Add transcription for: Motion Beast 2 Lesson 18.wav

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+  "text": " Hello everyone, today we'll animate our character. As I have mentioned earlier, we have a draft animation we should strive to reproduce. We have used it as a reference for the rig. And we'll use it as a reference for animating as well. Animation is a step-by-step creation of the key poses which are the most characteristic or crucial for the movement. Such a pose is the lowest position, like in this case, the character won't descend lower than this pose, as well as the top-nose position where the character stands straight. This is the position where the leg is straightened out. Other poses are the transitions between these two key poses. In this way, by working on the most sophisticated parts of the animation and by gradually moving to more complex parts, we can achieve quite good results. You can read in more detail about all that in the book, The Animator's Survival Kid by Richard Williams. It is a sort of bible for animators, both for beginners and professionals. This book covers in detail the walking animation topic. Here you can see only one double page spread from this book, but actually it covers many interesting topics. We'll refer to this excerpt from the book, but we'll mainly build our work based on our own visual perception. Firstly, let's make a more convenient workspace. Actually, we can use the animation preset, where we'll need dope sheet, which is already active here. We'll need the draft animation. Since I have added it to the video sequencer, we need to go to the video sequencer and select preview. Here is the animation which is played and which we'll use as a reference. Let's better make this bottom window a graph editor and here make a dope sheet window. because it won't be used that often. Also, we'll make sure that the animation is played at the rate of 24 frames per second. It's a classic speed of animation playback used in cinematography, more precisely in television. More precisely, in television. On the internet, the speed can even be 20 frames per second. The speed selection depends on the needs. And let's have a look at our frame range. Since we're making only half of the animation, I mean that we'll make the whole animation cycle only for one side, while the animation for the other side will be created by copying the keys and inverting their positions from the animated side. Basically it will be mirroring. That's why it makes sense to define where the turning point will be. To do this, in the Curve Editor, I will use a System or Markers. The Markers window is situated here and we can create a marker using the shortcut M, or manipulate the already existing markers using the commands or specified shortcuts. Now, the frame range, that is, this range, accurately matches the draft animation. The beginning is the first frame, while the turning point is on the 17th frame. I press the M key. I delete this unnecessary marker using the X key. Correspondingly from the first to the 17th frame there are 16 frames. Because we start counting not from the zero frame but from the first one plus 15 frames to this side. It will be 32 for the whole cycle. It will be more convenient for us to create the animation in stages. We can subdivide the draft animation into several layers. So the main animation of the walk includes the legs, the body, and the tail. And the elements that react to the walking are the two heads. and to ensure that it's easier to manage the keys in the course of animating, we'll sort the controls. To do this, I select the Bone System, go to Pose Mode, and in the Object Data Properties window in the Layers section, I select the control for the head. Now I press the M key to call a menu and holding shift pressed I select this layer for example. Now the head controls are in the separate layer and this layer is still the layer where all the controls are visualized. Let's do the same for the bottom part, for the bottom controls. I press the M key to call the menu and holding shift pressed, I move them to this layer. Now there are two layers with controls. One for body controls and one for head controls. In this way, it will be much easier to manage the keys. The animation will be in the animation layer. In this way, we'll be able to have several animations in one scene, and to do this, we use the dope sheet panel. Select Action Editor and create a new action. Name it. Now the whole animation will be stored in this action. If you need to make a new animation or an alternate version, you can duplicate the already existing one, or create a new animation from scratch. And the very last thing is to select the elements of the character. I mean the geometry. Move them to a new collection. Name this collection Dino Robot Geo. We do it to be able to hide the elements. I haven't selected all elements. This one should be added too. And it seems to me that here there are several more elements that should be moved. Now there is one collection for the geometry. And the collection was the rig should be named to dino robot rig. In this way we can quickly disable all controls without changing the settings of the viewport. And now let's proceed with animating. Enable the display of the rig. Select it and make the first pose. For this purpose, I select all bones belonging to the bottom part, move the animation to the first frame and press the I key. In this window, I can create keys on the selected elements. It includes the commands for all key types. For rotation keys, scaling and separate keys. In this case, I use app parameters. Location, Rotation, and Scale. I temporarily enable Auto Key for the first phase. Further, I will be enabling and disabling it from time to time. This command is used to automatically set a key and record a position to the key in any frame. For example, if I move the slider to any frame and move the hand, the animation will appear right away. It isn't always that convenient, but it is useful for working in one frame. In this way, the posing in the first frame will require less key creation with the I key. Create the first pose. In this pose, the body is quite elevated. That's why I select the control and move it upwards. This set the character in a draft position. In this pose, the toe is rotated upwards and the rig allows us to dodge with the character's proportions. Since the limbs were connecting in a simplified way, we can move away the bottom part pretty significantly depending on our vision of the character. So we can experiment with it a little bit. Also we can slightly rotate the pelvis to one side. In this way we intensified the imitation of a step. In the animation, the body is mostly rotated to us to the camera. Imagine that the camera will record from here, thus rotate the body to the necessary side. There is a key Approximately like this. Now move to the next stage. This stage is stepping. I set a marker for it and it would be quite convenient to have such a marker on the stage. second part of the animation. So it's 1, 2, 3, 4, 5 keys, 5 frames, 1, 2, 3, 4, 5. Here, by the way, these markers can be named. This is the marker called step. And these two markers will be the keyframes. The first one, this one will be named key mid. Now let's switch to the sixth frame and make the stepping. The leg should go downwards. For some reason we move in local coordinates. Switch to global. The leg should straighten. To do this, let's reduce this panel. I won't use it for now. and zero this frame. So it should be quite a low stage. Thus move it here. Make sure that the height is set to zero. Also, for the first frame, we can select all the keys right away. And apply location, rotation, and scale. And since we don't see what's going on with the second leg right now, we can use the same frame in the second half of the animation. So this leg should push away from the floor. To be more precise, it has already pushed away and is now lifted up. But we need to do it in another frame. In this one, zero the rotation. In this frame the shoulders are slightly elevated. With the lag it moves upwards. Let's reduce the size of this zone. It's more convenient like this. The arms move upwards. This arm moves up. slightly to the back. Let's have a look at the arm on the other side. It should be elevated high on the step. So let's move it to such a pose. In the draft animation the second arm is not showed because it's a 2D animation and after all it's It's very simplified. But in our case, we can track such things. In the first frame, the arm should be positioned like this. That's the animation for stepping. Now we can move on to the stage when the leg straightens out. I make a marker. I name it straight leg. And it's 1, 2, 3, 4. Four frames from this one. 1, 2, 3, 4. Marker straight leg. In this frame, we set keys for all bones. the leg, make it straight. It's a stage where the pelvis is not rotated and both legs are at the same level. So the rotation should be set to zero. This leg continues the movement. We can even move the toe slightly to the back. the technical point of view these keys must not be there. After this frame we return to the legs spreading but it should be symmetrical. So it's the first frame but to the opposite side. For this and for this I I select all the bones by pressing the A key. You can select the keys from the dope sheet or right from the curve editor. Press Ctrl C, go to the middle pose and apply the command Paste Flipped. The shortcut is Ctrl Shift V. So we have ensured the same pose, but with inverted values for all bones. Excellent. Here we can see whether everything is correct and whether our approach provides the results we expected. And we see that we already have something similar to the reference. Let's adjust the very first frame. Make sure that the contact of all the limbs was the floor is correct. And also, let's adjust the arms position in this key. I try to ensure the correct dynamics for the arm. That is the transition. Now knowing our control points, we can now quickly duplicate the whole animation. C go to the step on the other side, Ctrl Shift V, go to straight leg, Ctrl C, and go go back here, control shift V, a straight leg here and a straight leg here, the last keyframe. So check 12345671234567. It's correct. The line is outside the range. Here there There should be frames we should go back to for creating the animation cycle. It means that we'll jump from the last frame to the first frame on the other side. That's why they should not be duplicated. Instead they should be outside of the animation. I press ctrl-c, go one frame away from the range and press ctrl-v. And now let's play the whole animation. For this purpose I disable collection with the rig and click play. As you can see, generally the walking reminds us of the result we need. But the tail doesn't move at all and the arms move quite weirdly. But we'll adjust them. Let's enable the rig system. Go to pose. and ensure that the tail stays at the place in the uppermost points. They are the key fragments, key mid, and this one here. Let's also set a convenient name for us. So the downmost point will be here. and we simply move the tail in the bottom point. For the tail, we can simply copy this channel. It's location X. Here it is. We'll disable the visualization of the others. On the step and make the same one for the step. Now it starts moving and these points can be slightly lifted to ensure that the movement is smooth. I try to find a better movement like this. Now let's move on to the main elements in walking. It's the pelvis. Its movement is pretty simplified because there is no swaying or better to say rotation along the axis. It's the left and right swaying, but nevertheless we need to make it more dynamic. Let's see what keys and curves we have for it. Let's enable the normalization to level the visual values. the up and down position, the vertical movement. Let's have a look. The pelvis goes down. This is the stepping. The uppermost point where the pelvis is leveled, and in this point, The pelvis should go downwards again, but slightly faster. Correspondingly, it's this curve. disable all others so we don't get distracted by them. This is such a sprightly step. So it steps once, descends. Let's try. Also, the keys are distributed incorrectly here, because the next key, which is here, is not recalculated, interpolated for this elevation. We can fix that. Let's try to fix it by adding a modifier to this channel. We add the cycle modifier and we get a cycle of the keys, an infinite cycle where the curves will be distributed more accurately because they will always be cycled. Now we have a smoother walking. In the reference it's more abrupt. Let's get rid of this plateau. Select both keys and slightly move down these curves. Now the walking is even smoother. Visually it's better. Let's move this part downwards a bit. The stage of transmission from one post to another should include a high point too. Now let's make this relaxed and lazy walking more elegant and add some abrupt moves to convey the toy mood in the animation and ensure the exaggeration of the character's moves. To do this, select these curves. We need to accentuate the downwards move. Let's make it more vivid. Now let's prolong it in the timeline. The character will stay longer in the top point, and make this plateau a little bit longer and move it upwards. Let's place the plateau here. This is for the opposite side. So now the character elevated more rapidly. Now let's increase the difference by changing this curve. Let's try to make such a spring-like structure. Let's increase this part. Okay, something like this. Let's have a look at it. So the steps are more dynamic. get a sort of rhythmical pattern. Thanks to this, we get the necessary movement range to ensure the head and ball jumping in a more fascinating way. Let's adjust the curves a bit more. I don't really like that there is a sort of descending because at this stage there should be a slight elevation. Here the character moves downwards, the leg is lifted, plateau. I will try to find a good solution for this case. It seems to me that this option looks more natural. We have preserved the dynamics of the walking and slightly smoothed the movement of the leg that moved too rapidly. Let's also have a look at the rotation. Let's do the same thing we did the previous time. Add the cycle modifier to the channel. Now the channel is cycled, so the values of the last parts of the curves are interpolated correctly. I think that we should simplify it here. Here's the edge value of the step to one side, the edge value of the step to the other side, the middle point, and correspondingly, we can smooth these two curves. From the technical point of view, we can do it based on our visual perception. Now the rotation is smoother. But let's make something similar for the body. There is a rotation stage. The movement is quite mechanical. It isn't bad, but I want to make a movement which will be more pleasant for viewers. That's why first of all I apply the cycle modifier, the edge value, smooth transition. Here it goes back to the usual condition. Let's try to do it like this. Move these keys away from each other. So now there is such a rotation. Now let's rotate it more to one side. We can simply move all keys to one side. Scale the values. I disable the normalization, so you can see it better. Scale the value. Now it's slightly shifted downwards after the coordinates origin. the movement is less vivid. So by scaling the curves range we can get the results we need. Let's disable the rig and click play. Let's slightly improve the legs. Let's have a look at how it moves. Boiler rotation. Find the necessary axis and disable all others. Now apply Cycle to it. Now in this part, intensify it. Because it's transferred, we need to copy this value. I want to make this part longer so that the toe moves to the floor longer, till the very end. We can even make it more abrupt, like this. Or even like this. Bang. Let's do it slightly differently. Here a straight line and here intensify. Bang. and ensure its visualization. This here and here like this. It's not rapid enough. I want it to be more abrupt. Let's revert. to zero. Now let's work on this part more. the leg steps. I adjust this curve. Now I try to work only with the curves, but technically we can simply add keys. Now let's see this leg. Isolate it, because it is the main one here. Here it's on the floor, goes backwards, and here it should stay longer at this level. This is the x value, right? But it's the rotation. It's another one we should work with. Let's find the right one. normalization. So the right one is the y value. Normalization. Here it is. Let's have a look at how it moves. Here it should be like this. The curves look crazy now. Let's have a look. All in all, I need the rotation. Here it stops. This stress that is going down. At this stage the toes should go more to the back. So it should follow the leg. Here it's flat. After the toe stands on the floor, we need to add an auxiliary key, or technically we can try to make such a curve for it so that it sort of rakes up. And this stage should be probably more vivid. With the phases, the most important for us now is to ensure the main characteristics, And further on, we'll work on the nuances. So we have created such a backlash for the leg, it looks nice. Then transfer of the leg and the leg moves forward. We can intensify this moment so that the legs slap on the floor is more vivid. Bang. Let's watch it one more time. I still have some doubts about the pelvis. That's why I use the reference from the book. Here it is. Let me move this here. So there's a contact pose in the middle. The pose for stepping. In this case it's called down. This is the bottom most point. And the pose of moving upwards and the up pose should be in the uppermost point of the walk. And if I'm not mistaken, it isn't correctly set in our case. Yes, let's go back here. So this point should be higher than this one. So it should be approximately like this. And this one like this. Let's try it now. I like it more this way. Let's try to experiment with this parameter a bit. Yes, there's the abruptness we needed. Excellent. I like this moment. As I have already said, we can greatly benefit from the reference from the book. Don't forget to save your project from time to time. Now let's make sure that the legs work correctly in all dimensions. We have the reference leg, and let's copy it to the other side. To do this, I select only the channels I need. It will be way simpler like this. In this case, for the toe, I select the rotation. This rotation, copy the keys of this toe and paste them right here. I set the final key. I paste them once again to make a cycle. One second. I need to deactivate all other keys and paste them here in the last key to ensure that we have an animation. And now based on the middle key for this leg, it should be in this phase. Just shift the animation here. The unnecessary keys may be deleted. And again, we can apply Cycle to this channel. In the very same way, copy the legs position. In this case, it's the Y location. So paste it into Y location. I use the shortcut Ctrl Shift H to isolate this channel. Paste it here. remove the necessary axis. Generally, I'm quite satisfied with the legs position. The robot is walking in a pretty cartoonish way. Now let's figure out what's going on with the hands. As you can see, there is a quite ugly return to this phase. It's very rapid. So let's try to smooth this phase. What I mean is that here it should probably go downwards, backslash, smoother movement upwards. Now move here. Let's watch. The movements are still quite ugly. In such cases, it isn't always obvious what we need to fix. That's why for our convenience, we can use the trajectory display. To do this, go to the data properties and in the motion paths, we can make the trajectory we need. The duration is 32 frames. We don't need the motion path to be longer than that. And apply Calculate. That's the trajectory of this controller. The very trajectory looks quite ugly. We see some weird loops, jumps. That's how using motion paths, we can quickly identify where and with what values the path should be. There is a jump movement, but it's due to the very nature of the pelvis. Here we can disregard this movement, or on the contrary, prolong this movement to make it smoother. It seems to be better like this. I think that this animation is quite good. My animation lags a bit because the 3D animation and the reference are played at the same time. That's why for my convenience I will switch to the sequence mode. Right away the animation playtime increases. And since we are done with this hand, we can delete the trajectory so that it doesn't to interfere with our further work. To do this, simply delete this path. Now copy the keys to the other hand. To do this, I select both these channels, disable all other channels so that they are invisible. Select the necessary keys, press Ctrl C. Go to the other hand, hand, switch to the first frame and press Ctrl V. Go to the last key and again press Ctrl V. Let's move this so it's more convenient. Now I need to move the key mid value to the key value. To do this, I simply press the G key and move the keys on one axis. We can leave the keys that are outside the range because they serve for looping the animation, that is, they perfectly repeat the movement continuation. Save, and make sure that the animation is symmetrical. Now let's animate the shoulders. There is a special control for shoulders which is used for managing their movements and animating. There are many channels which can be used for their movement. In this case we don't need all these channels, we need only one channel. It's the Y channel. Correspondingly it's better to delete all other channels, I deactivate the Y channel and select all other channels, press the X key, and apply Delete Keyframe. Only one channel is left. Excellent. Now if I animate with the enabled Auto key, the system will automatically create keys on all channels. Generally, I don't really need that in this case, because it will complicate the managing of this object. That's why I disable Auto Key and create the further keys manually in this menu. Using the IHOT key and the option Only Selected Channels to ensure that they are created only on this channel. Now let's delete these keys. In this case, they don't serve our needs. The key in the zero frame is preserved. Excellent. And its value is zero. Now let's figure out what's going on here. Actually we can have a look at the reference, but it's clear that when the shoulders are lifted, the shape will be stretched a bit. And during the rapid descending it will be compressed. That's why I remove this thing, so it doesn't interfere with my work. And let's again identify the phases. The step part is the bottom most point. That's when the object should go upwards. For example, like this, approximately 4. I like it when the shoulders are stretched. To record this position, I press the I key and apply only selected channels. The position straight leg is the most leveled one, so I will use it as a basis to specify where the downmost point is. And since the amplitudes are pretty much the same, the descending will be by 4 minus 4. These are the approximate values. We don't need to be super accurate here. The key should be in midkey. Let's have a look at the result. I disable the normalization to see the parameters in the values range. Now I simply duplicate this part and paste it here. Let's watch. Okay, we have created a quite interesting animation. It looks good throughout the whole step, but the movement seems to be pretty lazy. I want to make it more spring-like. For this purpose, let's try to do the following. I select these keys, they are in the bottom range, make a flat tangent, move it here, and adjust them. So a sort of plateau appears here. Correspondingly it will get to the straight position faster. Now I move these selected keys here by the axis to level these ranges of elevation and descending and make a tiny wave. Such a secondary spring effect appeared after stopping. This animation can even be modified in this way. these keys and make a cycle only in this range. Select the channel, modifiers, cycle, and now we have an exact copy of the controller's range and we can increase the spring effect effect, or by leveling this value decrease the spring effect. In this way we have pretty quickly animated the shoulders. Let's reduce the effect so it isn't so jelly-like. Now let's animate the upper part. I mean these two heads. To do this, I enable the controllers of the heads. Here I selected to display the character's animation to see what animation should be created here. This head reminds me of a jumping ball, and here we can see a tiny problem that appeared in our case. Since the head is hierarchically attached to the pelvis bone, the rotation of the pelvis caused the rotation of the head. It isn't good. The fact that we already animated something is no obstacle for us to rearrange the rig a bit. So let's do the following. Select a skeleton and switch to the rest position mode. It's the condition when all the bones are in the initial position. We cannot move any bones in this mode, but we can use this mode for troubleshooting the rig. In this mode I select the controller of the lower head, go to the edit mode, and press Alt P. Select Clear Parents. Repeat the same for the upper head controller. Select it, switch to the Edit Mode, and I press Alt P again. Now when the animation is played, both heads remain immovable. To make them move, we'll use a constraint. We'll attach them to the moving elements, for example to the shoulders, which is more important in this case than the pelvis. And the constraint enables us to ensure that the object inherits only the transforms and the rotations are not inherited. To do this in the pose mode in the rest position to ensure that the correct values regarding each other are transferred. I select the shoulders and then select the head and press Ctrl Shift C and select the the location constraint. Let's have a look at the modifier. The constraint is attached to the right element. Now let's have a look at the result. I go to the post position mode and play the animation. The head accurately repeats the moves of the shoulders and is rotated in the correct direction. That's what we need. The value of the position is lost. Because we use the constraint to define the position, while the rotation functions as expected, and we can set the necessary values to it. So correspondingly, in such a case, we'll need to move the head construction using some other elements. Without rearranging the whole system, we can rotate, or if to be more accurate, move the head if necessary using these two controls. Let's make such an attachment for the upper head as well. So I select the controller that manages the squeezing, select the upper controller, press Ctrl Shift C and again select Location. Let's revert. Let's do it in the rest mode, because I did all of that in the pose mode, and got a weird incorrect values for the transform. Again select the head control, then the control of the second head, press Ctrl Shift C, and select Location. So now it works fine. There is no unwanted displacement. Now both heads are rotating synchronously and if necessary we can move the position of the upper head using this controller. The more detailed animation of the upper head will be performed using the bones. Now we can move to the animation itself. Let's have a look at the reference once again and compare it to the created animation. Maybe we need to change something before modifying it. I want to make the movement of the shoulders more rapid. Because if we keep such a jelly-like animation, it will be hard to control movements of the upper parts. That's why I go to Layers, select the shoulders, and I decrease its amplitude to make the movement more explicit. Done. Done. Now let's intensify the effect of stepping. I select the pelvis bone and increase the range of this movement so that it's more rapid. Let's have a look at it. Here it is. The character steps more harshly. I like it more like this. Now let's move on to the head. It has just occurred to me that it's quite hard to animate the head in this way because many movements occur at once. And if we want to animate it by adding new movements, we'll always need to take into account the position of the bottom part. Because the head follows the movements of the lower parts and the way lower part impacts the head. So it means that we'll have the double animation, double transformation, and such managing will be quite complex. It would be better to do it manually by setting the contact points, but in order to avoid rearranging the setup, because in general it's fully functional, we'll use the possibilities of the constraint. I mean that we can simply remove the influence of the constraint, and now the lower body part doesn't affect the head. Now we can even transform it. Correspondingly, if necessary, we can even animate this parameter. If such an animation is of any use for us, that's why with the disabled influence of the constraint set the main positions. We'll animate the head controller. So let's find the correct height for it. Place it here. At first, I press the I key on these channels, but not all of them. I need to delete these two channels. I select the correct position, only selected channels. Is it correct? It should be Y. I have selected the wrong channel to work in. Now the point is set. Let's have a look where the head should go up in the air and where it will touch the bottom part. Here it's in the air, so it's basically a correct position. We keep it here. selected channels, and approximately here in the first key when it touches the surface. This is the position when the head is in the air, touch with the surface. Let's have a look at how explicit it should be here. Generally we can track the heads position frame by frame because there isn't too much to animate. So we can track the conditions. And the conditions will provide us with a vector which we need. Let's do it like this. A vector like this. delete this key and reduce the effect. At this moment, the head hits the body, so it's a rapid change from one movement to another one. That's why I set a vector value, so it will fly down with the accelerated speed trajectory. its speed will be increasing. Here it should be like this. By the trajectory dynamics, the upper part catches up with the bottom part and it prevents it from jumping upwards, so that's why there's a small bend here. Oops, not all of them. We'll keep the upper part like this for now. And of course save. The ball moved it downwards, hits, now it flies, but it should be sort of constant. And somewhere here, there should be a hitting point. point should be more vertical, that's why I delete this value. I make the curve more rounded. However, there is a significant compression here, So technically we need to make it like this. Let's apply automatic now. it's a significant compression. Automatic. Like this. Here the head goes downwards. Even more down to this moment. We must do everything correctly here. This position will be here. Also ensure the heads elevation using the keys. Adjust it a bit. We get such a curve. Apply Cycle to this channel to see how it goes. Now let's try to do the following. Delete this. As a result, we get only one sequence, which will manage the whole animation. Now let's make the squash animation. To do this, first of all, I need to make a key for this controller. Animation Channels. Delete the unnecessary ones. Now in this range, I create two keys. Now let's have a look where the upwards movement is. So correspondingly, this will be the key for compressing. And now let's have a look at this range. So here it compresses and here it stretches. Here's the phase for stretching. Let's have a look. This phase should be like this. And let's add the cycle to this animation right away to see what's going on here. Yes, in this phase everything is right. copy the phases and move them downwards because it's too high. The keys should be vector, because it should fall with the same speed at which it was flying. So this curve should be like this. In this moment, it's still compressed. The force is still affected. Let's make a smooth transition, such as sine wave. Now the jump is ugly. We can try to fix it by moving the phase. Make it longer here. Let's try to display the animation to see better how the head is moving. It isn't convenient because the animation is linear. Yes, there is not much use of this. In this phase, we need to ensure that the head goes there way more. We got a sort of reverse curvature. of reversed curve relative to this one. We have a phase. Let's intensify the feeling that the upper head has a weight. For this purpose, we intensify the compression of the middle head. I move the key approximately here and let's see how it looks. Now there is an impression that the upper head is heavy, the lower head is significantly compressed. There is a tiny rapid jerk. We'll try to fix it. Maybe this jerk is this thing here. Here's the jerk. We need to find the correct position for this frame. There is a gradual decrease. To ensure it, we can use the annotation. Enable the onion skin checkbox. Let's have a look at it. Here is the onion skin. For convenience, let's specify that in this frame the head is here, and in this one it's here. And in this one it should be here. Onion skin, before, after. Increase the number of frames. If we assume that it's a linear movement or movement with decreasing speed, the trajectory must be shorter, at least by half. So correspondingly, the half value will be somewhere here, maybe even less. Here. Right now, we don't have that in our anime. That's why there's the jerk, after which the head is rapidly compressed to this value. So in this frame, it should be somewhere here. Let's try to do it. Select the head. The position here and here. In this frame, the head is here. It must be here. We can even make this frame like this. so that it matches our approximate draft positions. Now let's have a look whether there is the jerk. Switch to the sequencer. So the jerk is gone, because now the movement dynamics is correct. The head is very compressed to make an impression that the upper head is heavy. The head itself doesn't jump too high in the air. It's only this distance. And now the final task is to ensure the dynamics for this head and show that it has a specific volume and behavior. To begin with, set the key phases. There is a phase of descending. First of all, I select all the bones I need, go to the first frame and apply location and rotation keys for all the channels. Now let's make the phase where it's very compressed. So let's remove the controllers of the head. The Dino goes here, select these controllers and remove them from this part. Okay, now here are only the controllers we'll use for managing the dinosaur's head. Here will be the step. It matches the marker. And let's make the edge. state for the head. In this case, based on the storyboard, the jaws are together. Let's enable normalize so that we don't zoom too much. Let's make the keys for this head. I apply Insert Keyframe in the first frame, and in this phase the value will be the maximal one. By the way, in some cases you may benefit from the possibility to set the negative value for blend shape. So in this way you can intensify any inverse effect. For example, in our case to open the eye wider, it may be useful. but in this case we won't use that function. Just make sure that the eye closes. Let's probably set 1.5. Intensify it. it a bit more. And now let's move the keys further by one, because we transferred to this condition after the frame on the next frame, not on the same frame, because the inertia and the action reach it in some time. Thus with one or two frames delay. In this phase, there is a sort of flying state. Let's zero everything here. Let's adjust it a bit. Now we should transfer to this state in the keyframe. Set all the keys so that there are all phases in this case. you you Let's, in this phase, make it like this. Okay, I now hide the tangents. We can de-form it even more, if we can. The jump is too rapid. Move this by one frame. Now ensure the correct state here. After we open the eye a little bit, we don't have the means to control the face super accurately to match the reference, but the creation of a more detailed rig would take an enormous amount of time. And still there would be the chances that we wouldn't even achieve the desired results. Let's make a cycle for this channel. Here it is. Now the character closes the eye, moves the jaws. Now I simply copy the keys which are already set. I copy from this range to this range. They will be in the correct places. So we can animate only the first part and the second part will be duplicated. Disable the sequencer and the rig. We have finished the animation. Thank you. See you soon.",
+  "segments": [
+    {
+      "text": " Hello everyone, today we'll animate our character. As I have mentioned earlier, we have a draft animation we should strive to reproduce. We have used it as a reference for the rig. And we'll use it as a reference for animating as well. Animation is a step-by-step creation of the key poses which are the most characteristic or crucial for the movement. Such a pose is the lowest position, like in this case, the character won't descend lower than this pose, as well as the top-nose position where the character stands straight. This is the position where the leg is straightened out. Other poses are the transitions between these two key poses. In this way, by working on the most sophisticated parts of the animation and by gradually moving to more complex parts, we can achieve quite good results. You can read in more detail about all that in the book, The Animator's Survival Kid by Richard Williams. It is a sort of bible for animators, both for beginners and professionals. This book covers in detail the walking animation topic. Here you can see only one double page spread from this book, but actually it covers many interesting topics. We'll refer to this excerpt from the book, but we'll mainly build our work based on our own visual perception. Firstly, let's make a more convenient workspace. Actually, we can use the animation preset, where we'll need dope sheet, which is already active here. We'll need the draft animation. Since I have added it to the video sequencer, we need to go to the video sequencer and select preview. Here is the animation which is played and which we'll use as a reference. Let's better make this bottom window a graph editor and here make a dope sheet window. because it won't be used that often. Also, we'll make sure that the animation is played at the rate of 24 frames per second. It's a classic speed of animation playback used in cinematography, more precisely in television. More precisely, in television. On the internet, the speed can even be 20 frames per second. The speed selection depends on the needs. And let's have a look at our frame range. Since we're making only half of the animation, I mean that we'll make the whole animation cycle only for one side, while the animation for the other side will be created by copying the keys and inverting their positions from the animated side. Basically it will be mirroring. That's why it makes sense to define where the turning point will be. To do this, in the Curve Editor, I will use a System or Markers. The Markers window is situated here and we can create a marker using the shortcut M, or manipulate the already existing markers using the commands or specified shortcuts. Now, the frame range, that is, this range, accurately matches the draft animation. The beginning is the first frame, while the turning point is on the 17th frame. I press the M key. I delete this unnecessary marker using the X key. Correspondingly from the first to the 17th frame there are 16 frames. Because we start counting not from the zero frame but from the first one plus 15 frames to this side. It will be 32 for the whole cycle. It will be more convenient for us to create the animation in stages. We can subdivide the draft animation into several layers. So the main animation of the walk includes the legs, the body, and the tail. And the elements that react to the walking are the two heads. and to ensure that it's easier to manage the keys in the course of animating, we'll sort the controls. To do this, I select the Bone System, go to Pose Mode, and in the Object Data Properties window in the Layers section, I select the control for the head. Now I press the M key to call a menu and holding shift pressed I select this layer for example. Now the head controls are in the separate layer and this layer is still the layer where all the controls are visualized. Let's do the same for the bottom part, for the bottom controls. I press the M key to call the menu and holding shift pressed, I move them to this layer. Now there are two layers with controls. One for body controls and one for head controls. In this way, it will be much easier to manage the keys. The animation will be in the animation layer. In this way, we'll be able to have several animations in one scene, and to do this, we use the dope sheet panel. Select Action Editor and create a new action. Name it. Now the whole animation will be stored in this action. If you need to make a new animation or an alternate version, you can duplicate the already existing one, or create a new animation from scratch. And the very last thing is to select the elements of the character. I mean the geometry. Move them to a new collection. Name this collection Dino Robot Geo. We do it to be able to hide the elements. I haven't selected all elements. This one should be added too. And it seems to me that here there are several more elements that should be moved. Now there is one collection for the geometry. And the collection was the rig should be named to dino robot rig. In this way we can quickly disable all controls without changing the settings of the viewport. And now let's proceed with animating. Enable the display of the rig. Select it and make the first pose. For this purpose, I select all bones belonging to the bottom part, move the animation to the first frame and press the I key. In this window, I can create keys on the selected elements. It includes the commands for all key types. For rotation keys, scaling and separate keys. In this case, I use app parameters. Location, Rotation, and Scale. I temporarily enable Auto Key for the first phase. Further, I will be enabling and disabling it from time to time. This command is used to automatically set a key and record a position to the key in any frame. For example, if I move the slider to any frame and move the hand, the animation will appear right away. It isn't always that convenient, but it is useful for working in one frame. In this way, the posing in the first frame will require less key creation with the I key. Create the first pose. In this pose, the body is quite elevated. That's why I select the control and move it upwards. This set the character in a draft position. In this pose, the toe is rotated upwards and the rig allows us to dodge with the character's proportions. Since the limbs were connecting in a simplified way, we can move away the bottom part pretty significantly depending on our vision of the character. So we can experiment with it a little bit. Also we can slightly rotate the pelvis to one side. In this way we intensified the imitation of a step. In the animation, the body is mostly rotated to us to the camera. Imagine that the camera will record from here, thus rotate the body to the necessary side. There is a key Approximately like this. Now move to the next stage. This stage is stepping. I set a marker for it and it would be quite convenient to have such a marker on the stage. second part of the animation. So it's 1, 2, 3, 4, 5 keys, 5 frames, 1, 2, 3, 4, 5. Here, by the way, these markers can be named. This is the marker called step. And these two markers will be the keyframes. The first one, this one will be named key mid. Now let's switch to the sixth frame and make the stepping. The leg should go downwards. For some reason we move in local coordinates. Switch to global. The leg should straighten. To do this, let's reduce this panel. I won't use it for now. and zero this frame. So it should be quite a low stage. Thus move it here. Make sure that the height is set to zero. Also, for the first frame, we can select all the keys right away. And apply location, rotation, and scale. And since we don't see what's going on with the second leg right now, we can use the same frame in the second half of the animation. So this leg should push away from the floor. To be more precise, it has already pushed away and is now lifted up. But we need to do it in another frame. In this one, zero the rotation. In this frame the shoulders are slightly elevated. With the lag it moves upwards. Let's reduce the size of this zone. It's more convenient like this. The arms move upwards. This arm moves up. slightly to the back. Let's have a look at the arm on the other side. It should be elevated high on the step. So let's move it to such a pose. In the draft animation the second arm is not showed because it's a 2D animation and after all it's It's very simplified. But in our case, we can track such things. In the first frame, the arm should be positioned like this. That's the animation for stepping. Now we can move on to the stage when the leg straightens out. I make a marker. I name it straight leg. And it's 1, 2, 3, 4. Four frames from this one. 1, 2, 3, 4. Marker straight leg. In this frame, we set keys for all bones. the leg, make it straight. It's a stage where the pelvis is not rotated and both legs are at the same level. So the rotation should be set to zero. This leg continues the movement. We can even move the toe slightly to the back. the technical point of view these keys must not be there. After this frame we return to the legs spreading but it should be symmetrical. So it's the first frame but to the opposite side. For this and for this I I select all the bones by pressing the A key. You can select the keys from the dope sheet or right from the curve editor. Press Ctrl C, go to the middle pose and apply the command Paste Flipped. The shortcut is Ctrl Shift V. So we have ensured the same pose, but with inverted values for all bones. Excellent. Here we can see whether everything is correct and whether our approach provides the results we expected. And we see that we already have something similar to the reference. Let's adjust the very first frame. Make sure that the contact of all the limbs was the floor is correct. And also, let's adjust the arms position in this key. I try to ensure the correct dynamics for the arm. That is the transition. Now knowing our control points, we can now quickly duplicate the whole animation. C go to the step on the other side, Ctrl Shift V, go to straight leg, Ctrl C, and go go back here, control shift V, a straight leg here and a straight leg here, the last keyframe. So check 12345671234567. It's correct. The line is outside the range. Here there There should be frames we should go back to for creating the animation cycle. It means that we'll jump from the last frame to the first frame on the other side. That's why they should not be duplicated. Instead they should be outside of the animation. I press ctrl-c, go one frame away from the range and press ctrl-v. And now let's play the whole animation. For this purpose I disable collection with the rig and click play. As you can see, generally the walking reminds us of the result we need. But the tail doesn't move at all and the arms move quite weirdly. But we'll adjust them. Let's enable the rig system. Go to pose. and ensure that the tail stays at the place in the uppermost points. They are the key fragments, key mid, and this one here. Let's also set a convenient name for us. So the downmost point will be here. and we simply move the tail in the bottom point. For the tail, we can simply copy this channel. It's location X. Here it is. We'll disable the visualization of the others. On the step and make the same one for the step. Now it starts moving and these points can be slightly lifted to ensure that the movement is smooth. I try to find a better movement like this. Now let's move on to the main elements in walking. It's the pelvis. Its movement is pretty simplified because there is no swaying or better to say rotation along the axis. It's the left and right swaying, but nevertheless we need to make it more dynamic. Let's see what keys and curves we have for it. Let's enable the normalization to level the visual values. the up and down position, the vertical movement. Let's have a look. The pelvis goes down. This is the stepping. The uppermost point where the pelvis is leveled, and in this point, The pelvis should go downwards again, but slightly faster. Correspondingly, it's this curve. disable all others so we don't get distracted by them. This is such a sprightly step. So it steps once, descends. Let's try. Also, the keys are distributed incorrectly here, because the next key, which is here, is not recalculated, interpolated for this elevation. We can fix that. Let's try to fix it by adding a modifier to this channel. We add the cycle modifier and we get a cycle of the keys, an infinite cycle where the curves will be distributed more accurately because they will always be cycled. Now we have a smoother walking. In the reference it's more abrupt. Let's get rid of this plateau. Select both keys and slightly move down these curves. Now the walking is even smoother. Visually it's better. Let's move this part downwards a bit. The stage of transmission from one post to another should include a high point too. Now let's make this relaxed and lazy walking more elegant and add some abrupt moves to convey the toy mood in the animation and ensure the exaggeration of the character's moves. To do this, select these curves. We need to accentuate the downwards move. Let's make it more vivid. Now let's prolong it in the timeline. The character will stay longer in the top point, and make this plateau a little bit longer and move it upwards. Let's place the plateau here. This is for the opposite side. So now the character elevated more rapidly. Now let's increase the difference by changing this curve. Let's try to make such a spring-like structure. Let's increase this part. Okay, something like this. Let's have a look at it. So the steps are more dynamic. get a sort of rhythmical pattern. Thanks to this, we get the necessary movement range to ensure the head and ball jumping in a more fascinating way. Let's adjust the curves a bit more. I don't really like that there is a sort of descending because at this stage there should be a slight elevation. Here the character moves downwards, the leg is lifted, plateau. I will try to find a good solution for this case. It seems to me that this option looks more natural. We have preserved the dynamics of the walking and slightly smoothed the movement of the leg that moved too rapidly. Let's also have a look at the rotation. Let's do the same thing we did the previous time. Add the cycle modifier to the channel. Now the channel is cycled, so the values of the last parts of the curves are interpolated correctly. I think that we should simplify it here. Here's the edge value of the step to one side, the edge value of the step to the other side, the middle point, and correspondingly, we can smooth these two curves. From the technical point of view, we can do it based on our visual perception. Now the rotation is smoother. But let's make something similar for the body. There is a rotation stage. The movement is quite mechanical. It isn't bad, but I want to make a movement which will be more pleasant for viewers. That's why first of all I apply the cycle modifier, the edge value, smooth transition. Here it goes back to the usual condition. Let's try to do it like this. Move these keys away from each other. So now there is such a rotation. Now let's rotate it more to one side. We can simply move all keys to one side. Scale the values. I disable the normalization, so you can see it better. Scale the value. Now it's slightly shifted downwards after the coordinates origin. the movement is less vivid. So by scaling the curves range we can get the results we need. Let's disable the rig and click play. Let's slightly improve the legs. Let's have a look at how it moves. Boiler rotation. Find the necessary axis and disable all others. Now apply Cycle to it. Now in this part, intensify it. Because it's transferred, we need to copy this value. I want to make this part longer so that the toe moves to the floor longer, till the very end. We can even make it more abrupt, like this. Or even like this. Bang. Let's do it slightly differently. Here a straight line and here intensify. Bang. and ensure its visualization. This here and here like this. It's not rapid enough. I want it to be more abrupt. Let's revert. to zero. Now let's work on this part more. the leg steps. I adjust this curve. Now I try to work only with the curves, but technically we can simply add keys. Now let's see this leg. Isolate it, because it is the main one here. Here it's on the floor, goes backwards, and here it should stay longer at this level. This is the x value, right? But it's the rotation. It's another one we should work with. Let's find the right one. normalization. So the right one is the y value. Normalization. Here it is. Let's have a look at how it moves. Here it should be like this. The curves look crazy now. Let's have a look. All in all, I need the rotation. Here it stops. This stress that is going down. At this stage the toes should go more to the back. So it should follow the leg. Here it's flat. After the toe stands on the floor, we need to add an auxiliary key, or technically we can try to make such a curve for it so that it sort of rakes up. And this stage should be probably more vivid. With the phases, the most important for us now is to ensure the main characteristics, And further on, we'll work on the nuances. So we have created such a backlash for the leg, it looks nice. Then transfer of the leg and the leg moves forward. We can intensify this moment so that the legs slap on the floor is more vivid. Bang. Let's watch it one more time. I still have some doubts about the pelvis. That's why I use the reference from the book. Here it is. Let me move this here. So there's a contact pose in the middle. The pose for stepping. In this case it's called down. This is the bottom most point. And the pose of moving upwards and the up pose should be in the uppermost point of the walk. And if I'm not mistaken, it isn't correctly set in our case. Yes, let's go back here. So this point should be higher than this one. So it should be approximately like this. And this one like this. Let's try it now. I like it more this way. Let's try to experiment with this parameter a bit. Yes, there's the abruptness we needed. Excellent. I like this moment. As I have already said, we can greatly benefit from the reference from the book. Don't forget to save your project from time to time. Now let's make sure that the legs work correctly in all dimensions. We have the reference leg, and let's copy it to the other side. To do this, I select only the channels I need. It will be way simpler like this. In this case, for the toe, I select the rotation. This rotation, copy the keys of this toe and paste them right here. I set the final key. I paste them once again to make a cycle. One second. I need to deactivate all other keys and paste them here in the last key to ensure that we have an animation. And now based on the middle key for this leg, it should be in this phase. Just shift the animation here. The unnecessary keys may be deleted. And again, we can apply Cycle to this channel. In the very same way, copy the legs position. In this case, it's the Y location. So paste it into Y location. I use the shortcut Ctrl Shift H to isolate this channel. Paste it here. remove the necessary axis. Generally, I'm quite satisfied with the legs position. The robot is walking in a pretty cartoonish way. Now let's figure out what's going on with the hands. As you can see, there is a quite ugly return to this phase. It's very rapid. So let's try to smooth this phase. What I mean is that here it should probably go downwards, backslash, smoother movement upwards. Now move here. Let's watch. The movements are still quite ugly. In such cases, it isn't always obvious what we need to fix. That's why for our convenience, we can use the trajectory display. To do this, go to the data properties and in the motion paths, we can make the trajectory we need. The duration is 32 frames. We don't need the motion path to be longer than that. And apply Calculate. That's the trajectory of this controller. The very trajectory looks quite ugly. We see some weird loops, jumps. That's how using motion paths, we can quickly identify where and with what values the path should be. There is a jump movement, but it's due to the very nature of the pelvis. Here we can disregard this movement, or on the contrary, prolong this movement to make it smoother. It seems to be better like this. I think that this animation is quite good. My animation lags a bit because the 3D animation and the reference are played at the same time. That's why for my convenience I will switch to the sequence mode. Right away the animation playtime increases. And since we are done with this hand, we can delete the trajectory so that it doesn't to interfere with our further work. To do this, simply delete this path. Now copy the keys to the other hand. To do this, I select both these channels, disable all other channels so that they are invisible. Select the necessary keys, press Ctrl C. Go to the other hand, hand, switch to the first frame and press Ctrl V. Go to the last key and again press Ctrl V. Let's move this so it's more convenient. Now I need to move the key mid value to the key value. To do this, I simply press the G key and move the keys on one axis. We can leave the keys that are outside the range because they serve for looping the animation, that is, they perfectly repeat the movement continuation. Save, and make sure that the animation is symmetrical. Now let's animate the shoulders. There is a special control for shoulders which is used for managing their movements and animating. There are many channels which can be used for their movement. In this case we don't need all these channels, we need only one channel. It's the Y channel. Correspondingly it's better to delete all other channels, I deactivate the Y channel and select all other channels, press the X key, and apply Delete Keyframe. Only one channel is left. Excellent. Now if I animate with the enabled Auto key, the system will automatically create keys on all channels. Generally, I don't really need that in this case, because it will complicate the managing of this object. That's why I disable Auto Key and create the further keys manually in this menu. Using the IHOT key and the option Only Selected Channels to ensure that they are created only on this channel. Now let's delete these keys. In this case, they don't serve our needs. The key in the zero frame is preserved. Excellent. And its value is zero. Now let's figure out what's going on here. Actually we can have a look at the reference, but it's clear that when the shoulders are lifted, the shape will be stretched a bit. And during the rapid descending it will be compressed. That's why I remove this thing, so it doesn't interfere with my work. And let's again identify the phases. The step part is the bottom most point. That's when the object should go upwards. For example, like this, approximately 4. I like it when the shoulders are stretched. To record this position, I press the I key and apply only selected channels. The position straight leg is the most leveled one, so I will use it as a basis to specify where the downmost point is. And since the amplitudes are pretty much the same, the descending will be by 4 minus 4. These are the approximate values. We don't need to be super accurate here. The key should be in midkey. Let's have a look at the result. I disable the normalization to see the parameters in the values range. Now I simply duplicate this part and paste it here. Let's watch. Okay, we have created a quite interesting animation. It looks good throughout the whole step, but the movement seems to be pretty lazy. I want to make it more spring-like. For this purpose, let's try to do the following. I select these keys, they are in the bottom range, make a flat tangent, move it here, and adjust them. So a sort of plateau appears here. Correspondingly it will get to the straight position faster. Now I move these selected keys here by the axis to level these ranges of elevation and descending and make a tiny wave. Such a secondary spring effect appeared after stopping. This animation can even be modified in this way. these keys and make a cycle only in this range. Select the channel, modifiers, cycle, and now we have an exact copy of the controller's range and we can increase the spring effect effect, or by leveling this value decrease the spring effect. In this way we have pretty quickly animated the shoulders. Let's reduce the effect so it isn't so jelly-like. Now let's animate the upper part. I mean these two heads. To do this, I enable the controllers of the heads. Here I selected to display the character's animation to see what animation should be created here. This head reminds me of a jumping ball, and here we can see a tiny problem that appeared in our case. Since the head is hierarchically attached to the pelvis bone, the rotation of the pelvis caused the rotation of the head. It isn't good. The fact that we already animated something is no obstacle for us to rearrange the rig a bit. So let's do the following. Select a skeleton and switch to the rest position mode. It's the condition when all the bones are in the initial position. We cannot move any bones in this mode, but we can use this mode for troubleshooting the rig. In this mode I select the controller of the lower head, go to the edit mode, and press Alt P. Select Clear Parents. Repeat the same for the upper head controller. Select it, switch to the Edit Mode, and I press Alt P again. Now when the animation is played, both heads remain immovable. To make them move, we'll use a constraint. We'll attach them to the moving elements, for example to the shoulders, which is more important in this case than the pelvis. And the constraint enables us to ensure that the object inherits only the transforms and the rotations are not inherited. To do this in the pose mode in the rest position to ensure that the correct values regarding each other are transferred. I select the shoulders and then select the head and press Ctrl Shift C and select the the location constraint. Let's have a look at the modifier. The constraint is attached to the right element. Now let's have a look at the result. I go to the post position mode and play the animation. The head accurately repeats the moves of the shoulders and is rotated in the correct direction. That's what we need. The value of the position is lost. Because we use the constraint to define the position, while the rotation functions as expected, and we can set the necessary values to it. So correspondingly, in such a case, we'll need to move the head construction using some other elements. Without rearranging the whole system, we can rotate, or if to be more accurate, move the head if necessary using these two controls. Let's make such an attachment for the upper head as well. So I select the controller that manages the squeezing, select the upper controller, press Ctrl Shift C and again select Location. Let's revert. Let's do it in the rest mode, because I did all of that in the pose mode, and got a weird incorrect values for the transform. Again select the head control, then the control of the second head, press Ctrl Shift C, and select Location. So now it works fine. There is no unwanted displacement. Now both heads are rotating synchronously and if necessary we can move the position of the upper head using this controller. The more detailed animation of the upper head will be performed using the bones. Now we can move to the animation itself. Let's have a look at the reference once again and compare it to the created animation. Maybe we need to change something before modifying it. I want to make the movement of the shoulders more rapid. Because if we keep such a jelly-like animation, it will be hard to control movements of the upper parts. That's why I go to Layers, select the shoulders, and I decrease its amplitude to make the movement more explicit. Done. Done. Now let's intensify the effect of stepping. I select the pelvis bone and increase the range of this movement so that it's more rapid. Let's have a look at it. Here it is. The character steps more harshly. I like it more like this. Now let's move on to the head. It has just occurred to me that it's quite hard to animate the head in this way because many movements occur at once. And if we want to animate it by adding new movements, we'll always need to take into account the position of the bottom part. Because the head follows the movements of the lower parts and the way lower part impacts the head. So it means that we'll have the double animation, double transformation, and such managing will be quite complex. It would be better to do it manually by setting the contact points, but in order to avoid rearranging the setup, because in general it's fully functional, we'll use the possibilities of the constraint. I mean that we can simply remove the influence of the constraint, and now the lower body part doesn't affect the head. Now we can even transform it. Correspondingly, if necessary, we can even animate this parameter. If such an animation is of any use for us, that's why with the disabled influence of the constraint set the main positions. We'll animate the head controller. So let's find the correct height for it. Place it here. At first, I press the I key on these channels, but not all of them. I need to delete these two channels. I select the correct position, only selected channels. Is it correct? It should be Y. I have selected the wrong channel to work in. Now the point is set. Let's have a look where the head should go up in the air and where it will touch the bottom part. Here it's in the air, so it's basically a correct position. We keep it here. selected channels, and approximately here in the first key when it touches the surface. This is the position when the head is in the air, touch with the surface. Let's have a look at how explicit it should be here. Generally we can track the heads position frame by frame because there isn't too much to animate. So we can track the conditions. And the conditions will provide us with a vector which we need. Let's do it like this. A vector like this. delete this key and reduce the effect. At this moment, the head hits the body, so it's a rapid change from one movement to another one. That's why I set a vector value, so it will fly down with the accelerated speed trajectory. its speed will be increasing. Here it should be like this. By the trajectory dynamics, the upper part catches up with the bottom part and it prevents it from jumping upwards, so that's why there's a small bend here. Oops, not all of them. We'll keep the upper part like this for now. And of course save. The ball moved it downwards, hits, now it flies, but it should be sort of constant. And somewhere here, there should be a hitting point. point should be more vertical, that's why I delete this value. I make the curve more rounded. However, there is a significant compression here, So technically we need to make it like this. Let's apply automatic now. it's a significant compression. Automatic. Like this. Here the head goes downwards. Even more down to this moment. We must do everything correctly here. This position will be here. Also ensure the heads elevation using the keys. Adjust it a bit. We get such a curve. Apply Cycle to this channel to see how it goes. Now let's try to do the following. Delete this. As a result, we get only one sequence, which will manage the whole animation. Now let's make the squash animation. To do this, first of all, I need to make a key for this controller. Animation Channels. Delete the unnecessary ones. Now in this range, I create two keys. Now let's have a look where the upwards movement is. So correspondingly, this will be the key for compressing. And now let's have a look at this range. So here it compresses and here it stretches. Here's the phase for stretching. Let's have a look. This phase should be like this. And let's add the cycle to this animation right away to see what's going on here. Yes, in this phase everything is right. copy the phases and move them downwards because it's too high. The keys should be vector, because it should fall with the same speed at which it was flying. So this curve should be like this. In this moment, it's still compressed. The force is still affected. Let's make a smooth transition, such as sine wave. Now the jump is ugly. We can try to fix it by moving the phase. Make it longer here. Let's try to display the animation to see better how the head is moving. It isn't convenient because the animation is linear. Yes, there is not much use of this. In this phase, we need to ensure that the head goes there way more. We got a sort of reverse curvature. of reversed curve relative to this one. We have a phase. Let's intensify the feeling that the upper head has a weight. For this purpose, we intensify the compression of the middle head. I move the key approximately here and let's see how it looks. Now there is an impression that the upper head is heavy, the lower head is significantly compressed. There is a tiny rapid jerk. We'll try to fix it. Maybe this jerk is this thing here. Here's the jerk. We need to find the correct position for this frame. There is a gradual decrease. To ensure it, we can use the annotation. Enable the onion skin checkbox. Let's have a look at it. Here is the onion skin. For convenience, let's specify that in this frame the head is here, and in this one it's here. And in this one it should be here. Onion skin, before, after. Increase the number of frames. If we assume that it's a linear movement or movement with decreasing speed, the trajectory must be shorter, at least by half. So correspondingly, the half value will be somewhere here, maybe even less. Here. Right now, we don't have that in our anime. That's why there's the jerk, after which the head is rapidly compressed to this value. So in this frame, it should be somewhere here. Let's try to do it. Select the head. The position here and here. In this frame, the head is here. It must be here. We can even make this frame like this. so that it matches our approximate draft positions. Now let's have a look whether there is the jerk. Switch to the sequencer. So the jerk is gone, because now the movement dynamics is correct. The head is very compressed to make an impression that the upper head is heavy. The head itself doesn't jump too high in the air. It's only this distance. And now the final task is to ensure the dynamics for this head and show that it has a specific volume and behavior. To begin with, set the key phases. There is a phase of descending. First of all, I select all the bones I need, go to the first frame and apply location and rotation keys for all the channels. Now let's make the phase where it's very compressed. So let's remove the controllers of the head. The Dino goes here, select these controllers and remove them from this part. Okay, now here are only the controllers we'll use for managing the dinosaur's head. Here will be the step. It matches the marker. And let's make the edge. state for the head. In this case, based on the storyboard, the jaws are together. Let's enable normalize so that we don't zoom too much. Let's make the keys for this head. I apply Insert Keyframe in the first frame, and in this phase the value will be the maximal one. By the way, in some cases you may benefit from the possibility to set the negative value for blend shape. So in this way you can intensify any inverse effect. For example, in our case to open the eye wider, it may be useful. but in this case we won't use that function. Just make sure that the eye closes. Let's probably set 1.5. Intensify it. it a bit more. And now let's move the keys further by one, because we transferred to this condition after the frame on the next frame, not on the same frame, because the inertia and the action reach it in some time. Thus with one or two frames delay. In this phase, there is a sort of flying state. Let's zero everything here. Let's adjust it a bit. Now we should transfer to this state in the keyframe. Set all the keys so that there are all phases in this case. you you Let's, in this phase, make it like this. Okay, I now hide the tangents. We can de-form it even more, if we can. The jump is too rapid. Move this by one frame. Now ensure the correct state here. After we open the eye a little bit, we don't have the means to control the face super accurately to match the reference, but the creation of a more detailed rig would take an enormous amount of time. And still there would be the chances that we wouldn't even achieve the desired results. Let's make a cycle for this channel. Here it is. Now the character closes the eye, moves the jaws. Now I simply copy the keys which are already set. I copy from this range to this range. They will be in the correct places. So we can animate only the first part and the second part will be duplicated. Disable the sequencer and the rig. We have finished the animation. Thank you. See you soon."
+    }
+  ]
+}