Hello, and welcome to another tutorial by our media. This is going to be a tutorial where we'll differentiate between the bouncing of the balls depending on their material attributes. So, let us start here you can see three balls made of different materials. The one in the center is a metal ball. The one in the right is a cotton ball, and the one on the left is a rubber ball. We'll adjust the size and the positions of the balls with free transform tool as needed.

Notice that each ball is placed on their individual layer. To start with the rubber ball animation. We have already kept the remaining legs locked so that we will not accidentally disturb any one of them. In the timeline, extend the length up to 44 Moving towards the rubber ball selected, insert a keyframe on the 10th frame as previously studied, go to the Properties tab and assign motion to into it. Reduce the easy in value to minus hundred. On the 10th frame, shift the balls position to ground level.

Check the movement. As we know the rubber balls characteristics, we'll have to add some more bounces to give it a realistic feel. add one more keyframe on 14 give motion to win and switch on the onion skin option. You can check out the Onan scan option below the timeline bar and just the onion skin markers so that we can see all the frames of the movement of the ball. Now we see the object clearly on the selected frame rest of them are likely visible. Here you can see that the Odeon skin is helping us in deciding the bouncing height of the ball.

Check the movement here we need to give hundred ease out to the selected frame. ease in and ease out are the needful values we'll have to add during the motion when going towards minus 100 value that is downwards is supposed to be is in which helps in creating the motion slow to fast and moving towards hundred value that is upwards is supposed to be ease out, which helps in creating the motion fast to slow. Again, check the movement of the ball. After adding the ease in ease out values it's working well now extend the motion frames as seen in the video for that, press f5 Okay, switch on the own skin and we shift the ball a little upwards on the last key. going ahead insert a keyframe on frame 27 apply motion twin and again the ball is to be placed on the ground level.

Keeping onion skin on and zooming in helps in matching the same registration point as on this second keyframe Once placed right, give Easy enough minus hundred. Remember to apply easing when ball is moving towards ground and is out when it is moving upwards. Same way we will keep on adding some more keyframes along with motion twin to give a good bouncing effect on the 35th keyframe at just the balls position so that it is a little lower than the previous position, which is in the air don't forget to give it some ease out. Keep playing the animation after every change to check if things are going right or not. Also keep referring to the video. Now, to get back the ball on the ground, add one more keyframe on frame 42.

Go with the same procedure and match the position. You will notice that we need to switch on the onion skin option Every time it's time for ease in now it's working well. Some more bounces will get us a more realistic feel. For that, insert an additional keyframe on frame 48 please the ball exactly as shown in the video using the up arrow key on the keyboard. Next, it's time for is out. Now we can see that we need to extend some more frames in the timeline.

Going ahead, add a keyframe on frame 56 apply motion twin switch on Odeon skin and bring it back to the ground level. Here, it matches the ground level registration point. When you play the animation, you'll see that it's time for easing again, minus hundred, you can always check the motion from start to bottom, we need to add one more keyframe doing the same thing again. That is applying the motion twin. Switching on the onion skin and giving the ball a new position and also the ease out value should be added. We are getting a good result, but some more keyframes are needed.

To improve it. We need to add one more keyframe. Add just the ball on the ground level again. Notice how we are adding the number of bounces depending on the material Have the ball as here it is particularly specified as a rubber ball. We could need some more number of bounces. So, let us add one more keyframe and repeat the procedure.

Next keyframe on 78 frame and brings it back to the same ground level position. Keep checking ease in ease out values. On the 82nd frame, we are adding one more keyframe also adding motion to in and adjusting the position of the ball with the help of the Odeon skin mode. Add keyframe on frame 86. Add motion to in again and the ball to be moved downwards, as seen in the video here. Do notice that later as the distance between the balls And the ground reduces the distance between the two keyframes is also reducing all depends on the slowing down of the bouncing effect.

We are placing keyframes closer to each other than the earlier ones. Extend the timeline up to 100 and add two more keyframes at frames 89 and 92 add motion twin and now we have to only adjust the position of the ball on the 89th keyframe. It will be placed slightly above the ground level as shown in the video. Because the bouncing of the ball has almost stopped and the ball has slowed down. It's time for ease in and ease out. Check the animation.

Add one more keyframe in between the last motion to win to give the last bounce effect. Keep checking the movement playing the animation as seen in the video. Now we need to extend some more frames. Let's add one more keyframe on the hundred and seventh frame and shift the ball to the left side at some distance. also rotate the ball at some angle on the last keyframe. Finally, play the animation and you will understand that the ball we just animated has the feel of a rubber ball, which is very bouncy.

Here we are finished with the rubber ball animation. Now, let's move to the metal ball animation. For that, lock the rubber ball layer and unlock the metal ball there. Okay, here we go. Add a new keyframe on the seventh frame. Create motion tween from the properties and plays the metal ball on the ground on the seventh keyframe with the help of the down arrow key.

This will give a straight movement to the ball. As the metal ball is also moving downwards will give easing value of minus hundred. That means the ball will travel slow too fast towards the ground. We are checking the movement now, shift the keyframe to the sixth frame and insert a new keyframe on the eighth frame. Apply a motion to rain again and slightly move the ball above the ground level on the last keyframe. As we check the motion will shift the keyframe from the eighth frame to the ninth.

To bring the ball back insert a keyframe on the 11th frame. Do as earlier add emotion to end on the Odeon skin and plays the ball back to the ground level. Remember that this is a metal ball, it won't bounce like the rubber ball. In fact, it will not bounce at all. When we play the animation, we can make out the difference between the weight of rubber ball and the weight of the metal ball. We'll set hundred as ease out value for second movement and minus 100 as easy in value for the third movement of the metal ball.

Now that we have animated the metal ball will move towards the ground layer, unlock it and add a keyframe on the ground level exactly where the metal ball has its first bouncing keyframe that is on 60 frame. Also add one more keyframe just next to it. And now only the ground level on the second keyframe will be shifted slightly, very slightly downwards. We have done this shift to create the effect of the ground shaking on the impact of the metal ball as you will see in the animation and here we have successfully animated the rubber ball and the metal ball. Next, we move on to the cotton ball. So let us start.

First of all, lock the other layers except the cotton ball layer. As with the other balls, we'll animate the cotton ball, keeping in mind its weight. You can see here that the metal ball reaches the ground faster in comparison with the rubber ball because it is heavier. Now we know that the cotton ball is much lighter than the rubber ball. So we'll add the second keyframe further than the rubber ball which is on the 11th frame. Add motion twin and move it on the ground.

The next key frame on the 18th frame and again, add motion twin now plays the cotton ball as seen in the video. Add the ease in ease out values. Now, to get the ball back insert one more keyframe on frame 23. Applying the same motion twin and placing it again as shown in the video gave minus hundred as an ease in value. Now to add one more bounce to it, insert a keyframe at frame 30. Add motion to in and give 100 as ease out value.

Switch on the onion skin here, place it according to its previous position. You can see now that each ball is bouncing according to its weight on frame 35, add one more key frame Add motion to in switch on the onion skin and place it on the ground level is going to be added by minus hundred. play the animation, we can now see the three balls with different materials. The animation looks quite convincing, but there are some more actions we can add for the rubber ball and also for the cotton ball to make the animation even better. At first, let's start with rubber ball except the rubber ball there, lock all these remaining layers. As per its material property, what we'll do is squash and stretch the ball at the particular keys mainly where it hits the ground.

So go to frame number 10 that is its second keyframe and add two keyframes one will be just before the keyframe and second one just after the keyframe here You see two additional keyframes on the ninth and the 11th frame. Now let us follow the video. Go to the key on 10th frame. With the help of the free transform tool, squash it vertically and stretch it horizontally. You'll see that it gives the animation a more realistic feel. On frame number nine, stretch and squash the ball as shown in the video.

Now do the same for the keyframe on 11th frame. Keep playing the animation to see what effect we are getting from it. Check the ease in ease out values. As we have added new keyframes between the motion twin. Go to the next keyframe where the ball hits the ground and add to key frames on both sides of the keyframe, just as we did earlier. Press f6 for adding the keyframes against the ball vertically for the frame numbers 26 and 28 for the key on frame number 27, squash the ball vertically and stretch horizontally.

When working on the stretch and squash, make sure that you maintain the volume of the ball and that it does not grow in size. Now let's go to frame number 42 where the ball hits the ground next, repeat the same actions at New keys on frames 41 and 43. Stretch and squash the ball and the 41st and 43rd phrase Check the path of the ball on frame number 42 using the onion skin and now squash and stretch at frame number 42 it's time to move to frame number 56. We added two keyframes beside it. squash the ball at 56 and stretch the ball at 55 and 57 like we have done before. We are repeating the procedure wherever the ball comes in contact with the ground.

Do more keyframes added next to frame number six stayed, squash the ball at 68 and now let's see how the animation is turning out. Don't forget to check the ease in ease out values wherever you added the keys. The animation is coming out good after the ease in and ease out is adjusted. Let's move towards the cotton ball. Give the same treatment to it. Here also, we'll consider the weight and material of the ball while stretching and squashing.

Unlock the cotton ball layers and lock the layers. Add two new keys on 10th and 12th frames as the cotton ball hits the ground on the 11th key Once the ball on the 11th frame as shown in the video and stretch it on frame number 10 and 12. Give ease out value of hundred to frame number 12. Keep in mind that we are using the stretch and squash in such a way that it will suit the material of the ball. It will obviously be different from the rubber ball. Secondly, we have also worked on the timing of the ball animation considering its material as well as its weight.

Cut off some of the frames at the end of the motion twin as the cotton ball will not bounce as much as the rubber ball because it is softer, coming back and keys on frame numbers 22 and 24. on prem number 23. Let's close the ball again as it's bouncing Slightly follow the instructions in the video. No need to stretch at 22 and 24. Now, as we are going to make the ball settle for that, insert a keyframe at frame 34. Give motion twin and squash the ball a little at frame number 32. See the video and follow the instructions let us know add a key on frame number 36.

The treatment of the weight of the ball is the real factor that affects the animation. Now let us check the animation. Let's make some more changes to improve the animation. Notice that the rubber ball is not rotating where it should be. So let's work on that now. Double click and go inside the rubber All symbolic.

Extend the frames up 200 select the ball and create one more graphic symbol of that and name it rubber ball in. We have extended the frames, so add a keyframe at frame hundred. Add motion twin. Here, insert one more keyframe at frame 50. Click on the frames and in the Properties tab, you will find rotation option. Select the CW option, which means it will rotate clockwise play and see the ball is rotating clockwise smoothly.

Double click and again go inside the graphic of the ball. You can see the highlighted area on the ball. Let us remove that Again, come out to the symbol and add a new layer. Create the same highlighted area on this new layer. Select the radio option from the color palette, choose the colors and modify the alpha values as shown in the video. Draw a circle on the new layer as per the highlight size.

Remove the outline and adjust the placement of the highlight again, as seen in the video. This highlighted portion will always be on the top layer. Remember that even if the ball keeps rotating, the highlight will stay in the same place throughout the animation. Exit the entire symbol mode and see the ball rotating properly. Here, select the complete layer of the rubber ball. Right click on the And click on the synchronize symbols.

This synchronous symbols stands for the number of keys you have in your current layer. It will match up with the frame numbers inside that graphic symbolic play and check out the animation of the rubber ball. Let us cross check the frame numbers of the keys from the Properties panel and make sure they are correct. Also see if they are in a loop or not. While playing we see the rubber ball bouncing and rotating in a proper manner. And the frame numbers are also right.

We have done the animations for all three balls with different materials. In this assignment, we studied two things, weight and timing. Both are very important factors in the quality of the animation. Both things depend on the weight and material of the object. objects with more weight will bounce less Once you have done this exercise, you can experiment with different materials and how they will react when they are dropped on the ground. Thank you