[flow_default] Transcription: 02-08-The graph editor.json

transcriptions/02-08-The graph editor.json

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+{
+  "audio_file": "02-08-The graph editor.wav",
+  "text": "Let's have a deeper look to the graph editor. In the previous video, we have seen that those curves are just value evolving over time and those control points are the key frame values. Each of those controllers have two handles that can be used to change the way the interpolation is set. And they work exactly as handles will do whenever you are editing a 3D curve in the 3D view. Those vector handles have different preset behavior. We can access them by pressing the V key or going into the key option of the header of the graph editor. By default, all the keys are set to auto-client. You can see the handle type of the selected keyframe in the F-curve panel. When a keyframe is set to auto-clump, Blender will try to interpolate from one key to the other in a smooth fashion. But as soon as I try to move this key beyond the previews of the next frame, the end-holes will become flat. So it's clamping the value of the curve to the current keyframe avoiding any overshoot. If we switch to automatic, we will have kind of the same behavior. Blender will try to keep a smooth interpolation between the previous and next frame, but in this case, it won't avoid the overshoot. Curvewise, an overshoot is a bump in the shape of the curve, making the value jumping up or jumping down. This is not an adult type I use that much because sometimes I feel like its behavior is a bit unexpected. As explained before, handle type are set to Auto-Claim by default, but as soon as I try to scale the handle or rotate them, you can see that it switched to Aligned. The orientation and scale of the handle are no longer controlled by Blender, but by yourself, but Blender will keep the previous and next handle aligned one with the other. This allows you to keep a smooth curve interpolation. But if I switch the handle type to free, then each handle can be manipulated freely without caring about the previous or next handle, allowing us to break the curve which in a lot of cases can be very handy. The final handle type we have to see is the vector handle type. As soon as we select it, the curve will break into a hard angle. Each handle will point individually to the previous on next keyframe. And as soon as I try to manipulate one of the handle, it will switch to free mode. It's a very useful type of handle whenever you want to rapidly create a linear interpolation. Setting two consecutive keyframes to vector will create a linear interpolation. And then the cool thing about vector handles is that whenever we are moving the keyframe, they will always be pointing one at the other. I use this type of handle a lot for impact frame. If we change the interpolation mode of our curve to constant or linear, we won't get any access to the handles because the interpolation is premade. It's whether no interpolation or a linear one. Adding handles doesn't make sense in this case. In the previous video, we have seen that we can double click onto a channel to select the curve. We can box select, press A, press Ctrl Shift and click before and after a keyframe to select all the previous or next keyframes. If we click the little checkbox, it will deactivate the current channel. Now you can see that the Z location of the character is no longer animated and is not jumping anymore, which is kind of fun. The range icon allows us to activate or deactivate curve modifier. To add a modifier to a curve you just need to select one control point of the curve, then go into the end panel and switch to modifiers. There are a lot of different modifiers. Let's just add a noise modifier to understand what they do. As the modeling modifier, you can use them to procedurally generate new behavior for your item. The noise modifier is super cool to create camera shake or to bring texture to your animation. The lock icon will allow you to lock the current channel, making any further modification impossible until you clear it. When working with Curve, we are working with values. Unfortunately, those values can vary a lot. Some curve will have a small range of value while other curve might have a big range of value. And in this case, you can see me struggling going back and forth to select the different values. The normalize option allow us to convert to this big range of value to a range that goes from minus one to one. So it doesn't change the value of the curve, it changed the way the value is displayed. It makes it a bit endier to work on high range of values. If I disable the auto update, I can move any value beyond the threshold of minus one and plus one. And I will have a vision of the modified curve. But if I enable it, as soon as I move beyond minus one, the curve is not counseling the move, but it's re-updating its position into a minus 1 to plus 1 range. So as you can see, when I move the extreme position, it does quite change the shape of the curve in the inside. I don't use it that much, but it will make more sense if you manipulate it. By default, you will see the curve of the transform channel of the displayed animated object. In this case, the controller of my character. If I hide everything but those few controllers, you can see that I only have those listed in my graph editor. When activated the selection filter, only selected object will show their animation curve. When enabling the show hidden, it will show absolutely every control channel available. Whether you hide those controllers or not, the curves will still be now. The Ghost Curve option will display you the previous unedited shape of the curve. This is something I never use to be really honest. But it can be useful for you if you find any interest in it. Click back on the crossed button to get rid of it. I won't go through the whole filter menu since there are a lot of options that are self-explanatory. I believe this is cool if you are working on multiple objects at once for motion design for example and you want to clean your selection. There are different ways you can snap your different keys on the grid. By default it's set to nearest frame meaning that whenever you're moving your key on the x-axis it will snap right onto a frame. This is the option I use 99% of the time. If I use the second step it will snap on every second so in our case every 30 frames. In the view option in the header I can enable show seconds. Since my document is paced to 30 frames per second, whenever I try to move the key, you can see that it snapped to frame 30. We have seen previously that pressing M, we can add a marker on the timeline. You can add them also in the Graph Editor because the Graph Editor is just another version in a way of the timeline. And if I then switch to snapped to nearest marker, as soon as I will move my my key it will snap on the nearest marker. Finally you can get rid of the auto snap switching to no auto snap. It can be useful in certain cases when you are for example scaling a wall animation and you don't want every keyframe to snap to the nearest frame. But don't forget that blender read the value on one frame not really in between. Be cautious with it because the value read by Blender might not be the one on your key. This can be a bit confusing. As in the 3D viewport, you can use different kind of pivot point to edit your curve. The bounding box center will take the most extreme keys you have selected and it will set the pivot point right in the middle. As in the 3D view, you can see this dotted line showing where is the pivot point compared to your mouth cursor. The 2D cursor has hacked the 3D cursor. You can place it by shift right clicking on the grid and its position is defined by those two blue lines, the playhead and a given value. With my key selected, if I press S and Y to scale on the Y axis, you can see my keys are pointing toward the horizontal blue line. This is a good way to set the same value to several keyframes at once. The individual origin pivot point is the one I use the most. Each keyframe becomes independent and whenever you're scaling or rotating, it's manipulating each keyframe handle separately, allowing you to scale them and rotate them without moving them onto the timeline. Rotating the keys with the bonding box option also moves them on the timeline. As in mesh edit mode, you can activate a proportional editing. As soon as I edit one of my keyframes, I can see the area of influence of the falloff. And using the mousse wheel, I can increase or decrease the size of the area of effect. I don't use it that much, but it can be very handy whenever you are dealing with identity keyframed curves like baked animation or motion capture. As the mesh editing falloff, it comes with different curves that will behave in a different manner whenever you are moving your point. You can access new display option in the view panel. Whether you want to show or not the sidebar, you can access it by pressing N. You can enable the operator box that is available in the 3D viewport too. But I don't think it's that useful on the graph editor. The show cursor option will either unhide the horizontal line of the 2D cursor. You can activate the Show Sliders option if you want to access the value of the keyframe directly in the Channels panel. I never use it, but it definitely is handy if you want to fine tweak your values. You will find other options to display or not the handles of the keyframe, but I do recommend you to keep them displayed. And I also advise you to only display the selected keyframe handles or your graph editor will rapidly become a mess. To summarize, we have seen that we can change the handle type of our curve using the V key. We can use the normalize option to display a broad range of curve values into a minus one to one range curve value. We can see that through the graph editor, we can hide or unhide a curve, deactivate them, lock them, or even add the modifiers. As in the 3D viewport, we can use different pivot point and constraint axis. We can use selection filter or quick search to make our selection easier. We can use proportional editing to edit multiple keys at once.",
+  "language": "en",
+  "confidence": null,
+  "duration": 773.85
+}