WEBVTT 00:00.150 --> 00:05.040 In this lesson, we're going to cover a new tool that will help us analyze what we need to polish in 00:05.040 --> 00:11.370 an animation, and for that, we're going to need to go into an orthographic view, because I want to 00:11.370 --> 00:14.880 see and kind of more isolate some of the emotion in the hands. 00:15.300 --> 00:22.860 We can see if we kind of zoom in here for a second that the hands kind of jolt around a little bit. 00:23.250 --> 00:29.520 And, you know, another quick thing that you might want to know about is you can mute channels. 00:29.520 --> 00:34.980 So even though we have this already animated and let's say we want it to actually go back to being on 00:34.980 --> 00:40.590 the spot, and instead of deleting this animation on the locator here, we can just mute it so we can 00:40.590 --> 00:43.740 go to the channel box here and select everything. 00:43.740 --> 00:44.070 Right. 00:44.070 --> 00:46.500 Click and go to mute selected. 00:50.240 --> 00:57.440 So now we play this back, it won't change the values there, so let's take a look at this a little 00:57.440 --> 00:58.010 more. 00:58.730 --> 01:04.220 We can see as the arms go back and forth and in and out, they kind of hit these walls here. 01:04.220 --> 01:05.060 And to see that a little better. 01:05.090 --> 01:06.590 Let's go to an orthographic view. 01:07.130 --> 01:15.500 I'm going to go to the front view and I'm going to zoom in here and I'm just going to watch this wrist. 01:15.500 --> 01:17.030 Just watch this Restoril quick. 01:17.600 --> 01:23.840 So as I play this, you can kind of see it hits this wall and it's pretty much even with this kind of 01:23.840 --> 01:30.140 grid line right here, kind of it like it's almost like bouncing off of it when in reality this has 01:30.140 --> 01:34.130 its own weight and it would swing a little bit past that and wouldn't go up. 01:34.130 --> 01:36.940 Exactly with the timing of the hips and everything. 01:37.280 --> 01:44.120 So we need to adjust that and an easy way to see that as well as we can select the con and we can go 01:44.120 --> 01:46.460 to the animation menu over here. 01:46.840 --> 01:50.360 Let's go to visualize and we can create a little motion trail. 01:50.660 --> 01:51.620 So I'm going to click that. 01:52.220 --> 01:57.080 And just to make sure that you can see it, you can go to show and motion trails, make sure it's checked 01:57.080 --> 01:57.320 on. 01:57.950 --> 02:01.330 So now we can see where these key frames are. 02:01.340 --> 02:02.450 These are the white buttons. 02:02.450 --> 02:06.860 And I'm just going to change the background with ALBE right now to so we can see that a little better, 02:07.760 --> 02:10.700 so we can see the path of that motion. 02:10.970 --> 02:16.250 And because we're in orthographic view, we can kind of isolate a little bit so we can see that it's 02:16.250 --> 02:19.790 not super nice and smooth. 02:19.790 --> 02:20.090 Right. 02:20.090 --> 02:22.040 There's these kind of jagged lines. 02:22.340 --> 02:23.900 They go to a point and then back out. 02:24.170 --> 02:31.250 Typically, you want things to have these nice curves and they kind of float like that and this doesn't 02:31.250 --> 02:31.640 have that. 02:31.640 --> 02:32.550 So we can fix that. 02:32.900 --> 02:36.590 The other thing we can do with this motion trail is we can select it. 02:36.590 --> 02:39.770 We can select any one of these points which selects the motion trail. 02:40.010 --> 02:41.750 And now you can see that's what we have selected. 02:42.020 --> 02:45.260 Let's go over to the ASHMEAD editor here. 02:45.620 --> 02:47.600 And we can have all these options. 02:47.600 --> 02:49.580 We can change all these different colors and everything. 02:49.790 --> 02:52.640 But I'm always interested in is show frame cross'. 02:52.970 --> 02:54.140 I'm going to select that. 02:54.140 --> 02:59.120 And now you can see we can actually increase the frame cross size right below that. 02:59.300 --> 03:04.460 We can increase that and maybe even the color to make it something like bright yellow. 03:05.270 --> 03:08.750 We can see where the frames are in between the key frames. 03:08.780 --> 03:12.980 Those little white squares are only the key frames and you can see the frame number next to it. 03:13.400 --> 03:18.920 But what we want is also the frames in between so we can kind of see the spacing. 03:19.170 --> 03:22.970 There's a big spacing here and very close spacing over here. 03:23.420 --> 03:30.950 So I'm going to reduce the time line so it's easier to scrub and I'm going to go through this animation 03:30.950 --> 03:35.810 and see where there's an opportunity to kind of loosen this up a little bit at least, and translate 03:35.810 --> 03:36.200 X. 03:36.500 --> 03:38.840 I'm going to change to the world axis. 03:38.840 --> 03:45.170 So I know I'm isolating in the world axis here and I'm going to kind of scrub through this and see where 03:45.170 --> 03:50.960 there's opportunity to just make this path of motion a little bit smoother. 03:51.380 --> 03:58.160 So now where before it was pretty jagged and it kind of bounced there, we're creating a little bit 03:58.160 --> 03:59.750 more of a smoother path. 04:00.230 --> 04:03.800 So I drag this over here and. 04:06.940 --> 04:11.560 Now, when it gets over here, this is the one that was the trouble spot for me that kind of stuck out 04:11.560 --> 04:14.800 to my eye to maybe drag this back. 04:16.150 --> 04:21.730 So it gives us more room to move as it needs to go through here, right? 04:22.390 --> 04:23.710 Yeah, it looks way better. 04:24.220 --> 04:26.590 So we can kind of see this spacing here 04:29.140 --> 04:30.370 continues through. 04:32.360 --> 04:37.580 And I might do that for another frame here and now that we're in the Polish phase, I'm not worried 04:37.580 --> 04:42.830 about, you know, where my keys are or how many keys I'm setting because I'm feeling pretty good about 04:42.830 --> 04:43.340 everything. 04:43.340 --> 04:46.350 So I'm just setting keys where I like them to be. 04:47.030 --> 04:50.600 So now when it hits up here, we need to continue going this way. 04:53.070 --> 04:58.330 All right, we have motion like this, it needs to carry through, it can't just like hit a wall, especially 04:58.450 --> 05:01.510 something kind of hanging, like the wrist is hanging. 05:01.750 --> 05:03.980 You know, there's no reason for it to just kind of stop there. 05:03.980 --> 05:07.660 It has its own weight and momentum and it should carry through the animation. 05:09.610 --> 05:10.330 And you know what? 05:10.360 --> 05:15.220 We might even want to do that and carry that through here. 05:15.220 --> 05:22.000 I think what would make sense is it does this big loop and that loop should continue and then maybe 05:22.000 --> 05:27.550 loop down here as well instead of going back in and out, kind of zigzagging. 05:27.940 --> 05:30.630 I think this should actually stay out here. 05:31.360 --> 05:33.730 And again, we'll have to copy this. 05:33.730 --> 05:38.890 A middle mouse trying to the first frame and hitting shift w so that we're copying that frame over here, 05:39.880 --> 05:43.720 because remember, whenever we do that in the first and last frame, they should match because since 05:43.720 --> 05:50.230 it's a cycle so you can see where you zoom in even more, you can see where this kind of zigzag still 05:50.590 --> 05:51.880 right here next to this frame. 05:51.880 --> 05:59.470 So I'm just going to kind of brute force this and make it do exactly what I want it to do, because 05:59.500 --> 06:01.810 this arm is connected to the body. 06:02.230 --> 06:06.610 So it is going to you know what I'm doing. 06:06.800 --> 06:08.160 I said another key. 06:08.170 --> 06:08.780 I'm forty two. 06:08.780 --> 06:12.370 We got actually got to go back to the beginning of the cycle, so undo that. 06:13.030 --> 06:16.930 And now I need to you know, we can see these keyframe numbers two, three. 06:17.170 --> 06:19.450 So that's also an indication like, hey, this is a cycle. 06:19.450 --> 06:23.890 Don't keep going past the end of the cycle, otherwise you're making key frames that aren't included 06:23.890 --> 06:24.550 in the cycle. 06:25.030 --> 06:26.080 So we're on two. 06:26.380 --> 06:27.370 Let's go to three. 06:28.000 --> 06:32.800 Let's bring this down for let's bring this over as well. 06:33.370 --> 06:39.580 So now that's going to kind of have this nice motion here that will carry through. 06:40.330 --> 06:46.000 And let me just get a perspective view and see where our elbows out here and kind of check this from 06:46.000 --> 06:46.690 another angle. 06:48.120 --> 06:50.970 It's a little thing we do is we can go to these side angles. 06:50.980 --> 06:52.150 It's kind of the right view. 06:52.480 --> 06:59.590 Just holding down bar I maybe we need to go to the left view because on the other side and make sure 06:59.590 --> 07:02.110 that the same is true for this other axi. 07:02.590 --> 07:08.110 So, you know, we're animating in 3-D, so we need to make sure all of this stuff is happening in 3-D 07:08.110 --> 07:08.770 properly. 07:09.220 --> 07:16.540 It's going to drag this out and I'm just making sure these are nice smooth curves and this is called 07:16.540 --> 07:17.080 ARC's. 07:17.110 --> 07:17.470 Right. 07:17.800 --> 07:21.280 You want to make sure your arcs are looking good right now. 07:21.280 --> 07:28.450 These do not look good because the momentum of the hand is not being carried through the animation currently. 07:28.450 --> 07:30.760 We just kind of set keys to kind of get in the ballpark. 07:31.060 --> 07:36.610 And now once we're in this kind of zone where we're polishing, we want to make sure that everything 07:36.610 --> 07:39.130 is doing exactly what we want it to do. 07:39.730 --> 07:43.840 It's also to see if we have an opportunity to maybe drag this next keyframe down. 07:44.080 --> 07:47.590 Yeah, I think we need to drag this down and maybe it'll straighten arm a little bit. 07:47.890 --> 07:53.500 But I don't like how it bounces low here and goes right back up to the same height as this frame. 07:53.500 --> 07:55.150 See how these two frames are the same height. 07:55.650 --> 07:56.530 Want to keep this down? 07:56.530 --> 07:57.220 Just a touch. 07:57.220 --> 08:02.560 And you know, I'm checking to make sure I'm not hyper extending the elbow that actually have room to 08:02.560 --> 08:03.070 do that. 08:03.490 --> 08:10.510 And I'm going to go to the next keyframe and drag this back out and drag that animation and let's make 08:10.510 --> 08:11.200 sure we're not. 08:11.410 --> 08:11.800 Yeah. 08:12.250 --> 08:18.370 So the elbow gets straight pretty straight there and we want it to get even more straight so that it 08:18.370 --> 08:22.610 doesn't feel like it's just kind of popping over one frame there that that's actually supported with 08:22.610 --> 08:23.740 the frames around it. 08:24.880 --> 08:27.940 So I'm trying this back a little bit, maybe drag this down. 08:28.280 --> 08:31.120 Looks like we're we're starting to hyperextend the elbow there. 08:31.120 --> 08:34.390 So I need to bring that back vertically a little bit. 08:35.440 --> 08:37.870 And I think that should work. 08:37.870 --> 08:39.520 That already looks way better. 08:43.730 --> 08:49.200 So you can kind of see we made this figure eight pattern here, except for this little kind of hits 08:49.220 --> 08:52.610 right here, which I think we could make look even better. 08:53.480 --> 08:58.380 And I'm going to just drag those out, kind of smooth out that out. 08:58.380 --> 09:05.960 It's going to go back to shift middle mouse, drag this first frame to get those to match. 09:09.660 --> 09:11.820 And I go to the end. 09:16.200 --> 09:21.390 It's going to drag this down because the spacing between these, you know, kind of back to the bouncing 09:21.390 --> 09:24.660 ball stuff, it shouldn't speed up between these two. 09:24.890 --> 09:26.490 It should be pretty consistent through here. 09:26.490 --> 09:28.350 And it was the spacing. 09:28.350 --> 09:29.190 I didn't like that. 09:29.400 --> 09:33.900 So just dragging that stuff around to be exactly what I want it to be. 09:38.100 --> 09:38.450 Cool. 09:40.450 --> 09:44.440 Girl 39, maybe drag that one down, just a touch. 09:48.630 --> 09:56.850 So it's looking pretty darn good in that angle, I go back to the front of you and revisit this so that 09:56.850 --> 10:03.320 all the in and out, it still makes sense, maybe even get this arc going a little wider. 10:03.330 --> 10:04.950 So it's not all straight up and down. 10:05.220 --> 10:07.620 See, through this section, it was just like straight up and down. 10:07.920 --> 10:10.980 You always want to try to find opportunity to create arcs. 10:11.220 --> 10:16.680 So everything doesn't move very linearly because that'll make it look like a computer. 10:16.680 --> 10:23.070 Did it want to have these nice arcs throughout the animation and see we, you know, need to follow 10:23.070 --> 10:23.910 up with this. 10:24.030 --> 10:26.460 Want to get the worst of that? 10:26.770 --> 10:27.840 Uh, let's see. 10:27.840 --> 10:29.010 One, two, three, four, five. 10:29.520 --> 10:30.750 Let's go to frame five. 10:32.330 --> 10:37.730 I was just getting confused on, you know, I was working on the cycle part that time outside of the 10:37.730 --> 10:38.710 cycle that rather. 10:39.080 --> 10:44.090 So I'm just going to drag these in and get this stuff working and these nice arcs. 10:44.090 --> 10:44.330 Right. 10:44.340 --> 10:51.500 We're looking kind of four figure eights again, maybe drag this back in and have it continue past that 10:51.500 --> 10:51.770 one. 10:52.250 --> 10:55.280 Now we're making these nice figure eight arcs, right. 10:55.280 --> 11:03.110 The arc of the curve we can see here is looking a lot better if we can drag that out and just kind of 11:03.110 --> 11:04.190 make it look nice. 11:04.190 --> 11:04.520 Right. 11:06.560 --> 11:08.550 This is kind of the most fun. 11:08.840 --> 11:16.910 This is the most fun part to me, because you can really get after making these arcs nice and not have 11:16.910 --> 11:21.170 to worry about where the key frames are and all that kind of a thing. 11:24.890 --> 11:25.340 It's. 11:28.510 --> 11:33.130 It's one of my favorite stages of animation when you get to Polish, because then it's kind of a free 11:33.130 --> 11:39.100 for all and you're not concerned with, you know, keeping everything organized, because up to this 11:39.100 --> 11:44.440 point, we've wanted to keep everything organized if we wanted to retime things. 11:44.440 --> 11:50.620 But now that we have the timing down, we can kind of go in here and really finesse these things. 11:50.860 --> 11:55.510 So I'm going to show I'm a turn off motion trails and hit play. 11:56.800 --> 12:01.540 And you can see how much better you can compare the left and the right hand right now. 12:03.280 --> 12:06.060 And you can see how much better this left hand already looks. 12:06.580 --> 12:09.540 I think we need to go further on the out. 12:10.090 --> 12:13.930 It feels like it's kind of getting stuck around this grid line here. 12:15.890 --> 12:19.820 Where it goes down here, I think we can continue that. 12:22.690 --> 12:28.630 Let's turn back on the motion trails and see where why that's happening, I think it's that. 12:31.030 --> 12:37.570 Yeah, it's all this stuff I think we could bring all that even further out, so doesn't look like it's 12:37.570 --> 12:38.650 going up and down as much. 12:38.980 --> 12:40.440 Just bring this all the way out. 12:42.850 --> 12:43.660 Bring that out. 12:46.220 --> 12:53.700 Go to these other keyframes, get a middle mouse, click to frame one hit shiftwork so that we match 12:53.700 --> 12:56.310 those frames up and. 12:57.350 --> 13:03.620 I go back here and make sure this stuff is in a nice arc. 13:07.930 --> 13:13.360 Now, the one the one thing you do have to look out for is when you're making these changes. 13:15.000 --> 13:17.220 You know what? 13:17.320 --> 13:24.330 You know, if you might if you're going to make more changes, that it's just going to be more the more 13:24.330 --> 13:29.670 keyframes you have, the more you're going to have to change, which, you know, I'm not too worried 13:29.670 --> 13:29.910 about. 13:29.920 --> 13:31.200 This is what I do for work. 13:31.200 --> 13:35.580 So I'm used to these very tedious things. 13:36.580 --> 13:41.430 But, you know, starting out, you might kind of get bored with this or frustrated. 13:41.820 --> 13:45.540 So, you know, just be aware that's that's normal and. 13:47.850 --> 13:54.450 You know, this is just part of the process is getting comfortable with spending time on these things, 13:54.450 --> 14:02.550 that doesn't seem like it's that big a deal, but it really will make the difference between OK looking 14:02.550 --> 14:07.200 animation and pretty pretty darn good looking animation. 14:07.770 --> 14:12.360 So I want to turn off the motion trails again and I'm going to play. 14:16.490 --> 14:22.190 Alex is way better than when we started, it's way less stiff and we can see it's not really hitting 14:22.190 --> 14:28.100 a wall anywhere, that's very obvious and it feels like, you know, the arm still has its own weight. 14:28.400 --> 14:33.590 And, you know, we need to do that to this other side, see, not compare this other side on the right. 14:34.010 --> 14:34.540 Watch this. 14:35.030 --> 14:38.300 This wrist just kind of stops over here on this gridline. 14:38.300 --> 14:41.930 I don't know if you can see where my mouth is right on this gridline. 14:42.260 --> 14:42.650 Boop. 14:43.790 --> 14:44.170 Boop. 14:45.500 --> 14:45.810 Boop. 14:45.910 --> 14:52.430 It just hits this wall, whereas over here the arcs are nice and flowing and everything kind of makes 14:52.430 --> 14:58.250 sense, you know, there's still maybe a little bit of a bounce here, but it's not like it hits a wall 14:58.250 --> 15:00.670 over here and sticks there. 15:00.680 --> 15:01.040 Right. 15:01.060 --> 15:01.580 If we look. 15:02.620 --> 15:11.140 You know, going left to right and just go, it stops going left to right for for several frames and 15:11.170 --> 15:12.410 it's right here, right. 15:12.700 --> 15:19.240 We have one, two, three, four, five, six, seven, eight, nine, 10, 11, 12, 13. 15:19.420 --> 15:20.820 It's almost half the animation. 15:20.860 --> 15:22.600 It sticks on this wall over here. 15:23.110 --> 15:28.960 Whereas on this side, when we look at it, there's never really twelve frames where it's just stuck 15:29.560 --> 15:30.640 or hits a wall. 15:30.700 --> 15:33.070 It's all nice flowing and has these arcs. 15:34.060 --> 15:40.750 So in this lesson, we learned about motion trails and how to visualize our animation and turn on the 15:40.750 --> 15:47.230 show keyframes and show frames for it, how to controls visibility to play back and look at it from 15:47.230 --> 15:48.370 different angles we get. 15:48.370 --> 15:52.780 We still haven't looked at it from the top view, which is something else we could do. 15:53.890 --> 15:55.090 Doesn't look too bad. 15:55.660 --> 16:00.040 But in general, you know, this is kind of one of the last stages. 16:00.220 --> 16:04.510 If you're having, you know, a problem not you can't figure out why is this not look good? 16:05.920 --> 16:08.800 Click one of your icons and turn on the motion trail for it. 16:09.250 --> 16:15.340 And to delete it, you can actually just go to your outliner windows outliner and it's actually an asset 16:15.340 --> 16:16.000 over here. 16:16.270 --> 16:20.200 So we can just delete that to get rid of it and we can make another one again if we wanted to. 16:20.200 --> 16:23.020 And it's just a tool for us to use. 16:23.290 --> 16:27.430 So I'm going to do that for this other side and I encourage you to do the same thing. 16:27.820 --> 16:29.730 And I will see in the next lesson. 16:29.740 --> 16:30.400 Thanks for watching.