 Alrighty, let's check this out here. We got a straight-up pendulum and it seems like there are some hiccuppy things as you swing where some frames stop and right here that's your pop right there. A little bit of a speed up through there and a bit of a double frame. You can see this here, 3132 stop and then over playing this in real time. I mean the ideas are there, principles are there. It's just a bit hiccuppy but we got the Maya scenes to look at and then here's the other one. That's kind of the same thing as you got a bit of a hold over two frames. You can see 12, 13 and then it continues but even then there's a bit of a double frame hold. So I'm going to take a look at that in the Maya scene. I'll probably also if that's not much of a swing hold is a bit longer. Right now it goes from here to here to here and then straight back. There's no hold hang time down. Same thing here. It feels more like it hits a wall because there's a one frame stop. So that's probably going to take a look at in the Maya scene. But it's also you can see the stop here, the double frame in the base when we go forward forward forward and then you got right there double frame and then forward. So if you just watch the base you can feel that little that little hiccup there. So let's see the Maya scene and what I would do just for presentations is a bit cleaner. I would do show grid off. Basically it's show none and then just polygons. So everything is gone. All we're going to take a look at here is the pendulum and since we are so close we can easily go a bit closer here. And that doesn't really matter if it's perspective and let's kind of see what's going on. That's probably the main control of having the anim. There you go. You can see this here. That's your sticky right there. I'm not sure why that is. So if we take the translate because the other ones there's nothing there. So if you take this and actually take that out and let's go then we have that. There's a little bit of ease in comes to stop but there's that hiccuppy point is gone. Now if we look back at these pieces here you can see that you got the doubles here. So there might even be the moment of taking these and deleting potentially. I have no idea how this is going to impact it but I just want to get rid of doubles. Even this here we don't really need. This is fine just to take a look at it. So already better. I would still have a this here taking a bit longer. So it's this. I mean you could do something where we get to this point and then it overshoots or we get to this and you can always set a key here and then take the whole thing move it over. Let's say two frames. Spline that and that will give you a overshoot and overshoot but it continues holds a bit and then goes back. Now given that we're back to these kind of curves and of the massive fan off it's going to be just a bit messy as I showed last time. So you can go basically one by one here. I will give this more room like that. You can see that's the flatness right there. We'll see how that goes. I'll do a separate clip for you about the tendons. You asked about way the tendons. No way the tendons. It's still very flat though. And then this one again might not be enough here. A bit higher. A bit of a flatness there. What is going on? What am I doing? There you go. So rough but you can see there how we have a little bit of up and hold but that's very minimal. And then we can probably go up there and if you move that and you can see how high we go it's that return. So what I would do is you would actually again you can do this manually or just set keys and move them. This is very dirty in a way but if you look at that what it does here you can see that it shoots up and now we have that extra length here from here to here which you would adjust these guys because you can see how dirty that is here just adjusting that. Same thing with this too small but as you start manipulating this you can see how now we're having a longer hang time. It goes up stops a bit and then goes back. So if you watch this in real time it feels already a bit better. But then because we're back to the previous timing this starts to feel very fast going over here and then we got again that that hard stop. So that's what we have in this case. So overall you could prolong this. We can do the same thing that we did before set a key and maybe even extend more just to be messy but then again all those curves need to be adjusted there to some degree. But imagine that's kind of the idea. You're going back give this a bit more time and then back over here and again this would be too fast. I would give this a bit more time. You can also adjust it like that. That's kind of the idea of you way the tangents to be potentially more like this and give this a bit more time here. So you have a this gets a bit slow here right there. This gets a bit too even in time because I'm actually going to go back one frame. Feels better. Definitely it's still more tweaking but that is the idea. You want to have enough time so that when this is here and it swings back because that's a fairly big distance going from here to there. It's almost like the Star Trek Enterprise song. Anyway we have something from here to here. It can just feel like you're hitting this wall and it bounces off. There needs to be enough time for this to go and then as we get to there you can ease in and then we ease back out into the next swing. So you want to give this enough time. So you can see there's a difference between this section through there that could still be smoothed out but it goes back. That is a bit too much. I will give this one frame up instead of going back. So you can see this is what's going on here. Give this more time. It seems to be oh it is okay. Are you going to throw contention here too? Okay so you have that over there hold a bit longer. You can see now that the easing is going in that direction even though it could probably be more. We can have a little bit more on that tip there a bit delayed. So go warning and then as you go back you can potentially if you're just grabbing that last one either you adjust the curve or you just kind of pose it out where this could have even more of a delay. Now this is a crazy town here but as we get there it will still feel not bad. I would obviously keep it like this but sometimes you want to go almost frame by frame to give this that delay one or like that. Okay it's two there and there. So imagine exaggerating here. So if you have this and we have almost a further delay breaking this up even more and then we have that and it gets to this point and then even further it keeps on swinging and delaying and this will be too messy going frame by frame. Don't look at the curves it gets very messy but it's just the idea of what if we push all of this. What am I doing here again? Are these? That's strange that's me being an idiot. Going over there and then continuing you can see that there. So this is going to be exaggerated in terms of how much that tip has that drag. You can see this here it gets a bit out of the physics element. I mean that would even Is that the last one here? Yeah you could potentially even delay this one even more. So if disregard the graph and I'm purely going visually I might even delay this and then it does that go even further. So then you can start almost stylizing things a bit more into this but then we're back to the other thing where it needs a bit more time. This is going to mess everything up by splining but it's going to do anyway. So you can see this here that tip has a much broader drag and settle. So there is a way to take these right in a pendulum assignment where you just do this, do that and then you take the curves and delay everything. So you just select that and then take these two offset the curve. Basically you just do it like this here. Let's pretend we're cutting everything here. The pendulum is here, starts to go be very very rough just as an idea. It drags then we get to here it starts to slow down a bit and then it goes over here, goes over here and over here. Again I'm not really looking at the correctness of it all but what you can do is you deselect that. You only have these two and then we start let's say three frames one two three and then you take that last one only another three frames one two three and if you do it like that you have that right place in real time right obviously you can or have to play around with the timing but that would be the fastest way to do this. What if I do that that get to this stops a bit sooner because now that I'm seeing this I can't stop but that is the cleanest way almost you take your curves and then you just start offsetting and you can see well obviously my that gets a bit too far and then you want to go back now I can't stop but anyway you can see that the pendulum idea is still present and this would have to be around here so we're gonna wait I know I can't stop the moment I see this this is too soon let's go here let's see it starts to drag maybe one more drag drags a bit early which means that we can reduce this and maybe leave it at that okay my my brain just has to fix things a little bit but you can see how smooth that pendulum is you got the drag then you got a bit of a stop and you got the the delayed swing of this then this is more delayed this is more delayed so you can do delay by two frames or three frames so that's that's another way I want to throw that out there not go the messy way the way I fixed it first by manually adding keys you can also just do it like that I hope that helps and I'm gonna leave it with this there's another Maya scene open here whereas this that is the the regular one but I think that is going to be enough by showing this here all right as always questions let me know anybody watching this let me know there are many many other ways of doing things again with weighted tangents no weighted tangents the way I did it with keying everything and then offsetting doing it manually in terms of well on this frame I want it to be even bigger and so on and then you're getting into manual stuff and again you can push this even further and so on let's spline this so you have a bit of you can see the other right there delete this because I can't stand something like that but then you can see the timing is slightly wonky but you can start pushing things by either pushing it this way right you want to be bigger drag and then you want it maybe more here and so on by manipulating manipulating curves like that or the way I did it before by manually going in there so you have this and I want this to continue to go up maybe I'm gonna do this and then it shoots over but maybe don't want that to be sooner and stronger delete right click spline which is off-screen you can see this you're doing tangent spline and you watch this again you can see how exaggerated and looser that last and this so many many ways to do this offsetting curves and manually but that is that I'm gonna save this and then send you that minuscene if you want to um but yeah actually I'm gonna do version I'm gonna save this and then undo undo and then save the other version as well just in case all right thanks all right there's an email you can sign up you can start whenever you want you can submit whatever you want you get 16 submissions either way a like and subscribe would be awesome all right thank you