Now we're going to move to the lid and the lid. Remember, we made these two keyframes that we moved over, they were over here, this is the end position, this is where the position is now. So if I move these, and I grab these and I move them over, I want it to start right here. So I'm gonna use J and K. So k gets me to that one. And then if I grab these and hold down Shift, it's gonna snap. So it snaps right to that.

And that's where it starts. And here's how it comes on. Obviously, we don't want it to come on like that. So also see something isn't quite right. Or they're just not coming down far enough. So no big deal.

I'm on this last keyframe, just to make sure I'm there. And I'm going to move it down to where I need it. About right there, right there, that's where we want it to end. Okay, so we bring that on, good. Soon back out, cup comes in, and it doesn't start until the cup comes to arrest. Now we could have it this is off the screen and the reason being is that I had both of them selected so when I change the position of the last one, the last keyframe the end, it moves a position in the top two, it's moving in as a whole.

I don't want that I need to unselect and just add this keyframe position, we don't even have to select it. Then I can move this up and now it's off the screen and comes down. Good drops, boom, and boom. Okay, so I want this to come in at an angle. So I know that here at this keyframe, I don't want it to come straight down. So I'm going to make sure you have the selection tool and just grab this and move it off to the side, wherever you'd like.

And I would also like this to be rotated. So on the rotation we don't need to set an end keyframe because we know it's going to end at zero. But I'm going to set a rotation here and have this come in about like this. I mean think about if you're putting the lid on a coffee cup, the angle you have you snap it on, you don't have a lot of times go straight down so this is going to snap on. So that rotation is going to be they're going to jump to this next keyframe and I'm gonna set this to zero. Now, here's the thing about it.

I don't want it to actually start and it's gonna start as a rotation here, but I don't want it to gradually rotate, notice how when I do this, it just kind of gradually falls into place. That's not how I want it, I want it to actually be at this angle, which we have at 20. I want it to be before it even hits this, so it's going to be zero here. But this is where we can set our keyframes different so it's going to be zero at the end here, but I want it to rotate once it hits here. Then I want it to snap the rest of the way on. So we can have it come in and slowly and then it hits and rotates.

Which is what it would normally do. But here is where I actually want it to gradually rotate here. And then be quicker here. A little snap. See I like that As this comes in, it comes down, gets there and then be a little quicker here. So what I'm actually going to do is set a keyframe here as well on my rotation, so that I can alter that.

As far as the way it comes in, I like that. I like the way it comes in just being linear. Okay, you can speed it up if you'd like. I'm gonna smooth this rotation out a little bit. So that a negative speed and I'm gonna bump this up to zero No, there's no such thing as a negative speed, obviously, but it's the speed is coming from a negative rotation is why it is indicated as negative being positive or negative rotation being counterclockwise or clockwise. And I want this, this one here to actually be Have a little more of an influence there toward this because I want it to be quick at first and then slow down.

And I want this to ease into the zero. So I want it to be, see I want it to be stopped here at zero. I want to be quick and then he eases into that zero. And this one here just kind of eases into that and there's going to be quick. Let's see what it looks like. There we go.

So you can see that motion kind of comes in and it eases into so it's coming here and once it hits here, then it's quick and eases into it just like you would in normal. cup, you'd grab that you'd put it on the top of the cup, and then you'd go quicker until you feel that pressure and then you'd snap it on. There we go. That's a little more natural. I like that. Good.

Right, let's see the whole thing here. pin it to 100 and cup drops and lid comes on and I want those to be happening a little faster. So I'm gonna grab these and just move everything a little closer. There we go. Not flying in and we got some motion. Don't take too long with your animations.

It doesn't take very long to get everything animated the way you want it to be animated. I know when I started out, I always felt like I needed a lot of time to get stuff done, but the quicker you go, then your audience is gonna like you better and you can make stuff look a lot more complicated in the next Okay, thanks. Unlike me, they fix this position here, I actually want to change some stuff here in this position. Zoom in. This is linear, but I'm actually what I'm going to do is easy this one. I'm gonna bring this down to zero and have it come in quick and ease into it.

This is going to be a report coming in, you're starting here, as it comes on the screen, that's going to get way faster and then slowly ease into this one too much. And actually, I could just have it come in faster. That's what I wanted to do. Actually just want it to come in a lot faster. So if I move this up now Just going to ease in quick and eases down into here we go. Let's see what that looks like.

And again, this is just trial and error, you just try some stuff. Oh, there we go. See now it flies in. Nice. What I want to do here is actually before this cup even fully settles, I would like. So around here is where it hits it.

So there, I want to bring all these on while the cup is still moving. It's another way to add complications and make it look more complicated in your animation and get stuff done quicker is to have animations happen simultaneously. Now one thing doesn't have to end and then another thing began. So I want this lid to come on while it's still bouncing and rotating. there so Just have to make sure that cup is settled before the lid hits. There we go.

So it's gonna, the lids gonna snap onto it right about the time it settles. They're nice. I love that. The wrap for one though, we need it to happen. And to come on board only after the cup is settled, because that won't make any sense to have it doing anything until the cup is actually settled. So there and then this is our end, we can have it happen pretty quick.

Yeah, I think that's looking pretty good. And then we'll finesse that good. I noticed that the wrap is coming on way too straight, it ends much more abrupt than I want it to end. I'm really liking that lid though. I like the ease of it. As it snaps down.

That's nice. Okay, so we will select these. And here's another way you can do it is just to grab this last one and hit f9 That's going to ease it. If you look here it so it comes on quick and then eases it. And if you want more easing, then you can grab the influence handles and pull this out. It's going to be quicker and it's really going to ease on and move this influence over more here.

Have it Come on really quick, and that slows way down. This is the last piece and a lot of times I like to when I animate just my style is the final piece I like it to really slowly snapping into into place just to give it that kind of finesse ending piece to it. So that so that rep comes on super quick. We want it to end to win it to the last piece so we're going to give it some time. There we go. Have some nice wheezing in there.

Grab it some more. This does influence over. Actually we can move this down to zero. And then really good to ease in. There we go. If you feel like you want that to eat even more, of course you can just stretch this out.

Yeah, that slowed it way down. So now, when you look at your position, notice that this is the distance in your keyframes and that's how far it has to move. So sometimes if you don't feel like your animation is easing, or coming into the end spot, as smooth as you'd like. It's because your keyframes are too close. Like I said earlier on A lot of times your animations can happen a lot quicker than you initially think. But on the flip side, sometimes you need more time than you think you need.

That is really nice, nice and smooth. And remember with our graph, what's happening here is very fast, and then slowly eases out to it. And if you look at our dots farther apart, and as they go here, much, much closer together, so it slows way down as it goes there. So that all correlates, the more you can notice this correlation between the dots on the path and the graph position itself, you'll get to the point where you can start looking at a graph and understanding what it's going to look like for the most part and you'll get much better at it but you have to make that connection. You have to see that connection and really pay attention to it. Okay.

I think our cup is looking really good. Everything looks great. Our shadows are working really well. Everything is exactly where It needs to be. And because we made that track mat, notice our shadows like the lid does not show up until it's over the cup. So right there a very natural look to that shadow because it's only happening because of the track man.

Same with our wrap right here at the bottom as soon as it comes over the cup. There's our shadow is nice. We're going to save it and move on to the next