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+  "text": " So, after you have come up with your animation and created an animatic, you can proceed to the animation of the scene itself. We have moved to a composition in which all objects are already positioned correctly. The light is adjusted and the materials are added. There is a camera and everything is ready for animation. First we will rig the main object. We need to create the bones for the hand. I'll turn off the rest of the objects for now, so they don't distract us. Now we can go to the frontal view. Next go to the character menu and select the joint tool. IK chain can be turned off for now because we don't need the IK chain. Hold CTRL and click to create the first point of the bone. about here create a second point and a bone appears. If we open this tab we see that our joints are displayed in it. I will collapse this hierarchy. Next from this point we will create joints for the thumb. We got three joints. The finger will bend in this place and in this one. Having opened this tab we see the entire hierarchy of bones. I will adjust them a little. This point can be moved a little lower. Move this slightly to the right so that it is centered. Not to get confused, I will rename the joints. Now select the main bone of the hand again. From this point, create the joints of the index finger. This chain of bones will have four joints. I will adjust them a little. I'll pull the chain of bones of the given finger out of the null object and delete it. We simply don't need it. I will place the bones lower and rename them. Select the base again. From it, we create a new chain of bones for the middle finger. I will get them from Null Object and rename them. Start palm and create new bones. Rename the bones. We do the same for the last finger. Now we will position the bones so that they are on the same level. Next, we need to link the bones to the mesh. I will get it from the null object. I will find the path to the hand. We need a specific polygon object. Now, using the Select Children command select all the bones. Press Ctrl to select the hand. Go to the Character menu and choose the Bind command. The Weights tag and Skin are created. I will turn off the Camera mode so that I can see the object from all sides. Now if I select one of the bones, start moving it, we can see that it deforms the mesh behind it. But the deformation isn't quite correct. Some bugs appear, and the mesh that should not move follows the joint, so we need to adjust the weights for the bones. To do this, select the weight tag and double click on it. The display of weights for this mesh is turned on, and the weight tool is selected. It can also be selected from the Character menu. To see the bones, the specific effect on the mesh and adjust them, you need to open the Weights Manager. There is the Commands tab in this menu, which allows you to locally work with all bones at the same time. We can reset all the weights of the bones, smooth them, and so on. The Joint tab contains all the bones in the mesh. If I select one bone, we can see that a specific area of the mesh is highlighted with a specific color. How does it work? The more contrasting the color, the greater the weight of the bone, and the more it will affect the model. If the color is more transparent, the less weight and strength of the bone influence on the given mesh. There are various brush settings in the weight tool settings. We can add weights, reset them, smooth them, and so on. These commands are used most often. Also weight manager can adjust the weights automatically. But in this case we will adjust this manually to better understand how it works. We can also select a specific area of the model and apply the weight of a bone to it. Let's select this part of the mesh. Once I selected a certain bone in advance, all of the weight settings will be applied to the selected mesh as well if we click Apply Selected. That is, this bone will also affect this mesh if I apply Apply Selected. But before that, I use the Add mode to add weight. Click on this button. As you can see, the mesh's color changed to blue, which means that it is now influenced by the bone. If I move it, it will deform as well. I select this bone and start rotating it. The mesh also moves with it. This is how weights work. Go back to the beginning and adjust the weights for all bones. Although I already set it, in the Commands tab we can affect all the bones at the same time, so we will apply anti-aliasing to them. To do this, all bones must be selected in the Joints tab. Go to the Commands tab. If I click it holding down Shift, it will automatically open at the top. In the Mode parameter, select Smooths and click Apply All. Notice how the weights will be smoothed out here. This is how we smoothed out all the weights of the bones and now we will work on each bone separately. Here you need to add weight, so make sure you have the weight tool selected. I have it already selected. I'll set it up. I choose the add mode. I will decrease the force. I will paint over this area. Holding Shift you will draw in Smooth mode. I will smooth the edges of the scales. Work on the following bones in the same way. Let me remind you that the weaker the color, the less the bone affects this area of the model. Let's leave it as it is for now. We must check the weights for each bone. To erase the weights or reset them, hold down control and paint with a brush in the desired area. As you can see, the weight of a given finger bone hits the mesh of the adjacent finger. To erase it, we need to switch to the polygon editing mode. Pick the loop selection tool and select the loops that are affected by the adjacent bone. Select the desired area of polygons. Then in the Commands tab, set the Mode parameter to Subtract to completely remove the weights from the selected mesh. Click Apply Selected. Now the weight of the selected bone does not affect the mesh of the adjacent finger. Do the same for the rest of the bones and select the mesh of the adjacent finger to the end. Apply Selected again to remove the weights of this bone from the selection. This bone needs to be slightly colored. So I choose the weight tool. You can select it by clicking on this tag. Here we will increase the weight a little. With Shift pressed, soften the edges. Here you can see that this bone affects the adjacent fingers. So we will reset them in the same way as we did before. the required polygons. And Subtract Mode, Use Apply Selected. We do the same for the next bones of this finger. slightly increase the influence of this bone. Select Loop Selection again to select the mesh for which you want to remove the weights. Use Apply Selected. Do the same for the rest of the finger bones. I will select the entire mesh to the end, so that we can remove the weights for sure. Let's work on this area. I will hide this menu, try to move the bones, and check how they work. The main thing is that each finger moves separately. Do not be afraid of these creases in the polygons as they will disappear under the influence of the subdivision surface generator. We check each finger. Great. All weights are set up correctly. Now we will bind this ring to the finger mesh. This can be done using the Surface Deformer. Create a deformer, place as a child of the ring object, place the hand object on the Surface tab and click the Initialize button. Now I will move my bone off this finger. We see that the ring moves with it. This is a great way to tackle this problem and is often used. So we have done the rigging. The next stage is the animation. First, let's create key poses for the hand and tablet pen. Turn off the visibility of other objects. Since the pen will fall from above, in the first frame it will be in flight. Raise it higher, create keyframes. To quickly create animation keyframes, I will turn on the auto key in mode. At about frame 12, the pen will drop. Let's adjust its position. I won't do blocking in this situation. I'll just do a rough animation. The arm in the first frame will be bent this way. It will catch the pen. For the keyframes to be automatically generated for all bones, I select them using Select Children. And I click on the button to create keyframes. Now I adjust the position of the hand. But to keep the original position, since we still need it, I will create additional animation keyframes. I position the keyframes on frame minus 2. Then go to frame 0 and again create animation keyframes. I put 0 at the beginning of the composition. We now have an additional animation keyframe behind the timeline that has the original hand position. Now at frame 0, I position the bones in such a way that the arm is extended and catches the falling pen. Adjust the position of the bones. This takes a certain amount of time. So I will speed up the process. So, the first hand pose is ready. It does this swing. At about frame 12, the arm should be bent. It should look like this. This is the final position of the hand. But nevertheless, we can use this pose to grab the handle. To make it easier to adjust the pose, I'll copy its original position at frame 12. From this position, it will be easier to set the desired pose. I adjust the position of the bones. I will speed up this process as it takes a certain amount of time. you you you This is how the hand will catch the pen. Naturally we will finalize the offsets and easings, but this will be a little later. we will set the basic position of the objects. And so, the hand caught pen. In the next phase, the pen should rotate around the index finger. The next position should look something like this. The index finger is extended upward. The pen is located approximately in this place parallel to the ground and turned in this direction. The transition to this position will take only a few frames. So I move the timeline slider to frame 18 and adjust a hand. I put my index finger up. The pen will rotate around it. At the same time, the rest of the fingers should also be extended, but for now we will leave them in not position. Now I will position the pen object. This is where you will need to add an additional keyframe. Now the handle is moving through the finger. We can copy this animation keyframe to added to the final position of the pen object. To make it easier to work with keyframes, I will open the Timeline panel. To reveal the keyframes of the pen object, I will move it to the Timeline window. I copy these animation keyframes. Holding down CTRL, drag it to the right. A copy of the keyframe is created. At this moment the hand pushes the pen. It begins to fly upward and rotates around the finger. The timeline panel can be placed in some convenient place. But these panels can be hidden. So after the hand has thrown the pen, it must catch it again. So at about frame 25 you need to put your hand in such a position as if it is catching the pen. After that at about frame 30 both the hand and the pen should be in the final position. Let's start setting up the positions of the hand. This will take some time, so I will speed up the process. You Almost all keyframes are ready. Now, at frame 30, I can paste in a copy of the keyframes from frame 12. The only thing is that now the pen starts to rotate back. So let's adjust the rotation keyframes. I delete the last keyframe on the rotation parameter. Now I will reposition the pen. Great, the pre-animation is ready. We could have done it on step keyframes, but this would require more animation keyframes. So I will leave it as it is. Now we need to tweak the animation keyframes to get a good result. The first step is to set up the easing of the pen object. I select this object and choose the show F curves command. The curves of this object are displayed in the timeline window. And for the fall to look more natural, you need to adjust the graph in this way. We pull these handles to the right and reduce these. Thus we accelerated the object when it falls. At the beginning of the fall, the object moves slowly. And by this moment, it is gaining maximum speed. Also to make the fall more realistic, I will add rotation to the object. Then it falls and begins to rotate around the finger. Let's adjust this part of the animation. We need to add a smooth impulse to the object, as if the hand begins to slowly rotate it. Now, this action is happening too fast, so I will stretch the keyframes a little. To make it convenient to do, I will switch to the keyframes display mode. And using the yellow selection, I will space out the animation. If the selection of objects as well as the paths prevents you from viewing the animation, We can use the GeometryOnly command. So the impulse looks good. Let's finalize the animation. For now, I will unpin the timeline and open it in full screen so that it is convenient to edit the graphs. I need to move these handles here a little to the right to slow down the start of the animation. Now we will adjust the path of the pen so that it does not intersect with the finger of the hand. Turn off the geometry only mode. We have several options. We can either add an intermediate keyframe or adjust the path with bezier handles. To do it with the hands, we need to highlight the position keyframe in the viewport. Next, in Attribute Manager, go to Key Preset. Open an additional menu and turn off Auto Tangents. The handles appear, with which you can adjust the path. Let's try to do something about it. It doesn't work in this case, since we can only edit the path in a small range. So we still have to add an animation keyframe. Here in this period, I move the pen and rotate it a little. Here I will raise it higher and turn it. Let's see what we get. Turn on the Geometry Only mode, so that the object's path does not distract us. I'll slightly modify the position of the pen object by tilting it to the other side. At the moment of the fall, I will tilt it in this direction. the pen object hovers for a short period of time. So I switch to the f curves mode. I find the position parameters, adjust the graph so that the object hovers at the top points. you We can animate the rotation of the object with a slight offset. This will smooth out the hovering of the object. And in general, the animation will look more natural. Since before, during hovering, the rotation of the pen was abruptly stopped. I shift these keys a little further. At the beginning of the animation, I will also make a delayed rotation. So the pen animation is done pretty well. Now let's set up the animation of the fingers for it. Now we see that the fingers begin to bend early. The same happens in the second action. The fingers bend too early. They also move at the same time. We will need to add offsets to make the animation look more natural. The thumb now looks too move-less. I will add some movements to this part of the arm. Then we will work out the rest of the fingers. This setting will be in time lapse mode, as it takes quite a long time. You do not have to repeat after me, you can just watch and then adjust it in a similar way. you you you you you you you you you you you you This is how we set up the animation of all fingers. I will tweak it behind the scenes so as not to waste your time. So in the end I get this animation. It needs to be improved a little. Note that when fine-tuning the animation, I put the pen and hand into a single null object. I did this to be able to additionally animate these objects using one controller. Now we select the given null object. Now at the moment when the hand catches the pen, I will add additional wobble. Create an animation keyframe on frame 4 for the position parameter. Now we are specifically interested in the y parameter. Further at about this time the hand will drop a little. Now an additional impulse is created for the hand, after which at about frame 18 we raise all this a little up. It might even be better to do this at frame 20. Starting from frame 26, the hand goes down. Next, on frame 35, I return the object to its original position. We achieve the smooth bounce. I will add frames to the composition to watch the complete animation. Excellent. Let's refine this animation a little more. I will be using the Bend Deformer. Create the Deformer. The moment the hand catches the pen, I want it to bend a little towards the camera. So we will adjust the position of the Deformer. I put it under the null subordination of the hand object. Since fit to parent will not work in this case, I will have to manually adjust the size of the container. Apply Keep Length to keep the length of the object. Let's adjust the deformer's position. Now we can bend the arm. In frame 0 we bend it in the opposite direction. As you can see, this deformer also affects the pen. So we won't set it to as high. I set the value to 10. When the pen is in the hand, I set the value to 30 degrees. In the beginning, I will set the value less, negative 5 degrees. So the hand catches the pen. It throws it up and here we set the value to zero. Let's see how it will look through the camera. Overall the animation looks pretty good, which is what we wanted. At this point you need to adjust the position of the pen object. Let's go back to the bend deformer. The moment the hand caught the pen, small wobbles. Here we put zero. And at the moment when the handle is caught, I slightly tilt my hand forward, like this. I also want to draw your attention to the fact that I use the Pose Morph tag, so that there is an opportunity to adjust the shape of the object in some poses. If I turn off this tag, we will see that the thumb at some point does not have the required volume. Using the Pose Morph tag, I set up the desired shape and then lock it. I'll show you more clearly how I did it. Create a new pose morph tag. Choose points. Now let's work on the first pose. For this I will be using sculpting brushes. Go to mesh, find brushes. I unpinned them for convenience. I will use these brushes to tweak the shape of the object. I select the object, then go to brushes and choose a suitable brush. I adjust its size. Now I need to add some volume in this area of the model. To make the mesh larger, turn off the subdivision surface generator. I set up the mesh, add the desired volume and adjust the shape of the model. This is how we change the shape of the model. All information is recorded in pose 0. After recording all the deformations, switch to the animate mode and use the sliders to animate or adjust the strength of these deformations. Great. I delete the new tag, leaving the old one that is already configured. Let's continue to refine the animation of the hand. Let's add another bend deformer so that we can bend the object in a different plane. Delete this deformer here. Delete all of its animation keyframes. And now I'm going to animate it again. I will add small wobbles to the left and right. Also with this bend we will increase the stroke of the brush. I want to adjust the moment when the hand catches the pen. you Now the hand is going down quite strongly. Use this amplitude. I hide the visibility of the deformers, so they don't distract us. Now we need to animate the fall of the text elements. We can do it in two different ways. We can do this using dynamics tags, or manually animate them. First, let's try using the Dynamics tag. Open the 3D object. Select the text elements. Apply the Rigid Body Simulation tags to them. Apply the Collider Body Simulation tag to the Floor object. I will duplicate the original models so that I can return to this iteration. I will remove their dynamics tags. Go back to the objects with the dynamics tag. Go to the beginning of the timeline and raise the objects higher. Like this. Now if we play the animation we can see the objects falling. The problem is they are not robust. Their rounded shape prevents them from falling and standing. We can create a stable wireframe that will interact with dynamic tags instead of these objects. But I will create the animation manually since I have full control in this case. I return the original models and start animating them. Go to frame 0. the objects a little higher. Create animation keyframes on the rotation and position parameters. Move to frame 5 and lower the objects to the floor. Note that the anchor point of these objects is at their base. So it is not difficult for me to put them on the floor. I set 0 on the Y axis. I will add these objects to the timeline so that their keyframes are displayed. Let's set up their fall. At the beginning of the animation, I will raise them higher and rotate them a little so that their fall will look more natural. For the letter D, I will do a little offset. After we set up the speed graphs for these objects, they should fall with acceleration. This is the graph for the fall. We return to the Display and Keyframes mode. Now that the objects have fallen, I will add small bounces and wobbles to them. animation keyframes. you This is the animation I'm getting. Let's do the same for the letter D. After hitting the floor, it will bounce and sway a little. We animated the letters manually. Thanks to this we have complete control over it, which would not have been possible with dynamic simulation. I will turn on the view from the camera. Yes, the animation looks good. Now we need to animate the rest of the elements. the basketball. I will make it wiggle a little and loop this animation. Note that this object has the constraint tag. It allows this object to move around the basketball. How does it work? The tag has a target in which we place the basketball. By adjusting this distance, we are adjusting the radius along which the object will move. All constraint objects are in the Character menu, in the Constraints tab. Let's go back to the basketball object. I will add a little wiggle to it, as if it sways to the beat of the music. Create an animation keyframe. I go to about frame 10 and rotate the object a little. It will do the same for the head object. Well, since it is attached using the constraints tag, we will need to animate it by position. Now I will select these keyframes and set the loop. I set the length of the composition to 120 frames. And let's see how many loops it will take to animate the basketball. For this composition length, we need 11 cycles. For the animation to be completely looped, you need to select the oscillate mode. I will do the same for the ball. Select the keyframes, select oscillate, and set the number of repetitions. You need to add an offset for objects. So I will add another cycle and offset the animation keyframes by 1 or 2 frames. Thanks to the offset, the animation looks more interesting. Now let's animate this head. It should roll closer to the camera. By about the middle of the animation, the action should be over. We have several ways to create this animation. The first way is to do it manually. Before that, we will need to animate the object in position, as well as animate its rotation along one of the axes. At frame 0, create animation keyframes. Go to frame 60 and move the object. Like this. Let's see how it looks from the camera. This is how it will roll. Now let's animate its rotation. It should correspond to the rolling of the object. I set the final position. The face should be directed towards the camera. Go to frame 0. Rotate the object a few turns back. Let's see what happened. In this way you can animate such elements. Graphic settings for this animation. To do this, go to show tracks and set up charts in F curves mode. For the object to not slow down at the beginning of the animation, we will make such a graph. We offset these shoulders to the left. Now the object has a certain speed at the beginning and smoothly rolls towards the middle of the composition. At the very end of the animation, add damped oscillations. I'll go to the top view. I move the Timeline slider a few frames forward. Move this object a little. Now I will add some rotation. I move the timeline slider forward, select the object and move it back. This is how we get a little damped oscillation. I'll set up the graphics. Let's see how the animation looks from the camera. Excellent. Now let's look at another way to animate such elements. I will create a new composition. I add the tube object. Let's say this is our wheel. I will make it a little smaller and turn on the display of polygons. For example, the wheel should roll in this direction. To implement this, I go to the coordinates tab. I select the axis along which I need to move the object. In my case, this is X. Right click on it, go to expressions, select set driver. Next, select the axis along which this wheel will rotate. Right click it. Go to expressions. set driven relative. An Expresso tag is created on the object. Double-click it. The Expresso editor opens. We are interested in the Range Mapper node. Select it. Now moving along the x-axis to this object, it starts to rotate but incorrectly. To adjust the rotation, you need to type in the formula 2 times pi times r into the input upper line. r is the radius of our wheel. 2 multiplied by pi multiplied by the radius which is 50 centimeters long. Now if I move the object beyond the x-axis it will rotate correctly. There is the way to animate such objects. Let's go back to the main composition. I will keep the head animation I made by hand. Now we need to animate the pair. For that I select it. I will check all the objects. I will rename these null objects. I turn to the frontal view. I will slightly change the position of the legs of the pair. I will put them closer to each other. First, I need to animate the torso and the adjacent elements. So I put all these objects in a null object. This will be the base. Now I will adjust its anchor point. Move it lower, like this. Now the object will be easier to animate since we will have an arched body movement. Let's animate the torso. I go to frame 0, create animation keyframes, move the object slightly to the side. I move to frame 8 and blend the object in the opposite direction. And in the middle, I will move it lower to get an arc. Let's adjust this movement a little. As you remember, to access the handles to adjust the path, we also need to uncheck the auto-tangents parameter. Now we can set up the path. Let's animate the rotation parameter. At frame 0, rotate the object by negative 25 degrees. On the last keyframe, set it to 25. We get these movements of the pair. Now we need to loop the animation. I choose the show track command. I select all the keyframes and set oscillate for after and before so that you can customize the offsets. Let's see what we get. I will speed up the animation a little. Excellent. Next you need to animate the character's legs. To do this, I select these controllers and put them in a base. Now they move with the body. Adjust the position of the nulls. We will animate the controllers that are responsible for the needs. Go to frame 0, create animation keyframes. We position the controllers. you should get something similar. Next, go to frame 6 and set the zeros around here. And on frame 12 we offset them in the direction of the body movement. We get this arcuate movement. It also needs to be looped. Select the keyframes. Select the oscillate mode. Let's see what we get. On frame 6, we will slightly adjust the null objects. Let's put them in such a way that the legs are straight. So now we get a little asymmetry. It remains for us to animate the tail, the leaf and this element. Open the base tab and find the leaf. Since it already has the bend deformer, we will animate it. Create an animation keyframe. On the frame 6, they bend the leaf a lot. And on frame 12, we copy the first keyframe. As you can see, simple animations can be created in a basic timeline window. However, if you are not comfortable working in such a window, you can do it in the extended timeline window. Let's take a look at the animation. It needs to be strengthened. Now let's loop the animation. Select the oscillate modes. Add offsets. Offset the animation keyframes. This option suits me. Let's animate the twig. it and see that it also has the bend deformer. With it we will create the necessary wobbles. animation keyframes and add loops. We can also animate this sphere. You need to set its anchor points to this place. But first you need to convert the parametric object to the polygonal model, otherwise we will not be able to displace the axis. We select enable axis. Set it approximately here. Turn off enable axis. Now using the rotation parameter move this object a little. Create animation keyframes. Add animation keyframes to the timeline and set up the loops. Now let's set up the offsets. Great. We get such a funny animation of the pair. It remains for us to animate the camera. It will fall from top to bottom. Make a small bounce and return to its final position. And so now the final position is set for the camera. At about frame 30, I create an animation keyframe. And at frame 0, I raise the camera higher. The moment my hand catches the pen, I lower the camera. And in frame 16, the base camera rises to follow the pen. Let's play the animation. It turns out this is such a smooth balance of the camera. Let's set up the animation graphics. We still need to animate the falling pair. It should land when the letters fall. In general, we can render it separately and animate it in After Effects. But I will do it in Cinema 4D. Go to about frame 1112. At this moment the pair will land. Create animation keyframes. I move the timeline slider to the beginning of the composition and move the pair higher. Also let's set up the graphs. I'll make this easing. Let's make a small bounce. I create additional keyframes at frame 20. But in this frame, I will move the object a little lower. If I turn off the camera mode, we will see the pair fall and rise slightly. Excellent. The animation of the scene is ready. In order to check its speed, go to Render to Picture Viewer and select Make Preview. Set up all the parameters and click OK. After rendering, a window opens with a preview of the animation. Now we can check how it will look in real time. Since sometimes it happens that the animation ends up being either slowed down or too fast, This result suits me. We just have to make the final render. To do this, we select the render settings, set the required number of frames, specify the path and click render. This concludes the animation lesson. In the next lesson, we will build the project in After Effects and combine 3D rendering with 2D objects. This concludes the animation lesson. Thank you all. Bye.",
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+    {
+      "text": " So, after you have come up with your animation and created an animatic, you can proceed to the animation of the scene itself. We have moved to a composition in which all objects are already positioned correctly. The light is adjusted and the materials are added. There is a camera and everything is ready for animation. First we will rig the main object. We need to create the bones for the hand. I'll turn off the rest of the objects for now, so they don't distract us. Now we can go to the frontal view. Next go to the character menu and select the joint tool. IK chain can be turned off for now because we don't need the IK chain. Hold CTRL and click to create the first point of the bone. about here create a second point and a bone appears. If we open this tab we see that our joints are displayed in it. I will collapse this hierarchy. Next from this point we will create joints for the thumb. We got three joints. The finger will bend in this place and in this one. Having opened this tab we see the entire hierarchy of bones. I will adjust them a little. This point can be moved a little lower. Move this slightly to the right so that it is centered. Not to get confused, I will rename the joints. Now select the main bone of the hand again. From this point, create the joints of the index finger. This chain of bones will have four joints. I will adjust them a little. I'll pull the chain of bones of the given finger out of the null object and delete it. We simply don't need it. I will place the bones lower and rename them. Select the base again. From it, we create a new chain of bones for the middle finger. I will get them from Null Object and rename them. Start palm and create new bones. Rename the bones. We do the same for the last finger. Now we will position the bones so that they are on the same level. Next, we need to link the bones to the mesh. I will get it from the null object. I will find the path to the hand. We need a specific polygon object. Now, using the Select Children command select all the bones. Press Ctrl to select the hand. Go to the Character menu and choose the Bind command. The Weights tag and Skin are created. I will turn off the Camera mode so that I can see the object from all sides. Now if I select one of the bones, start moving it, we can see that it deforms the mesh behind it. But the deformation isn't quite correct. Some bugs appear, and the mesh that should not move follows the joint, so we need to adjust the weights for the bones. To do this, select the weight tag and double click on it. The display of weights for this mesh is turned on, and the weight tool is selected. It can also be selected from the Character menu. To see the bones, the specific effect on the mesh and adjust them, you need to open the Weights Manager. There is the Commands tab in this menu, which allows you to locally work with all bones at the same time. We can reset all the weights of the bones, smooth them, and so on. The Joint tab contains all the bones in the mesh. If I select one bone, we can see that a specific area of the mesh is highlighted with a specific color. How does it work? The more contrasting the color, the greater the weight of the bone, and the more it will affect the model. If the color is more transparent, the less weight and strength of the bone influence on the given mesh. There are various brush settings in the weight tool settings. We can add weights, reset them, smooth them, and so on. These commands are used most often. Also weight manager can adjust the weights automatically. But in this case we will adjust this manually to better understand how it works. We can also select a specific area of the model and apply the weight of a bone to it. Let's select this part of the mesh. Once I selected a certain bone in advance, all of the weight settings will be applied to the selected mesh as well if we click Apply Selected. That is, this bone will also affect this mesh if I apply Apply Selected. But before that, I use the Add mode to add weight. Click on this button. As you can see, the mesh's color changed to blue, which means that it is now influenced by the bone. If I move it, it will deform as well. I select this bone and start rotating it. The mesh also moves with it. This is how weights work. Go back to the beginning and adjust the weights for all bones. Although I already set it, in the Commands tab we can affect all the bones at the same time, so we will apply anti-aliasing to them. To do this, all bones must be selected in the Joints tab. Go to the Commands tab. If I click it holding down Shift, it will automatically open at the top. In the Mode parameter, select Smooths and click Apply All. Notice how the weights will be smoothed out here. This is how we smoothed out all the weights of the bones and now we will work on each bone separately. Here you need to add weight, so make sure you have the weight tool selected. I have it already selected. I'll set it up. I choose the add mode. I will decrease the force. I will paint over this area. Holding Shift you will draw in Smooth mode. I will smooth the edges of the scales. Work on the following bones in the same way. Let me remind you that the weaker the color, the less the bone affects this area of the model. Let's leave it as it is for now. We must check the weights for each bone. To erase the weights or reset them, hold down control and paint with a brush in the desired area. As you can see, the weight of a given finger bone hits the mesh of the adjacent finger. To erase it, we need to switch to the polygon editing mode. Pick the loop selection tool and select the loops that are affected by the adjacent bone. Select the desired area of polygons. Then in the Commands tab, set the Mode parameter to Subtract to completely remove the weights from the selected mesh. Click Apply Selected. Now the weight of the selected bone does not affect the mesh of the adjacent finger. Do the same for the rest of the bones and select the mesh of the adjacent finger to the end. Apply Selected again to remove the weights of this bone from the selection. This bone needs to be slightly colored. So I choose the weight tool. You can select it by clicking on this tag. Here we will increase the weight a little. With Shift pressed, soften the edges. Here you can see that this bone affects the adjacent fingers. So we will reset them in the same way as we did before. the required polygons. And Subtract Mode, Use Apply Selected. We do the same for the next bones of this finger. slightly increase the influence of this bone. Select Loop Selection again to select the mesh for which you want to remove the weights. Use Apply Selected. Do the same for the rest of the finger bones. I will select the entire mesh to the end, so that we can remove the weights for sure. Let's work on this area. I will hide this menu, try to move the bones, and check how they work. The main thing is that each finger moves separately. Do not be afraid of these creases in the polygons as they will disappear under the influence of the subdivision surface generator. We check each finger. Great. All weights are set up correctly. Now we will bind this ring to the finger mesh. This can be done using the Surface Deformer. Create a deformer, place as a child of the ring object, place the hand object on the Surface tab and click the Initialize button. Now I will move my bone off this finger. We see that the ring moves with it. This is a great way to tackle this problem and is often used. So we have done the rigging. The next stage is the animation. First, let's create key poses for the hand and tablet pen. Turn off the visibility of other objects. Since the pen will fall from above, in the first frame it will be in flight. Raise it higher, create keyframes. To quickly create animation keyframes, I will turn on the auto key in mode. At about frame 12, the pen will drop. Let's adjust its position. I won't do blocking in this situation. I'll just do a rough animation. The arm in the first frame will be bent this way. It will catch the pen. For the keyframes to be automatically generated for all bones, I select them using Select Children. And I click on the button to create keyframes. Now I adjust the position of the hand. But to keep the original position, since we still need it, I will create additional animation keyframes. I position the keyframes on frame minus 2. Then go to frame 0 and again create animation keyframes. I put 0 at the beginning of the composition. We now have an additional animation keyframe behind the timeline that has the original hand position. Now at frame 0, I position the bones in such a way that the arm is extended and catches the falling pen. Adjust the position of the bones. This takes a certain amount of time. So I will speed up the process. So, the first hand pose is ready. It does this swing. At about frame 12, the arm should be bent. It should look like this. This is the final position of the hand. But nevertheless, we can use this pose to grab the handle. To make it easier to adjust the pose, I'll copy its original position at frame 12. From this position, it will be easier to set the desired pose. I adjust the position of the bones. I will speed up this process as it takes a certain amount of time. you you you This is how the hand will catch the pen. Naturally we will finalize the offsets and easings, but this will be a little later. we will set the basic position of the objects. And so, the hand caught pen. In the next phase, the pen should rotate around the index finger. The next position should look something like this. The index finger is extended upward. The pen is located approximately in this place parallel to the ground and turned in this direction. The transition to this position will take only a few frames. So I move the timeline slider to frame 18 and adjust a hand. I put my index finger up. The pen will rotate around it. At the same time, the rest of the fingers should also be extended, but for now we will leave them in not position. Now I will position the pen object. This is where you will need to add an additional keyframe. Now the handle is moving through the finger. We can copy this animation keyframe to added to the final position of the pen object. To make it easier to work with keyframes, I will open the Timeline panel. To reveal the keyframes of the pen object, I will move it to the Timeline window. I copy these animation keyframes. Holding down CTRL, drag it to the right. A copy of the keyframe is created. At this moment the hand pushes the pen. It begins to fly upward and rotates around the finger. The timeline panel can be placed in some convenient place. But these panels can be hidden. So after the hand has thrown the pen, it must catch it again. So at about frame 25 you need to put your hand in such a position as if it is catching the pen. After that at about frame 30 both the hand and the pen should be in the final position. Let's start setting up the positions of the hand. This will take some time, so I will speed up the process. You Almost all keyframes are ready. Now, at frame 30, I can paste in a copy of the keyframes from frame 12. The only thing is that now the pen starts to rotate back. So let's adjust the rotation keyframes. I delete the last keyframe on the rotation parameter. Now I will reposition the pen. Great, the pre-animation is ready. We could have done it on step keyframes, but this would require more animation keyframes. So I will leave it as it is. Now we need to tweak the animation keyframes to get a good result. The first step is to set up the easing of the pen object. I select this object and choose the show F curves command. The curves of this object are displayed in the timeline window. And for the fall to look more natural, you need to adjust the graph in this way. We pull these handles to the right and reduce these. Thus we accelerated the object when it falls. At the beginning of the fall, the object moves slowly. And by this moment, it is gaining maximum speed. Also to make the fall more realistic, I will add rotation to the object. Then it falls and begins to rotate around the finger. Let's adjust this part of the animation. We need to add a smooth impulse to the object, as if the hand begins to slowly rotate it. Now, this action is happening too fast, so I will stretch the keyframes a little. To make it convenient to do, I will switch to the keyframes display mode. And using the yellow selection, I will space out the animation. If the selection of objects as well as the paths prevents you from viewing the animation, We can use the GeometryOnly command. So the impulse looks good. Let's finalize the animation. For now, I will unpin the timeline and open it in full screen so that it is convenient to edit the graphs. I need to move these handles here a little to the right to slow down the start of the animation. Now we will adjust the path of the pen so that it does not intersect with the finger of the hand. Turn off the geometry only mode. We have several options. We can either add an intermediate keyframe or adjust the path with bezier handles. To do it with the hands, we need to highlight the position keyframe in the viewport. Next, in Attribute Manager, go to Key Preset. Open an additional menu and turn off Auto Tangents. The handles appear, with which you can adjust the path. Let's try to do something about it. It doesn't work in this case, since we can only edit the path in a small range. So we still have to add an animation keyframe. Here in this period, I move the pen and rotate it a little. Here I will raise it higher and turn it. Let's see what we get. Turn on the Geometry Only mode, so that the object's path does not distract us. I'll slightly modify the position of the pen object by tilting it to the other side. At the moment of the fall, I will tilt it in this direction. the pen object hovers for a short period of time. So I switch to the f curves mode. I find the position parameters, adjust the graph so that the object hovers at the top points. you We can animate the rotation of the object with a slight offset. This will smooth out the hovering of the object. And in general, the animation will look more natural. Since before, during hovering, the rotation of the pen was abruptly stopped. I shift these keys a little further. At the beginning of the animation, I will also make a delayed rotation. So the pen animation is done pretty well. Now let's set up the animation of the fingers for it. Now we see that the fingers begin to bend early. The same happens in the second action. The fingers bend too early. They also move at the same time. We will need to add offsets to make the animation look more natural. The thumb now looks too move-less. I will add some movements to this part of the arm. Then we will work out the rest of the fingers. This setting will be in time lapse mode, as it takes quite a long time. You do not have to repeat after me, you can just watch and then adjust it in a similar way. you you you you you you you you you you you you This is how we set up the animation of all fingers. I will tweak it behind the scenes so as not to waste your time. So in the end I get this animation. It needs to be improved a little. Note that when fine-tuning the animation, I put the pen and hand into a single null object. I did this to be able to additionally animate these objects using one controller. Now we select the given null object. Now at the moment when the hand catches the pen, I will add additional wobble. Create an animation keyframe on frame 4 for the position parameter. Now we are specifically interested in the y parameter. Further at about this time the hand will drop a little. Now an additional impulse is created for the hand, after which at about frame 18 we raise all this a little up. It might even be better to do this at frame 20. Starting from frame 26, the hand goes down. Next, on frame 35, I return the object to its original position. We achieve the smooth bounce. I will add frames to the composition to watch the complete animation. Excellent. Let's refine this animation a little more. I will be using the Bend Deformer. Create the Deformer. The moment the hand catches the pen, I want it to bend a little towards the camera. So we will adjust the position of the Deformer. I put it under the null subordination of the hand object. Since fit to parent will not work in this case, I will have to manually adjust the size of the container. Apply Keep Length to keep the length of the object. Let's adjust the deformer's position. Now we can bend the arm. In frame 0 we bend it in the opposite direction. As you can see, this deformer also affects the pen. So we won't set it to as high. I set the value to 10. When the pen is in the hand, I set the value to 30 degrees. In the beginning, I will set the value less, negative 5 degrees. So the hand catches the pen. It throws it up and here we set the value to zero. Let's see how it will look through the camera. Overall the animation looks pretty good, which is what we wanted. At this point you need to adjust the position of the pen object. Let's go back to the bend deformer. The moment the hand caught the pen, small wobbles. Here we put zero. And at the moment when the handle is caught, I slightly tilt my hand forward, like this. I also want to draw your attention to the fact that I use the Pose Morph tag, so that there is an opportunity to adjust the shape of the object in some poses. If I turn off this tag, we will see that the thumb at some point does not have the required volume. Using the Pose Morph tag, I set up the desired shape and then lock it. I'll show you more clearly how I did it. Create a new pose morph tag. Choose points. Now let's work on the first pose. For this I will be using sculpting brushes. Go to mesh, find brushes. I unpinned them for convenience. I will use these brushes to tweak the shape of the object. I select the object, then go to brushes and choose a suitable brush. I adjust its size. Now I need to add some volume in this area of the model. To make the mesh larger, turn off the subdivision surface generator. I set up the mesh, add the desired volume and adjust the shape of the model. This is how we change the shape of the model. All information is recorded in pose 0. After recording all the deformations, switch to the animate mode and use the sliders to animate or adjust the strength of these deformations. Great. I delete the new tag, leaving the old one that is already configured. Let's continue to refine the animation of the hand. Let's add another bend deformer so that we can bend the object in a different plane. Delete this deformer here. Delete all of its animation keyframes. And now I'm going to animate it again. I will add small wobbles to the left and right. Also with this bend we will increase the stroke of the brush. I want to adjust the moment when the hand catches the pen. you Now the hand is going down quite strongly. Use this amplitude. I hide the visibility of the deformers, so they don't distract us. Now we need to animate the fall of the text elements. We can do it in two different ways. We can do this using dynamics tags, or manually animate them. First, let's try using the Dynamics tag. Open the 3D object. Select the text elements. Apply the Rigid Body Simulation tags to them. Apply the Collider Body Simulation tag to the Floor object. I will duplicate the original models so that I can return to this iteration. I will remove their dynamics tags. Go back to the objects with the dynamics tag. Go to the beginning of the timeline and raise the objects higher. Like this. Now if we play the animation we can see the objects falling. The problem is they are not robust. Their rounded shape prevents them from falling and standing. We can create a stable wireframe that will interact with dynamic tags instead of these objects. But I will create the animation manually since I have full control in this case. I return the original models and start animating them. Go to frame 0. the objects a little higher. Create animation keyframes on the rotation and position parameters. Move to frame 5 and lower the objects to the floor. Note that the anchor point of these objects is at their base. So it is not difficult for me to put them on the floor. I set 0 on the Y axis. I will add these objects to the timeline so that their keyframes are displayed. Let's set up their fall. At the beginning of the animation, I will raise them higher and rotate them a little so that their fall will look more natural. For the letter D, I will do a little offset. After we set up the speed graphs for these objects, they should fall with acceleration. This is the graph for the fall. We return to the Display and Keyframes mode. Now that the objects have fallen, I will add small bounces and wobbles to them. animation keyframes. you This is the animation I'm getting. Let's do the same for the letter D. After hitting the floor, it will bounce and sway a little. We animated the letters manually. Thanks to this we have complete control over it, which would not have been possible with dynamic simulation. I will turn on the view from the camera. Yes, the animation looks good. Now we need to animate the rest of the elements. the basketball. I will make it wiggle a little and loop this animation. Note that this object has the constraint tag. It allows this object to move around the basketball. How does it work? The tag has a target in which we place the basketball. By adjusting this distance, we are adjusting the radius along which the object will move. All constraint objects are in the Character menu, in the Constraints tab. Let's go back to the basketball object. I will add a little wiggle to it, as if it sways to the beat of the music. Create an animation keyframe. I go to about frame 10 and rotate the object a little. It will do the same for the head object. Well, since it is attached using the constraints tag, we will need to animate it by position. Now I will select these keyframes and set the loop. I set the length of the composition to 120 frames. And let's see how many loops it will take to animate the basketball. For this composition length, we need 11 cycles. For the animation to be completely looped, you need to select the oscillate mode. I will do the same for the ball. Select the keyframes, select oscillate, and set the number of repetitions. You need to add an offset for objects. So I will add another cycle and offset the animation keyframes by 1 or 2 frames. Thanks to the offset, the animation looks more interesting. Now let's animate this head. It should roll closer to the camera. By about the middle of the animation, the action should be over. We have several ways to create this animation. The first way is to do it manually. Before that, we will need to animate the object in position, as well as animate its rotation along one of the axes. At frame 0, create animation keyframes. Go to frame 60 and move the object. Like this. Let's see how it looks from the camera. This is how it will roll. Now let's animate its rotation. It should correspond to the rolling of the object. I set the final position. The face should be directed towards the camera. Go to frame 0. Rotate the object a few turns back. Let's see what happened. In this way you can animate such elements. Graphic settings for this animation. To do this, go to show tracks and set up charts in F curves mode. For the object to not slow down at the beginning of the animation, we will make such a graph. We offset these shoulders to the left. Now the object has a certain speed at the beginning and smoothly rolls towards the middle of the composition. At the very end of the animation, add damped oscillations. I'll go to the top view. I move the Timeline slider a few frames forward. Move this object a little. Now I will add some rotation. I move the timeline slider forward, select the object and move it back. This is how we get a little damped oscillation. I'll set up the graphics. Let's see how the animation looks from the camera. Excellent. Now let's look at another way to animate such elements. I will create a new composition. I add the tube object. Let's say this is our wheel. I will make it a little smaller and turn on the display of polygons. For example, the wheel should roll in this direction. To implement this, I go to the coordinates tab. I select the axis along which I need to move the object. In my case, this is X. Right click on it, go to expressions, select set driver. Next, select the axis along which this wheel will rotate. Right click it. Go to expressions. set driven relative. An Expresso tag is created on the object. Double-click it. The Expresso editor opens. We are interested in the Range Mapper node. Select it. Now moving along the x-axis to this object, it starts to rotate but incorrectly. To adjust the rotation, you need to type in the formula 2 times pi times r into the input upper line. r is the radius of our wheel. 2 multiplied by pi multiplied by the radius which is 50 centimeters long. Now if I move the object beyond the x-axis it will rotate correctly. There is the way to animate such objects. Let's go back to the main composition. I will keep the head animation I made by hand. Now we need to animate the pair. For that I select it. I will check all the objects. I will rename these null objects. I turn to the frontal view. I will slightly change the position of the legs of the pair. I will put them closer to each other. First, I need to animate the torso and the adjacent elements. So I put all these objects in a null object. This will be the base. Now I will adjust its anchor point. Move it lower, like this. Now the object will be easier to animate since we will have an arched body movement. Let's animate the torso. I go to frame 0, create animation keyframes, move the object slightly to the side. I move to frame 8 and blend the object in the opposite direction. And in the middle, I will move it lower to get an arc. Let's adjust this movement a little. As you remember, to access the handles to adjust the path, we also need to uncheck the auto-tangents parameter. Now we can set up the path. Let's animate the rotation parameter. At frame 0, rotate the object by negative 25 degrees. On the last keyframe, set it to 25. We get these movements of the pair. Now we need to loop the animation. I choose the show track command. I select all the keyframes and set oscillate for after and before so that you can customize the offsets. Let's see what we get. I will speed up the animation a little. Excellent. Next you need to animate the character's legs. To do this, I select these controllers and put them in a base. Now they move with the body. Adjust the position of the nulls. We will animate the controllers that are responsible for the needs. Go to frame 0, create animation keyframes. We position the controllers. you should get something similar. Next, go to frame 6 and set the zeros around here. And on frame 12 we offset them in the direction of the body movement. We get this arcuate movement. It also needs to be looped. Select the keyframes. Select the oscillate mode. Let's see what we get. On frame 6, we will slightly adjust the null objects. Let's put them in such a way that the legs are straight. So now we get a little asymmetry. It remains for us to animate the tail, the leaf and this element. Open the base tab and find the leaf. Since it already has the bend deformer, we will animate it. Create an animation keyframe. On the frame 6, they bend the leaf a lot. And on frame 12, we copy the first keyframe. As you can see, simple animations can be created in a basic timeline window. However, if you are not comfortable working in such a window, you can do it in the extended timeline window. Let's take a look at the animation. It needs to be strengthened. Now let's loop the animation. Select the oscillate modes. Add offsets. Offset the animation keyframes. This option suits me. Let's animate the twig. it and see that it also has the bend deformer. With it we will create the necessary wobbles. animation keyframes and add loops. We can also animate this sphere. You need to set its anchor points to this place. But first you need to convert the parametric object to the polygonal model, otherwise we will not be able to displace the axis. We select enable axis. Set it approximately here. Turn off enable axis. Now using the rotation parameter move this object a little. Create animation keyframes. Add animation keyframes to the timeline and set up the loops. Now let's set up the offsets. Great. We get such a funny animation of the pair. It remains for us to animate the camera. It will fall from top to bottom. Make a small bounce and return to its final position. And so now the final position is set for the camera. At about frame 30, I create an animation keyframe. And at frame 0, I raise the camera higher. The moment my hand catches the pen, I lower the camera. And in frame 16, the base camera rises to follow the pen. Let's play the animation. It turns out this is such a smooth balance of the camera. Let's set up the animation graphics. We still need to animate the falling pair. It should land when the letters fall. In general, we can render it separately and animate it in After Effects. But I will do it in Cinema 4D. Go to about frame 1112. At this moment the pair will land. Create animation keyframes. I move the timeline slider to the beginning of the composition and move the pair higher. Also let's set up the graphs. I'll make this easing. Let's make a small bounce. I create additional keyframes at frame 20. But in this frame, I will move the object a little lower. If I turn off the camera mode, we will see the pair fall and rise slightly. Excellent. The animation of the scene is ready. In order to check its speed, go to Render to Picture Viewer and select Make Preview. Set up all the parameters and click OK. After rendering, a window opens with a preview of the animation. Now we can check how it will look in real time. Since sometimes it happens that the animation ends up being either slowed down or too fast, This result suits me. We just have to make the final render. To do this, we select the render settings, set the required number of frames, specify the path and click render. This concludes the animation lesson. In the next lesson, we will build the project in After Effects and combine 3D rendering with 2D objects. This concludes the animation lesson. Thank you all. Bye."
+    }
+  ]
+}