Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part5_week08 01 overlap without dynamics_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part5_week08 01 overlap without dynamics_frames_transcription.json

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+  "text": " In this video I want to show you an alternative to the dynamics that we looked at last time for secondary motion. But before we do that I want to quickly regenerate the setup from last time and then show a couple of things here. And talk about some of the downsides of this method. Because both will have downsides. So I create my control first, test control, and then create a few joins from the side view, one, two, three, four, five maybe. And then I'll create a curve here, a new curve for the joins. One, two, three, four, five. This is going to be my path, or the one, the curve that's going to be dynamics. I'll use this curve now for my IK spline. So come to Animation, IK spline tool, if you reset that. But default, what you will see is you have auto create curve and auto simplify curve on. And then you can define how many points you want on your curve. But you can also use any curve that you've created manually just by turning these two guys off. And then you create your IK handle from root to end. And then you, I think it is command click on the curve. Here we go. And then it's creating the IKHandle. But now we have used the curve that we manually created instead of Maya creating the curve for us. So we can really be specific of where we want to have those points and so on and so forth to begin with by manually creating that curve. So this is our IKHandle curve. OK, IKHandle. Cable and let's change the color on this one. Now what we have to do is for this I Cable we have to make it soft again. That's what we did last time. So in the Dynamics menu, Softbody, Create Softbody. And the settings that we wanted to have was we want to make the original soft. So that's the one that's currently being used. That's the one that's getting the particles. And then we want to make the non-soft goal. We can set this to 1 here right away. And then we want to have the goal, which is this one here. So this will be the goal or target curve. target curve should go under Beeper and under the control, so that when we move it, we will see the dynamics trying to follow that goal. So let's create a little animation here. Let's keyframe that, put this to 35, 35, and 0. And now we have to make the dynamic curve, just this one here, just the dynamics underneath there. We're going to Component Mode, select all these particles, and then we can go into General Editor's Component Editor, what we looked at last time, Particles, and then we can play with these goals here. So let's make these maybe 0.8, 0.6, 0.4, and 0.2, just to show a very simple example. So the first point here, or the first particle, that's the one at the root. Here we go. So that we want to have 100%. The moment is quite dynamic. So we can now play with the gold smoothness at a 2 for example. See what we get done. Okay, we get some overlap here. Might not be exactly what we're looking for, so then we could come in here and say, okay, this one is maybe moving too much, so then we, you know, make this higher. Maybe this one here also a little bit higher, and then see what we get now. Okay. Maybe this one here is not enough, so we want to make it a little bit looser, and these ones here are maybe still too much. Just make them a little bit stiffer. This one at the end in particular. See what we get. Okay, now it's quite stiff, so then we can play with the gold smoothness here again. Maybe setting that to 2.5. Okay, this might be something that's okay for depending on what we're trying to do. DC are in the middle, stay quite stiff now or straight. Then we can come in here and try to play with this a little bit, so maybe make this a little bit looser again. See what we get. Not really, maybe making it harder. 05.5. Okay, maybe something like that, but you can already see like it's a lot of tweaking that we have to do to, you know, get it exactly how we want it to look like and always have to test it out. The other disadvantage of this method using dynamics is, it cannot go backwards. You always have to start from the first frame or wherever your start frame is for the dynamics. You could potentially also cache out these particles. Actually I don't quite remember where to do that. I think it's here. So, it's memory caching. So you can cache particles and create particle disc caches and stuff like that for that you can later load or play back, for example, for rendering and so on. But dynamics is always a little bit tricky. I mean, there are some nice things about it. A lot of stuff that you get for free, but it's also a little bit tricky to deal with on a per shot basis and also takes a long time to tweak and to make it look right. So at the moment, we have these tweaked for this particular animation. But if the animation was a little bit faster or it would move more, then maybe it's moving too much. So then we have to tweak it again. And as I said before, it always has to start at the first frame. And then we can play it back. Even when we scrub through the timer, we can see, OK, now we get the overlap. But if we try to go backwards, it doesn't really work. And if we jump somewhere in the time frame or timeline here, also it doesn't work. We cannot see it update. really have to play it through to see the dynamic behavior. So all those things are disadvantages, perhaps depending on what you're trying to do. So I want to show you an alternative method where we can try to achieve something similar, but with a different method. So let's group all these and call this dynamic method, or dynamic overlap. And let's hide that. Let's try something else. So I'll create again a circle and call this mTestControl. Call this testB maybe. Just so that we don't have crashing names. Then I'll create joints again. So the skeleton... 1, 2, 3, 4, 5, that's what we had before I think. And I'll create my animation here again. to delete the history, set the color, create a little anim. Actually, the same thing that I did before. So I think we had minus 35. 35. That's zero. This time what I'm going to do is I'm going to parent the first joint under the control. So now we have that working. And now we want to create our overlap and it's actually quite simple. What we can do is we can use expressions for that. So we go to the next joint here, and we want to see which joint we want to rotate. So if this rotates, we want to rotate this one here as well, but with a delay, right? So get this overlapping behavior kind of. So what we can now do is we can go onto our rotation that we want to have here on the joints is going to be y but under control it was x. So we want to say this one here, control or rotate y, go edit expression, then we say a joint7, rotateY equals, and now we could say mTestControl2, rotateY. Actually I think It is rotated x and it was also not control 2. It was test v, control rotate. Great. So now we have this, which is not really what we're looking for. But what we can now do is we can, for example, multiply it with minus 1. Then it's going in kind of like the same direction. That's also not really what we want. But I want to show you something else. instead of writing it like this, where we just say, okay, join seven, rotate y is, let me remove this here for a sec. So instead of saying, okay, the rotation y of join seven should be the same as the controls, rotate x, we can also say, we can use mel here, we can say get attribute, like this. And with that, what we can do is now, This is exactly the same thing that it's doing right now. But what we can now do is we can also get the attribute, the rotation here, at a specific frame. So we can get it at frame. Or actually, we have to use a time. And then we can say frame, which is the current frame. So it's trying to query the current frame at this time. We can say frame minus 1, for example. And I don't think we will see much yet. And actually let's multiply this with minus one here, that it goes in the right direction. Multiply minus one. So this is not really exactly what we want, but instead of just going querying the previous frame, we can queried the five frames earlier. And we get a little bit of overlapping behavior. Okay, let's try to apply this to the rest of the joins and see what happens. So, joint 8 and joint 9 should get the same. So here we're getting a little bit of overlapping behavior. Okay. What we can also do now is we can offset it, as we can for example say multiply it by 2, multiply it by 3. Let's put it in brackets here. Okay. I'll play it back one more time. Now we get something like that. Okay. Nice, smooth wall. Now at the moment it might be a little bit slow, so we can also add a control there. We can tweak that, or animators even can tweak that, how stiff they want the behavior to be, or how flowy. So let's add an attribute here and call that, for example, stiffness, or offset or something like that. Let's don't add any minimum or maximums for now. Let's just leave it as it is. Let's make this a float, maybe. So we have our stiffness attribute. And now we can put our stiffness attribute and set this to 5. And now we're going to use that, that we can control how many frames previously we want to query. So let's go into our expression, find our expression again. Added expressions. And then here it is. And now instead of using five hardcoded for how many frames per use, we're going to use our attribute. So we say frame minus, and it would be m test b control dot stiffness. It should be it. I'm going to replace the five everywhere here with that. Edit, and it's successful. There's no errors. So this is the same result. Here we go. And now we can try setting that to 3. Now we're getting it a little bit less stiff. Maybe minus 1. That's maybe not what we're looking for too. Okay, it's still a little bit flowy for my taste. I think that is coming from because we are multiplying it by two. So let's try something else here. Let's add another attribute here and call this offset. We can probably also make this a float. And then for the offset, what we're going to do is this is going to also bring that into expression. To expressions. So here we're going to maybe not necessarily multiply it, although we might be able to do that. So here this would be the same as writing it, multiply by one, right? So we might be able to just multiply with how much we want to multiply it. So if we set this to multiplying this number with our mTestB, and now the expression is getting a little bit long, and it was the offset. Offset. Here we go. Then we added that. successful so no mistakes so far. Let's see what we get now. So this should give us the exact same result as before, but now if we set this to 0.5. And now we can play with both of these values and setting this to 4 maybe. And we get a little bit of overlapping behavior. Let's try different things here, see how we can influence that. Let's try 0.1. So now almost all of them behave at the same or fire off at the same time. by increasing that, we get more of an overlap, right? Setting it to 1. Setting it to 2. This might not really look like dynamics anymore or overlapping, but you get the idea. OK. There are with this setup, and we can also scrub the timeline. And the great thing with this is we can scrub forward, backwards, everything will work. We can jump anywhere in the timeline here, and it will have to correct rotations here, because it's just expression-based, no more dynamics. There are also some downsides, however. This method will only work if you have keyframes already. So if we don't have any keyframes, if we just take this and move it, we can see that there is no rotation happening. So when we break this here, the animation under control, and we just try to rotate it or set it to something, we can see we don't see any overlap. Okay, actually this is curious. It seems like when we're playing back, then it's triggering the expression. So if we set this to zero, and then we're playing back or scrubbing a timer, then it refreshes. resetting this to 10 and play it back, then it refreshes. But you can see as I'm animating it we don't see any updates here. So this might be a little bit weird for animators using that because as I said before they can only see it really updating or doing the real thing that we wanted to do when they have keyframes on. So if we're keyframing this one more time, Here we go. There is probably some more issues with this method too, and that is if you are not resetting it will stay in that pose. So if we delete that keyframe, if it's just going from one to another pose, from one pose to another pose, you can see it just bends. It doesn't really relax anymore. It doesn't come back. We could potentially make our expression more complex and trying to make, you know, this bouncy behavior, but I tried the ones and was actually very, very complicated and I kind of gave up. Trying to find a formula for making dynamic behavior and kind of like having it, you know, dampened and like that it falls off that basically the longer it goes, because that's really what you would want with real dynamics, right? You would want it to go, actually, and this is probably already going in the wrong direction here, you probably wanted to go into the opposite direction first, like having, this is more like just overlap, but what you're missing is like the drag so that if there is wind resistance or something or air resistance, you don't want these to go in the same direction. First you want them to go into the opposite direction in the beginning, so if we try that probably again as I said it won't work I think. At least not with the expression that we currently have. Expressions, we remove the minus here, that goes into the opposite direction again. Let's see what we get here from this. But also again, this is not really what we're looking for, so I think we do need the minus. It works well if you have something that goes back and forth, so like an antenna or something like that that you know is going to go, or a pendulum or something like that. Did I just kill my expression here? I think I did. Maybe. Let's add these minus in here again. If you only have it go in one direction and stop, then probably this won't work. Again, unless you make the expression more complex. But I wanted to show it to you anyway just as an idea that you can also do quite a lot with expressions. And here this expression is not yet too complicated. I mean, we have two, we've added two attributes here that allow us to control a little bit how the expression goes. We don't necessarily need all of that. We could potentially also, instead of multiplying the stiffness that we subtract from each frame. So the idea here being that we just want to subtract a certain amount of time. We want to query the animation that we have, like five frames earlier, six frames earlier. So we could also write it like this just to make, again, quite simple. 5, 6, 7. Just to get a little bit of offset. We're not varying everything at the same time. So we try something like that. Edit. Okay. Then we set this back to 35. and then setting this back to zero. Okay, that doesn't look too good. So maybe we need bigger ones, 10, 15. That's what we had before, just with the multipliers. But even here probably doesn't look too good. But still, it has value. It could be used for all kinds of things. I think this is quite powerful being able to query attributes from before or also after. You could also say, okay, where is the animation going to be in five frames? Then we can just plus those. And then what we'll get is that these will move first before even the first one will move. here. Probably also not really valid here, but let's see if we try to create a more even animation. It's usually the best way to test it out. Are all defined in the expression. And zero, keyframe done. Now you can see that these ones are moving first before the other ones are even starting to move. And what this could potentially be useful for is, for example, if you have grass or something always in the background waving in the wind or four things like a tree or branches, you know, that you want to have waving in the wind, those kind of things or overlapping action that are very repetitive. It's not so much useful for, you know, if you have dogs ears, for example, and you want them to go bounce as the character is like jumping and doing very irregular movements, that I think dynamics are still better. But I wanted to show you this technique here as well. And let's see if we can restore the expression here real quick that we had going before. Expression, add a minus in here, something like that. Let's see what we get with this. So as I said, for example, if you had something like seaweed or something underwater for an underwater sequence and you need to make it rotate in a specific way but you don't want use dynamics and all that stuff, then this might be a nice alternative.",
+  "segments": [
+    {
+      "text": " In this video I want to show you an alternative to the dynamics that we looked at last time for secondary motion. But before we do that I want to quickly regenerate the setup from last time and then show a couple of things here. And talk about some of the downsides of this method. Because both will have downsides. So I create my control first, test control, and then create a few joins from the side view, one, two, three, four, five maybe. And then I'll create a curve here, a new curve for the joins. One, two, three, four, five. This is going to be my path, or the one, the curve that's going to be dynamics. I'll use this curve now for my IK spline. So come to Animation, IK spline tool, if you reset that. But default, what you will see is you have auto create curve and auto simplify curve on. And then you can define how many points you want on your curve. But you can also use any curve that you've created manually just by turning these two guys off. And then you create your IK handle from root to end. And then you, I think it is command click on the curve. Here we go. And then it's creating the IKHandle. But now we have used the curve that we manually created instead of Maya creating the curve for us. So we can really be specific of where we want to have those points and so on and so forth to begin with by manually creating that curve. So this is our IKHandle curve. OK, IKHandle. Cable and let's change the color on this one. Now what we have to do is for this I Cable we have to make it soft again. That's what we did last time. So in the Dynamics menu, Softbody, Create Softbody. And the settings that we wanted to have was we want to make the original soft. So that's the one that's currently being used. That's the one that's getting the particles. And then we want to make the non-soft goal. We can set this to 1 here right away. And then we want to have the goal, which is this one here. So this will be the goal or target curve. target curve should go under Beeper and under the control, so that when we move it, we will see the dynamics trying to follow that goal. So let's create a little animation here. Let's keyframe that, put this to 35, 35, and 0. And now we have to make the dynamic curve, just this one here, just the dynamics underneath there. We're going to Component Mode, select all these particles, and then we can go into General Editor's Component Editor, what we looked at last time, Particles, and then we can play with these goals here. So let's make these maybe 0.8, 0.6, 0.4, and 0.2, just to show a very simple example. So the first point here, or the first particle, that's the one at the root. Here we go. So that we want to have 100%. The moment is quite dynamic. So we can now play with the gold smoothness at a 2 for example. See what we get done. Okay, we get some overlap here. Might not be exactly what we're looking for, so then we could come in here and say, okay, this one is maybe moving too much, so then we, you know, make this higher. Maybe this one here also a little bit higher, and then see what we get now. Okay. Maybe this one here is not enough, so we want to make it a little bit looser, and these ones here are maybe still too much. Just make them a little bit stiffer. This one at the end in particular. See what we get. Okay, now it's quite stiff, so then we can play with the gold smoothness here again. Maybe setting that to 2.5. Okay, this might be something that's okay for depending on what we're trying to do. DC are in the middle, stay quite stiff now or straight. Then we can come in here and try to play with this a little bit, so maybe make this a little bit looser again. See what we get. Not really, maybe making it harder. 05.5. Okay, maybe something like that, but you can already see like it's a lot of tweaking that we have to do to, you know, get it exactly how we want it to look like and always have to test it out. The other disadvantage of this method using dynamics is, it cannot go backwards. You always have to start from the first frame or wherever your start frame is for the dynamics. You could potentially also cache out these particles. Actually I don't quite remember where to do that. I think it's here. So, it's memory caching. So you can cache particles and create particle disc caches and stuff like that for that you can later load or play back, for example, for rendering and so on. But dynamics is always a little bit tricky. I mean, there are some nice things about it. A lot of stuff that you get for free, but it's also a little bit tricky to deal with on a per shot basis and also takes a long time to tweak and to make it look right. So at the moment, we have these tweaked for this particular animation. But if the animation was a little bit faster or it would move more, then maybe it's moving too much. So then we have to tweak it again. And as I said before, it always has to start at the first frame. And then we can play it back. Even when we scrub through the timer, we can see, OK, now we get the overlap. But if we try to go backwards, it doesn't really work. And if we jump somewhere in the time frame or timeline here, also it doesn't work. We cannot see it update. really have to play it through to see the dynamic behavior. So all those things are disadvantages, perhaps depending on what you're trying to do. So I want to show you an alternative method where we can try to achieve something similar, but with a different method. So let's group all these and call this dynamic method, or dynamic overlap. And let's hide that. Let's try something else. So I'll create again a circle and call this mTestControl. Call this testB maybe. Just so that we don't have crashing names. Then I'll create joints again. So the skeleton... 1, 2, 3, 4, 5, that's what we had before I think. And I'll create my animation here again. to delete the history, set the color, create a little anim. Actually, the same thing that I did before. So I think we had minus 35. 35. That's zero. This time what I'm going to do is I'm going to parent the first joint under the control. So now we have that working. And now we want to create our overlap and it's actually quite simple. What we can do is we can use expressions for that. So we go to the next joint here, and we want to see which joint we want to rotate. So if this rotates, we want to rotate this one here as well, but with a delay, right? So get this overlapping behavior kind of. So what we can now do is we can go onto our rotation that we want to have here on the joints is going to be y but under control it was x. So we want to say this one here, control or rotate y, go edit expression, then we say a joint7, rotateY equals, and now we could say mTestControl2, rotateY. Actually I think It is rotated x and it was also not control 2. It was test v, control rotate. Great. So now we have this, which is not really what we're looking for. But what we can now do is we can, for example, multiply it with minus 1. Then it's going in kind of like the same direction. That's also not really what we want. But I want to show you something else. instead of writing it like this, where we just say, okay, join seven, rotate y is, let me remove this here for a sec. So instead of saying, okay, the rotation y of join seven should be the same as the controls, rotate x, we can also say, we can use mel here, we can say get attribute, like this. And with that, what we can do is now, This is exactly the same thing that it's doing right now. But what we can now do is we can also get the attribute, the rotation here, at a specific frame. So we can get it at frame. Or actually, we have to use a time. And then we can say frame, which is the current frame. So it's trying to query the current frame at this time. We can say frame minus 1, for example. And I don't think we will see much yet. And actually let's multiply this with minus one here, that it goes in the right direction. Multiply minus one. So this is not really exactly what we want, but instead of just going querying the previous frame, we can queried the five frames earlier. And we get a little bit of overlapping behavior. Okay, let's try to apply this to the rest of the joins and see what happens. So, joint 8 and joint 9 should get the same. So here we're getting a little bit of overlapping behavior. Okay. What we can also do now is we can offset it, as we can for example say multiply it by 2, multiply it by 3. Let's put it in brackets here. Okay. I'll play it back one more time. Now we get something like that. Okay. Nice, smooth wall. Now at the moment it might be a little bit slow, so we can also add a control there. We can tweak that, or animators even can tweak that, how stiff they want the behavior to be, or how flowy. So let's add an attribute here and call that, for example, stiffness, or offset or something like that. Let's don't add any minimum or maximums for now. Let's just leave it as it is. Let's make this a float, maybe. So we have our stiffness attribute. And now we can put our stiffness attribute and set this to 5. And now we're going to use that, that we can control how many frames previously we want to query. So let's go into our expression, find our expression again. Added expressions. And then here it is. And now instead of using five hardcoded for how many frames per use, we're going to use our attribute. So we say frame minus, and it would be m test b control dot stiffness. It should be it. I'm going to replace the five everywhere here with that. Edit, and it's successful. There's no errors. So this is the same result. Here we go. And now we can try setting that to 3. Now we're getting it a little bit less stiff. Maybe minus 1. That's maybe not what we're looking for too. Okay, it's still a little bit flowy for my taste. I think that is coming from because we are multiplying it by two. So let's try something else here. Let's add another attribute here and call this offset. We can probably also make this a float. And then for the offset, what we're going to do is this is going to also bring that into expression. To expressions. So here we're going to maybe not necessarily multiply it, although we might be able to do that. So here this would be the same as writing it, multiply by one, right? So we might be able to just multiply with how much we want to multiply it. So if we set this to multiplying this number with our mTestB, and now the expression is getting a little bit long, and it was the offset. Offset. Here we go. Then we added that. successful so no mistakes so far. Let's see what we get now. So this should give us the exact same result as before, but now if we set this to 0.5. And now we can play with both of these values and setting this to 4 maybe. And we get a little bit of overlapping behavior. Let's try different things here, see how we can influence that. Let's try 0.1. So now almost all of them behave at the same or fire off at the same time. by increasing that, we get more of an overlap, right? Setting it to 1. Setting it to 2. This might not really look like dynamics anymore or overlapping, but you get the idea. OK. There are with this setup, and we can also scrub the timeline. And the great thing with this is we can scrub forward, backwards, everything will work. We can jump anywhere in the timeline here, and it will have to correct rotations here, because it's just expression-based, no more dynamics. There are also some downsides, however. This method will only work if you have keyframes already. So if we don't have any keyframes, if we just take this and move it, we can see that there is no rotation happening. So when we break this here, the animation under control, and we just try to rotate it or set it to something, we can see we don't see any overlap. Okay, actually this is curious. It seems like when we're playing back, then it's triggering the expression. So if we set this to zero, and then we're playing back or scrubbing a timer, then it refreshes. resetting this to 10 and play it back, then it refreshes. But you can see as I'm animating it we don't see any updates here. So this might be a little bit weird for animators using that because as I said before they can only see it really updating or doing the real thing that we wanted to do when they have keyframes on. So if we're keyframing this one more time, Here we go. There is probably some more issues with this method too, and that is if you are not resetting it will stay in that pose. So if we delete that keyframe, if it's just going from one to another pose, from one pose to another pose, you can see it just bends. It doesn't really relax anymore. It doesn't come back. We could potentially make our expression more complex and trying to make, you know, this bouncy behavior, but I tried the ones and was actually very, very complicated and I kind of gave up. Trying to find a formula for making dynamic behavior and kind of like having it, you know, dampened and like that it falls off that basically the longer it goes, because that's really what you would want with real dynamics, right? You would want it to go, actually, and this is probably already going in the wrong direction here, you probably wanted to go into the opposite direction first, like having, this is more like just overlap, but what you're missing is like the drag so that if there is wind resistance or something or air resistance, you don't want these to go in the same direction. First you want them to go into the opposite direction in the beginning, so if we try that probably again as I said it won't work I think. At least not with the expression that we currently have. Expressions, we remove the minus here, that goes into the opposite direction again. Let's see what we get here from this. But also again, this is not really what we're looking for, so I think we do need the minus. It works well if you have something that goes back and forth, so like an antenna or something like that that you know is going to go, or a pendulum or something like that. Did I just kill my expression here? I think I did. Maybe. Let's add these minus in here again. If you only have it go in one direction and stop, then probably this won't work. Again, unless you make the expression more complex. But I wanted to show it to you anyway just as an idea that you can also do quite a lot with expressions. And here this expression is not yet too complicated. I mean, we have two, we've added two attributes here that allow us to control a little bit how the expression goes. We don't necessarily need all of that. We could potentially also, instead of multiplying the stiffness that we subtract from each frame. So the idea here being that we just want to subtract a certain amount of time. We want to query the animation that we have, like five frames earlier, six frames earlier. So we could also write it like this just to make, again, quite simple. 5, 6, 7. Just to get a little bit of offset. We're not varying everything at the same time. So we try something like that. Edit. Okay. Then we set this back to 35. and then setting this back to zero. Okay, that doesn't look too good. So maybe we need bigger ones, 10, 15. That's what we had before, just with the multipliers. But even here probably doesn't look too good. But still, it has value. It could be used for all kinds of things. I think this is quite powerful being able to query attributes from before or also after. You could also say, okay, where is the animation going to be in five frames? Then we can just plus those. And then what we'll get is that these will move first before even the first one will move. here. Probably also not really valid here, but let's see if we try to create a more even animation. It's usually the best way to test it out. Are all defined in the expression. And zero, keyframe done. Now you can see that these ones are moving first before the other ones are even starting to move. And what this could potentially be useful for is, for example, if you have grass or something always in the background waving in the wind or four things like a tree or branches, you know, that you want to have waving in the wind, those kind of things or overlapping action that are very repetitive. It's not so much useful for, you know, if you have dogs ears, for example, and you want them to go bounce as the character is like jumping and doing very irregular movements, that I think dynamics are still better. But I wanted to show you this technique here as well. And let's see if we can restore the expression here real quick that we had going before. Expression, add a minus in here, something like that. Let's see what we get with this. So as I said, for example, if you had something like seaweed or something underwater for an underwater sequence and you need to make it rotate in a specific way but you don't want use dynamics and all that stuff, then this might be a nice alternative."
+    }
+  ]
+}