Bloodedness from the shot. And we are ready to move on to add those finer details that will that will make the shot complete. I haven't taken any critique for the shot during the demo, but I will soon and I absolutely believe there, there will be a lot of changes and a lot of things that they will tell me to add or you know, like, like amend, which in the end will definitely make the shot even stronger. So I'll do that. But for this demo, I will Polish this and take it to a certain level which I think is good and it's okay and and then I'll be able to take it to the show directors to get their feedback. So yeah, As you can see, there are still a lot of, you know, penetrations happening here, the hand and the spear.

So it's like he's throwing this beer from his left hand, sorry, the right hand to the left hand the last jump. And okay, so when we played we kind of don't see all those transitions happening. It's quite fast. But, you know, obviously in the bigger screen, we might might see it so when you're whenever you're in production, like I always say, you know, like, work it out, like, completely finish the shot by you know, adding all those finer details. Even if you're working for air showreel also do that. We have, yeah, I'm going to use the spear at approximate approximate distances to the hand so that you know it doesn't feel too much weird with the poses there, so I'll try to get as much as close as possible.

So let's go ahead and take out a playblast of the high res mode here. So that we can see if we're, you know, missing something or how the whole thing is looking. Good and take the playblast and I'll be back when to play. Less is done. Alright, play loss is done. Let's go ahead and check it out.

Okay, timing and everything looks pretty good, pretty solid for everything and the spear fits just perfect. And the impact is also looking good with the hit impact. Okay. So let's go ahead and take out the proxy mode again to work here. I'm going to be creating that, that swing in the sort of fact which I which the swing that I'm going to add Hear most of the times used in game cinematics and even feature films, I already have created this gear, it's like a just around polygonal disc, that it's, it's on top of the spear with a, you know like a path that is zero. And then for a few frames there and then a pest is zero again.

So it's basically going to, you know, right rotate along with the spear. And this effect is used to kind of simulate a sense of force and direction to where the optic is moving. So I'm gonna go ahead and add the blame here, so that I can add some transparency there. Actually, this is not an object or like a real life object. This is just a shimmering motion blur of the of the soul of the sphere. And it's super effective though and showing what the spirits doing currently Okay, we kind of looks cool.

And you can also go ahead and add like more of these this swing effects or the shimmering motion blurs. While he does that, you know, the hack and slash. So along with the movement of the sore spear, you can add one of these effects to it. These are mostly like, you know, like interface effects is they're not actually real effects or anything, just to kind of enhance the whole, you know, the animation, this effects are just added there. So, this is just for demonstration purpose, I'm showing you how you can also go ahead and add some of these cool effects to your shot while you're doing you know, like fight sequence or Or a sword sword, you know, like a demonstration sequence, whatever. So you can go ahead and do all this kind of effects as well like along with the spear but you only use this swing effect for this demonstration just to kind of show you how this is done later on you can go ahead and add at some some in your own shot.

So right now what I need to do is select this and I have to go ahead and increase the the edges here. So I'll do that selecting the whole bunch here and there's like the the outer outer edge surface. And then I'm going to scale this and the inside a little bit so they can It looks bigger and more effective. Right. Okay, it's looking quite, quite fun to watch. Alright now that we have added the effect, we can move on to animating the camera which we left earlier.

Remember I told you about the last camera would be the only camera in the shot and now the other other two cameras. So I'll try to get a nice handheld cinematic camera view here. As you can see we have a few keys already done there because we had to like You know good Dolly track him like tracking behind along with the character and and one thing you should always remember about cinematic handheld camera is that in the in the shot, the camera actually follows the character and not the other way around. Obviously you can go ahead and break those but it's always going to look better with the camera following the character following the character. So it's like when he jumps and when he jumps in, you know starts falling down the camera is still taking that easing on top because the camera doesn't know what what what kind of movement he's gonna take next, because the cameras you know, like, held by a person as a handheld camera.

Like when he jumps to the highest point of the highest point camera still stays there. So for the first frame, we'll position the camera according to the character's position and the camera. rule of thirds, and then we'll try to follow the character wherever he leads. We should try to start the camera linearly and that way we'll see swift entry. So, all right, now I'll go ahead and animate the camera like I mentioned earlier that camera following character thing. Yeah, well animated that way.

As you can see here that the camera reaches a position, a bit of delay to the character, that's because the camera is following the action. The camera doesn't know what action will take place. So even take it to another level by removing removing half the character from the ski screen during the animation. In the in the name of following the character that's because that's a handheld camera and and adds a bit of cinematic drama to it. Sometimes That kind of looks cool too. I'm gonna try to position it so that I don't have to cut the characters character from the screen here.

So I'm going to redo this again. Just try to get get it right. So right now you can see that at his topmost point, I am using the cat cameras first pose for the camera. And then when he's about to jump down, I'm using the cameras easing