Original subtitles

In this lesson,

we're going to learn how to animate our rotoshape to

follow along with the contour of the hand.

OK, so so far the only key frame that's been set is on our first frame,

which is where we drew all of these shapes inside of our rotonode.

So now I want to set some more key frames to be able to

move those fingers along with the motion-- or to move the

masks that go to each finger,

along with the motion of the hand and how she kind of

flexes those fingers out there.

So let's go ahead and we'll move forward a little bit.

Now, you don't necessarily want to move to the very next frame.

That's one of the things you want to keep in mind when you're animating.

So I want to move to kind of the most extreme point

where we don't get much more movement.

And it looks like that's actually going to be closer to 20,

but she kind of holds there for a while.

So what we can do is figure out where that first point is that

she kind of comes to a stop in that motion.

So it looks like it's probably right around here.

Let's say, probably about frame eight.

We'll call it eight.

And this is where she really comes a point that there's only just a little

bit of her hand floats just by her holding it there.

But the main motion that we get from her changing just her

palm to this "Live Long and Prosper" thing that she's given

us here is the eighth frame.

So this is where we want to create our next key frame.

So what I'm going to do is focus on this ring finger,

first of all, because it's one of the ones that has the most amount of motion.

So to add a key to this,

I'm just going to come over here and we'll select Ring from

the different rotoshapes that we've created.

And you can see that highlights it for me.

Well, let's zoom in a little bit.

And I'm going to grab Selection tool and that looks

like that's what I already have here.

So I'm just going to click up here and to the left to select all of my points.

And now I get a very similar tool tip to the Transform tool that you

would get if you had added in a transform node.

So we've got a lot of the same control for that.

And what I want to do is just come on here to the corner

and we'll rotate this around a little bit just like we

have the rotation of her finger.

So I've rotated that now where that line is kind of lining

up with her finger a little bit better.

And now we can just pull this over on top of her finger.

Now, I'm matching it up with the tip of her finger,

not what we have in the overlap down here.

Because that wasn't really using any kind of true

point of reference that we could see.

So I'm going to click off of here and let's look at what we've got.

So it looks like her hand moved enough-- or her finger moved enough-- that

now our rotoscope doesn't fully cover the whole finger.

But we have a lot less to move than if we had all of these shapes connected.

So what I'm going to do is we'll just select this one point,

we can pull that over to the side a bit,

and then we can come down here, maybe move this one at the bottom.

And this one, probably, actually needs to be Bezier,

so we can change that now, no problem.

We'll just come in here, make sure we have the Smooth Points tool selected,

click that point.

And then I'm going to grab my Selection tool and we just

want to break these so that I can kind of make this follow

that curve a little bit better.

So to break those Bezier handles away from each other we'll

just hold Control and click that right there.

And looks like that can kind of go down there a bit just

to follow that a little bit better.

Just want to make sure that we get all the skin in between here.

And then once we move this other finger,

we'll be able to overlap those a little bit more.

Or we could pull the palm up a little bit, too.

So by having these three different rotoscopes all

overlapping here-- we've got our middle finger,

our ring finger,

and the palm-- we're able to be a lot more versatile than if we just

had one large mask that covered the whole hand.

So now that finger is done, we can move onto a different finger.

So let's come over here, let's switch over to the little finger,

and we can work a little more quickly now.

So I'm just going to take that and pull it over to the side.

And we just want to make sure that everywhere that

it needs to be is overlapping, that it doesn't come inside.

And it looks like it pretty much stays over her hand the whole time.

So-- or over her other finger.

It crisscrosses just a bit,

but it's not going to give us really too much trouble.

Maybe a little bit down here so you could pull this over a bit if you wanted to.

But you want to make it too much thicker than her finger, so just a bit.

And it's OK these are overlapping just like it is down here.

It's all going to be used,

it's not going to cut that area out or anything like that.

It's OK that they overlap.

OK, so now let's move on to this finger.

I'm just going to-- well,

we need to rotate this one so let's make sure we have our Selection

tool and I'm just going to draw the box around here,

rotate this over a bit.

Let's zoom back in so we can take a look at her finger.

And we'll just pull out right on top.

And that one matches really nicely.

Now we do have a little bit of an issue with the skin here,

and I think that's actually going to be best solved by

maybe pulling this point down a bit lower.

And then we'll just move the palm shape up a bit and

that will take care of it in a moment.

So let's finish out by-- let's grab that index finger and it looks like we

probably need to do a little bit of rotation with this one.

So I can just rotate that over.

Not quite as much as what we needed before.

Pull that down a bit.

And that looks like that's getting mostly all that we need.

We might actually want to go back over to the middle finger

and kind of pull this over a bit just to make sure that we

have enough overlap there.

That looks better.

OK.

And the thumb really didn't move much at all.

We just really need to-- we don't even need to select all the points,

we can just get a few in here just to make sure that we get

that contour a little bit more closely.

Just like that.

Kind of pulling out some of the handles, moving some of those points around.

Really pretty easy.

And the most-- really,

the hardest part about rotoscoping is just the time consumption factor.

So this can take a long time to get perfect but,

as you can see,

this is a lot easier now that we're doing this with lots of different shapes.

So I'm going to draw a box around all of these.

And her hand just slightly shifted over so we can just kind

of scoot that over to the right again.

And then let's come in here and pull this point a little

further just to make sure we get that extra little piece of

skin right in between there.

OK.

So now I'm going to play this backwards so that we can see

kind of what happens in between there.

So let's stop this and maybe scrub that.

And it looks like-- it's been animated, we've got our two main key frames,

and from this point we could add just a few key frames

from frame eight to 20 just to have this kind of match

along with the rest of her motion.

That's going to be easy.

The hard part is this middle area here.

So right now it looks like our rotoscope isn't moving quite as

quickly with this finger as maybe with the other one.

So we need to add a little bit more-- maybe one or

two more keys for this ring finger.

So let's focus on that one.

I'm going to select the ring finger,

and what it actually looks like is happening is that the ring finger

actually went to the middle a little bit first,

and then over towards the outer side of her hand.

So it kind of goes over like that before.

So what we want to do is find the furthest to the right that middle-- that

that ring finger gets and we'll set a key frame there.

So that looks like that happens on the four.

So what we can do is to select all of those and just do

that same process that we did earlier.

And that one fits really nicely just right there.

OK.

Now let's kind of scrub and see if that helps it at all.

Pretty close.

I mean, there's a little bit that it's off, but that one is very, very close.

Now, the pinkie kind of does the same thing.

So we could come over here and grab her little finger and,

let's see, it was probably on the same one.

It looks like about frame four or five she really gets over there.

Right about there.

Maybe five.

We'll go ahead and-- this time,

instead of the selecting the whole thing because it

looks great here at the bottom, I'm just going to select the points at the top.

So just these three points at the top,

we can grab those and then just move them over like that.

And that's going to help that quite a bit.

So now let's just deselect by clicking over here.

And that looks much better.

That's following along really nicely.

So it's definitely going to take a little bit of practice

with you rotoscoping to get this down,

all of the little things that you have to change.

But that's holding on there pretty nicely,

especially to these two fingers that we spend some extra time on.

Now, in between lessons,

I'm going to challenge you to go through and get this to

match her hand the rest of the way.

So we get just a little bit of a floating motion.

And try to do as few keys as possible.

Now,

sometimes you're going to have so much motion that's so fast

you're going to have to keep every single frame.

But, in this case,

we have a really nice motion that allows us to have some interpolation and

really saves you some work just letting NUKE do that.

Don't try to just go to the very next frame.

Kind of look for those places like what I was saying earlier to go to the

end of the biggest motion that happens and key there.

And then kind of go back in between and fill out those areas.

So that's the technique we are using and I feel like that works really,

really nicely.

And you're going to save yourself some work in the long run.

And you're definitely going to save your work by using this method-- I

can't stress it enough-- of creating different shapes for each of the

main shapes that move within your entire image.

So we've learned how to animate this now.

So what happens when you get a little more fine tuned?

Sometimes you're going to have things like motion blur.

You can kind of see right here at the beginning,

we get a little bit of blur on her finger.

It's not a lot, though.

So I'm going to show you with a different example in our next lesson how to

animate the consistency of that blur on the edge and just how to handle

that whenever you run into it in your own work.

So we're going to learn how to do that in our next lesson.