All right let's go ahead and continue.
It looks like he's crying right here for my show.
So let's go ahead and continue over here.
Well I want to do now is
finish up this part right here so he's open mouth.
I want him to kind of open back his eyes over here so he's kind of peeking out at the ball.
So right here.
When he closes his eyes and then when it when he looks back right here I want his eyebrows to go up
actually.
So selecting the eyebrows selecting the eyebrows.
So with this whole movement right here
right here this is where he gets terrified so you dislike the eyebrow right here.
This one I mean it's like the eyelids too just in case you never know when you might need a knife.
And also the middlebrow which is lost in here somewhere.
Why did it go.
There it is.
And also the hand eye location rotation scale also goes like this just in case location rotation scale.
Move ahead 1 2 3 4 5 frames an bring his eyebrows
up
and his eyelids up just looks evil.
Let's see the bottom one is maybe.
No no that won't do at all.
And maybe the top ones up a tiny bit
like that and then actually with the eyelids I want them to be two frames or two frames over so from
this one one to two and then on that one I want his arm his his arm his mouth.
That's a funny looking arm.
His mouth opened up a little bit more before I do that.
Let me insert a key frame for the mouth here.
I.
Location rotation scale one two three four five.
Opened his mouth to the max.
And also I'm going to move his panda man.
This is a jumble of bones here.
Move his hand.
Just a little bit maybe.
Because right here
see how it looks if I moved.
Maybe I should cover his face.
I see how that looks in the camera.
Mascha kind of like that actually.
So they hand in from the eyes.
And then I want them to lower the hand.
A little bit faster.
So what I'm going to do is selecting this hand and shifted this over here.
So he lowers his hand faster.
So he kind of up and not that fast.
I want this hand to be held there for a little bit.
So he holds his hand up there brings it down.
And Schreck
and with his mouth
I see how that looks.
Want to delete these two
right here
I like that slow motion actually of the hand.
But I want him to hold it there for a second or two so shifty one too.
We go right here.
Want him to close his mouth too at some point at some point he must close out.
So here here it's not going to be there because that's why it's terrified.
On him to start closing his mouth right around here.
So selecting the mouth bone selecting the Loughborough location rotation scale 1 2 3 4 5 6 7 8 9 10
11 12.
Oh gee
and I kind of like it like that like half open.
Now we go and then from here to here on into
open it again maybe
be fully closes mouth.
I like that kind of kind of
I want his mouth to open up a little longer afraid to take a little longer so when he hits the floor
of the ball I want his mouth to fully open.
So let's see how that looks.
So it
looked.
Let's play that.
Say one thing.
I again this is a tweaking process I want his mouth to a lot faster because it's closing a bit slow
for me.
So grab this over
and I want his mouth to stay close for a little bit.
One two three four five.
There we go.
So his mouth closes faster close for a second.
And then LA
and was mouth to open a little bit faster.
And right here of course we need to give them some facial expression of the eyes.
So come back here but select the eye muscles.
Did you know your body your face has five hundred months now.
I have no idea.
It's something of that nature hitting.
I acacia rotation scale.
Let's move ahead.
All right around here one two three.
Two on frame two.
I want him to open his eyes like a crazy crazy mushroom so fully open his eyes and
what else are I hear fully open his eyes and look like a crazy all right here on the blow down on him
to close his eyes.
So so let's select right here.
The eyebrows the eyes
and the jaw jaw the jaw and hits eye location rotation scale move to here where he smashes the ball.
Let's close his eyes.
Close.
And nose.
Shirt it close up fully and the eyebrows.
This one is a little bit higher than the other one.
I guess we animated it at a different value.
Let's grab that there.
Let's bring this one down a little bit so it can match the other one.
So angry.
All right
we go.
Let me just dislike that this is distracting me like crazy.
Way WAY.
I'M CRYING way Mommy.
I killed it.
I waited all day to see how that looks.
I love it.
So right here when he gets up let's go ahead.
I actually see how that looks.
One more time.
And again this is a second pass.
You might do a third pass out even more finer detail tweaking even more.
You know so right here when he gets back up
I want to see right around here.
Let's select the mouth and the eyes all the beautiful facial features that we might need.
And we go that's it.
I.
Location rotation scale.
Move ahead.
One two three.
Actually two first for the eyes because the eyes open up faster than the rest.
Of the things.
So let's open the eyes.
And then we could even two three four.
We can then lift the eyebrows and the brow
is in complete shock.
And the jaw kind of make it like a bring it up a little bit.
Let's fix one thing because his eyes are completely off.
We're just throwing everything off because.
So right here.
His eyes are on the ball.
And right here
eyes are not really on the ball but let me see if his eyes are on the ball we're its eyes are on the
ball.
And as I stopped being on the ball right here right here
so I look
actually good tell about their
right here.
Pretty good right there.
And then we're right here.
Let's out in a keyframe for the I look.
So I would caution rotations go one two three four five six seven eight nine eight Let's bring the ice
down here.
And then to move ahead a couple of frames.
There we go.
The eyes are right there.
So let's add in like keyframe right here I location rotation scale moving up to here.
Let's bring his eyes up a little bit.
And then over here
let's bring his eyes
down now.
So it's kind of looking at the ball like oh shoot what did I do.
And then over there we want him to be looking here he looks there.
Then over here I want him to
overhear on him too quickly dart down.
Look at the ball.
And then over here dart that way look that way.
He's as panic stricken eyes they're moving all over his face.
So there's one thing right here.
This looks kind of strange
then right here.
I'm going to make him look back when he puts the hammer down on him to start to look at the hammer.
So from here four five I'm going to grab these make him look at the hammer because he's putting the
hammer down and then still looking at the hammer right here hit I location rotation scale move ahead
one two three four frames.
Hit all she and place them on the ball so when he's backing out he's looking at his murder victim.
All right and that's another way we could tweak it and fine tune you could select just one bone and
go through the whole animation with that one.
And so if we wanted to we could do just the eyes throughout the whole animation and just animate only
the eyes.
And that's another way to fine tune it of course but sometimes you might get a little bit stuck because
you're doing you're working on the same thing the whole time so you can get a law and right here I want
to add a blinking there so the blinking set is only a slight.
It's a good thing.
You could select the bones and see where everything's at.
So the eyes are there blinking blinking.
That's the closing of the eyes the blinking is right here.
So selecting this which is the blank catel because we have three of them they're on to make them blink
right there.
I'm going to add another blink right here.
That's another way you can do it to just go from one bone to the next so we just add the eyes.
Now we could kind of work on the blinking a little bit.
And over here going to add quite a bit of blinking because he's just in shock so he's blinking like
like crazy.
I'm going to add another blink here.
So he's like he's blinking a lot.
And I want him to blink Yeah right there when he looks
wanting to blink here as well.
I want him to blink light you know when you're frightened you're just like you're panicking your eyes
are blinking like crazy
Arati coming along.
We're definitely filling in some nice little movements and animation there where we could even do oh
let's head on to the next part of the tutorial.
I see you there.
Fantastic job it's coming along very nice.
All right.
Here's a little fun one.
You know not so serious.
The art of 3D.
It's fun for both you and me.
Just try it out and you'll see your imagination will be set free.
So grab your keyboard and mouse and get ready to not leave the house.
All right ladies and gentlemen.
Take care.
Oh well I'll see you on the next one.
And I'm sure you've been home for days doing this course.
All right.
Ciao.