Siggraph 2017 Rewind - Steve Teeple: VR and Character Animation Workflow in C4D

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Modeling in VR and Animating with Motion Capture.

In this presentation digital artist Steve Teeple shares how he uses Virtual Reality for faster more expressive modeling and Cinema 4D’s Procedural workflows in order to create new work through a process of experimentation. He closes his presentation by showing how he uses motion capture data and the Motion System to quickly put together complex animation sequences.

01:09Demo Reel
02:28Personal Methodology
03:15Discussion of Procedural Workflows
06:10Virtual Reality Tools
09:43Importing Models from TiltBrush to C4D
11:30MoGraph Animation of VR Sculptures
13:06Kit Bashing with VR Models
17:44Character Modeling and Posing
21:59Working with Motion Capture Data
24:30Importing FBX Animation
25:21Adding Motion Clips
26:25Motion Clip Editor
27:18Combining Multiple Animation Clips
28:51Positioning Motion Clips with Pivot Objects
34:09Animating Entire Sequences with MoCap Data
38:04Anti-Gravity Effects with Pivot Objects
40:35Hand-Keying Animation on Top of Motion Capture



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. ♪ [music] ♪ 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
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