Add transcription for: frames_zips/SOM_TheCuriousCraftDemoReelTitles_DownloadPirate.com_Make It Move_frames.zip

transcriptions/frames_zips/SOM_TheCuriousCraftDemoReelTitles_DownloadPirate.com_Make It Move_frames_transcription.json

@@ -0,0 +1,8 @@
+{
+  "text": " You see, and that's what all this other stuff is, is just adding some extra detail. Like this random, it's just giving some random ruffle, so it doesn't all feel like it's moving together. It feels alive, and that's always the goal. So Sakane, your this entire demo reel open has subtle but like incredibly beautiful animation details along with the slick match cuts and it kind of helps propel us through this whole journey. So you kind of tease a little bit that it seems like you're really doing a lot of MoGraph trickery to make a lot of these movements. So I'm really excited to see how you got all this stuff moving together. So we'll start with the first shot, just progress throughout. Yeah, sure thing. So most of the motion that's coming from the scene is coming from this background. And it's really just like a more graph setup and nothing that's too crazy to be set up. And I think I probably explained some of this earlier before, just in terms of like why this is all put inside of a fracture object again, because we had to place some of these plants here. Right. Let's just kind of revisit some of this stuff again. So if I turn off the Fracture, we'll see that it's just like a bunch of stack clones. It's the same object. And let's just, you know, re-enable this. So the first thing we're going to do is just turn off this random effector here. And we realize like we just get like a really uniform shape. And I mean, this random effector is just there to kind of make it feel like a little bit more natural. But if you jump back here, this background move is responsible for most of the animation. And as I explained before, if I jump back into it, it's just a step effector with the scale enabled. Okay. So I hit that, and if I go back into the effector, we see that it's affecting the object in this way. Like, on top, it's less hair, it's really affecting it. And then here, it doesn't. And how we're applying this to the object is using this huge box field. So if you come back into falloff, we have this first box field here, which is just saying like this is within the bounds which this step effector will affect these pieces. And then these other boxes here are just subtracting from this box. Okay. As we scroll through it, it's like subtracting. And that's where most of the motion is coming from, basically. I got you. So you already have that built-in spline curve that is creating that final curve that we see and you're just using other fields passing through it to remove that strength of that that curved step effect, that's clever. Right, exactly. So it's removing it here, and then as it goes down, because there's two feels, so it's funny, right? Like, here's removing it, and then it's coming back and removing it. I gotcha. Yeah, yeah, yeah. Yeah, super, you know, it's so funny because you see something like this, And it looks like so much more complex than it is, but it's an elegant, simple solution. Now as far as it looked like there's a lot, at least to my eye, it looks like there's a lot more going on to that center thing. Like we got a little bit of like spiraling and just looks so like, like it's pulsing and you're organically deforming to some kind of shape. You know what it is? It's all lives. It's not Houdini, it's just simple mogram. Exactly. So again, it's like these cloned shapes. Yeah. That's we're animating that whole cloner object down and giving it rotation. But then we're adding this step effector to it. And what we're also doing with the step effector is we're giving it rotation. And you have this box field here to say like, this is the maximum. This is the area where this step effect is going to apply. So if I took another look at it, that's just animating down. So you've got the box field that is adding that step effector effect. And then the point, yeah, what's the linear field? That's just adding a little bit like a more gradient gradual ramp up. It's a good thing you're just slowly uploading your brain to hold frame so you can refer back to it at any time. So essentially the reason I think I'm doing the box is because like if I just did the box by itself, when you add this linear one in, it's a little more gradual. Exactly, it just helps to kind of bridge the two together a little bit more. It's like with everything you have like a lot of fine-tuned control over materials, your models, the procedural nature and now you're showing it with the animation. Exactly. So yeah, you know as you said this is a spirally one in the middle. It has a lot of stuff going on too. It's like this really kind of organic animation. So the main animation is coming from this cloner. I'm removing that using this null on the top that's just kind of given it rotation and movement on the y-axis. The step effector, it's affecting the scale, it's making it bigger, and it's given it rotation. But let's take a look at what these fall-offs are doing. And let's just kind of start with the box effector. Now with the box, this is just saying, hey, we're going to apply this step effector from it within these bounds. And like, there's like a fall off within this box effector. That's why nothing's happening here. Like if you look at the mapping at the edges, there's like zero zero, but in the middle, there's a lot as the box is coming down. That's why it's like sprouting up. visually, this doesn't, you know, this doesn't really look good, because it's just like flat. So now it's like, well, let me throw in an additional fall off this linear field to kind of let it puff out here a little bit. Now, you know, there's like this organic shape, because this top box is setting the maximum it can go just by default, it's not going to even with with this linear field, it's saying anything below here is being affected. But because the box feel is saying is barely any effect below here, even with the linear feel on, it's not going to puff out. But as it goes up, it's getting puffed out more and more because the box feel is saying in this area is the step effect is really going to affect it. So I'm saying this all to say, when I push up this linear feel, it's nice because I could push it up. And it's just going to give us this nice puffing out here, which makes the ship look really good. And again, you get like this really kind of organic motion to the top. So it's all really just more graphic. Like I said before, it looks so much more complex than it is, but it's just, you know, how you can cleverly mix fields together. And like I said, with a lot of your stuff, you're combining these simple elements together. And when you come, when they're combined together, the sum is greater than its parts. You know what I mean? Look at that. You got a bendiformer here because you got that again. This entire open is full of this really nice subtle animation, man. And just some simple bendiformers. Even a simple, my friend. Yeah, yeah. Even a simple. No I.K. You know, no I.K. dynamics. Nothing crazy. Nope. Oh, yeah. And that's pretty much it for this scene, like relatively simple. a few more graph things. Like if you look at the logo, it's the same thing. Even like that platform right below it looks like it's just another fracture. You got the a plane effect or probably change in rotation or something. Yeah. But like for the logo, it's just a plane effect with some fall off. It's just pushing it out as it's coming down. It's going to like this delay effect. So that's why you you won't see that animation. But yeah, if you move the box, you just kind of see. Yeah. Yeah, so it's simple. And it's just kind of the same concept with this one. Very cool. MoGraph trickery, some step effectors, some Benda formers, and voila. Like, that's great. Yeah. So we got the floating rock scene that comes next. And I feel like that's probably got some MoGraph trickery as well. This one. Is some MoGraph trickery, I mean, MoGraph for this, but like for the stones themselves, no. The stones themselves, it's like, it's real old school. It's like an Ikea rig, but it's not an Ikea rig. It's like, it's forward kinematics, which is basically just hierarchy based. Exactly. So, but you know, you just have to put the axes, the axes, axes in the right places. But some of it I put a vibrate tag on. Just got this really organic wobbly motion, no key frames needed. Yeah, so some of them have keyframes, some of them have that vibrate tag on them. But it really was just like laying out the stones and figuring out like where the right axes are to make the animation feel good. And obviously I took some new ones, like what's too much movement, what's the right amount of movement. Right. And when you figure that out, yeah, it just becomes really simple. And you wanna make sure you have the formation the way you want it before you start animating, because to change that rig is probably not easy. Exactly. And then, you know, with these big guys, again, more MoGraph magic, just animate some rotation on a random object and you pipe it into the fracture. I think the most animation that we're getting is, you know, from these guys. And usually with stuff like this, I animate, well, I attach it to a spline. So there's a guide spline that this stuff is being cloned onto. And then I kind of use this offset here to kind of just drive the direction of these little stones. Then, you know, just on top of that, use your sprinkles. Yeah, rotation here. You know, and you probably, let me see what else I got in here. Yeah, I just like some random effect just for like scale and placement to just make it feel more organic. But yeah, the animation on this one was just pretty, pretty straightforward. This was like my classic MoGraph setup. For sure, yeah. And I love how you have, you know, the two, you separated the small rocks from the big rocks, you have full control over the animation on either one. You know, you're not trying to force everything into one cloner object and hoping that everything works out the way it does. I feel like when I first started using MoGraph, just try to use one cloner for everything and use one random effector for everything, but layering everything up, smart way to do it. Best way to art direct. 100%. All right, move on from rocks to rocks in a bamboo forest. Can't wait to see that because, I mean, you have in that shot, there's so much foliage that you can feel the breeze coming through, especially with the addition of those little leaves falling down as well, which really adds a lot. Yeah. And again, you know, more and more graph trickery. It's a cloner, which is cloning those leaves. And then we have like a plane effector where I'm just animating. Oh, you're just keyframing that position strength in the X, Y and Z. Right. That's what's pushing it over here. Yeah. And then we just have like, you know, like a random effect that's given a rotation. So I've done this like so many times. So it's pretty easy. And then for the bamboo, you know, this is why I put them in a fracture object. So I could like do another little random effect to set up. And for this one, I'm not animating it. I'm just kind of using like the noise, the animation parameters here. I'm just delving in something that I like. And it's like, it's subtle, you know? Right. Like you can kind of see this one moving a lot. You don't want it to move too much. It looks ridiculous. Yeah, there's not a hurricane going on in the scene here. Right. So there's that. And then you kind of have like the environment, the lights animating. And that's just real, real subtle. And is that like changing the way the shadows are cast in the background there that adds a little bit of movement? Yeah, like if you look, you know, we're seeing that the shadows move. Yeah, that's such a great detail there. Yeah, I'm just kind of seeing that some of the shadows moving on the trees. Yeah, this one didn't need, I mean, the environment is so rich that the lighting is moving, the leaves are moving, the trees are swaying. I think that's all you need in a scene like this. Does it not for it to feel alive and not static? Right, you already have so much detail in a scene. Let the scene shine, let the subject shine without cluttering it with too much visual overload or visual information in the form of animation or anything like that. I think throughout each piece, like you really do a great job. And the next shot we're talking about is the thread. And even the thread, like, just has these little tightening little bits, which is just a very subtle little bit of movement, but it's it's really gives you just enough visual information to make it keep that interest throughout this tightly paced edit. Yeah. And this one just needed that extra movement. Again, it's like, yeah, it's so visually rich. It didn't need that much to really make it feel, you know, alive. It just needed that little kind of tightening. And the floaties are that that's just more MoGraph kind of rotation, plane effector. Mm-hmm. And yeah, you know, if the POSMorph, it's just, yeah, the POSMorph is, I love the POSMorph. Yeah, it's just pulling these guides. And if I go back here and I enable the proxy, oh, I think I just need to enable that here. You do this, you'll be able to kind of see it being pulled. And this is kind of how I visualized the animation with these proxy. That's all you need. Yeah, quickly demo the POSEMorph because like we were taught, alluded to it before. It's like animating a spline any other way is just almost impossible to get the type of control. So two different splines. And the big important part about the POSMorph, which it took me a while to get, is like you want two splines, but you also want the same amount of points on each spline because what the POSMorphs doing is interpolating between where a point is in one spot and where a point is other. So if you had one spline with 15 points and another with 20 points, it won't. It's kind of like blending after effects paths or something like that. You can't blend one path into another path with way more points. Yeah, 100%. And that's why I like to make the second spline. I just copied the first this one and move the points around. But typically how you do it, you know, you go into these rigging tags, then you go into post morph. And what you wanna check here, you're going to attributes is points. When you hit points, it's gonna take you into this menu. All you have to do is just drag the second spline, boom, gonna ask you, say yes. And that's it, you just had to animate and use the slider, and you could just kind of between and between the two. That's awesome. Love the POSMORPH. It's always my favorite thing to show people that have never used the POSMORPH before. And this is kind of just scratching the surface of what POSMORPH can do. Exactly. If you want to bake an Olympic to PLA, that's like a good little technique. And the cool thing about the POSMORPH too is you can animate below and above 100% strength. So you can even get like a little bit of like overshoot balance, which is pretty cool. Like I love doing that little bit. Just do this, bam. And then just bring it back to 100. Bring it back. There you go. And of course you could, you know, finesse that a little bit. Yeah, but this is just like the idea. This is just a mint. It's low effort. I love that. need any key frame easing or anything. Exactly. Sweet. So yeah, I mean that pose morph man, like that's the, that's the key winner in, in this shot right here. And of course you have the floaties in there. It's the same technique. You know, just random effect rotation. And yeah, that's pretty much it. Very cool. So let's move on. We, we have floaty little threads. Let's go to the floaty bees in the next shot there, which you had. You also had the honeycomb like animating down as well, like very subtly. Yeah, this was a nice. Let me just disable the bees because. Yes. Bees all will have you with the X particles and also the displacer. When you have a displacer and you see it, it really slows it down. Yeah. So again, similar concepts. All this stuff is being driven mostly by a plane effector. So, you know, again, like we put these objects into a fracture object just to be able to have effectors communicate with the objects that lie within it. I'm just going to disable the delay effect in here so we could, you know, kind of scrub food is animation and we could see what's happening. So what's happening here, there's a plane effector, and that plane effector has movement on the y-axis. But there's also a random effector that has rotation, and those two things are really kind of driving that animation. But how we're activating it is via this falloff here, this spherical falloff. And as it, you know, scales up from the middle. Okay. It's just activating the objects around it. And it's got this like really nice cascading effect because you're using that spherical shape versus like a plane or linear field. Sorry. And it's just super linear. Like I love the cascading effect because I think when you turn on the all the other ones, it's like a cascading backward kind of DLO most. Exactly. And it's just this literal theme idea applied everywhere. There's a right mover and you know, yeah, it's just animated differently. That's all. So if you just, you know, if you played this back, you just kind of see all the four more graph objects. I love how like the movement just helps lead your eye into the center towards your logo too. Exactly because this one comes out first and everything kind of cast yes Right, I mean not gonna go to into detail of the particle some for sure It's actually you know, it's just x particle some of turbulence on it Mm-hmm. It's this this type of stuff is really just up to you kind of looking at what? Settings work in this scene right it's a turbulence Once there's a scale feel right, you just kind of look at it and you determine it. But from a technical perspective, it's not that much to it. It's more like looking to see what works. And again, we're just taking the B and applying it to the Clones as a custom object. But one thing that's also really important with this type of stuff is that you want to always make sure that use rotation on the extended data is enabled because I don't think it is by default. Okay. And does that allow it to rotate the object or what is that option? Yeah, exactly. So that's like when it's... Otherwise it's just moving in a fixed rotation. I got you. Exactly. So it's saving like the orientation data. So when you map an object onto it. Okay. Yeah. Very cool. Okay. It could point it in a specific direction. But yeah, that's about it. Very cool. So we've got the bees. Now we got the birds with the feathers. And again, just another example of a visually rich scene with the foreground feathers kind of falling. And then you have that really nice, it looks like wind is slowly blowing and undulating the feathers there. Exactly. And again, similar technique, apologies, this scene is just like a little bit difficult. Yeah, a little weird. because it's all white, but once we have demograph running through it, it helps. So again, really similar concept happening here. I'm just gonna select these top feathers. Now, the tricky part in this scene was getting all the nuance. So yeah, most of the animation here, like this whole upward movement is being driven by this plane effector. And this sphericals field. So what's happening? Like it's at rest and as this spherical field moves through this group, in the middle, it's like at its maximum, it raises the feathers by moving its rotation. Just rotating it up. little ruffle. Yeah, exactly. It's ruffling the feathers, literally. And as it's moving out, it's like it's coming down. So that's like the crux of this animation. And the way we're doing the fall off here, just to make it nice and smooth, I like to do that using the curve, just set the profile. Yeah, it's smart where, you know, I feel like a lot of people use fields and they never adjust the fall off much at all to get that smoothing like they just stick with the stock spline curve and that's about it but you know people can adjust like you could have multiple waves in that spline and pass something through and have a nice little ripple you know like I think I mentioned that before with the ripple animation it's all driven by that whatever you do in that spline curve editor. Yeah. You see, I know sort of all this other stuff is just adding some extra detail. Like this random is just giving some random ruffle, so it doesn't all feel like it's moving together. OK. And is that like using the animated random noise built into the random effector? But this one, yeah, exactly. So it's kind of giving it a little bit of, As it moves, it's also like some subtle kind of animation there as well. And even with this shader effect, there's another plane. If we go back here and we look at how we're stacking, there's another plane here. And that's also given it some additional animation using a shader field. So it's just like building up a bunch of difference, more graph things to make it feel good. But also getting the delay right. The delay is so important to this because that's what's giving it like the boof, boof movement when it settles. Is it set to spring or is it blend or what do you have on that? The spring at 80. Spring, nice. So getting like a nice kind of subtle. It's a little bit hard to see here. But if you went back to the video, when it lands it, it is just like... Yeah, just that little bit of overshoot. It feels alive and that's always the goal. Yeah. There's so many randoms. I just like to keep stacking stuff to see what works and what doesn't. I think that's always parts of the process. Then what is this one for? He says, what does this do? Oh, yeah. Well, that one was because like some of the feathers were intersecting. So I made like another one and like I had to go and I make like specific selections of certain feathers and apply like specific more graph objects to just move them a little bit more, a little bit less to avoid intersections. Yeah, I love the ability to just select specific clones and adjust how much an effector is affecting it to be able to have that fine tune control is really, really awesome. Yeah. And it's the same, it's essentially the same concept for the bottom one as well. It's but fundamentally everything is driven by this plane effector and this with the sphericals feel like both, both of these are. But yeah, that's the crux of it. Yeah. It's like a little wave, it's like football game. Yeah, I just love like theme throughout this entire video series is the amount of power and just gracefulness and detail you can add to animation, materials, uh, you know, just, just everything, modeling a, uh, organic looking object, uh, just everything stacks together again, and results greater than the sum of the parts kind of deal. Is someone needed to hand out a me to get like the specific, I guess all of them are hand out of me. Yeah, I mean, and that's another thing too, where you want a specific movement and you try to do it in a simulated procedural way when sometimes just getting in there and hand key framing is the right way to do it. Yeah, exactly. Because sometimes it's just hard to get the composition. When you're doing it with MoGraph and to retain the composition, yep, sometimes you just got to hand animate it. So we're going to the last shot and I think pretty much the only thing that's moving there is the light which pretty straightforward. This one's pretty straightforward. Just rotating the angle of that sun? Yeah, there's literally nothing to it.",
+  "segments": [
+    {
+      "text": " You see, and that's what all this other stuff is, is just adding some extra detail. Like this random, it's just giving some random ruffle, so it doesn't all feel like it's moving together. It feels alive, and that's always the goal. So Sakane, your this entire demo reel open has subtle but like incredibly beautiful animation details along with the slick match cuts and it kind of helps propel us through this whole journey. So you kind of tease a little bit that it seems like you're really doing a lot of MoGraph trickery to make a lot of these movements. So I'm really excited to see how you got all this stuff moving together. So we'll start with the first shot, just progress throughout. Yeah, sure thing. So most of the motion that's coming from the scene is coming from this background. And it's really just like a more graph setup and nothing that's too crazy to be set up. And I think I probably explained some of this earlier before, just in terms of like why this is all put inside of a fracture object again, because we had to place some of these plants here. Right. Let's just kind of revisit some of this stuff again. So if I turn off the Fracture, we'll see that it's just like a bunch of stack clones. It's the same object. And let's just, you know, re-enable this. So the first thing we're going to do is just turn off this random effector here. And we realize like we just get like a really uniform shape. And I mean, this random effector is just there to kind of make it feel like a little bit more natural. But if you jump back here, this background move is responsible for most of the animation. And as I explained before, if I jump back into it, it's just a step effector with the scale enabled. Okay. So I hit that, and if I go back into the effector, we see that it's affecting the object in this way. Like, on top, it's less hair, it's really affecting it. And then here, it doesn't. And how we're applying this to the object is using this huge box field. So if you come back into falloff, we have this first box field here, which is just saying like this is within the bounds which this step effector will affect these pieces. And then these other boxes here are just subtracting from this box. Okay. As we scroll through it, it's like subtracting. And that's where most of the motion is coming from, basically. I got you. So you already have that built-in spline curve that is creating that final curve that we see and you're just using other fields passing through it to remove that strength of that that curved step effect, that's clever. Right, exactly. So it's removing it here, and then as it goes down, because there's two feels, so it's funny, right? Like, here's removing it, and then it's coming back and removing it. I gotcha. Yeah, yeah, yeah. Yeah, super, you know, it's so funny because you see something like this, And it looks like so much more complex than it is, but it's an elegant, simple solution. Now as far as it looked like there's a lot, at least to my eye, it looks like there's a lot more going on to that center thing. Like we got a little bit of like spiraling and just looks so like, like it's pulsing and you're organically deforming to some kind of shape. You know what it is? It's all lives. It's not Houdini, it's just simple mogram. Exactly. So again, it's like these cloned shapes. Yeah. That's we're animating that whole cloner object down and giving it rotation. But then we're adding this step effector to it. And what we're also doing with the step effector is we're giving it rotation. And you have this box field here to say like, this is the maximum. This is the area where this step effect is going to apply. So if I took another look at it, that's just animating down. So you've got the box field that is adding that step effector effect. And then the point, yeah, what's the linear field? That's just adding a little bit like a more gradient gradual ramp up. It's a good thing you're just slowly uploading your brain to hold frame so you can refer back to it at any time. So essentially the reason I think I'm doing the box is because like if I just did the box by itself, when you add this linear one in, it's a little more gradual. Exactly, it just helps to kind of bridge the two together a little bit more. It's like with everything you have like a lot of fine-tuned control over materials, your models, the procedural nature and now you're showing it with the animation. Exactly. So yeah, you know as you said this is a spirally one in the middle. It has a lot of stuff going on too. It's like this really kind of organic animation. So the main animation is coming from this cloner. I'm removing that using this null on the top that's just kind of given it rotation and movement on the y-axis. The step effector, it's affecting the scale, it's making it bigger, and it's given it rotation. But let's take a look at what these fall-offs are doing. And let's just kind of start with the box effector. Now with the box, this is just saying, hey, we're going to apply this step effector from it within these bounds. And like, there's like a fall off within this box effector. That's why nothing's happening here. Like if you look at the mapping at the edges, there's like zero zero, but in the middle, there's a lot as the box is coming down. That's why it's like sprouting up. visually, this doesn't, you know, this doesn't really look good, because it's just like flat. So now it's like, well, let me throw in an additional fall off this linear field to kind of let it puff out here a little bit. Now, you know, there's like this organic shape, because this top box is setting the maximum it can go just by default, it's not going to even with with this linear field, it's saying anything below here is being affected. But because the box feel is saying is barely any effect below here, even with the linear feel on, it's not going to puff out. But as it goes up, it's getting puffed out more and more because the box feel is saying in this area is the step effect is really going to affect it. So I'm saying this all to say, when I push up this linear feel, it's nice because I could push it up. And it's just going to give us this nice puffing out here, which makes the ship look really good. And again, you get like this really kind of organic motion to the top. So it's all really just more graphic. Like I said before, it looks so much more complex than it is, but it's just, you know, how you can cleverly mix fields together. And like I said, with a lot of your stuff, you're combining these simple elements together. And when you come, when they're combined together, the sum is greater than its parts. You know what I mean? Look at that. You got a bendiformer here because you got that again. This entire open is full of this really nice subtle animation, man. And just some simple bendiformers. Even a simple, my friend. Yeah, yeah. Even a simple. No I.K. You know, no I.K. dynamics. Nothing crazy. Nope. Oh, yeah. And that's pretty much it for this scene, like relatively simple. a few more graph things. Like if you look at the logo, it's the same thing. Even like that platform right below it looks like it's just another fracture. You got the a plane effect or probably change in rotation or something. Yeah. But like for the logo, it's just a plane effect with some fall off. It's just pushing it out as it's coming down. It's going to like this delay effect. So that's why you you won't see that animation. But yeah, if you move the box, you just kind of see. Yeah. Yeah, so it's simple. And it's just kind of the same concept with this one. Very cool. MoGraph trickery, some step effectors, some Benda formers, and voila. Like, that's great. Yeah. So we got the floating rock scene that comes next. And I feel like that's probably got some MoGraph trickery as well. This one. Is some MoGraph trickery, I mean, MoGraph for this, but like for the stones themselves, no. The stones themselves, it's like, it's real old school. It's like an Ikea rig, but it's not an Ikea rig. It's like, it's forward kinematics, which is basically just hierarchy based. Exactly. So, but you know, you just have to put the axes, the axes, axes in the right places. But some of it I put a vibrate tag on. Just got this really organic wobbly motion, no key frames needed. Yeah, so some of them have keyframes, some of them have that vibrate tag on them. But it really was just like laying out the stones and figuring out like where the right axes are to make the animation feel good. And obviously I took some new ones, like what's too much movement, what's the right amount of movement. Right. And when you figure that out, yeah, it just becomes really simple. And you wanna make sure you have the formation the way you want it before you start animating, because to change that rig is probably not easy. Exactly. And then, you know, with these big guys, again, more MoGraph magic, just animate some rotation on a random object and you pipe it into the fracture. I think the most animation that we're getting is, you know, from these guys. And usually with stuff like this, I animate, well, I attach it to a spline. So there's a guide spline that this stuff is being cloned onto. And then I kind of use this offset here to kind of just drive the direction of these little stones. Then, you know, just on top of that, use your sprinkles. Yeah, rotation here. You know, and you probably, let me see what else I got in here. Yeah, I just like some random effect just for like scale and placement to just make it feel more organic. But yeah, the animation on this one was just pretty, pretty straightforward. This was like my classic MoGraph setup. For sure, yeah. And I love how you have, you know, the two, you separated the small rocks from the big rocks, you have full control over the animation on either one. You know, you're not trying to force everything into one cloner object and hoping that everything works out the way it does. I feel like when I first started using MoGraph, just try to use one cloner for everything and use one random effector for everything, but layering everything up, smart way to do it. Best way to art direct. 100%. All right, move on from rocks to rocks in a bamboo forest. Can't wait to see that because, I mean, you have in that shot, there's so much foliage that you can feel the breeze coming through, especially with the addition of those little leaves falling down as well, which really adds a lot. Yeah. And again, you know, more and more graph trickery. It's a cloner, which is cloning those leaves. And then we have like a plane effector where I'm just animating. Oh, you're just keyframing that position strength in the X, Y and Z. Right. That's what's pushing it over here. Yeah. And then we just have like, you know, like a random effect that's given a rotation. So I've done this like so many times. So it's pretty easy. And then for the bamboo, you know, this is why I put them in a fracture object. So I could like do another little random effect to set up. And for this one, I'm not animating it. I'm just kind of using like the noise, the animation parameters here. I'm just delving in something that I like. And it's like, it's subtle, you know? Right. Like you can kind of see this one moving a lot. You don't want it to move too much. It looks ridiculous. Yeah, there's not a hurricane going on in the scene here. Right. So there's that. And then you kind of have like the environment, the lights animating. And that's just real, real subtle. And is that like changing the way the shadows are cast in the background there that adds a little bit of movement? Yeah, like if you look, you know, we're seeing that the shadows move. Yeah, that's such a great detail there. Yeah, I'm just kind of seeing that some of the shadows moving on the trees. Yeah, this one didn't need, I mean, the environment is so rich that the lighting is moving, the leaves are moving, the trees are swaying. I think that's all you need in a scene like this. Does it not for it to feel alive and not static? Right, you already have so much detail in a scene. Let the scene shine, let the subject shine without cluttering it with too much visual overload or visual information in the form of animation or anything like that. I think throughout each piece, like you really do a great job. And the next shot we're talking about is the thread. And even the thread, like, just has these little tightening little bits, which is just a very subtle little bit of movement, but it's it's really gives you just enough visual information to make it keep that interest throughout this tightly paced edit. Yeah. And this one just needed that extra movement. Again, it's like, yeah, it's so visually rich. It didn't need that much to really make it feel, you know, alive. It just needed that little kind of tightening. And the floaties are that that's just more MoGraph kind of rotation, plane effector. Mm-hmm. And yeah, you know, if the POSMorph, it's just, yeah, the POSMorph is, I love the POSMorph. Yeah, it's just pulling these guides. And if I go back here and I enable the proxy, oh, I think I just need to enable that here. You do this, you'll be able to kind of see it being pulled. And this is kind of how I visualized the animation with these proxy. That's all you need. Yeah, quickly demo the POSEMorph because like we were taught, alluded to it before. It's like animating a spline any other way is just almost impossible to get the type of control. So two different splines. And the big important part about the POSMorph, which it took me a while to get, is like you want two splines, but you also want the same amount of points on each spline because what the POSMorphs doing is interpolating between where a point is in one spot and where a point is other. So if you had one spline with 15 points and another with 20 points, it won't. It's kind of like blending after effects paths or something like that. You can't blend one path into another path with way more points. Yeah, 100%. And that's why I like to make the second spline. I just copied the first this one and move the points around. But typically how you do it, you know, you go into these rigging tags, then you go into post morph. And what you wanna check here, you're going to attributes is points. When you hit points, it's gonna take you into this menu. All you have to do is just drag the second spline, boom, gonna ask you, say yes. And that's it, you just had to animate and use the slider, and you could just kind of between and between the two. That's awesome. Love the POSMORPH. It's always my favorite thing to show people that have never used the POSMORPH before. And this is kind of just scratching the surface of what POSMORPH can do. Exactly. If you want to bake an Olympic to PLA, that's like a good little technique. And the cool thing about the POSMORPH too is you can animate below and above 100% strength. So you can even get like a little bit of like overshoot balance, which is pretty cool. Like I love doing that little bit. Just do this, bam. And then just bring it back to 100. Bring it back. There you go. And of course you could, you know, finesse that a little bit. Yeah, but this is just like the idea. This is just a mint. It's low effort. I love that. need any key frame easing or anything. Exactly. Sweet. So yeah, I mean that pose morph man, like that's the, that's the key winner in, in this shot right here. And of course you have the floaties in there. It's the same technique. You know, just random effect rotation. And yeah, that's pretty much it. Very cool. So let's move on. We, we have floaty little threads. Let's go to the floaty bees in the next shot there, which you had. You also had the honeycomb like animating down as well, like very subtly. Yeah, this was a nice. Let me just disable the bees because. Yes. Bees all will have you with the X particles and also the displacer. When you have a displacer and you see it, it really slows it down. Yeah. So again, similar concepts. All this stuff is being driven mostly by a plane effector. So, you know, again, like we put these objects into a fracture object just to be able to have effectors communicate with the objects that lie within it. I'm just going to disable the delay effect in here so we could, you know, kind of scrub food is animation and we could see what's happening. So what's happening here, there's a plane effector, and that plane effector has movement on the y-axis. But there's also a random effector that has rotation, and those two things are really kind of driving that animation. But how we're activating it is via this falloff here, this spherical falloff. And as it, you know, scales up from the middle. Okay. It's just activating the objects around it. And it's got this like really nice cascading effect because you're using that spherical shape versus like a plane or linear field. Sorry. And it's just super linear. Like I love the cascading effect because I think when you turn on the all the other ones, it's like a cascading backward kind of DLO most. Exactly. And it's just this literal theme idea applied everywhere. There's a right mover and you know, yeah, it's just animated differently. That's all. So if you just, you know, if you played this back, you just kind of see all the four more graph objects. I love how like the movement just helps lead your eye into the center towards your logo too. Exactly because this one comes out first and everything kind of cast yes Right, I mean not gonna go to into detail of the particle some for sure It's actually you know, it's just x particle some of turbulence on it Mm-hmm. It's this this type of stuff is really just up to you kind of looking at what? Settings work in this scene right it's a turbulence Once there's a scale feel right, you just kind of look at it and you determine it. But from a technical perspective, it's not that much to it. It's more like looking to see what works. And again, we're just taking the B and applying it to the Clones as a custom object. But one thing that's also really important with this type of stuff is that you want to always make sure that use rotation on the extended data is enabled because I don't think it is by default. Okay. And does that allow it to rotate the object or what is that option? Yeah, exactly. So that's like when it's... Otherwise it's just moving in a fixed rotation. I got you. Exactly. So it's saving like the orientation data. So when you map an object onto it. Okay. Yeah. Very cool. Okay. It could point it in a specific direction. But yeah, that's about it. Very cool. So we've got the bees. Now we got the birds with the feathers. And again, just another example of a visually rich scene with the foreground feathers kind of falling. And then you have that really nice, it looks like wind is slowly blowing and undulating the feathers there. Exactly. And again, similar technique, apologies, this scene is just like a little bit difficult. Yeah, a little weird. because it's all white, but once we have demograph running through it, it helps. So again, really similar concept happening here. I'm just gonna select these top feathers. Now, the tricky part in this scene was getting all the nuance. So yeah, most of the animation here, like this whole upward movement is being driven by this plane effector. And this sphericals field. So what's happening? Like it's at rest and as this spherical field moves through this group, in the middle, it's like at its maximum, it raises the feathers by moving its rotation. Just rotating it up. little ruffle. Yeah, exactly. It's ruffling the feathers, literally. And as it's moving out, it's like it's coming down. So that's like the crux of this animation. And the way we're doing the fall off here, just to make it nice and smooth, I like to do that using the curve, just set the profile. Yeah, it's smart where, you know, I feel like a lot of people use fields and they never adjust the fall off much at all to get that smoothing like they just stick with the stock spline curve and that's about it but you know people can adjust like you could have multiple waves in that spline and pass something through and have a nice little ripple you know like I think I mentioned that before with the ripple animation it's all driven by that whatever you do in that spline curve editor. Yeah. You see, I know sort of all this other stuff is just adding some extra detail. Like this random is just giving some random ruffle, so it doesn't all feel like it's moving together. OK. And is that like using the animated random noise built into the random effector? But this one, yeah, exactly. So it's kind of giving it a little bit of, As it moves, it's also like some subtle kind of animation there as well. And even with this shader effect, there's another plane. If we go back here and we look at how we're stacking, there's another plane here. And that's also given it some additional animation using a shader field. So it's just like building up a bunch of difference, more graph things to make it feel good. But also getting the delay right. The delay is so important to this because that's what's giving it like the boof, boof movement when it settles. Is it set to spring or is it blend or what do you have on that? The spring at 80. Spring, nice. So getting like a nice kind of subtle. It's a little bit hard to see here. But if you went back to the video, when it lands it, it is just like... Yeah, just that little bit of overshoot. It feels alive and that's always the goal. Yeah. There's so many randoms. I just like to keep stacking stuff to see what works and what doesn't. I think that's always parts of the process. Then what is this one for? He says, what does this do? Oh, yeah. Well, that one was because like some of the feathers were intersecting. So I made like another one and like I had to go and I make like specific selections of certain feathers and apply like specific more graph objects to just move them a little bit more, a little bit less to avoid intersections. Yeah, I love the ability to just select specific clones and adjust how much an effector is affecting it to be able to have that fine tune control is really, really awesome. Yeah. And it's the same, it's essentially the same concept for the bottom one as well. It's but fundamentally everything is driven by this plane effector and this with the sphericals feel like both, both of these are. But yeah, that's the crux of it. Yeah. It's like a little wave, it's like football game. Yeah, I just love like theme throughout this entire video series is the amount of power and just gracefulness and detail you can add to animation, materials, uh, you know, just, just everything, modeling a, uh, organic looking object, uh, just everything stacks together again, and results greater than the sum of the parts kind of deal. Is someone needed to hand out a me to get like the specific, I guess all of them are hand out of me. Yeah, I mean, and that's another thing too, where you want a specific movement and you try to do it in a simulated procedural way when sometimes just getting in there and hand key framing is the right way to do it. Yeah, exactly. Because sometimes it's just hard to get the composition. When you're doing it with MoGraph and to retain the composition, yep, sometimes you just got to hand animate it. So we're going to the last shot and I think pretty much the only thing that's moving there is the light which pretty straightforward. This one's pretty straightforward. Just rotating the angle of that sun? Yeah, there's literally nothing to it."
+    }
+  ]
+}