- [Instructor] There's one object that can really cause a lot of work later on if you don't think about it cleanly, and that's the hand and I've mentioned this in the previous movie and I don't expect anyone to organize their hands quite to the this level of complexity or insanity if you prefer because I guess people are thinking I've lost my marbles at this point but if you are creating a hand it'll help you to have some concept of the different angles and how the shapes cluster depending on these angles.
Now some of these angles you will need a lot of and some less so. So for example, the amount of artwork that you'll need for hands in this cycle will be much smaller those are very unusual than this angle here. This will be much more common in a given acting scene, this'll be much more common and especially this one here. These are the angles that you're going to see most often when you're creating hand images and of course this will be very, very unusual to show, there might be the occasional time you'd use a symbol like this.
And of course we have them in multiple positions so we don't walk around with our hands in this open pose so they can be in a fist gesture, they can have pointing fingers and so on. But I want you to keep this in mind because as I show you how we expand our library, this kind of organization will come in handy. So here's our basic rig, I'm just going to tunnel in and show you a demonstration of the hand that we have at the moment. So you recall I warned you about using different symbols for the left and the right hand.
You only have one hand symbol, that's the right hand, you then duplicate that symbol to the left hand and flip it horizontally. You don't have left and right hands, it will warp your mind if you have a symbol that has a left hand in it and then maybe a modify, transform and flip horizontal and then a right hand and you're trying to figure out is that a left hand, is that a right hand, your brain doesn't work like that, you will just drive yourself up the wall and me too, so don't do it.
So let me show you the end state for this hand and how I'll begin to flesh this thing out. Now you'll notice that the original hand was on layers and it's a very nice way to work because when the hand is on layers you can then make changes to individual fingers. If I want to turn this into a pointing gesture all I have to do is go into that symbol and make a few little adjustments and lo and behold he's pointing it. I don't have to redraw the entire hand. So that's pretty much what I've done throughout this.
Notice as well my A, H, and G angle naming system and I've given myself about 10 slots because I think 10 basic positions is probably pretty good for each of these angles for a simple character and scene like this I'm not going to need more than that. If you're working on a really big production you might feel it's safer to allow slots of 20 for each of these given angles. It's up to you, whatever you prefer. And notice as well I'm using the same naming convention that I used in the previous slides.
So you know, it doesn't matter what you call them as long as they are logically ordered and you can make sense of them and the beauty of clustering them around these angles is it's so much easier to see what you've got. I don't have to waste hours going from this angle to this angle to this angle to this angle to know if I don't have the shape from the right angle in this family here, I have to make it. And notice something else, the first frame in the A3 cycle is the same as the first frame in the H3 cycle as the first pose as in the G3 cycle and so on.
So the second one matches with the second one matches with the second one according to the gesture. So this is, for example, the splayed fingers and the fourth one here is splayed fingers and the fourth one is splayed fingers. And you'll see me reorganizing these throughout these movies and actually I think that this fist gesture would probably be better placed here, do that, I think it's just cleaner. I was putting the fist towards the end because I thought this was kind of off by itself but I think it's actually easier if they're all together.
So one, two, three, so we have our clenched fist in this angle and this angle and in this angle, so that's how you begin to re-organize the elements and again if I show you this in an outline you can see again that we have them all on different levels. So modifying and customizing is as easy as it's every going to be given this system and the other thing to watch out for is this joint here on the wrist. So sometimes as you rotate the hand symbol you might find that that joint is maybe not round enough or I think this one is probably changes that we could make to the wrist joint here.
In the early phases of a production, as I said in the previous movie, we're always making these small changes as these potential trouble spots emerge. So in this case if you feel that that rotation isn't quite working or even that the position might be altered a bit. Like I said, there's always a trade-off, it's never going to be exactly perfect but there's also changes that we can make to the palm, for example, so if I make this frame one that's a little better.
But not all hands will work with all wrists so we're always compromising between the demands of the outer symbols and the inner symbols. We're trying to get kind of an average range of things that'll work. And we can always reposition these throughout the scene. This is just life for anybody using this program. But that's not too bad, and again the beauty of doing, now this, this is the same symbol as that one, so any changes that you make here will apply to this one. One last thing to watch out for too with the hand is the danger of placing the fingernails on the same layer as the finger.
It makes the finger much harder to modify. You end up with this kind of thing. So I did it on this thumb just to show you the problem. Were I to add fingernails to these fingers here my temptation would be just to do them on a different layer. To add a clean layer. And actually I would then copy, use the eyedropper tool or I on the keyboard and then just draw right through all of these layers so that way I would have complete control over the fingers.
Then I could adjust the fingernail layer accordingly. So it's a fairly minor detail but it can stop you from ending up with these kind of very unfriendly geometries. Now in a previous movie I mentioned adding new mouth shapes. So in this case I've actually gone through and finished that. I've duplicated the A through F through A of the first happy mouths and then I've given him an angry, sad mouth cycle. And the beauty of this cycle here is it could be used for angry or sad depending on the shape of the eyebrows.
So by bringing the eyebrows down he's angry, by tilting them this way he's sad. And also the beauty of this system is that you can then switch from one to the other so I can go from a down shape to an up shape and they should tween. So that's pretty handy. So again, before you hand out your scene to 20 people or 30 people or a lot of freelancers, be sure that you've got all of the mouth shapes that you're ever going to need. Be sure that you've got core of hand shapes that you're going to need.
Don't just hand out a rig with one hand in it. You want a small family of at least 10 to 15 would be my guess, at least as a core to begin with. And then you've got your hand set, your mouth set, you've tested the body and now you're ready to begin animating with this character.
- Assembling a scene
- Setting up a project
- Importing a reference
- Creating and cleaning up a background
- Animating an action scene
- Adding camera moves
- Animating a human
- Setting up a character
- Importing and editing audio
- Importing audio and exporting a scene