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+  "text": " Okay, so now we have our basic animation kind of roughed out. I wanted to show my process for how I actually polished up the animations and add a little bit more personality to everything and pull this together more. So I wanted to show you, so here we have the animation from the class that we just did, which is the takeoff animation. So if I play that out, you'll see that he just basically all that's happening in that animation It's really simple is the body's coming up the wings are opening or the shells opening the wings are expanding right? That's basically the animation and so If I show you the final animation for that The one that I actually built out for my final project here You can see hopefully some of the differences that we can see here once it's a bit more polished, right? So what you'll notice Here is the firstly, there's some kind of secondary animation and movement so he's not just completely stationary, he's kind of just moving around, his tendrils are moving, the horn is moving, his body is moving and everything, so he's not completely stationary and then you'll also notice that before a lot of the body stuff opens up, he also has his legs will kind of move in position as well so So let's just limit this animation again so we can just see it play out. Yeah, so his legs are moving in place. There's a few extra little bits and pieces here. So I was trying to kind of mimic some of the stuff that you can see here in our reference. So essentially you'll notice that his legs are moving, his body's moving, all the things that I mentioned before when I was showing this reference, I've tried to do some of those kind of concepts and ideas here in terms of the animation, right? So that's like how it kind of ends up looking when it's a bit more polished. So how do we take it to that kind of stage, right? So it's a little bit of repeating the same part of the process as before and a couple of new techniques. So let's kind of jump into that now and we'll come over to our animation class takeoff here. So that's this guy and you can see that he's opening up. Also, just before I go any further, I'm just gonna make sure that I have my, So the animation class flight here, I wanna just make sure that I lock these just in case as well. So we have animation class and the wing flap as well. Let's just lock those just in case it removes them. It shouldn't do because they're referenced here, but I just wanna make sure. So okay, cool. So that's all looking pretty good. So what I wanna do here is I'm gonna select the animation class takeoff. So this is our animation. So a couple of things we can do here to improve this. The first thing I did obviously was I animate some of the other secondary areas like the him kind of moving in general. I also move the horn that we have kind of in here and we have the tendrils kind of move as well. And then the other thing I do is I move the leg position. So it makes it look like he's actually moving his feet as well. So to do all of that, there's basically two techniques I would use to do that. The first one is what we've already covered, which is basically just key framing manually. So the first thing we can do, say for legs, is that's the technique I would use for the legs, is I know at sort of 30 frames is when he kind of rises, his body rises up. So you can sort of see that that's what happens there. So one of the things I'd like to do, similar to the reference, is move the leg, especially the front legs and kind of extend those out so they feel like he's actually using those to kind of push himself up and push his body up, right? So that's an example of how we might do that. We just move it into place and key frame it and you'll see that that's now kind of straightening out the leg and at that stage as well, you might want to, so you can see his leg kind of there. We could also look at rotating this if we need to because this can give us a bit more control over the orientation of the foot at this area, but I think it's probably fine for where it is. If we wanted it to kind of come more in this direction, we could also do that. And then we may need to, you can sort of see here that it's not quite aligned. So we probably would want to align that. But let's do this, let's go back to frame zero and just key frame that there. And then as we get to frame 30, we'll rotate this so it aligns the foot keyframe that. So now what you can see is that it basically moves his leg kind of straight, right? But he's not really picking his leg up, he's just kind of moving it into place. So something that I found really helpful with this is to overemphasize animations by keyframing kind of in the middle of the keyframe. And there is probably a better term for that, like animation term that would make kind of sense to talk about there. So I believe from the reference YouTube videos that I mentioned in that sort of animation workflows, those are called breakdowns and settles. So basically a breakdown is when you put keys kind of in the middle between two keys to kind of help the animation. And then a settle is once it lands on this key, you can then overextend the keys to basically create a nicer secondary animation afterwards. So to do that, we just kind of pick somewhere in the middle. And then what I'm going to do is just kind of move the leg up a little bit and keyframe it there. So what you'll see is that now he kind of picks his foot up and places it. So you can refine this position as well, like I've exaggerated it maybe a little bit too much, but you'll see he just kind of places it, right? And we just also want to make sure that this is definitely on the ground in the right place. So I'm just going to sort of slightly refine that. So this is the process I followed for kind of animating the individual legs. And with some of them, like the ones on the back, I animated those to basically move quite large distances, right, so that it looks like he's moving his legs kind of individually a little bit more. So you can do that, like just kind of move his legs wherever you want. I just wanted to show that basic process and At the moment as well You want to check and play through the animation and check the timing because you'll notice that the leg That leg animating is feeling really slow and also his body kind of angling upwards is also feeling quite slow So this can just be about polishing the placement of the key frame So if we move say the body rotation, you'll see that that is now kind of snappier, right? And it's going to be the same for these key frames moving the leg. So if we were to kind of move these key frames and tighten up that spacing there, you'll see that his leg will now snap into place a lot nicer. So that's something that you can definitely do with the polished part of it, is just getting that refinement of those keys, right? So I do a pass kind of on all of those legs. I won't show say every single leg. So maybe do one more leg just to quickly show that. So at say 30, let's do 20 frames, we're gonna keep him there. And then maybe at 30 frames, I'm gonna look to kind of move him somewhere over here. So let's just key frame that and just see kind of how that is gonna look. So yeah, so that's kind of cool. And you can also bring in like other sort of animation. So instead of like, he's moving kind of forwards, let's maybe move this one, you could move him at a different time as well. Like don't always necessarily put them at the same time. So what you'll see is that now these kind of legs all move at different, they're like slightly offset from each other, which can definitely help to make it feel more natural because he's not necessarily gonna move all of his legs together. So you can kind of see that that kind of offset creates that really interesting sort of animation and movement, right? So that's something that you can definitely do. And we can obviously polish these out more and change the timings and everything, but that's kind of one thing I wanted to show. The next thing is actually using the curve editor. So to add sort of secondary movement to something, something you can do in Blender, which is really nice, is add modifiers to your animation. So I wanna show that process. So what we'll do, we'll change this over now to the graph editor. And so if we look at the body, we have some keyframes and things in here on the body. You can see we have X location, Y location. And as we zoom in on this, so we can just sort of like frame up our keyframes here. And you can see these are the curve points of those animations. You can select these individual Bezier points and tweak them so you can change like the interpolation of the way that these are actually working and everything. So that's how you would control more specifically your actual keyframes within the curve editor. But one thing you can do is so at the moment, the X location of this, it's not, there's no real location change here. It's mostly a rotation. There's a little bit of location, but it's not really moving a whole lot. It's mostly rotating, right? And so one things we can do here is we can come over to our modifiers and we have modifiers, different modifiers you can choose from. And so the noise modifier is a really nice way to add kind of extra movement on that bone. So you'll see that this is now kind of jumping up and down all around It's very fast and obviously it's almost looks like it's kind of vibrating right? It's a bit of an odd look at the moment, but this is a Nondestructive so you can change all of these parameters and it's going to be adding on top of the animation right? So you can choose the way that it blends like you do with the NLA editor You can choose like the blend mode type and then we can tweak say the scale is going to control The size and how frequently this graph is going to be changing so you can see if we change the scale We have a lot more of a slower kind of movement, right? So we can come back to more frequent and then strength is the intensity of how much it's actually moving That x value so you can see that as we change the scale It's jumping up and down like a lot more. So this is almost now if we were to Change the scale and have these nice big smooth kind of curves It almost looks like he's really moving up and down quite a lot, right? So you can just control the strength of that and add some sort of secondary movement and Then the offset will just move the noise obviously We can use the phase. I don't really tend to play too much with the phase But yeah, the offset is pretty good for just kind of varying up if you've got lots of noises You want to change change that or change the phase will change that as well And then one of the other things we can do is we can restrict the frame So if we wanted that noise to just be starting and go from frame 0 to 60 Then we could do that right so we can just have it only affect this animation And then it just flat flattens out kind of everywhere else and we can also have it in the same way we do With our other animations is kind of blend out right so if we were to Add in keyframes we can have this kind of slowly come in as an effect on top So that's pretty handy as well and for restricting the frames and everything so once we've got a keyframe like this as well We can press this button to copy it and we can paste it onto the other one So we could paint it onto a Z and Y and now you can see that this is moving in multiple axes And we can just change like the offset of that on some of these So they're just slightly different from each other and you'll see that now we have a little bit of secondary Motion on his body so as he moves around and that also Because of the IK's you can also see that impacts his legs as well like his legs are slightly moving and from the position So we're getting something that's looking a little bit more refined when we add those non-destructive results and you can do that on any of these so we can do this also on the rotation So one of the things I did here was we can just pause this and temporarily is I made a For the tendrils I made a noise that would basically So we just key frame these you have to add key frames if there's no key frame attached to the bone for the tendril then you would just need to come in and select these guys and basically just insert a keyframe for those and then from here we can now access our x, y and z and we can add say a noise for this one I actually added I think it was so yeah in the y direction because the local y direction is pointing up so we choose a noise in y and you can see that we can actually get this tendril to kind of move up and down and so we probably wouldn't want kind of that sort of crazy strength but what I tend to find is maybe like a value of 15 for scale is pretty good and then you can sort of change the strength of that maybe go for something like 0.5 and now if we turn off the bones you'll kind of notice that his tendril is just moving up and down a little bit and so once you've kind of got that in place you can then copy that to the other bone so like here we can just select this guy and maybe come into our Y location and paste that again Y location and paste and then I would just change the offset so just basically put a random value into the offsets here and now you'll see that those tendrils are kind of moving but they're not moving the same Everything is like slightly offset from each other there. So that helps with with the tendrils and then you can just repeat that process Here so if I go to these guys we can come in and select The y rotation and I think if you control click these and Alt paste them you'll get that appearing on on each of these. I think I've actually just put that onto the rotation rather than the location, but yeah, so let's put it while location, while location and paste. And now you'll see that we have the modifier on each of these. So you just come in and just basically change up the offset a bit. Okay, and then now you can see that these guys are just kind of moving around a little bit, which is pretty cool. So yeah, so that's, in terms of polish, that's pretty much what I wanted to cover really, is that essentially what I did in each of these animations was I came through and did a pass on all of the bones and looked at my reference and tried to polish things up. So if we look at the more final animation that I created again, and we just look at the wings open, You can see that when all of this kind of comes together, you've got the legs moving, you've got the individual things rotating. For the horn, I also did, as if for the tendrils, the body and the horn, I used the noise modifiers as I showed here with that process. And then I hand key frames, the legs, how I wanted those to be. And then the body and the back and everything is the same. I think for the shell, actually, you can see there's a little bit of a noise to the shell that kind of moves around. So for the shell bone I did that too and you can just see how that animation plays out. And now let's just look at, just kind of come back in here. So if you start in the middle of the animation like this and or stop in the middle of the animation and everything is in the wrong place, you can just go back to frame zero and just reset everything. So the other ones ones I wanted to show was the so for the wings flapping I wanted to just show this one as well. Okay so yeah so for wings flapping this is what I did for the final wing flap animation. So a couple of things I did here is to really exaggerate the movement is when it gets to the the kind of top of the animation I bend the bone because that's what you'll see if you look at the references that the wings have a flex to them. So basically, we get to kind of the bottom of the animation, we flex them kind of down, and as we get to the top, we flex them upwards in a curve, basically. And then the other thing I also noticed when I was looking at some of that sort of more slow motion footage of them flying, is that the shell also, you can see that you get that nice flex, which is what I was talking about. And then you also see that the shell is moving by the vibration of the wing. So you can see that it kind of is jumping up and down. And in some of the other videos I showed, I had that issue, you can see that like in kind of full res speed. So I can just quickly get that as well. Yeah, so here you can see that you've got this kind of look where those actual shell pieces, they look like they're kind of vibrating almost right like everything is moving very quickly. So yeah, so seeing that slow motion definitely helps to work out how to animate it but essentially as this guy comes up, the shell comes up as this comes down, the shell comes down and that just creates that sort of vibration basically from the movement of the wing. So that's what I did to kind of polish up that one and then for the final animation let me just go over to the right keyframes here And so for the flight body animation This kind of flies up in the air and then one of the things that I did it doesn't have too much movement in there I've got the same kind of noise modifiers for the tendrils and for the horn kind of moving around and then what I tended to do here with the with these guys, with the legs, is I basically just key-framed the position of the IKs. So when he kind of comes up, they kind of start pretty low and then you see you get this kind of as they rise up by the air current or whatever and then as he sort of floats around, then when he goes to go back down his legs kind of rise up as if they're being affected by the drag of the wind as they're kind of coming back down again. And so for that stuff, also, I mean, the moment these legs are fairly high up, which is more like a stylistic choice for the animation, if you wanted those to be, say, more affected by gravity, then what you could do is basically just key frame these to come down a little bit more. So as we, you know, and if we also, we could just auto key this so that we don't have to manually key them in. So yeah, you basically would just select these. And then if I make sure I've got my gizmo enabled, so we'll just come in and select our IKs for the legs, we would just move these down, right? So now when he kind of flies up, his legs, actually we've kind of, I don't know what we've done there, but we've ended up rising them up into the air really high. I think this is one of the other reasons I tried to stay away from the Auto key because it just create it sometimes it can create weird issues. So let's try again and see if that can just fix our issue Yeah, okay, so basically now they're more affected by gravity, right? So when you kind of move them back down again and So you need to kind of come in like I've also got a lot of keys for these individual feet to kind of move the feet where I want them to to ideally kind of locate, but you can basically use these guys to jump through the frames, kind of move them down a little bit, just keep going through adjusting so we can have maybe it impacted more by gravity, right? So, yeah, so something like that. And we just keep going through and adjusting. I think those are already pretty low down. So this is now, it feels more like they're not being adjusted. They're not, the wings aren't coming up by air currents quite as much. So this is just like a choice artistically of where I want these guys to actually be kind of located. I want this one to be up a little bit more actually. So we'll just adjust that. But yeah, so you can see that now, just by doing that basically, when he kind of comes and flies up, his legs are now kind of hanging from the body a little bit more. So that's really easy to adjust is basically what I wanted to show. So yeah, as far as polish is concerned for this guy, I basically, this one is really straightforward because he doesn't really, he kind of just moves around a little bit and then it's his legs that are providing a lot of the movement and then I'm using the noise modifiers again. So, so yeah, hopefully that kind of showcases like the workflow for the polish. So in summary, the things I would tend to do is try to look at the references that I was actually trying to match. So if I'm looking at these kind of things, like observe what's in the reference and try to match it as far as the keyframes and animation is concerned. So stuff like when we were looking at say the animations, if we kind of come back here, when we're looking at the animation for, so this is another thing as well, is if you have Auto Key turned on and you try to reset, it's gonna create a new action for you. So another thing to just remember there. But the animation for the wings opening up is a good example of how we do the polish here. So yeah, so you see here that I obviously added all this secondary animation for the legs to be moving. And then we add the noise modifiers as well. And the noise modifiers are definitely gonna help us a lot with that kind of extra level of realism and movement in there, you can just see that him just moving around a little bit, he's not stationary. And you can, because those are non-destructive, you can apply those and tweak those later. So if I don't want him to be jumping up and down quite as much as he is now, it's just a case of going over to that body boat. So we can just select our body bone and see the modifier that we have here on the different locations and rotations. and we can choose to change the scale of these. And usually you can also globally adjust the scale of stuff, which is pretty good. That seems to have somehow broken it, which is cool. But yeah, so depending on the scale of these, like some of these actually, oh, okay, this one has like a really low scale. You can see that the rotation ones are 0.05, whereas these guys are 0.5, sorry. So we could globally adjust the intensities of these and see that it has a very different visual. But we wanted to do that. We can have him definitely not move around quite as much and be a little bit more stationary. The other thing we could also have done in this little stages maybe have got him to walk forward a little bit. So his body would move a little bit forward and then his legs would move. But I just didn't want it to be too complicated animation I want it to be like a pretty simple it just kind of gets ready for flight flies up and then lands again so yeah it's a nice kind of easy animation to do a little bit less complex but that's kind of where I would go as far as polish is concerned.",
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+      "text": " Okay, so now we have our basic animation kind of roughed out. I wanted to show my process for how I actually polished up the animations and add a little bit more personality to everything and pull this together more. So I wanted to show you, so here we have the animation from the class that we just did, which is the takeoff animation. So if I play that out, you'll see that he just basically all that's happening in that animation It's really simple is the body's coming up the wings are opening or the shells opening the wings are expanding right? That's basically the animation and so If I show you the final animation for that The one that I actually built out for my final project here You can see hopefully some of the differences that we can see here once it's a bit more polished, right? So what you'll notice Here is the firstly, there's some kind of secondary animation and movement so he's not just completely stationary, he's kind of just moving around, his tendrils are moving, the horn is moving, his body is moving and everything, so he's not completely stationary and then you'll also notice that before a lot of the body stuff opens up, he also has his legs will kind of move in position as well so So let's just limit this animation again so we can just see it play out. Yeah, so his legs are moving in place. There's a few extra little bits and pieces here. So I was trying to kind of mimic some of the stuff that you can see here in our reference. So essentially you'll notice that his legs are moving, his body's moving, all the things that I mentioned before when I was showing this reference, I've tried to do some of those kind of concepts and ideas here in terms of the animation, right? So that's like how it kind of ends up looking when it's a bit more polished. So how do we take it to that kind of stage, right? So it's a little bit of repeating the same part of the process as before and a couple of new techniques. So let's kind of jump into that now and we'll come over to our animation class takeoff here. So that's this guy and you can see that he's opening up. Also, just before I go any further, I'm just gonna make sure that I have my, So the animation class flight here, I wanna just make sure that I lock these just in case as well. So we have animation class and the wing flap as well. Let's just lock those just in case it removes them. It shouldn't do because they're referenced here, but I just wanna make sure. So okay, cool. So that's all looking pretty good. So what I wanna do here is I'm gonna select the animation class takeoff. So this is our animation. So a couple of things we can do here to improve this. The first thing I did obviously was I animate some of the other secondary areas like the him kind of moving in general. I also move the horn that we have kind of in here and we have the tendrils kind of move as well. And then the other thing I do is I move the leg position. So it makes it look like he's actually moving his feet as well. So to do all of that, there's basically two techniques I would use to do that. The first one is what we've already covered, which is basically just key framing manually. So the first thing we can do, say for legs, is that's the technique I would use for the legs, is I know at sort of 30 frames is when he kind of rises, his body rises up. So you can sort of see that that's what happens there. So one of the things I'd like to do, similar to the reference, is move the leg, especially the front legs and kind of extend those out so they feel like he's actually using those to kind of push himself up and push his body up, right? So that's an example of how we might do that. We just move it into place and key frame it and you'll see that that's now kind of straightening out the leg and at that stage as well, you might want to, so you can see his leg kind of there. We could also look at rotating this if we need to because this can give us a bit more control over the orientation of the foot at this area, but I think it's probably fine for where it is. If we wanted it to kind of come more in this direction, we could also do that. And then we may need to, you can sort of see here that it's not quite aligned. So we probably would want to align that. But let's do this, let's go back to frame zero and just key frame that there. And then as we get to frame 30, we'll rotate this so it aligns the foot keyframe that. So now what you can see is that it basically moves his leg kind of straight, right? But he's not really picking his leg up, he's just kind of moving it into place. So something that I found really helpful with this is to overemphasize animations by keyframing kind of in the middle of the keyframe. And there is probably a better term for that, like animation term that would make kind of sense to talk about there. So I believe from the reference YouTube videos that I mentioned in that sort of animation workflows, those are called breakdowns and settles. So basically a breakdown is when you put keys kind of in the middle between two keys to kind of help the animation. And then a settle is once it lands on this key, you can then overextend the keys to basically create a nicer secondary animation afterwards. So to do that, we just kind of pick somewhere in the middle. And then what I'm going to do is just kind of move the leg up a little bit and keyframe it there. So what you'll see is that now he kind of picks his foot up and places it. So you can refine this position as well, like I've exaggerated it maybe a little bit too much, but you'll see he just kind of places it, right? And we just also want to make sure that this is definitely on the ground in the right place. So I'm just going to sort of slightly refine that. So this is the process I followed for kind of animating the individual legs. And with some of them, like the ones on the back, I animated those to basically move quite large distances, right, so that it looks like he's moving his legs kind of individually a little bit more. So you can do that, like just kind of move his legs wherever you want. I just wanted to show that basic process and At the moment as well You want to check and play through the animation and check the timing because you'll notice that the leg That leg animating is feeling really slow and also his body kind of angling upwards is also feeling quite slow So this can just be about polishing the placement of the key frame So if we move say the body rotation, you'll see that that is now kind of snappier, right? And it's going to be the same for these key frames moving the leg. So if we were to kind of move these key frames and tighten up that spacing there, you'll see that his leg will now snap into place a lot nicer. So that's something that you can definitely do with the polished part of it, is just getting that refinement of those keys, right? So I do a pass kind of on all of those legs. I won't show say every single leg. So maybe do one more leg just to quickly show that. So at say 30, let's do 20 frames, we're gonna keep him there. And then maybe at 30 frames, I'm gonna look to kind of move him somewhere over here. So let's just key frame that and just see kind of how that is gonna look. So yeah, so that's kind of cool. And you can also bring in like other sort of animation. So instead of like, he's moving kind of forwards, let's maybe move this one, you could move him at a different time as well. Like don't always necessarily put them at the same time. So what you'll see is that now these kind of legs all move at different, they're like slightly offset from each other, which can definitely help to make it feel more natural because he's not necessarily gonna move all of his legs together. So you can kind of see that that kind of offset creates that really interesting sort of animation and movement, right? So that's something that you can definitely do. And we can obviously polish these out more and change the timings and everything, but that's kind of one thing I wanted to show. The next thing is actually using the curve editor. So to add sort of secondary movement to something, something you can do in Blender, which is really nice, is add modifiers to your animation. So I wanna show that process. So what we'll do, we'll change this over now to the graph editor. And so if we look at the body, we have some keyframes and things in here on the body. You can see we have X location, Y location. And as we zoom in on this, so we can just sort of like frame up our keyframes here. And you can see these are the curve points of those animations. You can select these individual Bezier points and tweak them so you can change like the interpolation of the way that these are actually working and everything. So that's how you would control more specifically your actual keyframes within the curve editor. But one thing you can do is so at the moment, the X location of this, it's not, there's no real location change here. It's mostly a rotation. There's a little bit of location, but it's not really moving a whole lot. It's mostly rotating, right? And so one things we can do here is we can come over to our modifiers and we have modifiers, different modifiers you can choose from. And so the noise modifier is a really nice way to add kind of extra movement on that bone. So you'll see that this is now kind of jumping up and down all around It's very fast and obviously it's almost looks like it's kind of vibrating right? It's a bit of an odd look at the moment, but this is a Nondestructive so you can change all of these parameters and it's going to be adding on top of the animation right? So you can choose the way that it blends like you do with the NLA editor You can choose like the blend mode type and then we can tweak say the scale is going to control The size and how frequently this graph is going to be changing so you can see if we change the scale We have a lot more of a slower kind of movement, right? So we can come back to more frequent and then strength is the intensity of how much it's actually moving That x value so you can see that as we change the scale It's jumping up and down like a lot more. So this is almost now if we were to Change the scale and have these nice big smooth kind of curves It almost looks like he's really moving up and down quite a lot, right? So you can just control the strength of that and add some sort of secondary movement and Then the offset will just move the noise obviously We can use the phase. I don't really tend to play too much with the phase But yeah, the offset is pretty good for just kind of varying up if you've got lots of noises You want to change change that or change the phase will change that as well And then one of the other things we can do is we can restrict the frame So if we wanted that noise to just be starting and go from frame 0 to 60 Then we could do that right so we can just have it only affect this animation And then it just flat flattens out kind of everywhere else and we can also have it in the same way we do With our other animations is kind of blend out right so if we were to Add in keyframes we can have this kind of slowly come in as an effect on top So that's pretty handy as well and for restricting the frames and everything so once we've got a keyframe like this as well We can press this button to copy it and we can paste it onto the other one So we could paint it onto a Z and Y and now you can see that this is moving in multiple axes And we can just change like the offset of that on some of these So they're just slightly different from each other and you'll see that now we have a little bit of secondary Motion on his body so as he moves around and that also Because of the IK's you can also see that impacts his legs as well like his legs are slightly moving and from the position So we're getting something that's looking a little bit more refined when we add those non-destructive results and you can do that on any of these so we can do this also on the rotation So one of the things I did here was we can just pause this and temporarily is I made a For the tendrils I made a noise that would basically So we just key frame these you have to add key frames if there's no key frame attached to the bone for the tendril then you would just need to come in and select these guys and basically just insert a keyframe for those and then from here we can now access our x, y and z and we can add say a noise for this one I actually added I think it was so yeah in the y direction because the local y direction is pointing up so we choose a noise in y and you can see that we can actually get this tendril to kind of move up and down and so we probably wouldn't want kind of that sort of crazy strength but what I tend to find is maybe like a value of 15 for scale is pretty good and then you can sort of change the strength of that maybe go for something like 0.5 and now if we turn off the bones you'll kind of notice that his tendril is just moving up and down a little bit and so once you've kind of got that in place you can then copy that to the other bone so like here we can just select this guy and maybe come into our Y location and paste that again Y location and paste and then I would just change the offset so just basically put a random value into the offsets here and now you'll see that those tendrils are kind of moving but they're not moving the same Everything is like slightly offset from each other there. So that helps with with the tendrils and then you can just repeat that process Here so if I go to these guys we can come in and select The y rotation and I think if you control click these and Alt paste them you'll get that appearing on on each of these. I think I've actually just put that onto the rotation rather than the location, but yeah, so let's put it while location, while location and paste. And now you'll see that we have the modifier on each of these. So you just come in and just basically change up the offset a bit. Okay, and then now you can see that these guys are just kind of moving around a little bit, which is pretty cool. So yeah, so that's, in terms of polish, that's pretty much what I wanted to cover really, is that essentially what I did in each of these animations was I came through and did a pass on all of the bones and looked at my reference and tried to polish things up. So if we look at the more final animation that I created again, and we just look at the wings open, You can see that when all of this kind of comes together, you've got the legs moving, you've got the individual things rotating. For the horn, I also did, as if for the tendrils, the body and the horn, I used the noise modifiers as I showed here with that process. And then I hand key frames, the legs, how I wanted those to be. And then the body and the back and everything is the same. I think for the shell, actually, you can see there's a little bit of a noise to the shell that kind of moves around. So for the shell bone I did that too and you can just see how that animation plays out. And now let's just look at, just kind of come back in here. So if you start in the middle of the animation like this and or stop in the middle of the animation and everything is in the wrong place, you can just go back to frame zero and just reset everything. So the other ones ones I wanted to show was the so for the wings flapping I wanted to just show this one as well. Okay so yeah so for wings flapping this is what I did for the final wing flap animation. So a couple of things I did here is to really exaggerate the movement is when it gets to the the kind of top of the animation I bend the bone because that's what you'll see if you look at the references that the wings have a flex to them. So basically, we get to kind of the bottom of the animation, we flex them kind of down, and as we get to the top, we flex them upwards in a curve, basically. And then the other thing I also noticed when I was looking at some of that sort of more slow motion footage of them flying, is that the shell also, you can see that you get that nice flex, which is what I was talking about. And then you also see that the shell is moving by the vibration of the wing. So you can see that it kind of is jumping up and down. And in some of the other videos I showed, I had that issue, you can see that like in kind of full res speed. So I can just quickly get that as well. Yeah, so here you can see that you've got this kind of look where those actual shell pieces, they look like they're kind of vibrating almost right like everything is moving very quickly. So yeah, so seeing that slow motion definitely helps to work out how to animate it but essentially as this guy comes up, the shell comes up as this comes down, the shell comes down and that just creates that sort of vibration basically from the movement of the wing. So that's what I did to kind of polish up that one and then for the final animation let me just go over to the right keyframes here And so for the flight body animation This kind of flies up in the air and then one of the things that I did it doesn't have too much movement in there I've got the same kind of noise modifiers for the tendrils and for the horn kind of moving around and then what I tended to do here with the with these guys, with the legs, is I basically just key-framed the position of the IKs. So when he kind of comes up, they kind of start pretty low and then you see you get this kind of as they rise up by the air current or whatever and then as he sort of floats around, then when he goes to go back down his legs kind of rise up as if they're being affected by the drag of the wind as they're kind of coming back down again. And so for that stuff, also, I mean, the moment these legs are fairly high up, which is more like a stylistic choice for the animation, if you wanted those to be, say, more affected by gravity, then what you could do is basically just key frame these to come down a little bit more. So as we, you know, and if we also, we could just auto key this so that we don't have to manually key them in. So yeah, you basically would just select these. And then if I make sure I've got my gizmo enabled, so we'll just come in and select our IKs for the legs, we would just move these down, right? So now when he kind of flies up, his legs, actually we've kind of, I don't know what we've done there, but we've ended up rising them up into the air really high. I think this is one of the other reasons I tried to stay away from the Auto key because it just create it sometimes it can create weird issues. So let's try again and see if that can just fix our issue Yeah, okay, so basically now they're more affected by gravity, right? So when you kind of move them back down again and So you need to kind of come in like I've also got a lot of keys for these individual feet to kind of move the feet where I want them to to ideally kind of locate, but you can basically use these guys to jump through the frames, kind of move them down a little bit, just keep going through adjusting so we can have maybe it impacted more by gravity, right? So, yeah, so something like that. And we just keep going through and adjusting. I think those are already pretty low down. So this is now, it feels more like they're not being adjusted. They're not, the wings aren't coming up by air currents quite as much. So this is just like a choice artistically of where I want these guys to actually be kind of located. I want this one to be up a little bit more actually. So we'll just adjust that. But yeah, so you can see that now, just by doing that basically, when he kind of comes and flies up, his legs are now kind of hanging from the body a little bit more. So that's really easy to adjust is basically what I wanted to show. So yeah, as far as polish is concerned for this guy, I basically, this one is really straightforward because he doesn't really, he kind of just moves around a little bit and then it's his legs that are providing a lot of the movement and then I'm using the noise modifiers again. So, so yeah, hopefully that kind of showcases like the workflow for the polish. So in summary, the things I would tend to do is try to look at the references that I was actually trying to match. So if I'm looking at these kind of things, like observe what's in the reference and try to match it as far as the keyframes and animation is concerned. So stuff like when we were looking at say the animations, if we kind of come back here, when we're looking at the animation for, so this is another thing as well, is if you have Auto Key turned on and you try to reset, it's gonna create a new action for you. So another thing to just remember there. But the animation for the wings opening up is a good example of how we do the polish here. So yeah, so you see here that I obviously added all this secondary animation for the legs to be moving. And then we add the noise modifiers as well. And the noise modifiers are definitely gonna help us a lot with that kind of extra level of realism and movement in there, you can just see that him just moving around a little bit, he's not stationary. And you can, because those are non-destructive, you can apply those and tweak those later. So if I don't want him to be jumping up and down quite as much as he is now, it's just a case of going over to that body boat. So we can just select our body bone and see the modifier that we have here on the different locations and rotations. and we can choose to change the scale of these. And usually you can also globally adjust the scale of stuff, which is pretty good. That seems to have somehow broken it, which is cool. But yeah, so depending on the scale of these, like some of these actually, oh, okay, this one has like a really low scale. You can see that the rotation ones are 0.05, whereas these guys are 0.5, sorry. So we could globally adjust the intensities of these and see that it has a very different visual. But we wanted to do that. We can have him definitely not move around quite as much and be a little bit more stationary. The other thing we could also have done in this little stages maybe have got him to walk forward a little bit. So his body would move a little bit forward and then his legs would move. But I just didn't want it to be too complicated animation I want it to be like a pretty simple it just kind of gets ready for flight flies up and then lands again so yeah it's a nice kind of easy animation to do a little bit less complex but that's kind of where I would go as far as polish is concerned."
+    }
+  ]
+}