- [Instructor] All right, so, going forward from here,
I'm going to step forward, looking for my next key frame.
Now, for a complex character like this, what you'll have
is accelerations and decelerations all over the place,
so it's very difficult to pick a wise frame,
it's not that obvious.
But around, let's see right here, the heel starts to pop up,
so let's make 17 our next key frame.
We'll select our folder, and make sure
we're on the Transform tab, pick up our transform jack
and move it over, do a little rotation here,
see it wants to snap like that, okay?
If that's happening, you can come over here
and dial in the rotation with a thumbnail up here,
and that's a little better.
Okay, so let's get this guy in a nice position,
all right, let's say we like that
and I've got a good angle there, and now I've got to
deal with my shoe, oh, here's my shoe.
So this is right shoe, and just for cosmetic purposes,
it doesn't really matter, but I'm going to move him
to the bottom of the stack, okay, and I like
the shin to be at the top.
This is just kind of to be logical, first the shin,
then the calf, then the shoe, okay, not required.
The pivot point for the shoe now has to go
where the pivot point of the body is,
right there on that ankle.
So if we back up to this key frame, let me put that
pivot point up there here, I should have done that
on this frame, right, and here, I think
I'll be fine, that looks good, okay.
Now I need to get my shoe to line up,
we could push in a little bit on that, select the shoe,
remember I'm on the Transform tab right now, right.
I'm trying to move the whole shape with big Transforms
and not sit there and twiddle control points.
So, I can even come up here, to the Property panel,
and dial it in like that, so let's say we like that.
All right, I have a key frame, on 11 and 17.
Now I got to check for in-betweens, remember that these
body parts are accelerating and decelerating
constantly and what I have is a simple linear
interpolation between these two key frames,
so it's not possible for it to stay on target.
So, I'm going to turn the overlays on, and the wireframes off,
step through it, looking for my worst frame.
Well, now that is odd, it looks darn good everywhere.
Won't ever happen again, I promise you.
(chuckles) Okay, let's turn the matte overlay off,
and our spline overlays on, jump forward to frame 17,
and now let's look for our next key frame.
I've got to come out here, to frame 22.
See how that shoe is lifting off the,
the heel is lifting off the ground.
I want to make this my next key frame.
So we'll pull our leg over here, rotate it there,
again I'm going to go very quick and sloppy to save
a lot of time for everybody, okay.
All right, so let's say we like that,
and then we'll switch to our shoe, and now we're starting
to get a little flex going on here.
I'm going to have to do a little control point editing,
which we didn't want to do, but we have to.
So I'm going to select the toe of this guy here,
go to the, see I did not get my Transform rectangle,
that's 'cause I'm on the Transform tab.
Switch to Roto, there it is, all right so then,
I can do this, and then we'll bring these guys down here.
Remember, I'm staying inside the hard edge,
got a lot of motion blur here, so I'm going to have to pick up
my toys and move them inside to where the hard edge is.
Best approximation, best approximation.
'Cause we're going to deal with the motion blur
a little bit later.
Okay, so, without too much time spent
on twiddling control points,
there, let's call that good,
even though it's not.
All right, so now, let's check, go back to our lower leg
folder, make sure we're on the Transform tab,
so we can see all of our key frames.
I'm between 17 and 22, so let me find my most off frame,
by turning screen overlays off, and the matte overlay on,
and we'll step through it, oh, look at that, see, told ya.
Okay, let me think, I think
maybe this would be a good in-between frame.
Matte overlays off, spline overlays on,
make sure I'm on the Transform tab and got my folder.
'Cause I want to move everybody, uh-huh, uh-huh, okay,
and now we have to fix Mr. Shoe, he's not right,
so let me see, I would rotate him a skosh
and I'm going to have to select and unbend this toe, aren't I.
Okay, have them doing it in between frame.
So, all right, let's go back to our folders,
so we can see our key frames,
all right, back and oh,
we have to be on the Transform tab,
that's why I'm missing frame 17,
but you knew that, right, 'cause you were watching me.
Okay, so let's just turn off those horrible splines
on the screen, turn on our beautiful matte overlay,
starting with 17, check this key frame that we just put in,
20, and then 22, okay that looks good, let's see if
we've got any more badness here, okay, well I'd say
that's close enough, all right.
All right, so let's jump to the last frame, oh my,
are we off, matte overlay off.
The screen overlay on shows me my splines dragged this over,
make sure I'm on my folder and Transform tab.
Try to get this guy in here, where he can do some good,
all right, see I got a lot of motion blur here, okay.
Okay, so let's go down and get Mr. Shoe and I'm going to
have to unbend this toe somewhat, got to switch
to the Roto tab in order to get my control point Transforms.
Okay, now we've got to do a little point twiddling,
it happens, it happens, get inside of the hard edge, here,
move everybody in.
Got a little stress going on here, so I'll just select
these two guys and type Z on the keyboard
to kind of relax that and reintroduce my curve.
Okay, so let's say that we like that.
Again, I need to come way inside there,
a whole bunch of motion blur.
We're going to deal with motion blur at the end.
In the next video, we'll turn on the matte overlay
to see how we did.