WEBVTT 00:00.420 --> 00:02.910 So we've got to follow through animation to a pretty good spot. 00:03.390 --> 00:10.020 We've learned about that principle and but there's still room to improve and let's discuss why that 00:10.020 --> 00:12.240 is and why we can improve this and how. 00:12.750 --> 00:21.030 So if we look at this piece as a chain, this kind of tail, we would assume that it would never really 00:21.030 --> 00:22.650 get in a straight position. 00:22.650 --> 00:27.180 If it's swinging back and forth, there would always be something kind of trailing behind. 00:27.660 --> 00:33.790 So let's just do this for the first swing and then we can continue and do that for the rest. 00:34.290 --> 00:37.320 So since this is the biggest swing, let's let's follow this. 00:37.950 --> 00:39.840 So we have our two keyframes here. 00:39.840 --> 00:46.290 If we have all these pieces selected and we have this kind of extreme pose, we can see in the graph 00:46.290 --> 00:53.460 editor and then it travels down and they all go together, write each piece of the chain goes together. 00:53.820 --> 00:57.180 And that doesn't really make a ton of sense physically. 00:57.570 --> 01:00.090 It almost gets everything gets almost straight up and down. 01:00.240 --> 01:07.710 And if all of this was traveling from a right to left direction, you know, these bottom pieces are 01:07.710 --> 01:09.180 following these top pieces. 01:09.570 --> 01:14.160 So this would lead and then this would follow and that would follow that one and the bottom would fall 01:14.190 --> 01:15.550 the second the bottom one. 01:15.990 --> 01:20.840 So we need to reflect that in our animation because right now they're all just moving together. 01:21.150 --> 01:27.000 So if we just went to about halfway between these two key frames here at the bottom, let's just say 01:27.000 --> 01:34.830 halfway around here, let's just keep these rotated back in the direction that they are following in 01:35.400 --> 01:38.310 and we can do a little bit less just for this one. 01:39.150 --> 01:46.560 So now if we take a look in the graph, Ed, we can see there's kind of different grades here. 01:46.920 --> 01:53.460 And it looks like these two or maybe even maybe too much because they're going almost past their extreme. 01:53.470 --> 02:00.650 So I'm just going to lift that one up because we want the extreme to be before it starts to slow down. 02:02.060 --> 02:07.760 So now let's take a look at this, this top piece is starting to straighten out, but it's dragging 02:07.760 --> 02:11.500 these bottom pieces so they're still getting dragged from this right to left direction. 02:11.510 --> 02:13.390 They don't know that they're slowing down yet. 02:13.760 --> 02:15.740 So we needed to reflect that. 02:15.740 --> 02:20.560 So now when we get into this middle frame section, it's not straight up and down. 02:20.780 --> 02:21.170 Right. 02:21.320 --> 02:22.310 It's a progression. 02:22.670 --> 02:24.680 This piece goes straight up and down. 02:25.100 --> 02:28.640 Then this piece, then this piece and then this piece in time. 02:28.640 --> 02:28.990 Right. 02:29.300 --> 02:32.680 But in this key frame, they're not all going to be straight up and down yet. 02:33.020 --> 02:36.320 So when we scrub forward, we need to keep that going. 02:37.160 --> 02:40.480 And another way that we could do this is actually offset the animation. 02:40.880 --> 02:46.040 Now, it's not something that I would encourage, but it is maybe an easier way to conceptualize this 02:46.040 --> 02:46.420 stuff. 02:46.790 --> 02:52.160 So let's just delete these key frames and we can offset them so you can kind of see what I'm talking 02:52.160 --> 02:52.510 about. 02:53.180 --> 02:58.790 So we could take all these bottom pieces and let's select all their key frames and move them back to 02:58.790 --> 02:59.570 key frames. 03:00.590 --> 03:04.370 Then we can select these bottom two and move them back to key frames. 03:05.630 --> 03:11.150 And then finally, we can select this bottom piece and move this back to keyframes, so we've created 03:11.150 --> 03:11.800 an offset. 03:11.810 --> 03:15.230 If we select all of these now, we can see in our curves there's an offset here. 03:15.590 --> 03:19.880 Each one progressively gets animated with this follow through. 03:20.330 --> 03:21.980 So now if we play this back. 03:25.040 --> 03:34.070 It's much more, you know, feels like a chain and not that everything is kind of moving in one piece. 03:34.640 --> 03:36.830 Now, this might be a little exaggerated. 03:36.840 --> 03:43.970 We might have needed to do maybe one frame offset instead of two or maybe progressively get to one. 03:43.970 --> 03:50.510 So maybe we could drag this one back one frame, just shift middle mouse trying in the graph editor 03:50.510 --> 03:52.030 there, as usual. 03:52.370 --> 03:53.360 So, yeah. 03:53.360 --> 03:58.370 So maybe the further we get down the chain, the less frame offset there is something like that because 03:58.550 --> 04:03.650 there is quite a bit of weight here, you know, just by the size of this kind of picture that we've 04:03.650 --> 04:04.400 created here. 04:04.760 --> 04:08.450 So maybe settle a little quicker towards the end. 04:09.050 --> 04:11.700 But that's the idea of adding Polish this fall through. 04:11.720 --> 04:17.840 Now, I hesitated to show you this offset method because it gets a little bit dirty when you're animating. 04:18.140 --> 04:19.460 Now, look at our timeline. 04:19.460 --> 04:21.040 There's keyframes everywhere. 04:21.050 --> 04:26.390 So let's say if we wanted a retime this thing, you know, where do we even begin to, like, shift 04:26.390 --> 04:29.780 click and making sure everything's being retimed evenly? 04:30.380 --> 04:37.220 So that's why I would encourage you to also consider a method of going to undo on some of this and also 04:37.580 --> 04:42.050 encourage you to consider a method where you intentionally place these offsets. 04:42.050 --> 04:42.350 Right. 04:42.650 --> 04:45.920 So that they're all being keyed at the same time. 04:45.950 --> 04:47.360 That's why I showed you that first. 04:47.750 --> 04:51.620 So, you know, we'll add a little offset here with them all together. 04:51.950 --> 04:55.460 I'll deselect this top one and add even more of an offset here. 04:55.760 --> 04:57.080 And, you know, we haven't changed time. 04:57.080 --> 05:02.030 We're still in this middle middle frame here between these two extreme poses. 05:02.600 --> 05:07.830 And then I can get to this bottom one and add even more of a offset there. 05:08.210 --> 05:11.810 So then when we select all of these, it's a much cleaner, right? 05:11.840 --> 05:14.000 There's only one extra key frame. 05:14.270 --> 05:18.830 And we're kind of adding this offset in the value right this way. 05:18.830 --> 05:20.000 We're adding that offset. 05:20.510 --> 05:23.900 And we can continue to do that through all of these key frames. 05:24.270 --> 05:30.680 So, for example, here, we would know, you know, maybe these wouldn't be in this position until 05:30.680 --> 05:31.150 later. 05:31.460 --> 05:37.910 So let's go to this halfway mark and let's just middle mouse drag this value. 05:38.240 --> 05:42.590 If middle mouse drag here, it'll actually save that key frame. 05:42.590 --> 05:46.030 And when we hit key, we can see that it brought it over here. 05:46.040 --> 05:50.030 So instead of copying and pasting it, we actually have saved that key from over here. 05:50.570 --> 05:56.720 So we can actually just delete this because we know we don't want it to continue to go in that direction. 05:56.720 --> 05:58.400 Right when it's here. 05:58.760 --> 06:02.220 When all of these have finished, the top ones have finished going over to the left. 06:02.600 --> 06:04.160 This one is still falling behind it. 06:04.160 --> 06:05.660 So we want to show that. 06:06.270 --> 06:11.530 And we already have that kind of animation built in with these offsets so we can just delete that key 06:11.540 --> 06:13.620 frame and just kind of take what it gives us. 06:13.640 --> 06:19.700 We could also offset these even more by, you know, playing favoring these key frames on the left. 06:19.710 --> 06:21.620 So moving the key frames up here. 06:22.550 --> 06:24.890 And let's just take a look at this first swing. 06:26.150 --> 06:31.540 So we we already have that kind of follow through offset, but it's much cleaner, right? 06:31.550 --> 06:33.530 We only have these kind of two key frames. 06:33.530 --> 06:35.690 And if we wanted to retime this stuff, it's way easier. 06:35.690 --> 06:37.880 We're only dealing with like one key. 06:38.300 --> 06:45.530 So go through this and add these offsets to the animation and choose whichever method you like. 06:45.530 --> 06:49.910 You could click and drag and use these offsets if you're confident, you know how many key frames you're 06:49.910 --> 06:51.950 going to offset them and you're not going to need to retirement. 06:52.400 --> 07:00.080 Or I would encourage you to use this method that is a little more deliberate and you're taking control 07:00.080 --> 07:06.740 of your animation and choosing exactly what keys to put where instead of animating everything and then 07:06.740 --> 07:08.030 just kind of offsetting stuff. 07:08.300 --> 07:11.630 It's not really the best way to go about animation, but you're learning. 07:11.630 --> 07:14.960 So, you know, do whichever you like for now. 07:15.260 --> 07:20.000 But later on, you know, if you got deeper in animation, you would not want to use those offsets that 07:20.000 --> 07:20.450 often. 07:20.990 --> 07:25.910 Now, one other thing we could do is use the graph matter again to our advantage. 07:26.270 --> 07:32.060 So instead of setting offsets here, you know, let's take a look at this little keyframe section here. 07:32.750 --> 07:39.140 This is getting dragged at staying back, at staying back, rotated this other way, and then it finally 07:39.740 --> 07:43.060 starts to rotate and start to follow the other direction. 07:43.070 --> 07:43.390 Right. 07:43.400 --> 07:44.900 Right on thirty eight. 07:44.900 --> 07:45.850 Right on this key frame. 07:46.550 --> 07:49.970 Well, it's, it's still getting pulled. 07:49.970 --> 07:50.270 Right. 07:50.270 --> 07:56.450 And when it's going in this direction, so it's starting to flatten out either way too soon. 07:56.810 --> 08:00.380 And of course we can grab this key frame and drag this down. 08:01.520 --> 08:04.100 We could set a middle key frame here. 08:04.670 --> 08:05.810 There's all different things we could do. 08:05.810 --> 08:12.530 But just a super quick I just want to show you the other thing you could do is to use the tangent handles. 08:12.920 --> 08:20.090 So if we actually grab the tangent handle here and middle mouse drag it down, we can continue this 08:20.330 --> 08:23.840 type of animation for longer without having this set. 08:23.890 --> 08:30.520 Another keyframe, so we could do this for the top one two, so we could middle mouse drag this so that 08:30.520 --> 08:37.780 the peak is later, it's past the keyframe, but the animation we're getting is kind of for free almost 08:38.050 --> 08:42.430 that it's keeping this rotation longer without us having to set new keyframes. 08:42.850 --> 08:49.960 So that's another method you could use to help offset this animation is by rotating the tangent handles 08:50.290 --> 08:51.900 as offsets as well. 08:52.330 --> 08:59.020 So that's another good way to, you know, eliminate having too many key frames in your scene in an 08:59.020 --> 09:04.030 early blocking stage where you want to try to keep the scene and number of key frames as low and as 09:04.030 --> 09:05.020 clean as possible. 09:05.380 --> 09:07.750 So thanks for watching and I'll see you the next lesson.