The Animation Cheat Sheet - Workflow Demo

I have created an animation cheat sheet which has step-by-step instructions to follow to create animation using the post pose workflow if you haven't already I strongly suggest you check out my last YouTube video which is an explainer on the posttop POS workflow that video is more of a lecture which explains the concepts behind that workflow and this video is more of a demonstration video where you can watch me animate using that workflow and follow along step by step we're going to be using the Squirtle rig which is a nice simple character you can get from the Agora community site but this quick exercise there's not much planning or reference involved we're just going to get straight in there and make some poses we're also going to be working with step tangents the whole way so that none of our inet are decided by the computer now remember this workflow is trying to keep us close to traditional animation workflows of the past so every pose we create in 3D is the equivalent of a drawing in 2D animation this also means whenever we create a new pose we are selecting all of the RAS controls and stamping that pose down on specific frames learning how to spline and use the graph betterer can come later right now we're just focusing on fundamental animation principles and how you can improve that by using this workflow as we go through each of the steps of the workflow we're just going to be referring back to that cheat sheet I made I'm going to be using AES mea for this exercise but everything we do here can be done in blender so blender people don't run away please I need your views thank you the only essential plugin we're going to be using is tween machine which you can download for free in blender you can just use blender break Downer and it does the exact same thing I'm also going to be using a picker for the character so I can quickly select controls all that does is speed you up you don't need one but I'll give away this Squirtle picker that I made for free using dream wall picker so without further Ado let's hop into Maya and get this demo started let's go so the very first thing we're going to do in our workflow is create some POS you're basically viewing the camera view of your 3D model as just a drawing maybe in a future video we'll do a proper Deep dive into posing but for now there are some videos on my channel where I've done a live stream and i' I've gone through the posing process with a student and pushed their poses I've also got a couple facial posing videos as well you can check out to learn about posing the face over time you'll naturally improve your eye and you'll get a better sense for posing so don't overthink it for now in this video we're just going to focus on implementing and fully understanding the workflow I've been teaching so here's the main poses I made he's standing looks to the side kind of gets suspicious then maybe he sees something he jumps up and goes into some Kung Fu stance now these aren the best posers in the world and that's not the point of this exercise it's just about repetition and practicing the workflow things that we're considering when we're making these poses is contrast between them um so there's a few things I like to think about with contrast so one of the major ones is the line of action through the body so here we're kind of doing a a c this way if we go to the next pose we're going this way right so our we have a reversal between this pose and this pose let's look at the next pose when he jumps up and we're going this way so we get that contrast another thing I think about a lot is if you draw kind of a general Cube or a square around your silhouette so here where we go from this shape if I then draw the silhouette for this pose what you're going to see is he's kind of gotten smaller and wider shorter and wider um so much like our question stretch with somewhat maintaining volume so that's another way of viewing contrast we could even involve the tail in that get wider during this part and um so let's just maybe try that out so that gets a little bit wider so it widens the silhouette even more than it actually is again here we're kind of going from that short wide shape and then we're going into somewhat taller again I could maybe involve this arm in there but you don't want absolutely everything to do that but it's subtle amounts of change but these are things that you can look at to to make sure you're getting enough contrast between your poses another thing I like to think about when doing these bigger POs to POS changes I usually end up changing the weight like the foot's on here the foot the weight is already on the screen right leg and then he goes down into it but maybe during an anticipation or breakdown in here we'll have him Arc to the left so we get that that change of weight that weight shift from one side to the other these are all different things I'm thinking about when I'm doing my main poses my main held golden poses and that way we we know that when we get into adding these breakdowns adding things there's enough contrast and shape change to make the motion appealing so sometimes we want to work within a pose so that's what I mean by that is we're just looking we're in this pose here but we're just looking slightly to the side um we still use the workflow to go in and out of this pose it's just kind of a subtler move and we're not changing everything so when we do these I don't worry about all those things about contrast I just mentioned I just worry about kind of delivering the story so he looks and then it reacts and then you have the big post change right so we still do our post to post workflow into the look which which you'll see in a second it's just a smaller CER version um instead of involving all the contrast so going back to our cheat sheet let's pull it up the first step is creating our poses and making sure we have contrast between them sometimes when you're going between poses you need to consider anticipation as another pose if you're holding in an anticipation before you jump into pose then this hold again is just another pose we just view it as another pose that we use the workflow in and out of in this case we're probably going to have a smaller anticipation pose between these two so we can add that now cool so for this anticipation I've just got him kind of squishing in on himself before the jump he puts his weight on the leg over here and everything's kind of getting wider and thinner again so we're looking at if we were to draw a box around this guy um it's basically gotten shorter and wider um to anticipate and then we're going to be jumping and getting taller and thinner so it's another way we're viewing contrast and also kind of pushing the line of action so we get stronger c-shape before we reverse when we jump out so these are a few things I'm thinking about for that contrast step so now with that we've kind of finished our first step we've got our main poses and we've got our anticipations um these are all going to be held poses so we view them all as the exact same we're just going to be using the workflow to work in and out of them so we're going to be working through each of our postop POS moves separately so we'll start with the first one here so one thing that I'm always thinking about when I do these postop POS move is where I'm going to be animating them on ones twos threes fours I don't really go any more than that on 24 FPS I usually view animating on twos as a Snappy move animating on threes is kind of a medium move and animating on fours is kind of a slow move for for a simple look to the side here he's going to be standing there and then just look to the side it can be relatively Snappy we'll just call it a medium move for now so we'll go three frames up and we'll make our first break break down again when we're using TW machine the more we bias our previous pose the snappier we're going to move through the middle so for this move I'm going to make it's about medium and we can stick it around here so the first thing we need to consider when doing our first B down is we're kind of somewhat dragging everything because we're biasing the previous pose but then we need to choose some things to lead so in this case I'm going to use the eyes to lead and then the head can catch up and the body can catch up with that so the eyes I'm just going to snap them over so the eyes are leading um and the head is kind of dragging behind but the head is in a straight line now so every time we use twe machine it's going to put everything in a straight line so if you look at this intersecting point here I can make even bigger you can see it's kind of moving in a straight line very slowly but we have our spacing but our Arc is not here so let's add in a slight Arc so we can Arc kind of under we get this slight dip um the body probably needs to be put in a very slight Arc I can use 2D pan Zoom um get really close and see like oh yeah this is kind of moving in a straight line we know that everything's going to be moving in a straight line when you swing machines so here this is just going diagonally this way so maybe we can add a tiny Arc where we go to the side and come around this way same goes for rotation but the rotation so minuscule here that it's not too much I just need I just grabbed it and nuded it a tiny bit down to put it in an arc I'm just going to go through different controls and make sure that they have a slight amount of Arc to them but it's a very subtle move so we're going to speed through this stage 1 2 3 so now we go three frames and I'm going to ease in again we're relatively Snappy on this move or relatively medium I'd say not Snappy um and then again the arc here is kind of broken so we went under now it's kind of going over and then back down so I'm just going to continue the arc we started here with our first breakdown kind of going under so we're continuing that under AR so I can go flick between these frames and it doesn't really matter that I'm um adjusting like previous frames when I'm making these arcs we we're not too worried about that we can flick through and change things as we please we we don't need to stick to any decision um you can be very loose with it we've created our e in and we've added some things to ARS but one thing I forgot to do which we definitely need to this is our step three is add something to drag um so let's choose something to drag behind I mean the head was kind of dragging behind the AR eyes but maybe we can drag something extra even more so maybe like this arm which is tucking in a bit maybe that could be dragged behind and we can make an arc as it gets dragged behind so that just has a little bit further to go and you have something leading and something kind of dragging getting there a little bit later make this free frames so these are all on fre frames as I say I like to do kind of medium moves on threes slow moves on fours fast moves on twos or really really fast moves on once um and I like to keep them at consistent frame rates as a first pass then we can adjust the timing afterwards um the reason you do that is so when you flick between these keys I know look this the difference between each of these Keys is the exact same so when I flip between them I can see how much things are moving and I don't have to account for how many frames it's moving that distance within all I have to account for is the amount that's moving because I know it's consistent if you work this way then you can easily kind of track your spacing a lot easier rather than having to consider how many frames is also moving whilst tracking your spacing and making sure things are gaining speed and then slowing down in speed when they ease out and back in again so that's are breakdowns one and two in our workflow so now we can add a midpoint in the midpoint um is a step PL I don't always do um we're defining the fastest point of the motion we can do that if we're getting really high fidelity and on some moves where there's more contrast and you have more shape changes then we're going to use it for this one I'm not too bothered all that we're doing by adding the midpoint is adding extra detail to the middle of the movement which in this move is a really simple move the arcs kind of defined at this point so we're going to skip past that for now on on further postop poses you'll see in a second we'll be using this step um so now we're just going to do eases on either side of the motion to to cushion it and to add arcs and to settle everything we can go three frames before maybe add a slight ease out so it's slightly easing out and we can make sure that the head is arcing right now it's going in a straight line so it's very tiny but we add a tiny Arc to it cool and I'm not too bother about anything else everything else is so subtle on this move that we're just going to kind of speed past it um maybe we can add an e Zen or two um around the same amount of bias that we were using before and make sure that here again as soon as we had that ease in this Middle Point it's going a straight line again so we just nudge that out into Arc and we can do the same for this arm which was catching up so maybe we can just nudge it so it's kind of slightly and up I'm not too bothered about much else because it's a simple move but there you go we've created a Poe to POS move there the mouth's doing its own thing we could put those Corners in Arc we could go into lots of detail but for now we'll we'll skip past and we'll move on to the next post toose move so we could also add a moving hold um this is most important for when we're doing spind animation because as soon as hit spline it's going to start blending into the next pose so let's add a moving hold so he looks and maybe for a few frames so maybe until about here we want it to hold in this pose so we're going to add a final ease in and make sure that things are arcing so here again it's going to be going in a straight line even though it's really tiny I'll just add it into a slight Arc not too B about any of the other body parts but that means if we were to hit spline on this section so now with this moving hold we kind of break down into this pose um and we hold for this section and then we start to move into the next pose if we didn't have that moving hold we would do the breakdowns and we would already start to transition as soon as we get to this point so we wouldn't have that hold at the end of the movement look we definitely want so we'll go back to steep this exercise we're just going to focus on step tangents now we have our first move figured out um it was a bit of a subtle one but all the principles are still there it's all animated the exact same let's move on to our next POs to pose breakdown um breakdowns which is between this pose and this pose let's start again so we start this workflow again every time going between each of our poses obviously we've done step one already for everything so we don't need to worry about that so we're going to move on to step two here for our next POs to pose move which we're going to be creating our first breakdown here which is biasing POS a um and we're going to choose something to lead during it and we're going to add everything into ARS that's the all the steps so we're going between this pose and this pose so let's maybe make this one a bit snappier um I'm going to work on Twos for this one and I'm going to be pretty Snappy with it so I'm going to go 75% bias um cool so something to lead I feel like the head can maybe lead so we're going to kind of scoop under and get the head there um and also the facial animation could probably lead I can just use TW machine to kind of get it there maybe the mouth or something can be a bit slower than the rest of it so I'm just using TW machine here to kind of get some things closer to where they're going to be pretty fast um maybe we can have the eyes kind of catch up a little bit here as well but with the Brows somewhat leading cool so we got a little bit of facial lead there so we've chose what's leading now we can put everything into Arc so again this is going to be going in a straight line I think could be cool to have um an arc where we kind of go around maybe over and around here so we're getting over and around in that Arc cool and the rotation also needs to be put in an arc so I'm going to nudge that around cool so now we can move on to other body parts let's check the hand so this hand going in a straight line maybe we can add slight Arc to it going this way with the elbow leading maybe we can drag like a big part of this like the hand as we're going cool and maybe that hand's leading more than this hand so maybe this hand can go do an overarch so they're kind of doing opposites which is fun get a little bit of break up maybe we can lead by translating the head down a little bit so it kind of is getting there a bit faster oops and the tail maybe we can drag the tip of the tail whil the bottom of the tail is kind of leading so I am doing lead and follow at the same time here um but the main everything's going to be somewhat following because we're biasing the previous pose so the main important step on this is to do follow but is a lie to say you just do follow on the first breakdown you do both cool so we got our first breakdown there we can look back at the cheat sheet obviously the next thing we're going to move on to is our second breakdown so again we make a decision about how fast we're kind of biasing into the poe how Snappy that middle of the movement movement's going to be um and then we need to focus on things that are dragging behind and arcs once again let's go two frames up let's make an EES in maybe it would be fun to have um The Arc kind of go under at this point so it's a real Snappy move we kind of go over and then we go under we're kind of arcing around this way want it to be ctle of course um and let's add that kind of drag behind with the Y that we were started on the previous pose maybe we can drag the body as well cool the foot's kind of getting there slowly but maybe we can delay the ti toes so kind of like the heel leads it and the toes get there a bit later so adding some lead and follow uh the head was leading before so we can continue that lead kind of have it overshoot under and then scoop up maybe we can even scale the head a little bit to overshoot it maybe we can overshoot the face a little bit so let's get the face most of the way there but maybe we can overshoot by having the jaw closed and then it can open on the open again and maybe we can have the eyes squint a little bit more so they open on the next pose maybe we can have the eyebrows kind of overshoot by coming down further and kind of compressing in further as well maybe we can add a little bit of that shape change early into that angry brow shape kind of push past it and then get into the next one cool um so there's also continue our arcs on the arms this one was kind of arcing outwards so we can continue that and that one was kind of leading the other one as well maybe we can get that shoulder up nice and high so the shoulders kind of leading it and then delay maybe delay like the forearm as we do this the forearm has more further to go this one we' were kind of aring over the top so we can continue that aring over the top before it gets into that final pose Bo boom I'm not really looking at the rotation here I'm just looking at the hands when I do the FK arms I find that easier to track cool and the tail maybe we can continue to drag behind the top of the tail what's the bottom of the tail kind of gets to its final position cool so we've created this very Snappy move between our poses here um I can put this all on twos but now now we need to move on to the next step which is the midpoint pose so we're going to be defining the fastest point of the motion um so I'm going to add a pose between our breakdown one and breakdown two so this will be on ones at this point maybe we'll play around with that timing if we need to and we're just going to continue our Arc and our spacing um for all of these parts so we've already defined what's leading and following um let's just Chuck it around the middle which is where it needs to be um and let's continue these arcs so ARS aring around there's no particular order to what I want to do with this it's probably best to do like the center of gravity first just because that moves the most things um but you can't get away of just moving whatever really it's just about feeling it out so maybe at this point the foot kind of arcs over and then it can stamp down cool um and let's continue the arcs for the other arm for example for this part the shoulders kind of leading out up cool this middle part we can lead the head a bit more during that part boom cool cool so don't need to worry too much about everything a lot of it's going to be covered by twe machine and we've already defined a lot of the arcs here so cool so now we can move on to our next step which is adding eases so the more eases we add the more info we can add on the we get out of a pose and how we get into a pose whoops accidentally moved the camera there I'm going lock it as well so I don't accidentally do that again so let's do our first ease out we're relatively Snappy here I remember we use 75% so we can kind of do that as well we can vary the percentages a little bit but we want to keep them relatively similar so look the spacing is Progressive so I'm just putting things in Arc making sure that the things that are leading are leading and things that are dragging are dragging so maybe I'll do an arc that starts this way and then it goes around that way for this arm maybe I'll do an arc that comes inwards and then goes around for this arm wrong frame this Frame is the one we need to do it with maybe we can drag the tail a little bit during this part and lead with this a little bit more so I don't really think we need it's a Snappy move I don't really think we need more ease Ins at this point we can just add sorry we don't need more ease outs we can just add more ease ins so we're back on twos and we're kind of using 75% here maybe we'll make it a little bit softer at this point and do 6 cool and now everything's in a straight line again as for usual so once again we're going to continue the arcs we've established maybe the rotation can overshoot on this Frame underneath so the Arc of the rotation is going under and then back around and the head maybe we can add a wider arc on the head here for a little bit of Interest TR and then have it come around and settle back in maybe this Frame we can have the arms kind of overshoot up and then come back and settle cool and this one maybe you can get around in that Arc that we've already been creating maybe overshoot a little bit and not too bother about everything else I can add detail to everything else but you know this is just a demo so we're not going to go super polishyellow um the tail let's work on that a little bit so the tail was dragging through here maybe we can have it start kind of overshoot at this point and settle uh we keep going add more breakdowns add more eases sorry I should say eases everything goes in a straight line once we hit T machine we nudge everything into Arc so the head nudged into Arc the body here always use two pan Zoom making sure look the spacing is getting closer to the final pose look but we're still continuing that Arc and I know that everything's going to be going a straight line so I can very easily just nudge it and know that it's going to be going the correct way maybe we can add a bit of overlap where the arm straightens a little bit and then catches back up and we'll check the arc on this arm I'm not sure if I did it kind of looks bit straight here so I'm just going to have it go under and then back around so again we can probably add another ease like one final ease here so I'll go two frames up again add these whoops wrong frame add knes in here again it's subtle but everything's going to be in a straight line somewhat diminishing returns cleaning up things the closer to the E the final POS that we get but it's good practice just adding arcs to everything slight nudge slight nudge of the rotation curve there here again we can check this is going to be between these frames going in a straight line so I can just nudge it over so it kind of finishes that Arc and a little overshoot so we got our first two moves here whoops we could add a moving hold but I'm not actually going to for this move because I think I'm going to move straight into the next thing by the end of these eases we're going to start breaking down into the next pose so we're not too bothered about moving holds once again once we finish a workflow into the next pose we do the workflow again into the following pose so we go back up to the top here we've already made our poses we're just going to walk on step two onwards so we're going to be making our breakdowns once again here I've decided that I'm going to make the anticipation pretty instant after we get into this pose I think so by the end of this this is about as much hold as I want so I don't actually need to add a moving hold pose I'm just going to break down further into the next move so maybe we can vary this so we did this one on twos and we made it very Snappy by having it 75% each way so maybe for this anticipation we can be a bit slower we can go to kind of a medium speed maybe do threes we can kind of bias kind of a medium amount here cool so that's our first breakdown uh we need to choose something to lead so maybe the head during this part so whilst we're still using in can already start to get to the next pose so it can already begin its Arc to the next pose during the ease in of the previous motion so I like to call that continuous action um it's the step I've mentioned here continuous action so it's when if you have two postos moves close enough to each other in time you can have things still stinging in one pose while something starts to lead out into the next pose um so here I've had it where the head is starting to lead into this next pose whilst we're still easing into all the other parts the previous pose and that way you kind of blur the lines between your post toose moves and it makes things feel more organic and more interesting so let's keep working on this so we chose the head to lead um we'll put everything else in Arc so here kind of this Arc was finishing and now we're kind of coming easing out so I'm just going to continue that Arc um again I'm using 2D pan Zoom I'm just tracking that little square there um maybe we can continue this arm in for this anticipation cool um got the rotation Arc in here maybe a little bit under and the face I feel like is a bit linear right now so maybe we can delay the face or we could even lead with the face so maybe by this point we're somewhat getting there maybe the frame before we can do a little bit of continuous action where we start to ease out into that as well very sharply um so maybe we can have the eyes lead I'm just going to grab the eyes and have the eyes kind of get there already but maybe the mouth for example could be a bit more delayed during this first breakdown and then the mouth can catch up um I don't think I put this back arm in Arc either so let's check that cool so now we've created our first breakdown so let's make our second breakdown again working on threes 1 two three going to move this two more frames up so this is on freeze and we're going to add an e in um somewhat soft e in uh we did 40% here so we're kind of again varying that amount of bias between our different POs to POS moves maybe we can have his Arc overshoot a little bit tiny bit of continuous action here so I flick between my poses and you know as we're coming out of this pose I can start to add a bit of an ease out on different parts of the body so that different things start to ease out at different times that's something to always pay attention to and I put the rest of it into into Arc as well for the second breakdown so we're not always just working on one key at once we're flicking between our keys and working on a bunch of things at once cool so let's figure out this Arc maybe we can have this kind of Arc inwards a little bit more and then come out cool this guy is kind of linearly coming up at the moment so I want to add some bit of interest on this second breakdown you have the shoulder lead head Arc not focused on too much so maybe we can have it it's kind of coming down in here so maybe we can have it kind of AR around this way a little bit more so it has a little bit further to go so we've got our two breakdowns again we can move on to our post po sheet we can look at the next step which is adding midpoint which again is just kind of continuing our ARs and spacing but we're going to add it in between our break down one here and I'll break down two so how we're getting out of this pose and how we're getting into this pose we're going to add it in here but there's three frames so it's a bit awkward to find uh you can kind of just choose one side to bias so here I'm going to bias this side and make sure look because I'm doing that I'm going to bias a little bit to the previous pose um since there is an exact amount of frames there to add this midpoint I'm just going to add it in um cool can Define this Arc a little bit more maybe we can overshoot things like the eyebrows by this point so I just grab them add a little bit more compression to it before we get to this pose uh I'm going to make sure that during that mid pose we're still in Arc in the main body so I'm just going to continue it around and under this way again I got to remember though it's of one frame so okay I want to add a bit more contrast in here so I'm going to use the forearms when I start to ease out I'm to add a little bit of forearm so that the forearms can catch up for this bit here a little bit jittery let's P it back same on this one continue the for arms so they have a little bit further to go as we come into our final pose there our next pose cool um so we've added our two main breakdowns maybe we can add one more Ease on this side continue the ark everything goes in a straight line again when we use TW machine so we just nudge it slightly into Arc straight line again in here so I'm just going to nudge it under so we get the arc cool so we've now done three post toose moves in total we've done our little look to the side I'll drop down reaction and then I'll drop into an anticipation we can kind of vary our workflow little bit and we can add a very sharp ease out so let's do let's work on twos maybe for this one let's add a really sharp ease out for this first part I'm going to keep the legs on the floor and I'm going to lead with the I'm not going to leave with the head this time I'm going to try and Vary it so we don't always lead with the same thing so I'll continue the head Arc settling from the previous po to POS move but I really want to lead with the arms I think here here so the arms are going to have them swing in um so this one's going to be swinging around maybe we can even delay the the forearm here as well and the Hand maybe use the BOS here to get the elbow to kind of lead a bit more cool do a little bit of leading with this arm as well they coming down just going to be pushing him up as he kind of flies up cool maybe we can even delay the head as the body starts to come up I don't want it to look like it's jering though so something like that and let's keep this leg on the ground and arcwise going to Arc it around again we're pushing off this leg so I'm just going to Arc it onto this leg and then start to push off put this in Arc boom boom boom so that's our first breakdown we kind of def find there things are in Arc things are spacing so we had a really tight ease out it was really close but now we're going to have a softer ease in here so you can vary this um just going to grab the I so I can put everything in Arc bom bom so we're kind of easing in and I want my foot to be pushing off here so I'm going to delay my foot I can kind of be pushing off the toes just going to translate it so it kind of lines up so it looks like it's pushing off the toe there um it's getting a little bit stretched and warped but that's fine we'll figure that out this one is kind of pushing off as well so we can have those both delaying as everything else is coming up so the head was somewhat delayed as well so I can kind of droop that down I have that maybe we can have this arcing under and then it can come around as we work into this pose um and let's have this arm Ark continue inwards we can drop it down as it comes around and this arm Ark we can continue inwards as well before we get to this kind of Point um where kind of arcs under and around cool the forearm was getting pretty delayed before so we can add a bit more delay just make sure that when we do eases we Define this Arc a a little bit more um find it a bunch now it's a very short hop I kind of want to make it higher so I'm just going to grab this Frame and make it higher and this Frame make it higher cool um so we have our breakdown one our break down two into this pose um so let's put this on a two as well just going to grab it move it over and I don't necessarily know how much hang time we want to add to this but we can add some eases so I don't think we're going to ease in because we're kind of snapping we're not going to ease out sorry we're kind of doing a really Snappy move so we're not going to add as many ease outs we're going to add none in fact but we can ease in so let's add an ease in here again everything's going to be going in a straight line between poses so we can grab all this stuff kind of Arc it make sure things are arcing kind of want this foot to push off and kind of get behind so maybe this pose wasn't right um I just want to get to a point where we're kind of anticipating the kick somewhat and this leg maybe we can delay the toes a bit and we can have it Ark inwards and then start to come out before it plants here cool now we can look at the arms this arm is arcing in so we can continue that Arc we continue the elbow leading before the hand gets there this one was aring in continue that arcing in the head head was going under so now it's in a straight line we're going to continue that Arc oh Tails not really doing much but we're not too bothered about that for now cool so you can see we're kind of working into this upe and then we're going to work into our next pose which is this down here so I don't think I'm going to add any more EAS inss we're just going to continue by maybe we'll do next move on we probably want it to be similar so we'll keep on twos um cuz you kind of use have to account for physics at this point so we're going to use our make our first breakdown so I kind of choose choose a value here kind of want it to be continuously moving so not ridiculously Snappy but still biasing our first pose maybe we can have the foot lead as it comes down maybe we can get this up and around a little bit sooner another foot lead but the toe is kind of dragging behind it um for the stomp whilst this leg starts to get into it kind of kicking anticipation part that we want maybe the body needs to be an arc because it was in a straight lines moving it over a little bit cool the arms definitely want the arms to be delayed till after we land so I'm going to keep this up and this one I'm going to keep out wide just continuing the arc we made before the head I think I'm going to start adding a bit of texture here so by that I'm just going to start having it shaking as he comes down so I'm going to have it go to the side here and the tail I'm going to make sure still silhouette is still really clear and we can start to have that kind of breaking down and it's going to swing under I guess so maybe we can start that a frame earlier as well so it doesn't feel feel super unmotivated cool so we made our he's out here kind of delaying the face as well that's something I wanted to do just delay the face so now we can make our second breakdown and work on twos maybe we'll add a midpoint in the middle here but we'll just make a second breakdown here the leg was leading so we get the leg there kind of want to get that leg kick out maybe even scale the foot so it's like nice and snappy bom bom maybe at this point the arm's still delayed cuz the arm was pretty delayed before let's have that coming down still push the arc a little bit here even use the fingers to help accentuate kind of Arc and the shape that we're going in get a little bit of a smear by doing that and here maybe we can have that arm still delayed coming around maybe I can even overshoot already by this point definitely going to need a midpoint pose in here we'll add in extra keys to get that space here we were doing that headshake so we can add that headshake in so we're going left and then right and then straighten it up again I think maybe we'll keep the face delayed and we haven't looked at the tail yet so let's figure out the tail Tail's aring under still [Music] um somewhat delayed from the body can't see it too much don't want to intersect the floor too much from camera view but this will do for now maybe we can delay the chest and head a tiny bit on back where we were coming from cool so that's our breakdown two so we move on to the next step which which we know is the midpoint so we can add in a breakdown in the middle here where maybe the legs get in there toes can still be delayed a little bit maybe we get that nice big anticipation with the leg here before it snaps out make sure everything else is in Arc still flipping through making sure things are arcing so I can Arc under maybe we can delay the head squash a little bit here delay it here and then we could end up doing an overshoot when we get to this point cool so we were working on twos and we just added the midpoint here on a one oh yeah we were going back and forth with the head maybe we just make sure that that's aring over as we do that cool and now we can add some EES as we land cool so let's go on twos we're easing in overshoot we were saying we were overshooting we can overshoot on this one so down continue that Arc cool that leg is kind of finished its kick but maybe we can continue its Arc over before it sells down this arm I want to really snap into so we're going to use swing machine to get it there maybe we can even scale up some stuff fingers even just a little bit maybe even overshoot the hand forward so we get that nice snap boom boom cool this one's arcing under so we'll continue this Arc the head maybe start to open up right so maybe we can continue that shake that we were adding before maybe we can get that face really easing in at this point and then we'll be able to overshoot that on the next frame and the tail will continue its Arc under as it kind of comes around cells not too bothered about the intersections it's just a practice so we just add more eases to kind of resolve that motion and add all the arcs in so that everything kind of gets to its final positioning right so let's go back to twos we continue this shake slightly we can have it kind of overshoot we can have maybe the phas going to overshoot a little bit so let's have the mouth open don't want that tongue to get completely lost and maybe we can have the face open more the top ey lid is already all the way open but we can open up the bottom ey Lids maybe we can have that on this Frame and then they can sell back and same for the Brows so I don't mind flicking between my frames and having things happen slightly different timings and maybe this open up on this Frame we can get that overshoot stretch and on this Frame we can get that overshoot stretch on jaw cool let's keep the arcs going so this hand is kind of in a straight line here just maybe we can have it Arc around as it settles this arm is going to be in straight lines continue that Arc around here this leg it's going to be somewhat straight so we can continue its Arc as it cells and the tail somewhat just easing in here so maybe we can continue the little bit of drag and sett all that's going on on there in the arc cool make sure look everything's arcing nicely feels like it is I didn't look at the weight yet so let's do that that's just going straight up here so we'll continue that around maybe too much let's use 2D pan zooms sometimes you need to just to be able to refine really small amounts of stuff I'm just going to continue that Arc around there cool so we definitely just need more eases in you can see how we got this nice break up from all these different parts settling at different times cool so let's continue the head Arc here it's probably going to be going straight between these two so we'll just add that Arc in um the weight let's zoom in it's going to be going a straight line for our final ease every time we use TW machine it puts everything in a straight line right so we just continue that Arc around also continue our arc on the rotation which I've not been paying too much attention to but let's just make sure that that's somewhat settling so we were coming up this way we arcing over and then we kind of hit and Arc under when we hit cool tail maybe you can do a little over shoot at this point get past it final pose one axis what's the other axis catching up cool we can check things like the foot here is going to be going into straight lines we just put that into an arc arms going to be going in a straight line here so just add a slight Arc to it straight line add a slight nudge it inward so it kind of arcs in towards us and back out again cool we did the head already we did the body we didn't do this back arm so we can have that back arm maybe at this point it can overshoot forward before coming back so continues that Arc around this maybe focus on the squash of stretch of the head so I have a squ stretch on this Frame and then it kind of eases back in and settles cool cool so let's add a couple more e ends we just continue all of our arcs make sure everything resolves properly so this point this leg's kind of arked back in this way and that's going back to it cell so I can just finish that make sure that it's slowing down so the spacing is slowing down properly add a little bit of do the weight so again kind of going to be in a straight line here so I can just nudge it up sometimes I like to hold alt and use the keyboard keys and that kind of nudges things so I can just nudge this to make sure that the arc is continuing over cool and the rotation as well let's have a look at it Arc under here maybe we can have it kind of Arc so continues that Arc around a little bit so maybe it'd be fun if we add a little bit more interest to the jaw here so we have this big open then we sett back so maybe by this Frame we kind of overshoot a little bit kind of overshoots back on itself and then settles back cool maybe we could even add a little bit of Interest by having the eyes overshoot in scale when we get to this point I can't even see see where the scale controller is it's all the way over here maybe we could have the eyes overshoot and scale and then you know they settle back over these frames so I can have it EAS in over these frames TW machine to get it there maybe I could track the head a little bit more so have it kind of have it down here and then it can soell I just grab the translates and then use the eases here I just make sure the eases in at the end check the arc on it kind of going in a straight line here so I'm just going to continue this Arc around ARS around into our final pose here yeah so all we need to do now is just add more eases things are kind of getting really still at this point so maybe this could just serve as our moving hold we just stick it on frame 90 here we'll make the animation 90 frames and let's take a look at it cool so this is how far I'm going to go um all this is about is practice it's just about repetition practicing that workflow all those steps finding different and interesting ways to break up things with lead and follow so that things are arriving in the final pose or leaving the current pose at different times and arriving at the current pose at different times by using our breakdowns but yeah that's that's kind of it so here's a play blast of the final result I just added a tiny bit of camera movement to keep him framed up nicely I hope you guys found this useful and it gives more clarity and gives more framing to the previous video I made you can also check out my cofi page if you want me to be your Animation Mentor and to give in-depth video reviews on your animation work make sure to check out my other videos and like And subscribe support the channel and uh hopefully there'll be some more videos coming up soon thanks again see you next time

Channel: Chester Sampson

Views: 20,758

Keywords: #autodeskmaya, #blender, #animationworkflow, #timemanagement, #animationtips, #speedupanimation, #mayaanimation, #blenderanimation, #productivityhacks, #timemanagementtips, #maya, #blender3d, #animatinginmaya, #animatinginblender, #animationtechniques, #workflowspeed, #efficientanimation, #animationsoftware, twitch, maya, how to, tutorial, animbot, animation, guide, chester, Sampson, animates, chesteranimates, workflow, lesson, blender, blender tutorial, blender animation, beginners, begginers, step by step

Id: kjMxB7lOejo

Length: 46min 5sec (2765 seconds)

Published: Mon Nov 13 2023