All language subtitles for 06-08-Walk Polishing the Arms

- [Instructor] We are slowly
but surely getting close

to the end of this chapter,

as we just need to polish
the arm of our character.

It's gonna be very easy
because we will deal

with the arms as a simple,
overlapping motion,

animating the shoulders
in reaction to the torso

the arms in reaction to the shoulders,

and the forearm, hands and fingers

in reaction of their parents in the chain.

To polish the shoulder, I
prefer to hide the arms.

They bring a lot of motion to the screen,

and that could be distracting.

As usual, for most of our
forward kinematic controllers,

I will start with the rotation.

The X rotation channel drives the rotation

that goes up and down on the shoulders,

while the Z rotation drive the forward

and backward motion of the shoulder.

We will then slightly
adjust to Y rotation curve,

but without that much amplitude,
because if you remember

in the rotation video, I explained

that if we go too far
with this third axis,

we may encounter gimble lock.

Here, I'm starting with
the X rotation curve

that drives the up and down
motion of the shoulder.

Editing this curve will be
pretty straight forward,

as we are animating the
shoulders in reaction

to the torso motion.

Whenever the torso is raising,
I will lower the shoulder,

and whenever the torso is falling,

I will raise the shoulder,

and we need to bring extra
contrast on the extremes.

(mumbles) polishing the chest
for the open-and-down motion,

we generally mirror or repeat
the cycle over 16 frames,

as the chest is aligned
with the center of gravity,

whether we were stepping with
the left foot or right foot,

we had the same up-and-down behavior,

but in the case of the shoulder,
there will be a difference

whenever we are hitting
with the right foot

or the left foot, since the chest

is leaning left or right in those cases.

This is why I'm polishing
the whole X curve,

not only the frame from zero to 16.

Goal is to add a bit of overlapping motion

to have a relaxed shoulder behavior.

We'll add extra bounce
using the Z location curve

a little later on.

The Z rotation curve on the shoulder

(indistinct) drive the
forward-to-backward motion

is way easier to understand.

It looks like curve that we
have already edited before.

The fast transition
motion, before we ease,

whether in the forward position
or the backward position.

Boom, there is a slight
plateau to hold the pose.

(indistincT) bell-shaped
curve will give you

a very smooth motion,
while a more stepped curve

will you give you more contrast in motion.

My preference goes generally

toward a more contrasting motion,
which is more interesting.

The curve is just about the
twisting of the shoulder,

which on a human being, is super subtle.

Bend is like a few degrees.

In this regard, I'm
mainly smoothing the curve

so that this wide rotation curve

doesn't show that much on the animation

and we don't get any popping issues.

While I would like to add
extra motion to the shoulder,

using its Z location to bring
a bit of up-and-down bounce,

I've decided to mirror the motion

onto the other shoulder right away.

The idea is just to check

if the current polishing of the shoulder

is satisfying before
I bring extra details.

I've done this a lot of time.

You can complete the
curve from one shoulder,

then go on to the other.

Press control shift to V to paste them

with the mirror option,
and then duplicate them

on the whole length by 32 frame

and offset them back by minus 16 frame.

As explained before,

I want to bring a bit of extra motion

with the shoulder bounce.

This might not be a good idea
on a very slim character,

but since our character
is pretty muscular,

it will bring extra
weight to the shoulders

and they will look very relaxed.

So I have isolated the Z location curve

by IDing all the other ones.

Try to focus on the chest motion.

As the chest go down,

we will make the shoulder drag up.

There is a lot of compression, or impact,

on the chest on frame four.

So I'm hitting the lowest
position for the shoulder

two frames later on frame six.

Then the character hit its
highest point around frame 10.

So again, I'm pulling the
shoulder up at its highest point

around the frame 12, two frames later.

There is no impact on the up pose.

This is why I have a hold on
the pose, or a slight plateau.

The shoulder hits its extreme
high pose around the frame 12,

and then it drags as
the body is going down.

So it's keeping its up pose a bit

while the lowest (indistinct)
changing the curve

on frame six and 22,

mark the impact after
the contacting frame.

Again, our curve doesn't
perfectly repeat along 16 frame,

since the torso is leaning left or right

during those 32 frames.

So as the torso is leaning to
the right of the character,

I'm (indistinct) the up
pose of the left shoulder.

I feel like I've reached
a satisfying motion

for the shoulder.

I've run a strength test.

So basically, I will increase or decrease

the scale of the current
curve and see how it looks.

It will increase

or decrease the up-and-down
motion of the shoulder

and make it more or less noticeable.

To do so, we will need
to use the 2D cursor

as a pivot point.

So I will first position it properly

by going into the view tab and
setting its Y value to zero.

Then in the pivot point selection,

I will select the 2D cursor
as being the pivot point.

With all the control points selected,

I can press S to scale and
Y to constrain the scaling

along the Y axis of the curve.

Increasing the Y scale

will increase the amplitude of the motion

and make it more noticeable.

Decreasing it will make it more subtle.

What I advise you is to scale the curve

while playing the animation.

This way, you can have
a real-time feedback,

that generally feels better
than modifying the curve

and then playing the motion.

Once I'm happy with the result,

I will mirror the curve
onto the other shoulder.

Don't forget to check your
motion from every angle.

For the up-and-down motion,
we can clearly see it

from the back view of the character.

It's great to make this
up-and-down motion noticeable;

don't overdo it, though.

In the next video, we are
going to polish the arm

for arms and hands.