 Okay, let's do a beach ball. So as always create poly cube. This is going to be my surface area and then create poly sphere. That is my beach ball. So I'm gonna make this bigger, bring this up like that, roughly again, I'm just for demo purposes. So your beach ball shouldn't be like regular bounces that are really, you know, slow, you have to kind of look at, if you do a regular drop, right? If I go here and then it drops here, actually hold on, go here, and then set a key here and that's where it would bounce, right? But you're keeping the drop. This is really eyeballing it, splining this here and then let's flatten that. It's gonna be looking super weird, but it goes like this and then suddenly drops, right? Maybe that and then it might go this far, blah, blah, blah. This is so wonky that I can't even, just I can't not do this in the graph editor. Okay, so we like this, do it like that and maybe something like this, whatever it is. If you do something like this, doing, right? Doing, if you're like, okay, well, that's my ball, but I wanna make this floaty. I'm just gonna take this and extend the keys and maybe be responsible enough to check my, all of this and maybe do it like that and maybe it's more something like this, maybe. It's gonna end up feeling very even in time. It's gonna be just a bit weird. You can also see that the moment you don't fix that. It's gonna be weird. It's a good start, but it just feels really weird and even. So even though a beach ball is very, very light, I think I would really look at the exaggeration of float, drop, float, drop, float and so on and so on. So the shot's gonna be much, much longer. So you might argue, I'm gonna do this. It's gonna go down and you can, the moment for me, I do a beach ball. It's almost like feeling how it's gonna work and I just set, I just set a couple keys in terms of, well, that's where it's, when it's gonna land, it's gonna go up again, land again, up again, land again, up again, land again. And here's your up and then here's your up and here's your up and you're going, why? Why is it always in the same spot? Because I haven't really adjusted my translate yet. I can do this all like this and this is where it's gonna end and I want it to probably end over here roughly, right? So if I actually, I gotta look at my TY. So this is your top. It's still going to lose energy. So it's gonna drop and bounce not as high as before. I'm gonna take all of these, break the tangents and adjust this. Again, some people take this and then they do the weighted tangents, which I never do. So I don't even remember how to do this. I think you take these, hit that, where was it? I can't remember. These are the ones. See now you can, can I? I can't. This is how much I don't use weighted tangents. I thought, did I not? What did I do with this? See, I can't even remember how to do weighted tangents. That's how ridiculous it is. This is the locked here. Oh, there you go. Weird, I can't do this. This is how bad I am. I thought you can never mind. It's not even gonna show this because I am horrible at it. I thought this would help me, but I guess not. Technically with weighted tangents, you would select these and you can literally scale them in so that this tangent gets all the way to here and because they're scaled all the way to the zero point, it's going to be a straight lineup like that to make it not ease in, but accelerate. I just don't like that. It's just not as intuitive for me. I prefer to do this manually like this and especially when you take a shot from someone else because you have to adjust and tweak things. It won't look as good. Anyway, so this is your somewhat defaulty tangents and so on. What does this look like? I have no idea. Doing, doing, doing, doing. There you go. You can see how this feels. Did I have more keys here? No, just one. So to me, if you watch this, it's a bit fast, the up and down for sure. That also feels too fast. At the end, it feels better. But again, you can see this is going to need more frames. I'm going to go 300 frames just to give this enough time. And then you can see here. Let's go back in here. I'm going to manually be looking at what's going on. Set a key, set a key, set a key, set a key and so on. So I want this to bounce again a bit, bounce again a bit and just cut this in half. Sometimes that's a good way to start eyeballing things, break the tangents here and make sure that this looks the way I've been talking about it, right? That your tangents have to go above that line as much as you can. But you can see here the distance between one, two, three, four, five, six, seven, and this takes way too long. This is longer than this, that's not accurate. This is then suddenly long again. So it's super, super messy. So if we do it like this, I don't mind just because I can adjust it by feel and then you can adjust it a little bit more until it looks good and feels good. I think this is not long enough. It's a good exercise in feeling out your sense of timing. So wonky in places, but I'm okay with that. And it's gonna come to an end here. So here, but then again, I want this to potentially ease in a bit sooner. So maybe just bring this a bit lower, which again, this might be too much in terms of sudden stop and ease in, but let's leave it for now. How does this feel? And It's not too bad. At the end, it gets very floaty because again, the distance is too even. So once you start getting like that short in terms of the distance and the timing and everything, I'm gonna start adjusting these so it just feels a bit more like, well, if it's not going that high, it's also not gonna travel as long. That's what we talked about in the bowling ball demo. If you haven't watched that, watch that. Roughly, you can see here, some of these are a bit sus, as my little one would say, you know, more or less. But there's a thing I want to switch. I haven't done yet. So It feels a bit better. You might think it looks weird because it's not big enough. You can always do this. And I don't care about the scale. So I'm just gonna cut this. And it's this, what's the end? This is the end. So then you can bring this down and it should still work. All right. If you want to make it look really beach ball-y or hit seven. So you just have silhouette without lights. Really just concentrate on the shapes. It's weird looking because it's a beach ball. I would have some wobble into the squash and stretch, but not, let's do not do this. But what I would do is give this a bit more of exaggeration in terms of up flow and then drop. Meaning, if you take this, go back just to these. I'm gonna set one, two, three. No, not this one. One, two, three. One, two, three. I'm just saying one, two, three just because I want it to be even. This up here, one, two, three. I'm gonna adjust this and make it more than three, but just for now, especially towards the end, it's gonna be probably just two. And then here, maybe two. And the last one, maybe, then it gets ridiculous. If you have like every frame, that's just ridiculous. You might as well just have two and take the one in the middle out. But that's for later. So what am I doing here? Oh, this one's off here, right? One, two, three, one, two, three. Off, okay. So I wanna spline all these. I'm just gonna select just that and then spline. And you can see how messy that is. So you can do auto tangents like this. You can do manually, whatever you wanna do at the beginning to make this work for you. That's totally fine. But the idea behind this is that it's gonna take a bit longer to go down. Again, you wanna do this with auto tangents. Fine, two. I'm not a massive fan just because, again, it takes the work away from you where you're not super in control of the timing. You don't want the computer to do things for you most of the time just because. Oh, oh, it's painful to watch. Come on, because you really wanna make sure that your timing is something that you have decided that can already see the problems here. And again, that last one is ridiculous. It would just be looking more like this with a bit more of a bump. And as you do this, exaggerating the drop. So you can see already that some of the problems there. Meaning, as I'm saying problem here, you don't want this to go up and then down too quickly and then almost be a bit too even through there. So you wanna be just high enough, not too high. You don't want this to go up and then up again. You wanna give this enough of a bridge, flatten out that curve just a bit to give that hang time just a bit more time. It goes up, hangs a bit longer and then drops. But of course, every time you do this, you're gonna have to adjust these tangents. So that is the tedious work as an animator that you have to do, but you can't get around this. This is what you have to do. And you can see how detailed and tedious this becomes just for a bouncing ball. So now imagine you're doing a human and you're skipping all this. Then you're really gonna kill the believability of the character's weight and how they feel and so on. It's gonna be definitely rough, but I wanna give this just enough love so you understand what I'm trying to do just a bit higher here. You can see how if you do this, how it adjusts the tangents here and here. Always a bit dangerous to me. I don't want the computer to do all that stuff for me. But let's pretend it's okay. What does this look like? And... There you go. It's not too bad. It's definitely different than the bowling ball or the basketball. But it's that type of exaggeration that I want you to think about where it goes up and then here it hangs and hangs and hangs and hangs and then drops. What you don't wanna do, again, this is the fine-tuning thing of your curves, is that you don't want it to go up, hang, hang, hang, and then suddenly drop too fast. So if I take all of my curves here or my keys and reduce all of this and actually also reduce all of this, it's a game by three frames, whatever it is, right? So this drop here, and you always have to check again, see how I have to go higher here. So it's gonna go up, hang, hang, hang, hang, hang, and suddenly drop. I will tell you that drop is gonna feel too fast. Right there, it's just that drop starts to feel more like that's really gravity kicking in and this is dropping too fast, like you're almost going back to a basketball, right? It's like a basketball, right? So it's exaggerated even more. I'm gonna take this two, three frames, take all of this two, three frames roughly, make sure these guys are not too even, so have even more, that's probably okay, maybe a bit more, right there, blah, blah, blah. How does this guy feel? Doing, see that, that change, it drops too quickly compared to this next one that has a nice drop that's slow, but it still accelerates, you still want that feeling of gravity, but you don't want, boom, this one, you want that fine line and that's where it kicks in as an animator, where you wanna make sure that it feels right and that's just your sense of timing. Again, you can do this all through reference as well. So I'm gonna undo, undo, undo, undo, so I'm gonna save it as file, just in case for future usage. How far did I go? There you go. And adjusting this, just a bit, huh? I believe that was the good one. Boom, boom, do something, it could polish this a bit more, but I think that tells the story, big difference. Let's see, what if, let me pause this. I imported all the other ones, not adjusting for height. This is what it looks like. So if I, what could I do here? I can take these guys, I don't know if this actually will work, if I'm really roughly adjusting more like this. It's not too bad. And then let's take this one, I'm gonna group this and I don't know, picking it over here, it's gonna be weird looking. Oh, interesting. Take this. And the height obviously has to be correct here. Yeah, that's better. Just so you can see all three in there. I know it's weird that the basketball goes through that line, but including the beach ball, but that is like the sense of weight difference here. How long this takes, medium ball, heavy ball and so on. Again, you can probably just be a bit more precise and have this, there you go. So I know where the bottom is. So let's pretend that's the bottom there. I wanna give this a bit more room here. Of course it bugs me that the basketball is touching it and I don't want any tangents. How about this? How about just that? There you go. So that would be the feeling of all three. Look at how long it takes that beach ball. It's more of a stylized kind of beach ball type of thing. I know beach balls would technically, you don't wanna go for photo realism. You wanna make sure that you have manual control over spacing and timing to exaggerate and show this is really heavy, really light and a medium basketball type of ball where you show how long this takes, okay? Especially that, bam, you can see how heavy that, the bowling ball feels compared to the rest. Let's watch just the bowling ball. Boom, small roll, boom, and then stop versus basketball, doing, doing, doing, doing, doing. It's a little bit of a roll. Actually that roll should probably take a bit longer on both sides. Whoops, you don't wanna go in and go in half frames here. Roll and stop, let's be picky. Bouncing ball, basketball comes to a stop and roll back. Yeah, still takes, it's too fast, but gets the idea across. All right, I'm gonna leave this again, play this again like that. Hopefully all that makes sense. So that was beach ball at the end, I'll save it a scene. I'm not gonna upload the scene just yet. I want you all to just go through this in practice. And if after 15 weeks you can't do a bouncing ball, I would give you the scene so that you can just see what the scene looks like. I just want you to take the scene and copy it and cheat, not yet, at least, just wait. But that is that, all right? As always, just reply in the module, any questions, concerns, regrets, all that good stuff. And hopefully this was helpful.