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All animators must learn to walk before they can run. In 2D Character Animation, industry expert George Maestri teaches the basic principles every animator must know to build a foundation for more complex work. These principles are relevant regardless of software used or animation style. George explains how good animation depends on a firm knowledge of the laws of motion, which inform the principles of animation. He teaches the basics of creating characters, squash and stretch, pose-to-pose animation, walking and running, track reading, and dialogue animation. He also shows how to use After Effects and Flash to apply the tools learned in the course. Exercise files accompany this course.
Now we have the whole lower body animated and we can move on to the upper body. Now, what we need to do here is put in a little bit of our body turn as well as work with the hands. So, let me show you where we are at right now. So, we have the lower body animated. Now, one of the things I've done just in the sake of time is I've actually animated the hands a little bit. So, let me show you where we at, at this point. I've just kind of animated the hands coming down to the side and we're going to actually do some more hand animation to actually do the poses of the character, but also what I want to do is actually put in a little bit of a body turn, because right now she is kind of facing a little bit to her right, and I want kind of pull her body a little bit more forward.
So, we can do that by animating just this upper part of the body. So it's a little bit more centered. So let's go ahead and do that. Now, as she comes into this pose, you can see that she actually sets down her foot at frame 22 and then slides up into this pose. So from frame 22 on is really where we need to kind of put in this body turn. Now, I'm going to start with the neck. So what I'm going to do is put in some keyframes at frame 22.
Now, as this character slides up I'm going to go ahead just do little bit of motion and I'm just kind of go ahead and slide that over just a little bit and maybe even rotate it just so that it's a little bit more centered. So, as you can see now as she comes up into this pose, the neck now goes from facing that way to being a little bit more centered. Now, when this is centered and this is actually moved off to the side, the chest also needs to be animated as well.
So, we're going to go ahead and do the same thing for that. So, I am going to go ahead and put in a Position key for each of these at frame 22 and then move over to frame 28 and then just kind of select them and slide them over just a little bit so that they are a little bit more centered. So, now we've got this, so that as she comes into this pose you can see now, especially the edge right here, how it kind of comes over.
Again, it just makes her a little bit more centered in the frame. It looks like she is facing forward. Now, let's go ahead and put her into some poses here. So, as she comes into this final position here at frame 30, what I want her to do is I want her hand to come up on her hip and then I also want her to gesture to the sound track, so let's go ahead and first of all put her hand on her hip. So, I am going to go ahead and zoom in. Let's zoom in a little bit further and let's take this arm and we'll get into this pose.
So right here at frame 30, I'm actually going to take my left arm and I'm going to just go ahead and make sure I've got some keyframes there, because I'm going to start this at frame 30 and I'm also going to put in a keyframe for the hand as well. And again this is just a rotation keyframe, because everything is rotating. I just need to slide her hand up onto her hip.
So, I'm going to do that over the course of maybe about eight frames or so. I'm going to start with the upper arm and just slide that in and then again what I'm doing is I'm just creating some keyframes here. So as you can see, it just kind of comes up like this. So you just need to make sure that that's right and then the hand itself is going to put itself on the hip.
But the problem is that this hand is actually ahead of the hip. So, we've got this hand coming in front of the hip when we really want it to kind of clasp the hip. We want these back fingers to be behind the hip and the front fingers to be on top of it. We can fix this by just putting in a mask. So, I'm going to go ahead and select the left hand and I'm just going to go ahead and draw a little bit of a mask here. So, I'm just going to select my Pen tool and draw a mask that's about the same shape as that hip and then go ahead into the mask and let's just make it Subtract mask and let's see what we got.
So, now that looks pretty good, but of course, this is now attached to that hand. So we need to animate it off of the hand until we get to that point. So, where's that? Frame 38 is where our mask comes in. So we're going to take the mask path, put a keyframe on it, go one or two frames back, and just animate that off, and then just kind of get that.
So, now just pull that off. There we go! So, now you can see it comes in and then just masks it off. Now this is a little bit rough, but you basically get the idea of how to do that. Now, let's go ahead and take a look at the other arm. Now what I want to do is to bring this up and actually animate it to the dialog. So she says, "Welcome to the show!" I want it to hit on the word show.
I want her hand to flip over on the word show. So, let's go ahead and take a look at the dialog. And we can actually go ahead and unmute this and let's go ahead and hold down the Ctrl key and scrub. (Female Speaker: Welcome to the show.) So, welcome starts right around frame 42 or 43. And then show hits right around frame 60. So, I'm going to ahead and start animating this right arm up around frame 42.
So, I'm going to start by finding the right arm and let's go ahead and put in some keyframes. So, right now it's at this position, so I'm just going to lock in this position by copying and pasting the keyframes that were there and now start raising up the arm and I also need to do same for the hand as well. So, as this comes up, let's go ahead and start rotating this up.
So, at the position I want it to be in is somewhere around here and then I want it to flip over. So, it should go Welcome, but as this comes up, again we're going to have a little bit of drag here on the hand. So, this hand is going to go like this and as it flips over, I am going to go ahead and straighten out this lower arm as well as this upper arm, but I also need to get the hand to flip over.
So, you can see what I've done here is I have created a kind of secondary motion here, but I need to get this hand to flip over. So right here where the hand is at its peak, I'm going to set a key for this hand. Now, this hand is set up on a Time Remap which means that if I take a look at the right hand composition here, you can see that each frame is a different hand. So, by selecting that frame, when we want to flip over that hand we can animate the shape of the hand.
So, I'm going to go ahead and keep it here on frame 3 and then as it flips over, I believe its frame 4, that's the opposite side. So now it goes like this. So, really all we're doing is we're switching the hand. Look at this right hand composition. You can see that I've got just a bunch of different hands that are just animated in and we're just selecting those here.
So, as it comes at, we come over and then we can bring her hand out, palm up like we're supposed to have.. So, now she is coming in. (Female Speaker: Welcome to the show.) Very good. With all of that in place, let's take a look at Woman_06, which is the final version. (Female Speaker: Welcome to the show.) So, as we did before, we're animating the major poses of the character before we ever do lip-sync.
So, now that we have the basic poses in place, we can go ahead and move on to lip-sync.
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