Hey what's up guys welcome back to this section of the tutorial now in the last video we did leave off from this point so it can see the animation has started looking nice. Obviously there's room for improvement but for the sake of the tutorials, we're going to extend them by tuning them so in this tutorial I said ambush talk about overlap and quality overlap and follow through these are the appendages of object so appendages meaning detectives, feet, mostly they are the last things to catch up in the motion of the main Buddhists in this case, appendages in this case will be something like the main arm here and okay. The thing is, you see there's a lot of keyframes on my my timeline right now. So it's basically on the main layer. So I'm just going to create an animation layer so that I can put all the Animated objects into one layer and I'm going to call this main body and Maya doesn't make any space it doesn't want to rename.

I don't know why. Okay, so you see if I log although if I lock my keyframes, it means that I don't have like a more good tempo than not. What I want is to use this. Just take hold this upper appendages or the arms, the wrists, the fingers here and I want to put them and also the head because the head is also an appendage. I want to put them on my on a new layer, where I'm not going to affect the base anymore. So the main animation is going to be on that layer.

And I'm going to look at so I'm going to call this end sets like that. I don't know if that is the spelling, but it was it was so that I cannot tamper with the main animation here. So as can see, it's locked and you can't really tamper with it. It's a really neat way of walking in my door to mess around with the admission. So in this case, yeah, so the next thing to do is maybe I don't know, I'm not going to create a selection set. I'm just going to keyframe each one of this or each of these controls manually.

So when he is falling down this because this is the most stretched pose I could find. I would like this arm because this is going up this arm would try and resist the course of or is that the concept of an open forum. ruins because of inertia, where these objects try to retain their original state. So the original state of this arm should be slightly tilted downwards. Now this, I forgot that this controller doesn't have X, Y, it doesn't have like a, an X and a Y. So I think that I'm stuck using this, the wrists.

So what I'm going to do is, again, it's going to try and stick like and I think that is the most stretched screen, just try and stick to the original position pose. So I'm just going to take it downwards like that and hit a key cream. Same case for this one, it's trying to resist and I'm going to also hit a keyframe for that one. And when it's Heading down and the arm now starts to to move. Because I think this is the, this is where the arm now has really started. Falling Falling down so at this point is where they there is now can start going up to go now it's the last one because it's an appendage, it's the last thing to catch up with a motion.

And right now it may look like no make no difference, but best thing to do is to just continue tweaking. And once the Carter hits the ground can notice that the Army's going on so good. This one kid that way King. Now you can notice that something started happening with the wrists. I will never that the main arms moving down just remember that because it's an appendage. You see, do you not notice that looks kind of natural because it's an appendage, it's supposed to move in the opposite direction.

Okay, so at this point where he's tried to move really down can also just try and bring it back because remember, needs to be flush against the ad. And the best way to work I think, is to focus on one arm at a time. So let's let's look at the main camera and see Look and see that this arm looks fluid. Okay, so that fluidity in the animation is really, it's more of the fine tuning process, it's not something you're going to come up with. Immediately you start it takes a while, and it just is considered a reference can't help you at this point. So this is why I'm saying that the reference stick video reference as media reference, it's only there to assist you.

So and if you notice that your camera maybe is moving too much, you can always parent your camera to the objects that you want to follow. So in this case, what I'm going to do is going to select my camera set, select my wrist and parents so as you can see, the camera looks like it's not even looks like it's actually stuck. It's stuck at the wrists, some But quickly new camera and where is my perspective can split the views and change this to the perspective or what supposed to take this perspective one year and you need to show cameras trying to look for the perspective I can see it. So select camera since it cannot be seen it's it's okay. Just going to rotate it. More bits to it subjects.

It's supposed to be focused on the wrists. So these are just tips, okay? It's not something that you have to do. I'm just showing you this candy. How you live go about making your work or making your life easier. So let's go to the perspective now because now we're really focused on the arm now I can.

And I've started to notice that that can be kind of a problem. So I'm just going to stick this back to its perspective, the new camera that I've created. And, yeah, let's focus on here because these when it start like this, there is no way for me to realize that there's actually no way for me to tell if the arm is moving up or down. So that was a mistake on my part. So I'm just going to unparent the perspective and leave it as is. And it's good sometimes to try to to try and see that whatever you're trying is no marking.

And you possibly want to make sure that you By selecting the camera I want to make sure that the rotation values are correct. So you're getting a tilt. But let's just focus on the screw that you've seen me make that mistakes that you can try and see why it did not work. So in this case, the Army's when he's moving like this. This arm is going up. Remember the wrist needs to come down.

Oops. And at this point, I'm just going up this strip six, yeah. Okay, so it's just falling down. Chickens are just growing all over the record these tutorials in the morning So at this point where the arm is, is can see now the arm is starting to be raised up. So it makes sense to start rotating this back. And let's see.

And it's really really the arm is really, really great. Okay, so again is going down so the arm will slightly rotate up again. And again, it's rotating this way so the app will be left behind and then catch up with it with the rest maybe slight room for like. Let's see, a much of a difference orthographic plots. Remember we were animating from the front view. Let's go see, the arms are not the answer.

The wrists look fluid. Okay? They look like they are being swung around and the amount of swing or the amount of flimsiness is determined by you. So it's up to you to make sure that if you feel asleep, and also I've noticed that also, because the elbows are rotating on from this point, you can also add some follow overlap and follow through at this point so it's going to be so when he's rotating this way, the elbow needs to be the last object to catch up. Possibly. So because he's going to hit that point and come back slightly like that.

Return so let's look now because I've chosen to admit the elbow now the arm needs to move in the opposite direction. So at this point where the elbow decides to tu tu go like that so to straighten out I will say that it's may be time for you to because it's the elbow is going backwards very seems to be going coming out. So the elbow folds in like this at this certain point is when are they this game? Okay, number always in the opposite direction. So, like I see that now have a bunch of clarity keyframes. So let's look I feel as if this elbow is coming back too much like me.

Let's see. This lesson is becoming so long. Again, opposite direction. Let me see it's making so much of a difference. It's kind of making it's kind of making a difference. So I might fine tune it.

I might not. Okay. Sometimes it works. Sometimes it doesn't. It doesn't mean that It's really compulsory for you to use overlap and follow through but it's it's good for me that it's good that I have mentioned it so that you can know that you can always add it to fine tune or just to add that extra touch. So because it was something like that fits here, okay when he is about to like hit the ground, it will make perfect sense to make sure that they the treats are coming up because of the force of gravity and I think this one would work better.

Now, let's just use this okay, because they're really coming and don't think that keyframe is messed up between the we can just, we can admit the the feet on the main admission layer, but It's It's good. It's good that I have mentioned the, the principle of follow follow through and novella. It mostly works well with characters with a penalty. So things like hair tails, those are the ones that I really want to make you have to practice on that follow through and overlap because it is a character. And by the time you're fine tuning all of this animation, so most of the things to start looking smooth, even without using follow through and overlap, but it's good that I have messed up and it seems that maybe you mess up you can. You can just know when to stop doing whatever you're doing, because it's not working.

So I guess I'll see you in the next lesson.