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In her career as an animator, Angie Taylor has developed some powerful techniques for creating quick but compelling 2D animation, and in this workshop she shares those secrets with you. Learn how to import layered files and paths from Adobe Illustrator into After Effects and how to animate flat vector artwork in both 2D and 3D space, and explore options for outputting your animations. The videos are short, focused, and solution-oriented, and all the project files are included so you can follow along as you go.
Now, there's an easy way to lip-sync animation using time remapping and the convert audio keyframe assistant. If you want to follow along with this, open time remapping project from the animating using time remapping folder, and open up O6A talking dog start. Now what I have here is a couple of seconds of a dog talking. (music playing) And some audio in the background. (music playing) Now the audio is from a friend of mine, Jason Levines, so thank you Jason Levine for providing that music. What I've done with the music is, I've stripped out the musical instruments from the audio, and I've done that using a center channel extract tool, in an old copy of Edition that I had. (music playing) >> I don't need to know your Business.
>> So you'll see that the vocals go on for a long time, but the clip is only a few seconds long, In fact, the animatable bit of it is only really, how long, two seconds. Now, my idea was that if I move time backwards and forwards, It kind of looks like the dog's talking. So, it's just opening and closing the mouth by moving time backwards and forwards, and if I do it while I'm talking, it kind of looks like the dog's saying what I'm saying. Okay, so that was my idea. So, I applied time remapping to the layer, and of course, that creates two keyframes, a beginning keyframe and an end keyframe. And it also allows me to stretch the layer out, for the whole duration of the comp, which is what I did.
Now if I pull the keyframe to the end, we now stretch that animation to last (music playing) for the whole duration of the comp. So we've (music playing) basically just slowed down the animation (music playing) Now, what I want to do is I want to get the audio levels, which I'm going to reveal by double hitting the L key, to control the time remap value. So again, I'm going to go to Animation, Keyframe assistant, Convert audio to keyframes. I'm going to open the keyframes by hitting the U key on the keyboard, and then deleting the left channel and right channel effects, so that I'm only using the both channels effect. I'm going to Alt Click on the stopwatch for time remapping, and drag the Pic Quip over to the slider value, so that we're taking the time remap value from the slider value.
And we can tell that's happening, cause if we read the expression it's saying, take the time remap value of this layer from this comp, which means this composition, Layer Audio Amplitude, which is the audio amplitude layer, Affect Both Channels, both channels, slider value, slider value. So, that's all it's doing, it's taking the value from there. Now if we preview that, you'll see something's happeningSOUND that's not quite right. >> (music playing). To know your. >> And that's because the range of values is wrong. So what we're going to do is we're going to use the ease expression to take 1 range of values, and convert them to another.
So I'm going to say a equals that value. So a now becomes a variable to represent this value, and I'm going to add a semicolon at the end, and add a new line to the expression. And I'm going to type in and I'm going to type in Ease, as in ease in and ease out. Then I'm going to open parentheses, and I need to enter values now, but I don't know what the values are yet. So I'm going to disable the expression and use my old technique of selecting the keyframes in the graph editor, and going to the Info palette to find out what my minimum and maximum values are.
So, what I need to put in here, is 0 and 15. They're my minimum and maximum values, currently. So, first of all, I put the letter a to represent my current value, which at the moment is at 12. Then I'm going to say what my minimum and maximum value in the range is, and at the moment it's between 0 and 15. And then I'm going to say well, I want to take keyframes between, say 0 and 1 second, because remember his mouth only opened and closed between 0 and 2 seconds.
So I think 0 and 1 second is probably going to be enough. And that will sample frames from the first one second of the talking dog animation, which means that when I set a value of 15 it will put the time remap value to one second to round about there. When the values at zero, it will go back to zero, so in fact your just opening and closing his mouth in time with the audio settings. And if we have a quick preview of that, we should see him talking. >> I don't need, to know your business. I'm not interested in you, bringing me down.
(CROSSTALK) And we could have him singing for as long as we want, using that technique. We've only have to render a few frames of 3D animation and we have him singing for ever. Okay, now if I open the O6B talking dog end, I've actually switched on the instruments again and I've also added some other things to the mix. I've done a bit of smoothing on the expression, so I've just refined the expression a little bit and decided that I only needed to take values between 7 and 13 and go between 0 and 0.9. Now I did that just through trial and error, really. And if we have a look at the keyframes, I'll smooth them out by making them continuous Bezier keyframes.
And we'll just preview that before we finish. (MUSICMUSIC) >> I don't need, to know your, business, I'm not interested, in you, bringing me down. Okay, now, the other thing that I've added there, is frame blending. And frame blending, if you watch as we preview it, it gives us that nice little blended effect, as the mouth is opening and closing. (music playing) It kind of looks like a bit of a realistic Motion blur (music playing) >> I don't need, to know your business, I'm not, interested, in you, bringing me down, do I, wouldn't I, phone booth, mean't for talking da da da da da.
>> So, thank you for that wonderful performance Jason Levine, and thank you Mr talking dog. So, timely mapping allows you to do lots of clever little techniques. So, just try practicing and playing with timely mapping, and I'm sure you'll come up with some of your own unique techniques too.
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