WEBVTT 00:00.590 --> 00:07.310 In this lesson, we're going to learn all about antics or what is known as anticipation or Antec for 00:07.310 --> 00:14.910 short and an anticipation, is all about the movement before another movement and anticipation of movement. 00:15.470 --> 00:21.950 So what I mean by this is if we take a look at the example we've already animated and we have this motion 00:21.950 --> 00:24.080 here, it just begins. 00:24.350 --> 00:27.910 There's no indication that this robot is about to move. 00:28.250 --> 00:29.330 It just begins moving. 00:29.840 --> 00:37.760 And most times that anyone does an action, they usually do some type of an antic or anticipation and 00:37.760 --> 00:44.000 good examples of this would be throwing a baseball or, you know, throwing a punch, trying to punch 00:44.000 --> 00:46.670 someone, you know, a golf swing. 00:46.970 --> 00:50.030 There's many, many examples in life where there's anticipation. 00:50.420 --> 00:55.370 You don't just simply hold the golf club at the golf ball and then push it forward. 00:55.670 --> 00:58.760 You have to swing the golf club back before you hit it. 00:59.120 --> 01:05.990 You have to bring your arm and fist backward before you try to throw a punch forward or throw a baseball 01:05.990 --> 01:06.620 forward. 01:07.130 --> 01:09.200 So this is what is known as an antique. 01:09.830 --> 01:14.930 And in our case, we don't have a punch or throw or anything with a character yet. 01:15.260 --> 01:22.880 But antics apply to really any motion because what it does is, is it signifies motion is about to happen. 01:23.240 --> 01:27.410 It's usually a smaller movement that happens right before bigger movement. 01:27.680 --> 01:34.220 So it basically is a kind of signal to the eye of the viewer to say, hey, look over here, this thing 01:34.220 --> 01:39.560 is about to move this way or usually in the opposite direction of where it's moving. 01:39.570 --> 01:45.020 So, for example, in our case, if we wanted to create an antique, we can leave this frame here. 01:45.020 --> 01:45.560 Frame 10. 01:45.560 --> 01:46.790 This is the start frame, right? 01:46.790 --> 01:53.150 If we look at the graph editor and we have to frame it up or we can get a to frame all we can see that 01:53.360 --> 01:56.090 translate X starts here. 01:56.120 --> 01:56.470 Right. 01:56.490 --> 01:57.830 It goes forward from there. 01:58.670 --> 02:03.170 What we can do is actually use that frame ten as an antique frame. 02:03.170 --> 02:06.170 So let's go back to frame six and had a key frame. 02:06.560 --> 02:09.050 So now we have two of the same values. 02:09.540 --> 02:12.650 What we can do is actually bring this value up. 02:12.980 --> 02:20.660 So let's just jump over to that key by hitting the greater than symbol on the keyboard. 02:20.810 --> 02:24.110 Always get the greater than the less than symbols mixed up on the keyboard. 02:24.650 --> 02:25.430 There are the two. 02:25.690 --> 02:26.870 You know what I'm talking about. 02:26.870 --> 02:33.020 If you've ever taken a math class, so you hit those two to switch between different key frames on the 02:33.020 --> 02:33.440 timeline. 02:33.830 --> 02:35.510 So now we're to the Anta Keyframe. 02:35.750 --> 02:37.820 So all we need to do is simply move it backward. 02:37.940 --> 02:41.930 OK, now we can see it's moving in the opposite direction of where it's going to go. 02:42.170 --> 02:42.530 Right. 02:42.530 --> 02:44.540 We can do this in the graph here as well. 02:44.540 --> 02:46.010 Shift middle mouse dragging that up. 02:46.490 --> 02:48.740 So it just depends on how big of an antic do we want. 02:48.770 --> 02:50.150 This might be too big of an antic. 02:50.630 --> 02:52.970 I think that's probably just a little too big. 02:53.570 --> 02:57.260 Let's bring it back a little bit and lets it play. 02:59.360 --> 03:03.830 So it just gives it a signal right before it starts moving towards the box. 03:04.370 --> 03:06.410 This little bit of backwards. 03:06.440 --> 03:07.280 That's an antique. 03:07.340 --> 03:09.020 It doesn't have to be more complicated than that. 03:09.050 --> 03:09.380 Right. 03:09.830 --> 03:15.290 But basically, if we're watching this and we don't know what's about to happen, we can see that that 03:15.290 --> 03:17.000 robot is about to move somewhere. 03:17.030 --> 03:17.420 Right. 03:17.420 --> 03:20.120 There's this little bit of an antique right before it moves. 03:20.510 --> 03:21.770 And that can be very subtle. 03:21.770 --> 03:23.090 It can be even smaller than that. 03:23.540 --> 03:24.320 But that's an antique. 03:24.320 --> 03:31.010 So all we have to do now is now that we have this antique built in, is we need to go down the chain 03:31.640 --> 03:34.820 and do the same thing that we've already done and offset the chain. 03:35.150 --> 03:41.060 So let's click on everything so we can see what the start frame is, which is six s on that. 03:41.360 --> 03:48.260 So it keyframes everything and now select just the chain and they go to frame ten and rotate all of 03:48.290 --> 03:53.900 these back and then I'll frame back and forth with those shortcuts on the keyboard. 03:53.900 --> 03:55.460 The greater than or less than symbols. 03:55.970 --> 04:00.590 You never want this thing to drag further back than where it started from because that wouldn't make 04:00.590 --> 04:01.430 any sense physically. 04:01.430 --> 04:01.730 Right. 04:02.030 --> 04:06.080 If we exaggerate that, we would never want to drag this thing all the way back here with an antique 04:06.080 --> 04:07.700 of that small, that makes no sense. 04:08.030 --> 04:08.420 Right. 04:08.420 --> 04:10.850 It this is trying to stay where it is. 04:10.850 --> 04:11.180 Right. 04:11.600 --> 04:19.130 So the furthest we want to go is really if we look at this point here where this white ball is at the 04:19.130 --> 04:24.860 bottom, if we hold our mouse there and this is what I do when I'm animating just to kind of pin my 04:24.860 --> 04:30.260 mouse to something, I just kind of leave it there and see, OK, is that thing further one way or the 04:30.260 --> 04:30.680 other? 04:30.950 --> 04:32.030 I went too far with the keyframes. 04:32.600 --> 04:33.770 Is that thing further? 04:33.770 --> 04:34.700 One way or the other. 04:35.690 --> 04:39.050 And it's good because it's on this right side of it. 04:39.380 --> 04:41.060 It was on this other side. 04:41.060 --> 04:46.430 We know we had gone too far because rocking back and it's unmotivated, right. 04:46.430 --> 04:49.670 There's no reason why it should be moving back that way. 04:50.120 --> 04:51.950 The ball's moving to the right right now. 04:51.950 --> 04:56.210 So if anything, this heavy piece of the bottom should try to be staying where it is. 04:56.660 --> 04:59.740 So at a bare minimum, it should be exactly where it it. 05:00.050 --> 05:06.020 Was or should be kind of drag starting to drag with the ball, so you just kind of have to find a happy 05:06.020 --> 05:07.700 medium there of where that is. 05:08.600 --> 05:13.700 So the other thing we need to do is, of course, offset the this next part. 05:13.700 --> 05:15.470 And we can do that in several different ways. 05:16.220 --> 05:21.200 But let's just see that little bit kind of helps hold that thing in place. 05:22.100 --> 05:26.090 So it it needs to really start to to follow the ball. 05:26.090 --> 05:30.350 And this bottom piece needs to swing over here because it's still trying to catch up. 05:30.350 --> 05:30.650 Right. 05:30.930 --> 05:37.160 This ball's Antec over here and the bottom part is still trying to catch up, even though the top has 05:37.160 --> 05:38.990 already left and started going the other way. 05:39.410 --> 05:39.620 Right. 05:39.770 --> 05:41.980 The chain has not been pulled yet in that direction. 05:41.990 --> 05:46.430 So we need to continue that motion through the bottom of the chain here. 05:47.240 --> 05:53.420 So let's go a few frames forward and basically where this is straight again, we want we don't want 05:53.420 --> 05:54.200 that to be straight. 05:54.400 --> 05:54.830 All right. 05:55.550 --> 05:59.540 This should be kind of maybe even an s shape that should still be pointing this way. 06:00.770 --> 06:03.550 And this should be starting to swing over there. 06:10.450 --> 06:12.610 So now these are still trying to follow. 06:16.890 --> 06:21.870 Maybe these are still going a little bit that way, so let's see how that looks. 06:24.410 --> 06:28.150 I think that's the right idea and might we might need an extra little frame there. 06:33.450 --> 06:42.240 It feels like it's getting stuck and then it goes here, so we might need to start this this animation 06:42.240 --> 06:46.560 sooner, so I'm just going to grab everything and move it one frame forward. 06:46.900 --> 06:48.830 You can kind of see this in the graph, Ed. 06:49.500 --> 06:54.780 You know, it's like there's this kind of emotion here, this slope, and then it's fast over here. 06:55.560 --> 06:59.760 Let's just move this these keyframes over and it starts to kind of smooth out that slope. 06:59.760 --> 07:03.660 So it's it's more similar to the rest of the motion. 07:06.310 --> 07:11.390 And that feels already a lot better, does it feels like the bottom part hits a wall right here. 07:11.860 --> 07:20.650 So you want to continue this motion more over here, so let's grab that and rotate it. 07:25.730 --> 07:28.220 Sitting Alvie on the keyboard. 07:30.670 --> 07:32.260 So that feels a lot better. 07:33.420 --> 07:38.910 And we might we could even maybe push a little bit more even from a higher control. 07:39.980 --> 07:46.340 To favor this side, because that really starts to take off there so we can kind of adjust these even 07:46.340 --> 07:54.940 more and then maybe even actually drag let's drag this one, the bottom one, just a touch more. 07:54.950 --> 08:00.350 So it's it's even it's trying to stay back here still. 08:01.710 --> 08:07.280 That might be a little too much, so I'm not going to use the graph, Ed, bring it back, you know, 08:07.290 --> 08:13.320 I switch back and forth a lot of times I kind of work visually in the timeline and then I'll I'll switch 08:13.320 --> 08:13.950 over here. 08:14.430 --> 08:19.410 And I think what I'm going to do is favor the frame right before this and bring it up. 08:19.950 --> 08:23.480 So I'm using a combination of all the techniques we've learned thus far. 08:23.910 --> 08:26.310 I'm going to scrub through and see how that kind of works. 08:26.310 --> 08:27.750 I think I like that. 08:28.410 --> 08:29.400 That looks a lot better. 08:30.090 --> 08:36.950 And, you know, half of animation, if not probably a lot more, is really just training your eye. 08:37.260 --> 08:42.540 So while I can teach you Maya and I can teach you the principles of animation, it really takes time 08:42.540 --> 08:45.050 to see what's actually happening. 08:45.540 --> 08:46.680 So I like where that set. 08:48.270 --> 08:55.710 And when we look at this motion over here, the claw gets close and it just goes down. 08:56.490 --> 08:58.310 We could have it go up and down. 08:58.320 --> 09:02.760 If you think about it again, just to kind of drive point the home about an antique, it just starts 09:02.760 --> 09:03.480 falling down. 09:03.480 --> 09:10.380 So we could actually drag this motion, this up, this down motion over a few frames to give us some 09:10.380 --> 09:11.040 more time. 09:11.520 --> 09:15.480 And then instead of it just going down like this, let's set a key frame here. 09:16.110 --> 09:18.570 Let's go to translate why so we can see what's happening. 09:18.570 --> 09:21.000 And, you know, like we expect it's just going down. 09:21.360 --> 09:22.800 Why don't we set an antique here? 09:23.640 --> 09:26.100 So it goes up just a little bit and then it goes down. 09:28.950 --> 09:33.130 So it settles and then it goes up and then down, so it kind of tells us. 09:33.180 --> 09:34.320 All right, I'm getting ready, boom. 09:35.010 --> 09:35.460 Right. 09:36.810 --> 09:37.590 Let's see the whole thing. 09:39.100 --> 09:45.700 Up, down, I think that might be a little quick, maybe not, but you get the idea. 09:47.130 --> 09:53.490 So again, what we can do to kind of play this back is to run around a play blast real quick so we can 09:53.490 --> 09:54.570 see what we're doing. 09:54.600 --> 10:00.330 So let me just do that to make sure the timing of everything is as we are seeing it in the viewport. 10:05.680 --> 10:06.790 So let's evaluate this. 10:08.300 --> 10:14.030 And it does look pretty good, it looks like it's going down a little slow, but I think that's OK for 10:14.060 --> 10:17.000 the kind of action, you know, it's trying to be very accurate. 10:17.000 --> 10:20.600 So the robot is trying to be pretty accurate as it comes down on the box. 10:21.050 --> 10:23.600 So it makes sense that it kind of slows down there a little bit. 10:23.630 --> 10:28.220 So we always want to try to think about the motivation behind all of the actions, even if it's something 10:28.220 --> 10:32.480 as simple as a robot and, you know, very, very kind of linear motion here. 10:32.480 --> 10:34.840 It's just a direct kind of a thing that's happening. 10:35.510 --> 10:39.020 So let's take a look at the clock control real quick. 10:39.830 --> 10:46.880 If we select this bottom control, we can see there's a pinch control here and it's already set to zero. 10:47.270 --> 10:52.610 So let's bring this back a little bit because we want it to clamp down on the object. 10:53.890 --> 11:01.870 When it's down here, let's just extend this out to 100 frames now, and, you know, it's sharing key 11:01.870 --> 11:03.100 frames because we keyed it. 11:03.490 --> 11:08.200 Since it has the rotation's, it has keyframes on the pinch for everything. 11:08.200 --> 11:11.680 But let's say that we want to keep this thing open. 11:12.910 --> 11:18.700 And for the beginning part, I'm not going to go all the way to 10. 11:19.690 --> 11:25.360 If we click on this attribute in the middle mouse dragging the viewport, we can see that it has a limitation 11:25.360 --> 11:26.810 of going from zero to 10. 11:26.830 --> 11:27.940 We can't go past 10. 11:28.750 --> 11:30.250 And I built that intentionally that way. 11:31.540 --> 11:33.730 So let's drag these. 11:33.730 --> 11:37.360 So they're just below 10 because we want to leave ourselves a little room that we can play with here 11:37.360 --> 11:40.360 and go even bigger if we wanted to do an antique. 11:40.360 --> 11:40.720 Right. 11:41.170 --> 11:42.620 This is what this lesson's all about. 11:43.360 --> 11:46.570 So this thing stays open and it swings over here. 11:47.110 --> 11:51.870 And then I think it would be cool if it kind of pops open here. 11:52.360 --> 11:55.240 So what if we actually closed it down? 11:57.100 --> 11:58.990 Maybe that's maybe that's something cooler. 11:59.560 --> 12:05.710 You know, this is kind of to me, the fun of the animation is like on the fly thinking of ideas, because 12:05.710 --> 12:09.460 you can kind of plan all this stuff and you and you definitely want to plan your animations out. 12:10.180 --> 12:19.630 But part of the fun is just like getting inspired while you're animating and trying stuff out because 12:19.630 --> 12:22.270 you're not going to know exactly what you want to do all the time. 12:22.270 --> 12:25.930 That's just that's not realistic. 12:27.040 --> 12:34.210 So let's say it comes to a stop here and I want more so we can see the Antec of the claw opening. 12:34.540 --> 12:37.930 I want to move all of this animation later. 12:38.500 --> 12:42.760 So let's give it time for the claw to open some of the middle shift, middle mouse, drag this stuff 12:42.760 --> 12:43.120 over. 12:43.940 --> 12:48.610 So now we have some frames to work with for the claw to open because we want to be able to see it. 12:48.610 --> 12:52.960 We don't want all this action happening at the same time, like the ball is going down as the claws 12:52.960 --> 12:53.380 opening. 12:53.740 --> 12:56.080 The viewer won't be able to see both of those things happening. 12:56.080 --> 12:57.100 They'll see the ball moving down. 12:57.100 --> 12:58.240 They won't see the claw open. 12:58.990 --> 13:04.330 So we're always thinking about staging, which is another principle of animation that that's about clarity 13:04.330 --> 13:05.380 and what's happening. 13:05.560 --> 13:05.890 Right. 13:05.900 --> 13:10.270 So this is staged pretty clear that this thing is going to open or we're going to try to grab the box, 13:10.270 --> 13:11.830 but we want it to open before it does that. 13:12.250 --> 13:13.780 So it pops open here. 13:14.290 --> 13:17.920 What we can do is add a Antec even to this opening. 13:18.430 --> 13:21.370 So let's see, this thing kind of settles here. 13:22.520 --> 13:29.660 I guess we can kind of see this from these other keyframes, let's just match this back up so it settles 13:29.660 --> 13:30.080 there. 13:30.410 --> 13:35.720 It's going to move that one over and let's go forward and have the Antec be here. 13:36.050 --> 13:37.050 Someone I'm going to hit us. 13:37.090 --> 13:38.480 I'm going to drag this down. 13:38.810 --> 13:42.680 If I go past the zero and the graph editor, it won't do anything more, right? 13:42.950 --> 13:48.050 Like if I select this and I middle mouse drag over here, we're limited to zero. 13:48.650 --> 13:54.530 And if I click and drag this past zero, nothing's going to actually happen over here that doesn't relate 13:54.530 --> 13:55.100 to anything. 13:55.400 --> 13:58.480 So zero we know is as far as I can go. 13:58.910 --> 14:02.240 So let's see if that's a big enough Antec, so we can kind of see that it's going to open. 14:02.730 --> 14:03.830 I think that's not big enough. 14:03.830 --> 14:09.200 So all we have to do is just drag all of these keyframes, which really, really need this first one. 14:09.830 --> 14:14.390 We can just drag this one and have to frame it up and just drag this up. 14:14.810 --> 14:19.070 I'm going to K and click over here to jump into the time there. 14:19.400 --> 14:21.740 I could have otherwise just kind of click down here in the line. 14:21.740 --> 14:24.140 But I been using my long enough. 14:24.140 --> 14:29.450 I have a lot of the shortcuts and the quicker you pick up shortcuts, the faster you'll be using Miah. 14:29.450 --> 14:34.040 So that's why I will continue to encourage you to use shortcuts. 14:34.610 --> 14:36.740 So yeah, let's just go even more. 14:38.210 --> 14:39.950 Let's see how that works for an antique. 14:42.430 --> 14:50.020 Yeah, it's I mean, I think I think the bigger Antec will be when it opens fully, so I'm not too worried 14:50.020 --> 14:52.900 about this one and you can definitely over Antec stuff. 14:52.900 --> 14:58.930 It's kind of can be too much sometimes, like too much of an animation thing. 15:00.180 --> 15:02.470 I'm actually just going to make this linear. 15:02.470 --> 15:03.580 So it goes straight into this. 15:03.610 --> 15:09.010 Remember, this is a robot, so the motion isn't always going to be smooth so we can have it start very 15:09.130 --> 15:10.840 fast and just pop open. 15:11.980 --> 15:13.570 But again, this is the antics a little. 15:14.110 --> 15:19.720 Maybe we can make this linear to you know, I'm discovering this stuff with you guys as I'm doing it, 15:19.720 --> 15:20.410 but yeah. 15:20.710 --> 15:23.890 So boom, I think this thing just needs more time before it goes down. 15:25.540 --> 15:26.620 Let's bring this way over. 15:27.160 --> 15:28.510 Let's give it a ton of time. 15:29.060 --> 15:36.190 It's going to do its thing so and takes a little bit and then opens what I want. 15:36.430 --> 15:43.250 Is it to be way faster and to have like a pretty hard Antec here at the top. 15:43.270 --> 15:44.200 Let's get to ten. 15:44.200 --> 15:45.370 Let's make this linear. 15:45.760 --> 15:50.140 So it's a really sharp kind of jolt open, like pops open. 15:50.800 --> 15:52.430 I want to make this linear. 15:52.480 --> 15:57.130 Let's see how this linear kind of stuff works, because I think with the robot, it'll work really well. 15:57.130 --> 15:58.210 See how that kind of snaps. 15:58.210 --> 16:01.630 It's it there's all this kind of smooth motion with the tail. 16:01.630 --> 16:04.120 And so it's kind of nice to have contrasting animation. 16:04.120 --> 16:08.870 We have all this smooth, floaty, swinging motion and the claw is a contrast, right? 16:08.870 --> 16:13.150 You always look for contrasting animation and that's what makes it interesting. 16:13.150 --> 16:17.020 So here we have contrast with the types of curves we're using. 16:17.350 --> 16:23.050 And I didn't plan this, but this is really, you know, how you find those opportunities is playing, 16:23.050 --> 16:23.370 right? 16:23.380 --> 16:25.000 This is why I love animation. 16:25.810 --> 16:28.180 We're just playing here and discovering it as we're doing it. 16:28.870 --> 16:33.190 And so we discovered a way to inject a lot of contrast here. 16:33.430 --> 16:35.830 Even if it's I say it's a lot it's it's pretty subtle. 16:35.830 --> 16:42.970 But, you know, this is just kind of an example of where your mind needs to be at. 16:44.560 --> 16:50.800 When you're animating and play with timing, but I think it's so fast, we're missing it actually in 16:50.800 --> 16:52.680 the viewport boom. 16:53.060 --> 16:55.800 Yeah, I'll bring that back out one frame. 16:56.260 --> 16:58.360 So again, I'm just shift middle mouse dragging. 16:59.080 --> 17:05.100 Yeah, I think that looks really cool because it's like we're kind of waiting for it to open. 17:05.110 --> 17:06.220 It's like what's going to happen next. 17:06.220 --> 17:11.580 It comes to a stop and then it's like but I think that that can happen even quicker here. 17:14.910 --> 17:24.870 Oh, yeah, and, of course, feel free to make sound effects, you will not be alone and that most 17:24.870 --> 17:28.910 animators, I would think, probably make sound effects at some point. 17:29.220 --> 17:39.330 So let's get this timing of it coming down and the right spot pops open, pops open, and we want it 17:39.330 --> 17:43.110 to kind of come down maybe right in here. 17:46.430 --> 17:49.040 Might be a little too close together. 17:50.130 --> 17:50.900 Oh, yeah. 17:54.230 --> 18:02.720 I think I want a little more hangtime on this, Antec, so I'm going to do is go to what we we've learned 18:02.720 --> 18:04.850 in a previous lesson about the weight of tangents. 18:05.450 --> 18:11.360 And I'm actually going to increase this middle mouse, drag this out. 18:14.720 --> 18:24.290 So it can go a little faster and let's make kind of an overshoot, so this is another concept in animation 18:24.680 --> 18:25.410 we're covering a lot. 18:25.430 --> 18:26.570 This video is getting really long. 18:26.600 --> 18:27.830 And I apologize. 18:28.310 --> 18:29.660 We're covering a lot. 18:29.660 --> 18:35.330 But I feel like once we're kind of on the stream of things, I hate to segment this stuff up because 18:35.330 --> 18:37.970 it's I don't know if it makes more sense, at least to me. 18:39.830 --> 18:44.030 Let's get this thing down closer and what we're going to do as we're building it, an overshoot. 18:44.720 --> 18:48.570 So this thing is going to go past where it's going to end and then it's going to come up. 18:49.430 --> 18:51.530 It's kind of kind of think of it like an antique. 18:51.530 --> 18:55.070 But at the end, right, like this thing, it is a robot. 18:55.070 --> 19:00.860 So it's pretty precise, but it's going to, you know, go past just a little bit where it's going to 19:00.860 --> 19:03.500 finish and then return boom. 19:04.670 --> 19:04.970 Yeah. 19:04.970 --> 19:06.440 So that's called an overshoot. 19:06.440 --> 19:08.240 And we've covered a lot in this video. 19:08.240 --> 19:12.590 We've covered antics, we've covered contrast and we've covered. 19:14.150 --> 19:18.500 Yeah, look at that, the sharpness of that looks really cool, the claw opening and now we've covered 19:18.500 --> 19:19.190 overshoots. 19:19.560 --> 19:20.420 This is like. 19:22.090 --> 19:28.360 You know, a semester's worth of animation learning and one little video here. 19:29.860 --> 19:32.150 OK, cool, yeah, it looks really cool. 19:32.170 --> 19:34.030 We could even add like another overshoot. 19:34.030 --> 19:36.130 It's, you know, the same thing, like the bouncing ball. 19:36.130 --> 19:39.580 Again, you can do the bouncing ball type of a theory here. 19:39.580 --> 19:44.850 So the overshoot overshoots itself and comes back down. 19:47.020 --> 19:48.950 You know, it's it's really up to you. 19:49.300 --> 19:55.060 This is kind of like the but if he has no Bob Rosten painting, this is like the Bob Ross episode where 19:55.060 --> 19:57.460 I'm talking about painting happy trees. 19:57.790 --> 20:00.700 This is about putting in happy little overshoots. 20:02.050 --> 20:04.090 And hopefully you guys get that reference. 20:04.090 --> 20:06.460 If you're if you're not from America, you might not get that reference. 20:08.080 --> 20:09.220 Yeah, I like that. 20:09.640 --> 20:09.910 Cool. 20:09.940 --> 20:15.400 So in the next lesson, what we're going to learn is how do we actually pick this thing up so we can 20:15.400 --> 20:16.830 clamp down with a claw. 20:17.380 --> 20:19.000 But the box is still going to be sitting there. 20:19.000 --> 20:24.030 If we move this around, we need to attach this box to the claw itself somehow. 20:24.280 --> 20:26.830 So the next lesson, we're going to learn all about constraints. 20:27.040 --> 20:27.700 Thanks for watching.