Hey guys, welcome to chapter one of Apple skin CW series. We'll start off by discussing about this robot here. This is a mecca robot originally bought online specifically for this tutorial. We'll check some of these controls here. It's quite heavy due to its high mesh and my laptop configuration, Scott spear with an alien blade on top of it, which we will use in the later part of the tutorial as a weapon to use to spell destruction. The shaded mode of this alien robot looks pretty cool, industry level high quality texturing, which can be used both for games and feature films.

There are a tons of character online for animators to buy at reasonable prices with all extended licenses. The high res model is quite heavy, we won't be using this to animate in the viewport. Instead we'll be using this proxy model which we have at our at our disposal for easy viewport movements. We can check the reg now with this model. And while taking playblast we can use the high res model because whatever animation data is saved in the proxy model will also be saved to the high risk model of it. Okay guys, let's move on to see the 2d panels that prepare for the shot.

Before discussing this, I should tell you that I am not a 2d guy so my drawings are not at its finest. But while animate this thumbnails are enough for me to get a rough idea of what I want, here are the poses. As you can see, the drawings are quite rough, but you'll get the idea. The character here will fly and enter into the scene this way and it'll land in a quite heroic stance here. As you can see, these are the same poses here but a different angle. But instead of the landing stands here I prefer to use this particular one, which I like the most because Got the attitude to focus.

And it's like he's kind of ready for the fight. So yeah, we're going to be seeing this for every now and then I try to memorize the poses from the drawing so that I don't have to keep them watching over and over again. But we'll still need to keep an eye on it. Moving on to Maya viewport, let's create a ground plane just to just so that we have something to place the character I'll add some subdivisions to it. Because you might, we might need something you know, later on to extrude something or create something out of it not necessary at all, but something I do before starting the scene. Alright, that looks fine for now.

Checking the preferences. We'll start off by blocking in step mode, which is often a part of my workflow. Most people I've seen this workflow I've see I've seen used as workflow starter by step mode and then worked Way displaying it. Other other workflows also include starting out with linear because it kind of helps them skip a step and keep an eye on the movement and again blocks that might occur during the posing. Yeah. Then we're ready with everything.

Let's start working in the scene. The trajectory of the slide will be something like this. If we go on the inside view of this, I'll use my math to draw a kind of a curve that we need to understand how the flight would occur. So it's basically he's gonna come flying from the left side and he's gonna land right there. I'm gonna pose a character to start out on the first pose here. Select the main control and moving up here.

Rotate them a little bit Just to kind of give him the direction of where he's going to land, we're going to tweak this, you know, later on, if we need to bring him down into Y axes or whatever. But right now we're just, we just get a, you know, very rough idea of how we're going to make him land. So that is kind of like the trajectory how he's going to land, you know. Alright. So, let's go ahead and key some of the very simple, you know, create a layout of it is key, the first you can go ahead and key there, or it can just go to animate and set a key. Pretty simple.

In the beginning of the workflow, while layouting a certain shot, I don't worry much about the timing right away. So I just placed a character in the T pose according to the path as I just that I just drew earlier. And also remember to keep Auto Key on, because whenever we change the pose, or move the character in the viewport, it's automatically going to save that information. So it's kind of very important. Now we need to rotate him seems he's going to stop there, that's going to be the hang time for him. I kind of keep the details to the minimum oil layouting because I don't have a specific approved storyboard.

For this shot. I have to do everything from the scratch, so I have to improvise and work through the whole process long with you. But this is more fun. Now that we have our flight path layout, let's go ahead and start working on the raid to create definition for the poses. I kind of remember the movies like Transformers or Iron Man, while animating shots like this. And also if you have seen this guy jumper Or the skydivers, you will see a pose something like this where their head hands and lay tend to move off as they're falling down with great speed.

And their belly becomes kind of like the most weighted part, along with the along with, it kind of acts like a center of gravity. So yeah, trying to get that, while creating poses, or creating the pose, I make sure they are correct. But it's not necessary, as I will come back later at some point, you know, accept certain amount of time and, and amend, amend the poses necessary, according to the scene later on. But yeah, try to kind of make it correct to a point where it looks meaningful and convincing. Don't make it too weird as it will create problems and understanding the motion later on. Maybe record yourself in that pose and try to get that as a reference.

It really doesn't matter how you achieve that pose. The correct pose has to be there. Right, this looks okay, I want to keep it like this and we'll come back if I need to make changes later on. So here these poses need to change as they are hand poses. Maybe not hand pose. That doesn't sound good.

Let me say slow down pose. Okay, so yeah, he's hander hands are up here cuz he'll be holding this beer up high. Once I start definitely defining the poses, you will understand what I'm trying to draw here. The drawings fair are going to be pretty rough. Let me tell you that. Okay, we haven't created a selection set.

Let's do that. selections as are always important because while working with keys, we need to make sure every control is keyed, and that every control is key to the right brain. As I have created already created one, I'll go ahead and select this And right click and believe that. All right. So then now we have all our layout poses down. Let's go ahead and key every control there, selecting the shelf button there and pressing the key along the timeline.

All right, that looks good. Now, now that we're done with the lab poses, we can kind of give definition to all the poses that we have here. Like for instance, this air pose, or the slow down pose here, movies, legs, a little bit of a front, just so we can see that he's, he's going up and kind of slowing down, try to put as a hand in front so that he's kind of use this thrusters to slow down from the momentum of the flight and basically land there. We can always come back and tweak disposes later on if we don't feel that the poses are working right or we can make a change to make it look better. But yeah, we need to try to make it as convincing as possible. Let's see that.

All right, let's go ahead and fix this pose as well. This is gonna be the hang time pose. Right after he slows down there's gonna be a few seconds of him actually ease in in that motion before the fall. So that ease in is known as the hang time. Okay, looks like we need to fix this leg as you will land on his left foot. So we need to put the left foot up front here.

This is just the head pose here. Little bit Can I make him look down