All right, so we're back and I'm going to try to finish this up in this session and take a look at
where we're at and we basically have a jump and we just need to get the landing down and then kind of
pick a final pose for him to to kind of have the kind of final reveal thing or the final kind of flourish
to this little animation.
So when I get this landing down, I'm going to go back through and figure out the arms.
Not too worried about them right now.
So let's figure out where the last keyframe was.
It's here.
I just toggle through to see kind of what's happening.
OK.
So I think we can get this like Strader.
I can probably come up here on that later.
I'm just looking at the fear right now, OK, schoolish.
But this one further out in front of them, something like that.
I'm looking at this line right here, trying to not make it so broken, so the longer that is, I think
it'll make it feel more stretch, more of a stretch to pose.
I have to figure that this in-between stuff, because that right arm is going wonky, let me fix this
wrist while I'm looking at it.
Turn off Arabs, Kurds over here, you know it all on that side of doing this thing.
It's.
So, yeah, just trying to get this stretch posed to be as stretched as possible.
And later.
It looks weird.
Bring down both of these feet.
They have more room to go up in this next pose.
Yeah, because they need they need to go up more and the next post selves got to take them down a little
bit here so they have more room to go up here.
It's a little slow here, which is kind of weird.
Let's bring.
Mean, I think I need to take some keyframes out.
I think it's kind of too slow in here.
I want the slow part to be at the very top of the jump, not before I want it to all the slow stuff
to be in there.
I think he can come out quicker to.
Yeah, so you can kind of see just what one frame we'll do, see, oh, it's going out of frame, so
I have to probably intimate the camera, which is OK.
Still want to get this figured out.
Yeah, it just kind of hits a wall here, just going to do a go ahead and do it in between in here.
I like I've fought as hard as getting up the top post.
I think it's from the spine rotating and I'll look at that and the graph editor that should be Rotate
Z, which it is.
We can see this big spike right here.
So I can just take this back.
You know.
Now that goes back there.
That's.
I think it's from the hips or the CSG.
No rotating.
Yeah, I get that back.
These hands to do something different.
Come on up here.
The elbow to go in there yet to stay out here, it's too close, you can see where it's too close.
I want to drag it further back.
You know, I think I want this hand to lead.
So when I get this pose started out here to want it to go that far in.
It should go up one to to already be going up here, I think.
Yeah, it's more gradual than the other one can kind of catch up, I still too fast, though.
Anyway, I'll figure out some other way to offset these, but that needs to be going up already to.
I'll deal with this later.
I want to move quicker than I am right now, so.
See how it just stays at the same level and here, I don't like that.
One second.
OK.
All right, let's get into the next post.
So everything is calm here.
Let's get the landing pose.
Let's get the squashed pose.
Let's bring I grab my hands while I'm grabbing this, because I want that relationship to kind of stay
the same, and I'd also like to look at I want to make sure the momentum's kind of still going down
the same rate somewhat.
So I'm just starting to slow down here.
And let's get this foot more the front.
Zero zero out all these rotations.
Back and forth, that needs to go somewhere different.
Yes.
All right.
You know, I think when you take some frames out of your.
Yeah, did I grab everything still moving?
Oh, you know, what happened is I have trancelike why I selected here, so I'm only selecting trancelike
why I was going to be select everything.
See here, there's one frame where they go off set to get everything together.
No power, no.
And I want to start I think I want this to be a part of the Antec into the next
BULOS, so I start twisting him because I wanted what I'm doing is going to turn away from camera,
then turn into camera like a ta da kind of moment.
So I need to go ahead and start to have this on the squash pose of this.
Start to Antec.
That next move that I'm going to have.
So I'm going to do this back and then he's going to squash more when the dog comes up.
Bring this down, grab the pole, Victor, get this town, get this to start to be, because I'm going
to want this arm to come all the way across his body and I need to start to get this pole vector and
position.
Schoolish Skewes Yeah, I'm going to keep moving fast and go back through this stuff later.
Why is that one frame after that happening?
Get over there.
There's still.
OK.
So boom, boom, I think I'm going to need more down subtle stuff maybe in here, just keep going.
And this is really kind of considered straight ahead animation.
If I was doing pose the pose, I would have.
Then less poses sooner, but because a kind of more comfortable animating just in general, that I have
confidence that I can fix whatever problem comes up.
So I just kind of like take this speed through this stuff sometimes and go pose the pose.
I'm sorry.
Go just go straight ahead like I'm doing right now instead of doing pose to pose, which is just a personal
preference.
So, again, just kind of.
Thinking about next poses where everything needs to be.
These things to this to come all the way across his body.
And this kind of character is a little difficult to pose, I would say just because of the silhouette
is not as clean as something that's not a skeleton, just because there's so much negative space inside
of his body and the limbs are skinny and all that kind of stuff.
So that's kind of a nice practice, really, to try to get good silhouettes with something bony.
I'm not, you know, being too particular about that right now.
I do want to just kind of speed through this to have because the whole point of this next section is
not animation, it's about effects.
So I want to make sure I'm focusing enough time and attention on that.
Even though this is bonus content, just the time that I'm putting into the course, I don't want to
get tired of from doing something not related to the next section.
So that is just inside baseball, as we say in America, of what's going on in my head, trying to make
sure that I'm making this course as valuable as I can to people.
And I always try to think of myself when I was starting out, you know, what would I want to see?
You know, the funny thing about when I was starting out on YouTube was just starting to be a thing.
So, like, there was not a ton of online resources like I'm making.
So I'm trying to put myself, you know, from ten years ago into today's shoes.
And ten years isn't that long of a time.
But in an age when we didn't have YouTube and then we had YouTube and every other kind of Internet thing.
It 10 years can be a lot of technologically speaking, so I'm just trying to think of what I want to
see when I was starting out, and that's what I'm trying to give you guys here.
So I hope you're liking it.
I mean, why drag that and more about this is going to come down, but.
Try to figure out this, I want this hand to come across the lower, it's getting all wonky.
Look how wonky that is.
And the last thing I want to look at is the rotation here.
If we go to or filter boom, that's going to fix that.
So the hand should be rotating correctly now.
But now I just need to fix all of this wonkiness because it's trying to go straight across the body
and not rotate around like a real arm.
So that's up to me to fix.
As an animator, I have to figure all that stuff out.
So I drag it out of here.
And because I have all these selected, I'm not seeing those keyframes in the timeline just going to
turn off seeing timeline display so I can see every keyframe no matter what I have selected in the appropriate
ED.
So not look on from the camera of you want this to come across.
And I think that Albert needs to be fixed, too, as one of the main things here.
And do you want to think about.
If I was to draw this, this kind of goes back to more old school animation, but you should think about
even in 3-D, that each one of these is a drawing.
And if you don't have any traditional animation background, I think you probably just imagine and appreciate
what what really that would entail.
But, you know, these are these are each we're seeing even though we're animating in 3-D, this is
a 2D view, right?
We're not like in VR or whatever.
So at the end of the day, we're going to have a finished
to the image that people are going to watch.
I don't want this.
OK, I'm going to try something super quick, and you might want to skip through this next section because,
OK, I use animation layers when I want to test something that's not going to screw up the animation
I currently have.
I'm going to do a whole course on this stuff is more intermediate.
But basically, I want to test an idea, something I said a little while, markers here.
I want to go in here and have.
A different kind of powers.
CUFI.
Just like there should be maybe a 10 hour moment here.
I think this isn't going to work, but I like experimenting.
Does.
Wow, yeah, that's super wonky.
Everything is moving too slow.
What I'm going to do.
And Ms.
Get this to happen quicker, but,
yeah, I mean, I think it's an, you know, an interesting idea, but.
I think.
I don't know.
That kind of adds like a nice little thing, I don't know what that is, but it kind of adds like a
nice little.
I kind of like that, I don't know now I know what I'm looking at, I kind of like that being just kind
of adds like a little cartoony meaning.
So I just need to fix some of this stuff now because I was moving keyframes around.
What's happening there?
Oh, there we go.
Yeah, what the heck?
It's kind of more interesting.
So, you know, I'll start an animation like this and then I'm all about experimenting and, you know,
just trying something new, something totally kind of wonky maybe.
I think I think I think I'm buggin out about is if we watch his head.
I think I want to head to.
To do something, let's get it up here.
And I wanted to lay that.
I think.
You know, when I said I wasn't going to needle this thing to that, I now I am a little bit.
But am are you going to do.
I don't know, that's a little weird, I think it's too bobbleheads.
So I think it was going to go in here and scale all of this down, whatever the heck I'm doing out here.
That fixed it's just kind of a little more subtle bing.
Yeah, I think I like that.
Better bring it's kind of warm.
I can needs to get resolved because now his hand, his wrist is doing wonky stuff.
Let's see if it's a cooler filter thing.
It was OK.
Oh, now it's all flipped around, though, huh?
Weird, huh?
OK.
We heard.
And.
This is called Gemba Lock.
That's very frustrating.
Oh.
It comes from yeah, look at this man, it's already like a gamble from like day one here.
Mm.
It's just kind of keep posing it out and see if the feels filter can't fix this somehow.
OK, and now what's up?
Yeah, this is animation, um, constantly going back over the same area and seeing new things and getting
annoyed by it to the point that you want to do something about it.
I don't understand why this is being such a jerk with the rotation's getting Inverloch.
Oh, you know what?
Yeah, it is from the, um, it's from the animation there.
This is.
Let's.
Let's break this down.
Sorry, I'm not talking.
I was trying to move quickly.
Um.
OK, so I'm going to save a version now, save another one.
And again, I'm not really.
Taking time to explain stuff, because this is
this is a bonus thing.
Why would it merge to itself?
Because this is a bonus thing, I'm trying to just go quick, because this would be like a.
A 10 hour thing, if we if I tried to explain everything and I would never get this done.
So now I think we'll have a better chance of solving these rotations than all of the information lawyers
begged.
And I have confidence in you guys.
If he really wanted to figure this stuff out, you you'll figure it out.
Uh.
And like I said, I'm going to have an intermediate class that covers these things.
Smash pose, strike a pose.
Just fix this and.
So, yeah, in general, I think.
A little experimentation and adding this ad adds quite a bit, I think, to the animation.
And some more personality, you know, this is more of a flamboyant, kind of gregarious, if you will,
Skelton guy, so we should have a little more pizzazz on the on the.
Jump parts here that are.
Let's keep that going.
Yeah, I think that works.
Yeah, go spoon, little kick.
I think that's cool, that's working.
I so want.
This to rotate up.
Go higher and to fix this knee thing.
Same thing with this one trying to fix their.
Yeah.
I think I want to keep this rotate it up and get here so I'm not being super particular about where
my keyframes are coming from, right.
Just yet.
So, like, for example, I'm.
I'm kind of going rogue on this now,
meaning I'm just putting keyframes wherever the hell I want.
Sorry for the cussing, wherever I would like them to be.
That's where I'm putting keyframes.
See how that goes straight across like this needs to go come from down and it needs to Lupa.
I need to come in more.
Like, that house has like an antique.
See, I'm like, I'm like, are you doing Polish stuff in this phase, which is probably not good.
Um.
It's kind of a bad habit to show me showing people like how I'm working, but this is kind of what it
is.
Boom, boom.
I feel like we need to give that snappiest to this leg, too, because it's kind of want wall right
now.
If I was to spend more time with this, what I would do is make the hand be a little more snappy, too,
because they're kind of slow compared to the like, offset them because they're kind of going at the
same time.
Like here, how they both are there at the same time, I'd probably offset that a little bit, but just
keep moving on because we can do this all day.
That's the thing with animation is you can never really be done with it.
Right.
Like, you could just go for forever.
Why is there a keyframe all the way down here?
Oh, from, I think, taking the.
Back in the animation layers.
OK, let's see how off balance is maybe a little bit, because he's favoring the side that he's already
in front of.
So distance to come over a little bit, all this stuff.
I'll make sure these.
The baking did some wacky stuff, added some keys and some weird places, we're just going to go with
it.
There we go.
I'm looking at are these feet positions?
I think this one needs to come forward more.
And this one goes back.
Because of how I'm setting up the intake here, Ms.
OK, let's get this figured out.
A leading old keys after I made that new pose that are stopping this from.
He's come forward that are stopping him from.
And between incorrectly.
I want that foot to hit, you know, like a bouncing ball, it should get I should get down pretty quick.
Still, it does actually just copy this frame here.
Little mouse drag, of course, brings that down so that I can see how far off that is, I'm going to
delete that and I can see it should be out here.
Now, that's kind of nice because we can all set the.
The FT hitting now.
You we can't really see his feet, but I just want to make sure in case we change the camera, I'm kind
of glad we added that kick.
It adds like a little something.
Something.
OK, now.
Let's move him over here, rotate, rotate, rotate, rotate, rotate, rotate.
I think it touched the ground.
No, we're not that well, maybe if we do this.
Pretty close, I think that's okay.
The.
Just kind of suggest he's throwing it out there for balance.
Yeah, let's get that and all the way across.
To really twist it here.
Has come down more, so he might actually feel the touch now, because I do want to bring him down more
salvoes walky.
I like to look at things from another from other angles and then look at the graph editor translate
not to have someone to see the translator here.
Well, it's kind of.
Well, make sure it's all making sense from a physics standpoint that.
And Al.
I said sometimes it messes up
Skidoos Skardu.
I think all this had stuff like some Hanbali stuff happening here, I think we can see it here.
What's up here?
And let's get this.
Baby, yeah, it's all this all of this happening here, all these.
On these tangents are weird.
There's something happening here, see how he stops going to the left of the screen here in midair and
not like that.
Why is that?
Oh, yes.
Yeah.
So.
Yeah, OK, I got rid of that problem, yeah, so, you know, you can tell, like I do, you know,
do the best you can and then you can see where issues are coming up and you just go through and fix
them.
And I think it should still be coming down at the speed.
Maybe take some frames away here.
What?
Josh, so annoying when maybe it's my tablet, I'm working on a tablet that the.
Not it's not picking up the right click or whatever.
Jane, out of adjusted everything now, the hand isn't working anymore, of course, it's going to go
through here because the.
So I'm looking at is, you know, the silhouette here also, I kind of want this to go down and up.
This one's bugging me.
OK.
Now, I'm going to kind of do oppose the pose kind of a thing where I'm just going to get the final
pose and I'm going to deal with everything else later.
I'll just pick, you know, a couple of frames out here.
Let's get this guy into his final pose.
And that way we can kind of wrap this up here.
It's going to be a lot of kind of getting everything back to the default to kind of see how far I can
push it.
And.
It's going to make it doing this positive stuff is going to make it really obvious where to spend your
time fixing stuff.
Let's see, I'm trying to think in my head what I want to do is down and I want this hand to have to
come back.
So I think he's going to need to twist more, like keep everything keyframe, everything.
I think he needs to twist more here.
So he has more room in this next one.
Maybe delay that turn.
Yeah, OK, so I want I don't want to, like, miss his whole face here.
And I want this to maybe go in this direction first.
So what's happening is everything's moving at the same time here, so I'm going to copy this.
What, 30, I copy this with this one back, grab the one before this one, copy it there and then I'm
going to really have this.
Yeah, and let's do that here.
And OK, I think we'll fix everything else that's happening, kind of weird and in between.
Let's get this final pose in.
Probably need some more for him here.
Let's get the fingers to zero.
Let's get us forward on this twister and let's just zero everything out.
I wanted to be the opposite of whatever it's doing before seems to come up here.
Hmm.
Well, whatever.
I'm not you know, I'm a little concerned about where this is going, so I don't have a great idea.
I'm kind of trying to find it in this post.
So bear with me because I'm not entirely sure what I'm doing yet.
I think maybe this one should be low and those should be high, maybe.
Something like.
So there are a lot of different.
Let's get him straight up.
Let's get this, but more not right under him, spin it out here.
This over a bit over something like that.
Routings, hopes.
A little bit.
OK, I think that's kind of we're getting somewhere.
You know.
I think and, you know, again, this character is not the easiest thing to pose, which makes it like
really good practice with when you do get something that's maybe more appealing or has your silhouette
to pose out.
So something like this looking at the silhouette and the left of you here.
And.
Yeah, something like that.
I was a Shalders kind of happy, like one like, you know, what would you expect?
I'm a skeleton, dude.
Of course, I'm going to be harder to pose because I don't have no muscle sorry, being, like, kind
of silly.
So this is kind of a cliche pose like the pose.
So you just want to try to find a way to break it up.
And it's referring to, like the letter W because you have like the Y thing.
But if you have it offset and like one elbow is more obtuse and one's more acute, meaning the angle
from the elbow, you kind of just break it up.
So it's not super generic of a pose like that.
Super helpful.
And twist, twist, as always, your friend.
Uh, yeah, too much.
And.
Oh, I think I put one and I do, I put it on.
For this character.
I don't I put his.
Can't I put his Blende Shape's?
You know what, I think a.
This might be another big issue that I'm discovering right now.
I don't know that I.
Oh, here we go.
I'm not home, so yeah, um.
Um, my my.
Oh, that was the extra one.
I not mess with these for this one.
Just leave the face stuff out of this.
But yeah, anyway, so it's heading down here and if you follow the rigging part, you know, you could
have done a sedative and key like add attributes and do a sedative and key right here.
So all the face stuff is on that controller
and it may take another pass of this rig.
And have it be available on my website that has it like a little more polished, but no guarantees.
I just, you know, I try to maximize the time I'm spending on where I'm spending the time on these.
Like, what's going to get the most you what's me the most useful for the time I'm putting in?
Because I do have a limited amount of time.
So when I am using it, I want to make sure it's going I'm going to have the biggest return on investment
in my time for you guys, not for myself, of course for you.
So I may or may not update the rig.
But I mean, I think this poses kind of working, I think.
I'm looking at, you know, just getting that that neck to be a little more straight into the head here.
Let's take a look.
Oh, yeah, let's work on.