Now we just have to deal with all the in betweens smack.
And I think I'll probably end up changing the timing of some of this takes a little too long, but I
guess what they affect, that's why I love that much time.
And I want to deal with this is not good, that that's annoying.
So any time you're doing a walk or there's weight getting pushed off, you want to.
You know, you want to let me do this whole I'm going to do a whole thing here.
You want to stay kind of till the last possible second.
And so what's happening here?
I flatten this back out.
As you know, in between, it's just coming up with the rest of the body, because we didn't do, you
know, keyframes on every frame.
So then I go back and make sure that's what's up.
And we can see we want to make sure the contact is happening here.
So everything is acting friendly.
And then this pose needs to stay down.
Can I do a really bad Arnold Schwarzenegger impersonation of get down the bridges out, but not subjected
to that
if you ever get a chance to teach classes?
They're kind of interesting because you start to go kind of insane a little bit because I'm just talking
to myself.
Oh, let's see here.
Why is that so far back?
And I want this shoulder to stay down here.
You know what, I think we ought to shoulder that we can do a copy frame deal.
Almost.
So it's this kind of thing that makes a lot of difference.
And, you know, this is what I would be doing if.
You know, I was trying to make this into like a real peace or, you know, I would eventually probably
have.
A keyframe not for every joint or every controller, but a keyframe on every
on every single frame for at least one control, probably because I'd go through and make sure everything
is doing exactly what I wanted to do.
And.
Make sure that is the case.
I don't want that to slow down as much there.
I think what's thrown me off is the elbow.
It's kicked us out a little bit.
I try something
you I said I wanted to offset stuff and just try that by shifting keys over.
It's kind of a no no, but it's a quick and dirty way to to get that offset.
See how, like, his hands need to stay there for pound because they're not super reading.
They're not reading super well.
But this is the perfectionist to me starts I have to like tell to shut up because I'll never get this
done if I just keep tweaking it till the end of time.
But if you're into that kind of thing, that animation is probably for you.
Because that's what it takes.
Cool.
OK.
All right, so all that's happening, the fast ball of law, which affects this kind of thing, and
then we all be done.
Say, one, two, three, because I want to go one, two, three, and I want to keep this over here
for as long as I can because.
He's pushing off with the hand, so that needs to go down because I want that to kind of be the last
thing.
And his foot needs to stay down.
Everything, yeah, OK.
Someone needs to stay back and I might do a little football action on it.
Let's see for all the.
I want this by I want all this stuff to stay over.
We'll see where his head hits a wall here, Bill, and then it starts already coming back.
I don't want that.
I want that to stay over.
But I want I do want want this to be doing stuff soon.
I want the cog to be doing stuff sooner, but I want this to stay over here.
And honestly, he's kind of off balance a little bit, but that's what it is.
I just hate how it just hits this wall, I think I need to dial this one back.
To give this more room to do this, yeah, perfect.
See how his -- is going up and heads still doing what it was going to be doing anyway,
so I just bring that down more.
That stretch of the stretch now.
So.
So I take this final frame, I'm going to duplicate it, and then I'm going to offset everything again
over here to favor sort of minimal straggled maybe in here somewhere.
And same thing with his head.
Let's track that.
Let's bring this over.
Let's bring these up maybe.
Let's bring this up.
Or let's bring them down, maybe.
Yeah, I just need more time.
This should already be done, I think.
I think it needs to wait a little longer.
Increase the foot roll a little bit.
Keep that going.
Yeah, I'm trying to do OK, so I need to do the same thing I've been doing kind of offsetting things
well and this is all this stuff is too slow.
And I use the filter thing, it looks like the curves that's rotating weird, yeah.
Is that beautiful?
I need to make this a little better.
Let's see.
For some reason, there we go.
My.
That's like not updating Seper while.
OK, I think this needs to stay up.
Trouble is, we don't have much further to go, so we've got to bring this down.
And this seems to come over more.
Seems to go over more.
I've see.
But that's a little weird, but, uh, the happens, but it's slow, all that stuff is slow, slow and
slow.
Spine is rotating here.
That all that.
Yeah.
Way too slow to, uh.
Go to the dragon's head more here.
Early on, I said to.
So I'm basically going through and kind of
getting everything to settle on what I really should be starting with is the Karg.
I want this to bounce.
Basically in the wild, let's get let's just deal with one thing at a time.
Bo, bo, bo.
That's too much.
Yeah, OK, now we're getting somewhere.
OK.
And I'm not looking at his arms, they need a lot of work.
And want to delay the foot to Speedy Gonzales here.
Maybe even more.
So he did the same thing with spine.
Bell says he needs to.
Keep going.
Let me see it here.
Let's see.
This might be too much.
Yeah, it's too much.
And it's happening on the same frames, so it needs to happen like one frame after.
I think that one's too big.
Come on.
What's going to help this is.
Doing things in the opposite way.
Already.
And we just need to ease all this stuff.
That probably upset these frayed nerves.
Yeah, sounds kind of the sternum here is kind of doing a circle,
this is what this is what I'm looking at.
So, you know, there's like a little room, there's a little circle here, draws a little circle with
the sternum or almost like it, just like one little curlicue thing.
Well, let's see.
Kind of get stuck here.
I feel like it needs and wants to come back.
Which way is this going?
Yeah, that's a long line, I feel like it is it wants to come back this way.
Very subtly not saying Brown.
It sticks here, boom, boom, boom, boom, boom, boom, boom.
And I think that's this.
Yeah, like how flat that is.
I think we need to keep that going and look at this angle.
What is going on here?
So knows what I'm just like, I don't know what to do because they exaggerate the crap out of something
to be like, OK, for sure, don't do that, are for sure do it.
So, yeah, that's what I needed to do.
So sometimes it's good to
exaggerate stuff like that.
So I want to go through here.
And kind of have it all flow.
And despite all this stuff.
All that stuff is super slow.
I feel like I need to delete this track all this now.
Yeah.
And a lot of this just comes from practice and not being afraid to experiment.
You know, when you're starting out, you want everything to be perfect and you don't want to make any
mistakes to prove that you're good at it and blah, blah, blah, because you're kind of insecure,
because you're learning something.
And in reality, that can make you.
Less willing to make mistakes or like try new things, which is kind of dangerous because you're not
learning as much and as quickly as if you make mistakes, like that's a mistake.
And I'm just trying to figure out what's the right thing to do here.
And I'm OK with, like, not knowing the answer all the time.
And sometimes it's super helps to.
And look at things in 3D.
It's getting wonkier and wonkier, as I say, all that and try to be all smart, like screwing up.
So slow, I think this is slow is crap, that's what's up.
Yeah, I mean, the shoulder itself, that moves pretty quick, we just need to stay up, we just need
to stay up longer.
I like all that stuff.
We just need to keep this up.
I think that's OK.
And in reality, a lot of times people ignore the shoulders and they just want to focus on the hands
and that's like super beginner move, which, you know, I did for the longest time because I'm just
like, everyone's going to see the hands.
I don't want I want to spend time on the shoulders.
But the reality is they actually can carry a lot of emotion and really break up an upper body, which
might not normally.
Have.
As much motion and especially character, like a rig like this, you want to use everything to your
advantage that you have.
Yeah, that's kind of good in this shoulder, settles
a lot sooner.
It's a little distracting sometimes, come on, the hands aren't doing stuff right, so I just follow
this through and then figure out what is going wrong here and then I'll have to come back to the shoulders.
And fix the rotation's.
Ms.
It's maybe a little too animation.
It's not terrible, but like it kind of just calling calling attention to itself.
I think maybe if I did this rest a little bit.
Yeah, nothing making it worse.
Some, uh.
It's kind of it's too much.
It's kind of annoying, but whatever I've had the air conditioning off in here so that you can hear
me say my words.
And it's getting super hot in here, so I'm trying to work as fast as I can so I can turn the air conditioning
back on, I'm burning up right now.
Yeah, it's too fast, clearly.
Holy crap, what the world I don't know.
Still, I think it wasn't updating or something like that's fine.
And then what happened just went crazy.
Crazy.
Oh, my wallet, it's hard to hear what don't I like I don't like that wall.
I think if I rotate the wrist in a better way, it'll be less.
That takes forever.
What in the world is going on there?
This is bugging me.
But in general, I hope this has been useful for you.
This.
This is the deal.
That's fast.
I should be like a fraction what it is.
It really bugs me that it's this wall going vertical, step through this and see what's happening.
It's a wall right there.
OK, I think if until the rotation of this hand.
Well.
Solve the rest of these problems.
There's this thing happening here.
There were the.
What's the.
One frame less, one frame less, and let's have it go back down here.
Yeah.
I don't like I don't like this.
This is about.
Yeah, OK.
All right.
It's slow, it's so slow.
Oh, yeah, yeah, bugging the crap out of me over here all that way too slow.
Boom.
Oh, yeah, it's all way too slow.
Still.
Yeah, that's way better.
Let's take a look at the head.
It's up.
I think it needs to.
Still, let me go and see here.
Let's see.
So you can tell what I did was I started from the root and I went I worked outwards from there because
know
that.
It's going to affect the whole body, so if I was to do a head and then I did the Koji.
I would just have to start over every time.
See what's happening here.
Yeah, just too hard.
Schmahmann say.
Hits like Boom, Boom, and it's Z, so we can take a look at the graph, editor of my tablet Will let
me comes in too hard there.
Let's just come down there.
Why not?
To give it an extra frame.
Yeah.
No, it's fine.
OK.
What no what no world just happened there.
Oh, did I?
Yeah, I think that's what the camera.
I didn't realize it.
Look.
Yeah, that's pretty good.
And so I think this will give us a good place to stop.
I think we're done here and let's play the whole thing and let's let it run for like another second
after it's done would be maybe five.
OK, let's get big here.
Let's turn on smoothie stuff.
Let's turn on this, maybe so that.
Yeah, so.
Well, I'm going to do next is and with the camera.
So sorry, I said we were done before we were done.
And you always want the camera to, like, follow the action, you don't want it to lead.
So.
Um.
Same thing like a follow through.
He wanted to kind of continue after it's done here, take this keyframe, bring it back down.
And it overshoot in the bottom here and then come back up.
And the only other thing I might do is add some
handheld looking motion here.
So we'll start here.
Just kind of go through and do like little.
Little things this.
To see where we're at with that.
Yes, I feel bad, I mean, congratulations, its own thing, and you definitely want to spend time
on that,
but in general, like for handheld stuff, you know.
That's too much moving, too fast and too much here, and this needs to go up, you start to get a sense
of this.
I could probably do a whole class, just like Henry Animation, which I might.
But yeah, this takes practice, if you know, and that's considered kind of a layout artist job, so
which it's kind of hard to find like really good layout artists.
So that could be one way to kind of break in into the industry a little bit is to tell people you are
excited to do layout and camera work.
It's just going up swings over here.
Just keep going.
And so that's one way to kind of break in, because I feel like they're always looking for camera.
People are layout artists.
Like I know on the last movie I worked on, we were kind of having a hard time.
I honestly didn't even really have a layout department.
And it's like a huge part of a production.
And yeah, we just didn't have that.
So I know it might not pay as good as animation starting out, but it's like I've seen people go from
layout to animation.
So if you wanted to get an animation, you're having a hard time getting in.
You could explore layout artist positions.
So, OK, I swear to God, we're going to be done here in a second.
I think I was down too fast, there was.
That goes up too quick, yeah, it's just a lot of back and forth, right?
Um.
I actually did some camera work on Ready Player one, and it is it is its own thing for sure.
Oh, my gosh.
To the mail service things.
So we just need like a couple more poses in here.
That gets us.
Yeah, I mean, that's not bad, really.
Then I might honestly just take this stuff that I know is kind of OK and paste it in here.
This is not going to work quick or, you know, what they say like or not harder but smarter, and I
think we just need to flip this this we don't need to go that way with we need to go this way.
And then I think we need to.
Overshoot the stuff a little more in both directions.
But still, there's still that key, bring it over here on that to go down more.
Yeah, that just kind of sticks there.
You need.
Their.
Joe.
OK, I just need to fix this, whatever the heck is going on over here, just to let these.
What happened before here?
Yeah, OK, let's take a look at that now with some animated camera.
OK, that's way too much motion, I think, here in the beginning, because I want more frantic stuff
later that will mimic like the emotion of, oh, my God, there's a skeleton popping out of the grave.
So if there's all camera motion before the action takes place, it's kind of takes away from when the
action does actually take place.
So let's just dial all that stuff back and delete that.
Bring that up.
Yeah, and he's probably not actually doing much anyway.
So.
Let's hear.
It's now on.
You need to go like this, the gravity of is one thing, at least in America.
I don't want to be able to do it in a on a Linux or a PC because it's really fun thing where it.
Refocuses everything when you don't want it to.
OK, there was like we hit a wall right there, an X, no Y, yeah, OK.
Sorry for the motorcycle noise, OK?
OK.
Now it's X, what is going on here, it's bouncing up, boom, boom.
So all this stuff together, more frames.
Bring it down.
It doesn't need to come over, I don't know what's all this stuff, why is it rotating over this much
annoying?
Right in there, that's the stuff.
Let's bring all this down.
With us.
And, you know.
I kind of have a sense for what it's going to do, so I'm not actually even checking my work, I like
do all these things on the curves and then.
I'll check it.
It's it's anticipating this move too much, this move, and then it starts too early, this is too much
and it's too soon.
All this stuff needs to go later.
Let's do everything later by at least a frame, maybe take everything to friends.
Um, bring that up.
That's a little quick.
Whatever is happening here.
I just go wide, take everything, make sure I'm on the right one, just give it one more frame.
The only thing I might do.
Hmm.
As back up the camera a little bit, because I want to see this moment more
to delete all the keyframes on translation, just back this thing up or you know, what else I can do
is just change the focal length, something a little wider.
I don't want it to keep going up there as much, I think we've kind of overplayed that moment for the
offset a little too much.
Let's get it going down.
I mean, I don't know, I think I'll probably look at this tomorrow and not be happy with it and make
more changes, but.
You can at least see kind of the process a little bit and yeah, this is all coming up too much.
All this stuff should stay down.
Let's focus on the guy.
I mean, come on, that's we spent all this time animating and let's look at let's see, his full body
thing going on.
I think I might try is a focal length Zoome like.
I'm going to just do that for fun right now.
And.
Was play it back for me.
Oh, OK.
I think this that works, actually, I might just keep this.
There's a siren coming by and dogs are howling.
Um, I forget what the good way is to reverse this type of animation.
But let's just go let's let's just do this.
I think in this move, I can maybe cheat the camera up, rotate it up and that motion a little bit.
Yeah, let's do that.
Cool.
I think I just need to set, like, a overshoot, you know, all these all these animation concepts,
and they don't just apply to a a bouncing ball.
It's everything, right?
It's the focal length on a camera.
Right.
I'm over.
I'm going to overshoot it and bring it back.
And that's why it's so important to learn principles,
because you can apply to everything in animation.
So let's see how that overshoot looks.
Cool.
OK.
I think I'm happy with that.
I think we are done now and I can finally turn on air conditioning again.
I think the jump.
It's a little fast, I think all this stuff is a little fast and may.
Slow down, but I'm going to end this because this is like two hours now just in the session, so I
think it's three hours total.
Yeah, I'm going to do it for two weeks, maybe compose the camera down more a little bit here.
Well, thank you for watching this kind of bonus content.
I just want to make sure that you guys, you know, see every step of the way and don't think I'm,
like, trying to do smoke and mirrors on you.
And so they don't know exactly what I'm doing for every aspect of this course.
If you have any questions, send me a message posted to the course so that other people can see your
question.
I can answer it because other people might want to see have the same question.
See that answer?
Yeah.
Follow me wherever I'm at.
You can, you know, Google my name and, um, to see of course, updates and all that kind of good
stuff.
But thanks for watching this bonus content and I hope you have an equally enjoyable time animating this
little guy, doing something kind of crazy that we can apply some effects animation to you.
But yeah, I'll see you in the course.
All right.
Thanks for watching.