- [Instructor] Now let's apply what we learned
about the roto node to an example
of rotoscoping a walk cycle.
The whole idea is to do as much as possible
with the transformation of shapes alone
and minimize the amount of control point editing.
Now, I've got this little 24-frame walk cycle here.
And what we'll do is we'll just focus on
working on this right leg, right here.
So, in all rotoscoping situations,
the first thing you're going to do is scrub through the shot
to analyze it and form your plan of attack, okay?
So, we have a lot of motion blur here at the head,
he steps down, and we got motion blur at the top of the leg
but not at the foot.
And then here the shoe starts to flex
and now we got a lot of motion blur at the knee.
So this is going to be an interesting problem.
All right, so, what we do is I'm going to pick the first frame,
which will be just the cleanest and clearest frame of all,
which I think would be frame 11.
The next thing I'm going to do is increase the contrast
of my viewer by doing a gamma down and a gain up
so I can see better, okay?
All right.
All right, so we'll pick the read node
and type O on the keyboard to get our roto node.
All right, so I'm going to draw a shape
for the front of the leg, the back of the leg,
and third shape for the foot.
So, I have my shape bezeer selected,
so I'm going to come in here and click and drag,
click and drag, click and drag,
click and drag, click and drag.
Now, I'm not going to spend a whole lot of time
beautifying these shapes because
that means you'll be spending a lot of time
watching me twiddling control points.
So, we're going to do this in a very quick and simple way
so that you don't have to spend too much time
watching me fiddle around.
Okay, so let's pretend we like that
and I'm going to, first of all, name this, right shin, okay.
Typing Q on the keyboard turns off this line
and typing M turns on the map overlay.
So we can check our edge and we want to make sure
that this line comes down the hard part of the edge
and leave all of the anti-aliasing or the edge,
any depth of field, any motion blur,
hangs outside the shape,
we'll catch that with another methodology.
All right, so I got my right shin.
So let's draw a new shape here
and we're going to work on this calf.
Okay and we'll come up here.
And, again, I'm not going to fuss over these too much
'cause you've got better things to do
than watch me twiddle control points, okay?
All right.
So I got to make sure these overlap, all right?
Okay, and we're going to name this right calf.
Okay, now, I'm going to make a folder
and put 'em both in the folder,
which will give me a group control.
So we'll select root, type plus,
name this right lower leg.
And then we'll grab our two splines,
click and drag and drop 'em inside that folder.
Okay, now, this is the reason for doing this.
I can now treat them as one logical single entity.
Okay.
So what I'm going to do first is grab my control point.
After I switch to the transform tab, now,
okay, and we'll set key frames for translation and rotation.
Alt, command, and control, click and drag the pivot point
so I can pivot these guys right about
where I think the knee joint is.
We are trying to approximate
the actual skeletal structure here.
Okay, so once I do that, I can now do this.
And they all move together.
Okay, now let's take a look at the foot.
If we were to scrub down the timeline here,
we find that foot is flexing really big right there, right?
So I probably should draw two shapes,
one for this part of the foot and one for that part.
But, for the sake of brevity,
alt-left earl, jumping back to my control point,
I am going to do it as one shape.
Okay, shame on me.
So we'll select our beezer, push in,
and I'll do a click and drag, click and drag,
click and drag, click and drag, click and drag.
Dun dun dink donk.
And close.
There.
Okay, now a little clean up moment here.
Got to get this heel, 'cause it is got a curve to it,
so we've got to honor the curve.
I'm going to select these two, type Z on the keyboard,
so I've got kind of a little soft corner there.
Kind of hard to see the edge
because of all the gravel and stuff.
But I do know, holding down the shift key now,
I am getting both of these to move at the same time.
And twiddle this guy over here.
And move this guy up there.
And we got a little too much tension here,
so I'm going to select these two guys
and type Z on the keyboard to kind of relax everybody.
Okay, all right, so,
maybe we'll put a little kink there.
Okay, again, I don't want to spend too much time
twiddling shapes 'cause that's no fun to watch.
All right, so, let's pretend we like that, okay.
Q to remove the overlay, M to turn on the map overlay.
Okay, all right, so, let's say we like that,
turn back our sclines.
Selecting the folder and the transform,
okay, those two together,
now we can move everything as a unit.
See, looky there, oh, boy.
All right.
And got my key frame back.
In the next video, we'll look at our next key frame.