WEBVTT

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Hey, everybody.

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This is Hjalti Hjalmarsson.

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I am the animation director and layout artist for Blender Institutes

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I'm gonna take one of the shots and go over it the way it was in the beginning,

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to layout and all the way to animation and the polished version.

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And hopefully I can open the file and we can take

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a look at what it looks like from the inside.

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So, open the blend file and I can give some tips regarding how I worked on it.

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So, let's get going.

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So, that's the scene.

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The scene is a fight between a llama and a penguin riding a cart.

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Great stuff.

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Great stuff.

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So, let's take a look at what it looked like in the beginning.

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So, here is the original storyboard by Matias and Pablo.

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With no sound, of course.

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So, this sequence was never really fleshed out fully because

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we had a lot of ideas and we wanted to put a lot of gags.

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This was originally way longer than what it ended up being.

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So, Matias did this amazing drawing of two of them in a cart.

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So, it looked like something from Indiana Jones.

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So, this is a really cool adventure sketch.

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So, everybody wanted to make something gaggy out of it.

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The problem is we never really, at that stage, we never

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really pinned down what we wanted and what worked.

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So, given this information, I needed to make a

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layout version that would also be kind of a pitch.

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Just regarding the overall timing, the amount of shots.

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If I take some of the jokes, like for example, you

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have here the joke of Koro hitting these beams.

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And I think in this original version, there were no berries.

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I think in this original version, the penguin, Ote, he's just trying to find

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his way back to his parents or something like that.

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So, he gets a little bit lost and Koro decides to help him out.

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And they have this adventure together.

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It was a way longer version.

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Less snappier, I think.

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It's more heartwarming.

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Good stuff, though, still.

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But we ended up needing to have the characters have this

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one convergent point so they have a common interest.

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And that's where the berries came in.

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Now, penguins don't actually eat berries, surprise.

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But in this case, we decided that Ote is like

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a weird little penguin that loves berries.

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And why not?

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I don't know.

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And I'm not even sure llamas eat penguins.

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And he's a huanaco.

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He's not even a llama.

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Okay, let's do this.

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So, in the original sketch, you can see that Koro and Ote, like the scale of them,

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is quite nice.

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But when you have the actual models and the actual

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character designs, the ratio between them is way bigger.

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Koro is so much bigger than Ote.

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Let's take a look at the next segment.

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All right, so here's the first pass of the layout that I worked on.

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It was kind of a struggle to get Ote that's this huge... no, wait, Koro.

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It's this huge dude here.

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Even here, the guy is cheated.

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He is really cheated in the camera to make him feel a little bit smaller.

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And I think even the neck is a bit scaled

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down and he's a little bit pushed downwards.

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I'm pretty sure his entire body, if he was actually sitting in this card,

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he would be way higher in it.

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So I needed to cheat his entire body further down, especially his head.

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And I decided also that it would be... just regarding the staging, it's better if

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this struggle happens pretty much straight on because then we can have a really clear

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staging of Ote on the right side and Koro on the left side.

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So when you have this kind of push and pull situation,

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everything is supposed to be happening really quickly.

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So that's going to help a little bit with the clarity of the shot.

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Sorry, I'm tired.

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Okay, let's do it.

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So here's my first pass of the layout.

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So as you might see, it ended up being really close to the final product.

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There are some changes that were made, but overall it has the same beats.

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I think the timing is slightly different.

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The final result ended up being a little bit snappier, a little bit shorter,

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but it has the same beats.

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It has the overall expressions.

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So this little penguin version is a version I made just for the layout because

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at that time we only had the notion of a baby penguin.

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We didn't actually have the character design of the penguin.

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So I needed to somehow just make something that I could work with.

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So I ended up making, because in an earlier version of the story, the little

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penguin was supposed to be born out of an egg.

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And Coro was supposed to take care of him as

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kind of fill in the mother role or father role.

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The penguin, therefore, I think Pablo had the idea that it would be super cute if

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the penguin was still kind of egg shaped, which sounds adorable.

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So I made this really rough version of an egg shaped little penguin.

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And I think Sarah, when she was doing the character design, I think she took a

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little bit of a hint of that layout version.

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And it ended up being something like fairly similar, which is cool.

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That way, by sheer luck, I wasn't going way off the rails in another direction.

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So you can see that this really primitive

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version of Otte, he's big enough in the shot.

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But that's kind of because I faked it a little bit just with the staging.

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And I really wanted Coro to come down towards him.

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Also, I made sure that there's this one little

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berry and it's kind of just dangling off on its own.

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That way, it was a little bit less of a headache.

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That way, Coro could just kind of go down, grab it with his mouth.

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And I wouldn't have to deal with way too much

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intersections regarding all the other berries and whatnot.

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We knew that there would be some struggle between them.

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There would be maybe three beats of pushing and

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pulling and pushing or pushing in either direction.

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A little bit of a tug of war.

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But we never really discussed all the way through

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why Coro then goes up and gets hit by the planks.

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We had a lot of different ideas.

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One of them was I think I suggested squirting one of the berries in the eye.

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And I think this ended up being this little pitch

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because I had no idea if this was going to work or not.

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And I think it was a little bit risky because it's really hard

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to pull it off in the short amount of time and make it read.

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Because these berries are kind of small and it's a tricky thing to animate.

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So you see when it happens.

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For somebody that's watched this many times, it's obvious.

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But if you're seeing it for the first time, it's a little bit tricky.

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And I think a lot of people that came for the weekly and were watching the current

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version of it, they got a little bit confused what happened.

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We ended up fixing some of that stuff and making it slightly clearer later on.

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But it was good enough and the joke was funny enough

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that it justified taking it to the next level.

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So he gets berries squirted in the eye, which makes him

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pull back, meaning that he lets go of the berry, the branch.

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And he pulls himself up out of pain.

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So I decided that it would be pretty clear

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staging for this shot and then the next shot.

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It would be funnier if we didn't feel the beams

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coming, but we would get a hint of beams being there.

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So you can see I put in the layout file and the

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layout version of the shot these little beams on top.

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So they do surpass one of these little rigs.

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So that gives you a little bit of a hint

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that there might be something more coming up.

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So if he actually pushes up, there might be more stuff that he gets hit by.

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These are kind of two shots that got combined into one shot.

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And I think they worked fine, especially given the timing.

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But because of Carmen Andes, the style is a little bit closer to the Looney Tunes.

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It's not supposed to feel like a handheld camera or anything like that.

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So every time I did something like that, I tried

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to be kind of conservative with the camera moves.

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And this is one of the times when I felt like it was totally justified,

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totally, totally justified.

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There's one thing in this version that I kept that people didn't understand.

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And it was just, I try to put as much information as possible in order to get

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the joke through, in order to get people go, ah, I understand

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what's happening and why it happened and all that stuff.

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But sometimes you put in some information there and it's not obvious enough.

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So one of the things that was supposed to happen right here is that he was supposed

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to look in front of himself as he's about to eat the berry and freak out.

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And as he freaks out, he goes, wah, and he drops the berry backwards.

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Well, he's going really fast forward, so you have all this wind in your face.

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So as he just kind of drops the berry, it flies backwards.

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I kept getting comments from people seeing it for the

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first time asking me, why is he throwing the berry away?

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That's not what's supposed to happen.

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But that's the thing.

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If people were watching it for the first time, don't get it.

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And they look at it and they don't... not only do they not get it, but they also get

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the wrong intention, then there's something wrong.

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And I think I ended up just skipping that, fixing it later on.

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So after doing the first pass of the layout... OK, let me check my notes.

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For the layout version, there were a couple of things that I wanted to address.

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First of all, it's an action scene, so I wanted

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to make sure that it didn't feel too long.

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It would be easy for this little struggle that was happening to make it be too long,

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to have too many beats.

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So every time I could, I would shave away beats

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or even take them down as much as possible.

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So trimming the fat as we went along.

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Sometimes it's OK to do that a little bit later, but do it in the animation phase.

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But in this case, it really helps to sell that

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little layout pitch that I was trying to do.

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There's also the ambiguity of the penguin, meaning that...

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You can see that Koro kind of goes from being a bit afraid in the previous shot to

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being excited about the berries still being there.

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But there wasn't anything clear going on with Ohti, and I made his face to be a

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little bit ambiguous, not that interesting to look at.

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And then you had all these berries that he's holding.

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I was hoping that once you get into that shot, your eye gets drawn to Koro,

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which is more important for the beginning of the shot.

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After doing this layout pass, this first layout

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pass, we got a friend of ours to look at what we had.

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I think we had about 80% of the film with total layout pass.

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There were a few drawings that were there, still filling in, but it was really

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helpful to get him to comment, to get some feedback from a professional.

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So it's Colin Levy, the director of Syntel from back in the day.

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He's worked at Pixar.

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He's done some amazing short films on his own.

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So I like this dude as a professional.

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Super nice guy also.

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So he gave us some feedback.

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I just want to play this one little clip regarding this small segment.

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This one is amazing.

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Oh my gosh.

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So let's see.

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My one concern here is probably about getting a little close to a match cut,

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you know, because the size of Koro here is not

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too far away from the size in this shot, right?

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So it's just only slightly bigger.

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So what I would do is, because you probably don't want to get tighter than

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this, is widen out on this guy, if it needs to be a cut at all.

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Because I could imagine also you could just combine those two shots.

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He has an adorable laugh.

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It's great to get some fresh perspective on a lot of the shots.

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So in this case, he had some good points regarding the two shots being ending in

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such a way that Koro feels a little bit similar

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both in size and position and whatnot in the frame.

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And he had a suggestion regarding possibly trying

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to take those two shots and merge them together.

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Because we didn't actually play blast this with camera lens

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information, he couldn't know, but it really had different lenses.

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So that's one of the reasons why that wouldn't

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necessarily work or it wouldn't work as well.

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But also the next shot afterwards, we already have this camera move of Koro

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screaming on top of his lungs being hit by beams.

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And then that camera pulls down to the penguin.

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So as that happens, that's kind of two shots

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already that are merged together in one shot.

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Now, if we merge this shot before also, it becomes less of the style we're going

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for just regarding camera position and movement.

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Because then it starts to feel like it's a bit of a handheld experience.

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So the cameras looking at them from front, something

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happens, the camera pulls up and then something else happens.

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So the camera goes down.

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And I think at max, whenever there was any kind of a camera movement like that,

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it would have to be just this one movement.

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Then that's it.

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And there were a couple of other examples of two camera moves in the same shot that

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we ended up just merging into this one camera move.

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I think overall that was a really good choice.

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This is the revised version after getting these notes, because

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we weren't able to do some of the solutions he was mentioning.

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We did try to make the distinguishing the distinction between the end of one of the

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shots and the beginning of the other one a little bit clearer.

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And as I took this further into the animation

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phase, I tried to take it a step further.

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So let's take a look.

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00:17:47.170 --> 00:17:50.970
So the camera in the beginning is a little bit different.

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We pulled the camera a little bit further back and a little bit further to the side.

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It's subtle, but also I took Koro and as he flinches backwards, I made him go twice

248
00:18:06.611 --> 00:18:10.810
the distance he used to, meaning that he shrinks down in the frame also.

249
00:18:12.490 --> 00:18:16.130
That also is a little bit cheated because of the camera angle.

250
00:18:16.670 --> 00:18:18.830
So you won't notice it necessarily.

251
00:18:20.970 --> 00:18:23.750
You wouldn't notice unless somebody pointed it out to you.

252
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In the next shot, I didn't want him to already be in the frame.

253
00:18:27.350 --> 00:18:29.870
And it was never the idea that he was already in the frame.

254
00:18:30.170 --> 00:18:32.735
It was just that when you do the layout

255
00:18:32.736 --> 00:18:35.450
version, you only put in so-so much information.

256
00:18:35.610 --> 00:18:37.970
And that was one of the things I just didn't do.

257
00:18:37.971 --> 00:18:40.803
I should have added maybe a couple of more frames to

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00:18:40.804 --> 00:18:43.450
really sell the idea that he's coming into the frame.

259
00:18:45.230 --> 00:18:47.722
And this is one of the things I would later on

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enhance a little bit in the animation phase.

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00:18:50.730 --> 00:18:55.890
So as you can see, it's a bit of a compromise.

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I mean, it's not perfect, but I allow Koro to kind of go out of frame.

263
00:19:01.650 --> 00:19:04.030
And then the next shot, he's coming into the frame.

264
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So it's not as much of a match cut.

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All right, let's take a look at the next version.

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Oh, yes, yes, yes, yes, yes, yes.

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00:19:19.450 --> 00:19:23.404
So the amazing rendering team we had, consisting

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00:19:23.405 --> 00:19:26.750
of two people, Andy Korralchik and Pablo Vazquez.

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They tried rendering the layout version and it's really cool.

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00:19:32.371 --> 00:19:38.865
Then you can see really, yeah, see how the light and

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the motion kind of affects the mood of the scene.

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One thing.

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00:19:44.770 --> 00:19:46.690
Well, there's a couple of things I would mention.

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So Koro goes down, grabs the little berry, pulls on it.

275
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It's all good.

276
00:20:01.570 --> 00:20:04.470
And there's a little bit of a back and forth.

277
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All good.

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00:20:06.230 --> 00:20:07.250
Here's something.

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00:20:08.810 --> 00:20:16.550
When the little penguin squirts the berry, just smashes that berry, we were still

280
00:20:16.551 --> 00:20:20.214
getting people seeing this for the first time

281
00:20:20.215 --> 00:20:23.891
that just didn't really understand what happened.

282
00:20:24.010 --> 00:20:26.770
So they barely saw the squirt when it happened.

283
00:20:28.070 --> 00:20:35.710
And I tried to, even when I positioned him, and you have to cheat this position,

284
00:20:35.790 --> 00:20:39.553
but you try to do it in such a way that the staging, it's

285
00:20:39.554 --> 00:20:43.530
away from the silhouette of this chubby little penguin.

286
00:20:43.570 --> 00:20:45.150
So you're already kind of cheating it.

287
00:20:45.270 --> 00:20:48.130
So when he does it, he does it away from his body.

288
00:20:48.930 --> 00:20:51.170
But there's only so, so much you can push.

289
00:20:51.171 --> 00:20:57.810
So I think one thing that Pablo did, I think in the end version, and it was

290
00:20:57.811 --> 00:21:01.770
subtle, but it was quite nice because it enhanced a little bit the readability of

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00:21:01.771 --> 00:21:07.250
the squirt, is that these rocks from behind, he ended up putting some snow on them.

292
00:21:07.251 --> 00:21:10.574
So when this moment happens, you can really, you can see

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00:21:10.575 --> 00:21:14.130
a little bit more of a contrast of that squirt happening.

294
00:21:14.630 --> 00:21:20.854
Now later on, as you might have noticed, that squirt

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00:21:20.855 --> 00:21:24.570
became a waterfall made by Andy, which was awesome.

296
00:21:25.310 --> 00:21:30.130
But yeah, that was one of the things when we just had to take it up a notch.

297
00:21:30.270 --> 00:21:35.010
People are still not sure what happened, and we

298
00:21:35.011 --> 00:21:39.211
had to take it to just ridiculous proportions.

299
00:21:39.270 --> 00:21:39.890
Why not?

300
00:21:39.891 --> 00:21:43.507
So I don't think there's anything in particular that I

301
00:21:43.508 --> 00:21:46.970
need to talk about regarding the final layout version.

302
00:21:48.890 --> 00:21:53.310
So let's just go into the first blocking pass of the animation.

303
00:21:54.190 --> 00:22:00.170
It was a little bit of a hassle getting them into, I think that took half a day or

304
00:22:00.171 --> 00:22:07.450
full day, just taking the layout file, trying to recapture some of the animation,

305
00:22:08.450 --> 00:22:10.950
which ended up not being that feasible.

306
00:22:11.150 --> 00:22:14.150
So I had to redo most of the animation.

307
00:22:14.230 --> 00:22:19.330
Of course, the penguin, I had the layout version, which is a totally different rig.

308
00:22:19.370 --> 00:22:20.990
So I had to do him from scratch.

309
00:22:21.590 --> 00:22:27.350
But also there was the issue of the berry branch.

310
00:22:28.330 --> 00:22:30.470
We never actually made it like that.

311
00:22:30.471 --> 00:22:33.029
The version everybody was using was a really

312
00:22:33.030 --> 00:22:37.230
cheap layout version that I had made in a hurry.

313
00:22:37.970 --> 00:22:43.550
And in this shot in particular, the baby penguin needs to really be

314
00:22:43.551 --> 00:22:45.910
hugging those berries and he's interacting with them.

315
00:22:45.911 --> 00:22:49.790
And then they get put down on the cart.

316
00:22:50.510 --> 00:22:53.912
So you really need to feel like every single one

317
00:22:53.913 --> 00:22:56.570
of those berries is interacting with each other.

318
00:22:56.571 --> 00:22:57.950
There's no weird intersections.

319
00:22:58.530 --> 00:23:01.750
And I ended up just ricking the entire thing.

320
00:23:01.751 --> 00:23:05.310
So I made a brand new rig for all the different berries.

321
00:23:06.030 --> 00:23:08.426
Every single one of the little twigs and every

322
00:23:08.427 --> 00:23:11.231
single one of the berries has its own little bone.

323
00:23:11.850 --> 00:23:16.690
So that's all hand animated, which ended up being a little bit of a nightmare.

324
00:23:18.310 --> 00:23:19.270
But it worked out fine.

325
00:23:19.271 --> 00:23:19.710
It was fine.

326
00:23:20.070 --> 00:23:20.850
It was so good.

327
00:23:20.851 --> 00:23:22.150
All right.

328
00:23:22.630 --> 00:23:24.530
So this was looking fine.

329
00:23:26.090 --> 00:23:29.590
One note that I got from that I got from Colin.

330
00:23:29.890 --> 00:23:30.890
That was a good note.

331
00:23:32.210 --> 00:23:38.950
In the beginning, he talked about the he comes from the previous shot.

332
00:23:40.130 --> 00:23:44.890
Coro comes from the previous shot being a little bit bewildered and freaked out by

333
00:23:44.891 --> 00:23:49.610
having just fallen 200 meters or whatever, almost to his own death.

334
00:23:51.210 --> 00:23:58.330
And just a shot later, he's there and he needs to kind of just go for the berries.

335
00:23:58.550 --> 00:24:00.090
He can't be stopping too long.

336
00:24:00.830 --> 00:24:07.730
The issue is that it's a fine line because it's supposed to be high tempo,

337
00:24:08.470 --> 00:24:10.150
a lot of action, a lot of stuff happening.

338
00:24:10.950 --> 00:24:16.410
But it feels a little bit weird if, for example, in one shot he's really

339
00:24:16.411 --> 00:24:21.650
afraid for his life and then you cut and he's in a totally other state of mind.

340
00:24:22.150 --> 00:24:24.530
So I tried to trim it down.

341
00:24:25.170 --> 00:24:30.051
So just in the first frame, he's already kind of looking at

342
00:24:30.052 --> 00:24:33.410
the berry a little bit freaked out and he just goes for it.

343
00:24:33.411 --> 00:24:34.571
He just goes for the berries.

344
00:24:36.330 --> 00:24:39.190
If you look at it and you really think about it, it is a bit of a cheat,

345
00:24:39.870 --> 00:24:41.730
but I think it works a little bit better.

346
00:24:42.070 --> 00:24:46.430
That also did bring the shot a little bit down, so it was a little bit faster.

347
00:24:50.030 --> 00:24:51.530
Let's see, let's see, let's see.

348
00:24:53.930 --> 00:24:57.930
Yeah, you might notice that I play around with making the characters asymmetrical.

349
00:24:57.931 --> 00:25:02.310
So you can see Koro's eyes, for example.

350
00:25:03.210 --> 00:25:08.830
You can see I usually make it so that whatever direction he's looking in,

351
00:25:09.110 --> 00:25:13.570
so in this case he's looking to screen right, I make sure that his screen right

352
00:25:13.571 --> 00:25:17.210
eye is a little bit bigger and the other one is just slightly smaller.

353
00:25:17.211 --> 00:25:24.750
And I like to squish here so you get a little bit, I'm exaggerating right now,

354
00:25:25.030 --> 00:25:28.470
so you get this kind of a shape going on.

355
00:25:29.910 --> 00:25:30.590
That's nice.

356
00:25:30.650 --> 00:25:31.030
I don't know.

357
00:25:31.170 --> 00:25:35.670
And then if you do that, that also means that

358
00:25:35.671 --> 00:25:39.190
the face needs to be squishing in this direction.

359
00:25:39.191 --> 00:25:44.850
So if you squish the mouth, it goes here.

360
00:25:45.370 --> 00:25:49.050
So it ends up being all part of the same arc.

361
00:25:51.090 --> 00:25:56.070
I think it's a little bit more common with human faces or humanoid faces,

362
00:25:56.270 --> 00:26:01.930
but this is kind of taking that and just applying that to a llama face.

363
00:26:01.931 --> 00:26:03.490
Same thing with Ote.

364
00:26:03.670 --> 00:26:08.410
He's looking to the right, so he's looking in this direction, screen right that is.

365
00:26:09.130 --> 00:26:11.170
So his screen right eye is a bit bigger.

366
00:26:11.590 --> 00:26:13.110
Oh, I'm doing this with a mouse.

367
00:26:14.750 --> 00:26:15.990
I regret everything.

368
00:26:16.790 --> 00:26:17.790
Okay.

369
00:26:18.430 --> 00:26:21.870
So Koro also sticks out his tongue as he opens his mouth.

370
00:26:22.530 --> 00:26:29.190
That was a little bit, it made more sense in an earlier version where he would have

371
00:26:29.191 --> 00:26:32.850
that extra half a second or a second of a beat in the beginning.

372
00:26:32.930 --> 00:26:37.690
So he goes from being Bill Wilder to being excited and then kind of going for it.

373
00:26:38.390 --> 00:26:40.750
In this case, it happens really fast.

374
00:26:40.751 --> 00:26:46.810
I think I ended up using it, but I mean, I was really pushing it.

375
00:26:47.090 --> 00:26:48.690
Push, pull, push, pull.

376
00:26:49.770 --> 00:26:51.470
It's a good blocking pass.

377
00:26:51.930 --> 00:26:54.810
So let's just quickly go to the next version.

378
00:27:00.420 --> 00:27:01.420
There we go.

379
00:27:02.820 --> 00:27:07.712
Yeah, so I started having some issues with the berries

380
00:27:07.713 --> 00:27:11.500
because they were all looking exactly the same.

381
00:27:11.501 --> 00:27:18.120
And it was getting really hard for me to just register which berry is which.

382
00:27:18.400 --> 00:27:22.748
Because if you're going from all these blocked keys,

383
00:27:22.749 --> 00:27:26.200
you're stepping through 10 frames, 20 frames, whatever.

384
00:27:27.100 --> 00:27:32.660
And something has changed, but your eye can't differentiate anymore because you're

385
00:27:32.661 --> 00:27:34.799
zoomed in on this bunch of berries and they're

386
00:27:34.800 --> 00:27:36.940
all the same color, they're all the same shape.

387
00:27:36.941 --> 00:27:43.020
So I ended up making my own little temporary version of him where I tweaked

388
00:27:43.021 --> 00:27:45.181
the materials just a little bit and make them colorful.

389
00:27:46.480 --> 00:27:51.588
It's like that small thing that really made it more dummy

390
00:27:51.589 --> 00:27:54.540
proof and less of a headache for me in the long run.

391
00:27:55.360 --> 00:27:56.540
Highly recommend that stuff.

392
00:27:57.020 --> 00:28:00.600
So there's one thing that I want to mention that was a slight mistake.

393
00:28:00.601 --> 00:28:06.560
So if I go back to the previous version, you might notice the cart, the cart,

394
00:28:06.960 --> 00:28:11.360
the version of the cart that I'm using right there is the layout version of the cart.

395
00:28:11.580 --> 00:28:16.000
It's the low res version or low poly version or whatever you want to call it.

396
00:28:16.380 --> 00:28:25.540
The problem is that I thought that I thought the cart would be I had kind of

397
00:28:25.541 --> 00:28:28.120
forgotten what the cart looks like in the final version.

398
00:28:28.121 --> 00:28:32.340
And usually with layout, you want to have just the overall shape.

399
00:28:32.820 --> 00:28:37.080
So you want to have make sure that there if there's dense or anything like that,

400
00:28:37.340 --> 00:28:42.360
that they're there in the layout version, of course, simplified, but still there.

401
00:28:42.660 --> 00:28:45.770
If there's anything that affects the way you

402
00:28:45.771 --> 00:28:48.800
might animate or act out or do layout or whatever.

403
00:28:48.801 --> 00:28:57.560
The problem is the high res version, of course, I totally forgot about this.

404
00:28:58.160 --> 00:29:02.460
It had these metallic things going on around here.

405
00:29:03.540 --> 00:29:04.660
There we go.

406
00:29:04.980 --> 00:29:11.860
These metallic, beautiful things with the studs going through all that stuff,

407
00:29:12.040 --> 00:29:15.060
all this beauty, which looks great.

408
00:29:15.061 --> 00:29:18.580
But the problem is that it stands out a bit.

409
00:29:19.760 --> 00:29:24.579
And I had already animated the penguin as he's

410
00:29:24.580 --> 00:29:28.540
being pulled and he's pulling back and all that.

411
00:29:28.720 --> 00:29:33.540
I had already animated him on a flat surface, meaning that when he gets pulled,

412
00:29:34.220 --> 00:29:36.520
he kind of gets dragged.

413
00:29:38.180 --> 00:29:41.881
And when I switched to the high res version, I had some

414
00:29:41.882 --> 00:29:45.040
issues because now he was his feet were totally intersecting.

415
00:29:45.041 --> 00:29:46.340
It didn't match up.

416
00:29:46.560 --> 00:29:52.060
So I had to redo some of that stuff to make it match up.

417
00:29:52.120 --> 00:29:57.944
So now when he's being pulled, his foot kind of

418
00:29:57.945 --> 00:30:04.540
goes conveniently over it, lands on top of it here.

419
00:30:07.560 --> 00:30:12.200
Which is already more of an awkward position or pose that I wanted,

420
00:30:12.201 --> 00:30:19.140
because I really wanted him to have this really strong pose of having the cart foot

421
00:30:19.141 --> 00:30:25.641
and the other foot and have him be a little bit off balance in the other direction.

422
00:30:25.740 --> 00:30:29.060
Meaning that this becomes this really important pivot point.

423
00:30:30.240 --> 00:30:34.820
But all of a sudden I had to take that foot, push it up.

424
00:30:35.220 --> 00:30:40.420
So it becomes a bit of a weaker pose for this intended purpose.

425
00:30:40.421 --> 00:30:43.280
But I think I think it's it's good enough.

426
00:30:43.580 --> 00:30:47.487
And I made him do like a little half step where

427
00:30:47.488 --> 00:30:52.840
he kind of gets into the pose, but not quite.

428
00:30:53.720 --> 00:30:56.360
And this is a super snappy motion, by the way.

429
00:30:57.500 --> 00:30:59.940
I was trying to make it as snappy as possible.

430
00:31:00.340 --> 00:31:01.760
I think it's snappy enough.

431
00:31:03.380 --> 00:31:06.440
And it's it's easy to go too snappy though sometimes.

432
00:31:07.580 --> 00:31:11.080
And meaning that it makes only sense to you because you've seen it so many times.

433
00:31:11.240 --> 00:31:14.578
And then you brand new person sees the animation and it

434
00:31:14.579 --> 00:31:18.360
makes no sense at all because stuff just happened so fast.

435
00:31:18.500 --> 00:31:19.500
Nothing registers.

436
00:31:20.000 --> 00:31:23.620
Let's take a look at the next version of the animation.

437
00:31:27.250 --> 00:31:34.450
Yep, pretty much just added more breakdown keyframes in between breakdown poses.

438
00:31:35.990 --> 00:31:42.470
I think you can see, though, that I put a little bit more effort into thinking about

439
00:31:42.471 --> 00:31:46.350
how coral reacts to this thing being squirted.

440
00:31:46.530 --> 00:31:48.581
By the way, that squirt, that thing, if you're

441
00:31:48.582 --> 00:31:51.230
thinking, wow, like it did a simulation or something.

442
00:31:51.231 --> 00:31:53.570
No, it's a mesh.

443
00:31:54.670 --> 00:31:56.250
It's like here's the berry.

444
00:31:57.710 --> 00:32:00.990
He squirts, meaning the berry just gets scaled down, squashed.

445
00:32:01.410 --> 00:32:09.450
And then this mesh that's always been parented to the head

446
00:32:09.451 --> 00:32:15.330
of coral kind of goes through three shape keys, I guess.

447
00:32:15.370 --> 00:32:16.630
I don't remember now.

448
00:32:16.950 --> 00:32:20.210
And then it ends up just kind of hanging out here.

449
00:32:21.470 --> 00:32:23.690
And, you know, whatever works.

450
00:32:23.830 --> 00:32:27.790
And then it's just there kind of lingering on top of his face.

451
00:32:29.350 --> 00:32:31.956
It ended up actually looking quite nice, especially

452
00:32:31.957 --> 00:32:35.150
after Andy did his little magic on top of it.

453
00:32:36.690 --> 00:32:41.854
One big issue that I had with this shot, now that I look at

454
00:32:41.855 --> 00:32:46.270
it, I really wanted to have this firm grasp of the berries.

455
00:32:46.271 --> 00:32:53.030
So you would have these, this bunch of berries with a little thing hanging out.

456
00:32:53.230 --> 00:32:58.649
And then you would have this penguin holding

457
00:32:58.650 --> 00:33:03.691
on to his life and a happy little penguin.

458
00:33:05.030 --> 00:33:07.615
And this penguin would hold on to these berries,

459
00:33:07.616 --> 00:33:11.710
even though they're way bigger like this.

460
00:33:11.711 --> 00:33:17.850
So he would have this really firm grasp of the berry branch.

461
00:33:19.110 --> 00:33:22.037
Now, that means that one of the arm kind of

462
00:33:22.038 --> 00:33:25.751
goes over here and the other one goes over here.

463
00:33:26.510 --> 00:33:27.510
And which is fine.

464
00:33:27.750 --> 00:33:31.890
And I think it's a really good pose for this instance.

465
00:33:32.750 --> 00:33:36.201
Now, the problem is a little bit later because

466
00:33:36.202 --> 00:33:39.391
I decided to go for the whole squirt thing.

467
00:33:39.950 --> 00:33:43.370
And I didn't want to mess up the timing that I already did in the layout.

468
00:33:44.330 --> 00:33:50.850
I had a really hard time with the timing I already had to try to get him into this

469
00:33:50.851 --> 00:33:58.990
pose and make it stay a little bit longer because of this problem of people not

470
00:33:58.991 --> 00:34:03.550
registering the pose or not registering what he's doing and that he's about to

471
00:34:03.551 --> 00:34:05.351
squash a berry and then he squashed the berry.

472
00:34:06.070 --> 00:34:11.460
So I took a few keyframes away from him going into it and

473
00:34:11.461 --> 00:34:14.930
just allowed him to stay in that pose for a little bit longer.

474
00:34:15.890 --> 00:34:18.770
So he doesn't just go there for two frames and squash.

475
00:34:19.150 --> 00:34:22.830
He goes there for five, six frames before the squash happens.

476
00:34:24.810 --> 00:34:30.330
I also took away the whole layout version of him taking the hand up and then

477
00:34:30.331 --> 00:34:34.110
squishing it that way because that also took way too much time to do.

478
00:34:34.910 --> 00:34:36.410
You got to make it fast.

479
00:34:36.450 --> 00:34:37.490
You got to make it snappy.

480
00:34:38.470 --> 00:34:43.653
Now the issue I had is that the beginning pose here

481
00:34:43.654 --> 00:34:48.650
fits perfectly and the end pose here fits fine.

482
00:34:49.370 --> 00:34:55.230
The problem is if he's already holding it underneath, like that hand here is holding

483
00:34:55.231 --> 00:35:02.750
it underneath, how do you get from that to this?

484
00:35:04.110 --> 00:35:10.770
Because his hand, let's see, his hand basically needs to be like this,

485
00:35:11.170 --> 00:35:20.510
which is the opposite of what it was because he needs to go from here straight

486
00:35:20.511 --> 00:35:24.910
to the berry, just grabbing the berry straight away because of timing,

487
00:35:25.070 --> 00:35:26.290
because of reasons.

488
00:35:27.210 --> 00:35:29.470
So I faked it.

489
00:35:29.471 --> 00:35:33.970
So you can see as he pulls here, he goes and pulls.

490
00:35:34.710 --> 00:35:40.950
As he pulls, I just made his hand just disappear, his screened right hand

491
00:35:40.951 --> 00:35:46.130
disappear behind the berries and then when Koro pulls back, all of a sudden,

492
00:35:46.250 --> 00:35:49.070
surprise, his hand is magically there.

493
00:35:49.830 --> 00:35:54.330
I think if you look at the scene and you try to watch for that happening,

494
00:35:55.530 --> 00:35:57.470
I think you'll notice it.

495
00:35:58.270 --> 00:36:01.470
Well, kind of, I don't know, I think I got away with it.

496
00:36:02.310 --> 00:36:04.770
Still feels a little bit weird to me.

497
00:36:06.190 --> 00:36:07.190
Yeah, that's fine.

498
00:36:07.350 --> 00:36:09.430
Okay, let's take a look at the next one.

499
00:36:09.550 --> 00:36:11.250
This is the next version of the animation.

500
00:36:15.500 --> 00:36:20.580
No drastic changes, just fleshing out some of the beats and some of the poses.

501
00:36:21.360 --> 00:36:25.409
I think at that point, I think just about every

502
00:36:25.410 --> 00:36:28.760
other frame is animated and all the arcs are working.

503
00:36:29.000 --> 00:36:35.520
I had some issues with the constraints because you have...

504
00:36:35.521 --> 00:36:38.180
Aote has all these berries and they ended up being...

505
00:36:38.760 --> 00:36:43.660
ended up having this master berry bone that was parented to his torso.

506
00:36:44.720 --> 00:36:49.490
And then in all the pushing and pulling, I just ended up

507
00:36:49.491 --> 00:36:55.380
frame by framing the kind of the llama side of the berry.

508
00:36:57.480 --> 00:36:59.480
But which is fine in and of itself.

509
00:36:59.540 --> 00:37:02.180
It's a little bit of counter animation or just frame by frame animation.

510
00:37:02.181 --> 00:37:07.420
So as long as Aote is feeling fine and he looks fine, and I have the overall beats

511
00:37:07.421 --> 00:37:12.080
working, then it's just a little time consuming, but it's fine.

512
00:37:12.440 --> 00:37:15.658
The problem is when Aote needs to grab the

513
00:37:15.659 --> 00:37:18.420
berry, he can't still be holding that thing.

514
00:37:18.480 --> 00:37:21.320
And he needs to go into a position in which he can squash the berry.

515
00:37:22.800 --> 00:37:27.479
So I just made him kind of put the branch down

516
00:37:27.480 --> 00:37:31.460
to the cart and it just hangs around there.

517
00:37:31.720 --> 00:37:34.876
Of course, I made sure that you can see every single

518
00:37:34.877 --> 00:37:41.120
one of these berries here that touch the cart.

519
00:37:41.500 --> 00:37:43.820
They get squished a little bit together.

520
00:37:43.821 --> 00:37:46.740
The rest of that's every single berry animated.

521
00:37:48.120 --> 00:37:49.120
So much fun.

522
00:37:49.460 --> 00:37:53.765
So I was working a little bit on his reaction and I

523
00:37:53.766 --> 00:37:57.560
was thinking I could probably take this up a notch.

524
00:37:58.800 --> 00:38:05.720
So as you can see, the koro's head is like this.

525
00:38:06.440 --> 00:38:09.320
And this is the moment when he gets hit.

526
00:38:09.321 --> 00:38:17.480
Now what happens is he goes into an arc in which he goes here, he goes a bit up,

527
00:38:19.100 --> 00:38:26.960
and then he goes down again, and then boom, straight up.

528
00:38:27.640 --> 00:38:32.000
So I'm doing the sound effect for some reason.

529
00:38:34.440 --> 00:38:38.720
This was fine, but I don't know, I wanted to push it a little bit.

530
00:38:38.721 --> 00:38:43.098
I think in the next couple of versions I started experimenting

531
00:38:43.099 --> 00:38:46.740
with that a little bit besides doing everything else.

532
00:38:52.660 --> 00:38:59.760
So I do want to mention though that as I'm working on this, of course because I'm not

533
00:38:59.761 --> 00:39:05.720
insane, every time I go to the file I would take the cart.

534
00:39:05.860 --> 00:39:11.000
I mean we have the cart that's moving in a particular path.

535
00:39:11.001 --> 00:39:14.535
We have the camera that's hooked up to the cart, and then

536
00:39:14.536 --> 00:39:17.261
we have the characters that are also hooked up to the cart.

537
00:39:17.960 --> 00:39:20.026
Now if I want to be working on it, I can just

538
00:39:20.027 --> 00:39:23.040
disable the animation on the cart, and it's fine.

539
00:39:24.180 --> 00:39:26.608
And then every time I want to do a playblast, I just

540
00:39:26.609 --> 00:39:29.160
have to remember to add that stuff on top again.

541
00:39:30.220 --> 00:39:34.360
But also there's this noise, because in the beginning I tested it out for the

542
00:39:34.361 --> 00:39:38.340
layout file, and for the first pass of the blocking phase.

543
00:39:39.160 --> 00:39:43.340
I experimented with putting some noise modifiers on some of those axes,

544
00:39:44.260 --> 00:39:46.880
some of those curves, which worked out great.

545
00:39:47.680 --> 00:39:49.762
But you have to remember to turn them on and off

546
00:39:49.763 --> 00:39:52.561
and on and off every time you do a playblast.

547
00:39:52.860 --> 00:39:58.320
So as I go into the file, I had to remember to take the camera shake,

548
00:39:58.360 --> 00:40:05.120
turn it off, take the motion of the cart, turn it off, take the shake of the cart,

549
00:40:05.380 --> 00:40:09.620
and this is all in different axes, and switch them off.

550
00:40:09.740 --> 00:40:15.200
So I ended up just having this really still cart that I could animate on top of,

551
00:40:15.360 --> 00:40:16.360
which was fine.

552
00:40:16.500 --> 00:40:19.720
I mean, I could have pushed the scene probably a little bit further,

553
00:40:19.760 --> 00:40:23.700
meaning that the cart just doesn't go in a straight line, but it like sways.

554
00:40:24.140 --> 00:40:29.940
But that would mean that they have to sway also as they're doing their performance.

555
00:40:29.941 --> 00:40:32.880
And it was already quite a headache.

556
00:40:33.160 --> 00:40:35.778
We didn't have that much time, so I decided

557
00:40:35.779 --> 00:40:38.321
to tackle it a little bit straightforward.

558
00:40:39.500 --> 00:40:40.660
All right.

559
00:40:41.500 --> 00:40:48.600
So as you might notice, it looks like in this playblast, I put on the noise

560
00:40:48.601 --> 00:40:54.220
modifier for the cart, but it looks like I didn't do it for the camera shake.

561
00:40:54.680 --> 00:40:58.200
So the camera is actually really still for that playblast version.

562
00:40:59.380 --> 00:41:00.380
Just fine.

563
00:41:00.560 --> 00:41:01.660
It's fine.

564
00:41:03.880 --> 00:41:05.580
Yeah, and the next one.

565
00:41:08.360 --> 00:41:12.480
So you might be thinking, hey, how do you decide when to do a playblast?

566
00:41:14.000 --> 00:41:21.881
Is it always at five o'clock, or it's after you do three modifications or whatever?

567
00:41:22.200 --> 00:41:25.300
No, it just depends on a lot of factors.

568
00:41:25.301 --> 00:41:29.380
Sometimes it's because the dailies are coming up and I want to show something.

569
00:41:29.440 --> 00:41:32.320
Sometimes it's because a weekly meeting is coming up.

570
00:41:33.200 --> 00:41:39.000
And sometimes it's just that I've worked on three different things or five

571
00:41:39.001 --> 00:41:44.000
different things, and I kind of need to start seeing it from a bigger picture.

572
00:41:45.260 --> 00:41:51.060
So I have to toggle everything on and just see if it's working together or not.

573
00:41:51.061 --> 00:41:59.860
But one of my mentors talked about, don't do one change and playblast.

574
00:42:00.120 --> 00:42:01.760
And then one change, playblast.

575
00:42:02.080 --> 00:42:04.401
Because then you're wasting your time, you're wasting

576
00:42:04.402 --> 00:42:07.600
your entire day just doing these miniscule things.

577
00:42:07.940 --> 00:42:13.800
So what you want to do is you want to look at the entire shot, make a checklist of

578
00:42:13.801 --> 00:42:18.700
all the things you see wrong, address every single one of those notes to the

579
00:42:18.701 --> 00:42:21.822
best of your ability, and then, like only then,

580
00:42:21.823 --> 00:42:24.460
you're allowed to do a playblast of the entire thing.

581
00:42:25.240 --> 00:42:26.060
It's helpful.

582
00:42:26.140 --> 00:42:27.140
It makes sense.

583
00:42:27.500 --> 00:42:28.840
All right.

584
00:42:30.060 --> 00:42:39.060
So as you can see, I also added some overlap to the little stem.

585
00:42:41.740 --> 00:42:46.960
That was one of those polishing things that I could just wait until at the end to do.

586
00:42:46.961 --> 00:42:54.340
Also the ears, the floppy ears of the llama in the wind.

587
00:42:55.780 --> 00:43:01.760
But you can also see that I was playing around a little bit with Koro's reaction

588
00:43:01.761 --> 00:43:07.000
and even going so far as to take his foot up.

589
00:43:07.580 --> 00:43:12.000
So his little foot here goes up as it happens.

590
00:43:12.001 --> 00:43:16.820
And he kind of rubs his face a little bit as it happens.

591
00:43:17.500 --> 00:43:20.940
I was imagining what would I do if somebody squirted something in my face.

592
00:43:20.980 --> 00:43:24.411
I would probably just instinctively go back and try

593
00:43:24.412 --> 00:43:27.580
to shield myself from it or rub it a little bit.

594
00:43:29.000 --> 00:43:33.500
And then the pain is so unbearable that he just goes up for a yell.

595
00:43:33.820 --> 00:43:37.220
Of course, as I would do, as everybody would do.

596
00:43:39.060 --> 00:43:41.580
Oh, here's a fun little playblast.

597
00:43:42.560 --> 00:43:44.100
Just as a little joke.

598
00:43:45.500 --> 00:43:47.060
Toggling layers on and off.

599
00:43:47.720 --> 00:43:51.400
I thought it was kind of funny that when I toggle the characters off, I could

600
00:43:51.401 --> 00:43:54.540
playblast the entire sequence only with the berries.

601
00:43:55.580 --> 00:43:57.420
And I don't know, it looked kind of funny.

602
00:43:58.640 --> 00:44:01.820
I think that's a fully animated version.

603
00:44:03.560 --> 00:44:05.160
But yeah, but it's the berries.

604
00:44:05.161 --> 00:44:08.780
So it's like two invisible beings are fighting each other.

605
00:44:10.320 --> 00:44:12.900
Yeah, so this is the final animation.

606
00:44:15.080 --> 00:44:19.302
This has all the little thing details polished so you can

607
00:44:19.303 --> 00:44:22.260
see even the even the little highlights in their eyes.

608
00:44:23.300 --> 00:44:24.740
But yeah, that's the final version.

609
00:44:24.860 --> 00:44:29.120
And I also animated the shot after that one.

610
00:44:29.121 --> 00:44:34.520
So let's just take a look at that quickly to see what it looks like together.

611
00:44:37.380 --> 00:44:38.380
Yeah.

612
00:44:39.340 --> 00:44:43.080
And then the penguin has a little sexy moment with the berries.

613
00:44:45.380 --> 00:44:47.460
That was not in the layout.

614
00:44:49.260 --> 00:44:50.260
Cool beans.

615
00:44:50.400 --> 00:44:55.180
So let's check out the final version once everything has been rendered.

616
00:44:55.181 --> 00:45:01.340
And you might notice something hilarious that happened when

617
00:45:10.680 --> 00:45:11.876
the squirt is about to happen.

618
00:45:11.900 --> 00:45:16.435
You can see that Pablo had these just normal rocks

619
00:45:16.436 --> 00:45:21.780
here in the background and they're kind of dark ish.

620
00:45:22.480 --> 00:45:27.500
But then when it comes to the moment when the when the squirt is about to happen,

621
00:45:27.840 --> 00:45:32.680
he had all these beautiful snowy rocks behind.

622
00:45:32.681 --> 00:45:38.100
It really helps kind of make it a little bit clear what what is going on.

623
00:45:38.600 --> 00:45:42.077
And then to really take it to the next level and the

624
00:45:42.078 --> 00:45:45.160
plate around with just changing it into a fire hose.

625
00:45:46.340 --> 00:45:48.540
It's just I love it.

626
00:45:48.541 --> 00:45:49.541
It's great.

627
00:45:49.920 --> 00:45:52.039
And even with that, sometimes we would get people

628
00:45:52.040 --> 00:45:55.620
that just I don't understand what happened.

629
00:45:56.340 --> 00:45:59.219
To a certain point, you've pushed it so far that you don't

630
00:45:59.220 --> 00:46:03.060
want to you don't want to make it completely idiot proof.

631
00:46:10.080 --> 00:46:10.460
It's good.

632
00:46:10.461 --> 00:46:11.461
It's good shot.

633
00:46:11.560 --> 00:46:14.140
Now, let's take a look.

634
00:46:14.780 --> 00:46:16.200
Exciting, exciting stuff.

635
00:46:16.260 --> 00:46:18.880
So let's take a look at the the file itself.

636
00:46:21.720 --> 00:46:22.240
All right.

637
00:46:22.500 --> 00:46:23.760
So it's scene three.

638
00:46:25.360 --> 00:46:27.260
So many missing things.

639
00:46:27.400 --> 00:46:28.100
Oh, no.

640
00:46:28.101 --> 00:46:29.620
Oh, no.

641
00:46:32.040 --> 00:46:33.040
All right.

642
00:46:34.240 --> 00:46:34.880
Oh, reload.

643
00:46:34.881 --> 00:46:35.300
Trust it.

644
00:46:35.320 --> 00:46:36.500
There we go.

645
00:46:38.020 --> 00:46:38.200
Nope.

646
00:46:38.700 --> 00:46:39.700
Missing.

647
00:46:46.960 --> 00:46:47.980
And you're recording me.

648
00:46:49.220 --> 00:46:50.640
Little surveillance guy.

649
00:46:50.980 --> 00:46:51.260
All right.

650
00:46:51.261 --> 00:46:53.100
Let's take a look at the shot itself.

651
00:46:53.340 --> 00:46:55.060
What the blend file looks like.

652
00:46:58.520 --> 00:47:00.340
It's incredibly slow.

653
00:47:00.660 --> 00:47:02.320
Of course, of course.

654
00:47:02.640 --> 00:47:07.000
So if we want to actually look at this thing and work with it a little bit.

655
00:47:08.180 --> 00:47:09.900
Gotta simplify it first.

656
00:47:11.920 --> 00:47:19.160
Then let's take the card and change it into the layout version of the card.

657
00:47:19.480 --> 00:47:21.060
That should be a little bit better.

658
00:47:22.320 --> 00:47:23.320
All right.

659
00:47:24.220 --> 00:47:28.640
Now we pick a frame like frame 400 here.

660
00:47:29.600 --> 00:47:30.600
Go for.

661
00:47:32.320 --> 00:47:34.400
Go for the bone for the card.

662
00:47:36.860 --> 00:47:37.860
And.

663
00:47:38.760 --> 00:47:40.000
Disable it.

664
00:47:40.500 --> 00:47:41.500
So.

665
00:47:41.640 --> 00:47:42.680
Stays put.

666
00:47:43.280 --> 00:47:45.140
Still got a lot of shake going on.

667
00:47:45.200 --> 00:47:48.420
So that's the little top bone here in the card.

668
00:47:48.421 --> 00:47:52.280
So we just disabled the modifier on that one.

669
00:47:53.560 --> 00:47:55.120
And now that one stays put.

670
00:47:56.180 --> 00:47:57.600
And the camera shake.

671
00:47:58.240 --> 00:48:00.300
Take the modifier away.

672
00:48:01.420 --> 00:48:02.420
And now that's still.

673
00:48:04.240 --> 00:48:06.280
Also, there's no need.

674
00:48:07.440 --> 00:48:10.640
For any of this stuff in the background.

675
00:48:11.760 --> 00:48:14.140
And not even a need for the camera itself.

676
00:48:15.220 --> 00:48:16.260
So here we go.

677
00:48:18.740 --> 00:48:19.940
Mm-hmm.

678
00:48:20.840 --> 00:48:23.480
Let's just copy the beginning and end.

679
00:48:27.220 --> 00:48:28.220
There we go.

680
00:48:28.340 --> 00:48:29.340
So here's the shot.

681
00:48:30.140 --> 00:48:31.900
Let's look at the frame rate.

682
00:48:32.140 --> 00:48:36.180
All right, I'm recording, so frame rate isn't that great.

683
00:48:36.540 --> 00:48:40.581
But it's good enough to actually, well, to just take a look at it a little bit.

684
00:48:42.620 --> 00:48:43.800
So here we go.

685
00:48:44.120 --> 00:48:45.120
Here's Ate.

686
00:48:47.620 --> 00:48:49.640
Push this to the side.

687
00:48:50.080 --> 00:48:51.080
Here's that little guy.

688
00:48:52.080 --> 00:48:58.380
And as you can see, the little berries are parented to his body.

689
00:49:01.920 --> 00:49:04.924
And if we look at it from the side, you can

690
00:49:04.925 --> 00:49:08.401
see how much I'm cheating Koro in that shot.

691
00:49:09.160 --> 00:49:12.880
So I'm really trying to bring him down as much as possible.

692
00:49:12.881 --> 00:49:19.800
Whoops, let's see if I can get something a little bit more Pablo-esque.

693
00:49:23.240 --> 00:49:25.940
There we go, the color of Pablo.

694
00:49:27.060 --> 00:49:28.060
Block the frame.

695
00:49:28.940 --> 00:49:31.420
All right, so from the front.

696
00:49:32.480 --> 00:49:35.340
All right, he looks normal-ish.

697
00:49:38.440 --> 00:49:40.000
From the side.

698
00:49:41.060 --> 00:49:45.000
And I think even on top of this...

699
00:49:47.060 --> 00:49:51.640
Even on top of this, I took the bone here and I moved it down.

700
00:49:52.000 --> 00:49:57.560
And then even the head bone that's over here, I took that down also.

701
00:49:58.200 --> 00:50:01.000
And his body, if we look at his body here...

702
00:50:01.700 --> 00:50:02.960
Well, hopefully you can see it.

703
00:50:02.961 --> 00:50:04.060
Let me just draw the line.

704
00:50:04.200 --> 00:50:07.140
So the body is roughly here.

705
00:50:09.540 --> 00:50:13.540
And the cart is here.

706
00:50:15.000 --> 00:50:16.940
So it doesn't actually fit in the cart.

707
00:50:17.720 --> 00:50:19.360
The butt goes down.

708
00:50:22.000 --> 00:50:24.980
So that's a good example of cheating it for the camera.

709
00:50:25.360 --> 00:50:28.101
So if we just look at this shot from the side view,

710
00:50:28.102 --> 00:50:33.100
we may want to hide maybe Aote and the berries.

711
00:50:33.101 --> 00:50:40.000
So if we play it from the side... Yeah, you can see a lot of cheating going on.

712
00:50:40.380 --> 00:50:44.100
Even as he's reacting...

713
00:50:44.680 --> 00:50:46.340
He's kind of reacting to it.

714
00:50:46.480 --> 00:50:49.040
You can see how I'm pulling that body backwards.

715
00:50:53.500 --> 00:50:55.500
He goes all the way back here.

716
00:50:59.110 --> 00:51:00.950
That's fun to see it in another angle.

717
00:51:05.880 --> 00:51:12.580
I even stretched... Yeah, I stretched the nose a little bit.

718
00:51:12.800 --> 00:51:16.720
So you can see also how it doesn't make any sense from another angle.

719
00:51:23.730 --> 00:51:24.730
Yep.

720
00:51:25.410 --> 00:51:28.070
With this little overlap thing here.

721
00:51:29.010 --> 00:51:31.010
Pretty sure I just...

722
00:51:31.810 --> 00:51:33.970
On the X and the Y.

723
00:51:34.350 --> 00:51:36.150
So here's the X.

724
00:51:37.050 --> 00:51:38.370
See how it looks like here.

725
00:51:39.050 --> 00:51:40.050
Here's the X.

726
00:51:41.010 --> 00:51:42.250
Here's the Y.

727
00:51:42.251 --> 00:51:43.330
No, Z.

728
00:51:44.330 --> 00:51:45.410
I meant Z.

729
00:51:45.610 --> 00:51:46.610
Sorry.

730
00:51:47.810 --> 00:51:50.130
You can see those two movements.

731
00:51:50.690 --> 00:51:55.530
And then I just put a noise modifier on top of that.

732
00:51:57.410 --> 00:52:01.477
And I made sure that I put the same noise modifier on

733
00:52:01.478 --> 00:52:04.570
the next bone and then the next bone on the same axis.

734
00:52:05.010 --> 00:52:08.610
But I shifted it so it goes... Let me see.

735
00:52:08.790 --> 00:52:12.790
This is... For example, if I took the X one.

736
00:52:13.090 --> 00:52:15.050
This shows phase 21.

737
00:52:15.790 --> 00:52:16.570
Next one.

738
00:52:16.690 --> 00:52:17.690
X rotation.

739
00:52:18.750 --> 00:52:20.590
This one says...

740
00:52:22.970 --> 00:52:24.210
Phase 21 also.

741
00:52:26.530 --> 00:52:27.550
Am I... Oh, yeah.

742
00:52:27.830 --> 00:52:28.990
Ha ha ha ha.

743
00:52:29.310 --> 00:52:30.370
No, I meant the offset.

744
00:52:32.070 --> 00:52:33.190
So... Phase 21.

745
00:52:33.370 --> 00:52:34.950
But the offset is 1.

746
00:52:35.230 --> 00:52:36.450
We go to the last one.

747
00:52:36.870 --> 00:52:37.970
The offset is 2.

748
00:52:38.070 --> 00:52:39.870
So it goes from 0, 1, 2.

749
00:52:39.871 --> 00:52:40.871
Surprise, surprise.

750
00:52:41.270 --> 00:52:42.590
It's offset by one frame.

751
00:52:43.130 --> 00:52:48.110
Meaning that whatever jerky motion is going to happen, that thing is also going

752
00:52:48.111 --> 00:52:51.230
to happen one frame later to the next bone and then the next bone.

753
00:52:51.730 --> 00:52:54.750
So you're going to have this offset.

754
00:52:54.930 --> 00:52:56.030
So no matter what happened.

755
00:52:57.430 --> 00:53:01.530
But on top of that, of course, to fit the frame and to make it look a

756
00:53:01.531 --> 00:53:04.630
little bit better from the camera's perspective, especially when it's pulled

757
00:53:04.631 --> 00:53:09.170
back and forth, I had to animate on top of that.

758
00:53:09.171 --> 00:53:15.190
And sometimes when you put noise like that, it's, of course, quite random.

759
00:53:15.810 --> 00:53:18.575
You go through the phase and you find something

760
00:53:18.576 --> 00:53:20.830
that kind of fits what you're looking for.

761
00:53:20.870 --> 00:53:23.443
But even then, there's probably going to be a few

762
00:53:23.444 --> 00:53:26.450
frames where it kind of goes a little bit wonky.

763
00:53:27.710 --> 00:53:30.810
Or from the camera's perspective, it goes a little bit strange.

764
00:53:31.170 --> 00:53:37.210
So you might want to go into those frames and just tweak them a little bit yourself.

765
00:53:37.211 --> 00:53:38.510
Just do it manually.

766
00:53:38.650 --> 00:53:39.650
It's fine.

767
00:53:40.450 --> 00:53:46.030
Here you can see all the different glorious bones I hand animated.

768
00:53:47.710 --> 00:53:48.730
Yes, yes, yes, yes.

769
00:53:48.850 --> 00:53:49.930
Good times, good times.

770
00:53:51.130 --> 00:53:55.050
With Koro's ears, I did something similar.

771
00:53:56.730 --> 00:54:01.510
Similar to the little berry overlap thingamajig over there.

772
00:54:02.290 --> 00:54:04.590
So, yep, X and Z.

773
00:54:09.310 --> 00:54:11.570
And yeah, same thing.

774
00:54:12.030 --> 00:54:14.430
So if I take the next one, I go to X.

775
00:54:14.790 --> 00:54:16.690
Same values, but offset one.

776
00:54:17.450 --> 00:54:18.670
Go to the next one.

777
00:54:19.570 --> 00:54:21.430
Same values, offset two.

778
00:54:24.590 --> 00:54:26.490
It's like a practical little cheat.

779
00:54:27.150 --> 00:54:34.390
One thing that you might notice when you look at Koro, and if you want to do Koro,

780
00:54:34.590 --> 00:54:40.730
if you want to animate Koro yourself, if you take the eyelid bones, so you take

781
00:54:40.731 --> 00:54:49.550
this eyelid up control, and you start taking it down, he becomes angry.

782
00:54:50.150 --> 00:54:50.870
Look at that.

783
00:54:50.950 --> 00:54:52.070
Look at that angry guy.

784
00:54:53.250 --> 00:54:54.530
So take animate off.

785
00:54:55.330 --> 00:54:58.110
So I take these two... Eww.

786
00:54:59.110 --> 00:55:03.550
So as he's going for a blink, he looks kind of unappealing and angry.

787
00:55:04.870 --> 00:55:10.010
This is just an inherent problem with the character design and the rig.

788
00:55:11.970 --> 00:55:15.010
And there is really no elegant solution.

789
00:55:15.810 --> 00:55:20.130
So what I did every time he goes for a blink or he's kind of squinting,

790
00:55:20.490 --> 00:55:21.510
I needed to cheat it.

791
00:55:21.511 --> 00:55:30.411
So what I would do is that I would take these extra bones that control the eyelids.

792
00:55:31.250 --> 00:55:33.946
It's the one right in the corner and the one

793
00:55:33.947 --> 00:55:36.790
closer to the corner, especially the upper one.

794
00:55:37.050 --> 00:55:41.610
Sometimes I would tweak the lower one also and just push it in.

795
00:55:43.210 --> 00:55:48.770
By doing that, I made him so like... So this is the original pose.

796
00:55:51.730 --> 00:55:53.630
And here's the one I did.

797
00:55:53.631 --> 00:55:58.576
So you can see this massive difference between pure

798
00:55:58.577 --> 00:56:05.430
anger and being a little bit more closer to Koro.

799
00:56:05.610 --> 00:56:10.890
I mean, Koro is always perpetually happy, but even when he goes into something,

800
00:56:11.490 --> 00:56:16.410
you don't want to have that weird angle going on, even if he's supposed to be angry.

801
00:56:16.450 --> 00:56:18.630
So you make it a little bit milder.

802
00:56:22.010 --> 00:56:28.710
And one of my favorite bones to play around with is this one, the mouth obtune.

803
00:56:29.510 --> 00:56:33.490
So that one gives a lot of flesh to the snout.

804
00:56:35.650 --> 00:56:36.770
That's so cute.

805
00:56:39.770 --> 00:56:42.910
All right, and here's the little squirt.

806
00:56:43.990 --> 00:56:46.050
You can see it doesn't even fit.

807
00:56:46.410 --> 00:56:48.610
Just from the camera's perspective, it's fine.

808
00:56:48.611 --> 00:56:51.050
But it doesn't actually fit.

809
00:56:53.810 --> 00:56:57.990
I probably did at one point, and then I tweaked something, I fixed something,

810
00:56:58.330 --> 00:57:01.959
and some stuff got pushed to the side, so I ended up just

811
00:57:01.960 --> 00:57:04.611
making something that worked from the camera's perspective.

812
00:57:06.290 --> 00:57:09.770
And this thing just has, I think, a shape key or something.

813
00:57:09.870 --> 00:57:11.350
Yeah, there's a shape key.

814
00:57:12.730 --> 00:57:15.610
And the value...

815
00:57:19.420 --> 00:57:21.000
Let's take a look at the value.

816
00:57:21.001 --> 00:57:24.360
Yeah, there we go, to make it a little bit more drop-like.

817
00:57:24.980 --> 00:57:28.900
And then I just flipped it around, and it's still the same mesh.

818
00:57:29.580 --> 00:57:31.200
And there's nothing really happening now.

819
00:57:31.201 --> 00:57:32.820
Now the mesh is just there.

820
00:57:35.180 --> 00:57:36.180
Yeah.

821
00:57:37.200 --> 00:57:41.080
So, if you want to see more of this stuff, let me know.

822
00:57:42.200 --> 00:57:45.137
I think it's kind of interesting for people to see an

823
00:57:45.138 --> 00:57:48.840
anime going through the process and going over the files.

824
00:57:48.841 --> 00:57:52.300
If you're a cloud subscriber, thank you so much for subscribing.

825
00:57:53.740 --> 00:57:56.316
Your contribution is well appreciated, and

826
00:57:56.317 --> 00:57:59.760
hopefully we can make some more cool stuff with it.

827
00:58:00.340 --> 00:58:01.020
Thank you.

828
00:58:01.280 --> 00:58:02.280
Bless.