Let's model GODZILLA in 10 MINUTES (then animate him for an hour!) - ep 75 - Blender 2.92

Let's model GODZILLA in 10 MINUTES (then animate him for an hour!) - ep 75 - Blender 2.92

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00:00
hello everyone and welcome to episode 75 of the 10 minute modeling challenge episode 75 it is and uh last week my good old friend here and uh frequent viewer and moderator of this youtube channel in fact draco so card reminded me that i was in fact born in 1975 so we're nearly the same age so we're celeb i don't know if we should celebrate this or if we should uh enter some sort of a depression but i'm feeling good about it anyway and in 1975 back then there was actually a film that came out so to carry on from the theme of the japanese theme last week we did
00:32
that japanese house remember and stephen thomas also a frequent watcher of this channel he suggested godzilla and so did another guy called apc7 or something about 10 months ago i noticed in the channel he remained he recommended that after i did the jumbo jet 747 he said how about a godzilla so finally we're getting around to that one and uh there is a bit of another coincidence because in 1975 there was a film called terror of mecca godzilla usually you say you're ahead of your time i think i'm behind in my time
01:02
because my key framing skills would have been pretty good back in those days so if i could keyframe the way i do today back in the 70s i'd be a bit of a guru back then so i haven't i don't think i deserve the reputation now of being really that good at blender because i also saw some crazy stuff my wife came down gamers level up by the way you've seen her in the chat every now and then so she showed me this video from yam sculpts and uh that's uh when i got a severe case of the imposter syndrome thinking how come i'm even getting subscribers because uh when i see what he's creating
01:33
in blender when he's sculpting stuff with his tablet there and his skills more of a more than anything it's his skills and his experience well i'm blown away maybe one day i'll get to that point but there's a good reason why i do low poly and i like this style and that's sort of what i know how to do so i'm going to be sticking to that for a while so just so you know if you're watching this channel and you think oh i wish i could model like this guy well just know that this guy here is thinking exactly the same thing when i watch other people doing crazy stuff like that so
02:05
we're all in this together and uh we're all here to learn so you're gonna catch on as well and my niche in this uh sort of thing is to to get especially a lot of people that want to get into modeling and want to get into making games hopefully i'll be able to like launch a little platform for you guys so you can uh get started anyway and maybe one day in the future you can model stuff like that yam sculpts a guy does so if you haven't seen his channels you should check it out to go and subscribe to him as well because uh he's truly amazing stuff you probably want to stay to the bonus material of
02:35
this one so don't fast forward now stay through the modeling process and then in the bonus i'll do the usual rigging but we're gonna do some animations as well and uh just make it mix it up a little bit i'm gonna actually animate this godzilla guy walking down a street with houses and just knocking them down maybe shattering a few of them so we'll see how that goes maybe brings back some memories to that all the game called rampage rampart rampage i remember but you were like some sort of a creature that smashed up houses so this week i've been working really hard well both me and christian who's working
03:06
on line war we're working pretty much day and night i was going to say but we're working as much as we can on this game it's a real-time strategy game multiplayer and this week we've been working on the haste modifiers so all the troops can run and travel faster you've got like afterburners for the aircraft some smoke trails for the tanks and for the ships and everything and then we've added the stuff like pipelines and depots depots depots depot depots energy storage let's put it that way that you can blow up and we've added a lot more stuff like um
03:36
ai and animations so if you're interested in this game you could do us a huge favor and check out in the description there's a link to our steam page where you can wishlist this game so if you like it or even if you want to support it just consider adding that to your steam wishlist it'll help us out a lot to get maybe noticed a little bit more so i should promote this game line war of ours a little bit more instead of taking my top off because i'm feeling a bit warm i'm going to crank open a beer that's built a bit on my keyboard but that's okay bare hands so with that said let's set the timer
04:07
here and always cut this out but maybe i'll put it in one day yep ready steady go godzilla here we come tab inside it mode eight select everything scale it down bring it up and we have to do on a mirror and then uh here let's uh figure out if we can do some legs i need some more leg space it's usually what happens to me when i fly an airplane because i'm too tall e to extrude hard to rotate e to extrude r to rotate let's just make some weirdo legs here a bit thicker here because it's got muscles
04:40
that's the scale eat oh he's gonna be bigger well he is godzilla i guess i've dropped scale b to extrude esther scale okay i have no idea what this is going to look like from the front but we'll find out uh they've got like it doesn't even like elephant feet or something similar so okay we're going low poly by the way after last week's disaster so here uh the back region aka behind there we go and uh should be i should be all right all right let's extrude the tail here
05:12
scale e to extrude archer oh maybe side view the only keypad i've got no uh screencast keys let's enable them sorry about that or to rotate cheat to move okay side view that wasted precious time g out to moving up after uh scale rotate g e to extrude scale and now when i do this with mirror modifier usually ends up wider than i wanted so but it's not too bad i guess we could keep it wide control selector scale them up to there okay let's make
05:43
the body now let's bring this out should i go all the way from there i think so e to extrude maybe i should have looked at some more references uh good good thing it's looked different throughout the years and the earlier i go through the years the more terrible he looked so it was like a man costume then okay and that happened to be a little bit flat so g okay well let's do arms here then
06:13
rotate g does he have like small arms like a bit like a tyrannosaurus rex or something r to rotate e to extrude archer rotate each extrude little hands here we'll do some claws i guess um not like santa claus um e to extrude s to scale scale e texture i'm just gonna go low poly here we know this i'm not gonna subdivide this thing that'll make me look terrible as well
06:44
even worse so maybe like this it looks like king kong now that was another film wasn't it uh okay let's see e to extrude s to scale g to move it in we'll just do ahead here now rotate e to extreme that's too small isn't it scale how am i doing 7 13 need to extrude it's actually better than i thought uh or change it am i doing bullet time now e to extrude has to scale
07:23
he's got a smaller face doesn't he well that's like a giant beefy weirdo head so let's shrink it g e okay should put some sort of a mouth on here as well this could be disaster could i i'm not even going to mention the name you know i'm talking about the little blue character here what's going on here with this face i've wrecked some polygons here gee
07:58
what oh it's just too it's like a double chin all right i'm spending too much time on there uh let's uh i think i have to bring up his shoulders a bit he's he's way too big at the top i think old said okay maybe i can uh salvage this so i've got a lot of spare time maybe i should have gee that's a bit better hey i'll have to move him up to there i think old said maybe maybe i can do proportional
08:31
archer rotate let's get a little proportional magic salvage okay so we'll have to do some sort of a face here and i've messed some vertices up here okay off with proportional now let's have to let's have to i can't even talk no stress is coming to me now scale okay i'll have to do some eyes here so maybe i'll do inset here can i do that eye to inset scale that down but without proportional
09:14
let's just do that okay a let's make them darker first of all i don't know how what sort of a dark tone you should cover up some mistakes by going really dark yellow eyes maybe let's do a mouth as well gee maybe we can do one that can open so i don't know how big the mouth should be either i should come down okay i have to have some spikes on the back as well 4 35 item set b for boundary remember so you
09:46
get the center thing there going and here i'm actually going to delete this am i delete basis and then we'll move this one in proportional g scale it down maybe bring this one there and here i'm gonna do something weirdo i'm gonna e to extrude this one all the way in i've got clipping on so that merges nicely in there and then i think i should be able to press f here okay it doesn't work with
10:16
the mirror modifier then we have to e to extrude okay how should i do this then oh okay i'll cheat a little bit here i can't cheat can i okay e to extrude this is taking longer than i thought shift to like this m merge at center 343 i have to do the spikes on his back as well okay here i'll cheat f to cut those here here i should have done this differently e to extrude all the way in shifts like this was better i think all
10:50
right i can fix this in post if necessary f to cap that one all right that should do i have to do some spikes in the back here now as well because he does have spikes doesn't he spikes he does have maybe a little bit longer tail need to extrude that's the scale you know the drill that was my impersonation of a drill speaking of dentists which i haven't actually spoke about he should have teeth shouldn't he all right these legs are terrible gee
11:20
they i made them worse uh 255 i still haven't done spikes but can i have legs like that can i that this is like his most significant feature isn't it his legs she and i'm like brewing them for him okay should i have made slightly bigger legs okay i'll bring him in i'll give him a little bit of a dent here like that oh i haven't put any toes on either two third okay let's get give them some toes as well e to extrude s to scale i'll just do some spiky toes here eat to extrude that's the scale
11:52
like the hands a little bit he took screw that's the scale e to extrude s to scale okay i'm feeling terrible about this note uh they're too big aren't they you two extrude all right never mind now spikes come on spikes i need to do spikes stressing myself out for no reason ah panic music now stop talking do modelling i don't even know what i'm supposed to do spikes iten set uh let's do them to their scale x
12:25
and then scale scale x zero maybe yeah i'm not very good move them in slightly we'll do the use usual trick here now alt e extrude long face normals to there sk scale x zero okay that didn't work i'll do this one so they actually merge when i move them in here then okay i've done something stupid though uh moving into there what's going on here
13:02
i don't know what i've done actually okay i've only got one minute to fix this mess whatever this is i don't know what i've done here so old said let's salvage salvage mode m center m center m center ah come on m center there's better ways to do this but my mind is blank i'm frozen i'm petrified by the wrath of godzilla here
13:33
center m center m center 40 seconds m center does it even gonna work uh m center alt set and then we'll just randomize these spikes a little bit let's see g g these are going to be big long spikes then i guess i don't know if that was my attention but that's what it was 20 seconds to go that's it a little bit brighter on the
14:12
chest under g g that's it time's up ah okay why did i make that sound dismiss okay it's a low poly godzilla i have no idea about the look the proportions the size of the arms looks like he's gonna give you a giant hug i think the arms are too big compared to the legs but never mind maybe it's one of those 70s style the costume ones am i recording yeah i'm all over the show today let's have a
14:52
beer on that one well now the official 10 minutes are over that means we can go into tinkering time i haven't actually used that one long enough so let's see if this was our rough 10 minute model what could we do to tinker time this one into a little bit of a better model what would i refine if i would have had more time aka cheating maybe a little bit rounder here round that off g move that on in maybe this is like the equivalent of
15:24
re-topology when you've done like a um what you call a sculpting thing but this is like just fixing up the geometry of uh of a low-poly mesh instead so it's not really topology it's refining the topology new stuff every time that's why you're coming back to this channel i was going to say you learn new stuff every time but i hardly ever do anything new i always repeat the same old same old so what more would have you done tinkering time we would have given a little bit more pro like proud legs so that's his key
15:57
feature isn't it that's the whole godzilla thing and i think i would have made these a little bit like more compact because i think it's more like a elephant toes not camel toes but elephant toes scare why bring it in scale by i probably would have liked feet they're a little bit more like that did i make them worse though so maybe something like this i had in mind like that and we could have probably
16:36
given him like a different color here on the top am i cheating though you could call it that but and then this hand could have probably been a little bit neater i'm not gonna when i rig this thing i'm not gonna do the fingers individually so he's just gonna have to slap the buildings down with open palms it's one of them slap contests okay maybe something like that and the background pretty this looks like he's got some sort of
17:13
m i was going to say pecks but they're not on the back i think it looks like he's got some sort of a muscle muscle of some sort there so maybe i could have done like a loop cut here does that work and then alt s maybe i'll do that for the for the bonus content we are going semi high polynomial should we do this for the legs i think they'll animate a little bit nicer so tinkering time remember not cheating
17:43
tinkering time gives us some precious vertices here where it's going to deform on the legs here other than that i'm i think it's all right we can flatten his feet here one ctrl shift select to there there there there and here's a trick scale well oh proportion did i have proportional on before is that why this messed up could be scale z zero and you have flat feet how about that
18:15
make sure you have comma and global on or if you're in local could work but make sure you plan on that one and then should we do the spikes slightly different color should we try it i'll hold the ctrl key oop to there let's see if the spikes maybe just give them a little bit more character a little bit more character well they should be darker if anything shouldn't yeah that's a bit better i think all right that's our godzilla tweaked
18:46
the tinkered tinker timed version of it now let's rig there we go godzilla we could do one more thing which i should have done before probably so i would have been cheating but if i usually like to go dark in the mouth like this because it looks a little bit like fake shadow pro tip from a noob okay that's it now it's rigging time ctrl s so uh this is uh
19:18
not much new apart from there's a tail this time so that's pretty good shift c make sure the cursor is down here shift a and should we rename this cube now for a change i'll probably zilla is his new name there we go so but it is the default cube of course that's where he originated from his birth birth canal no earth origin cheers okay tap out of edit mode shift a without an armature single bone oh he's big
19:49
this is the biggest character i've done in a while i've lost my train of thought now viewport display in front tab into edit mode sh uh there we go shift space g so we got this little move thing that's different for some people depend on i've got the default settings here so that's what i've got e to extrude and we're just doing some spine bone okay needs some alignment here so should we do a neck bone and a head bone should we go all
20:20
like high poly on the armature yeah i think that could be done e to extrude here as well we're gonna get a little jaw bone here as well so p okay alt p disconnect hello all p disconnect phone i thought something was moving it was me on the other screen g there we go and then we'll do a tail bone here and we'll do this one is already nope this alt p disconnect bone g we can just start it from there i'll try to match the vertices a little
20:54
bit here so okay i won't go too detailed because it's gonna deform terribly anyway all right then uh we got his bear hugging arms here let's do that e to extrude p okay alt p disconnect phone just put it here i'm gonna go simply simple the simple polygons simple armature simple hand nothing fancy here so you could have done the individual
21:26
three i don't know if you call it fingers but claws g all right that's it let's look from the top make sure we're it's a bit weird sometimes when you have the see through because it looks like it's on top all the time so you have to rotate your viewport like this middle mouse key see what's going on all right now we're doing the leg here so e takes through this one slightly dodgy g g there we go but we need to connect it though so
21:57
connected to the pelvis ctrl p keep offset usually i'd forget that e texture down here and we'll do the foot g e g all right kneecap there we go g g all right that's it then we do the usual stuff here i'm actually gonna i might add another master bone today so i can move the whole character if i'm gonna have him walk around i don't know if i need that but let's add another one called master here
22:29
and then we'll parent the root bone to that one so select the root here ctrl p keep offset that's it f2 root we'll call it on f2 spine 1 f2 spine 2 f2 neck f2 head onto eye blinking godzilla doesn't need to blink the z jaw had some sort of a message there upper leg
23:02
remember dot l super important f2 up lower leg.l and the l is important for the symmetrize thing so you don't have to do this twice but dot l tail one tails of the crypt tiles i can't talk and do things at the same time okay tail did i do it wrong now oh i tape the tails of the crypto where am i going i'm not tail
23:34
two tail towel tail three how difficult can this be it takes me like ten minutes to name these things tail trail tail for god's sake for godzilla's sake tail three tail that took a lot longer than it should have been all right have i done this nope upper arm super important.l that was a bit unnecessary like a jump scare lower arm dot
24:03
l and hand dot l and we unfortunately have to do the image kinematics again for the knees so or for the legs so e texture that one p knight alt p disconnect oh no no no no no no alt p clear parent disable uh deform on this one f2 this is ik pole dot l and then e texture this one and f2 ik target of l same as usual if you watch this you
24:34
know this the form off for this one all p and clear appearance that's it so we're starting to get somewhere why am i oh it's my english mates walking down the street godzilla bones here legs animating ik there we go just winding up again the machinery now nearly lost the chain again so we're gonna go ctrl tab now into post mode pause moved postman and then we go
25:07
inverse kinematics here targets it's gonna be this one ik target dot l pole targets no surprise here it's the ik dot l super funky because we need chain length two as usual we need pole angle i was going to say 90 and if it doesn't work with 90 it's usually because i forgot to go front view tab into edit mode a to select all the bones shift n and recalculate roll on view axis from the front here
25:38
so now control tab post mode if i do 90 degree pole angle here you should face forward there so that works when you symmetrize the post if you want to do a flipped pose it's pretty good if the roll angle is like that maybe it's different in some cases i don't know so we need to do a couple more things here usual we go into the bone tab here relations we switch off inherit rotation because when we lift this leg we want to copy the rotation of this one so i select it again go to this one the
26:11
constraints add copy rotation and we picked the armature and here we're going to put the ik targets l and we have to go local with parents i think i should be doing with parents instead of local space i've done local space before but i caught somewhere that maybe local with parent fixes their rotations slightly when you're off axis i'm not sure i'm gonna have to invert let's see which axis is axis and i always forget we're gonna have to invert the x
26:41
and the y axis the green one there so select again invert x and y and now when we rotate this bone the front part should go like this rotate on the z-axis that works and rotate on the y-axis there it works too rotate white yeah so now finally we're ready to go tab control tab out of post mode tab into edit mode select all of them f3 and do i've already typed it before so
27:12
symmetrize because i do it's often and now we've got a symmetrical thing here going so control tab post mode and now we should uh control s to save save frequently otherwise you might lose your work and you have to redo it and usually the second time you do it you hate it but sometimes it turns out better the second time believe me or not sometimes it's worse though so control now we need to select the godzilla here or polyzilla shift select the armature control p
27:43
and do with the armature deform with automatic weights and control tab g there we go we've got pretty decent deformations there on the leg and let's see the tail that even works decently woohoo there we go how about the upper body yeah not bad not bad thank you blender for being such an amazing program this is incredible how can this be free first of all how can it be so good and how can so many people contribute to a project like this
28:14
and still make it so good i have no idea thank you we're all lucky to be able to use this program so here we go even the mouth that was pretty good for being low poly i've redeemed myself maybe i'm tempted to go control two now to do a subdivision modifier but that would be like flushing myself down the toilet so this low pilot this is the way it looks this is low poly godzilla there we go maybe it's not that impressive actually
28:46
so maybe i'm just tooting my own horn here there we go all cheap but everything looks pretty good i think so now let's do um some animations first of all i have to put some buildings up that he needs to smash so they're going to be low poly of course and super rudimentary is that even a word rudimentary no rude is all right control s do you know what to celebrate that 1975 film since this is episode 75 and i was born in 1975 and that was a mechazilla which is a robot version
29:18
let's do this let's go control tab select this one and we'll do polyzilla here shift d to duplicate him hide polyzilla and here we'll do okay mecca mecca mecca polly mega polly zilla so if you wanted to do some like okay close the whole collection there so now we could do three to go in well tab into edit mode three to go to like this face selector
29:49
shift select one of the larger faces here and do shift g and that's select similar and we'll select stuff with similar area here and then we can grab this slider and go up a little bit it's not a slider but i'll slide it up anyway and the reason why i do this is because i don't want to do lots of the small faces here on the on the face literally so i just wanted to select a few manually here where i want the armor plates now the metal armor plates maybe foot maybe it doesn't need i'll do one big on the foot after i think
30:20
like that should do and we don't want it on the on these uh spikes i'll manually deselect these i could have just done the whole thing shift g was a bit um unnecessary now i see but never mind it could be should have well i'll do one plate on the front so if i wanted to cover this now with plates i think that's pretty good maybe it doesn't need it under here under the tail that's protected anyway so maybe it's something like this
30:54
now that's a bit loud uh we do alt e extrude individual faces just a little bit like that and then period and do individual origins and then s to scale these down and then now you've like created armor plates so well it's sort of maybe too symmetrical and too big of a plates or two small plates i don't know but you could do it this way and you could change the color maybe you'll go let's see these are selected now the actual plate so if i offset these i can
31:26
actually keep track of which uvs these are because if i go ctrl plus now then i know that these uvs that just came here are the one interior so if i can like drop them down to make it a little bit darker so a bit of a quick way and the good thing about this one with the robert mecha mecha what did i even call them mecha polyzilla okay sounds like polyfiller been renovating too much but now the this should still work so control tab g and that it doesn't look so good
31:58
this is nearly like the plate armor that uh samurai another japanese thing here so this could be a samurai mecca samurai samu mecca polizzilla but uh what i was trying to say they deform a little bit so it wouldn't be so like it wouldn't be like real armor but i guess if it's like um i don't know some bio armor of some some sort it would work so there we go does the light work yeah make my own sound effects no terrible
32:28
all right so but we'll switch back to the other polyzilla here and now we'll do ctrl s to save it shift a we'll do a mesh cube is one tiny cube but it's like the default cube tab okay i want to copy h my notes again for the first time again for the first time shift okay select this one shift select this one ctrl l and do
32:58
materials make link then that brings over the material thanks whoever taught me that a while back scales there on the left here to bring uh this we're gonna do like a dark city here hold the control key snap that down a to select everything scale shift z to not scale on the z axis maybe 10 times okay that's the smallest world i've ever seen scale shift set 10 times that's a bit bigger that's big enough for what we need i think so i'm just going to do like a little like a little segment here
33:30
a little slice of reality which is actually not reality it's fake so shift d duplicate scale it down and this godzilla now is big remember so we're gonna go buildings how big should they be like is this a good building size is that too tall i don't know how tall the godzilla is i'm gonna make them very simple though so maybe i'll do like this and then e to extrude s to scale e to extrude and then we'll do shift d
34:00
to no i won't actually i'll do i to inset maybe i want him to i don't know if i want him to smash the whole buildings maybe i'll leave like the bases so i'll do shift d here instead and just make him smash the upper parts maybe a little bit better so that i have some like ruins left or something no let's smash the whole buildings he's strong he's big and strong and he's okay so how should we do e to extrude
34:36
s to scale e to extrude and then we'll do i to inset here but now the building's too big okay itunes set e to extrude because i want them quite small so like he's big so he should be towering up over these buildings near enough so i didn't set that on i need to extrude that one right in set e to extrude maybe like that's a building i don't know g i'll just make so like silhouettes of buildings oh no i'm not gonna duplicate that one
35:12
so shift the scale at that let's just not spend so much time shall we skill i just have to make something something we have to make need to extrude i'll select linked g maybe i should do like a few copies of this first so shift the scale y save us some time in the long run i'll shift the bring this one in a bit out a bit ctrl r let's just go a bit
35:44
crazier ctrl r here as well e then i to insert maybe e to extrude i'm just going to do like a road here ctrl r light insert it extrude if you do like one tower here that's a little bit taller maybe like this so okay that could do maybe we'll do like a design feature there that's it and l select link shift d so this is just to represent houses of
36:21
course scale shift sets we go l maybe we can do it a little bit taller so that's it then we'll do should we do some on the other side here as well shift d control r did i not do control r need to extrude item set e to extrude e to extrude
36:54
l shift d i'll just do a few copies now if i can move it on the right axis here shift the shift the shift key i'm just going to have him walk down here a few steps i can't make the animation too long it'll take too long to animate i'll just do something simple here slightly different dimensions of the buildings and slightly different heights low one here so we can see through maybe see through i'll just animate the camera going down
37:27
here as well height and set e to extrude should we do like a tower here maybe and then control r a little front on this one should we do ctrl r e to extrude ctrl r e to extrude i tend set e to extrude e to extrude a little slant on this one just mix it up a bit need to extrude item set e to extrude i to inset
38:01
it i'll just make them as solid pieces because i'm going to fracture these with a fracture thing uh control r eat extra they're a bit far apart maybe as well so eat extrude ctrl r each extrude item set each extrude okay i'll think i'll move these buildings a little bit closer to them as well there we go i don't want to animate too long too far of the steps so ll
38:33
l move in that's it control r apparently not item set e to extrude ctrl r e texture and slant this one could do with some more interesting features couldn't it so we'll just do ctrl r and raise this one up ctrl r should we do this one a little bit fancy so each extrude
39:11
i don't know what's fancy about that but it's different there we go so now it's time to have him walk a little bit and smash things up then so i'll go to animation tab here we have to switch this one to texture shadow cavity both here slide it up so we recognize the look of this viewport here there we go and then we're going to walk he's already like a part in here i'll just walk like do a little animation segment here so
39:45
control tab we're going to switch from the dope sheet here to action editor click on new and then do it like rampage rampart rampage what is the name of that game all right so let's do some animations first and i'll do the fraction after i think so i'll do on keyframe number one here switch on automatic keyframing and then he's going to start from this post as if he's like already walking and we'll do all to select a to select everything here height and set
40:16
location and rotation bones for all of his limbs and everything and then here i'm going to go forward maybe i'll just it's going to be like a slow motion movement because he's so big and i'm not going to be too fussy there's a few principles i want to apply here so first he's going to walk over to this building and smash this one i think or should he yeah so i want to move this leg here forward so just skip forward about 10 frames and then i've got ik here so i'll lift this leg up and move it a little bit forward
40:46
rotate the leg and here's a few uh principles that you should follow and that's he can't just lift the leg up like this as if he's suspended in mid-air he needs to shift the weight and that's pretty important when you do animating stuff try to keep physics in mind and balance so there's like 12 principles of animations from disney that they did back in the 30s so check up on those and one of those are it's referencing to uh like balance i think so shift as that leg lifts up he shifts
41:17
his weight over to that side so we have to exaggerate a little bit more and then we can even rotate this we can tweak it a little bit so this is probably going to look terrible don't claim to be a good animator so or a modeler or anything in that matter you can maybe turn up here he'll fold the arm in so he doesn't i was going to say damage that building but that's exactly what it wants to do so i'll just tweak a few limbs here so archer rotate i don't do ik for the arms really
41:47
so and maybe the leg i'll uh i like i'll animate the tail after i think so 10 frames in now he's just shifting the legs over and then we can move him a little bit forward because he's going to be moving forward at a decent pace here shift space g so i get this little manipulator so here we go okay and then i'll just skip forward another 20 frames and let's pretend that he's actually put his leg down so it's gonna keep going forward to maybe
42:19
here maybe down a bit i'll have to fix the tail after and then we'll bring the ik bone for the leg here but just try to rotate the viewport rotate it into place and then plant it not going to be too picky there we go and then the weight shifts over back to this leg that he just stepped down on the pull target comes in a little bit so flip his leg i don't even know which one's forward on this or leg there we go so let's have a look we'll
42:52
scrub here palm okay he's making a step forward maybe he can twist his body because he's gonna like turn his face now into this building and see if this is the one i'm gonna smash so zed rotate said rotate i don't even have to beat that look up a little bit aha this is what i'm going to be smashing okay i notice now that i should actually parents control tab of the this jawbone here i'm going to select this jawbone shift select the head bone
43:23
ctrl p and keep offset so ctrl tab post mode and now when i rotate the head the jaw follows and then i can open it individually so that's probably better so because you don't want him to like do that every time he turns and since i didn't put a keyframe on the head here on frame 10 he's actually starting to turn the head already here already here but sometimes that works and sometimes it doesn't so just like keep that in mind that if he didn't have a keyframe here he'll start from frame zero here to rotate this side but that
43:53
looks pretty good i think so he's come here i'm gonna come back and do the arms and the tail so let's scrub forward another ten frames so we can pretend now that he's gonna be resting on that leg move the pull target forward for the knee to point in this direction still and then we'll take the root bone here which is like his pelvis g is gonna come forward and then he needs to bring this leg with him otherwise it'll be a bit of a disaster so he's going to lose his balance before
44:24
he'll fall into that building instead where is this uh okay what's happened to this bone okay it's just trailing behind that's okay i just missed it so what happened here okay his where's his pole target is it that one all right so sorry about that hopefully it wasn't too painful so he's going to be planting this one soon here but it'll take a giant leap for
44:55
mankind or for godzilla kind here and see he's sliding the foot in and that's because i did a massive mistake i can't i need the keyframe here where he's in this position so it's an easy fix though i can control c here and then i have to scrub here and see where can he start lifting his foot and he can't start lifting his right foot until he's planted his left foot so right about here i need to plant that keyframe that i just copied on frame 20 control v so he's already all the way back here now because he can't really move that foot now he could twist it a little bit
45:25
but we can't move that foot until he's planted that one but now we can lift that one so and then i'm gonna like do the steps about so he's not allowed to plant this one until frame 20 roughly or 20 frames forward so i think i'll move this one forward to about 40 here and then we can actually plant it down rotate said rotate take into account the curve there should have had some cars and stuff shouldn't i but it'll take too long uh so now he slides the foot there but
45:59
that's a pretty easy fix too so between 20 now i know where he started to move it and where he finished it so all i need to do now is halfway through here 30. i'll just put it in the air so it'll take like that big step here now and then i can also raise okay so he he should be here on frame so i'll move this keyframe there so he slides forward boom okay not the best of movements but and then
46:31
he needs to shift the weight remember so he's got his left leg down now so i need to shift his weight over to this leg now so he should be halfway through here on 30 should shift his lego weight over there r maybe to rotate g he's got his tail as well so we can keep that in mind that he can actually use that a little bit too and then on frame four to here he'll start to maybe gain some he's gonna take one more step and then punch
47:01
it with one of his arms i haven't decided which one yet so let's rotate this one back rotate the back he'll start gaining some power and then we can actually start animating the arm here i haven't got any keyframes here so that's pretty static all the time but on frame 40 here we're gonna bring it back a little bit to start gaining some momentum here he can start swinging already from there i think so let's see there we go and then he can twist even more i guess rotate said
47:36
rotate he needs to look at the target though always keep your eye on the target point at your target like you're playing badminton if you're gonna smash something down rotate rotate so i don't have a lot of keyframes in between here so they'll start animating in in good time and here we go tweak the foot a little bit more and now we're going to go in for the kill here actually rotate even more a little bit even more a little bit so there we go
48:12
frame 50 now is going to leap forward now so we've got this one was planted there yeah so frame 50 will grab the pelvis g move it forward rotate zed he's going to go in now for the giant punch here rotate g to move that one up and we have to move the pole targets with us here so the legs follow along you can do some constraints and stuff to
48:42
help this out but i'm not so good with that i i just usually wing it that's the good thing low poly so i think we're gonna speed that one up so he actually makes that okay so we've got the sliding issue again because i need to plant the keyframe here copy it here when can he start lifting his left leg we'll see and it's not until he's planted his right leg so frame 40 this is where control v i'll move that one back so now it's planted he comes there but he slides it so we
49:14
need to halfway through here we bring it up in the air so we actually rotate it off he's gonna really step in now and then he's gonna start or he swings even more here oh no that's on the next frame so there we go okay need to fix this a little bit more rotate rotate so another principle for animation here i'm not claiming to know these very well but i know another one is anticipation so before he does something don't like just punch like this have him
49:54
wind up a few things to keep in mind here the weight so make sure he's in balance and that the weight distribution is pretty good for the object that you're trying to animate another one is anticipation so before he hits or does something have him like wind back or hurt and then the next one that we're going to do is follow through so what don't just stop when you hit the target just follow through as well so here we go let's see coming here i think he's stepping too fast there actually even though i wanted it's twice
50:24
as fast or looks ridiculous so we have to select i'll do all a to select all these keyframes b to select that g move them to frame 50 g move these to 60 and now we've got the same sort of 10 frame pace of everything you know we need to shift the weight so here when he takes this step remember he can't just bring that forward that leg he needs to halfway through here he needs to have the weight on this one it probably comes up a little bit
50:55
his pole target needs to go there oh he's nearly bumping into the building there now so there we go boom boom okay and i think i'm starting to rotate him back first so i think he should still probably tilt forward on this one on frame 40 here you should still be a little bit forward i think so when it comes here yeah okay it's not great but never mind but now it's gonna start swinging to
51:36
punch through as well so rotate rotate and the arm is gonna start coming through here as well okay let's see what okay it's not fast enough i think so so frame 70 here now we have to pretend we know what's going on here now g moving forward even more he can like lean into the building or something no he can't
52:15
ge that would be cheating because i just don't know what i was supposed to do and this leg now remember he can't move that one so i can learn from my lesson here ctrl c to copy it i'll move it to there he's not allowed to lift it from here unless he should be jumping or something so i copied the keyframe to there and here we can lift it again so g well let's try to keep it outside the building here it would have been cool to have him his knee like wrecked the building too a little bit but i'm not gonna go i can't really go too
52:46
detailed okay you just put this leg there just dislocate this knee but i can have him at least here there we go that looks ridiculous so we need to move this pelvis forward okay i think he should have stepped even further so we'll bring this foot up here and on frame 60 i'm actually going to bring it forward and bring the pelvis there we go he's coming with some more speed okay he can't really step forward
53:35
with this leg before he punches so i'm gonna copy that take it away or copy it and take it away no i can't but we'll have to do the punch now let's see okay so here we should have the punch note so i'm just going to animate it through the building for now rotates that and we'll go forward frame 70 here i'm gonna try to do a little bit more expression so rotate side follow through with the hips rotate set and punch through and remember what i said about follow through that you should like not just
54:22
stop at the building just follow through there so it hits through but now i saw that i didn't have any arm animation so he's going to start rotating the underarm here or the hand before so maybe around this frame i can just cheat a little bit and put a few keyframes there okay that's a terrible punch and i know why and that's because he needs to step in probably more towards the building so we'll g and here we'll move this leg in
55:06
there follow through even more here rotates that when we can have the tail whip around or something there we go okay and he can't just keep the he'll have to do something with his right arm now so maybe he uses that for leverage to spin around now as he comes and he can actually knock this building maybe with that or i don't know he misses it
55:56
maybe you can punch with the right arm after yeah so i'll come back and swing let's swing with this arm now on his way out as he comes away from the building so step down here we are we have to keep this foot planted now until at least frame 80 but we can rotate it okay so ctrl c skip forward to 80 control v but we can rotate that out rotate z this one is gonna come forward again
56:31
but out a bit this leg is going to move forward he's just going to carry on walking now like nothing happened and we need the pole targets with this all targets and pull targets and here now we can rotate the pelvis rotate the spine he's gonna come back now and swing with this arm rotate rotate rotate rotate and look for the next target here maybe boom boom comes through there now he
57:22
needs to so now that you can see here that the weight is as he's okay i need to his pelvis there's stuck for a few frames so that's no good for his root bone i'll just move it a little bit so it's not totally static there we go palm palm but he needs to lean into it when he follows through he shouldn't just like do that and smash back i should probably copy all the oh i've
57:59
got a frame here on the 70 there we go the arm here i'm gonna have that one still follow through a little bit in that direction as if it carried on there so because it wouldn't just stop flapping about it'll like after it turned it would have kept rotating a little bit control so we'll follow through with that rotation a little bit like this and that arm we can actually before he swings i'll move that one back a little bit
58:36
as if he's loading up with this arm still and then there comes the punch so here i'm going with the sound effects again so he's looking for a new target and this arm needs to come out now and he needs to come out fast so all again like the balance and stuff again so it's not like i know what i'm talking about i have no idea so that follow through i need to even carry on a little bit further it was too too fast
59:18
follow through there you go so punch with the left arm follow through a little bit load up with the right punch through there i don't know if there's going to be anything to punch there when it's fractured but we'll find out and then that's looking weird because we need to come out now with this body so that foot is in the air we'll plant this foot now on any how to i'm only going to knock two buildings i think because it's taking a long time to animate so now we'll uh rotate this foot z-axis
59:51
rotate here help to pick up the pace a little bit now and we've got some contortion problems here again it's because his whole target here is oh it's under the ground that's why okay that should have been fixed realized they were so low below the belt so it looks like a ballerina there we go
01:00:24
so we need to move these pole targets up from underneath oh they weren't too bad actually it was here that i managed to swing them down by mistake there we go so that leg he has to move his pelvis out now and here on frame 100 it can come out even more and for that leg to be planted there it should be lifted in the air so it can actually
01:01:08
come okay he's checking out the other side here it's gonna start scooting across so this leg needs to be planted by now and here we shift the torso he's gonna come across now so this leg needs to come and that's planted to there so we can start lifting it it's going to come on frame 20 frames here it's going to be all the way over here no rotate set rotate i have to change just a small target here oh that's the wrong one
01:01:59
so i'll do the foot plant here i think so he by this frame it should already be here i think okay so he flies there with the foot that's interesting and that's because it's planted there and it slides to there why does it slide okay he's not allowed to move it first of all so that leg can't be there until 120. that's planted there so this one needs to stay here until frame 100. oh he's
01:02:34
leaping across now so that's breaking the rules a bit because he's not really meant to have his but it's nearly that he's moving at that pace that he could be leaping so but it's not looking good so rotate said rotate rotate let's see maybe i'll have to fast forward some of this otherwise this will be the longest 10 minute modeling challenge ever [Music] so there we go he's not really allowed to lift this
01:03:07
foot until his frame so ctrl c control v why is that one in the air oh it's too far that's why so it's in the right place but the pelvis has moved too far that's why we will rotate the foot rotate we can rotate it while it's on the ground at least so here we got a problem with the pelvis
01:03:46
because it's too stationary they're starting to move forward okay i think i'm only gonna smash two buildings rotate sad rotate okay so now halfway through this one he needs to lift this leg a little bit better so okay and he needs to shift the leg the weight over to that leg before he can lift that leg so plant shift oh no that doesn't look any good
01:04:48
so it's because he needs to come over that leg more with the weight still more even more shift the weight back to this leg and then here it still needs to wait on that leg as he steps out
01:05:37
[Music] and then here we'll plant pow long step so the right foot remember we can't lift that until now so i have to copy and paste this pose here so that's going to stay there all until now as he drops down there and now i can lift it so we can move g to move this one
01:06:15
rotate g to move forward you can start lifting this leg up a lot so his pole target needs to come for the knee aim g takes time to animate but it's quite fun i'm gonna fix the tail in a minute as well so okay he's flying there for some reason planted remember we can't move that leg until okay what's going on here it needs to be planted there ctrl e
01:07:06
okay i can't move that leg so there step there now we can move them so here g now we can move the leg i think g up all target please rotate that not pull target needs to go there rotate that
01:08:11
okay and the weight needs to come faster onto that leg now because he's like really lifting it so boom there we go big difference there so now when he plants it down he's got forward motion here so he needs to carry that weight over to that leg now and then maybe he can still rotate a little bit and start smashing that we haven't animated this arm at all so on the way to here he would have been winding winding it up again to smash this building
01:08:48
his winding winding winding and then now he's gonna turn the hip in he's winding up here i'm gonna have impact rotate zed put your hip into it if anyone's done martial art i used to do taekwondo quite a lot that's how i met my wife actually she did taekwondo so should i look in the camera when i'm talking maybe i should am i still recording why am i hand achy i'm too concentrated okay we've got some knee issues here again so we need to fix that
01:09:30
don't really know why the leg is that contorted oh yeah i knew because he's okay ah okay i'll twisted that too much pretty yeah all right okay so instead of twisting the hip too much i'll have to twist this spine instead with a punch
01:10:02
tweak you need to plant your foot before you leave nearly [Music] there we go better but you need to keep moving forward and you need to start twisting more and lean forward in backwards and lean forward no that's no good and follow through now you should have already punched by here so [Music] it comes forward
01:11:08
this leg i'm gonna put all the way forward to there i think to the house and then we can lift it [Music] higher okay he's punishing too soon still so just try to move these keyframes maybe to here okay okay no okay i need to follow through more that's all rotate oh that's better lean into it and drive through
01:12:15
so now i just need not drive through like mcdonald's okay he needs to wind up a little bit more still oh i started to bring back yeah so here instead of starting to swing i'm actually gonna start winding back here again so wind back and then boom okay but and then some more twist here still rotate rotate set and then boom okay and here we need to just
01:12:57
still shoot up a little bit more with the pelvis and then the follow through here that's the arm there and then on the frame 50 here now we need to keep turning his torso a little bit for his spine i'll have to do because the torso got a bit damaged so and then this arm will spin around but here before i punch i'm actually going to bring this arm forward so it's like using it as momentum so
01:13:41
it brings this arm forward see there brings arm forward okay that's too much okay he brings it back okay he's gonna keep it i think keep it tucked shift the duplicate that tucked post there and then here we're gonna start swinging it back a bit more alright boom okay so we'll just finish this ah my
01:14:41
hand so after that hit now boom it comes back up well we have to do the tail as well so as he turns now and that arm swings to the back when he starts turning forward if you want to put some detail in it that arm should continue swing back slightly so as it turns it drags behind a little bit
01:15:14
and then you can start swinging it forward to like gain his breath and as he leans forward he needs to shift his weight back and i'm gonna do this slower so oh i was on the little frame bring that on g it's a little i think i missed some keyframes here so i'll just realign them so it leans forward and drops his torso i think lean forward
01:16:21
and then maybe arms come down the tale i just went through it real quickly i just tried to get it to sort of whip around a little bit follow the follow throughs whip around as it turned and then counter balance slightly didn't put too much effort into that one now we've got to wreck the buildings as well so to it's only two buildings that we need to wreck and it's uh switch off keyframing so control tab to go out of this
01:17:08
mode here so i'm gonna separate this building here p and separate the selection and this is the other one we're going to smash so l and p and this one that he smashed it was a bit small maybe so maybe i'll put a little bit more detail into this building i to inset and these two now i'm going to just fracture these with a cell fracture add-on so i'm going to do this can be building one building one and then this one's going to be building two
01:17:38
we're holding two and then i can go out of the back into the uv editing tab here maybe and then we'll do uh object quick effects cell fracture i'm gonna do noise one switch off sharp edges and apply split edges here 0.1 margin and 100 limits okay
01:18:12
hide this original one shift select these cell fragments tab into edit mode uv editing right click loop select scale 0 on the left side g move it to the same color roughly okay i didn't get all of them for some reason try again tab into edit mode shift select these tab a select everything now i'll grab all of them right click control scale 0 on the uv side g and move them to there
01:18:49
pick the first cell here and then do rigid body mesh deactivate and start deactivated and then leave it at one kilogram for now shift select those select cell last here object rigid body copy from active animation okay let's go and change the world settings here try to get the physics engine slightly more stable here so
01:19:36
split impulse and one sub step per frame okay and now we need to add a rigid body to this one let's train physics rigid body passive here we'll do mesh as well and everything else should be all right okay so in order to i don't know there's a better way to do this probably i haven't really done this before so i think there's a better way to do it but in order to not have it shatter straight away i'm upping the damping translation and rotation for these so they stay in place and i've got deactivated so now i'm
01:20:20
going to be animating here so on frame it's going to shutter on there on frame 58 so i'm going to animate this now and first i'm going to show this one and then we'll hide all of these so hide all the fragments here in the viewport all the cells and then this one's just showing so now we'll animate i'll do eye to inset keyframes insert keyframes
01:20:57
to show disabling viewport and uh in the renderer and then on frame 58 here oh yeah we have to actually i think we have to have keyframes for all of these as well you can't unfortunately hold the eye you have to insert keyframes for all of these and then on the next frame here here i'm gonna start enabling them so we'll keyframe hiding these two and then we'll keyframe enabling all of these
01:21:46
and i need to do the eye as well eye of the tiger i have no idea what this is going to look like might look ridiculous could have probably done this with a collection or something like uh animating the visibility of a whole collection that would have been swatcher probably oh yeah i need to enable it first that's why it was a different color how long have i recorded now two hours and nine minutes longest ten minute video ever enable enable for all these segments we actually have to enable the or
01:22:31
take away the drag again so 0040 and 0.1040 and 0.1 so we'll do i have to do a keyframe here i i so i shift select all of these cells control select the last one so that's the active one control l make linked animation data and now they all have that to make it a little bit easier as well i'm going to put some boxing gloves on
01:23:12
him but i'm going to hide them so i'm going to shift right click here do shift a cube and then i'm going to rotate this into place just so rotate rotate tab into edit mode to scale it down just to make his face like this so this is going to be just like the wrecking collider scale g that should be okay i think tab and then i'll do shift d and duplicate that for the other hand here as well
01:23:44
rotate rotate g so this is this is a second boxing glove now there we go and i'm going to select this one now and then do constraints here add child of and then here we pick armature and we'll put hand dot r this is and then i have to set inverse so it comes back here and then we'll do the same for this one
01:24:20
select this one add child of armature and so hand but here we're gonna have hand l and then set inverse there and then we're going to hide these two boxing gloves soon but first i need to get them rigid body active is good animated we need and that should be it i think it should be active but we can put box colliders on these no that's no good okay we'll do whole convex will work same on this one
01:24:51
we can actually shift select this one and do object rigid body copy from active and then we'll hide these two boxing gloves here in this uh in the viewport there we go and in the render as well so now those boxing gloves should hit the these hopefully and erect them so dynamic yeah convex whole let's see but let's try to animate this
01:25:44
all right i'll just do the same for the second building here as well i'll fast forward this bit for you raw okay now final thing we move the camera as well so i'll do shift right click here shift a let's add a camera there shift space g move it up move it back rotate rotate
01:26:46
and then on the left side here i'm going to do with the camera selected here ctrl alt 0 on the numpad and i'm going to do this thing where you do edit preferences and under key map i'm going to search for fly and i've set mine to shift f here like i did in the video for the cities here so that should be all right shift f now i can do so i'll go to frame one try to get a perspective here so we see shift f
01:27:18
okay i should change to here okay i need to control alt 0 shift f rotate shift f back try to get a perspective here from like the feet rotate maybe a little bit of rotation on it there and then i'll do auto keyframing now so i to insert location rotation and then we just here we'll move shift f move the camera back oh shift f move the camera back
01:27:58
rotate shift f look up [Music] okay we should see his arm i guess and then here we'll follow along with him so shift so it's a bit ridiculous that the whole building shutters at once so you'd
01:28:31
probably want to do it so it's just like one piece uh like the corner that gets knocked down of course but lots of room for improvements so we're document a documentary filmer here now and here we'll zoom in and follow the arm a bit maybe and then we'll follow along with the camera great camera work here shift to go faster and then we'll just move it back and frame it down a bit
01:29:25
all the way back to ground level slow movement [Music] to the end let's check it out [Music] okay that looks a bit weird but it's okay boom okay i think we should capture his feet so you can see the all in the beginning here maybe and then go a little bit up closer in the after if i go even closer you won't really see
01:30:12
that the whole building is shattering so that could be a like a little trick now we remember we had our robot friend here as well armature i could just hide polyzilla and show mecca policilla then we have that one instead so we should do a i'll i'll just render it with a low poly renderer for now so we'll do uh rendering here in the render and then go render workbench
01:30:44
let's go fancy 32 samples texture shadow cavity both max max max max do outline as well and film no we don't need to do transparent this is where you do transparent if you want to have like um just transparent background um color management maybe we could do filmic is good look high contrast maybe medium contrast we'll do f12 to render
01:31:15
one frame let's try a different contrast there high contrast f12 that looks a bit better mid let's try very high contrast f12 let's go for that one and we're gonna do the whole animation now so we're gonna output this using the workbench renderer we'll do uh png sequence should we yeah thank you very much for watching this episode it was a lot of fun there's the final animation and it's quite a lot of fun to do it
01:32:14
keep framing is always a lot of fun but it takes time 260 frames of low polygon polyzilla to celebrate the 75th episode of the 10 minute modeling challenge but i hope you enjoyed it hit the like button if you did and subscribe if you haven't already and i've got a patreon page if you want to head over there in batches i upload all of these uh blend files that i've done through the 10 minute modeling challenge and it's about do that i upload this batch as well so this is going to be included there if you want to download that one so thanks again for all my patreons thanks for everyone who's
01:32:45
watching and subscribing to my videos have a great one and i'll see you soon again bye for now [Music]
01:33:17
you

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