels a little slow.
What I should do as well as.
Do an actual play by play blast so I can see the.
Actual speed because.
Playing it back in my ear can be deceiving.
So let's see.
It's still rotating up.
I want this to be more.
Just head on straight.
Because he is.
Pushing out with this hand, I want the spine to rotate that way.
And then.
Have his.
Kog follow, let's have him rotate.
Staffers rotate more this way, so he has more room schoolish and he gets to rotate and then rotate.
You can tell that I'm not really touching his neck much.
But that's kind of nice, this, I must say, that sometimes, and he's kind of more limited animation.
Things, because then you have like an extra layer of control, if later you're like, you know, and
I just want to tweak one little thing and.
You don't want to mess with all that head animation you've done, you have the knack, but yeah, boom,
boom, jump.
So.
So it feels like it's jumping.
I think it's the camera maybe.
I think we need to be like this just feels like there's so much like who's jumping?
I don't know.
I'm going to have to, like, animate the camera, I think.
I want to see his hand.
All this stuff needs to come over as annoying part.
I want to look at this straight on.
Back up annoying.
OK, from jumping, jumping, he needs more air time.
He's coming down too soon.
One, two, three, four.
I like that.
And.
All this stuff.
Plus.
Yeah, sure, whatever.
Yeah, that's right.
And then he should come down pretty quick, I think this is maybe too far out from school and then we'll
get all of us.
And.
I think you should come down pretty quick, actually.
Okay, let's see the forward momentum we've established here on Translate Z, you know, bad, you can't
see that.
Basically there's no reason why you should start to slow down in midair, um, going down.
But yeah, OK.
I want the feet on the ground, which means that.
Uh.
He's over too much, you can see that and see that that's way too much, but he should go home.
Looks like the Ed is not.
There we go.
It's not updating the viewport.
Some want a change of timing, a little bit skew.
But in general.
Champ.
So.
So it's been one hour.
It is now 3:00 in the morning.
I really got to go to bed.
But I think if we make good progress, smash smack, smack looks weak now because we can't see the elbow.
I think what I think when we can see the elbow, it'll look better.
Yeah, that's kind to change.
Yeah, we'll just have to figure that out.
When we do the facts, because we got to see that Elbo.
I mean, it's not terrible.
I think the timing is weird.
Let's fix that super quick.
There's too much all this is too much time.
See where we have keys that we can move around.
What's what's the key here for delete the whole thing?
Yeah, I mean, delete that.
For one frame.
I could delete a that goes far.
So now I'm like looking at the spacing, let's take a frame out of there.
Watching the hand come down smack, that's the wrong.
It's like in here one of these one of these frames.
Why is this being such a jerk?
This is nothing what is this keyframe, even deleted?
Yeah, it still feels kind of slow.
This one.
Why is that frame so weird?
Because it's an in between with no where to go.
Yeah, that's better.
OK, that's that for tonight.
I will pick this up again and see you in a little bit.
Thanks for watching this and we will wrap this up in the next section in the next.
Next time I start animating again, I can't even talk.
I'm so tired.
All right.