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+  "text": " Hi, welcome to lesson 9 of the 2D to 3D course. In it, we'll talk about animation in Cinema 4D. First let's cover the animation tools and the existing animation types. In the first lessons, we already learned the animation panel. It displays the timeline in a simplified way. It shows the animation keyframes, the current frame, and the duration of the composition. There are buttons for playing animation, moving through the keyframes, buttons for recording certain parameters or all at once. There is a separate timeline for animation, which has more functionality than this panel. The panel can be accessed from the window menu or by pressing Shift F3. Also, if you have recorded animation keyframes of any parameter, this window can be accessed by right clicking Go to Animation and selecting Show Track or show f-curve from the list. In the second case, the same panel will be opened, displaying curves instead of keyframes. These modes can be changed with these buttons. This panel consists of these parts. The main menu, with various settings and commands, quick command panel, this column displays objects and animatable parameters. There can be many of them, so So you can collapse an object and work with it. Also right clicking you can access the menu with various commands for copying, selecting keyframes etc. Next is the Layers panel, which also has buttons to turn animation on and off, and the Solo mode. This is the timeline. It displays the duration of the composition. Here you can set a part of the animation to play. By pressing the space bar, only this part will be played. The timeline also displays markers and an area of selected keyframes. And you need to move many keyframes, it is easier to move them beyond this area. You can move along the timeline with these buttons. And the largest area is dedicated to keyframes. Once in F-curve mode, animation curves will be shown in this area. Notes that curves are displayed only for selected objects. And so to animate an object you need to create an animation keyframe on the parameter. All parameters that have such a round icon can be animated. If we click on it an animation keyframe is created on the timeline. Then we move the timeline slider, move the object and create an animation keyframe again. By doing so we've animated the shape. Of course if you need to animate many parameters then creating keyframes in this way will be rather dreary. For convenience, I will slightly change my layout. I'll put the timeline panel down here and I will hide these panels. So there is a command to create keyframes, namely record active object. It creates keyframes on all parameters of the object, but it records all the parameters in this list. Optionally, we can leave only the position of the object and record only the movement keyframes. Create keyframes, move the object and click on the Create keyframes button again. Not to constantly press it, you can turn on the automatic keyframes recording mode. In this case, we can only move the object in the composition and the slider in the timeline. This speeds up the animation creation process a bit. All parameters of objects, deformers, fields, etc. can be animated in the same way. When creating any complex animations, blocking is the first stage. it you create main animation keyframes. In this case, it is better to use the so-called step interpolation to avoid anti-aliasing of the animation between the keyframes, as this will interfere with keyframes and timing settings. After blocking the main keyframes, we need to create the intermediate ones and further refine the animation. But again, this approach is used when creating complex animations like that of characters. When creating simple movements this is not necessary, since it is much easier to edit them. Easy ease adjustment is done in F-curve mode. But be careful, as the curves of the position parameter affect the path of the object. At the initial stage it will be unusual to customize animation graphs for those who have worked in After Effects. But to understand the process you can turn on the Show Velocity mode in the F-curve menu. This mode displays a curve by type as a speed graph in After Effects. This makes the curves a little easier to understand. Unfortunately, this graph cannot be used to adjust the animation speed as it only displays it. To adjust the speed of animation and easings, use the Time Track command. We will return to talk about it a little later. Looping such animations is quite conveniently implemented in Cinema 4D. Having selected the animation keyframes, a menu with keyframe settings opens an attribute manager. We are interested in the before and after parameters. Before is responsible for looping the parts before animation keyframes. And after is responsible for looping the part after animation keyframes. By default, the constant mode is selected, which has no effect on the loop. Continue mode. In this mode, the rate of change of parameters is calculated for the first and last key and and remains infinitely unchanged. It looks like this. If I change the graph, the animation continues at linear speed. Looking at the graphs, we see a black line. This is the additional animation that Cinema 4D calculates. Having selected the repeat mode, the animation will repeat. The number of repetitions is set in this line. In this case, the first and last animation keyframes must have the same values. Otherwise the animation transition between start and end will be noticeable. In the graph window, animation repetitions are shown in black. Offset repeat mode. It works like the repeat mode, with the exception that at different values for the first and last animation keys, a constantly changing curve, increasing or decreasing, will be created. Since in this case a curve with an initial keyframe will be located on the final animation keyframe. It sounds rather complicated, but it looks like this on the graphs. That is, our animation is not only repeating but also offset. You can also loop the animation in different ways, such as ping pong or pendulum. This is the oscillate mode. In the graphs, we see that the curves are mirrored. Let's go back to setting the animation speed and timing. I'll take an animated composition as an example. Often you need to slow down or speed up your animation. And it would be logical to use this selection to customize the animation of the keyframes. But as you can see, keyframes that are close to each other simply disappear when they are sped up. To slow down or speed up the animation without such losses, you should use Time Track. How does it work? Select any animated object and choose Time Track from the Create menu. When it's created, it is already parented to the object. Now I select the objects to which I need to apply the time setting. After that, drag time from the list of objects into the time track field. Now all animation is linked to this graph. So to adjust it accordingly, you must first, before binding time to the animation, set its length according to the finished animation. Now I again select the objects to which I need to bind the time track and add time to them. Go to the F-curve mode. With this graph we can adjust the animation speed and its easing. Also, you can create various slow motion effects using it. Adding new keys and stretching animation. Let's move on. Sometimes there are times when you need to animate the mesh of the model. You can use the point level animation button for this. This means that you need to convert the object to editable polygons. It is also possible to animate the spline points. In the case of a spline primitive, it must be converted into an editable spline. After that, we can record animation keyframes for each point of the object. It is quite time consuming, but most often this method is used when working with simple objects. For objects with a lot of polygons and points, it is better to use the pose morph tag. It allows you to move many points with one slider. And in this case, it becomes possible to customize the animation graphs. Whereas PLA does not have this option. It is often used when animating a character's face, as it allows you to blend various settings for the position of points. Let's look at an example. Here I have such a polygonal object. I want to record its deformations. For this I create a pose morph tag. Select the points. The settings menu appears. When in the edit mode you can adjust the point settings. Select Pose 0 to edit the mesh. After clicking Add Pose, create a new Pose. When all the poses are created, switch to the animate mode. There are sliders. Moving them, you create a linear transition between the position of the points. So it is convenient to animate facial expressions or edit the mesh if there are any animation errors. Another type of animation is procedural animation. This includes dynamics. It is quite difficult to adjust, and you will have to work hard to achieve the desired result, but the effort is worth it. Dynamics allows you to simulate physical interaction of solids. You can simulate the movement of systems of particles, liquids and gases, various destruction, simulate the interaction of soft bodies, tissues, hair, etc. This is a rather vast topic and we'll cover it in little detail. Dynamics tags are used to create these simulations. Dynamics body tag. The Dynamics body tag contains properties of objects related to both rigid and soft bodies. It contains all the dynamics parameters. The Dynamics body tag has five modes and the tag icon changes accordingly. Rigid body. In this case the object affected by the dynamics is considered as a rigid body. Soft body. In this case the object is considered as a soft body and is subject to deformation. Collider body. The object of interaction which is used as the ground, floor. Ghost body. For the next mode I will duplicate the cube. I change the mode in the tag, select ghost and animate the cube. Now go to the rigidbody tag and set on collision in the trigger parameter. During the animation we see that the ghost body starts the rigid body dynamics. The ghost body tag now serves as a trigger on the rigid body object, but at the same time it will not affect the dynamics. Now let's start to create the animation itself. To move an object in space you can use animation keyframes. But to be able to edit the path like a spline, you need to adjust the keyframes. When you select the animation keyframe, its menu will appear in attributes. In the key preset parameter, select custom and uncheck auto tangents. Handles appeared on these keyframes, which allow you to edit the path. But if we turn on the display of curves, we will see that changing the path changes the curve. So this method is not always convenient to use when you want to get certain easing settings and keep the path of the object at the same time. In this case it is better to use the Align to Spline tag, but before we get to it let's look at the Align to Path tag. It is used to auto-orient an object when the position parameter is animated. Let's say we have such a path, and I need the object to rotate along it. You can manually adjust the rotation, but it is faster to apply the Align to Path tag. Now when playing the animation, the object is automatically rotated, but not quite as I need it. So, go to the Tag Settings. Set Look Ahead, a lesser value. This parameter is responsible for the number of frames that will be used when rendering to align objects. The higher the value of this parameter, the earlier the object starts to rotate. So a small value of this parameter is more suitable in this case. This way we quickly oriented our model along the path. As for the path itself, let's consider the Align to Spline tag. For it to work, we need one or two splines. Create a spline. Next, apply the Align to Spline tag to the object. And I add a spline to this line. Now by adjusting the slider the object moves along the spline. To apply automatic object orientation you need to enable tangential. or use Rail Path. Now let's talk a little about bones and weights. What are they and what are they for? With bones you can create a character Skeleton. parts or other objects. An area of polygons of the object will be parented to each bone of the skeleton, so that the mesh will move by animating the skeleton. Let's take a standard shape for example. Let's create a skeleton. To do this, I choose the Joint tool from the Character menu. The tool settings appear in Attribute Manager. There are the Hierarchy, Size, Symmetry and IK Selection. Let's leave them as is for now. Create a primitive skeleton for the shape. I'll start with the pelvis. You can create the bones while holding down control. Each next bone will be a child of the previous one. To create a new chain of bones, you need to select the main object to which all the bones belong. Now a new chain will be created as its children. bones along joints to create a more realistic deformation of the object. This is how we build the skeleton. Now we need to link the bones and mesh of the object. To do this, the model must be converted into editable polygons. Next, select all the bones using the Select Children command and select the mesh. Go to the Character menu and choose the Bind command. A weight tag and a skin deformer are created on the object. The weight tag is assigned so that the skin object can perform the necessary deformation of this object. To configure the weights, open the Weight Manager menu and select the Weight tool. All bones are displayed in Weight Manager. They are marked with a certain color. If we select one bone, we see a colored mesh. This is the area affected by this bone. With the Weight tool, you can adjust this area. Wip manager allows you to make various commands for the weights, such as resetting, softening, automatic adjustment, etc. Please note that there are similar settings in the weight tool, but they work locally, which allows you to manually adjust the weights in more detail. Skin inherits the warp deformations of the character's skeleton that was created based on the bones object with the weight tag. Select all deformers. The skin object must be a sub-object of the object you would like to deform. Compared with other deformers, the skin object only affects polygonal objects. After connecting the bones and mesh, you can animate the object. To do this, select the necessary bones and change their position, recording the keyframes. The position of the bones is adjusted with the move and rotation tools. Let's go back to the settings for creating bones. The joint tool has an IK chain tab. In it we can select the type of inverse kinematics for the bones. The 2D3D parameter creates the IK for the main bone. This creates an null object with which to control this joint. After the skeleton is created, it also binds to the mesh via the bind command. Another mode is the spline mode. It aligns the existing chain of joints along the contour of the spline and is optimal, example to create the spine of your character. And so I select the Join tool. Set the Spline mode, create some bones. Now I will create a spline consisting of two points. If I move the spline point now, the bones do not react to it in any way. So I select the tag and replace spline in it. The bones are now parented to the spline. Tags are duplicated in the drop down list, specifically in the rigging tag menu. This allows you to add them after the skeleton is created. This concludes the theoretical part of the lesson. The next part will be practical. In it, we will animate the final seen from the 2D to 3D video.",
+  "segments": [
+    {
+      "text": " Hi, welcome to lesson 9 of the 2D to 3D course. In it, we'll talk about animation in Cinema 4D. First let's cover the animation tools and the existing animation types. In the first lessons, we already learned the animation panel. It displays the timeline in a simplified way. It shows the animation keyframes, the current frame, and the duration of the composition. There are buttons for playing animation, moving through the keyframes, buttons for recording certain parameters or all at once. There is a separate timeline for animation, which has more functionality than this panel. The panel can be accessed from the window menu or by pressing Shift F3. Also, if you have recorded animation keyframes of any parameter, this window can be accessed by right clicking Go to Animation and selecting Show Track or show f-curve from the list. In the second case, the same panel will be opened, displaying curves instead of keyframes. These modes can be changed with these buttons. This panel consists of these parts. The main menu, with various settings and commands, quick command panel, this column displays objects and animatable parameters. There can be many of them, so So you can collapse an object and work with it. Also right clicking you can access the menu with various commands for copying, selecting keyframes etc. Next is the Layers panel, which also has buttons to turn animation on and off, and the Solo mode. This is the timeline. It displays the duration of the composition. Here you can set a part of the animation to play. By pressing the space bar, only this part will be played. The timeline also displays markers and an area of selected keyframes. And you need to move many keyframes, it is easier to move them beyond this area. You can move along the timeline with these buttons. And the largest area is dedicated to keyframes. Once in F-curve mode, animation curves will be shown in this area. Notes that curves are displayed only for selected objects. And so to animate an object you need to create an animation keyframe on the parameter. All parameters that have such a round icon can be animated. If we click on it an animation keyframe is created on the timeline. Then we move the timeline slider, move the object and create an animation keyframe again. By doing so we've animated the shape. Of course if you need to animate many parameters then creating keyframes in this way will be rather dreary. For convenience, I will slightly change my layout. I'll put the timeline panel down here and I will hide these panels. So there is a command to create keyframes, namely record active object. It creates keyframes on all parameters of the object, but it records all the parameters in this list. Optionally, we can leave only the position of the object and record only the movement keyframes. Create keyframes, move the object and click on the Create keyframes button again. Not to constantly press it, you can turn on the automatic keyframes recording mode. In this case, we can only move the object in the composition and the slider in the timeline. This speeds up the animation creation process a bit. All parameters of objects, deformers, fields, etc. can be animated in the same way. When creating any complex animations, blocking is the first stage. it you create main animation keyframes. In this case, it is better to use the so-called step interpolation to avoid anti-aliasing of the animation between the keyframes, as this will interfere with keyframes and timing settings. After blocking the main keyframes, we need to create the intermediate ones and further refine the animation. But again, this approach is used when creating complex animations like that of characters. When creating simple movements this is not necessary, since it is much easier to edit them. Easy ease adjustment is done in F-curve mode. But be careful, as the curves of the position parameter affect the path of the object. At the initial stage it will be unusual to customize animation graphs for those who have worked in After Effects. But to understand the process you can turn on the Show Velocity mode in the F-curve menu. This mode displays a curve by type as a speed graph in After Effects. This makes the curves a little easier to understand. Unfortunately, this graph cannot be used to adjust the animation speed as it only displays it. To adjust the speed of animation and easings, use the Time Track command. We will return to talk about it a little later. Looping such animations is quite conveniently implemented in Cinema 4D. Having selected the animation keyframes, a menu with keyframe settings opens an attribute manager. We are interested in the before and after parameters. Before is responsible for looping the parts before animation keyframes. And after is responsible for looping the part after animation keyframes. By default, the constant mode is selected, which has no effect on the loop. Continue mode. In this mode, the rate of change of parameters is calculated for the first and last key and and remains infinitely unchanged. It looks like this. If I change the graph, the animation continues at linear speed. Looking at the graphs, we see a black line. This is the additional animation that Cinema 4D calculates. Having selected the repeat mode, the animation will repeat. The number of repetitions is set in this line. In this case, the first and last animation keyframes must have the same values. Otherwise the animation transition between start and end will be noticeable. In the graph window, animation repetitions are shown in black. Offset repeat mode. It works like the repeat mode, with the exception that at different values for the first and last animation keys, a constantly changing curve, increasing or decreasing, will be created. Since in this case a curve with an initial keyframe will be located on the final animation keyframe. It sounds rather complicated, but it looks like this on the graphs. That is, our animation is not only repeating but also offset. You can also loop the animation in different ways, such as ping pong or pendulum. This is the oscillate mode. In the graphs, we see that the curves are mirrored. Let's go back to setting the animation speed and timing. I'll take an animated composition as an example. Often you need to slow down or speed up your animation. And it would be logical to use this selection to customize the animation of the keyframes. But as you can see, keyframes that are close to each other simply disappear when they are sped up. To slow down or speed up the animation without such losses, you should use Time Track. How does it work? Select any animated object and choose Time Track from the Create menu. When it's created, it is already parented to the object. Now I select the objects to which I need to apply the time setting. After that, drag time from the list of objects into the time track field. Now all animation is linked to this graph. So to adjust it accordingly, you must first, before binding time to the animation, set its length according to the finished animation. Now I again select the objects to which I need to bind the time track and add time to them. Go to the F-curve mode. With this graph we can adjust the animation speed and its easing. Also, you can create various slow motion effects using it. Adding new keys and stretching animation. Let's move on. Sometimes there are times when you need to animate the mesh of the model. You can use the point level animation button for this. This means that you need to convert the object to editable polygons. It is also possible to animate the spline points. In the case of a spline primitive, it must be converted into an editable spline. After that, we can record animation keyframes for each point of the object. It is quite time consuming, but most often this method is used when working with simple objects. For objects with a lot of polygons and points, it is better to use the pose morph tag. It allows you to move many points with one slider. And in this case, it becomes possible to customize the animation graphs. Whereas PLA does not have this option. It is often used when animating a character's face, as it allows you to blend various settings for the position of points. Let's look at an example. Here I have such a polygonal object. I want to record its deformations. For this I create a pose morph tag. Select the points. The settings menu appears. When in the edit mode you can adjust the point settings. Select Pose 0 to edit the mesh. After clicking Add Pose, create a new Pose. When all the poses are created, switch to the animate mode. There are sliders. Moving them, you create a linear transition between the position of the points. So it is convenient to animate facial expressions or edit the mesh if there are any animation errors. Another type of animation is procedural animation. This includes dynamics. It is quite difficult to adjust, and you will have to work hard to achieve the desired result, but the effort is worth it. Dynamics allows you to simulate physical interaction of solids. You can simulate the movement of systems of particles, liquids and gases, various destruction, simulate the interaction of soft bodies, tissues, hair, etc. This is a rather vast topic and we'll cover it in little detail. Dynamics tags are used to create these simulations. Dynamics body tag. The Dynamics body tag contains properties of objects related to both rigid and soft bodies. It contains all the dynamics parameters. The Dynamics body tag has five modes and the tag icon changes accordingly. Rigid body. In this case the object affected by the dynamics is considered as a rigid body. Soft body. In this case the object is considered as a soft body and is subject to deformation. Collider body. The object of interaction which is used as the ground, floor. Ghost body. For the next mode I will duplicate the cube. I change the mode in the tag, select ghost and animate the cube. Now go to the rigidbody tag and set on collision in the trigger parameter. During the animation we see that the ghost body starts the rigid body dynamics. The ghost body tag now serves as a trigger on the rigid body object, but at the same time it will not affect the dynamics. Now let's start to create the animation itself. To move an object in space you can use animation keyframes. But to be able to edit the path like a spline, you need to adjust the keyframes. When you select the animation keyframe, its menu will appear in attributes. In the key preset parameter, select custom and uncheck auto tangents. Handles appeared on these keyframes, which allow you to edit the path. But if we turn on the display of curves, we will see that changing the path changes the curve. So this method is not always convenient to use when you want to get certain easing settings and keep the path of the object at the same time. In this case it is better to use the Align to Spline tag, but before we get to it let's look at the Align to Path tag. It is used to auto-orient an object when the position parameter is animated. Let's say we have such a path, and I need the object to rotate along it. You can manually adjust the rotation, but it is faster to apply the Align to Path tag. Now when playing the animation, the object is automatically rotated, but not quite as I need it. So, go to the Tag Settings. Set Look Ahead, a lesser value. This parameter is responsible for the number of frames that will be used when rendering to align objects. The higher the value of this parameter, the earlier the object starts to rotate. So a small value of this parameter is more suitable in this case. This way we quickly oriented our model along the path. As for the path itself, let's consider the Align to Spline tag. For it to work, we need one or two splines. Create a spline. Next, apply the Align to Spline tag to the object. And I add a spline to this line. Now by adjusting the slider the object moves along the spline. To apply automatic object orientation you need to enable tangential. or use Rail Path. Now let's talk a little about bones and weights. What are they and what are they for? With bones you can create a character Skeleton. parts or other objects. An area of polygons of the object will be parented to each bone of the skeleton, so that the mesh will move by animating the skeleton. Let's take a standard shape for example. Let's create a skeleton. To do this, I choose the Joint tool from the Character menu. The tool settings appear in Attribute Manager. There are the Hierarchy, Size, Symmetry and IK Selection. Let's leave them as is for now. Create a primitive skeleton for the shape. I'll start with the pelvis. You can create the bones while holding down control. Each next bone will be a child of the previous one. To create a new chain of bones, you need to select the main object to which all the bones belong. Now a new chain will be created as its children. bones along joints to create a more realistic deformation of the object. This is how we build the skeleton. Now we need to link the bones and mesh of the object. To do this, the model must be converted into editable polygons. Next, select all the bones using the Select Children command and select the mesh. Go to the Character menu and choose the Bind command. A weight tag and a skin deformer are created on the object. The weight tag is assigned so that the skin object can perform the necessary deformation of this object. To configure the weights, open the Weight Manager menu and select the Weight tool. All bones are displayed in Weight Manager. They are marked with a certain color. If we select one bone, we see a colored mesh. This is the area affected by this bone. With the Weight tool, you can adjust this area. Wip manager allows you to make various commands for the weights, such as resetting, softening, automatic adjustment, etc. Please note that there are similar settings in the weight tool, but they work locally, which allows you to manually adjust the weights in more detail. Skin inherits the warp deformations of the character's skeleton that was created based on the bones object with the weight tag. Select all deformers. The skin object must be a sub-object of the object you would like to deform. Compared with other deformers, the skin object only affects polygonal objects. After connecting the bones and mesh, you can animate the object. To do this, select the necessary bones and change their position, recording the keyframes. The position of the bones is adjusted with the move and rotation tools. Let's go back to the settings for creating bones. The joint tool has an IK chain tab. In it we can select the type of inverse kinematics for the bones. The 2D3D parameter creates the IK for the main bone. This creates an null object with which to control this joint. After the skeleton is created, it also binds to the mesh via the bind command. Another mode is the spline mode. It aligns the existing chain of joints along the contour of the spline and is optimal, example to create the spine of your character. And so I select the Join tool. Set the Spline mode, create some bones. Now I will create a spline consisting of two points. If I move the spline point now, the bones do not react to it in any way. So I select the tag and replace spline in it. The bones are now parented to the spline. Tags are duplicated in the drop down list, specifically in the rigging tag menu. This allows you to add them after the skeleton is created. This concludes the theoretical part of the lesson. The next part will be practical. In it, we will animate the final seen from the 2D to 3D video."
+    }
+  ]
+}