How To Animate in Unreal Engine 5 | Part 2

hey everyone this is clip and we're going to be building off our choreography from the last video we had in the last video we animated a punch and that's cool and was really fun but we're going to go ahead and add some moves into this character to create a little bit more of a flesh out choreography if you see fight scenes virtually anywhere they have a lot more moves and sometimes it can be simple sometimes can really really complicated but we're going to go ahead and add to moves into our sequence here to build our choreography just a reminder that this environment I am using is the style Iz boxing stage from leart Studios and they're having an extravaganza sale where they're packaging together 19 packs of highquality AAA assets that at full price would come out to over $1,000 but they're having a crazy sale that puts it all to $100 but they reached out and they really want to support the channel so we actually have a discount code that takes 70% off that $100 to make it $30 if you're starting to work in animate and Unreal Engine this is a deal you really don't want to miss out to really make your animations shine the link to the pack as well our discount code is in the description okay so the first thing I wanted to cover is what I love about just making content and just new things that I'm learning is just the community and being able to um help me with different things that I may not know yet especially when it comes to something new um like animating it and unreal so um I saw a couple of comments I want to address it first and I'll probably leave some of the the keyboard shortcuts on the bottom here but the first thing is um I know some of you guys saw me struggling with the fingers um cuz I was rotating them and I was rotating them and this is in in then in World space so because I'm rotating them in um world space which is why the fingers wasn't necessarily rotating the way that you would expect to like this way um a way to go ahead and shift it to local space so it's actually rotating against the finger is going to control and back tick um which I'll go ahead and leave um the shortcut down here but that way at least when I rotate the finger it's actually on the correct um the correct axis so from here and I rotate it it's a lot more correct cuz it's rotating against the finger now this is obviously are rotated incorrect ly because I put the animation on there but knowing I can do that makes a lot easier uh when rotating certain things I can just rotate on itself versus rotating against the world so um that was actually very very helpful um another thing I I saw was I'm able to which I should have figured cuz you could do that in blender and Maya is go down here on the sh Sprites hide all so I don't actually see any of the the icons that are there when I'm animating I'm not distracted by any of that I can just actually focus on the control rig so it's much more cleaner experience when anime I can do that here as well show um Sprites height long and I can have a SLE back in if I ever need to use it so it's just a lot more of a cleaner um a cleaner workspace um I don't know if I'll get to this just cuz I'd have to probably do that um afterwards but that makes it much more of a cleaner workspace and the last thing as well and this is all this is um from The Geek relief um he left a comment on the last video I definitely appreciate it is that if instead of going to the game view cuz I usually I press G this is me pressing the G key all and how I know it's the G key is I go to Sprites and I go to show all and I press the G key all of it goes on all of it goes off right so um but if I just wanted to get rid of the control rig um aspect of it if I have the control rig selected and I press the T key it actually removes it really quick so I can you know um bring it on and off and this is just me tapping the T on the keyboard and bringing it there so but for now I will go ahead and hide all now I know I believe left a comment saying that um if you hide everything and you click on something else um you're unable to then click the T key um to bring it back you have to undo but what I did notice is that if you just come down into your into your animation um click really any any key it doesn't matter and you press the T key it comes back so you'd have to come in into your sequence if let's say you hide it and you click it around and you click mess with other stuff and you're like okay I'm going back to animating and you click your body clicking the T key won't help you have to actually go down into your um into your animation Keys play the T key and actually come back and the last thing which I haven't really covered yet in the last video but I will for anyone who's interested in doing the animation with um on real engine is that if you click the bottom here the bottom um control and you go to the outliner you'll see your ik and your FK switches um so it here would have all the switch that you would need in order to um switch your your bottom foot into ik and FK and how we actually do the switch is that once you click here in your arm switch you go switch over to animation details I wish it was a little bit of a cleaner workspace cuz I know initially when I was looking for it I'm looking on the details cuz anything on the environment if I touch anything the environment all details over here so maybe they wanted to bring it into two different spaces and have it a different um details panel so one is regular details one's animation details I don't know but um when you click here you come down to animation details and you see all the switches here um you know for the neck the spine the leg arm Etc so but if you want to again a cleaner workspace you just click the one um that you need like say if you want the the left arm I uh ik switch which is going to be this one you click it on and it switches off and you'll be able to switch and control your body ik ke this way um you can also do a stretch so if you're doing some um a character that's a little more cartoony in um well that's a switch sorry you we go ahead and stretch out I wonder there way to go ahead and extend a little bit that I haven't known and I know they have this bit that's here so you can stretch it out a little bit um I wonder if you could do it longer I don't really see anything like that here I don't know if this I doubt this will do it um but see and it's all about just trying on then finding different things that you can do yeah that would do it yeah so looks like that um yeah that that controls us the the stretchit so if I want to make him stretch um g go Luffy style I can go ahead and and do it that way it's to the maximum it's probably set up by the rig so if I want to stretch it more than I can that's pretty cool all right so not so bad so it kind of gives it and opens up a little bit more on our animation tools so we had here on our last video our punch so we're going to add a few more um moves to the combo here so the next move in our sequence is going to be a left hook so we should be it looks like one of the keys here actually saved I'm just delete that delete that so what we're going to do is let's bring it up I'm not going to use a details panel I may switch to sequence it's over here just because with this being all the way down there let's switch to G for switching around my viewport just for my workflow here probably could just switch the camera it made my life easier right that way at least the sequence here I can see it a little bit yeah I wish this would be cleaned up just a bit um no this isn't really any better actually uh okay let's bring it right back to where it was okay see so we have if we undo let's go and get that last first P out of there all right and we're going to delete these two keys these last two keys is cor and click and delete them because it's going to be from one punch and we're going to automatically transition into the next so this is on frame seven and see this on frame four right to do the punch let's just do five frames makes it easier for me go to frame 12 and we going to start the next pulse so we're going to start from the hips me see instead having that character move towards the location um for the an that anticipation pose all right so we're going to bring it over let's see going his hand in PR Reco from that punch so we're bringing this arm all the way in all right now start with the other arm right you can see from here we're kind of bringing it up a bit may we look up just a bit and then we're kind of going to build this anticipation poles here see you have an idea of what this character's try it too so we're going to open up the hips a little more BR bring new shoulder down nice solid H here I think looks pretty good right like he's going for another punch all right so we're going to go back here even though I have the auto key on I really want to make sure that all the keys are set for the whole character all right so let set and then now is going to move forward to this POS we're going to go another five frames anyone have that last anticipation pose I mean the last hit pose so from here we're going to open up completely face are opponent turn his body all the way around open stance up some bit sh his body back to kind of rest a little bit on that back leg cuz he's not moving his momentum backwards bring this down a bit so I can have a little B more workspace open this up now I'm looking at this view just to make sure it just kind of looks good in frame I think this looks good here but we kind of want to make sure it looks good and Frames so I'm just going to bring his this all the way back here going rotate forward here yeah that looks better do bring this I believe up a bit Yeah I think that is a much more exaggerated the pose so now if we go ahead and lock this pose in set it up here and we're to review it what we have we can't so you see what happens is that the animation pose comes from here for anticipation but instead of going across it just go straight down instead of going across like it's trying to hit an opponent so once we go into tweaking the animation we'll be able to go ahead and fix that but right now we have it where the poles is going from here here and I wonder I'm sure there is a way to change the tangents so we're not as distracted and this is the graph editor so the graph editor I'm sure has a way of changing the tangents this is probably it um so it looks messy now right if I if I go ahead and undo it it has all these very you know uh wavy curves or anything like that so changing the tangents from uh in most other 3 programs is called a step tangent than a um then and most likely what this is a I say this is a linear tangent but even a spline tangent is changing it from a step to a step uh tangent um here in unreal is called constant but I essentially what it does is that it locks out the poses so it only if you probably seen in some animatics where you can kind of and you get an idea almost looks like um uh like a 2d animation right so you're like losing frames there so that's a good way to um kind of get an idea for your poses so you're not distracted by the fact that the movement in between the POS isn't doing exactly what you want and also good sense for timing too so we're probably going to leave it this way and I wonder if it's going to stay constant the entire way we to keep adjusting it but thing here while good I still want to overarch over reach his back a bit still time a bit think that looks better if I replay it yeah you even bring the knee in like wouldn't be just to kind of push it out just a bit think that would be too bad I think that's good so we can go to our next pose okay so moving on to our next POS go five frames for now okay we're going to get ready for our next move here so be very similar to something like this pulse here or we kind of get ready and even for this one I part one to just bring back just a bit and kind of move into the anticipation just using this quick clean up let good okay so 23 CL back to our ready pose bring on his P right back down so we just getting ready for another ready pose for our next hit in the combo and it doesn't have this one doesn't have to be as close it this to reference so opening back up our fighting stands looking good okay all right so I P is locked in you know it's not going to be as I'm not going to make this one as uh as much of a harsh one cuz this is kind of like an in between pose okay so let's do another five frames so from here we on for our block chain I was bring the poles all the way to the other side okay let's bring this in let's bring this all the way back and really a majority of of Animation is looking at the poses getting a nice exaggerating poses and seeing exactly how well you can make one pose flow into the other so once you have really good poses the you guys are really set to make some good animations a lot of times when I'm looking at some animations would really set them apart and really sometimes a lot of people need help with our poses so I think is pretty cool to just know that you can just see some poses you can already know okay this is how the animation is going to go versus having to do the whole thing and realize that the pose itself is probably the issue from the start keeping us pretty moving now and it makes this combo particularly particularly nice that we're focusing a lot on the body movement here think that looks good for our block let's lock that in can I take a quick look I have that artist oh a little bit longer so we can set that last pose for a little bit I have that artist mind of having to relook over and over and it's it's fine think in motion will probably adjust that um the in between pose here a bit but I think from here it's pretty good and we're just adding poses we're add going to the timeline adding poses everything's pretty even right now but once we keep building it out then it's going to um feel a little more less robotic Okay so move on to the next five frames right so now we're finally going to have some movement here so I'm going to bring this all the way forward just a bit position his like here B we're going to start getting the footwork down first first okay let's bring this back just a bit so now kind of sidest stepping here I'm we'll fix the camera we still can still see everything but again this is pretty good and okay so dink okay I'm going to set our foot down like this it's pretty good going Brak this all the way across bring this right back but still B this on our hor so s read pool just SW over here okay think it's a it's a nice solid post for here let's just block that in we should a nice Auto button for the whole thing but it's right I'm sure there is one maybe I don't know yet yet but let's lock this in see how the movement goes right let's get some more frames here okay so it's good but here that I think this pulse just a little confusing so I think I want to bring this out a bit especially if this is the camera angle but the camera angle can change but I do want to make it just a little bit more clear I think that's much more a clear pose and thing that'ss good there is mess around the camera a bit trying to zoom in on the poles but okay that's good but now I'm probably going to have to delete some key frames because it probably set the camera yeah did it yep I set this camera angle here I did that l so this the same angle did though the camera is moving here let's go ahead and remove this animation so it should be a steady camera okay yeah we're definitely going have to adjust the timing cuz that move this probably a little bit too quick to jump from one to the next but that's fine we have it set in I think we only have um about three PES left so let's do our next one right five frames from the next one this is going to be a natural progression right we're doing a backand here so we're just going to even out our weight moving from one to the other positioning our leg down a bit but now instead of it being a toe touch want the foot to be completely down and I again even though we don't necessarily see it the foot touch what does matter is that the top half of the leg does kind of indicate that some weight had transferred there so even though the camera angle may not necessarily show the bottom foot it's kind of a good practice because it kind of helps our eye visually see exactly how the weight is distributed versus the bottom looking like spaghetti legs and only what's in the camera view looking good but going to line this up here and spring this up a bit and that's probably the quickest pose we probably had that's a nice solid Iron Man looking pose right looks like if his hands was out the Blaster would be there but that's good nice solid pose lock it in okay all right backand and then we're going to go for our last two moves we're going to do the anticipation PST for the last move which is a nice big cross um so we're going to sit into our weight and have another um let's see another anticipation pose here so we're going to turn into I'll wait here T band but now this a bit same um all right perfect for that's look pretty good getting ready for that nice big last final punch and it kind of opens it up here that really should kind of flow run into our momentum for that big punch now looking pretty good I'm getting a whole combo Bon here all right let's lock this one in see how it looks and we have one last holes left you can feel it boom and then let clck that it looks pretty good on pry care up all right moving this bits here ah so even though that's a punch and this is something I really again want clarify that you see this punch here but it's really not that it's really not a strong pulse right and it's sometimes I see guys really have the pose just here and it's just like hey this is my punch pose looks like he's punching and like no we got to really really exaggerate you know really dig in the the hips here let's really dig this in you know let's go ahead and really make it feel like he's coming in for a powerful punch so how we do that is leaning in the punch entirely with his body right so we're going to rotate rotate the hips you know rotate the spine you know to bring that punch as much um you know as forward as possible you know feel like his whole weight is coming into that punch if especially you're doing a nice heavy big punch okay TR we extend it out a bit this is giveing me some weird rotation feel arms look a little weird to me so let's go ahead and straighten that out um right just a bit can't really see it here too much I want to start moving the camera not this forward here we see the more things we do to really push that punch forward the r that now the more you know how look how more powerful it looks just I us doing those changes if we had it here or here we could probably even move this in a bit more and really extend this pose and that looks like he's punching with this whole Force probably push it just you know little bit more to get this nice last pose in right and you can here we go so it should look like if you're taking it from especially Dynamic view like it could be a comic book cover or it could be a movie poster or an ionic post you really want to push these post here so there so because because the the hose is pushed here if I bring it here this looks good if I bring it here this looks good if I bring it you know even um closer to the character you know this looks good you know for every pose you want it to look as strong you know and as good as possible so let's lock this in think this is pretty good let that settle and after you watch the playback remove this do it and that's our combo looks pretty good let's move the let's start giving just a little bit of camera movement bring it back to the top and to select our camera and all we're going to do is just drag over just so you can see this punch so therefore when he's moving the camera should do a nice steady motion we're probably not going to keep this camera view for the whole time but it's something that um kind of sets us in place here and that's it move just a little bit so looks like that's more side scroller than anything so looks like it's coming down a bit much better okay so that's our combo pose with our character um in the next video we're going to add a second character and block out they're receiving Dodges and blocks to these to this combo so we can really see how this buils out with S car together

Channel: Round Table Animation

Views: 8,741

Keywords: fight animation, how to animate a fight scene, round table studios, fight animation tutorial, animation, how to start animation, fight scene, animate, how to animate, how to animate a 3d fight, how to animate for beginners, how to animate in unreal engine, unreal engine control rig, how to animate with unreal engine control rig, unreal engine 5, unreal engine 5 tutorial, how to animate in unreal engine 5

Id: 7YWcuSNR2Y0

Length: 48min 58sec (2938 seconds)

Published: Sat Feb 03 2024