My name is Steve Teeple. Everybody calls me "Teeps," though.
It's a lot easier nickname to remember. If you don't know what I do,
currently, I am a concept designer, virtual reality artist, and animator for
the entertainment industry. I mostly focus on concert visuals and stage design,
as well as now have been a recent Google Tilt Brush artist in residence,
so I do a lot of VR-related promos for movie promotions, music promotions,
live performances, things like that. And I also do animation, a little less these
days, but I'm going to show you some of the stuff I do for that as well.
Part of an awesome audio/visual collective and label here in LA
called Teaching Machine, which is kind of an umbrella with David Wexler who goes
by "Strangeloop" and do… That's a lot of the concert visual stuff I work on.
And some past, more recent clients include Marvel/Disney, Google,
EuropaCorp, Flying Lotus, Odesza, The Weeknd, Symbio Robotics.
It's all over the place. Hopefully, I'll be able to talk about a lot of those
different things. I made… I can't show too much of my newer stuff,
unfortunately, right now. So I made a little reel of kind of some more animation
experience I've been doing recently, as well as some past work to kind of give you
an idea of what I'm going to talk about today, as well as what my style and
aesthetic kind of looks like here.
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So I never make reels, except for this presentation that I do.
So it's kind of fun. Let's go to the next thing here. I kind of thought it'd be
really helpful to kind of go over how I approach 3D and how I use Cinema 4D in my
workflow in general, before I kind of dive into stuff specifically.
And I think the best way to describe it is that I focus on tools that allow for
creative expression and procedural workflows more so than technical,
very specific things that kind of halt the creative process. And so I kind of make
hack solutions to kind of figure out ways to avoid doing things I don't really like
in the workflow. And I embrace happy accidents when it comes to stuff.
I never plan something 100% from start to finish. I'm always kind of letting it
evolve over time when I'm working with it. And I know that's a really creative way to
just say... I think this James White tweet really sums it up, that I want to explain
my creative process. It's a creative way to say I screw around a lot until it looks
right. That's pretty accurate, to be honest with you. And so with that,
I kind of want to talk about the idea of procedural workflows before I dive into
stuff. And this is kind of more on the concert visual design stuff,
but it applies to how I approach Cinema 4D in general. And to show you that,
I just have a scene here with a plane in it inside of Cinema, and I just have it
showing the grid. You can see that it's just been subdivided sometimes.
And you can see that there's a hierarchy going on here, but it's all really basic.
And if you're not familiar with Hot4D, it's a Houdini simulation for water
simulation that was ported to a free plug-in for Cinema 4D. You can just google
search "Hot4D" and find it. It's normally for ocean simulations,
but it's also really fun for just giving rhythmic driving animation of kind of
fluid simulation through stuff. So if you apply this to this plane... And if you're
also unfamiliar what these tags are, I'm not going to dive too far into it.
But it's by the Greyscalegorilla guys around the corner. It's called "Signal."
It's one of the best plug-ins I've ever used for Cinema 4D. It's basically
procedural animation without keyframes. So you're able to basically set a range of
frames in a time of a value. And you can drag almost any parameter inside of Cinema
4D to it. So all I'm doing here is dragging the time on Hot4D from 0 to 30
across 100 frames. And you can see how you'd take a flat plane,
and you can make it this kind of rolling, rhythmic kind of thing.
And this is obviously like the water simulation comes into play.
But if you added something like a Poly effects to it, you can then take those and
separate those cubes out individually as their own polygons. And you can start to
see that if you add a Signal tag where those are rotating… I'm just rotating
those around 360 on every 100 frames. So you can start to see how you can take a
flat plane and start breaking it up. And if you add it to a Cloth surface,
you're going to start getting thickness there. You're just dumping the plane with
the Poly effects and the Hot4D under a Cloth surface. So we're getting thickness
now. And you can see how you can really effectively add just effectors and with
something like animating fall-off on a random effector on this plane,
you're now getting this kind of crazy particle simulation almost inside of this
flat plane. And adding in something like a Formula effector really,
basically, you can see this sine wave now coursing through all this.
And this is something that's completely all… If we turn these all off,
you're seeing it's just coming back from a flat plane. So all these can be
manipulated at any point, and you can start to tweak how these things look.
You can add in another Formula effector, and now you have these giant cubes kind of
shooting out. And none of this is keyframed. None of it requires… I mean,
this took minutes to set up. And what I try to do with like visual stuff,
is you're coming in here and you might find a composition you really like here.
And if you're doing stills, you can go frame by frame with F and G,
and you can kind of find these moments inside these kind of chaotic environments.
And that's kind of what I mean by procedural workflows. I'm definitely doing
nondestructive kind of, being able to tweak things after the fact,
and that's really what I'm excited about. So that's kind of what I've done in the
past for talks. So I'm going to get out of the kind of abstract stuff a little bit
for now. But let's see here. So back to this. So what I want to talk about a lot
today is virtual reality. And so virtual reality tools, there's a lot of that here
today, it seems like, in general at this conference. I've always approached it in a
kind of non-developer coding manner. I've always used it as the creative tools that
are out there. There's a lot of awesome tools on VR platforms for creating content
that you can then use in other apps. And so I want to give you a quick list of the
main ones that are kind of out of early beta testing and that are being used right
now for other things. And some of these, I'm going to dive into more than others.
But the big ones being Tilt Brush and Medium. Blocks is a new one from Google
for low-polygonal modeling. There's Quill for more illustrative stuff.
Gravity Sketch is a great hard surface tool in VR. And AnimVR is actually a tool
where you can take stuff from Quill and actually do like frame-by-frame animation.
And I've seen people export those and bring them into 3D apps as particle
effects and stuff like that. The two I really want to focus on today just because
of time is Tilt Brush and Medium because these are two that I use very regularly in
my workflows. And if you're not familiar with what Tilt Brush is,
here's a little like demo video from them just to see an idea.
But the idea of working in VR is very different than what you're used to because
you're able to be in a 3D space with room scale, and you can… Instead of thinking in
perspective or depth or some kind, you can actually walk to the other side of that
object and paint the other side of it or design things kind of right in front of
you, and stand and look at something eye-level. And I think that that's really
powerful. You can see that people are using all sorts of stuff in Tilt Brush.
The main power, I think, with Tilt Brush is that it has these kind of particle
effects and things that you can make immersive environments with.
So a lot of like the Valerian and Doctor Strange things you saw in those reels were
all built in Tilt Brush for people to walk around in room scale.
But it's also a tool that allows you to export FBX files for each one of these
strokes with an Alpha channel. So you get what these kind of painter-ly
brush strokes are coming from. Some of them have actual geometry,
but most of them are flat planes. You can't export the particles.
But you can create things that you would not normally be able to create in a normal
3D app. And the other one I want to show you really quick is Oculus Medium,
which is more of a voxel-based sculpting tool for Oculus. And this is,
on the left here, that's just straight inside the app with a Curves Adjustment on
it. So that's something that you can sculpt directly in Oculus Medium.
Think of it like another alternative to other kind of sculpting tools.
And this is from how I'm creating more actual 3D pieces. But the idea here is
that you can create stuff inside of Oculus Medium, take something you made,
make it into its own stamp, and constantly just create new things.
And you can export these as FBX files. And Medium actually exports kind of basic UV
maps, basic Normal maps, and you can also have a decimator built in.
So you can export something that's actually got less than like a million
polygons, right? So using these tools in conjunction, I make a lot of assets now,
three times, four times as fast as I would have normally done in other apps.
And it's really fun to kind of see what you can get away with.
And so this is an example of a Tilt Brush sketch that I did years ago when it was
first kind of coming out, and this is just an abstract shape. I was trying to see how
I could work this into my concert visual stuff. And how I could take that
procedural animation idea, take something really abstract that has no real design.
You know? It was just kind of a shape I was playing with. And I wanted to see how
you could turn it into something like this really quickly using that same kind of
procedural animation technique. And this is just a couple lights in Octane and the
same technique. And I'll show you what that scene looks like inside of Cinema.
But it is very quick and easy to take something from Tilt Brush.
But I want to show you what it actually looks like directly out of Tilt Brush.
So when you import that, it's going to look something like this.
And I believe it's probably something to do with the FBX Exporter out of Tilt Brush
because Cinema 4D was not its first 3D app of choice, I think,
from when they were messing with these settings. But you'll see that the planes
kind of have this transparency going on. And the main thing you have to worry about
with any kind of Alpha map coming from Tilt Brush is that you're going to have to
just do one really quick thing on the textures. And you'll notice that it puts a
color and a transparency on the texture. You want to uncheck Color.
You can leave that on if you want, but it puts a blank white color on everything by
default. It's based off vertex color data. If you have the need to actually pull that
vertex color data and you know how to do that, you can play around with it.
I tend to just recreate it inside of Cinema. And the main thing you have to
worry about is you turn off Transparency, and you're going to take this texture it
puts in here and you're going to copy the shader. And you're going to actually apply
it to the Alpha channel instead. And what that's going to do is now you'll see that
we have these strokes coming through that actually match what we saw in Tilt Brush.
And the power here is that, you know, you can take the vertex color data if you want
from Tilt Brush, but I prefer to just put it on the Alpha channel like this and then
actually just recreate… Now, you can come into Color and you can change this to
whatever colors you want. Sorry. I'm trying to uncheck the channel here.
If you clear the mask out of there, now you can just take this blue texture and
you can slide this to any color you want. You can recreate what you made in Tilt
Brush fine. I prefer this method than taking vertex color data because sometimes
you want to change your colors after the fact. So you have this kind of weird
shape, right? And to make this with normal splines and any kind of normal 3D method
would be kind of a headache. Like I would never make a weird shape like this with
traditional modeling tools. I'm sure some people can do that faster.
But the reason I like this is that you can take things like that and with this kind
of procedural workflow I talked about earlier, you can really quickly take this
and put a few effectors on it. And you can clone it and you can take that one shape
and make it this queer, undulating, kind of weird thing. And I mean,
this is a very weird example. But it's just showing you how you can take one
thing I made in five minutes inside of Tilt Brush, and you can really expand this
to being in your normal workflow. But these shapes I'm making are something I
would have never made in traditional methods and it's very fast.
And it's very fun to stand up in your room and design something standing up in VR,
and then export it and then come down to your computer. It gets you away from the
computer. It takes you out of the normal sitting at my computer,
modeling things. So this was first early experiments, and you can see that there's
just the Hot4D, a Random effector, a Formula effector, just like we were
talking about before. And there's a Spherify on a cloner. And so if you just
turn off all those, you're just seeing that it's being cloned around a circle
with one shape, right? And all I did is if you take this out of here,
you can see that with Octane, with this kind of stuff, I'm often just putting
lights in the scene. And if you turn the Visibility and the Tag to "None,
Not seen by camera," you can actually have these intersect with meshes.
And when they intersect in certain areas like this, you'll get these really harsh
like highlights on the edges if you have a reflective material.
And it kind of creates that kind of nice look going on here. And so this was first
experienced with VR. I was seeing how I could work it into my already existing
workflow with visual stuff. And I kind of… If you know what I do mostly,
I do a lot of characters these days. And that's like where I wanted to kind of see
where I could do more look dev, concept art-type stuff with Oculus Medium or Tilt
Brush. So I kind of want to show you how you can build a scene.
So these are two characters. The one on the left is a direct screenshot inside of
Medium with a Curves Adjustment. That's a sculpted model done relatively quickly.
The one on the right is directly from Tilt Brush inside, so you can see how they look
in VR and what they look like before you would export them, just to give you an
idea of what they're looking like before we export. And this piece here was made
with those exact same assets within less than an hour. There's almost… The only
color correction on here is that I exported a depth pass from Octane and made
the background in those towers more red. Otherwise, there's almost no color
correction on this. It's directly from Octane. This is just… And what I'm going
to show you is how you can take these assets and kind of kitbash a scene
together relatively quickly to kind of get these ideas across.
But the whole idea here is that this workflow is about a million times faster
than what I was doing in the past. And it's just very exciting to be able to kind
of take these, drag textures onto them and build out scenes here.
So we're going to open up this scene here. It's a little bit of a dense scene,
so give it a second here. So I'm not going to show too much Octane stuff.
If you have specific questions on how I got a look, you can definitely ask.
It's definitely one of my render engine of choices just for how fast it is here.
But you can see how this scene is set up. But what's funny about it is that I do
this often where if you actually turn the camera off, you're going to see that the
scene is just ridiculous. Like this guy is floating over here.
He's not even standing on anything. This rock is kind of floating over here.
These towers are off in the distance. But you're seeing that I'm setting up a fixed
camera and I'm just quickly building out a scene. And I'm going to show you how we're
going to take the mech itself, we're going to take the rock base he's standing on,
and we're going to take that tower and we're going to just bring him into a new
scene really quick and paste those in. And kind of show you how really quickly you
can take assets directly from VR and kind of play around with this idea.
So we're just going to bring this guy up to the floor. We're just going to put a
plane underneath him so we have something he's standing on. And this is really
quick. And the main thing you've just got to come in here and do is establish a
camera angle. And honestly, if you're doing these kind of big towers,
focal length is really important to play with on this stuff. I know most people are
going to play around with that. If you're doing a really up-close character,
50 to 70 millimeters is definitely going to give you a less distorted look.
If you're doing something big like these giant towering mechs,
I tend to do something like 100 because it's going to give you that kind of
telephoto look, like you're zooming in from afar on it. So you can take something
like this and we have this tower, and we're already kind of establishing where
we want everything to look. But these are directly from VR. I haven't edited these
in any way. So what's cool about it though is if you notice in the Tilt Brush and in
the mech, obviously, one's named differently before I organized it.
But Tilt Brush exports each individual brush you use as its own piece of
geometry. So you can come in here and you can apply textures to each one
individually, and you can add Displacement maps for texturing anything you want.
But what's really fun is to just come in here and take something like this,
and let's say we were liking where this tower is but we want to take like the Tune
brush that we used, and I'll just duplicate that. And now we have this
geometry over here and it's kind of just like kitbashing together scenes that you
might not be able to make. So you might want to put this over here for some more
kind of abstract shapes going on in the distance. We'll take the Thick paintbrush
and now we have this piece and we can move this over here, and you can start building
out these scenes, kind of like a collage-style, which I think is really
fast. But this rock here, something I often do is I'll take these really dense
meshes, like this rock, and just come up and instance it. And what you're able to
do then is get these really lightweight meshes that you can move around,
and you still have this same piece going here. But I'll just build out a scene like
this from a fixed camera, and I can really quickly set up a whole scene like you saw
before in a half-hour, 35, 40 minutes. You know, like that to me,
for someone that's just trying to get ideas across, it's very powerful.
And it's something that, like I said, I mean, you might think that the modeling in
VR took a long time, and if you want to talk about that later,
it's not as bad as you think. It's very fast. I have people that never draw in
their life or never 3D modeled in my life, and they are able to pick up those apps
and be able to make stuff with them relatively quickly. I think that's really
exciting and empowering for artists. It's also for people that are scared of doing
character modeling or design. I think it's going to really empower those kind of
people as well. But you can see how you can quickly just instance things and you
all of a sudden have this big scene you can play with. And all I did was add a Fog
volume to this scene from Octane. And we're just moving stuff around here.
You know? You can push this back in the environment and you have this fully built
out scene with assets that I made relatively quickly in VR. So that's the
general idea of how I'm approaching these scenes is I'm getting all these assets
together, exporting them out, kind of seeing how I can play with them in one
scene. And I want to show a little bit more of that kind of workflow as well.
So other character stuff I do, I tend to play around with not just character
design, but I was trying to play with character animation. And I discovered kind
of, you know, a while ago, Mixamo was bought by Adobe, and it's a tool for
motion capture, rigging characters and applying motion capture data to them.
And a lot of people use it for very specific things. But for me,
I kind of wanted to initially take it so I could pose these kind of complex geometry
characters from VR. So a great example is showing you what something looks like as a
character coming out of Tilt Brush. So the one on the left here is directly from Tilt
Brush. You can see it's this kind of decimated mesh of triangles.
And all I did on the right here was take it into ZBrush and just move his
proportions slightly, and mirrored him for rigging. There's no other editing really
on there, just the Move brush. But very minor cleanup with a little denser of a
mesh. You can then take this really boring kind of A-posed character.
And by uploading it to Mixamo, you can get a rig and weights on that mesh within
minutes, which you don't think is that powerful. But when you see that you can
take it… Weights are a big part of that. I don't know anything about Weight mapping,
and it's a very important workflow. But you can see how here now,
I took that exact same character and applied just a standing pose to him.
And now, with a little bit of moving around on his skeleton, you can see how
this mesh now has an actual kind of realistic pose going on. There's weight to
him. He's stretching his shoulders slightly. But what's really cool about
that is then I can come in here and I have full control over moving his joints like a
normal rig. And he's basically a poseable character with movable meshes.
To me, that was my first step into kind of figuring out how I could use Mixamo to
kind of get a rig and a skeleton into a mesh really quickly to kind of create this
look I was looking for. And you can see how if we just do a Live Viewer in Octane,
if it doesn't freak out the computer… Crossing fingers here. Here we go.
Relatively quickly, this is just two lights in a scene and a default Octane
texture dragged onto this mesh, and you can see how you can take something from
Tilt Brush relatively quickly and get this kind of really unique look.
I turned the Fog tag off because it made that kind of low-poly look to kind of get
that, how you can see the individual polygons. I kind of liked how it looked
better than the kind of smooth, round-looking mesh. But to me,
two lights in a scene and running something into a rig where I have full
poseable control over this was so fast. Like that is just really fun.
My mind starts racing at what I could do with these characters.
And of course, I wasn't satisfied. I want to see them move. I want to actually
animate something. So then, I started playing with Mixamo's animation database.
And so if you didn't know, the other half of Mixamo, besides its Auto-Rigging tool
is it has a whole database of actual motion capture data that they've captured.
And so there's things from dancing to flipping, to moving, to walking,
to more basic stuff. But you're probably seeing a lot of examples of people dancing
and, you know, there's a lot of that going around and I think that that's really
exciting. But it's also a tool that you can use for more subtlety which I don't
think people realize. And I'm going to kind of show you a little bit of a
workflow here. Before I dive into that, I want to show you the same kind of
workflow. But these were all made in C4D with Tilt Brush or Medium,
or Gravity Sketch models. These were all Tilt Brush here. That's the same knight
you just saw with a little bit of Photoshop on both of these. These here,
this character here, the one on the left is directly inside of Cinema 4D and I've
actually been rigging him into like a little mini-short film kind of thing.
The one on the right is just painted over. Both the staff and the character were made
separately in Tilt Brush, exported and posed with the same workflow.
That tower you saw earlier, this was the initial concept I came up with for it.
The ring and the character on the right are just Tilt Brush sketches with
Displacement maps on them, just really basically. But you can see the kind of
range you're able to achieve with this kind of look. Both of these here,
the one on the right was directly exported from Gravity Sketch into Octane.
The only thing that was added was the little people. The one on the left is
completely done in Tilt Brush and Octane, and then just some Photoshop on top of it.
But it kind of shows you the range of what I do with this stuff,
as well as like the fact that all of that was made outside of a 3D app is kind of
crazy to me. Like I don't know. Maybe people aren't that excited about that.
But for me, it was really exciting and it was taking me away from my computer for a
little while to come back and kind of do these kind of abstract workflows.
So getting in the motion capture stuff. This is kind of diving into the main bulk
of what I wanted to talk about today. And it was kind of experimenting with those
characters we talked about, and seeing how I can take VR characters and seeing what I
could get away with, with actually trying to rig them. So this was an early
experiment taking a really weird mesh from Tilt Brush and adding a really simple,
like breathing animation to it. You know? It's really creepy. It's kind of "Fifth
Element"-looking. But that mesh was made really quickly, and so was this one and
this is before it was even… You can see he's all Flat brushes and he's got the
nastiest geometry ever. But you were still able to upload this and rig it,
and actually animate it in some way. And this was kind of the initial experiments I
did with rigging characters. And I was like, "Well, that's cool.
I can make a treadmill running guy." I mean, it's a cool experiment,
but it wasn't really doing it for me. I really wanted to see how I could take
these motion capture clips and kind of use multiples in a scene,
and kind of figure out how I could make cohesive animations. So the first example
I had with that was I took another character that was not VR-made,
but I was trying to figure out workflows for blending multiple motion capture
sources together. And I'm going to go over this really quickly.
If you are interested in what I'm talking about today, I just did a Cinaversity
series on this exact same topic that goes way in depth, step by step,
on all of this process. So if I glossed over anything, you can ask me afterwards.
Otherwise, you can check out that series there. This was the first experiment
though, where I had… It's pretty choppy. I had no idea what I was doing.
But I was able to take a character I made and animated him with no character
animation background. It's just the fact that you can take something and I took a
character that was completely static, and you were able to make this matrix-style,
like it was total bullet time, playing around. But this was the first experiment
I did and I was like, "Okay." Well, now this character I had no story for,
now actually this could be… It was just called "VR Training Systems." And it was
this idea of like being inside a virtual environment. My vision in the future is
we're going to have more room scale stuff like this. And this was kind of just
playing with an idea. But I posted this and people were asking me like,
"Oh, how did you animate this?" Like, "Where'd you learn how to do this?" And
like, "Where'd you learn rigging?" and all this stuff. And I was like,
"There's a trick here." You know? Like so you saw about seven or eight different
motion capture sources all in one scene there, seamlessly blending between them.
And I want to kind of show you how that works inside of Cinema and how easy it is
to kind of pull this stuff off. I'll go over the basics first of how this system
works, and then I'll show you more of a full scene of how you can actually animate
and play around with this stuff. So the main thing you need to worry about is that
when you go to Mixamo, it's going to spit out a bunch of FBX files for a model you
upload. So you have a database of different animations. So I just downloaded
some random ones on this Hoodie Bot character that I designed.
And we're going to just take one first. We're going to take this "swagger walk"
because it sounds hilarious and it's awesome. And you're just going to leave it
default FBX settings. And what you see going on here is you actually just see the
mesh. And when we hit Play, you're going to see this guy walk forward.
And I don't have him walking in place. You can actually choose that if you want,
either walking forward or walking in place, but he's just going to look back to
the beginning. And this is basically what you're getting from Mixamo.
And before I knew this workflow, I would do an animation like this and all of a
sudden, when he gets to the end of it, I would cut the camera and then I would load
in another animation. And it's kind of faking linking them together.
You know? It's how you would make cohesive stuff without this workflow.
But I was not satisfied with that. I want to make him walk, end,
and then keep going and doing something else. So the main thing here you need to
worry about is something called the "Motion System." So you can click on the
rig of any model you're downloading from Mixamo, and in the Animate menu there is
something called "Motion Clips" and you can add a motion clip.
And what that's going to do is essentially bake what's in your rig and it's not even
looking at the geometry. It's just looking at the rig itself, and it's going to take
that animation and it's going to bake it to a clip essentially.
So you want to name it "walk forward." And I leave the settings all Default.
It's just telling you the animation is going to be from 0 to 84 frames.
It's going to create a motion clip and it's going to use Position,
Rotation, and Parameter. If you know what you're doing with PLA and Scale,
you can mess with that stuff. I don't really touch it. I leave it at Default.
But essentially, now you're going to see… I'm not… We're going to open up the
timeline. So if you open up your dope sheet, this is probably what you're used
to seeing with the timeline. You're used to seeing these keyframes being baked out.
And you can see that there's a bunch of keyframes themselves. But like this always
intimidated me. You know? It's like, I don't like doing curves.
I've never been a huge technical animator with this kind of stuff.
I was used to drawing clips in like a non-linear editor. Right?
So when I discovered that there's this other menu version here with this or going
to View, you can go to Motion mode and now you're seeing that this is a completely
different timeline where it's baked a clip itself to this animation.
And we see that it's over here and we see that it's on our rig,
and then we see that there's actually a full clip going from 84 frames.
Now, this is where it gets really exciting is that instead of dragging all these
keyframes individually, I can just take this clip's handles and I can drag it… So
if I want it to be faster, I'm just dragging this down and now he walks
faster. And it's like, if I want this slower, you can drag it bigger and now he
walks slower. And that idea alone was like kind of the start of,
"Hey, now I don't have to re-move all these keyframes. I don't have to redraw
curves." It always was a nightmare for me. So the idea of like,
"Oh, I can drag these clips," was really a big revelation for me.
And it's a system that I think a lot of people know about but aren't really using
to its full advantage. And I think that's why I kind of wanted to do this tutorial
series on it and talk to you guys all about it today. So let's get another
animation in here, right? So we're going to just do File, Merge,
and we're going to bring in another one of those animations that I have saved out.
And let's just grab the React Death. So it's someone falling over and dying,
apparently. But we're going to just do Default and you're going to see now that
there's two animations going in here. Right? And you can see that he's kind of
laid out in here. I'm not quite sure. I'm trying to just get something visible here.
But we can worry about that later. But anyways, there is basically two animations
going and you can see there's a lot of stuff going on because it's exporting the
mesh. We don't care about the mesh at all. We're just going to click on its rig and
we're going to do that same big motion clip setup. And we're going to say,
"fall over." And now you can see that we have two clips down below and we have a
"fall over" in this tab here, and we also have one below. But what's cool is once
that's in there and baked out, you can just delete that mesh out of there.
We don't care anymore. We have it baked over here and that's what we're looking
for. And what's really exciting about this is if your character mesh doesn't change,
which it's not going to coming from Mixamo… You're going to download 20
different animations for this character. You can now drag this and let's give
ourselves some room to work with here of like 200 frames. And what's exciting about
this is now, I can take this "fall over." And as long as your mesh hasn't changed,
you can just drag this into this timeline. And now when we move this over,
you're going to see when he plays, it's going to trigger the falling over
animation right after in that timeline, and it's basically where it's playing.
Now, you're like, "Okay. Well, it's going back to the beginning.
How do we fix that?" In a second, I'll show you. But it's the fact that you're
now taking two clips on the same mesh and triggering an animation at a different
time, and that was another big revelation for me. And I kind of found this workflow
by mistake and a lot of trial and error. But what you can do now is when you get to
this mesh here, when you click on it, you need to create something that's going to
move that point to where the end of the other one is. And in Cinema,
it has something called "Pivot Objects." And there's two way to create them.
I'm going to show you both of them, but I'm going to show you how I prefer to do
it as well. If you click on a clip itself, and you go to the Advanced tab in the
Attribute Manager over here, there's this Pivot Slot here. And there's a Create
Pivot button right here, and if you click on this one, its actually going to create
a Pivot Object where the hip joint is on this mesh, and you can see it starts
exactly where his hip bone is. If you like to do that and have that as your c