Now we're going to make him slowly walk out of the scene or kind of bounce out of the scene because
he doesn't know what to do.
So with the hammer we've now made it so that the hammer gets set down we've inserted both the key frames
here or it's put down.
And now the hand is no longer attached to the hammer or vice versa.
And what we can do is go ahead and make sure that right here we have a keyframe for the hand.
Which we do
and now grabbing the hand one two three four five and then move back a little bit to some frames and
just grab his hand.
And also before that I'm going to go back to where he's holding the hammer.
Select the fingers.
And we're going to hit.
Location rotation scale on the fingers as well.
And in fact I'm going to also make sure to select all of these main bones so that when all these main
bones that we've been using this whole time
and hit and even this one possibly because we might be using it for the jump I location rotation scale
and now moving ahead.
One two three four five frames.
Six seven eight nine ten ten frames.
I lied.
I'm going to grab the hand.
So like the fingers
and hit Allt are to clear that up and like this one and it all R and R R X I still want him leaning
forward a little bit his gun can be like backing out backing out of the crime scene and then moving
his hand heading up are grabbing his hand rotating in any kind of position him like
whoa position this hand like this as well.
Like ok.
Backing out of here.
I hope he's not honking at me.
All right.
Backing out of here this I don't know.
I don't know.
It.
I didn't do this I didn't see nothing.
So he puts down to out.
See the speed on that.
I like that speed right there.
It's kind of like a cautious speed kind of
and maybe let me see right here with the hammer.
Maybe
might get a feel for the speed again.
I actually kind of like the speed a lot right there.
So I'll leave it like that then.
We want him bouncing out of here.
And you know leave this as it is.
Or you can bounce him out of here like a mushroom does.
Right here.
I'm actually unselect all these because I want him to hold this pose for a couple of seconds.
One two three four and then I hear moving forward or forwards 10 frames where he's going to be moving
backwards 6 0 to hit those grows on G X G x negative to actually G x to
and hit g y one
g z to
cheesy one actually I want to come like many hops right there.
You go and get some many hops.
And for some reason the base was in keyframe than on any of those on your selectee here.
Chef de copied out to over here.
So he's not sliding across the whole floor either.
Let's see what that looks like.
Cool.
And then right here on this frame let's
squash it.
Down a little bit.
In fact on the frame previous
We you add all g to clear that out out in a key frame there.
And we might even set him up for the jump right here so I'm going to on a second one right here where
he's holding the pose.
He's actually going to be preparing for the jumps are ahead g z.
Bring it up a little bit and bring this one Jack.
Just be cool.
So he's kind of like putting it down.
Is setting up for the jump.
Let me see how that looks.
Cool except for setting up for the jump is a little bit longer.
So on himself for that jump a lot faster.
So liking these two just to see where they are it's the base and the squash stretch bottom actually
going to like these to bring him out three
and hit shifty and copy them over here so that now kind of squashes down pretty fast.
And then he bounces up.
I see that again.
And that pray here.
Let's go ahead and move him forward 10 more frames and frame let's just jumping out of the scene we'll
do the more the tweaking after six 12 G x 2 GZ and first let's Allt g this one right here which is keyframe
there are all g bring that and then GZ bring this to the flow like that now is jumping out.
How many jumps do we need.
Probably two more.
So let's just do the jumps will do the tweaking of squashing and stretching after six 22.
This is a crime scene.
Mushroom don't want to be seen in the crime scene.
That wraps he doesn't want to be seen in the crime scene.
GZ to
go.
Actually we had done one not two so GZ one and six thirty two g x 2 and then GZ bring that down to the
flow and then we need possibly one or two more.
Let me just make sure that looks fine I cool and then six forty two
animating is really fun and it's just a process of what we're doing right now.
Pretty much.
And again you do not have to sit through all of this necessarily.
G x 2 and bring it down GZ.
But I'm actually even though this might be a little bit long to watch all of these.
It's actually cool because that way you see the whole process that I go through for creating an animation.
All right let's do it one more time because we got still his finger in the way so we don't want that.
Let's do one more hop one more hop out of here.
We should make him fall off the plane.
But now the animation is done after this.
Six sixty two g x 2 GZ 1 and we don't even have to make him come back down because there's no need for
it.
So if there's no need for it there's no need to do it.
Look at him hopping across to
right cool.
I like it old school now.
You know what we got to do.
And in case if you don't we've got to add it in the same key frame for when he jumps right there when
he hits the floor.
We need to copy that frame basically.
So
we look here Rob this one shifty copy that base right there because it looks like he's staying more.
It doesn't look like he's gliding across kind of like with our Paul animations he looks.
If you compare like the first bounce with the other ones the other ones are kind of like he's just kind
of float and going to that second impact on the ground hitting a to make sure you de-select everything.
It's like there's one shifty boom and then with this one as well which actually doesn't matter because
I know it does.
That's not the one that's out of the frame.
So this one is well shifty boum.
Cool cool cool.
And we actually need to squash and stretch them so we might even have to move those Llobet this one.
So this one is squashing and stretching.
And on this one the impact looks like this
and this one already seems to be set or not.
Let's grab it.
Bring it up and bring this down.
And then just hitting shift D on these right here copying them over
and then when he jumps back up three four you make it like one two three four.
I'm going to grab this.
Bring it.
Jeezy one.
No cheesy negative.
Point three.
And then when he goes back down here I'm just going to hit G.
Z points three have this one GZ.
GZ the mushroom g never gave this guy a name.
Shu not good.
Citing the squash stretch Wadham as well shifty copy it.
There we have
squash stretch bottom.
All right one thing though is that I believe if my calculations are correct They're right here when
he jumps up and the squash stretch squash stretching right here.
Actually needs to be duplicated.
Right before this one.
When he has the floor or like to before
because otherwise it squashes in-between
in-between all of them.
So for this one to we want to squash stretch right here.
Shifty bring it one to two over so that he's still so light he's still stretched right here although
it's going out of the floor or Llobet So this one will bring it back even more
and it doesn't have to be the exact same value for every single one of them.
It's actually good that it is.
Let's bring this one forward a little bit it's actually good that there's some variation that way it's
not you know
it's not completely uniform with all of it.
All right.
Now let's make him stretch back up over here because it's a look in a lot squashed.
So right here one two three.
Your head g.
Point three negative
making sure that
I actually want to grab this one over one more so it's nine the floor so much.
And this one I'm going to hit all she
rabbit.
This could be considered part of the fine tuning I guess and I'm just going to copy this one over there.
All right.
I'm actually just going to leave it like this so that we get the gist of it.
We're going to.
I like that.
So let me see.
Go.
It's like a spring you bounce.
All right so there is the blocking of the animation.
Let's play this whole thing all the way through.
Beautiful animation.
Now there's a couple tweakings that we need do.
And that's what we're going to do in the next video we're going and just go through this and tweak it
a little bit.
Obviously do the eyes part of the mouth.
And you know a of LOEBBECKE finer details so we're just going to like run through it and do some of
the low tweakings and everything cool.
All right VOLP very well done so far.
Let's head on to the next point we're getting there very close to being done.
All right.
I know you keep saying that sounds like the last three videos but we're getting closer either way so
we'll see in the next one.
Very well done.
I don't know this seems like a pretty ominous picture either things are going to go well or horribly
wrong with creatures lurking in the mist.
All right.
Trust yourself and your heart it knows things where to start.
You are amazing.
You are love.
Just know that you're always rise above.
Because there's nothing that you can't overcome with love.
All right you guys we love radiate love and hope you have an amazing one.
All right.
Appreciate you guys.
Have a good one.
Over.