All right.
I'm just going to go in here and start tweaking it around.
So let's see how this looks.
Now I might just time this video or just leave it at normal speed and timelapse it.
Not quite sure yet.
His eyes his eyes are looking freaky right there.
He's not even looking at the sign.
So last pose were his eyes.
Jobs up there
actually the last pose with his eyes is right here.
He jumps up there
to see where his eyes are right here.
So he looks at the flag.
The Right here is fine.
He's kind of turning his eyes to be over here.
As he smacks it down
right there on his eyes right here on the sign
I want them to stay there until I hear that song is like this shifty to copy it over there way go beautiful
and then when he comes back down
I want him to look at the side I go.
Job well done.
And I want his eyes to stay to be right here.
I'm going to g clear that and just have them here.
Go.
It's interesting seeing it from this angle.
That's another thing also to keep in mind.
It's good to see stuff from different angles.
I actually want to hand out more because right here looks kind of strange.
Let me say that.
So
what has had to come out like this.
Not so much in his armpit.
But Alex looks better that better.
And we could even have his fingers animate.
So right here opens his hand.
And then when he swings his hand forward let's rotate his fingers forward to well on or on went all
right here you are here to go to the proper spot on the Doshi.
I don't know where the heck I was just out of there.
So right around here right here I'm going to insert keyframe location rotation scale and then when he
goes forward like this right here I want to hit our z twice.
I would bring his fingers in a little bit
right here and he bring the hand out a bit
easy.
Bring that up.
Copy that over because it was in the flow which is not good.
And now it's in his body which is even worse.
I don't know if it works if it's in the floor or in his body.
Copy that over.
I actually don't want it to be completely still sung in a kind of a
move it just a little bit
like kind of like his fingers like that actually.
So right here actually when he brings his hand back with the fingers right here
I want to have him in that position right here so I location rotation scale and then over here I'm going
to hit our z twice and bring him out but not make them too straight.
And the nice ones as well.
I don't want them so straight so inserting a keyframe for those right here which they already have a
keyframe over here.
I'm going to hit our z twice.
And bring him down.
Just a little bit.
So he has more of a looser
looser fingers.
All right.
Let's say
again this is the final tweaking.
So this part can take a while.
Heck you could even take hours
it's all about the little tiny tweaks in here.
Kind of want to add some facial feature right there just for fun.
First let me see if you can even see him and the camera here you can't even see a mouse of a point right
there.
When I add some facial features right here as soon as he swings a sign out I want to make him smile
because it's a job well done ladies and gentlemen.
So to a job well done
kind of.
As he's smiling as he is.
So let's try that.
So right around here I'm going to hit I location rotation scale.
One two three four.
Grab it up.
I like that.
So that's kind of a smile before us.
A face of complete
fear.
Let's see.
Right.
But the guy
something funky about that right there.
I actually want him to let's say right here this like this I want him to hold that pose maybe for a
second.
Let's see how that looks.
This pose right here shift the top that over
interested to see how that looks.
With the hammer at hand as to kind of live with that too because it's like this shifty ring not over
and with the other hand as well.
That's like this one.
And copy this over to
but I do want him to move just the slightest bit.
So on the go here grab this head move it up grab this one and move it up.
And this
move it up into this
maybe not to the side so maybe
see how that looks.
Now go and I want him to go faster.
Right here on yes like this one.
Move it over.
See how that looks.
I like that better.
And I wanted to open a little slower maybe
just like this one bring it out a bit
that we've got that's a little bit better.
They bring this one back so they hope opens sooner.
And maybe not that slow
go again.
This is all about that tweaking
we got Alex a little more natural.
He looked a little rigid during that time and his eyes look a little off to me.
I don't know if it's just me but his eyes look a little off right here.
But I see the eyes right here they're fine.
Right here.
I don't know what the heck they're looking at right there the ball or air they're looking at the ball.
They're fine.
And then right here they're not fine so let's grab them.
Bring him down.
I like that.
And then going forward a couple of frames to here let's go inside the ball and bring as I said either
looking directly at us or the ball.
I don't know which one he's looking at but it's one of them.
And then right here he goes down to the ball
and we get inside the ball.
Make sure he's looking at us.
There we go that's a little more precise right there.
All right so there you go.
I don't know what he's looking at right there it looks kind of weird.
Well he's looking at the ball I believe.
But again
let's see how that looks.
Yeah looks good.
All right.
Did you play nurse
maybe here.
Maybe hear what he just backwards.
We have his body move backwards or like thrust him backwards.
Let's do just that.
First let's go here.
I while there is already keyframes scratch at right here.
Right here maybe our x x.
So he's like kind of like in shock.
Alwaye gowe.
I like that a lot better because it looks like he's kind of a
thrown himself back.
Throwing himself back and kind of hopping out.
See how that looks in camera view.
Beautiful maybe not so much of a throwing back.
Let's tone it down a little bit.
Have a.
That should be better.
There we go a little more subtle.
Go though.
Let me say again.
You can tweak so much of this.
That's ridiculous.
Though I will continue to again our right.
All right.
Here is our quote Look at the infinite possibilities the infinite inside you and me.
It's pretty clear to see that you can be whoever you want to be.
All right.
Ciao for now.
Ottawa.