Graphics Reference
In-Depth Information
Figure 11.20
The last three poses.
They use the same set of keyframes. The only difference is the interpolation method. If you're following
along with your own animation, go ahead and switch everything back to Bezier interpolation by selecting
all the keyframes in the Dope Sheet with the A key, then choosing
Key > Interpolation Mode > Bezier
from the Dope Sheet header. If you watch that video or your own playback after the conversion to Bezier,
you'll see the terrible default state. The kind of motion you're seeing is referred to as “swim,” “float,” or
as being “soft,” and it is a bad thing. To get good animation, we're going to need to remove all traces of
that default style of interpolation.
More than any other step, this is where your artistry and critical eye are going to come into play. Can
you look at poor timing and tell that it isn't right? Once you've determined that, can you decide where
to go? If so, you'll probably do well. If not … your prospects as an animator might be limited.
Let's give it a shot on the first motion: the wave. Focusing on the waving arm for a moment, what we
want to have happen is for the actual transitions between the different poses to happen more quickly, but
we don't want to mess with the overall timing of the poses themselves. The easiest way to begin to
do this is through keyframe duplication in the Dope Sheet. RMB select the hand and two arm bones
of the waving arm. In the
Dope Sheet, those channels
are highlighted. Using B-key
border select, select the key
dots on frame 1 for only those
channels. This is shown in
Figure 11.21
. Use the Shift-D
key to duplicate them, and
move them to the right until
Figure 11.21
Select and duplicate the starting pose keyframes for the left arm.
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