I animated this in 18 days... in Blender

I'm gonna break down how I went from this to this [Music] did I make it in the top hundred no but I hope that doesn't take away the value from this video so on Fifth Fab Punisher announced the endless engine 3D Community challenge with very enticing prices and strict rules to follow because their frame rate is off frame count resolution is off there's always a handful of artists that end up in the pit of despair I'm going to show you one mistake and you're out anyway I already had other projects queued up in my schedule so I started on the 23rd Feb which means I have 18 days to achieve this this was the deadline so let's start breaking this down [Music] so I made the conscious effort to spend more time on the pre-production making sure that I absolutely loved the story gone are the days where I'd spend days or weeks on something that I end up hating yeah while I was working on other projects I generated five different ideas ranging from an ambitious post-apocalyptic cyberpunkish theme to a Family Guy tribute yeah I was in my family guy face okay anyway I landed on the idea of a caffeine addict chasing down a coffee delivery boy for coffee who's supposedly riding on an impressive futuristic vehicle with thrusters along some street so I had to ask myself do I have enough time to execute this story can this story be conveyed within five seconds one of the guidelines said your vehicle is the hero of the scene so should I spend more time on the vehicle over the characters on paper it made sense to do that but my brand has always been character-centric so I caved in and made the Judgment call of splitting an equal amount of time frame for the creation of the three subjects once that has been decided I began building upon this idea after deciding that I liked this idea I pulled up procreate on my iPad and began designing the characters I didn't exactly know what I wanted so I pretty much freestyled until it worked for the coffee delivery boy I ended up going for rounded features which at this point is my comfort go to shape for the caffeine addict I went for sharper squarish features because I wanted this character to look a little crazy kind of like the Joker then I blocked out a vehicle based on the Vespa I knew that I wanted to have a container of coffee in the back of the vehicle so it made sense to have two rear wheels I thought that I should have a cart linked to the back of the three-wheel Vespa but I scraped that idea and decided to mount it onto the vehicle itself at this stage I'm only using Primitives like cylinders cubes and very simple shapes to very quickly put together a modded Vespa I played around with the idea of the Vespa transforming into a flying bike but couldn't make sense of how that would work so I ditched that idea and instead had it transformed into some kind of a dirt bike foreign on this day I imported the blocked out Vespa into the scene to get a feel of what I was working with this is what the template looks like and now that is the parent of the test vehicle and a camera which animation was already baked in keyframes this I thought was going to be a problem if I wanted to change the speed of the movement but thankfully it was pretty easy to solve I'll talk about this on day 15. then it was time to animate the previous I animated the hand gestures of the characters with Primitives and animated vehicle transformation this was mostly the test whether the story could really be conveyed within 5 seconds I had to give the scene some background elements to judge the speed so I dropped in a cube with an array modifier but eventually I figured that I want the scene to take place in Venice so I threw a bunch of Cubes together and made some buildings and windows in the background I thought this looked promising so it was time to bring the characters to life my process for character creation hasn't changed that much since my previous videos so you can check them out if you want a more in-depth explanation but I'll quickly talk about it here anyway for characters with rounded features I normally sculpt them to look like a bean so from the front and the side it should look like a bean from the top it should kind of look like an egg with protruding cheeks I'm gonna use Joe's head here as a reference to show you what I'm thinking about when I'm sculpting heads I'm not an enemy expert but I always try to follow these guidelines for side profiles also the Brows are normally where the top of the years are and the nostrils are normally where the bottom of the ears are personally I like to lower the ears just because they look cute that way although we won't be making years for our coffee delivery boy so if I drew over the skull it should look something like this we can even exaggerate the bean shape a little by pushing the mouth out forward now I'm just going to use the mask brush and mask the neck area then use the grab brush to pull it out now normally I would use the clay brush to sculpt the placement of the eyes but I'm gonna wing it and I'm just gonna sculpt in the eyesight pockets and also I want to make sure that they're an eye distance apart and now import tiny eye so be sure to grab tiny eye 1.1.2 and are now free on Micah road then Skillet and move it around until it fits then add a mirror modifier then I'm going to sculpt it in the mouth and then with the grab brush tool I'm gonna drag down the eyelids and the crease brush to Define it also many of you have asked me about the matte cap that I used and this is the one that I normally use now I'm gonna block out the helmet starting with a cube then I'm gonna apply a sub-dip modifier extrude and reposition the edges until it kind of looks like a helmet and then solidify now for the hair proxy I'm going to start with a path curve and then turn snap to face project and reposition the points until it kind of looks like a curly hair strand and then under geometry and bevel I'm going to turn up the depth tweak the profile until it flattens the hair strand and with alt s you can change the scale of each point of a curve then duplicate until you have a full set of hair Ctrl L to link materials now since my character is three hits tall I'm gonna duplicate the hits and use it as a measurement I'm gonna block out everything else and the idea is pretty much the same I'm gonna start with the cube and start adding Loop Cuts move around the edges and vertices until it kind of looks like the objects that we want to make [Music] for the hands same thing we're going to start with the cube you could use your own hands as reference or look it up on Google but this is how I observe a hint once again I'm no Anatomy expert but you could break the hand down in these simple shapes the Palm in the middle finger should roughly be the same length and you can break your fingers down into two segments so from the knuckle to the first joint and the first join to the tip of the finger should be about the same length and then you can divide the top portion in the half I'm going for four fingers because it's chunky okay I'm just gonna block out everything else while keeping it simple since it's just a blockout I just want to create something that is readable before going too crazy with the details this stage is kind of like a 3D equivalent of a sketch now for the caffeine addict the process is pretty much the same we don't want to go too crazy with the poly count and we want to keep things simple and readable only difference being that he has ears and blockier features and he looks like a psycho so we won't be giving him a bean shaped face and yeah I'm just gonna repeat whatever I did with the coffee delivery boy and I'm just gonna speedrun this [Music] all right now that we're done with the blockouts I'm gonna assign very basic color to the characters to make sure that they look cohesive and then I'm gonna insert them into the previous and replace the placeholders and now it's time to refine the coffee delivery boy all right so now I'm going to refine the mesh by first remeshing and then hit shift and brush all over the surface I'm going to clean up the mesh and sculpt back in some details duplicate and separate different parts of the helmet for additional details now we're going to Bevel the edges where the elbow bends and then we're gonna duplicate the faces for the elbow brace throw in a mirror modifier bevel and delete the faces for that little hole thingy now for the pockets extrude a single vertex and then fill in the mesh apply a solidify modifier and then do the exact same thing with the Coffee logo now whatever I did with the elbow pads I'm gonna do the same with the knee pads and then we're going to give the coffee delivery boy some goggles and then let's refine his shoes I'm not going for anything too complex I'm just going to separate the tongue of the shoes and then solidify it and then call it done now with the quarter measure add-on I'm going to automatically re-apologize the mesh at this point I'm considering whether I should manually re-topologize but I don't want to waste too much time so I'm going to first fiddle around with the shape keys to see if the character can properly emote without having to manually re-topologize so I know that the character is going to pop out air as he sighs so I'm only going to create the mouth Expressions that are necessary to accomplish that oh and also I want to make sure that he's able to Blink alright so it looks like it works so I'm gonna go ahead and waste More Time by manually apologizing anyway so re-topology is not a process that I often do so I had to refer to this image over here there's actually a substantial amount of ways to go about face topology but the common consensus is that they have an eye region a nose region a mouth and a smile region basically you want to provide enough polygons for each group to properly stretch and function for example if you know that your character is going to Blink you'd want to give the eyelids enough Loop cuts that way there's enough edges for your Lids to properly stretch I feel like this is a concept you have to try it out for yourself to really grasp it alright so I'm gonna select the shape key layer and I'm gonna move the vertices and faces accordingly and then realize that I don't have enough polygons so I'm going to delete the shape keys and apply the subdiv modifier then repeat what I just did then I'm gonna isolate the bottom lip since the lips are too close to one another grab brush to sculpt the mouth open and that's it you can create as many layers as you want I wanted to test to see if this really works so I did a simple step animation I keyframed some key poses and in-betweens and left the interpolation mode to constant instead of bezier if this sounds alien to you no worries I will elaborate on day 15. so now let's texture the coffee delivery boy I'm gonna start mocking the seams ideally on where the seams would be on these clothes in real life press you to unwrap and then I'm gonna rotate the UV Islands until the numbers and the texture is set up right now after selecting the faces and moving them in a place you can use the grab relax or pinch brush to move the distorted areas back into place then I'm going to select the Islands average scale and then I'm gonna pack them and turn off rotate now since I'm gonna be painting over the skin I'm just going to use the smart UV projection and then paint white all over the face to see if there are any overlapping Islands then bit by bit I'm gonna start painting in the blush I'm gonna select the insides of the mouth and then isolate it and then paint in some dark red some pink for the eyelids [Music] so I just got the Sanctus Library which is great by the way and I wanted to give it a try but I had to create the texture of the jacket from scratch in this case I'm using the magic texture note for the fabric texture and then plug it into the bump note for some height details the Sanctus library has this cool procedural velvet texture that was giving off this cool effect and after inspecting it turns out it was using a layer weight note and I thought it was a good idea and it was like don't mind if I do so I'm gonna use that for my own Shader and then mix it with some nice texture and we're done so everything else from here is pretty much like a drag and drop from the Sanctus library and then tweaking the settings a little bit since as I mentioned I just got the library and wanted to play around with the shaders and I must say it's pretty nice it pairs up really well with the already existing textures from polyhaven and polygon also on this day I did a quick vehicle rig test but I will explain that on day 14. so yeah that sums up day six [Music] I just bought the autorig pro add-on and this is my first time using it and I have to say it's really fast to set up I mean just look at this it's like if miximo was brought into blender it's not 100 perfect I still have to go in a rig in edit mode to make some tweaks but in general wow it's it's fast I'm probably gonna be using this a lot and I'm gonna lie now I'm gonna select the meshes then the rig and then parent with automatic weights and look at that we have a fully functional ik FK rig this is literally me before any social activity as for the knee and elbow patch the pockets and the Coffee logo instead of parenting them to the rig I'm gonna use the surface deform modifier and bind them accordingly alright now that they stick on the clothes let's give him some hair add a particle system and Select Hair change the length in this case the number of hair doesn't matter because we're going to be planting in our own hair I'll show you what I mean in a bit anyway on the viewport display and render I'm gonna turn up the strength steps to at least five since we're doing curly hair then I'm gonna create a new material for the hair then under render I'm gonna change the material to the new material that we just made make sure to change the Strand type to strip then back in the particle settings I'm going to change the diameter route to about 0.1 and the diameter scale to about 0.01 now I'm gonna turn the emission number down to zero and this is what I mean by planting in our own hair with the add tool selected and the path steps set to five I'm gonna plant in the hair one at a time then with a comb brush I'm gonna comb the hair down shorten the hair strand with the length tool under children I'm going to hit simple turn down the children radius and then select curl under Kingdom fiddle around for the settings until they look right and then I'm going to add in the rest of the hair and continue tweaking the settings until they look right so here's the setup for my hair Shader you can pause the video if you want to inspect it so the principled hair bsdf isn't supported in EV and that means it appears black in a viewport like this so to mitigate that you can have two different material output Notes One set to EV and one set to Cycles now let's repeat these steps for the caffeine addict [Music] alright so the process for the caffeine addict is pretty much the same as the coffee delivery boy by the way I should probably mention if you end up liking a video please leave a like and if you want to see more of such content feel free to subscribe alright anyway I'm just gonna let the video play just in case any one of you want to sit through the process of the caffeine addict so the main differences between the process of these two characters are that the caffeine addict won't be emoting so I won't be doing any manual read apology and any shape key animation also there's a slight difference in the hair grooming but I'll talk about that on day nine so yeah even the texturing process is pretty much identical so that about concludes day eight foreign so I'm going to select the faces where the hair would grow make a new vertex group assigned and name it density new hair particle system then under vertex group assign density to density so instead of using simple under children I'm going to use interpolated and what it does is that it evenly distributes the child particles and mimics the behavior of the closest parent particles this is ideal if you intend to create a full set of hair but should be avoided on a sparse set of hair and also if you want to create very specific small chunks of hair just like what we did for the coffee delivery boy so here's the hair Shader and that's all for day 9. [Music] to give me a head start I'm going to use the Vespa from polygonics traffic library then I'm gonna break the Vespa apart and modify the model to match my block out so sometimes after modeling for instance this pole type object it doesn't pivot the way you want it to after setting the origin point to Geometry a quick solution of that is to instead select an edge Loop or some vertices then hit shift s and set cursor to select it then right click set origin origin a 3D cursor and that's what I'm going to do for this bike stand alright now I'm going to take the container from the back of my blockout and then I'm going to duplicate a part of it and use it as a base support subdiv and then move some of the vertices around and then shrink wrap solidify and we have a base I'm going to flip the brake lights add a bunch of pole thingies break more things apart and add more things I'm going to give it a nice big grit button now for the exhaust pipe I'm going to start with a cube add some Edge loops and separate them I'm going to move them around and experiment with different arrangements for the transformation okay I'm gonna delete half of them and use a mirror modifier instead alright select the rest control L and copy modifiers actually we don't need the bottom half too so let's delete that and set the X's to X and Y I'm gonna make some slight adjust and Link materials so after a bunch of refining we're done and everything seems to be working just fine so now it's time to texture the Vespa for the body paint of the Vespa I am once again going to use the Sanctus Library this time I'm going to use the smart metal V2 and tweak the settings until they look right since this Shader uses ambient occlusion to generate dirt in cavities I'm going to have to bake the textures the baking process took me a while to figure out but it's actually pretty simple first of all to have the textures baked accurately as presented in the viewport it's ideal to turn off modifiers such as bevel and solidify then right click on the Shader nodes at Sanctus big sockets and pick whatever you need I'm gonna pick all of them then I'm gonna press n and click on Sanctus choose 4K and then I'm going to leave the samples at 4 then bake the bake will take quite a while but once it's done all the textures are conveniently shown here for you to save them one at a time I seriously love this feature now I'm gonna duplicate the glass container and delete the top portion extrude and extrude then fill select the edge and shift e to Edge crease I'm going to make it brown and turn down the transmission to 0 okay I think we're gonna need more coffee there we go I did a sketch and procreate for the Coffee logo and now we have a mask to put over the glass container I'm just going to use materials from polygon and polyhaven for the rest of the Vespa and we're done now it's time to rig the Vespa so to explain how I used rigger car to rig the Vespa I have here a super polished vehicle to demonstrate first of all make sure that your vehicle is facing towards negative y or your numpad 1. also make sure that your vehicle sits right above the default grid then of course install regular car then hit shift a Armature car deformation rig to add the car rig you'll see that you can only add the wheels in pairs even though we only need one wheel in the front but for now we're just gonna add one pair of wheels in the front and the back for the wheels we want to make sure that the origin point is exactly in the middle if your wheel is perfectly round setting origin the geometry shouldn't be a problem but if it's not select the edges or vertices that you know will be the center of the wheel shift s cursor to selected then back in object mode right click set origin origin and 3D cursor alright now select the wheel then shift s cursor to selected then in edit mode select one of the front wheel bones shift s selection a cursor the bone should snap to the origin of your wheel do the same for the rest of the wheel bones and ignore this one as for the body the bone should be set right below the car the tail of the bone should be right at the rear of the vehicle this determines the drift this part of the bone determines the pivot where your vehicle would pitch if we place it too far back it would turn out like this too far forward and it'll look like this so I'll set it to right about here I'm just going to bring these tails in a little though I don't think they make a difference now we need to parent them apparently there's a way to name the objects correctly to Omit this step but I'm not going to instead we can select the object select the bone control tap or post mode then select the bone control P set parent to Bone do that for everything else then hit and rig a car and hit generate not too sure why it pops forward a little but that's about it everything should work just fine we can select the bone hit Tab delete the bones we don't need and that's pretty much how I did my rig to be honest the rig I have here is pretty janky as you can see the front wheel is not following the green arrows and the reason is that I have a bunch of object constraints applied to this vehicle what these object constraints do is that they force your objects to behave a certain way so you can tell your object to copy the location rotation and the scale of another object you can set limits too so that they don't go beyond certain values you get parent objects and you can even tell it to track two different targets such as this stirring handle that is tracking to the Green Arrow so my janky little setup requires me to parent my front wheel to this pipe so this constraint conflicts with the constraints that already come with the rig it was causing issues that I couldn't figure out so I had to make the Judgment call and sacrifice the steering capabilities alright now it's time to work on the animation [Music] before I work on the animation I'm going to first import the Vespa into the scene now instead of scaling up the Vespa I'm going to scale down the vehicle placeholder to match the Vespa if I scaled up the character this would happen to the hair so let's not do that let's create an empty and increase the radius parent the scene elements to the empty and scale it down let's match the Vespa to the placeholder and an object constrained child off and Target it to the null and there we go now let's import the coffee delivery boy I don't know what these things are but I'm gonna delete them okay good the rig is still working let's bring him to the Vespa child of how get the best bar rig set bone to death body then hit set inverse now I'm gonna post the coffee delivery boy okay he's out of frame let's readjust the scale of the scene and parent everything back perfect now I'm going to keyframe some simple poses for the Vespa right click insert keyframe and pick whichever transform that the rig controls use so I downloaded some free textures of Venice on textures.com let's make sure that they're in the right scale and let let's use them as placeholders for now that way we can judge the speed of the Vespa alright so as mentioned in day two I'm going to change the speed of the vehicle so let's select the camera and the parent null both which animation are baked in in the graph editor we can isolate the axis that contributes the animation which in this case is the Y location then hit s to scale the selected keyframes and Y to make sure it only scales in the y-axis now normally it would scale like this so we have to set the pivot point to 2D cursor and it should work if it's not working you have to select the keyframe hit shift s cursor to selection and there we go then I'm going to clean up the keyframes a little and refine the Vespa animation alright now it's time to talk about character animation because that's what we're about to do so the first step in animation is creating your key poses as the name suggests these are the poses that are key to making the animation make sense right now I'm animating the key poses of a punch and once I'm satisfied with the pose I'll select the entire rig except for the base insert keyframe location row rotation and skill [Music] and as you can see we have four keyframes that we can now spread apart but before we do that we want to set the interpolation mode to constant instead of bezier this will disable any automatic interpolation in between the keyframes once you spread them apart which is ideal for blocking out your animation now we're going to spread the keyframes apart until the punch animation starts to make sense and feels Snappy out of curiosity I set it to bezier and notice that in between keyframes the arm looked weird in hindsight I should have ignored it because we are about to add the in-betweens as the name suggests you want to insert new poses in between the key poses to improve your animation and make it more fluid for this demo I'm not going to add too many in-betweens but you can definitely add more as you wish next splining now you can change the interpolation mode to whatever works for you for this case I'm picking bezier the more in-betweens you have the less likely you'll face the weird arm issue that I had earlier another cool trick is that you can copy the pose and paste the flip version of it this will come in handy later once we have the animate the Run Cycle there are more to touch on this topic like smoothing and offsetting but I won't be covering it here because for the most part I left it in constant mode for that stop-motion Vibe now let's apply whatever we just talked about and animate a Run Cycle if you're unsure about the key poses that a walking and running cycle should include there are plenty of online resources that you can refer to anyway once we have a single Run Cycle we can duplicate duplicate duplicate okay now I'm gonna select the arm rig and delete the keyframes from 31 frames onwards then I'm going to animate the action of him retrieving his cup foreign now we need a cup so let's model that real quick [Music] then let's parent the cup to the hand and we can keyframe the visibility of the cup and there we go his taking a cup out of nowhere now I'm gonna animate the other arm the tie flinging about the bike transformation [Music] okay so let's talk about the wiggle of the bike stand so open the graph editor insert a keyframe on the desired rotation axis in this case it's X then in the graph editor Hit N to open up the side panel like a modifiers add noise and play around with the settings this is what it looks like without noise and with noise now let's animate the coffee delivery boy real quick and we're done [Music] it's actually pretty straightforward so just turn on the Hair Dynamics in the hair particle system and make sure you have enough strength steps both in your viewport display and render then tweak the settings under structure you can also increase the vertex mess if you're dealing with longer hair then under cash you can set the number of frames you need to bake then hit bake and you're done these are the final settings for the caffeine addict now for the coffee delivery boy instead of using Hair Dynamics I utilize the force field settings just because it worked out better and these are the final settings now it's time to bring the environment to life [Music] so we're gonna import more images from textures.com and decorate the environment for the front portion of the sequence then we're going to turn all these buildings into 3D Ian Hubert's Style by adding Edge loops around the doors windows and any ornaments we can find press G twice to slide the edges or vertices without stretching the UV and press G three times to move them freely let's do that real quick [Music] let's hit I to insert these windows and doors with the borders alright let's extrude the windows and the borders outwards and then select the windows and extrude them inwards now we can select any stretch areas hit you smart UV project and in the UV editor move the UVS back to where they belong on a duplicated mesh let's rearrange the vertices to match the wooden panels and move them outwards add a solidify modifier and now we have a facade you can do this to as many buildings as you want and even paint out areas that you don't need and to do that you need to first of all duplicate the image so you don't overwrite the original in texture paint mode select the Clone brush and shift right click on the image and the 3D cursor determines the region that you'll be cloning and brush over the subjects you wish to remove and keep repeating this until you're satisfied then make sure you save your image here are the assets that I ended up making so now it's time to assemble them into the scene [Music] alongside my assets I decorated the scene with assets from botanic traffic polyhaven and quicksil Bridge so this is what we ended up with and now it's time to move on to lighting and color grading [Music] okay so the first thing we're going to do is to give this scene an ambient light by throwing in a hdri from polyhaven an ambient light is basically a baseline level of Illumination casted from any unintentional light sources that are already present in the environment for example the daylight bouncing off buildings and objects or overhead lights in a room so they're kind of like an indirect light source they also determine whether the tone of your shadows are warm or cool hard or soft so they play an important role of setting the mood of your scene for this case I picked the hdri with a soft overcast next let's add in a sun here are the settings I should mention instead of using the default settings I'm going to use the settings from photographer 4. also I've set the exposure to negative 2.5 anyway the sun gives the ambient a warmer tone and fills up The Valleys since the sun is our strongest light source it's our key light next I'm going to use the clout number nine Spotlight from gobo's light textures by bee production a gobo is basically a light source that uses a stencil to project light patterns onto a surface so I'm gonna cast a synthetic sunlight sipping through clouds onto the buildings in the back you can call this a motivated light source so a motivated light appears as if emitted from an existing light source so you would think that this was casted from the sun when it actually isn't next let's throw in a few more gobos as motivated lights onto the red buildings and the ground both using the leaves number eight Spotlight for this next portion of the sequence I'm going to throw in a cloud number nine Spotlight as motivated light to fill up the valley and ground now for this portion of the sequence I'm going to use a simple area light as an indirect light source to fill up the Shadows a little and this caustic number 7 Gobo as a motivated light source to make it seem as if the red potion is catching the Sun online I'm not gonna lie they are a little too subtle to be useful then let's add these cookie cutters to emulate leaves getting in the way of the sunlight again maybe a little too subtle then I'll add this geometric number one Gobo to emulate the sunlight seeping through the roof next let's use the leaves number one Gobo as motivated light source with the sun seeping through the leaves looks a little harsh but when it's out of focus with motion blur it looks normal for this tunnel I'll use the leaves number eight Gobo to light it up lastly I'll use the leaves number one Gobo to break up the light a little it's very subtle and there are no trees around for this to make sense but it's a quick way to introduce a little imperfection now these superstretch buildings that are out of frame are here to naturally block off and bounce off light onto the scene to make it feel like it's actually an enclosed area these spotlights in the back of the coffee delivery boy are rim lights which are normally used to highlight the rim of your subjects to create a separation from the background while I was editing this I realized that light linking is already in its Alpha stage for blender which will make this process says so much easier I seriously can wait lastly let's break down how I color graded the sequins so I did a bit of comping in blender just to make the muzzle flare of the thrusters glow and to add a little Mist then I exported it out as a PNG sequence with the look under color management as not so the first thing I did was to add some gain and contrast using the curves here's a little A and B next I balance the contrast of the sequence by keyframing some deeper Shadows with the curves to come in only in the beginning and towards the end since the middle portion of the sequence was generally already darker and had more contrast then using the offset color wheel I added some warmth here's a before and after then with the color warper I added some saturation to the sky with the Hue versus saturation curve I added some saturation to the greens as well then I added more warmth next to the glow FX I lured both the shine threshold and the spread then I change the composite type to soft light instead of add which was the default setting this adds a nice milky roll after the highlights then I added halation which is this red halo that appears around the edges of bright areas of the image this is an optical phenomenon that occurs in film which I thought was a nice subtle detail that would help make the image look more analog then I added more warmth this time with the color warper than with the luminance versus saturation curve I lowered the Shadows to remove some saturation from the Shadows lastly I added some fine 35 millimeter film grain once had an overlay for some less harsh softer grain to break the image apart and one set in hard light for some harsh grain to go over the image so that concludes my thought process for the endless engine challenge 18 days for 5 seconds worth of Animation yep there are a few things that I wish I could improve on the coffee sloshing around inside the container being one of them but I ran out of time I also wish that I had been more bold with the animation of the coffee delivery boy in the Vespa but all in all I had a lot of fun and learned a lot if you enjoyed watching me turn this into this consider subscribing thank you guys so much for watching watch this video next if you want to learn how to make your own cute 3D character bye guys [Music]

Channel: tinynocky

Views: 1,053,393

Keywords: blender, 2d to 3d, tinynocky, blender 3d, blender 3d character, blender 3.4.1, blender how to make a character, blender how to, how to make a cute 3d character, blender animation, endless engines, endless engines pwnisher, I animated this in 18 days in Blender, endless engines breakdown

Id: tCTkkHGRpNk

Length: 32min 46sec (1966 seconds)

Published: Sat May 13 2023