WEBVTT 00:00.180 --> 00:06.480 Let's discuss another principle of animation called Squash and Stretch, and we've already covered timing 00:06.480 --> 00:13.280 because we've looked at the difference of frames it takes to go from one key frame to another. 00:13.290 --> 00:14.520 That's the timing of it. 00:14.820 --> 00:17.640 And that that would be reduced between these bounces. 00:17.840 --> 00:18.990 OK, that's timing. 00:19.290 --> 00:25.350 We've learned about spacing because we've turned on the ghosting and we've seen where the spacing is 00:25.350 --> 00:28.200 between each key frame and the position of the ball. 00:28.590 --> 00:29.470 That's spacing. 00:29.790 --> 00:32.550 And in this lesson, we're going to cover squash and stretch. 00:32.790 --> 00:37.860 It's one of my favorite principles of animation because it can add so much to an animation if done properly 00:37.860 --> 00:39.990 can it can very easily be overdone. 00:40.830 --> 00:46.260 And that's usually something that is going to happen when you're a student is, you know, pushing things 00:46.260 --> 00:46.890 too far. 00:46.890 --> 00:47.860 And that's how you learn. 00:47.880 --> 00:51.590 So let's jump in and learn a little bit about squash and stretch. 00:52.020 --> 00:58.560 So what I want to do first is select a ball, go to a contact frame where it's on the ground. 00:58.950 --> 01:05.610 And I also just want to briefly mention kind of a quirky setting in my so I'm going to turn off ghosting 01:05.610 --> 01:11.580 real quick to talk about it when I have the ball selected, if I select an attribute over here, like 01:11.580 --> 01:15.930 translate translates, maybe I wanted to move the translator around my middle mouse dragging it or something. 01:16.290 --> 01:19.860 We can see that my timeline keyframes have kind of disappeared. 01:19.860 --> 01:22.530 We would expect to keyframe right here, especially looking in the graph. 01:22.530 --> 01:23.700 Ed, we can see one. 01:24.060 --> 01:25.200 You know, there's one right there. 01:25.440 --> 01:27.660 Why is that not showing up here in the timeline? 01:28.050 --> 01:33.570 Well, that's not showing up because the default for Maya is to only show what attribute that you have 01:33.570 --> 01:35.520 selected if you haven't an selected. 01:35.880 --> 01:39.810 So because we have translate this like that, it's not showing these Y keyframes. 01:39.810 --> 01:41.910 We can see there's two different types of red here. 01:41.910 --> 01:46.590 And the darker red means that there's actually a key on that attribute, on this frame. 01:46.620 --> 01:48.600 So if you want to see translate why keyframe? 01:48.600 --> 01:49.650 We need to select that one. 01:49.650 --> 01:51.660 And now we have a display in the timeline. 01:51.810 --> 01:54.840 But if we want to turn this feature off, we can go to right. 01:54.840 --> 01:58.100 Click up here and say sync timeline display and turn that off. 01:58.380 --> 02:01.710 So now, no matter what, we have selected an Ashry Ed. 02:01.980 --> 02:03.930 We will see all of the key frames here. 02:04.440 --> 02:06.750 So that's just something to keep in mind when you're working. 02:06.750 --> 02:08.640 It can be nice to isolate in the timeline. 02:08.640 --> 02:13.080 If you want to only move certain keys around or something like that, you can select them from here 02:13.320 --> 02:14.340 and isolate them. 02:15.390 --> 02:17.850 So I'll leave that up to you, whatever you're comfortable with. 02:18.060 --> 02:19.230 You can also do the same thing. 02:19.230 --> 02:22.050 It's on by default, but you can do the same thing in the graph. 02:22.050 --> 02:28.050 Ed so if we wanted to only see one of these attributes, you can see the graph ed update as we click 02:28.050 --> 02:28.380 on them. 02:28.710 --> 02:33.620 So it's another kind of little feature to be aware of and we're going to leave the defaults on for now. 02:34.110 --> 02:39.390 So what we want to do is isolate the keys that we've already made. 02:39.510 --> 02:41.610 OK, we don't wanna screw up these tangent handles. 02:41.880 --> 02:48.900 So if I were to go in here and it s you can see that this curve, which was once really nice and smooth, 02:49.560 --> 02:53.640 now has this little divot in it because this is trying to do an auto tangent. 02:53.640 --> 03:00.110 Wiggins's blue auto tangent button is selected because that's the default option that it tries to choose. 03:00.330 --> 03:01.880 So it screws up the standard handle. 03:01.900 --> 03:04.080 Well, how do we how do we work around that? 03:04.510 --> 03:06.720 There's another tool called an insert key. 03:06.720 --> 03:08.460 So let's click that in the graph editor. 03:08.460 --> 03:09.750 It's over here on the left. 03:10.290 --> 03:10.950 Click that. 03:10.950 --> 03:17.940 And now with the Curve selected, I can actually just middle mouse click along here and I'm going to 03:17.940 --> 03:21.990 set two key frames on either side of this contact keyframe. 03:23.010 --> 03:29.340 So now we can set a key frame on all of the keys I wanted s and we can see that everything is keyed. 03:29.670 --> 03:36.540 And when I go through here and set a key on everything for all of these keys and the reason why I'm 03:36.540 --> 03:42.120 doing that is I want to lock all of this in because we're going to only affect one little portion of 03:42.120 --> 03:45.300 this animation with the squash and stretch. 03:45.570 --> 03:48.450 So I don't want to mess up any of the other animation we have. 03:48.450 --> 03:50.250 And so I want to lock that in. 03:50.640 --> 03:56.220 So because we've used the insert key tool, we know that we've kind of saved this custom tangent handle 03:56.220 --> 03:57.540 that we've adjusted. 03:57.840 --> 04:01.230 And the auto tangent thing isn't trying to screw that curve up. 04:01.740 --> 04:02.160 Cool. 04:02.160 --> 04:05.880 So let's take a look at this through ghosting the turn back on ghosting. 04:05.880 --> 04:09.540 And I'm going to go to this kind of frame right before it hits the ground. 04:09.930 --> 04:12.420 And this is where we're going to scale it up. 04:13.140 --> 04:19.240 And if we were to just scale this up, we can see we're just making the sphere bigger in volume, right? 04:19.260 --> 04:20.850 It's just getting larger and larger. 04:21.150 --> 04:24.690 Well, what we want to do is maintain the volume of this object. 04:24.990 --> 04:28.830 So if we scale in one direction, that means we need to scale down in another. 04:29.250 --> 04:34.830 So to do that, it's a little difficult to scale because there's two different directions here. 04:35.100 --> 04:37.410 But what we can do is scale up. 04:37.730 --> 04:43.560 I'm just going to do it just a little bit, scale up in one direction, and then we can hold down control 04:43.560 --> 04:48.360 and select the axes that we do not want to scale in and then scale. 04:48.360 --> 04:52.950 So it'll it'll you can see both of those handles coming in at the same rate. 04:52.950 --> 04:55.290 So it's nice to do that kind of uniformly. 04:55.560 --> 04:59.490 And we're maintaining that that scaling up that we did in the. 04:59.550 --> 05:07.530 Y-axis, so now what we can do is see the path of motion, which is another concept in animation, we 05:07.530 --> 05:14.130 can see the path of motion here and we want to keep this in line so I can rotate this so that it's going 05:14.130 --> 05:17.370 in the same path of motion towards the ground. 05:17.380 --> 05:20.030 I'm going to favor the ground just a little bit. 05:20.340 --> 05:25.050 So it's going to kind of almost look like it speeds up here, I think, right at the end, because we're 05:25.050 --> 05:26.610 increasing the spacing. 05:26.970 --> 05:27.320 Right. 05:27.330 --> 05:28.980 Another concept in animation. 05:29.250 --> 05:33.030 So get familiar with these words and how I'm using them and what they mean. 05:33.510 --> 05:37.230 So now we're going to look at the contact we need to squash this thing down. 05:37.230 --> 05:39.540 It has weight and it's going to get flattened a little bit. 05:39.870 --> 05:44.190 So let's flatten this thing a little bit and then let's scale it out in the other two. 05:44.190 --> 05:50.300 So we're going to hold down control and scale this out and maybe scale down just a little bit more. 05:50.640 --> 05:54.060 So I'm going to push this back down to the ground in the next frame. 05:54.060 --> 05:56.130 I'm going to have this stretch back out. 05:56.400 --> 06:00.240 It's going to stretch this out and then I'm going to hold down control and bring that in. 06:00.780 --> 06:02.060 I'm going to rotate that. 06:02.070 --> 06:06.600 So it's kind of following the same direction here and I'm going to pull this down just a little bit. 06:06.600 --> 06:09.930 So it kind of favors the squash position here. 06:09.930 --> 06:13.470 We can see it's kind of nice to not have things uniform. 06:13.470 --> 06:17.610 Like we don't want the bottom of this, both of these to evenly be touching this. 06:17.620 --> 06:19.860 It's nice to kind of have things offset a little bit. 06:19.860 --> 06:21.450 It makes it feel a little more natural. 06:21.840 --> 06:24.180 And plus that we have you know, you can see the spacing here. 06:24.540 --> 06:26.940 The tip of this thing is still touching this ball. 06:27.150 --> 06:33.030 And you can see this one isn't so it's nice to kind of keep that, you know, we want this to go slower. 06:33.030 --> 06:35.820 So this one should be touching this one where this one's coming in faster. 06:35.820 --> 06:38.700 So it should so that all this kind of makes sense, right. 06:38.700 --> 06:40.230 Why we're doing what we're doing. 06:40.680 --> 06:46.020 So let's turn off ghosting and then make a play blast and see what we've created. 06:54.240 --> 07:00.780 So now we play back, we can kind of see just for a brief moment that kind of squash and stretch and 07:00.780 --> 07:04.890 it makes that first bounce feel different than the other bounces, right. 07:05.220 --> 07:08.610 It feels like it kind of has a little more impact. 07:09.030 --> 07:09.440 Right. 07:09.450 --> 07:13.380 It squashes there for a second and then the other ones are just more stiff and they just kind of bounce, 07:13.380 --> 07:14.030 bounce, bounce. 07:14.430 --> 07:19.200 So depending on the feeling and the type of ball and the type of animation that you're going after, 07:19.200 --> 07:24.720 squash and stretch can be a very, very cool thing to start to apply to your animation, and it can 07:24.720 --> 07:25.710 be applied to everything. 07:25.710 --> 07:28.350 Again, this is you know, this is the bouncing ball. 07:28.860 --> 07:34.080 It can be applied to facial animation, you know, the Joske washing and stretching the cheeks, you 07:34.080 --> 07:37.500 know, bulging and stretching as the mouth moves it. 07:37.650 --> 07:42.660 All parts of the body can squash and stretch when you're even when we're talking about character, animation 07:42.930 --> 07:47.280 or any other type of animation and can really have a lot of impact on what you're doing. 07:47.280 --> 07:49.770 So consider that in the animation you're doing. 07:49.980 --> 07:54.540 And I will say that, you know, just to prove the point of squash and stretch, I would say in this 07:54.540 --> 07:56.730 example we maybe went a little too far. 07:57.570 --> 08:04.320 But I like that it's very clear, you know, this first bounce is much different than the other ones. 08:04.530 --> 08:06.030 And it's just very, very quick. 08:06.030 --> 08:06.660 It's very subtle. 08:06.660 --> 08:09.600 It's over a couple of key frames, but it does make a difference. 08:09.600 --> 08:10.500 And that's animation. 08:10.500 --> 08:16.740 So let's move on in the next lesson and talk about an exercise I want you to try out.