lesson 3

Using Video Reference to Animate 3D Characters using video reference to animate 3d characters
12 minutes
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Transcript

Hey guys, welcome back to the cos. Welcome back to this section of the course. So another thing that I failed to mention in the previous video is that you need to make sure that you framerate is at 24 FPS, I think in Maya and later versions of my I think from 2016. This option is already here. But if you're using an older version of mine, you need to click on the preferences, or you can just go to Windows settings and preferences, preferences, and you need to go to Time Slider. Make sure that as you can see my playback.

So it wasn't that the computer was lagging because my playback speed does not correct some good say 24 FPS, and I'm going to go to animation, animation, but settings and I'm going to say make sure that it's 24 FPS. There's also this option link. Some of these options are added later on, but this one was 24 frames a second and you have the option To keep keys at current frames, but let me just check it out and see see. So I'm going to try and play back and see if it plays more smoothly. Yeah. So there's also amusing these videos as reference from Alan Decca is because I find them quite interesting.

And I'd be really educated on the principles of animation rather than bogging down and explaining the same principles again, about a put some of those principles into practice. So you've already made sure that you've created your selection sets. So the next thing to do is to start by creating that initial pose. Now what I normally do is I select everything. And then I'm good to go to trim zero, which is not currently visible in the timeline. And I'm going to see if you want to say yes Press s. And we'll select also remembering that there is ik controls, I'm going to press S again.

And that way I can always refer return back to the initial state. So if I come back by hitting typing one book on both sides here, I can always know that I have a default pitch to go back to. So if you look at this animation, this person or this figure is dropping from the top. So the first thing and this is also like a principle of animation staging, make sure that you stage your camera correctly. So in this case, my camera is brought in because we are seeing this action from the front, okay, so it helps to split your views into two and make sure this is the other graphic and front and maybe get rid of the grid. So disable grids should be fine.

So I'm going to zoom in This bottom there and it possibly helps to lock the camera so that you cannot move it. So I'm going to lock the camera that way. I can't move it. So I'm going to go to this view now and start by creating the initial pose. So this character is high or very high on top there so I need to make sure First of all, I go back to my ik controls. Okay, I mean fk.

So sometimes when you hear me being quiet is just me walking around. And should the arms be in fk? Let me look at that motion again. Yeah, let me let me in with the arms in fk for the legs, the legs I prefer them to be ik. Now, I'm going to animate the legs in ik is because of the contact on the ground. It's Very hard to to, like fake these contacts using FK controls so I just be fast sticking to it.

So, want to make sure I select everything I'm going to hit key and I'm going to select this fit controls. So select the knees, select the upper body select the selection is okay, let's see. So this is what I'm trying to avoid. Just select everything on the feet and see it's interesting. So I'm going to do is let me just use this center control. Clearly it's going out of frame so we need to make sure that it's I'm not the camera.

Notice that was kind of finicky. So it's out of frame. And yeah, this one's not want to follow. So I'm just going to it will seem that I don't know if it's this left is invited. Yeah, I think the left one is invited. That's why it's behaving.

That's why it's opposite. So the next logical thing to do is to make sure that you go to the wild position and sometimes use it at object mode. That is an issue you're bound to run into. And it's good you're seeing these issues that you can know how to deal with them when you encounter them. So it was just as simple as changing it to that one position. So okay, now the most important thing about admission is it Identifying the key poses.

So the key, the first key pose that I can tell is this when he's coming down to here, this stretch, and then this one is also a key pose. So him coming up is not really that much of a keyboard. And yeah, I think this is another key pose. And then this is another people's. So once you identified all those key poses, it's much more easier to walk. So there is no such thing identify the key poses is that you cannot waste time focusing on things that are not feeling that Gizmo like the back here is not really visible.

So you really should not be wasting time on this the buck. So this is what I was saying, hey, try to work with a aka the legs. It's not as I'm not saying the fk is bad. I'm saying for this situation it works perfectly fine but does that the leg which is good puts him in a relaxed position and the arms because he's falling so this ones are going to be going up. This one is going to be going this way. So make sure that the silhouette looks okay.

And really this is just the process of animation itself like it's not really that something so complex system at all. You're going to hear that I'm going silent at some certain points in time. That's because I'm Really trying to concentrate on making my pose look as natural as possible so that Tom doesn't look dumb doesn't look correct. So let's stick it back like that in full color and overlap and ember and the sun goes down in the stands to hit seven. Press seven search you can see the Select, maybe disable in ABS controls. That is not a strong pose.

So let's go back to picking it's In the training, make sure that your poses don't look similar way oopsie he doesn't want to be selected. Thumb, thumb can because it's pulling from this side I'm going to push slightly voted this one this way need to work on the knees it stretched this make sure that it looks convincing. The bark needs to be arched the back needs to be at some bit. member is falling so I think that looks interesting to me that like the the stump looks something about this dump so yes some towards repeats the structure of the clavicle. Yeah, you can always mess around with this ones. So I've seen study your rig, make sure that at least most of the controls you understand most what most of the controls do is obviously looking down to a spalling.

So yeah, and I think that is a strong pose because it looks like is in the end, which lets you look at the pose from all angles and I think you should know what this looks like expect. So we've gotten our first poll so make sure that you key evidence select everything key and this is my other poll. So that that is stretches back. So This is the second major, major pose. So I'm going to close this lesson and continue in the next one.

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