IntroductionWelcome| 00:04 | Hey, this is Tony Ross, and welcome to
Animating Characters in Toon Boom Animate.
| | 00:09 | In this course I'll show you how to
create and animate your own characters.
| | 00:13 | The focus of this course is on cutout or limited
animation and my goal is to get you animating quickly.
| | 00:19 | We'll start by covering the
differences between cutout and full animation.
| | 00:23 | Then we'll draw the pieces of our character inside
Animate and then connect them to form our figure.
| | 00:28 | Once we have the character together, we'll
explore how to use Toon Boom's tools to make
| | 00:32 | it move in a convincing way. Building a
walk cycle is one of the toughest things to do
| | 00:37 | convincingly, but I'll show you a few
shortcuts to make the walk look realistic.
| | 00:42 | After we have the character moving, we'll add
sound and voice and even insert it into a background.
| | 00:48 | We'll also go over traditional principles of
animation such as squash, stretch, anticipation,
| | 00:54 | and follow through, and how to apply these
principles in Animate to push the illusion
| | 00:58 | of life in your characters.
| | 01:00 | So welcome, and let's get started
animating our characters in Toon Boom Animate.
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| Using the exercise files| 00:00 | Before we get started, I would like to show
you how to use the exercise files that are
| | 00:04 | included with this course.
| | 00:05 | Once you download the exercise files, you
will see that you will have separate folders
| | 00:10 | for each of the chapters in this course.
| | 00:12 | Inside the chapter folders are individual
folders for each of the movies in the chapter,
| | 00:17 | and inside those folders, we have
the individual Toon Boom Animate files.
| | 00:22 | If you don't have access to the exercise files, you
can follow along from scratch or use your own assets.
| | 00:28 | So let's get started animating a character.
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1. Introducing Toon Boom AnimateExploring the interface| 00:00 | Learning the Toon Boom Animate
Interface can seem challenging initially.
| | 00:03 | However, provided you understand a few simple
rules, the interface can quickly be mastered.
| | 00:08 | When you first open Animate, you'll
notice that there are several windows here.
| | 00:11 | In the Animate world we call these views.
| | 00:14 | The first view, this large area
here is referred to as a Camera view.
| | 00:18 | You can tell this by the blue label here that's
marked Camera, and you know this is actually
| | 00:23 | active right now because there is a
thin red line around the entire area.
| | 00:30 | To the right of this is our Color view, and
you can add and change swatches here. Right beneath.
| | 00:36 | this is the Tool properties
view as well as the Library view.
| | 00:43 | And at the bottom of the
screen is the Timeline view.
| | 00:46 | To make any of these views active,
you need simply just to click on them.
| | 00:49 | But wouldn't it be cool if you could just roll
your cursor into a view, and that view became active?
| | 00:55 | Well, let's go ahead and do that.
| | 00:57 | We're going to first go under Animate, come
down to Preferences and under General, you're
| | 01:03 | going to go to your options
and click Focus on Mouse Enter.
| | 01:08 | Now, basically, anytime your mouse rolls over
into a different view, that view will become active.
| | 01:14 | So we'll go ahead and click OK.
| | 01:16 | Now, if we move our mouse in
the Camera view, that is active.
| | 01:22 | If you move it to the Time Line view,
now the Time Line view is active.
| | 01:26 | To show you the difference, I'm going to simply
zoom in on our timeline by holding down Command
| | 01:31 | and pressing the Plus Sign, and that
zooms in, Minus is going to zoom out.
| | 01:38 | And if I move my cursor into the Camera view
and do Command+Plus, we can zoom in on our
| | 01:43 | Camera view as well as zoom
out by hitting Command+Minus.
| | 01:46 | So remember, where you click and
how many times you click is crucial.
| | 01:51 | And when in doubt, check your
preferences for Custom Settings.
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| Using the drawing and animate modes| 00:00 | With any project in Toon Boom, there
are two modes: Drawing and Animate.
| | 00:04 | To put it simply, when you need to
draw something, stay in the Drawing mode.
| | 00:08 | If you need to animate, use the Animate mode.
| | 00:12 | We have a very simple animation here of
Bob's head going from one side of the screen to
| | 00:17 | the other. And to show you exactly what's
happening on all the other frames while we're on this
| | 00:22 | first frame, I'm going to go
ahead and turn on our Onionskin.
| | 00:25 | Now in the lesson Best Practices for Onionskin,
we're going to get a little more in detail on this.
| | 00:30 | But basically, Onionskin is the equivalent
of a light table, and it allows us to see
| | 00:36 | not only the current frame that
we're on but several other frames.
| | 00:39 | So what I'm going to show is if we use our
Select tool, and I click and drag and select
| | 00:47 | all of Bob's head here, if I decide to move this,
all of the other frames are moving along with that.
| | 00:57 | In addition to this, we're in Drawing mode
and the Select tool allows us to click on
| | 01:03 | just individual pieces of Bob's head here
and even if we decided to move part of it,
| | 01:13 | it affects all of the other frames.
We're going to undo that.
| | 01:17 | Now, the tool that seems to work almost
identical to this is the Transform tool.
| | 01:23 | So if I click on the Transform tool, you
can't select these parts individually, but I can
| | 01:29 | actually just start moving Bob's head up and down and
all of the other frames are following along with that.
| | 01:36 | Now, here's where the difference is.
| | 01:39 | If we turn on the Animate button, any move
that I do with Bob's head at this point using
| | 01:45 | the Transform tool will be animated.
| | 01:48 | So if I click and drag this down, we now see that
this is going to animate from a different position.
| | 01:55 | It's not just moving all of them as a group.
| | 01:58 | It moves the individual frame so it now animates
to a different position if we decide to scrub this.
| | 02:06 | So again, if we turn off the Animate
button, we're affecting all of the frames.
| | 02:13 | We turn on the Animate button, we're
animating from one spot to another.
| | 02:22 | It's a good practice to monitor whether or
not Animate mode is turned on as moving drawings
| | 02:27 | in Animate mode versus moving them in
Drawing mode creates vastly different results.
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| Best practices for using Onion Skin| 00:00 | The Onionskin tool in Toon Boom Animate is the
equivalent to the light table in traditional animation.
| | 00:05 | It's used so animators can reference before and/or
after the current frame they're working on.
| | 00:10 | The advantages of using Onionskin in Animate
is you can reference several frames of drawings
| | 00:15 | at the same time and even on multiple layers.
| | 00:18 | So what I have here is a simple raw animation
of this little fist being thrown down a bit,
| | 00:25 | and we had this just
broken up over several keys.
| | 00:29 | Now, what I want to show you
is how the Onionskin works.
| | 00:34 | To do this, we're going to turn on our Onionskin,
and this is right at the base of our tools
| | 00:38 | and we'll do Show Onionskin.
| | 00:40 | We see what is our current frame is
the actual color of our drawing.
| | 00:46 | The previous frame is actually shown in red.
| | 00:49 | So what we're looking at, at this
point is frame 1, which is right here.
| | 00:56 | I'm going to my playhead
back to the middle here.
| | 00:59 | So this is frame 1.
| | 01:01 | So any previous frames are actually shown
in red and any frames that are ahead of the
| | 01:07 | current frame are shown in green.
There are two different green drawings here.
| | 01:13 | One is a little more opaque
and one's a little faded out.
| | 01:17 | So the way this works, the darker green is the
keyframe that is closest to our current playhead.
| | 01:26 | If we click at the very end here,
we'll see three different drawings.
| | 01:33 | If we look at our timeline, we
have three different keyframes.
| | 01:36 | So this is how the Onionskin works.
| | 01:39 | But in addition to this, let's say if we want
to just concentrate on what the fist was doing,
| | 01:44 | we can turn off the different layers of our
Onionskin by simply clicking on the Remove
| | 01:49 | from Onionskin icons,
and now we click once here.
| | 01:58 | We only have the fist that's showing, or we
can have the lower arm or add all three pieces.
| | 02:09 | In addition to this, we can set the in and
out points for our Onionskin, so the bracket
| | 02:14 | on the left is where you
would start your Onionskin.
| | 02:18 | The bracket on the right,
we can stop the Onionskin.
| | 02:23 | So you can have it as many
or as few frames as needed.
| | 02:30 | Onionskin can be used to help animate
something as simple as a bouncing ball to something
| | 02:35 | as complex as a multilayered scene.
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| Timeline basics| 00:00 | The Timeline is used to set up animations, drawings,
sequences, and organizing hierarchies in groups of animations.
| | 00:06 | Now, I want to take a moment to talk about
the timeline, but I'm also going to introduce
| | 00:11 | you to a few terms that we're going to
cover more in detail later, but I'll bring those
| | 00:15 | up exactly when we get to them.
| | 00:17 | Now, when you look at our timeline here, one
of the first thing I want to show you is when
| | 00:21 | you working in a timeline sometimes you may
want to see what's happening a little closer.
| | 00:26 | So you can zoom in.
| | 00:27 | So I'm simply going to do Command+Equals
to zoom in, Command+Minus to zoom out.
| | 00:35 | That's Ctrl+Equals to zoom in
on PC, Ctrl+Minus to zoom out.
| | 00:40 | Now, we have several layers set up here.
| | 00:42 | We have the upper arm, we have the
lower arm, and as well as the hand.
| | 00:47 | If you notice, they kind
of step into each other.
| | 00:50 | This is a hierarchy that we've set up just to
help with our animation, and we'll go over
| | 00:56 | that more in detail in the
chapter Layers and Hierarchies.
| | 01:00 | But for each one of these layers, if you notice
this little eye icon right here, you can actually
| | 01:05 | turn off and on the visibility of each layer.
| | 01:11 | In addition to this, you
could also lock each layer needed.
| | 01:19 | One of the other items is the ability to turn
on and off Onionskin on each individual layer.
| | 01:25 | Now, let's zoom in on our timeline, and
let's talk about some of the shapes here.
| | 01:30 | For each on of these squares or
rectangles, these are keyframes.
| | 01:35 | Keyframes can either be motion
keyframes or stop-motion keyframes.
| | 01:40 | What you are seeing right here, this
arrow, represents a motion keyframe.
| | 01:45 | If you noticed right here at frame 10, we have a
keyframe, but then we have no arrows directly behind it.
| | 01:53 | This is referred to as a stop-motion
keyframe where we're not allowing the computer to do
| | 01:58 | any of the animation for us.
| | 02:00 | Now, we're going to more detail on this in the
lesson Motion Key frames Versus Stop-Motion Key frames.
| | 02:05 | Now, right now we have our animation
playing after frame 20, but the actual scene goes
| | 02:12 | all the way to frame 60.
Now, this is how much the exposure we have.
| | 02:17 | And we can change the length of this by
simply clicking this Right Bracket and pulling this
| | 02:23 | in, and now our sequence is only 20 frames long.
| | 02:29 | In addition to this--let's bring this back up to 60--
we have in and out points to set for work areas.
| | 02:38 | So if our animation was supposed to be going
all the way to frame 60, but we're just working
| | 02:44 | on the first 20 frames.
| | 02:46 | I can click and drag this little black
triangle here, and this sets a outpoint for where the
| | 02:53 | playhead will stop.
| | 02:55 | So if I play this right now, it stops right at
frame 20 or if I want to make it even shorter
| | 03:03 | I can click again and then adjust where the
out point would be, that allows me just to
| | 03:09 | work into a small area.
| | 03:10 | There's even an endpoint here,
so we click at the very beginning.
| | 03:17 | There's a second black triangle here.
| | 03:19 | So, if we start playing our animation, it
starts from where we set the endpoint, and
| | 03:25 | it stops at where we set the outpoint.
| | 03:29 | Now, I want to talk about
creating layers for a moment.
| | 03:32 | There are two ways you can add your drawing
or peg layers and the first one is this plus sign.
| | 03:37 | So you can come down, and you can add
a drawing layer, or we're going to skip down,
| | 03:42 | and we can add a peg layer.
| | 03:43 | Now, for the most part, a quick way of
doing this is simply adding a drawing layer with
| | 03:49 | this icon and then right next
to it is adding the peg layer.
| | 03:53 | Now, drawing layers our pretty much--
| | 03:56 | anytime you want to actually add another
element to your character, for instance, if you're
| | 04:01 | going to add the torso, we could simply
add another drawing layer, and we would start
| | 04:07 | drawing that particular shape on this layer.
Peg layers are a little different.
| | 04:14 | Peg layers are used if you want to
actually set up any type of animations.
| | 04:18 | So you can attach this
entire to arm to a peg layer.
| | 04:22 | Now, we're going to go over that more
in detail on the lesson Creating Pegs.
| | 04:26 | The majority of you animation will
depend on drawings in the camera view.
| | 04:30 | At least half your time will be spent on the timeline
testing, timing, animating, and organizing your drawings.
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| Essential shortcut keys| 00:00 | Learning shortcut keys is a very valuable skill in any
graphics program and Toon Boom Animate is no different.
| | 00:06 | In addition to the universal basic commands
cut, copy, and paste, let's go over a few times
| | 00:12 | in shortcut keys for Animate.
| | 00:14 | One of the first things you want to check
is go to Animate, come down to Preferences,
| | 00:20 | and you want to select shortcuts.
| | 00:23 | Right now, the shortcuts are set to Adobe
Flash, meaning that if you're more familiar
| | 00:27 | with the shortcuts in Adobe Flash, these are the
shortcuts that are going to be used for Toon Boom Animate.
| | 00:33 | For example, if I open up the general shortcuts
and scroll all the way down here to the bottom
| | 00:41 | to zoom in and zoom out, which are Command+Minus
to zoom out, Command+Equals to zoom in.
| | 00:50 | In contrast, if we go to the Toon Boom
Animate shortcuts, to zoom in is simply pressing and
| | 00:55 | holding the number two, zooming out
is pressing and holding the number one.
| | 00:59 | We're going to go back to the Adobe Flash
shortcuts for now, and we'll click OK.
| | 01:05 | There are several F keys that you are
going to be using throughout this course, and I
| | 01:10 | want to show you a couple of those now.
| | 01:11 | We just have one frame of our little
character's head here, and this is Stick Dude Bob.
| | 01:18 | So his head is just sitting here on one frame.
| | 01:20 | If you want to extend frames, for
instance, let's extend this to frame 10.
| | 01:24 | I'll simply select frame 10,
and I'll use my function key F5.
| | 01:28 | So F5 would be extending the exposure.
| | 01:32 | If we wanted to add a keyframe, as in
changing what's happening with a drawing, whether its
| | 01:37 | position, scale, or skew, we
then use the function key F6.
| | 01:42 | If you want to get rid of the keyframe, you
can select that keyframe and press Shift+F6.
| | 01:50 | In addition to this, there are
shortcuts for working with drawings.
| | 01:53 | For instance, if we actually select any part of
this drawing right now--they're all separate
| | 01:59 | pieces--but we can group these simply by clicking and
selecting all of it and pressing Command+G, Ctrl+G on PC.
| | 02:06 | Now, if I deselect this and click it once
again, all of these are grouped together.
| | 02:11 | To ungroup this drawing,
you would do Command+Shift+G.
| | 02:14 | Now, all the pieces are separate again.
| | 02:20 | One of the coolest shortcuts when it comes to drawing
in Animate is simply being able to rotate the canvas.
| | 02:29 | Simple hold down your Command and your Option
keys, and you can click and rotate your drawings
| | 02:37 | so you can start working on
different aspects of them.
| | 02:45 | To get it back normal, you
just simply do the Shift+X.
| | 02:48 | There are few additional shortcut keys we'll
cover in later chapters but the ones we just
| | 02:52 | covered are the ones you
should get most comfortable using.
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| Customizing the workspace for animation| 00:00 | Toon Boom Animate has several has several
predesigned workspaces to choose from, and
| | 00:04 | you can find them under Windows >
Workspace and then go to Workspace.
| | 00:09 | Or, you can actually go to the Workspace toolbar,
which is in the upper right-hand corner, and
| | 00:13 | you can choose from Default, Hand
Drawn Animation, Compositing, or Animating.
| | 00:18 | We're going to go and build our own custom workspace,
and we're going to that based of the default workspace.
| | 00:24 | So I'm going to go up to our Workspace Toolbar,
and I'm going to select the Workspace Manager.
| | 00:32 | Once we are here, I'm going to go and select
default, and we're going to go ahead and duplicate
| | 00:37 | this workspace by clicking on the little plus
button here, and now we have Default 2, and
| | 00:42 | we're going to rename this, and
we're going to call this Cutout.
| | 00:47 | All right, now I'm going to add this workspace to our
main little Workspace Toolbar here by clicking this arrow.
| | 00:55 | And looks like Default is still there, but we
just click once, and it updates, so we click OK.
| | 01:00 | And the next thing we'll do, I'm going to go
up here to our Workspace Toolbar and select
| | 01:04 | Cutout, and we're going to start
arranging how we want to set up our views here.
| | 01:12 | The first thing we want to do is move our
Timeline view and what I'm going to do, first,
| | 01:17 | click on our Timeline tab, and I'm going to drag
this over straight under our Camera view and let go.
| | 01:24 | Now, it's actually just under the
Camera view, so it's no longer on this side.
| | 01:29 | We can adjust how much space the timeline
is taking, and we once we move that up and
| | 01:34 | down, it's going to do adjust
the size of the Camera view.
| | 01:38 | All right, the next thing we're going to
start doing is adding in a few toolbars.
| | 01:43 | I'm going to Windows, come down to Toolbars,
and I'm going to add Advanced Animation.
| | 01:50 | It's actually sitting about right here.
I want to move this.
| | 01:53 | So I'm going to click directly on
these two lines here and drag this over.
| | 01:59 | So our Advanced Animation, we have things
like translate, rotate, scale, and skew, and
| | 02:07 | we're going to add a few more toolbars.
| | 02:09 | So go to Windows > Toolbars
and come down to Camera view.
| | 02:16 | We now have the ability to turn on our grid,
as well as we can control Onionskin, keyframes,
| | 02:22 | Stop-Motion Key frames, as
well as motion keyframes.
| | 02:27 | And we're going to add one last toolbar, so
we'll go to Toolbars, come down to Timeline view.
| | 02:33 | Now, for Timeline, we can again show the Onionskin as well
as the Sound Waveforms, Import Images as well as Scans.
| | 02:42 | As you get more comfortable in Animate, you'll customize
your own workspace to better fit your needs.
| | 02:49 | For the rest of this course we'll
use our Customized Cutout Workspace.
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2. Importing ImagesImporting bitmaps| 00:00 | In Animate, you can import
bitmaps for various uses.
| | 00:03 | For example, you can import a background or
object, parts of a character, scans for tracing,
| | 00:09 | and even textures to be used as paint fills.
| | 00:11 | What we're going to do at this point is we're
going to import a chair, and this is a Bitmap
| | 00:16 | we're bringing in and our character could
walk around, sit in it, or even use it to actually
| | 00:22 | knock someone over the head, fun stuff.
| | 00:23 | So we're gong to go ahead and click on import
drawings, and we're browsing, and we're going
| | 00:30 | to find chair_transparent.psd,
and then we'll click on open.
| | 00:36 | Now, we're asking this to go ahead and
create a layer and by default, it's saying Create
| | 00:41 | a Single Layer Named.
| | 00:43 | I'm going to pretty much come in and give
it the exact same name as the file, and we
| | 00:48 | could even select that it automatically
does the layers based on the file names.
| | 00:53 | But for simplicity, what I want to do
right now is just call this a chair.
| | 00:58 | We're not going to add it to the existing
file, it's already creating a new layer, and
| | 01:01 | we don't want to vectorize this.
| | 01:03 | We're not going to
create a symbol at this point.
| | 01:06 | For the alignment, this is how this
is actually just going to sit here.
| | 01:12 | We just want it to go by
default and just leave this on fit.
| | 01:16 | For the transparency, if you know that you're
going to be working with a white background,
| | 01:21 | you want to leave it premultiplied with white or
if you know it's going to be a black background,
| | 01:26 | you're going to do premultiplied with black.
| | 01:30 | So basically, what we're bringing in right now,
the file we're bringing in has no background,
| | 01:35 | all these white areas is actually transparent.
| | 01:37 | What I want to do is set this right now to
straight, and it's going really have a nice,
| | 01:43 | clean crisp line around there.
| | 01:45 | In that way, we can actually set it to any
background without seeing any artifacts or
| | 01:49 | aliasing around the edges. All right,
so I'm going to ahead and click on OK.
| | 01:54 | Now, because we're bringing in a
Photoshop document, it is a multilayer document.
| | 01:59 | So what it is asking at this point, do we
want to composite the image or do we actually
| | 02:06 | want to do all layer images.
| | 02:07 | This is if you're actually bring in several
layers, let's say we have built a character
| | 02:12 | in Photoshop or perhaps this chair has a different
layer for the front arms versus the back arms of a chair.
| | 02:18 | So we're just going to leave this one
composite at this point and again we're going to set
| | 02:23 | the transparency to
straight, and we'll click OK.
| | 02:27 | So now, we have brought in our Bitmap.
It is ready to interact with our animation.
| | 02:36 | So we've covered the basics of importing
Bitmaps, and we'll do some more advanced things like
| | 02:40 | importing backgrounds and foregrounds
when we talk about animating the scene.
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| Importing Illustrator and SWF files| 00:00 | There may be times when you need to import
either Adobe Illustrator files or SWF to your
| | 00:05 | Library, which is an easy task
provided you follow this simple process.
| | 00:10 | So let's go up to our menu, and we'll come
down to Import, and we see Images, Movie,
| | 00:16 | Sound--wait a minute--
| | 00:18 | you know SWF and Illustrator
files is kind of grayed out.
| | 00:22 | Don't freak out, it's not a bug, and it's not like
you have to get a more pro version of the software.
| | 00:28 | You just have to change this one
little thing. So let's do that.
| | 00:32 | What I'm going to do is go
over to our Library view.
| | 00:35 | So I'm going to click on our Library tab here.
| | 00:38 | What you will notice is you'll see Symbols,
and you'll also see Animate Library, and it
| | 00:43 | has this little lock on it.
| | 00:45 | What you want to do is right
click and select Right to Modify.
| | 00:51 | Once you've done that, now let's go back
to the file, and we'll come down to Import.
| | 00:57 | There's SWF Illustrator Files to Library.
| | 01:00 | So let's go and select that, and
we're going to bring in our logo dude.
| | 01:07 | We'll simply click on open, and you've got
dialog boxes that's starting to import.
| | 01:13 | Now, it's going to ask you for the names of
the template, which is going to give the name
| | 01:18 | of the template based on the file name,
which our file name was logo_dude.
| | 01:23 | The .tbl is basically the
template that it's adding to our Library.
| | 01:27 | I'm going to just go and leave this
alone for now and just simply click OK.
| | 01:31 | Now, the next thing we're going to do--
there is absolutely nothing on our screen.
| | 01:38 | Let's change that. We'll come over to our Library,
| | 01:41 | we'll click the Template, and simply
drag this over to our timeline and let go.
| | 01:47 | You're going to get a dialog box.
This is very important.
| | 01:50 | This is saying, The
following colors were not found.
| | 01:54 | Do you want to performed color recovery?
You would almost always say yes. I can't think
| | 02:00 | of an example of when you would say no.
| | 02:02 | Now, what this is let's say
that we are bringing in logo_dude.
| | 02:07 | So this is for this large company that it's very
important that we keep their corporate colors intact.
| | 02:13 | So, what we want to do is just go ahead
and tell it to add all these colors in.
| | 02:18 | These are already set up in the Illustrator, and it's
going to now add these colors automatically to our palette.
| | 02:24 | So I'm going to simply click on yes, and
now we have our logo inside of Animate.
| | 02:34 | If we select our dropper tool and start
seeing exactly where all the different colors are
| | 02:41 | as there are a lot.
| | 02:42 | What we did was we've brought in a little
more of a complex type of Illustrator file.
| | 02:47 | This is one of the 3D extrudes that was
done and so it brought in every last shade.
| | 02:53 | So you're going to see a
lot of different colors here.
| | 02:57 | These are all the colors that are automatically
imported, and we've matched them up perfectly.
| | 03:02 | So importing Illustrator and SWF files will
come in handy especially if you have files
| | 03:07 | predesigned in this format.
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| Autotracing imported images| 00:00 | One of the strengths of Animate is the
ability to trace or vectorize imported bitmaps.
| | 00:05 | For example, if you have scanned, traditional
hand-drawn animation, you can import it into
| | 00:10 | Animate, and it will
convert the bitmap to a vector.
| | 00:13 | To do this, we're going to go to File, come
down to Import, and I want to select Images,
| | 00:18 | and I'm going to Browse, find my file.
This is stick_dude_ben.
| | 00:26 | Just in case you're wondering,
Ben is stick dude Bob's cousin.
| | 00:30 | Now let's look at our layer options. We have,
yes, we want to Create Layers.
| | 00:34 | By default it's saying Create Single Layer Named,
and what it's going to do is match the name of
| | 00:42 | our JPEG, which stick dude Ben works for me,
and if you notice we did the underscores because
| | 00:47 | you can't really have spaces in your layer
names, and so I'm going to leave that there.
| | 00:51 | Do I want to add it to the existing layer?
| | 00:53 | No. Do I want to vectorize
imported items? Yes, I do.
| | 00:57 | This is where we are automatically
scanning this, so I'll select this.
| | 01:02 | At this point I can make a symbol
from this or leave it as a drawing layer.
| | 01:07 | I'm going to leave this
unchecked, just keep it as a drawing.
| | 01:11 | Now on our vectorization, what I want to
do is take a look at the very first thing is
| | 01:16 | just turn on Auto Apply now.
If you notice there's a little shift there.
| | 01:24 | What just happened is you're looking at
what this would look like if it's scanned in as
| | 01:31 | a color photograph so this is now vector
but we want this to be black and white so I'm
| | 01:36 | going to simply click Black and White,
and we have a black image. Okay.
| | 01:42 | Well, that's not what we are
wanting. Well, don't panic.
| | 01:45 | Let me show you how to adjust this.
| | 01:47 | The first thing we're going
to take a look at is Threshold.
| | 01:50 | Now for me, I normally started about 50
so let's type in 50 and see what happens.
| | 01:55 | All right, so that looks pretty good.
| | 01:59 | Now what I'm doing here is I'm clicking on
the little side scroller, and now every time
| | 02:04 | I click on this it actually, I get to
see what the original drawing looks like.
| | 02:09 | All right, now Expand.
| | 02:12 | What if we had a really,
really thin line that we had scanned in?
| | 02:17 | Now, ours is a pretty decent thick
line but I want to show you this.
| | 02:21 | What happens if we start expanding?
How does this vectorize? That's what happens.
| | 02:28 | So I'm going to leave mine on zero, and we've
got this zoomed in so we can see all the different
| | 02:34 | things that will happen, smoothing.
| | 02:36 | Let's set that to zero, and you'll notice
how bumpy these lines are getting right now.
| | 02:44 | So click it, this back up
to--let's try three, five.
| | 02:50 | Let's just go really ridiculous for a moment.
Let's take it to 34.
| | 02:54 | All right, in some areas it looks okay but in
some areas we are losing a lot of our detail.
| | 03:02 | Let's do 15 instead. Okay.
| | 03:06 | Now it looks pretty good, and
the face is holding up pretty well.
| | 03:11 | So once you're happy with that, let's go ahead
and click OK. So there is our vectorized image.
| | 03:18 | Now if you're looking at my image, and you're
thinking, okay, well this looks really, really
| | 03:22 | smooth. One of the things I have turned on,
and we'll talk about this in Workspace Management.
| | 03:27 | We can go to Animate, go to Preferences, go to
OpenGL, and you will look for Real-Time Antialiasing.
| | 03:35 | If I turn this off, click OK, this is what
you might be seeing but this is not bitmapped.
| | 03:43 | This is just drawn this way or rendered this
way so you can move through animating a lot
| | 03:49 | quicker, and it's not going to be labor
intensive on your CPU or your computer.
| | 03:54 | Following these simple steps, you can
vectorize backgrounds and objects as well.
| | 03:59 | You can even vectorize
photographs if necessary.
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|
|
3. Drawing in Toon Boom AnimateExploring pen pressure and the Brush tool| 00:00 | There are several ways of
making marks or drawing in Animate.
| | 00:03 | One of my favorites is using the Brush tool.
| | 00:05 | It gives you the ability to create
beautiful strokes with varying thick and thin lines,
| | 00:10 | and you can push this even
further when using a stylus.
| | 00:12 | All right, so what I want to first do is
go ahead and select our Brush tool then we're
| | 00:16 | going to look over here in our Tool properties.
| | 00:18 | There are several different
settings on that, these are presets.
| | 00:22 | So you have different size of brushes and
next to this pretty much we have the shape
| | 00:27 | which the default is a circle but you can also do
squares even stars and different little angles here.
| | 00:34 | We're going to keep that a circle for right now.
| | 00:37 | This first number here is basically saying
what is the smallest width we're going to
| | 00:41 | have for our brush and the second number is
what the largest width is that bottom here
| | 00:46 | just gives you a preview of what is possible.
| | 00:48 | This number here is basically telling you how much
correction is being given to the line you're drawing.
| | 00:53 | It's normally by default on zero, and I
think it's a good place to stay there then
| | 00:57 | the Contour Optimization is just how the lines
are going to conform when they're being drawn.
| | 01:03 | Now to go ahead and start drawing, we're
going to do a clean up drawing of this blue line
| | 01:08 | here, so I want to lock this first layer,
and we're going to add a new layer, and I'm
| | 01:13 | just going to call this layer clean.
| | 01:19 | Let's select that first frame, and I want
to make sure that my brush is set to black,
| | 01:27 | and I'm going to start just going and cleaning
up this line here just nice in drawing over here.
| | 01:33 | I'm doing varying amounts of pressure on my pen so
you can see the nice thick and thin that's happening.
| | 01:47 | This is just varying the weight
of the pressure on our stylus.
| | 01:55 | Now I want to show you also that this is possible
to emulate the same thing but using a mouse instead.
| | 02:02 | So instead of the circle shape, I'm going
to select one of the angled line shapes.
| | 02:10 | This is going to be drawn with the mouse.
| | 02:12 | So I'll show you that it is still possible to get a
nice thin and thick line there so I'm going to draw.
| | 02:24 | So you can still get a nice thin and thick
line going even if you're using a mouse but
| | 02:31 | my preference is probably still working with
the stylus. The way it usually goes, at least
| | 02:37 | with my experience, is if you're drawing with
the mouse you're going one particular speed,
| | 02:41 | and if you start using a stylus you
can actually go a little bit faster.
| | 02:46 | Now if you're actually drawing directly on
a screen using a product like a Cintiq or
| | 02:50 | something like that, it's usually even
faster, but you can try it out on your own.
| | 02:54 | So whether you're using a mouse or a stylus,
the Brush tool can give a really nice pen
| | 02:58 | and ink fill to your animations.
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| Where is the Pen tool?| 00:00 | If you're familiar with other graphics programs
like Illustrator, Photoshop, or Flash you might
| | 00:05 | prefer to work with the Pen tool.
| | 00:07 | By now, if you've looked around the animate
tools, you might be wondering, hey, where
| | 00:11 | is the Pen tool? In Toon Boom programs, that's called
the Polyline tool, but it works pretty much the same.
| | 00:17 | What we're going to do now is come down,
and we're going to lock our Sketch layer.
| | 00:22 | We're going to add a Drawing
layer and make this our clean layer.
| | 00:26 | Just title it clean, and let's go to our
tools and under our shape tools we have Line,
| | 00:34 | Rectangle, Ellipse, and there's Polyline.
| | 00:38 | So select the Polyline tool and making
sure that it have black set up as my fill, and
| | 00:45 | you also have the different widths you
can actually work on your stroke with.
| | 00:52 | So we're going to use a larger one here.
| | 00:54 | So I'm just going to simply click, have an anchor
point and about the knuckle, I'm going to click and drag.
| | 01:04 | So that actually brings out direction handles,
and you can get a little Bezier curve there.
| | 01:09 | At the tip of the thumb, I'll do
the same thing, I'll click and drag.
| | 01:16 | Start dragging this here and to end
this, I will simply click just once.
| | 01:25 | I'm just going to hold my command key, and
that's control on PC, and that ends that
| | 01:31 | selection, and I can start again and start
building our curves for the second finger here.
| | 01:40 | All right, and we can just keep going at this.
| | 01:47 | Let's say if I'm not actually happy with how
bumpy that looks, you can adjust that by going
| | 01:52 | to your Contour Editor tool, and I'm going to
come here and select one of our anchor points.
| | 01:59 | Click directly on that, and this is where I
can start messing with the direction handles
| | 02:05 | here to clean up that line,
that's pretty much it.
| | 02:11 | As long as you keep your anchor points to a
minimum, you should be able to create some
| | 02:15 | beautiful paths using the Polyline tool.
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| Shape tool basics| 00:00 | In addition to the Polyline tool, there
are several other Shape tools you can use
| | 00:04 | to build characters in Animate.
| | 00:06 | So we are going to go ahead and move down
to our Shape tools here, and we have the
| | 00:10 | Line tool, the Rectangle tool,
as well as the Ellipse tool.
| | 00:14 | Let's go ahead and start with the Line tool,
and we'll make sure we're working on our clean
| | 00:19 | layer, and we have our Sketch layer locked.
| | 00:20 | What I want to do, I'm
going to simply zoom in here.
| | 00:24 | Let's do Command+Equals, and that's Ctrl+Equals on PC.
| | 00:30 | I just want to simply click and drag out an
extra little line here, and if you're noticing,
| | 00:36 | we've got a nice thick line.
| | 00:38 | You can control how thick the lines are by
coming over here to your Tool properties.
| | 00:43 | Right now, we'll just have it set up in
Pencil 6 which is pretty much about 25 pixel width
| | 00:53 | and what we're going to do next is just
keep on dragging out these nice paths here, and
| | 00:59 | this looks very angular but
we're going to fix that in a moment.
| | 01:03 | I'm going to grab my Spacebar and just
move our camera viewer in a little bit.
| | 01:15 | Now that we have this basic angular looking
shape here, we're going to smooth out our torso.
| | 01:20 | We're going to go to our Contour Editor tool.
| | 01:25 | If you move right at the points here, this
is like you would select the anchor point,
| | 01:30 | but we want to alter the path instead.
So I'm going to come here in the middle.
| | 01:34 | I'm going to click and drag, and if you look
carefully, I hope you can see it, there are
| | 01:39 | thin little blue line there.
| | 01:41 | It's letting you know exactly
how this curve is going to look.
| | 01:44 | All right, and we'll continue to do that on
each one of this, and let's bend this curve
| | 01:52 | out a little and a little bit of a back
side there and just a little curve there.
| | 02:01 | Now this little part here
looks like its overlapping.
| | 02:04 | I'm going to select this, and if you'll look,
we have not only anchor points, we have our
| | 02:09 | direction handles as well.
| | 02:12 | So I'm going to simply move our anchor
point just to widen it up a little bit, and if I
| | 02:16 | wanted too, I can start pulling the direction
handles and alter our Bezier curve a little more.
| | 02:22 | So, I think this little guy right
here needs a little bit of bending.
| | 02:28 | So, we've taken a very, very straight and stiff
lines and giving them a lot more smoothness there.
| | 02:38 | The next I'm going to show you.
Let's go to our Rectangle tool. Let's work on the thigh.
| | 02:42 | So we're going to select the Rectangle tool, and
we are still set up the Pencil 6 for our thickness.
| | 02:49 | I'm just going to click and drag out a rectangle here,
and we're going to go back to our Contour Editor.
| | 02:56 | This time we're going to go right here
to where the knee is because it's not a perfect little
| | 03:02 | rectangle, it's actually going to be coming
down at the angle here, so I'm going to click
| | 03:06 | this anchor point and pull it down.
| | 03:10 | Now let's go to this path.
I'm going to bend this up a little bit.
| | 03:15 | Go to the back of the thigh, I'm going to curve
this out and curve the bottom of the thigh as well.
| | 03:22 | Let's fix his knees a little bit.
| | 03:24 | Again, it looks a little sharp right here,
so we can select right at the anchor point
| | 03:31 | and alter this just a little.
So that's how we have turned out.
| | 03:38 | Now this started from a rectangle, so
we've got this beautifully curved thigh here.
| | 03:43 | The last but not the least,
let's work on the head.
| | 03:45 | So we're going to go and grab the Ellipse tool.
| | 03:49 | I'm going to click and drag out a nice,
little circle, that's too perfect of a circle.
| | 03:54 | Well, let's go back to the Contour Editor
again, and we'll come here and start pulling
| | 03:59 | in part of this path and pull out a little
bit here just to make it a little more organic.
| | 04:10 | The last but not the least, I'm going to go
ahead and grab my Select tool and click on the head.
| | 04:16 | I'm going to push this in just a little.
| | 04:21 | All right, so we've taken these basic shapes
and started using the Contour Editor and just
| | 04:29 | changed the direction of those.
| | 04:31 | There's nothing in here that looks exactly
like the Line or the Ellipse or the Rectangle,
| | 04:37 | but we've start building
the body of our character.
| | 04:40 | So remember if drawing freehand in a computer is
not your thing, a simple and helpful alternative
| | 04:46 | is using a modifying shape to
create it with the Shape Tools.
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| Understanding colors and swatches| 00:00 | Imagine just finishing an animation that took
several weeks to do only to realize that you've
| | 00:06 | used the wrong color for the main
character's cape, which is in 80% of the animation.
| | 00:12 | Well, in Animate we can update colors,
swatches, and even textures using the color view.
| | 00:19 | So we have Super Bob here in his
awesome magenta. Or is it fuchsia?
| | 00:25 | Anyway, his cape is at the wrong color, so
what we want to go ahead and do is change
| | 00:30 | that but let's find out
exactly what color is this initially.
| | 00:34 | I want to go and select my Dropper tool.
| | 00:39 | All right, and let's go and
just click once on the cape.
| | 00:43 | We're looking at right here is
called something like Colour 10.
| | 00:48 | Now each time you create a file in Animate,
it's going to have all of the default colors
| | 00:54 | and they all have really awesome
names like Colour 79 and Colour 84.
| | 01:00 | Well, let's go ahead and add our own custom
palette, and we can give each one of these
| | 01:04 | colors a unique name.
So let's go up to our color view here.
| | 01:09 | We're going to the view menu then click and come
down on Palettes, and we're going to select New.
| | 01:14 | What we're going to do is go ahead and give this
a name, let's call it super_bob, and we'll click OK.
| | 01:22 | Right now, we have this
default color, which is just black.
| | 01:26 | What I want to do is figure out again.
| | 01:28 | I want to look at this color a
little more in depth, let's click here.
| | 01:33 | This is the default color, Colour 10.
Well, let's find out what its values are.
| | 01:38 | We'll simply double-click on the swatch.
| | 01:40 | We're looking at a value of Red 255,
Green 0, and Blue at 255 all right.
| | 01:49 | So we'll close this out.
| | 01:51 | I'm going to expand this little area to show
our palette list so I'll click this button here.
| | 01:57 | We'll click on our Super Bob palette so we
only have one color, we'll add another color.
| | 02:03 | Let's click once then we're going to double-click here,
and we're going go give it a name and we'll call it cape.
| | 02:13 | We'll start with our original color.
| | 02:14 | We'll make this Red is 255, Green is 0,
and Blue is 255, close this out. All right.
| | 02:24 | Now, let's say we are
going to change this color.
| | 02:30 | We'll simply double-click on cape.
| | 02:32 | Let's make it more red and make it a little
bit darker, all right, and we'll close this
| | 02:38 | out but you know that, our color hasn't changed.
Well, I'll show you exactly why.
| | 02:44 | I'm going to start our driver select, so
I'm going to click on here, and this is still
| | 02:49 | color number 10, so everything
is not attached to the color.
| | 02:53 | It is actually attached to the name.
| | 02:56 | So what we're going to do now is go to our
Select tool, and we'll click once to select
| | 03:04 | this fill, and we'll go to our Super
Bob palette and then we'll click cape.
| | 03:11 | So now it's actually filled with that and look
at this little part here and click cape again.
| | 03:16 | All right, so now we have that done.
Let's go ahead and zoom in for a second.
| | 03:23 | Make sure that we color the rest of his cape.
We'll grab our Paint bucket tool, click here.
| | 03:29 | Looks like we actually filled that with
the wrong color, we'll undo that with command
| | 03:33 | Z, and let's make sure we're
selecting the right color again.
| | 03:37 | We'll click on cape Paint Bucket selected for cape,
that's a fill, and we'll fill this one more time.
| | 03:45 | Looks like it needs a little extra there so
what we're going to do is change our options
| | 03:50 | for our Paint bucket and then
we're going to do Close Medium Gap.
| | 03:55 | I'm going to click again
and so that's now filled.
| | 04:00 | We're going to zoom out, and there Super Bob is
in his nice really, really nice burgundy cape.
| | 04:10 | You know what? We just got a call.
| | 04:12 | It was supposed to be
that fuchsia magenta color.
| | 04:15 | All right, well let's go ahead and change it.
| | 04:18 | We'll simply double-click on cape, and if you remember the
first color, it was 255 Red, 0 for Green, 255 for Blue.
| | 04:30 | If you' even look right now the
color has already been updated.
| | 04:33 | You can even start doing things like just
clicking around to find exactly where you
| | 04:40 | want it to be, and it's
automatically going to update that.
| | 04:45 | So I'll take it back to
our little fuchsia color.
| | 04:47 | I want to show you one last little thing here.
We've been working in this single color wheel.
| | 04:53 | We can also work in a multi-wheel so into a
multi-wheel mode, simply click this button.
| | 05:00 | Visually we now have Red, Green, and Blue
as well as a Hue, Saturation and Value, and
| | 05:09 | you can still change the
name here. There you have it.
| | 05:14 | Though I wouldn't advice it, you could
even have eight colors in your palette exactly
| | 05:18 | the same but they can all be changed or updated
individually because of the name to the swatches.
| | 05:24 | So remember always name your swatches as
they are catalogued by name and not color.
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| Tracing imported images by hand| 00:00 | In addition to being able to draw your animations in
Animate, you can also import traditional paper drawn animation.
| | 00:06 | Once imported, you have the option of
tracing your drawings automatically or by hand.
| | 00:11 | For more information on auto-tracing,
view the lesson auto-tracing imported images.
| | 00:16 | But for now, let's look
at tracing images by hand.
| | 00:18 | I want to go to File, come to
Import, and we'll go to Images.
| | 00:25 | We'll browse, and let's find our character.
This is Stick Dude Ben. We have the Layer options here.
| | 00:37 | If we do want to create a layer, it's
saying it's going to create a single layer named,
| | 00:41 | and it's naming it after the actual file,
which in this case, I want to change this.
| | 00:47 | I want to simply call it sketch.
| | 00:50 | Other options are creating layers based on
filenames, you would do this if you were importing
| | 00:55 | say a multilayered document.
| | 00:58 | Adding to the existing layer, we already have
a layer that's called Drawing, so we could
| | 01:02 | add it to that layer but I want
to just create a different layer.
| | 01:05 | Now, the next part is
vectorizing, we don't want to do that.
| | 01:09 | We are creating a symbol for the imported
images, we don't need to do that either.
| | 01:13 | This is not the one we're going to use over, we
are just wanting to bring this in to trace it.
| | 01:18 | There is no transparency.
| | 01:19 | We just leave this at its default
setting, which is premultiplied with white.
| | 01:24 | We'll just click on OK,
so we have our image here.
| | 01:28 | Now, what I want to do next is lock this layer and then
I'm going to select the Drawing layer that we have here.
| | 01:36 | From drawing, I'm going to change
the name to either clean or clean up.
| | 01:40 | That let's me know that that's the layer
that's going to have the really clean line on it.
| | 01:45 | So select my Brush tool, now if you notice
as soon as we did that, it's as if we were
| | 01:50 | working on a light table and laid a
sheet of paper over our original drawing.
| | 01:55 | So the cool part about this is--I'm
going to turn this off for a second, it's going
| | 01:59 | select--we're hiding a
lot of those rough sketches.
| | 02:03 | There are rough sketch lines there.
| | 02:06 | So if we're going to paint
again, you don't really see those.
| | 02:08 | The main thing you see are the lines
you need to trace, which comes in handy.
| | 02:12 | So I'm using my Brush tool.
| | 02:13 | Let's go to our Brush properties and what I
can start doing is coming in here and cleaning
| | 02:22 | up all of my work and just
drawing all these lines out by hand.
| | 02:32 | Now, a lot of these they look a little bit rough,
but you can actually work on smoothing out
| | 02:40 | how your lines look once you're drawing them in, and we
talked about that in a lesson optimizing your drawings.
| | 02:53 | This is basically how you would go
about hand-tracing your imported images.
| | 02:58 | Now, there's another tool you
could use, I'm using the Brush tool.
| | 03:04 | You can also use other tools like
the Line tool, therefore we try this.
| | 03:11 | That line is very thick, let's undo that, Command+Z.
| | 03:14 | I'm going to go to my Tool properties, I can
go to Pencil 1 instead, it's a little thinner.
| | 03:23 | As well as you can use
things like the Polyline tool.
| | 03:30 | Both of these tools are talked about
in the chapter Drawing In Animate.
| | 03:34 | But for the most part, you have several
options to use to hand trace your imported drawings
| | 03:38 | and hand tracing your drawn images is a simple way
to get your traditional animations into Animate.
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| Optimizing your drawings| 00:00 | Whether you vectorize your imported images
or created your drawings in Animate, there
| | 00:04 | are ways to further modify and
optimize your images for your needs.
| | 00:08 | What we have here is a bitmap of a light
bulb that we would just simply come in and traced
| | 00:15 | using our brush tool, and it's okay, but you know
it's looking a little rough around the edges.
| | 00:22 | It's a light bulb, it should be smooth.
| | 00:24 | So, what we're going to do is
clean up the image a little bit here.
| | 00:27 | The first thing I'm going to do is lock our
JPEG layer, and let's select the drawing layer
| | 00:34 | here, and I want to zoom in, so
let's do Command+Equals, Ctrl+Equals on PC.
| | 00:40 | I'm holding my spacebar a
little bit and move our image.
| | 00:44 | Let go of the mouse, let go of the keyboard
and what I want to do is change the angle
| | 00:50 | of this little thread here, so I'm going
to simply select this little drawing object,
| | 00:55 | and we'll move the pivot point right to the
end, going to rotate that a little bit, and
| | 01:01 | I'm going to shorten that a little.
| | 01:02 | So now, it actually lines up a little better
with the other threads there and for the rest
| | 01:08 | of these, I'm going to turn off the
visibility of our bulb so we can see what's going on.
| | 01:15 | I'm going to move this.
| | 01:16 | I'm just holding on my spacebar so
I can zoom around the camera view.
| | 01:21 | Let go of the mouse. Let go of the keyboard.
| | 01:23 | I'm going to start cleaning up
some of these curved lines here.
| | 01:28 | I'm going to zoom out, Command+Minus, Ctrl+Minus
on PC, and I want to clean this line here
| | 01:33 | at the bottom, so click on this.
I'm going to smooth this out.
| | 01:37 | Now, we're going to go to Drawing come down
to Optimize, go to Smooth or the quick key
| | 01:43 | for this--and a way I prefer, so you can
actually see what's happening--is simply Option+Shift+S
| | 01:50 | on Mac, Alt+Shift+S on a PC.
So let's go ahead and do that.
| | 01:55 | If you watch how smooth this is going to get,
let's do once, and let's do one more so that
| | 02:01 | line is really a lot
smoother where we started off.
| | 02:05 | Let me show you how to do that again.
| | 02:07 | I'm going to select this line here, and
we'll do Option+Shift+S once, and there's twice, so
| | 02:14 | it cleaned it up a lot.
| | 02:15 | Now, the next thing I want to do,
we're going to work on this base here.
| | 02:21 | It's not bad, but there are some little
extra pieces that I want to get rid off.
| | 02:26 | So we'll zoom in, Command+Plus.
| | 02:32 | At this time, I going to go to my Cutter
tool, which is right under the Select tool.
| | 02:37 | I'm going to go to Cutter.
| | 02:39 | Let's set this to Lasso, and I want to select
this little option here that says Use Mouse Gesture.
| | 02:47 | Now, it says Use Mouse Gesture, but I have
noticed, at least for me, it works best with
| | 02:52 | a stylus, but I'm going to
show you this first with a mouse.
| | 02:55 | The only thing I'm going to do, this edge
here is something I want to get rid off.
| | 02:58 | What I'm going to do is quickly move my
mouse across this area, and it's going to cut off
| | 03:04 | that one little area, and we're also going
to get rid of this little area here, so I'm
| | 03:08 | going to move my mouse real quick, and it
cuts that section, and this looks like an
| | 03:13 | overlap as well and so
that's how the Cutter tool works.
| | 03:19 | The next thing I want to do, I'm going to
zoom out here, Command+Minus, Ctrl+Minus on PC.
| | 03:26 | So the next thing we're going to do is
we're going to flatten some of our strokes here,
| | 03:31 | and we have this one stroke.
Let's go ahead and grab our Select tool.
| | 03:38 | Now, this stroke here as well as the strokes
that's right next to it, and I'm going to zoom in here.
| | 03:44 | As you can see, this is a little better,
and we're going ahead and flatten those, so I
| | 03:50 | want to go and select both of these.
| | 03:52 | I want to go to Drawing > Optimize and
Flatten or pretty much like our smooth, it's going
| | 04:00 | to be Option+Shift and the letter F, or that's
Alt+Shift+F on a PC. F for flatten that is.
| | 04:10 | Now, if I select this, these are now--it's not grouped,
| | 04:14 | this is actually flattened, so
it's actually one solid shape.
| | 04:19 | Zoom out. Speaking of grouping, the last thing
I want to do is I want to select all of these
| | 04:27 | and just make it one large group.
| | 04:30 | So I'm going to change my Select Tools Options,
let's make it a Marquee, click and drag, and
| | 04:38 | we have all of our pieces
selected here. I will group that.
| | 04:42 | I can do Edit, go all the way down to Group
or that's Command+G or Ctrl+G on a PC, and now
| | 04:50 | if I do select this just click on the screen
and click back on it, everything is grouped
| | 04:55 | together, so we can move our light bulb a
little bit better instead of just grabbing
| | 05:03 | each individual piece.
| | 05:04 | If you ever need to ungroup that
you will simply do Command+Shift and the letter G.
| | 05:10 | It's Ctrl+Shift+G on PC.
| | 05:12 | So now, we actually have
the individual pieces again.
| | 05:17 | So from grouping to flattening or smoothing,
optimizing your images is just another way
| | 05:22 | Animate can add polish
and finish to your animated creations.
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|
|
4. Designing a Cutout CharacterCutout vs. hand-drawn animation| 00:00 | In this chapter, you will start working on
designing our character, and you may notice
| | 00:04 | our lines will look a lot smoother. To change this,
we're going to go to Animate > Preferences,
| | 00:13 | going to go to OpenGL and select
Real-Time Antialiasing, click OK.
| | 00:22 | Now we have very, very smooth lines as
opposed to bitmap or pixelated lines.
| | 00:28 | An example of cutout animation versus full
animation could be a character standing up
| | 00:33 | from a sitting position.
| | 00:35 | For full animation, each frame
of the animation is drawn out.
| | 00:41 | Let me go ahead and play this here.
| | 00:50 | All right. In contrast, limited animation is a little
bit different in that instead of drawing out
| | 00:58 | the full character, we're actually drawing out each
piece as if it's part of a puppet or a marionette.
| | 01:05 | So let me show you this here, and we
have the foot, thigh, calf, torso, and head.
| | 01:18 | The puppet is then posed
for each frame of animation.
| | 01:27 | Limited or cutout animation became very
popular with the advent of television, because the
| | 01:31 | need for content was great.
| | 01:32 | It was no longer just a full animated short
right before a mainstream live action movie.
| | 01:39 | Now, the advantages are, it can be inexpensive,
tends to be faster, and there's a recycling
| | 01:46 | quality to it like using
the pieces over and over.
| | 01:49 | There have been some cartoons that have
bragged on the fact that for their first episode, they
| | 01:54 | used a 100% of their pieces and on the
next episode, they had to draw nothing new.
| | 02:00 | So they just kept using
the puppets over and over.
| | 02:03 | Some of the disadvantages, it can look like
there are corners cut, and it can look a little
| | 02:09 | less alive than traditional or full animation.
| | 02:13 | But hopefully, we can actually show you, in
our chapter, hiding the limitations of limited
| | 02:18 | animation, how to avoid some of these.
| | 02:21 | Though it's hay-day is considered to
be when TV needed more content.
| | 02:25 | It could be argued that with the Internet
as well as on demand services such as Amazon,
| | 02:30 | Roku, or YouTube, cutout
animation is now on its second genesis.
| | Collapse this transcript |
| Hiding the limitations of limited animation| 00:00 | Another name for cutout
animation is limited animation.
| | 00:04 | This name is from its early beginnings in TV.
| | 00:06 | However, with respect to character design,
limited animation has a long history of using
| | 00:11 | different tricks and techniques to hide
its limitations and push its advantages.
| | 00:15 | One of these ways is how and
where the character is cut up.
| | 00:19 | For example, a character's body could be
held on one cell while the head of the character
| | 00:25 | was moving or talking on a separate cell.
This was true, especially, with the advent of
| | 00:30 | television, and it's not a coincident that a
caveman, a talking bear, and even crime fighting
| | 00:35 | teenagers, all had items covering their necks.
| | 00:39 | This was done to hide the
separation of the head from the body.
| | 00:42 | With the aid of a computer,
we can push this even further.
| | 00:45 | I have a picture of a character of Retro
Bob here and what I wanted to show you is his
| | 00:51 | got this little turtleneck/neck brace thing going
on but we're covering up exactly where the head is.
| | 01:00 | So, if I click here, we have the head
that have been kind of move back and forth.
| | 01:08 | In addition to this, we can click on the
body and move the body as well as the head back
| | 01:16 | and forth, and we can next do
different drawing substitutions with the mouth.
| | 01:23 | There, the character is talking.
| | 01:26 | Now this works not only with our little turtleneck/neck
brace but if Retro Bob is wearing a tie, and
| | 01:34 | I'll show you exactly how
this character is broken down.
| | 01:36 | I'm going to turn off the visibility of our
body for a moment and turn off the visibility
| | 01:43 | of the mouth, and you'll see here, this is
where the head is set up and then we have the mouth.
| | 01:53 | Because these are all separate, we can
actually start doing things like having the character
| | 01:59 | look like it's leaning back and
talking, if we add the body to the shot.
| | 02:12 | These are just ways of pushing that limitation,
so you're doing one drawing but you're using
| | 02:16 | those drawings over and over just
by covering up where the seams are.
| | 02:22 | One thing you want to be careful of is doing things like
long holds like if the character is standing too long.
| | 02:26 | You want to at least do something like
adding in blinks or possibly rotate the character
| | 02:32 | or have the character
moving at an angle or something.
| | 02:36 | Having a long hold unfortunately
shows the cheats that you're using.
| | 02:42 | Another trick is to move a part simultaneously.
| | 02:45 | So if the character is talking perhaps
he's blinking at the same time or his eyes are
| | 02:50 | raising or looking at a different direction,
the way you would do at a natural conversation.
| | 02:56 | Adding in moments of full
animation is another trick to use.
| | 02:59 | If a character is standing still, if it's a
super hero perhaps, there's cycle of a cape
| | 03:05 | flowing in the wind or possibly the
characters hair is flowing in the wind.
| | 03:10 | See some of these tricks and action, try
watching any prime time TV animation and turn the volume
| | 03:16 | down to zero, and you'll see exactly how much
or how little animation is actually occurring.
| | 03:21 | Let's make them across as a little cheesy but
when animating cutout or a limited animation,
| | 03:27 | you're only as limited as your imagination.
| | Collapse this transcript |
| Creating multiple versions of one character| 00:00 | One way to hide the limitations of cutout animation
is to have multiple versions of the same character.
| | 00:06 | For example, have a version for close-ups like
talking and another version for wide or distance shots.
| | 00:12 | What we have here is Bob, and we have our
two versions of Bob. We have close-up Bob,
| | 00:18 | and we have long distance or wide shot Bob.
What I want to show you is for close-up Bob.
| | 00:26 | We actually have his eyes on their own
separate layer, and this is going to allow us to add
| | 00:31 | things like blinks and have him
looking in different directions.
| | 00:34 | We had the mouth on a separate layer, and
we can do things like adding in dialogue by
| | 00:39 | swapping out drawing substitutions, and we have the
head on its own layer and its torso on its own layer.
| | 00:46 | So there's a lot of detail when
we're actually doing close-up shots.
| | 00:50 | In contrast, for the wider distant shot, we
only need the head on a single layer, because
| | 00:58 | we're not going to be doing
a lot of detail work there.
| | 01:00 | Think about it this way, if we are making
a live action movie, for some of the shots,
| | 01:05 | we would use the real actor.
| | 01:06 | For the more dangerous shots, we'd use a
stuntman and for the really dangerous or impossible
| | 01:13 | shots, we'd use a CG or a
computer-generated stunt man.
| | 01:17 | In short, use the right puppet for the right
job and try to avoid the trap of using just
| | 01:23 | one version of your cutout character as it can cause
your animation to appear cheap, rushed, or well limited.
| | Collapse this transcript |
| Creating symbols| 00:00 | Though it's not necessary to do so, you can
also create symbols to build your character.
| | 00:05 | Now what a symbol is is anytime you need to
use something more than once, you can create
| | 00:09 | a drawing and convert that drawing to a symbol,
and that way you can drag it on to your animated
| | 00:15 | scenes anytime you need it.
| | 00:17 | Think of things like houses or maybe a car--
something like that if your character drives
| | 00:21 | to work everyday--but pretty
much that's what symbols are for.
| | 00:25 | Now if you're familiar with using Flash for
animation, symbols in Animate are most similar
| | 00:31 | to the graphic symbol in Flash.
| | 00:33 | Now, we have several
drawings here of Bob's hand.
| | 00:37 | He's doing a little wave here, and I want to show you
a couple of little tricks on how to create a symbol.
| | 00:45 | The first thing I want to do is
make sure I can see my Library view.
| | 00:49 | We're at Tool properties.
| | 00:50 | Let's go to library and what I want to do
at this time is I'm going to simply go to
| | 00:57 | my Timeline view and click
directly on the layer icon here.
| | 01:02 | If you notice, I haven't even changed the
name to something like Hand, so I'm leaving
| | 01:06 | this at its default just
so I can show you something.
| | 01:08 | I want to go ahead and click on the icon
and drag it straight to the library, and we've
| | 01:15 | just created a symbol.
Now, if you notice it has the name Drawing.
| | 01:20 | The symbol is going to assume or pretty much
grab the exact name of the layer, so our layer
| | 01:26 | was Drawing, so the symbol is
Drawing, but we can rename that.
| | 01:29 | So I'm going to simply right-click on the
symbol in our library here, go to Rename,
| | 01:36 | and we'll call it Hands
and then we'll click OK.
| | 01:41 | Each time you create a symbol, that symbol has
its own separate timeline, so if we double-click
| | 01:48 | in our library on our symbol we just
made, we can now see the Hands timeline.
| | 01:54 | So I'm looking up here at the Camera view,
and we're no longer viewing from the top of
| | 01:58 | the camera, we're viewing the Hands timeline,
and we have all four of the frames here.
| | 02:04 | Now this is important because I'm going to show
you how you can bring over just a few of these.
| | 02:12 | The other problem with this, if you notice,
we have these four frames but we have a lot
| | 02:20 | of frames after that.
| | 02:25 | So technically, we only have four drawings
here, so we only need these four, so let's
| | 02:30 | make a little adjustment.
| | 02:33 | I'm going to shorten the timeline of this
particular symbol by grabbing a little bracket
| | 02:43 | here at the end, and now it
just stops at those four frames.
| | 02:48 | But let's go back to the top, and I'm going to
show you a way that you can do that automatically.
| | 02:55 | We were going to select only a few frames
this time, instead of four--if you look at
| | 03:03 | our timeline here, all these 60 frames--I'm
going to select just the three first frames here.
| | 03:11 | I'm going to click and drag
those straight to the library.
| | 03:14 | It has the name of Drawing again, but we're
going to go ahead and since we'll only use
| | 03:18 | three frames for this, I'm going to rename this
Three Hands, so let's go to Rename and Three Hands.
| | 03:27 | I'm going to click OK.
| | 03:32 | Now if we double-click on our Three Hands
symbol, we have only those three frames selected,
| | 03:38 | and it is automatically shortened
up exactly how long this symbol is.
| | 03:45 | Now, let's go back to our top and the last
thing I want to show you is exactly how do
| | 03:51 | you use your symbols.
| | 03:53 | You can drag them back into the timeline by
simply clicking and dragging straight over
| | 03:59 | and to your layers area--not in the timeline
because it wouldn't allow you--but right over
| | 04:03 | here in our layers ands our
symbols are now added to our timeline.
| | 04:10 | That's pretty much how
you go about using symbols.
| | 04:12 | I used to use symbols a lot and symbols were
actually added to the Toon Boom pipeline for
| | 04:18 | animators who are coming
from a Flash background.
| | 04:20 | Once I've gotten used to using Animate, I use
drawings a lot more and drawings are especially
| | 04:27 | powerful when used with drawing substitutions but we'll
discuss that more in the drawing substitutions lesson.
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| Knowing when to use drawing substitutions| 00:00 | One of my favorite features in
Animate is drawing substitutions.
| | 00:03 | For example, you're not simply limited to
drawing a single hand, but with drawing substitutions
| | 00:09 | you can have additional drawings of the
hand positions or gestures on each frame.
| | 00:14 | So what we have here is Bob's hand and he's doing
a little bit of rock, paper, scissors. And what
| | 00:22 | I want to go ahead and do is create a second
layer here, and we're going to set these up
| | 00:28 | so the work has drawing substitutions.
| | 00:31 | What I want to do is go ahead and select our
first little hand here, the rock, and we'll
| | 00:39 | copy that, Command+C, Ctrl+C on PC.
I'm going to create another drawing layer.
| | 00:46 | I'm going to simply click and add a drawing layer,
and I'm going to change the name of this to Hand.
| | 00:54 | I'm not even calling it Hands because again, it's going
to be the same hand it's just going to change positions.
| | 00:59 | So select the first frame and paste, Command+V.
And what I'm going to do next, I want to show
| | 01:06 | you in our library--let's go to our
Library view--and if you look right here, it shows
| | 01:11 | the drawing substitution, and it just
gives it the number 1 as in frame 1.
| | 01:17 | Now the next thing I want to do is let's grab
our paper position or our pose here, and we'll
| | 01:26 | copy that, Command+C, Ctrl+C on PC, and I'm going
to select the second frame of our Hand layer.
| | 01:35 | Now there is no drawing in our original
layer or in the Hand layer on the second frame,
| | 01:42 | so what I'm going to do now is paste, Command+V.
| | 01:45 | So now we have this set up and to make sure
this is lining up, I'm going to turn on our
| | 01:53 | Onionskin on our Hand layer. And if you note,
I have this little crosshairs here just drawing
| | 01:58 | in it, this helps line up things.
| | 02:00 | So we're going to move our hand over so it lines
up with the first frame there, our rock drawing.
| | 02:12 | If we look right now, the paper hand
is now on 2, let's call it 2.
| | 02:20 | That's the drawing substitution.
| | 02:22 | So frame 1 on our Hand layer
is the rock. That's frame 1.
| | 02:28 | Frame 2, it's tagged as frame 2, is paper.
Let's go ahead and grab the last one.
| | 02:36 | We'll select scissors, copy that, Command+C, Ctrl+C
on PC and select the third frame of our Hand
| | 02:44 | layer, and we'll paste this, Command+V, and
we'll bring that over just so it lines up.
| | 02:55 | We're going to do two things now just
to make sure this is going to look right.
| | 02:59 | One, I'm going to turn off
our initial drawing layer.
| | 03:03 | Turn off that visibility, and I'm also going
to turn off our Onionskin, and I'm going to
| | 03:11 | just click once in our Camera
view to deselect our drawings.
| | 03:17 | In the timeline, I'm going to scrub back and
forth to see if these look like they are in
| | 03:22 | the right position, and it looks pretty good.
| | 03:27 | Now, the other way of doing a drawing substitution
is you can draw pretty much on an empty layer
| | 03:37 | then again, we are turning on our Onionskin
just so we could see what the previous drawing
| | 03:41 | was like and adjust that because you'd
only need to see the one right before that.
| | 03:47 | The other way of doing this is duplicating what has
already been done so that's what we're about to do.
| | 03:53 | We're going to take a look at the last frame, our scissors
or the peace sign depending on how you look at it.
| | 03:59 | What we're going to do is select frame 4,
and we're going to extend our exposure of
| | 04:06 | the last frame just by pressing F5.
| | 04:09 | So if we look at the library, even though
this is frame 4, it is only frame 3
| | 04:16 | or the drawing substitution is number three.
| | 04:19 | What I'm going to do now is we were going
to duplicate this drawing, and once we do
| | 04:25 | that, it would no longer be
drawing three, it will be drawing four.
| | 04:28 | So I'm going to simply right-click, go to
Drawings > Duplicate Drawing, or you can use
| | 04:34 | a shortcut of Option+Shift and the
letter D, or Alt+Shift+D on PC.
| | 04:43 | So now we're at drawing four and what I want
to do is start to alter this, and I want to
| | 04:49 | turn off our Onionskin for a moment,
and I think I'll do a number one sign.
| | 04:54 | So we're going to get rid of one of these
fingers and select this and delete, and let's
| | 05:00 | grab our Brush tool and what I'm going to do at
this point is--make sure I have the right brush here.
| | 05:09 | I'm just matching up what this is originally
drawn with, so I'm using brush number 3
| | 05:14 | at 3 pixels, and that's smallest up to
12 width largest, so that's actually not bad.
| | 05:24 | I think I'm going to keep that one, but
I'm going to cheat it a little bit though.
| | 05:28 | So I'm drawing this extra little knuckle there,
and I'm going to bring my pivot point down
| | 05:36 | and make this a little bit taller.
| | 05:41 | We'll smooth this out a little bit, Option+Shift+S, that's
Alt+Shift+S on PC and bitmap two of those. Let's zoom in.
| | 05:49 | Don't want to spend too much time on this,
because this is just to show you how we can
| | 05:56 | actually swap this out. It looks good.
| | 06:02 | Let's zoom out, and this
looks a little bit too perfect.
| | 06:07 | It looks like we actually just copied that so
we're going to alter this a little bit more.
| | 06:11 | Let's go to our Selection tool.
| | 06:14 | Now if we compare this to drawing
substitution three, this looks like we just copied it,
| | 06:18 | so let's alter drawing four a little bit more.
I'm going to select the number one finger.
| | 06:23 | Drag my pivot point down, stretch this out a
little bit, and I'll click all of the fingers
| | 06:31 | here and maybe I'll set that a little
and bring our pivot point down here.
| | 06:39 | I'm going to set that a little bit
more, maybe rotate it, maybe back there.
| | 06:47 | Okay, so now if we compare them, it
looks like maybe there is some differences.
| | 06:56 | So, I think I'm going to do a little bit
more here and maybe pull back my thumb.
| | 07:08 | So just with a few little changes there, it
looks like we've drawn a completely new hand
| | 07:13 | which of course we've done a
little bit of cheating there.
| | 07:15 | So there are drawing substitutions.
Okay, this is good but what do you do with them?
| | 07:21 | What I'm going to show you right now is
that you can select each one of these, and this
| | 07:28 | entire layer of animation, it
can be just one of the hands.
| | 07:33 | So, I'll select frame 2, and if we look
at our drawing substitution that's set at
| | 07:39 | frame 2, I can highlight this and make it
frame 1 and do the same thing for the next
| | 07:47 | frame, I get frame 1 and the last
frame we'll do the same thing with frame 1.
| | 07:57 | So now all four of our frames are only
showing the frame 1 drawing substitution.
| | 08:04 | I'm going to extend this out to about frame
30, and I want to simply do that by extending
| | 08:10 | our exposure and press F5, and I'm going to
show you different ways of using your drawing
| | 08:17 | substitutions, because quite frankly, you
know, if I had to go over here each time,
| | 08:21 | that could get a little bit old but let's
select frame 10 and another way that you can
| | 08:27 | change your drawing substitutions is on your
keyboard using your right and Left Bracket keys.
| | 08:33 | So your Right Bracket key is going
to use the next drawing substitution.
| | 08:38 | So now that's frame 2.
| | 08:40 | What I want to show you is on our
timeline, we have this thin little line here.
| | 08:49 | It's not a keyframe.
| | 08:51 | We're not even animating at this point but
with drawing substitutions, it's just that
| | 08:56 | little thin line that says, hey, you've
made a change here. Again, the only thing you
| | 09:02 | have to do is select a frame and
use your right or Left Bracket key.
| | 09:08 | The right key is going to move forward.
| | 09:10 | The Left Bracket key is going to move backward,
so you can change these. And last but not the
| | 09:19 | least, instead of just typing it in, you can also
click and drag to change your drawing substitutions.
| | 09:29 | So if I just decide to play this, the
hand is actually just doing different things.
| | 09:42 | So that's how you can use
your drawing substitutions.
| | 09:44 | So you can push this even further by having
things like maybe your character is throwing
| | 09:49 | a baseball, maybe he has a baseball bat, maybe
he has a gun, maybe he's just got a kung-fu grip.
| | 09:55 | The bottom line is, with drawing substitutions, you can
create some rather complex animations very simply.
| | 10:01 | This is especially true with respect to
creating eye and mouth animations which we'll cover
| | 10:06 | in the lesson Drawing the Head.
| | Collapse this transcript |
| Naming drawings| 00:00 | In addition to naming your layers, a
good practice is to name your drawings.
| | 00:04 | Each frame, by default, has its frame number
as its name, but you can change the name of
| | 00:09 | the frames to be more specific.
| | 00:12 | We have here our rock, paper, scissors example
again, and if we look in our drawing substitutions,
| | 00:19 | the rock is frame 1, paper is frame 2,
and our scissors or peace sign is frame 3
| | 00:30 | and our number one sign is number four.
Well, let's go ahead and change that.
| | 00:36 | What we can do is simply right-click and go
to Drawings and come down to Rename Drawing
| | 00:44 | or the shortcut key to that is
Command+Shift+D or Ctrl+Shift+D on the PC.
| | 00:53 | This is the drawing one, we're going to call
it something complicated like, I don't know,
| | 00:57 | Rock, because we're doing the
whole rock, paper, scissors thing.
| | 01:01 | Anyway, we'll click on OK, and we'll select
our next frame, and I'm going to use my shortcut
| | 01:09 | here, Command+Shift+D, Ctrl+Shift+D on the PC,
and this is going to be paper and going to
| | 01:19 | go to our next frame, Command+Shift+D, and this
is going to be our scissors, or we'll just
| | 01:26 | going to call it peace just to
be difficult. We'll click OK.
| | 01:34 | Our last one we'll do this one more
time, and this will be number one.
| | 01:39 | Now I'm not going to do any spaces, I'm going to do
an underscore and the number one, and we'll click OK.
| | 01:48 | So now if you select this, if we look at
our drawing substitutions you're like, okay,
| | 01:52 | well that went blank.
Why is it blank? It's not actually blank.
| | 01:55 | We'll move that forward, so
there's number one, paper, peace, rock.
| | 02:05 | Now you can also still change these via your
keyboard to find the one you want, but it's
| | 02:14 | now just labeled, so you're
going to actually see everything.
| | 02:17 | I'm going to extend the data view
and right now it's showing paper.
| | 02:23 | I'm going to click here and let you know on
this frame we're actually showing peace, but
| | 02:34 | we can just click and drag back and
forth and change our names that way as well.
| | 02:40 | Not to mention you can just leave this open in
that way you will know what you're actually seeing.
| | 02:46 | This definitely could come in handy when
you're doing your phonemes like for lip sync, so
| | 02:50 | you could have the different names visible
for if you're doing an O sound or a V
| | 02:56 | sound or an M, B, or P.
| | 02:59 | So naming your layers is a
pretty cool way of doing things.
| | 03:02 | I want to show you one
additional trick that I like to do.
| | 03:07 | I'm going to go to this last frame here, and I'm
going to go to Drawings and say, Create an Empty Drawing.
| | 03:16 | Now, it's saying an empty drawing, but
it just showed up as number one here.
| | 03:22 | What I want to do is
delete this little hand here.
| | 03:27 | So we'll delete that, and this is still
called number one, but the thing that I typically
| | 03:33 | will do when I have an empty drawing, I
like to use it as a blank frame that I can use
| | 03:39 | over and over so I'm going
to name this, Command+Shift+D.
| | 03:44 | I'm going to call this EMPTY and click OK.
Now occasionally, that does come in handy.
| | 03:55 | Let's say if we're doing something and
my character's hand gets chopped off.
| | 03:59 | Well, a hand that gets chopped off would
probably be on another layer and would just flop around
| | 04:04 | but we're just going to have to
make it empty at a certain point.
| | 04:10 | So now we actually have our drawing
substitutions named and again it's a good practice to get
| | 04:15 | into especially if you start doing things like
having an immense amount of drawing substitutions
| | 04:20 | like, I don't know, 32 or something like that.
| | 04:23 | You don't want to actually start trying to
figure out, okay, was that drawing number
| | 04:27 | 13 or 31? So we'll get more into depth about
naming layers and mapping sounds for lip sync
| | 04:35 | as it's a necessary component to
use in the automated lip sync feature.
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|
|
5. Creating the HeadDrawing the head| 00:00 | Though it may be viewed as a simple task, drawing
the head should not be taken lightly, nor should
| | 00:06 | it be overly complicated.
| | 00:08 | The head is the foundation on which we will build the
face, which is the main way characters are recognized.
| | 00:12 | I've drawn up a couple of little shapes here
with some little face guidelines just to kind
| | 00:18 | of push the idea of what I mean by drawing the
head, and I want you to take a look at A versus B.
| | 00:25 | What I've done is I've taken the drawing
objects from A where the eye line would be, the
| | 00:31 | nose and the mouth, and I've copied those
directly and just reorganized them on drawing B here.
| | 00:38 | Now it's this perfect little round head but
if you look at A, it's a little more boring
| | 00:44 | and B has a little more interest to it, so
I'm going to push this a little bit further
| | 00:51 | and show you what I mean.
| | 00:52 | I'm going to lock my sketch layer here, and
I'm going to add a drawing layer, and let's
| | 01:03 | do a little experiment here.
| | 01:04 | I'm going to grab my Brush tool,
and let's grab our black ink.
| | 01:10 | I'm just going to draw out just a simple
little face here, and I'm purposely leaving this
| | 01:18 | not perfect as far as symmetry and everything.
| | 01:25 | Now the character is there and pretty much
we have this nice, big, balanced, round face.
| | 01:32 | The problem with that is balance can be boring,
so what I'm going to do, I'm just going to
| | 01:37 | go ahead and grab my Select tool, and let's
grab this, and I'm going to copy this, Command+C,
| | 01:45 | Ctrl+C on PC, and let's
paste that, that's Command+V.
| | 01:49 | I'm going to move these over.
| | 01:55 | The guidelines again are copied directly
from A to B, so it's not like these are redrawn.
| | 02:02 | This is the exact same thing, and I also
want to push this with the face to show how much
| | 02:08 | more interesting this layout is.
| | 02:11 | So we'll place the eyes there and place the nose
there and the mouth is going to get moved up about here.
| | 02:21 | All right, so we have the exact same elements
but placing them and arranging them a little
| | 02:28 | bit different, the head is going to be a
little more interesting to look at as far as where
| | 02:34 | your eyes are finding interest, because this
gigantic forehead now versus this very calm,
| | 02:39 | very balanced, symmetrical kind of look there.
| | 02:43 | I want to push this a little bit further,
and we can do things like where the weight
| | 02:49 | is more toward the bottom or maybe the
weight is toward the top, and you can also start
| | 02:54 | playing around with
different shapes to build upon.
| | 02:58 | Let's go ahead and paste in the eyes again,
command V, and we'll just set these for our
| | 03:10 | other little triangle character here and
again this is just showing you how much play there
| | 03:17 | can be just in the way you're shaping things.
| | 03:22 | We'll paste this one more time, Command+V, and
let's look at little Mr. Rectangle Dude.
| | 03:37 | So it's just playing around with this a
little bit, and I'm not telling you to draw this
| | 03:44 | one face and just use it over and over.
That's not my point.
| | 03:46 | I'm just trying to illustrate how much of
a different look it starts to convey when
| | 03:52 | you start using different shapes to create
your head, so I'll just go ahead and flesh
| | 03:58 | this guy out a little bit.
I'm going to flesh him out.
| | 04:08 | Line went a little wacky, let's bring
that over a little bit. Here we go.
| | 04:15 | This is just going by the face shape where
we're going to start from the very basics.
| | 04:21 | Let's take a look at this last one.
| | 04:24 | Let's push it even further, starting mixing your
shapes together so let's paste our little faces again.
| | 04:36 | This one, I think, we actually elongated it
a little bit more, so the nose is about there
| | 04:43 | and the mouth is about here.
By the way, I'm using a shortcut.
| | 04:49 | I'm still on my Brush tool but pulling my
command key I instantly go to my Select tool,
| | 04:58 | and we'll paste one more time.
Paste our drawings here.
| | 05:01 | Hold my command key and move these guys over,
and let's move this mouth up a little bit.
| | 05:11 | All right, and so this is just a way of
playing around with our characters and just giving
| | 05:21 | you a nice start for how to deal
with the face and building the head.
| | 05:27 | I'm going to copy this and paste it.
| | 05:30 | Flip this guy, and let's give
him a little dimple in his chin.
| | 05:39 | So we have all these little things just
started from just the way we want to set up the shape
| | 05:46 | of the face, and we're just using the
guides here and starting to push that.
| | 05:51 | So when it comes to drawing
a head just keep it simple.
| | 05:55 | Avoid symmetry when possible, and this will make
for a more interesting plate for adding the face.
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| Creating the eyes and eye movement| 00:00 | It can be argued that the eyes are the
most important part of a character as the eyes
| | 00:04 | show expression and emotion.
| | 00:06 | For example, these two images have the same
body position and mouth but because of the
| | 00:11 | eyes, these images convey two different moods.
| | 00:15 | Adding in eyebrows pushes
the emotion even further.
| | 00:18 | So when we look here we
have two examples of Bob.
| | 00:21 | Bob on the left is saying, "Hey, I come in
peace." Bob on the right on the other hand
| | 00:27 | is more like, "Hey, I will cut you with the
scissors from H E double hockey sticks." The
| | 00:32 | only thing we did was
change the way the eyes looked.
| | 00:37 | So we'll go ahead and push that a little bit
further, and I want to grab my Selection tool
| | 00:42 | here, and let's select just the eyes here,
and I want to go ahead and copy this.
| | 00:51 | Let's do a Command+C, and we're going to create
a new layer, and a new drawing layer here.
| | 01:00 | We'll call this Eyes, and I'm going to
select the very first frame of our Eyes layer and
| | 01:06 | paste, Command+V and what I want to do is go
ahead and just to show you exactly how we're going
| | 01:14 | to set this up, I'm going to turn off
the visibility of our sketch layer here.
| | 01:20 | What we want to push a little bit further
is we're going to select frame 2 of our
| | 01:24 | Eyes layer, and we're going to paste it
again since we still have that in our clipboard.
| | 01:31 | This set of eyes we want to
convey something a little different.
| | 01:34 | We're going to go ahead and select our
Paintbrush, and we're going to give him some eyelids.
| | 01:42 | So it's like a little bit tired, and we can
push this further, and we're doing a little
| | 01:47 | shortcut here, holding down my command key
on the Mac, hold down your control key in
| | 01:52 | the PC side, instantly get my Select
tool, and it can rotate that a little bit.
| | 01:59 | Let's do the same here and position
this about where I'd like it to be.
| | 02:07 | So we have frame 1 which Bob
looks a little surprised here.
| | 02:12 | Frame 2, he's a little more
subdued, and you can do other things.
| | 02:17 | Let's go to frame 3, and we'll paste
the original and again, Command+V, Ctrl+V on PC.
| | 02:24 | Maybe what I want to do on this one I'm going to zoom in
for a moment and select our little pupils here and maybe
| | 02:39 | he's looking at a different direction.
| | 02:42 | So again this is pushing the whole drawing
substitutions so, if we look at the very first
| | 02:47 | one we have our eyes just kind of looking
a little surprised, and I'm just going to
| | 02:52 | be using my less than and greater than keys
on the keyboard to move back and forth here.
| | 02:57 | The next one Bob looks a little tired and
he's looking up in the sky and the next one
| | 03:02 | like, well, I don't know. So you can keep
pushing this. And what I want to do next is
| | 03:09 | turn back on our sketch layer here for a moment,
and let's go grab our angry eyes to finish this off.
| | 03:16 | Let's select this, and we'll
copy it, Command+C, Ctrl+C on PC.
| | 03:21 | Let's turn off our sketch, and let's go to the
fourth frame here, and we'll go ahead and paste this.
| | 03:30 | We'll turn on our Onionskin to see exactly
where our original set of eyes is and we'll
| | 03:35 | click and move this over.
| | 03:38 | All right, so that is set up, then let's turn
off our Onionskin and for a moment I'm going
| | 03:46 | to turn off our Eyes layer.
| | 03:48 | Let's turn on our original sketch,
and we have our original sketch here.
| | 03:54 | What I want to do next, let's go to our
original sketch layer, and we're going to select where
| | 03:59 | the eyes are, and we're
going to simply delete those.
| | 04:02 | Press your delete key, and let's
turn on our eyes on the top layer.
| | 04:07 | Now, what we're going to do is look at how
simple it is to convey some emotions here.
| | 04:16 | So I'm selecting the eyes here, and I'm just
going to flip through a couple of different
| | 04:21 | variations of emotions just by using our bracket keys,
and that would be controlling our drawing substitutions.
| | 04:29 | So I'm going to click once so he's now in
a kind of sleepy face and he's now looking
| | 04:35 | up, and now he's angry.
| | 04:38 | So we have all these
different things that we can do.
| | 04:41 | You can do emotions or have them looking left,
right, up, or down, and you can just really
| | 04:47 | push that by storing them all on one
layer and using your drawing substitutions.
| | 04:53 | So if the character you're working on doesn't
seem to be conveying the right mood, be sure
| | 04:58 | to see what the eyes are saying.
| | Collapse this transcript |
| Creating eye blinks| 00:00 | A simple way to breathe life into a static
character is to make them blink, but the beauty
| | 00:05 | of creating a blink for a cutout character
is that it only takes a few extra drawings.
| | 00:10 | For example, with just three drawings,
you can make a very convincing blink.
| | 00:15 | So we have a set of eyes here and what I want
to do is make a very quick 3-frame blink,
| | 00:22 | and we're going to do that
using drawing substitutions.
| | 00:26 | So the first thing I want to do is
I'm going to do three frames here.
| | 00:30 | So I want to select frame 3, and I want to
extend this by simply pressing F5 and extend our exposure.
| | 00:38 | Next I want to select frame 2, and this
is going to be the second frame of our blink.
| | 00:45 | So what we're going to do is go ahead and
right-click and go to Drawings, and we're
| | 00:50 | going to duplicate this drawing.
| | 00:53 | For this part what I want to do is select
our eyelids here and hold down my Shift keys
| | 01:01 | so I can select them both,
and I'm going to drag them down.
| | 01:05 | Next, what I want to do is copy these,
command C and go ahead and paste them, command V,
| | 01:13 | CTRL+V on PC, and let's just flip this
upside down here and drag this down a little bit.
| | 01:24 | This might look a little bit messy right
now but we'll clean this up in a second.
| | 01:35 | To clean up our little extras here, we're
going to our Cutter tool, and I'm going to
| | 01:43 | turn off my mouse gesture so that's turned on and
what I want to do is just use my lasso tool here.
| | 01:51 | I'm going to zoom in and just simply click
on the parts that I don't want and press the
| | 01:59 | Delete key or Backspace on PC.
| | 02:06 | So what this is doing is I'm pretty much
getting rid of the extra portion so anywhere where
| | 02:13 | things are overlapping.
I can get rid of the extra part of that drawing.
| | 02:24 | Now these are still all separate drawing
objects, but using a Cutter tool I can get rid of
| | 02:32 | any parts that I don't want.
| | 02:34 | I'm going to flip my stylus
around and just use the eraser. Okay.
| | 02:39 | So there is frame 2 of our blink.
| | 02:43 | That's frame 1, frame 2, and we'll select
frame 3, and let's duplicate that drawing
| | 02:52 | again so right-click, duplicate drawing, and
this time, I'm going to go ahead and use my
| | 03:00 | Select tool, and I'll click and grab all
of the pupil here and delete that and do the
| | 03:10 | same on our other side.
| | 03:16 | To get rid of the bottom lid--now because we used our
Cutter tool that actually started cutting up little extra pieces so
| | 03:27 | it's not just stays solid piece anymore--
and let's grab both of our lids here.
| | 03:38 | I'm going to use our selection key and just go
lasso these guys down and bring them down to the bottom.
| | 03:50 | Again, I'll just get my Cutter tool
here and get rid of all the extras.
| | 03:57 | Let's undo that, command Z.
| | 04:01 | Let's zoom in a little bit so
I'm not grabbing the wrong thing.
| | 04:06 | Last but not least, there we are.
| | 04:11 | So if we just scrub our play
head here, there is our blink.
| | 04:21 | So once you get the idea, you can push this
simple blink even farther by creating a wink
| | 04:26 | or maybe even blinks for all
the different eye movements.
| | 04:30 | So maybe the characters looking forward and then
it blinks and then it's looking to the right.
| | Collapse this transcript |
| Drawing the mouth| 00:00 | Creating even the simplest mouth for your
animated character can become very complex, especially
| | 00:05 | when you consider the mouth is for expressing
emotion, eating, and last but not least, talking.
| | 00:11 | But provided you take some proactive
measures in the initial design of the mouth, these
| | 00:15 | actions and more can easily
be added to your character.
| | 00:18 | So what we have here is our mouth that we
just drawn out with our translucent blue,
| | 00:25 | little generic thing here, we've got a representation of
where the teeth are and where the back of the mouth is.
| | 00:32 | So what we're going to do is drag this and
create a symbol and then we're going to create
| | 00:38 | a multilayered version of the mouth and then paste
that multilayered version back into a single layer.
| | 00:45 | It may sound complex, but it's
going to help you in the long run.
| | 00:48 | So let's go ahead and get started.
| | 00:50 | The first thing we want to do is make sure
our library view is visible, so go ahead and
| | 00:56 | click on Library, and next I
want to go to our timeline.
| | 01:02 | Select the first frame of our mouth layer and
just click and drag this straight to our library.
| | 01:08 | That creates our symbol, and now I'm going
to double-click on our mouth symbol in our
| | 01:11 | library, and now we're in
the Edit mode of our mouth.
| | 01:17 | Now for the mouth, this layer we're
actually going to call it sketch. We're going to
| | 01:23 | lock this layer. And as far as how many
frames is going to be, of course by default we only
| | 01:31 | drag one frame over here so it's only one
frame long right now, but I'm going
| | 01:35 | to extend the exposure of the symbol up to
about 10 frames just dragging our bracket
| | 01:41 | there, and we're going to add a few layers.
| | 01:45 | We're going to click add a drawing layer, and
we'll make this, first one our mouth_shape.
| | 01:54 | The next one is going to be our tongue,
and we'll add another drawing layer, and this
| | 02:05 | will be for the teeth.
| | 02:06 | So what we're going to do first is select
the mouth_shape layer, and I want to go to
| | 02:15 | our shapes, let's go to rectangle, and I'm
going to use black here, and I want to click
| | 02:24 | and drag out a rectangle that covers
about the basic shape of our sketch here.
| | 02:29 | All right, the next thing we're going to do
is let's select our Contour editor, and I'm
| | 02:36 | going to move in our anchor points
first from the bottom here. Okay.
| | 02:47 | Now what I want to do is start to bend these paths so
they are a little more organic looking if you will.
| | 02:58 | All right, and we'll bend that top path. Okay.
| | 03:01 | So there is our mouth shape kind of like a
little lemon wedge or orange wedge or something.
| | 03:08 | So let's go to our next layer, which is our
tongue layer, and I want to use the Line tool,
| | 03:17 | and I'm just going to drag a
straight line right at the base here.
| | 03:22 | We'll next go to our Contour editor, and we're
going to alter the path and just arc this up a bit.
| | 03:32 | So there is our tongue, and let's go on to
the teeth layer, and let's select the line tool.
| | 03:41 | I want to click and drag straight across.
Now I'm doing something on purpose here.
| | 03:46 | I'm pretty much going outside of the
mouth shape that's on the earlier layer.
| | 03:52 | Let's grab our Contour editor, and
let's pull this down a little bit.
| | 04:01 | So we have those shapes done, and let's go
to our Select tool, see how this looks like,
| | 04:07 | and that looks pretty good.
| | 04:09 | If you didn't like where you were, this is
the time that you're actually going and start
| | 04:13 | adjusting all the different pieces here.
I think I like this so far.
| | 04:21 | Let me bring the tongue down just a little bit.
| | 04:25 | The next thing we're going to do is we're
going to click and drag with our Select tool
| | 04:33 | to select all of these lines, and we'll
copy this command C, CTRL+C on PC, and let's go
| | 04:39 | back to our main timeline.
| | 04:41 | So just go up here and click the top, and
we're going to add a new drawing layer, and
| | 04:50 | we're going to call this mouth_shapes.
| | 04:57 | I'll select the very first frame, and
I'm going to paste command V, CTRL+V on PC.
| | 05:04 | We now have that sitting there.
| | 05:06 | I want to turn off our original mouth layer
so you can see that there are no little blue
| | 05:11 | remnants there at all.
So we have all these strokes here.
| | 05:15 | The next thing we're going to do is we're
going to convert these strokes to fills.
| | 05:19 | So the quick key or the shortcut for doing
that is hold down your Shift key and press the
| | 05:24 | number seven so pretty much you are doing an
ampersand and instantly there are no strokes,
| | 05:30 | these are all fills which is going to
come in handy for what we're about to do.
| | 05:34 | I'm going to go to our Cutter tool.
| | 05:37 | It's right under select, let's go to Cutter,
and let's go to our Tool properties, and I'm
| | 05:42 | going set this to the Lasso, and I
want to turn on Use Mouse Gesture.
| | 05:49 | Now what the mouse gesture is going to do
is if I just run my lasso across any extra
| | 05:54 | areas of over here, these overlapping
areas, it's going to cut them away. Okay.
| | 06:00 | Let's zoom in here so we can get these last
little bits some in bottom where the tongue is.
| | 06:09 | All right, and there you have our mouth.
It's actually set up pretty descent there.
| | 06:20 | Now I know this may seem tedious at times
but creating a multilayered symbol can be
| | 06:25 | a life saver for drawings like the mouth.
| | Collapse this transcript |
|
|
6. Creating Phonemes for Lip SyncThe Toon Boom mouth chart| 00:00 | Creating the illusion of dialogue in the
animation requires two main elements.
| | 00:04 | One of course is sound, the second are the shapes the
mouth makes when pronouncing different vowels or consonants.
| | 00:11 | These are referred to as phonemes and
depending on the reference the number of phonemes can
| | 00:15 | range anywhere from three to 11 basic shapes.
| | 00:19 | In Toon Boom Software, the
standard is eight phonemes.
| | 00:23 | So what we have here is a basic sketch of the
different mouth shapes or phonemes if you will.
| | 00:30 | With Toon Boom Software, they do
something a little bit different.
| | 00:34 | They're going to name the different mouth shapes by
letters and not the letters that represent the phoneme.
| | 00:42 | For example, the letter F--there is a F on
the mouth chart--but it does not represent
| | 00:50 | the sound of F or V.
| | 00:53 | So it's going to sound
confusing but let me show you something.
| | 00:56 | Let's expand this timeline here, and let's
look at our data view and each frame I've
| | 01:02 | given it an actual name, and this is a representation of
the names that are actually in a Toon Boom mouth chart.
| | 01:10 | So for A, it's actually for the sounds
like M, B, P, or H and B is actually for sounds
| | 01:19 | like S or D, C is for like E and A. E is for--actually
E is like for O sounds--and F is for U sounds.
| | 01:32 | So this is what I mean by breaking them down.
| | 01:35 | Now the reason that they do this is so we can
actually work with the automated lip-sync process.
| | 01:41 | What we're going to be doing over the next
few lessons is creating a clean line version
| | 01:48 | of these mouth shapes.
| | 01:49 | So we're going to be using the same process
as we did with the creating the mouth lesson.
| | 01:54 | We're going to copy these sketches over to
our library, create a multilayered symbol,
| | 01:59 | and then paste that back into the main timeline and
have a really nice strong clean line for our mouth shapes.
| | 02:08 | Now of course, you can push these even
farther and have phonemes for different moods like
| | 02:13 | angry, happy, sad, et cetera.
| | 02:16 | Just be sure to name your
drawings, it will help a lot in the end.
| | Collapse this transcript |
| Creating mouth shapes A and B| 00:00 | To start creating our mouth shapes, what
we are going to do is select all nine frames
| | 00:06 | of our mouth layer, and we're going to drag
these to our library, which will create our symbol.
| | 00:15 | So when I double-click on our symbol in
the library, and we now have this first layer
| | 00:22 | when I changed the name to sketch, and we'll lock
this layer, and we're going to add several drawing layers.
| | 00:32 | Just add the first one, and this is going
to be mouth_shape, and add another one, and
| | 00:40 | this is going to be tongue, and
another one, this is going to be teeth.
| | 00:51 | We're going to first work on mouth_shape_A
which is the phoneme for the sounds M, B, P, and H.
| | 00:58 | Once we build shape A, we'll duplicate it
and edit it to create our mouth_shape_B.
| | 01:03 | So the first thing we're going to do is grab
our shape tool, let's go with the rectangle,
| | 01:11 | and let's work on our mouth_shape layer.
| | 01:13 | I'm going to click and drag a rectangle
that's pretty close to the sketch, all right.
| | 01:22 | Let's now grab our Contour Editor, and I'm
going to move to the corner to pull in our
| | 01:27 | anchor point and let's do the same here,
let's pull this in a little bit further.
| | 01:36 | Now let's go ahead and do the path.
| | 01:39 | And let's do the path over here, we're
going to arc this out a little bit.
| | 01:42 | I'm going to make this a little less angular,
rounding out these paths here, and let's round
| | 01:49 | up the top part, let's bend down, nice
little half moon little wedge thing going on there.
| | 01:57 | Let's now work on the tongue.
| | 02:00 | Now there's not a tongue in the
original sketch, I'm just adding one in here.
| | 02:02 | Let's do a line and make
sure you are on the right layer.
| | 02:07 | I'm just going to click and drag out
a little line right here at the base.
| | 02:12 | Let's go to our Contour Editor, and we're going to
arc this path a little bit, and I think that works.
| | 02:21 | The next layer is the teeth.
| | 02:26 | Select our line tool, and
I'm going to overshoot this.
| | 02:30 | I'm going to just click
and drag around the top here.
| | 02:34 | Let's go to our Contour editor and curve that,
and let's go to our Select tool and take a
| | 02:41 | look and see how this is doing so far.
| | 02:44 | We're actually a little bit outside of
the sketch, but I think I like it a bit.
| | 02:47 | I'm going to bring down the tongue just a little.
Just select that and just using my arrow keys here.
| | 02:54 | Now what I want to do is select all of this.
| | 02:58 | Now if you remember our sketch layer is
locked so we're just grabbing the teeth, tongue,
| | 03:04 | and mouth shape layer, and
we'll copy, command C, Ctrl C on PC.
| | 03:09 | Let's go back to our top layer,
and we'll create a new drawing layer.
| | 03:15 | I'm going to call these mouth_shapes and
select this first frame, let's go ahead and paste.
| | 03:24 | What we're going to do now is convert this
from strokes to fills, and we're going to
| | 03:30 | do that with just pretty much a Shift and the
number 7, so we're doing an ampersand. Okay.
| | 03:37 | Now all of these are fills, and we'll
start cleaning up our extra lines here.
| | 03:41 | We're going to use our Cutter tool.
| | 03:45 | Go to Tool properties and make sure
it's set to Lasso and Use Mouse gesture.
| | 03:51 | So pretty much I'm going to quickly run
over extra edges there and they're gone.
| | 04:02 | Last but not least, we'll the name of this,
so let's right-click on this first frame,
| | 04:08 | go to drawings, rename
drawing, and this will be A.
| | 04:15 | Now that mouth_shape_A is done.
| | 04:16 | Let's duplicate these layers, and we'll
then edit them to create mouth_shape_B.
| | 04:21 | Now mouth_shape_B is for
sounds like S, D, J, K, and T.
| | 04:27 | So let's go back to our library, double-click
on mouth, and we're going to select all of
| | 04:37 | the layers, and we have the teeth, tongue,
and mouth_shape layer selected, and we're
| | 04:43 | going to extend this frame, we'll simply do
F5, and now we're going to duplicate all the
| | 04:48 | drawings, so right-click here and
go to Drawings > Duplicate Drawings.
| | 04:55 | What we're going to do is take a look at this.
| | 04:58 | There is no tongue on the next layer, so we
can select that, and let's just delete it,
| | 05:10 | and pretty much our teeth layer, we're going
to bring this down a little bit and let that
| | 05:14 | just be the bottom section, and I'm
going to pull on the ends here a little.
| | 05:20 | So it's a little more curve kind of
like the shape we're trying to do.
| | 05:25 | Let's go to our Contour editor, and now
pull up the anchor point on the end, and let's
| | 05:34 | pull our path down just a little bit, and we'll go
to our mouse_shape layer and pull this path down.
| | 05:42 | Okay, now this does actually have teeth aligned above.
| | 05:45 | For now I'm just going to ignore those, and
we'll use our Select, and we'll select all
| | 05:53 | of these, copy it, let's go back to our main
timeline, select frame 2 over our mouse_shapes
| | 06:02 | layer, and we'll paste and convert these lines
to fills, let's do Shift and the number 7
| | 06:11 | or ampersand, go to our Cutter tool. And
we'll take out the extra things that we don't need
| | 06:22 | and especially this large bottom part. And
let's change our name, so we'll right-click,
| | 06:30 | go to drawings, rename the
drawing, and this is going to be B.
| | 06:37 | So that completes
creating mouth shapes A and B.
| | Collapse this transcript |
| Creating mouth shapes C and D| 00:00 | Mouth shape C is a
phoneme for the sounds E and A.
| | 00:04 | We'll first build shape C then duplicate those
drawing layers and edit them to create Mouth Shape D.
| | 00:10 | Now, before we start, I want to make
sure we have our different layers locked.
| | 00:14 | So our original sketch layer let's lock that here.
| | 00:18 | What we're going to do now is let's go to our
Library, and we'll double-click on our Mouth symbol.
| | 00:25 | Make sure we lock our sketch layers.
| | 00:27 | Let's select frame 3, which is
going to be our mouth shape C.
| | 00:33 | Let's expand our data view.
| | 00:36 | What we want to do now is go to our Rectangle tool,
and we're going to work on our mouth shape layer first.
| | 00:48 | So we'll click and drag at our mouth shape.
Let's go to our Contour Editor.
| | 00:54 | We're going to go right to our anchor
points here and start pulling these in.
| | 00:59 | Let's pull the other side in,
and let's go to our path.
| | 01:06 | Let's turn these into nice little arcs.
Let's pull down the top one there.
| | 01:14 | Next, we'll go to our tongue
layer and just grab our Line tool.
| | 01:21 | I just want to drag this straight across.
| | 01:24 | I'm not going to do any overlap because
we have to do a pretty pronounced arc here.
| | 01:28 | Let's go to our Contour Editor.
| | 01:29 | Let's go right in the middle, and we'll bend
that path to match that sketch, awesome, teeth layer.
| | 01:38 | We'll select the teeth layer.
Let's go to our Line tool.
| | 01:42 | This one, I am going to go outside of
the lines of our little sketch here.
| | 01:49 | Let's grab our Contour Editor, and
we'll pull this line down to match up a bit.
| | 01:58 | Let's go to our Select
tool and take a look at this.
| | 02:01 | I think our mouth shape is
a little bit too pronounced.
| | 02:04 | I want to bring that up a bit.
| | 02:06 | So I'm going to just use my Select tool.
I'm going to move the pivot point to the top.
| | 02:13 | This is just where it's going to be anchored for a
second, and I'm going to scale this up just a little.
| | 02:20 | That looks pretty good.
| | 02:22 | Again, I want to make sure my sketch layer
is locked so I'm not going to be copying that,
| | 02:27 | but I do want to select all of my drawings here.
We'll Copy, Command+C, Ctrl+C on PC.
| | 02:37 | Let's go back to our top.
| | 02:40 | We'll select frame 3 of our mouth
shapes layer, and we'll Paste. Command+V.
| | 02:47 | It's Ctrl+V on PC.
Let's convert these lines to fills.
| | 02:53 | We'll simply do Shift and the number 7.
| | 02:56 | So it's in ampersand.
Let's go to our Cutter tool.
| | 03:01 | Now, the Cutter tool, you want to make sure that
you have the Lasso selected as well as Mouth Gestures.
| | 03:08 | So I'm just going to click and
drag and get rid of our extra points.
| | 03:12 | Now, let's zoom in here to get
rid of these last few points.
| | 03:21 | Last but not least, let's change our name.
Right now, it's Drawing #1 for the name.
| | 03:27 | Let's right-click, go to Drawings, Rename
Drawing, and this is going to be Drawing C.
| | 03:37 | Now, let's go back to our Library,
double-click on our Mouth symbol.
| | 03:45 | Let's go to the next frame which will be D.
| | 03:49 | Now that mouth shape C is done, we'll duplicate the
drawing layers and edit them to create mouth shape D.
| | 03:54 | Now, mouth shape D also is the phoneme for
the sounds E and A except where it's a little
| | 04:01 | more emphasis on it, like it's
yelling or maybe it's a little bit louder.
| | 04:05 | So, what I want to do is we're going to
highlight all three of our layers here, the mouth shape,
| | 04:12 | the tongue, and the teeth.
We'll extend the exposure. Let's do F5.
| | 04:18 | What I'm going to do next is duplicate the
drawings on each of these layers, and I want
| | 04:23 | to right-click, go to
Drawings > Duplicate Drawings.
| | 04:29 | Now, we'll start editing these.
| | 04:32 | Let's go to our Select tool
and go to our mouth shape.
| | 04:37 | I'm going to select this.
| | 04:40 | I'm going to extend this out just by
moving our pivot right to the top, and I'm going
| | 04:46 | to stretch the mouth down a bit.
Let's take a look at the previous one.
| | 04:53 | I think I want to
stretch that a little bit more.
| | 04:58 | So I'll select this again, move my pivot
point up, and I'm going to pull this down.
| | 05:05 | Next, let's grab our Contour Editor.
| | 05:10 | I'm going to move the top arc up a
little bit and again, the bottom one.
| | 05:16 | The bottom arc, I'm just
going pull that out a little more.
| | 05:19 | So just so it's a little more
pronounced, and let's compare them.
| | 05:23 | That looks pretty good.
Next, let's go to our tongue layer.
| | 05:28 | Let's just grab our Select tool. Click here.
| | 05:31 | I'm just going to drag this down, and
I'm going to bend that a little bit also.
| | 05:43 | While we're here, we can select the teeth, and
we'll move those up a little bit and maybe in.
| | 05:50 | It's going to curve that path a little bit more.
| | 05:59 | Again, checking, making sure
everything is locked that needs to be locked.
| | 06:02 | Let's go to our Select tool. Not too bad.
Did we make it too drastic? Maybe so.
| | 06:11 | Let's pull up our mouth shape a little.
| | 06:15 | So I move our pivot point up here
and make it closer to the sketch.
| | 06:23 | Let's grab all the little lines we've done
here, and we'll Copy, Command+C, Ctrl+C on
| | 06:31 | PC, and let's go into the top.
| | 06:35 | Select frame 4, and let's paste, Command+V, Ctrl+V
on PC, and we'll convert these strokes to fills.
| | 06:44 | Let's do Shift+7.
Let's go ahead and grab our Cutter tool.
| | 06:53 | Get rid of any the extras
that we have. That's set.
| | 06:59 | Last but not the least, let's change our name.
| | 07:03 | This is going to be Drawing D.
Those are mouth shapes C and D.
| | Collapse this transcript |
| Creating mouth shapes E and F| 00:00 | Mouth shape E is a phoneme for the sound O.
| | 00:03 | Once we build shape E, we're going to actually start
from scratch and build a second shape for the shape F.
| | 00:11 | So, what we're going to do is go to our
Library and double-click on the Mouth symbol.
| | 00:18 | Let's go to our frame Number 5 here,
and let's expand our data view.
| | 00:27 | We're going to be working on shape E.
| | 00:30 | The first thing we'll do is grab our Rectangle
tool and make sure we're on our mouth shape layer.
| | 00:37 | I'm just going to click and
drag out the basic shape here.
| | 00:42 | I think I do want to zoom in just so I can
see what I'm going to do. Command+Equals.
| | 00:47 | That's Ctrl+Equals on PC.
| | 00:50 | I'm going to hold down my spacebar
so I can move this right dead center.
| | 00:55 | Now, let's grab our Contour Editor, and I'm
going to go right to the corner here at our
| | 01:01 | anchor point and start pulling in our points.
| | 01:10 | This is probably one of the more pronounced
or more round mouth shapes that we've done,
| | 01:15 | so it's going to be a little
bit different than the other one.
| | 01:18 | So we arc out the corners
here or arc out our paths rather.
| | 01:23 | And at the top, we'll arc that as well.
| | 01:27 | Now, if you're more familiar with using the
Pen tool or the Polyline tool as it's called
| | 01:32 | in Toon Boom, you may want to select one of
these corners here with your Editor and actually
| | 01:40 | start using the direction handles here.
| | 01:48 | Again, you just want to use the Contour
Editor and just click on any of the anchor points,
| | 01:53 | and you'll actually see
your direction handles there.
| | 01:58 | So the next thing, let's work on our tongue.
So let's go to the tongue layer.
| | 02:02 | I want to select the Line tool.
| | 02:05 | Right where the tongue ends, on both ends,
that's where we'll start and just drag that
| | 02:11 | just straight across.
Let's go to our Contour Editor.
| | 02:15 | It's the middle of the path, and
let's pull that just straight up.
| | 02:19 | Now, there are no teeth
for this particular sound.
| | 02:23 | So what I want to do is select the teeth layer, and
we're going to right-click and Create an Empty Drawing.
| | 02:33 | So I'll go to our Select tool and making sure
our sketch is locked, I want to go ahead and
| | 02:39 | select the drawings we just did.
Let's Copy, Command+C, Ctrl+C on PC.
| | 02:46 | Let's go back to our main
timeline on the top here.
| | 02:50 | We'll select right here at frame 5,
and we'll go ahead and Paste, Command+V.
| | 02:59 | Let's convert the lines to fills.
We'll do an ampersand, Shift+7.
| | 03:06 | We don't have anything extra to cut here.
| | 03:08 | So, what I do want to do is
go ahead and change our name.
| | 03:11 | Let's go to Drawings > Rename Drawing, and
instead of being 1, it is going to be E.
| | 03:21 | Now that we've created shape E,
we're going to work on shape F.
| | 03:24 | Now, shape F is for oohs and U.
| | 03:28 | This time, instead of duplicating our frames,
we're going to actually do this one from scratch.
| | 03:34 | So let's go back our Library and
just double-click on our Mouth symbol.
| | 03:41 | Let's go to our sixth frame here.
| | 03:45 | This is for shape F, and this for oohs and U.
I want to go to our Ellipse tool for this one.
| | 03:53 | On my mouth shape layer, I'm just going to click and
drag a little circular shape just pretty close to this.
| | 04:00 | As for me, I don't want it to look like it's
just a circle when you're on the page here.
| | 04:04 | So let's go to our Contour Editor, and I'm
going to start pulling in and pushing away
| | 04:11 | some of the points here so it has
a little more of an organic fill.
| | 04:14 | I think that will do.
Now, let's work on the tongue layer.
| | 04:18 | So we'll select the tongue layer,
and let's grab our Line tool.
| | 04:23 | I'm just going to click
and drag straight across.
| | 04:25 | I'm not going to do any overlap here.
| | 04:28 | Let's go to our Contour Editor,
and we'll bring this up a little bit.
| | 04:35 | There are no teeth on this one so
we'll do the same as we did previously.
| | 04:39 | We'll just go ahead and right
click and create an empty drawing.
| | 04:46 | Let's go to our Select tool. Okay.
| | 04:49 | It looks like we left out something here so
what I'm going to do is go back down to our
| | 04:53 | mouth shape, and let's grab our Line tool.
| | 05:00 | Let's drag down two little lines here, go to our
Contour Editor, and let's arc those out a little bit.
| | 05:12 | All right, now let's go to our Select tool.
| | 05:15 | This one looks like it's a little bit too
pronounced so we'll flatten that out a little.
| | 05:27 | So we'll select all of these,
Copy, Command+C, Ctrl+C on PC.
| | 05:34 | Let's go to our Top Camera view again.
| | 05:39 | So we have E here, and let's go to the next frame
of our mouth shapes layer, and we'll Paste, Command+V.
| | 05:47 | Let's convert these lines to fills.
We'll do Shift+7 for our ampersand.
| | 05:53 | There's nothing to cut here so we're just going
to go to our timeline, and we name this drawing.
| | 05:59 | Right click, go to Drawings >
Rename Drawing, and this will be F.
| | 06:07 | That completes doing mouth shapes E and F.
| | Collapse this transcript |
| Creating mouth shapes G and X| 00:00 | Mouth shape G is a phoneme
for the sounds F, P, H, and V.
| | 00:04 | We'll first build shape G and
then we'll build mouth shape X.
| | 00:09 | Let's go to our Library and
double-click on our mouth symbol.
| | 00:14 | We will go to frame 9, which is pretty
much set up at our F or V little sketch here.
| | 00:25 | What we're going to do is first
start with our Rectangle tool.
| | 00:33 | I'm just going to click and drag
out a basic little rectangle here.
| | 00:39 | I think I'm going to zoom in here so we
can get a better look at what's going on.
| | 00:43 | So the F or V sound is pretty much the
teeth biting the bottom lip, if you will.
| | 00:49 | So we're going to work on this by grabbing
our Contour Editor, and we're going to pull
| | 00:54 | down the top just a little bit here.
We're going to move our anchor points up.
| | 01:08 | I'm going to arc the bottom.
| | 01:12 | The next thing we're going to do is grab our
Line tool and wherever there's an arc, we're
| | 01:20 | just going to do a straight line for now.
| | 01:22 | I'm trying not to overlap at all into the
teeth area because even though we could just
| | 01:30 | use the Cutter tool, I will try to avoid that if I
can just to save a step, save a little extra time.
| | 01:38 | Let's go to our Contour Editor, and we'll arc
these out a little bit, and we have that set.
| | 01:49 | There is no tongue or teeth so we're going
to go ahead and create some empty layers here.
| | 01:54 | So select the tongue layer just right-click.
| | 01:57 | Let's go to Drawings > Create Empty Drawing,
and we'll do the same thing for the teeth layer.
| | 02:04 | Right click, go to
Drawings > Create Empty Drawing.
| | 02:07 | Now, let's go to our Select
tool, and these look pretty good.
| | 02:12 | Now, I do have in the sketch, there are some teeth
lines there, but I'm going to leave those out for now.
| | 02:17 | We haven't actually created
those in the earlier drawings.
| | 02:20 | We might be able to work with it, and we'll
definitely know once we go in and start adding color.
| | 02:26 | I think the white is going to
actually help push this a little bit.
| | 02:29 | So let's go ahead and select all of these.
We'll Copy, Command+C.
| | 02:36 | Let's go back to our top camera view.
| | 02:39 | We'll select the mouth shape layer,
and we're on the next frame here.
| | 02:46 | Let's go ahead and Paste, Command+V.
| | 02:49 | Let's convert these lines to a
fill by doing Shift+7 or ampersand.
| | 02:56 | That's pretty much set.
Let's go ahead and change our name.
| | 03:00 | That's currently named frame or Drawing 1.
Let's go ahead and change that drawing name.
| | 03:06 | So right-click Drawings > Rename
Drawing, and this is going to be Drawing G.
| | 03:12 | Again, G is for our F or V sounds.
Let's go to our Library again.
| | 03:20 | Double-click, and let's go to shape X.
This is mouth shape X.
| | 03:25 | Now, what mouth shape X is for is if there
is silence during the audio track or if the
| | 03:32 | lip-sync automation process doesn't recognize
a sound, it's going to place this shape there.
| | 03:38 | So let's go ahead and start working on that.
| | 03:39 | We're going to use the Line tool, and
we'll start drawing on our mouth layer.
| | 03:44 | Let's do the little corners of the mouth and
for the main part of the mouth or the smile as
| | 03:50 | it looks right here.
Let's do a straight line for now.
| | 03:55 | Let's go to our Contour Editor,
and let's bend this path down.
| | 04:00 | It looks pretty good.
| | 04:03 | Last but not least, let's do one
for the little bottom lip there.
| | 04:09 | Let's grab our Contour Editor, pull this down,
and I'm going to add in some empty drawings
| | 04:20 | for our tongue and teeth layer.
| | 04:22 | So right-click, let's go to
Drawings > Create Empty Drawing.
| | 04:28 | Let's go to teeth, right-click,
Drawings > Create Empty Drawing. Okay.
| | 04:33 | Let's go to our Select tool,
and we'll grab all of these.
| | 04:38 | Let's Copy, Command+C.
| | 04:42 | We'll go to our top camera view and select
this frame for our X, and we'll go ahead and
| | 04:47 | Paste this, Command+V, Ctrl+V on PC.
Let's convert these lines to fills.
| | 04:54 | We'll do Shift+7 or ampersand.
| | 04:58 | Last but not least, let's go in
and change the name of our drawing.
| | 05:03 | So right-click, Drawings >
Rename Drawing, and this will be X.
| | 05:09 | So we'll say OK.
So now we have created mouth shapes G and X.
| | Collapse this transcript |
| Creating extra mouth shapes| 00:00 | Sometimes you may need to create extra mouth
shapes, maybe for a character yelling or singing
| | 00:05 | or maybe even a phoneme that's missing.
| | 00:08 | Wait a minute, leaping leftover lasagna lollipops.
We forgot the L. But guess what?
| | 00:15 | It's not one of the mouth shapes Toon Boom
has for the lip-sync process, but we'll make
| | 00:20 | one and use it if needed during our
manual lip-sync session. So let's go ahead.
| | 00:26 | We actually have a sketch already drawn out
for our L, and we're going to go to our Mouth
| | 00:33 | symbol in our library, simply double-click.
| | 00:36 | Let's go to this very last
frame, and there is our L.
| | 00:42 | On the mouth shape, let's
grab our Rectangle tool.
| | 00:47 | We'll click and drag out our basic shape.
It's going to cover all of that mouth there.
| | 00:53 | Let's go to our Contour Editor.
| | 00:55 | Let's go right to our anchor point and
pull this in a bit, and the same thing here.
| | 01:05 | Let's curve out the sides of
our mouth and the bottom here.
| | 01:12 | I think I want to zoom in a little bit here.
Let's go ahead and do Command+Equals.
| | 01:17 | It's Ctrl+Equals on PC.
Let's pull this down a little bit.
| | 01:22 | So let's grab our Line tool, and
let's start working on the tongue.
| | 01:29 | So let's go to tongue layer.
| | 01:31 | I'm just going to click and drag a point
and have it go right above the teeth line.
| | 01:36 | Now, I'll do the same on the other side
just kind of click and drag and pull this up.
| | 01:43 | Last but not least, let's do that
little crease under the tongue there.
| | 01:49 | So let's grab our Contour Editor, and
we'll arc first the side of the tongue here.
| | 01:54 | Let's arc the other part, arcing that path.
Let's bend a little bit of the tongue there.
| | 02:03 | You don't want it over-pronounced but just
something that doesn't say it's a straight line.
| | 02:07 | Okay, next, let's do the teeth.
Let's go to the teeth layer.
| | 02:13 | Select our line and then I'm
going to overshoot this a bit.
| | 02:16 | Let's drag this straight across and just
have it a little bit wider than the mouth shape.
| | 02:22 | Let's go to Contour Editor.
| | 02:24 | Let's go to the middle of our path
and just pull this straight down.
| | 02:29 | It looks pretty decent.
| | 02:31 | Let's go to our Select tool and see
what this looks like. Not too bad.
| | 02:37 | Maybe we'll bring up the
mouth a little bit. Actually, no.
| | 02:40 | I think I'll let that down.
| | 02:45 | Basically, if you're doing a little la
sound or like love or something like that, you
| | 02:51 | want to probably open the
mouth just a little bit more.
| | 02:54 | It also pays to have like a nice little--
whether it's a personal mirror and--a lot of animation
| | 03:00 | companies even sell these little mirrors
that just sit on your desk or just head to your
| | 03:04 | local drug store and just find a mirror to
look directly into that and figure what your
| | 03:09 | character's mouth shapes would look like.
| | 03:12 | What we're going to do is go ahead and
select all of these little drawings here, making
| | 03:18 | sure my sketch layer is locked.
| | 03:19 | I don't want to bring any
of that to the main timeline.
| | 03:22 | So we'll Copy this, Command+C, Ctrl+C on PC.
Let's go back to the top camera view.
| | 03:29 | We'll select this last frame, and
let's Paste, Command+V, Ctrl+V on PC.
| | 03:36 | We'll convert these lines to fills.
Let's do Shift+7 for our ampersand.
| | 03:42 | Now, we're going to clean up this work.
| | 03:45 | Let's go to our Cutter tool, and let's go
to Tool properties and make sure it's set
| | 03:50 | to Lasso and use Mouse gesture.
| | 03:53 | Let's get rid of the extra
points here. It looks good.
| | 04:01 | For the ones in the bottom, I want to show
you one other little thing here. Let's zoom in.
| | 04:05 | I'm going to hold down my spacebar so I can
get the--move to a little Hand tool there.
| | 04:13 | The overlaps here in the bottom, instead
of trying to do the swipe, I'm just going to
| | 04:16 | simply click and then delete. Click.
Delete. Click. Delete. All right. Looks good.
| | 04:27 | Last but not the least, let's go
ahead and change the drawing name here.
| | 04:30 | Let's right-click, go to Drawings >
Rename Drawing, and this is going to be L.
| | 04:38 | Unlike the other drawing names we've used
for the mouth shapes, L actually is for L.
| | 04:44 | Now, you can create you own phonemes if you
want to write out your own things like P-H
| | 04:49 | and stuff like that, you can create all these
extras and just go in and rename the drawings.
| | 04:57 | So now we can have that dialogue about the leopards
living in the lilac fields of Liliput or something
| | 05:03 | like that, but basically,
this is the mouth shape L.
| | Collapse this transcript |
|
|
7. Creating the BodyCreating a side-view head| 00:00 | For the side view version of our character,
Stick Dude Bob, the head will not need the
| | 00:04 | ability to talk or blink so we're creating the
eyes, the mouth, and the head on a single layer.
| | 00:11 | Now we have our sketches set up here.
| | 00:12 | So, what we're going to do first is lock our
sketch layer and then I'm going to add a drawing layer.
| | 00:21 | We're going to change this name to head. Next,
we're going to go and get our Ellipse tool.
| | 00:30 | I'm going to simply click and drag out a nice
little circle shape, try to match that sketch
| | 00:36 | as much as possible.
| | 00:39 | For the stroke, I'm using about 25 of my width
here, and we're doing that because we're going
| | 00:45 | to convert this to a fill a little bit later, and
we're going to give a nice thick and thin quality to that.
| | 00:53 | I'm going to go ahead and
zoom in for a second here.
| | 00:54 | That's Command+Equals, Ctrl+Equals on PC.
| | 00:58 | I'm holding my spacebar.
Let's move you over a little bit.
| | 01:01 | Now, what I want to do is get my Contour Editor,
and I want to adjust this circle so it does
| | 01:10 | not appear too perfect.
| | 01:12 | So I'm going to go right here, and I'm
going click one of the little anchor points here
| | 01:20 | and to start pulling out some extra points.
| | 01:24 | Now, if you're not comfortable using the
anchor points just simply click off of this and just
| | 01:30 | move close enough to here, and you'll see you get
the option just to pull just a full circle there.
| | 01:37 | I'm going to undo that line.
| | 01:43 | So the main thing is we don't
want this to look too perfect.
| | 01:46 | We want it to look a little more organic.
| | 01:49 | I don't want him to lose the
roundness of his head either. Okay.
| | 01:56 | Maybe one more. There.
| | 01:58 | Now, what we're going to do is we're going
to grab our Brush tool and start adding in
| | 02:05 | some of Bob's details.
So we'll give him his mouth.
| | 02:14 | Let's go ahead and do the nose.
Nice little pointed nose there.
| | 02:19 | Now, the stroke I just did, I like the stroke,
but it's at the wrong angle so I'm going to
| | 02:25 | temporarily get my Select tool by
holding down my Command key, Ctrl on PC.
| | 02:29 | I'm still holding the right key, and I can adjust
the pivot point of the drawing object I just
| | 02:36 | made and move that down to the end, and
we'll rotate the tip of that nose up. Okay.
| | 02:43 | There we go. I want to go in and draw one of the eyes.
Let's draw another eye on the other side there.
| | 02:53 | Last but not least, what I want to do
is select the original ellipse we did.
| | 03:01 | So this is a stroke.
I want to convert the stroke to a fill.
| | 03:06 | Let's do Shift+7, which
is pretty much an ampersand.
| | 03:12 | I'm now going to go to my Contour Editor.
| | 03:15 | I'm going to click off here
just once so it's deselected.
| | 03:21 | I'm just going to start
pushing in some of the lines here.
| | 03:25 | I'm just going to give it a
nice thick and thin quality.
| | 03:33 | Make sure we're grabbing the head here.
It looks pretty cool.
| | 03:38 | I want to zoom in a little bit here to
get rid of this extra line in our nose.
| | 03:45 | Let's grab our Eraser, and there.
We got rid of that. Let's go down here to our view.
| | 03:54 | I'm going to do Fit to
view, and there is the head.
| | 03:58 | So we've got that nice thick and thin quality.
| | 04:00 | It looks like we just did a nice
brush stroke there and got that to happen.
| | 04:06 | For a more complex version of a single
layered head, you could use drawing substitutions
| | 04:11 | and add extra frames.
| | 04:12 | For example, add in a hat or hair that
moved or bounced when Stick Dude Bob walks.
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| Creating the torso| 00:00 | For the torso, we're going to create a very
simple midsection, one solid piece that covers
| | 00:05 | the chest, the abs, and the waist.
| | 00:07 | So the first thing I'm going to do is to
make sure all of our previous layers are locked.
| | 00:12 | Let's add in another drawing layer.
We're going to call this layer torso.
| | 00:19 | I want to go up and select my Polyline tool.
| | 00:25 | Let's zoom in here, and let's do Command+Equals a
couple of times just so we can get a better view.
| | 00:31 | I'm going to hold down my spacebar, so I
can get the Hand tool and move this around.
| | 00:36 | What I want to do is I'm going click right at where I
think there would be a nice little angle happening here.
| | 00:44 | So I've got an anchor point here, so go right
to this corner and make another anchor point.
| | 00:52 | Let's go down here, make another one, one at
the base, one toward the back and one about
| | 01:00 | right here at the top and
then connect the last two.
| | 01:05 | So now what I want to do
is go to my Contour Editor.
| | 01:11 | I'm going to go right to where paths are
between my anchor points and pull out the arcs to match
| | 01:18 | what the sketch is doing.
I'll just pull this out one at a time.
| | 01:26 | You might want to pull
this one in just a little.
| | 01:29 | It looks pretty good.
| | 01:32 | The next thing I want to do, let's get our
Select tool, and I'll click once to select
| | 01:40 | our torso here, and I want to convert this line to
a fill, so let's do Shift+7 making our ampersand.
| | 01:49 | Let's go to Contour Editor again.
| | 01:52 | Now, it's automatically selecting all my points,
but I don't want that, so I'm just going to
| | 01:56 | click once, so nothing's selected, and I'm
going to move very close to any edge that I want
| | 02:03 | to thin out, so I'm going to pull this down
a little bit, and I'm going to do the same
| | 02:09 | thing maybe back here, but what I'm doing
is doing a nice thick and thin little paint
| | 02:17 | and ink fill to it.
Okay, that looks pretty good.
| | 02:23 | The last but not the least, I'm going to
grab my Brush tool, and I'm going to add in this
| | 02:29 | one little dot here.
| | 02:31 | Now, this is going to be temporary, we'll
eventually take it out, but what this dot represents--
| | 02:35 | If you ever think about the paper skeleton
as you might see during Halloween or something
| | 02:40 | like that, they're segmented and they've got these
little rivet points where everything moves around.
| | 02:44 | Well, pretty much that is how
you can set up a cutout puppet.
| | 02:49 | So we're going to be connecting all these
together and building with a hierarchy, but
| | 02:53 | we're going to use this little dot as a
guide until we actually set up our pivot points.
| | 03:00 | Now, you can push this further by having
an upper and lower torso or even that hips.
| | 03:05 | It just depends on how far you want to take it.
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| Drawing the arms| 00:00 | The arms for our character Stick
Dude Bob are comprised of two parts.
| | 00:04 | We have the upper arm and the lower arm or
if you prefer, the bicep, and the forearm.
| | 00:09 | The first thing we want to do is we're going
to make sure we lock all of our previous layers,
| | 00:15 | and let's create a new drawing layer.
This one's going to be the right upper arm.
| | 00:22 | I'm just going to use a little abbreviation
here just a U-P-R. I want to grab my Polyline tool.
| | 00:32 | Let's zoom in here.
| | 00:37 | I'm going to set some anchor points here,
setting these right where we know our path
| | 00:47 | is going to need to arc.
| | 00:48 | So we'll now go to our Contour Editor, and
I'm going to arc this a little bit. All right.
| | 01:00 | So a couple of these lines are
just a little bit bulky there.
| | 01:07 | It's too much of a point right here so I'm
going to click right on the anchor point and
| | 01:12 | adjust my direction handles
here. It looks good. All right.
| | 01:25 | We have an extra point there so let's
select that point, and let's delete it.
| | 01:32 | Let's press our Delete key.
Let's pull that point right back out. Okay.
| | 01:40 | Now we'll go to our Select
tool and click to select this.
| | 01:46 | We're going to convert this line to a fill,
and we'll do a Shift+7 for our ampersand.
| | 01:52 | Let's go back to our Contour Editor.
| | 01:55 | I'm going to click once just in
our camera view to deselect that.
| | 02:02 | I'm going to push and pull some of this fill now
to kind of give it a nice thick and thin quality.
| | 02:09 | Now, let's do the lower arm.
| | 02:13 | We'll lock the upper arm to make a new drawing
layer, and this will be the right lower arm. Okay.
| | 02:23 | We'll go again to our Polyline
tool and set up our anchor points.
| | 02:31 | It will work for our path.
| | 02:35 | Let's go to our Contour Editor and start
adding some nice curves to our path here. Okay.
| | 02:49 | This one right here looks like it needs a
little extra help so let's change direction
| | 02:53 | handle, and maybe this one here.
| | 03:03 | We'll get our Select tool, and we'll click
right here to select our lower arm, and we'll
| | 03:10 | convert this line to a fill.
Let's do Shift+7 and go to our Contour Editor.
| | 03:20 | Click once to deselect and start to do a
little bit of pushing and pulling. Okay.
| | 03:29 | That's it. Now, last thing.
Let's set some little pivot point markers.
| | 03:36 | Let's go to our Brush tool, and
we'll do one for our lower arm.
| | 03:45 | Let me unlock our upper arm for a
moment, and we'll mark this as well.
| | 03:54 | Now, in some cases, you may want to create
a character that has both the upper arm and
| | 03:59 | the lower arm pretty much attached to this
one, but in my opinion, I believe that having
| | 04:05 | them separate gives you a little more
flexibility and instead of having to draw multiple versions
| | 04:12 | of your arm just in one single piece, you
have the upper arm and the lower arm so you
| | 04:17 | can actually change the
positions as much as you like.
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| Drawing the legs| 00:00 | For the legs we'll create the thigh
and the calf, or upper and lower legs.
| | 00:05 | What we're going to do first is lock any of
the previous layers we've done, and I want
| | 00:11 | to add a couple of layers here.
We're going to first add our thigh.
| | 00:17 | So this will be the right thigh.
We're going to go to our Polyline tool.
| | 00:26 | I'm just going to set a few basic
anchor points lining up our sketch here.
| | 00:38 | Next, we're going to go to our Contour Editor, and
we're going to adjust our path so they're more curved here.
| | 00:47 | I going to undo that last curve. Let's do Command+Z.
Let's try that again. Okay. That's better.
| | 00:59 | We're going to now select with our
Select tool and select that thigh.
| | 01:07 | I want to convert this line
to a fill so I'll do Shift+7.
| | 01:12 | We'll go to our Contour Editor.
| | 01:14 | I'm going to click once from our
camera view just to deselect that.
| | 01:18 | I'm going to start pushing and pulling on
some of the inner lines here just kind of
| | 01:26 | give it a nice thick and thin line.
| | 01:28 | Let's go to our Brush tool, and
we'll mark where our pivot point is.
| | 01:36 | Now, let's lock this layer, and
we're going to add another layer.
| | 01:40 | This is going to be our right calf.
Let me go ahead and zoom in. Let's do Command+Equals.
| | 01:48 | I'm going to hold my spacebar and just get my
hand temporarily so I can just move this around.
| | 01:57 | Let's grab our Polyline tool, and we'll set
our anchor points, and our Contour Editor.
| | 02:15 | Let's start to manipulate our path here so
they have a little more of a curve to them.
| | 02:24 | We'll grab our Select tool.
Let's convert this line to a fill.
| | 02:31 | Let's do Shift+7, and
we'll get our Contour Editor.
| | 02:35 | I'm going to click once in the camera view
to deselect it and just start moving some
| | 02:41 | of our parts out a little bit
just to vary the line weight here.
| | 02:50 | Let's get our Brush tool, and we'll mark
the space where our pivot point needs to be.
| | 02:58 | When designing the legs for your cutout character,
you can also think about things like the type
| | 03:02 | of pants your character is wearing.
| | 03:05 | For example, for bell bottoms or bootleg jeans,
maybe you have several drawing substitutions
| | 03:10 | for the calf as the pant's
legs swing back and forth.
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| Designing the hands| 00:00 | For Stick Dude Bob's hands, we're just going
to create a simple drawing. Nothing complicated
| | 00:05 | like drawing and animating each individual
finger, but we're going to keep a very simple,
| | 00:10 | flat, one layered drawing of the hand.
| | 00:13 | So, what we're going to do is go
ahead and lock any of our previous layers.
| | 00:17 | Make sure those are locked.
| | 00:18 | Let's add a new drawing layer, and
we'll call this right, rt_hand. Okay.
| | 00:26 | Let's grab our Brush tool.
To zoom in, let's do Command+Equals.
| | 00:33 | I'm going to hold down my spacebar just so I
can click and move this where I want it to be.
| | 00:39 | I'm using a brush that's going to complement the thick
and thin lines we did for the rest of the body there.
| | 00:47 | So I've got 5 on the
minimum and 20 at its maximum.
| | 00:52 | So let's go ahead and start drawing in our
lines here and just kind of alter this just
| | 01:07 | a little bit so it looks
a little more like a hand.
| | 01:12 | I'm going to undo that line. Let's do Command+Z. Okay.
That looks pretty good. Let's go ahead and do our thumb.
| | 01:17 | I'm just going to draw out
quick line here. All right.
| | 01:22 | Now, the beauty of each one of the
strokes that I've made, they're all individual.
| | 01:27 | I'm going to hold my Command key, Ctrl on PC,
to temporarily get my Selection tool so I
| | 01:32 | can select any one of these lines, shorten
it, lengthen it, or move it if I choose to.
| | 01:44 | So we have our hand done.
| | 01:47 | I don't normally do five
fingers for cartoon characters.
| | 01:52 | I just kind of keep it at four. Okay.
| | 01:56 | Now, the next thing I want to do is go ahead
and set the pivot point so it's a little reminder
| | 02:02 | of where I'm going to put that pivot point.
| | 02:04 | So his wrist will just kind
of swing back and forth there.
| | 02:07 | When you do want to do something more complex, I still
recommend avoiding doing cutouts of each individual finger.
| | 02:13 | Instead, I will draw out the complete hand
in different poses and set them in different
| | 02:18 | frames as drawing substitutions like the rock, paper,
scissors example in Chapter 5's Drawing Substitutions.
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| Designing the feet| 00:00 | For the feet of our character, we'll just
create a single position for now, the feet
| | 00:04 | resting firmly on the floor.
| | 00:06 | Now, the first thing we're going to do is
lock any of our previous layers, and we're
| | 00:11 | going to add a new drawing layer.
| | 00:13 | We're going to call this one rt_foot,
and select that first frame.
| | 00:22 | I want to use my Rectangle tool, and I'm just
going to simply click and drag a basic rectangle
| | 00:31 | that covers about the same size of the foot.
I'm going to zoom in here. Let's do Command+Equals.
| | 00:38 | I'm going to hold down on my spacebar, and I get the
Hand tool and move this right where I can see it.
| | 00:45 | So select the Contour Editor, and
let's start messing with our anchor points.
| | 00:52 | I'm just going to click and move
this one here. All right, looks good.
| | 00:59 | Now, I'm going to start
altering the path of our foot here.
| | 01:05 | It's a little bit too much of a bend right
there so I'm going to adjust this with my
| | 01:10 | direction handles, pull this up a little bit more, and
we'll curve the bottom of the foot just a little bit.
| | 01:20 | The bottom line is I don't want this to
look like it's a perfectly formed rectangle.
| | 01:26 | We're going to alter the way this looks here.
Let's pull out the back path there.
| | 01:31 | Now, let's go and get our Select tool.
| | 01:35 | Select the foot, and let's
convert this line to a fill.
| | 01:39 | So we'll do Shift+7.
Let's go back to our Contour Editor.
| | 01:45 | I'm going to click once in the
camera view to deselect that.
| | 01:49 | I'm just going to click in the middle here
and just start pushing some of these points here
| | 01:57 | just to kind of push that whole thick
and thin nice paint and ink look there.
| | 02:04 | Last but not the least, let's go ahead and
grab our Brush, and we'll just put a little
| | 02:10 | dot here for where our pivot is going to be set.
| | 02:14 | When drawing the feet, keep in mind
what your character will be doing.
| | 02:17 | For just a plain walk, you may use just
one or two drawing substitutions for when the
| | 02:22 | character goes from a foot planted flat on
the ground to walking on the ball of the foot.
| | 02:27 | Or maybe for a kickboxer or a ballerina, you
may end up with several frames of substitutions.
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|
|
8. Rigging the CharacterSetting and fine-tuning pivot points| 00:00 | When you think about pivot points, think of
like placing a thumbtack in a strip of paper.
| | 00:04 | Depending on where you place the tack, the
strip of paper will move or spin differently.
| | 00:10 | Now, we have Bob here, and we've got him
segmented out. And what we have been doing in previous
| | 00:16 | lessons is placing little dots as little
reminders of where we're going to set our pivot points.
| | 00:23 | Now, we didn't set one for the head, and
I want to show you why here in a second.
| | 00:29 | The first thing we're going to do--we're
done with our sketch layer so I want to lock
| | 00:33 | that but I also want to go
ahead and hide that layer.
| | 00:36 | Now, I'm going to go to my Pivot tool.
| | 00:38 | So it's right here right
beneath the Transform tool.
| | 00:41 | So I'm going to select that, and I'm
going to click on frame 1 of the head layer.
| | 00:47 | Now, what you'll see here is this little cross
hair, and this is actually where the pivot point is.
| | 00:53 | So to actually change this point, I'm
going to initially set the pivot point.
| | 00:58 | Let's set it dead center of Bob's head here.
| | 01:02 | Now, I'm going to go to my
Transform tool, and I can now rotate this.
| | 01:08 | Now, this looks okay but that's not
exactly where I want Bob's head to pivot from.
| | 01:16 | So I'm going to go back to my Pivot tool,
and I'm going to set the pivot for Bob's head
| | 01:21 | about where his neck would be.
| | 01:22 | Now, we didn't give him a neck but we're
going to give him the appearance of a neck just
| | 01:26 | by setting the pivot point
just right where it would be.
| | 01:30 | So I'm just going to click here.
| | 01:31 | Now, if I go back to my
Transform tool, let's pivot this.
| | 01:38 | This is much better, and if you look, Bob's
even nodding in agreement with us that this
| | 01:43 | is a better place to have his head pivot.
| | 01:45 | So let's move forward and start setting
the pivot points for the rest of our layers.
| | 01:50 | I want to go to my Pivot tool and the next
thing I want to select is our torso layer.
| | 01:56 | So I'm going to place this right at the dot
that we made earlier, and I'm going to keep
| | 02:02 | moving up our drawing layers here.
Let's go to the right upper arm.
| | 02:09 | You might be thinking, You know what,
| | 02:11 | we only have the right side of everything,
the right upper arm, the right lower arm,
| | 02:16 | the right thigh. Well, we're about to
duplicate these but I want to set the pivot points prior
| | 02:21 | to this because you really don't want to
double your work and have to set pivot points for
| | 02:26 | both sides when they're
pretty much going to be identical.
| | 02:29 | We'll now go to the lower arm,
and I'm going to zoom in here.
| | 02:34 | Let's do Command+Equals, Ctrl+Equals on PC.
| | 02:39 | Let's move this quite a little bit
more to where I'm comfortable with that.
| | 02:45 | Then the right thigh, let's hold down my spacebar
and have the hand move him around here. All right.
| | 02:53 | It looks good, and let's
keep going. Right calf.
| | 03:06 | The right hand. I'm going to hold down my spacebar again.
| | 03:13 | Keep notes that the pivot points are in a
different spot until we decide to move it.
| | 03:19 | The right foot, we'll click right here.
| | 03:25 | The little dots, it does kind of help and don't
think that I'm doing this as a training wheels exercise.
| | 03:30 | This is something that I use a lot.
Of course, you're going to erase them later.
| | 03:36 | For a very important note, once you have your
pivot point set, be very careful about using
| | 03:45 | your Select tool to move things versus
using the Transform tool and here is why.
| | 03:53 | I'm going to first start with the Transform
tool, and if I decide to move this foot, wherever
| | 03:59 | I'm moving it, the pivot point
is still right there with it.
| | 04:04 | I'm going to undo that.
Let's do Command+Z twice there.
| | 04:09 | Now, I'm going to show you the same thing.
| | 04:11 | I'm going to use the Select tool.
First of, I can't select everything here.
| | 04:19 | I just have to lasso and
grab both the dot and the foot.
| | 04:23 | Now, if I decide to move this, which I can,
if I go back to the Transform tool to rotate
| | 04:31 | this, you notice the pivot point has not
moved and so all of sudden, everything is way off.
| | 04:38 | Once you've set your pivot point, do not
move any of your drawings using the Select tool.
| | 04:44 | Only use the Transform tool.
| | 04:46 | The other thing is if we decided to add another
drawing for our foot, we'll select the second frame here.
| | 04:54 | Let's go to our Brush.
| | 04:56 | I even turned on our Onionskin here for a
moment just to show a point if we decided
| | 05:01 | to have a second foot and maybe this foot
is bent a little bit and even draw the same
| | 05:08 | little point in there.
| | 05:09 | Now, we've already set the
pivot point, but this is important.
| | 05:14 | I'm going to go to the Pivot tool, and if
you noticed, the Pivot tool is selected but we
| | 05:20 | really don't see it anywhere.
I'm going to zoom out.
| | 05:25 | The pivot is actually dead center.
That's where it is by default.
| | 05:30 | So if you're adding extra drawings, you're
going to have to set the pivot for each one
| | 05:35 | of those extra drawings.
| | 05:37 | So it's not like you can just set it
for the layer and everything is okay.
| | 05:42 | Now, there are exceptions to this.
| | 05:44 | If you have made a symbol, and the symbol
is actually in the Library, you can go to
| | 05:49 | your Pivot options under Tool properties,
and you can set the pivot point to be in the
| | 05:55 | exact same spot for all of your frames, but what
we're doing with Bob here is we're not using symbols.
| | 06:02 | These are drawings and so we have to set
the pivot point for each individual frame.
| | 06:08 | I'm going to go ahead and undo this.
Let's just go ahead and delete the second frame here.
| | 06:13 | I'll just press Delete or Backspace on the PC.
| | 06:16 | Let's turn off our Onion
Skin and get back to frame 1.
| | 06:21 | Another way of looking at pivot points, think about
those paper skeletons you see for Halloween decorations.
| | 06:28 | The rivets are placed at each joint to allow the
skeleton to be positioned in different poses.
| | 06:33 | So just think of those rivets as pivot points.
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| Organizing layers| 00:00 | Right now, Stick Dude Bob is a
character with an outline but he has no fill.
| | 00:05 | Usually I'd give Bob a nice solid color fill,
but for the purpose of showing you how his
| | 00:09 | cut out parts work together, we're going to
fill Bob up with some semitransparent color.
| | 00:14 | One of the first things I want to do here
is I'm going to scroll down to bottom, and
| | 00:19 | we're going to lock our sketch layer,
because we no longer need that now.
| | 00:22 | So I'm going to turn off the visibility.
| | 00:27 | The next thing I want to show you, I'm going
to select the head layer, so what I want to
| | 00:33 | show you is a shortcut key from
moving up and down new layers.
| | 00:39 | So if I press the H key, it's moving up
the layers, and if I press the J key, it goes
| | 00:46 | back down the layer selection.
| | 00:48 | Now this is going to come in handy
for when we start adding in some color.
| | 00:53 | Speaking of color, I'm using our Sketch
palette here, and so I have a default black, and I
| | 01:00 | also have the blue sketch color.
| | 01:02 | I'm going to double-click here and show you what
I've done, this is 255 green and 255 blue,
| | 01:10 | and I have it set to about 125
Alpha or that's how transparent it is.
| | 01:16 | Now I'm doing this to demonstrate exactly
how the different parts of Bob are going to
| | 01:21 | interact with each other.
| | 01:22 | Let's go ahead and close this out and what
I want to do now is go to my Paint Bucket,
| | 01:33 | and I want to select the
blue sketch as my color.
| | 01:35 | Now in the paint bucket, you're noticing that
all the other layers are grayed out here except
| | 01:41 | for the layer we're on.
| | 01:42 | Now this is where our little keyboard
shortcut is going to come in, so I'm going to click
| | 01:47 | right here to fill in our blue color, and
I'm going to press the letter H and so it
| | 01:51 | goes to the next layer up.
| | 01:55 | Press H again, and so I'm just pressing it
up and clicking with my paint bucket, press
| | 02:01 | up, click with the paint bucket.
| | 02:10 | The very next thing we want to do is
place these in an order that make sense.
| | 02:15 | So I'm going to get my Select tool, and I'm
going to look at the order of my layers right
| | 02:23 | now and what I want to do is I
want to move the right thigh.
| | 02:29 | I'm going to move that right above the foot, so the
thigh, then we should have the calf, so move that here.
| | 02:38 | So now this makes more sense, right thigh, right calf,
right foot, and let's do the same thing with the arm.
| | 02:44 | So the arm should be above the hand here, and we're
going to move the lower arm above the hand as well.
| | 02:52 | So we have upper arm, lower arm, then the hand.
| | 02:56 | Now, the last thing I need to do is whatever
is on top as far as the layers are concerned,
| | 03:02 | that is what is visible toward the front.
So technically, if Bob moves his hand down by
| | 03:09 | his side, right now, the thigh would be in
front of the hand which doesn't make sense.
| | 03:16 | So what we're going to do is move Bob's arm, his upper arm,
I'm going to hold down my Shift key, lower arm and hand.
| | 03:24 | I'm going to move all three of these, I'm
going to simply click and drag up, and now this
| | 03:31 | is going to be in front of the thigh.
| | 03:34 | I'm going to scroll all the way down and
the torso and the head, they're exactly where
| | 03:39 | I need them to be right now.
Now let's go ahead and put these in place.
| | 03:44 | I'm going to grab by
Transform tool. The head's fine.
| | 03:50 | I'm going to grab the upper arm, and I'm
going to move this on top of the torso.
| | 03:55 | I'm going to click away just to show you.
Now this is why we used the transparent blue.
| | 04:03 | You could see how we have this moved in front of the
torso and how the parts are going to work together.
| | 04:10 | So you can still see
through what's happening here.
| | 04:15 | I'm just going to undo that, Command+Z.
Now I'll take the lower arm and move this.
| | 04:22 | So we're joining him together like he's
a puppet or a marionette or something.
| | 04:28 | Let's move the hand, let me adjust
that a little bit. Now move the thigh.
| | 04:38 | I'm going to try to line this up with the other
pivot point there but also I want to make sure it
| | 04:44 | makes sense as far as lining up his body.
And let's take the calf, and I'm going to
| | 04:53 | hold down my spacebar to move
up my screen here for a moment.
| | 04:58 | All right, now let's grab the foot.
| | 05:06 | Now Bob's a little more organized, and again
we have the semitransparent color so you can
| | 05:12 | see exactly how all this parts line up.
| | 05:15 | Once we build Bobs left side, we'll fill
that with a different semitransparent color.
| | Collapse this transcript |
| Parenting drawings to each other| 00:00 | When working with cutout characters, an
advantage in Animate is the ability to parent one drawing
| | 00:05 | to another, for example, parenting the eyes,
nose, and mouth layers to the head layer.
| | 00:10 | This way, when you move the head, the
parent layer, the eyes, nose, and mouth or child
| | 00:16 | layers move along with it.
| | 00:18 | So what we're going to do right now
is start setting up our hierarchies.
| | 00:22 | Move our lower arm and have the upper arm
be the parent of that, and then move our hand
| | 00:29 | and have that be the parent of the lower arm.
So let me show you what I'm talking about.
| | 00:34 | I'm going to select the lower arm layer here.
| | 00:39 | One of the things I want to make sure I'm doing,
I want to have my Transform tool selected,
| | 00:44 | because things may shift as we're starting to
address the hierarchy, but it's not a big problem.
| | 00:51 | We'll just kind of move them back over where we'd
like them to be as far as connected to the body.
| | 00:55 | We have our right lower arm selected, and
I'm going to push this up and over until I
| | 01:01 | see this little vertical line there.
| | 01:03 | I'm going to let go of the mouse, and now,
if you look this is kind of dropped and kind
| | 01:09 | of indented under the right upper arm.
| | 01:11 | This basically means we've just
parented the lower arm to the upper arm.
| | 01:17 | So the upper arm is the
parent, lower arm is the child.
| | 01:22 | If you look up here, we've got
some severe movement happening.
| | 01:25 | Again, this is not a problem,
I have my Transform tool so
| | 01:28 | I'm just going to click our lower arm
and move it back to where it should be.
| | 01:34 | So now I'm going to select my right-hand layer, and
I want to let the lower arm parent the right hand.
| | 01:42 | So I'm going to click and drag this right
under the lower arm, so now if you look, it's
| | 01:48 | like a little stair step here, so
the upper arm, lower arm, right hand.
| | 01:54 | Let's go over in our Camera view, we're going
to place our hand back where it should be.
| | 02:01 | Now I'm going to collapse this hierarchy we
just created just by clicking the little triangle
| | 02:05 | here on the timeline, and that's done.
| | 02:08 | In case I was confusing, guess what,
we get to do this again with the leg.
| | 02:12 | The thigh is going to be the
parent, the first child, right calf.
| | 02:17 | We're going to click, move this up and over
until we see a vertical line, let go of the
| | 02:24 | mouse, and you should see
it set directly on here.
| | 02:27 | It's kind of offset, like a little stair, up
here we got some severe movement, not a problem.
| | 02:32 | We're on a Transform tool, let's click and drag
this over. There you go. Let's grab our foot.
| | 02:38 | We're going to make this a child of the calf
just drag it over until you see the vertical line.
| | 02:45 | Let go of the mouse.
| | 02:48 | I'm going to hold down to my spacebar just
so we can see the rest of where Bob is here.
| | 02:53 | Let's move our foot back where it should be.
Now we're going to collapse the leg hierarchy.
| | 03:01 | And last but not the least, let's
parent our head and set this under the torso.
| | 03:11 | The torso is going to be the
parent and head is the child.
| | 03:15 | So I'm going to drag this
down a bit just a little.
| | 03:19 | See if Bob is still agreeing
with that, I think he is. Good.
| | 03:24 | Let's shift some of these around a bit.
| | 03:26 | We have the upper arm in front of the thigh,
that's good and both of those are in front
| | 03:32 | of the torso that makes sense.
| | 03:35 | The next thing we're going to do is
duplicate our arm as well as our leg.
| | 03:42 | So I'm going to select the arm hierarchy here.
| | 03:45 | Right click, and I'm going to
go to Duplicate Selected Layers.
| | 03:51 | Now we've duplicated that hierarchy, and you
can see where the underscore 1 is this is
| | 03:56 | everything that's been duplicated.
| | 03:58 | We're going to expand this
and change our names here.
| | 04:04 | This is going to be the left upper arm,
and let's get rid of that underscore 1.
| | 04:08 | Now the reason the underscore 1 is there
is Animate will not allow you to have the
| | 04:14 | same layer name twice. So let's do the lower arm here.
We'll do the left hand as well. Let's collapse these.
| | 04:36 | Now, what I want to do is you're going to move this
down behind our torso, because that would make sense.
| | 04:48 | The left hand is going to be the one
that's actually hidden behind the torso.
| | 04:51 | So I'm going to simply click and drag
this to the other side of the torso.
| | 04:59 | While this is still selected, I am going to click
and drag this backward, so just rotate it backward.
| | 05:06 | We're now going to duplicate our leg, so
we'll get a left leg, so I'm going to select the
| | 05:11 | leg hierarchy which again
is the thigh, calf, and foot.
| | 05:16 | I went to right-click, Duplicate Selected
Layers, I'm going to expand this, and this
| | 05:25 | will be the left thigh, get rid of that little
1 underscore there--or underscore 1--left
| | 05:37 | calf, and left foot.
| | 05:48 | What I want to do next is we have the arm,
right arm is the thing that's the most
| | 05:55 | forward and then there's the right thigh,
left thigh and the left leg as a whole should
| | 06:00 | be on the other side of the torso.
| | 06:02 | So I'm going to drag this right down and
make sure you are seeing this straight, and you
| | 06:07 | don't see this kind of parent under the torso.
| | 06:09 | The torso is actually going to be
separate from the arms and the legs.
| | 06:13 | It gives us a little more flexibility.
| | 06:15 | We have the arm, the left arm being the
furthest thing back which makes sense.
| | 06:21 | Let's do a little bit of movement here,
right now we're going to go ahead and select the
| | 06:25 | left leg hierarchy, and if any of this gets
confusing, because the left leg and the right
| | 06:31 | leg are in the exact same position right now.
| | 06:34 | You can always turn off the
visibility of one just to look at the other.
| | 06:38 | There's a left leg hierarchy,
and I'm going to rotate this back.
| | 06:42 | Now, to push this a little bit further while
we're still learning here, I want to change
| | 06:48 | the color of the left side.
| | 06:50 | I'm going to select our Sketching palette
and select our blue sketch, and I'm going
| | 06:56 | to right-click on here and select new.
| | 06:59 | So I'm going to simply
double-click on our new swatch.
| | 07:04 | I'm going to call this white_sketch.
Just drag this all the way to white.
| | 07:17 | I'm going to leave it at the same Alpha, so it's
pretty much halfway transparent. We'll click OK.
| | 07:26 | I have my Select Tools, I'm going to click
once on the center of our arm here, our upper
| | 07:36 | arm and make sure you don't click on the
edge because all of these are fills, but we're
| | 07:41 | going to click directly on
that light blue and select white.
| | 07:47 | We're doing this only on the left
arm and the left side of the body.
| | 07:55 | I'm going to zoom in here, Command+Equals, so
the left side of the body is all going to
| | 08:06 | get that white fill there and then zoom out.
So we have this mostly set up right now.
| | 08:20 | Let's grab our Transform tool,
and start moving things around.
| | 08:27 | What I want to show you is
one last little trick here.
| | 08:31 | I'm going to show you how to
move up and down the hierarchy.
| | 08:35 | For instance, I can select the arm, and I
can rotate the arm up and down, or I can
| | 08:42 | select the lower arm, and I can move the lower
arm and the hand, or I can just select the hand.
| | 08:51 | That would actually be a little time
consuming if we just had to keep clicking on things.
| | 08:56 | So what I want to show you is the
way to move up and down the hierarchy.
| | 09:01 | So right now we're at the bottom of the hierarchy
on the arms, so we just have the hand selected.
| | 09:06 | I'm going to press the letter B,
and it moves up the hierarchy.
| | 09:11 | Press the letter B again, and
it's further up the hierarchy.
| | 09:16 | Now to move down, I'll
do Shift+B, Shift+B again.
| | 09:24 | Let's do something here.
| | 09:25 | So Shift+B, actually we're
going to do B and move up.
| | 09:29 | It's going to bend its arm a bit.
| | 09:30 | Let's do Shift+B, move it
down and take his other arm.
| | 09:34 | We'll do right where it should be we'll
do Shift+B, move down and Shift+B again.
| | 09:49 | Let's rotate this here.
Bob's walking like an Egyptian.
| | 09:52 | Now the one last thing I want to show you
is let's look at our arm here in the front, let's
| | 09:59 | let Bob's arms get totally
straightened out. Let's go B again.
| | 10:06 | So Bob, his entire arm is the thing that's in
front, it should be the thing that's mostly in front.
| | 10:13 | It looks like we've got it set.
| | 10:22 | Though in no way is it required to parent
your drawing layers, it can be a massive time
| | 10:26 | saver especially when you use them in tandem with
the shortcut keys to move up and down the hierarchy.
| | Collapse this transcript |
| Exploring Z-depth and creating patches| 00:00 | A more advanced way of hiding the limitations of
cutout characters in Animate is the use of patches.
| | 00:06 | Basically, a patch is an extra layer you
create to hide the seams of a segmented character.
| | 00:12 | I am going to take our lower arm here.
| | 00:16 | I'm going to create a symbol from that and
create what's called a patch, and that patch
| | 00:22 | is going to hide the little seam where
the upper arm overlaps into the lower arm.
| | 00:30 | So, it's pretty much going to look as
translucent as the other joints here, and we'll have
| | 00:37 | a nice full flowing little blue area here.
| | 00:42 | If that sounds confusing, give
me a moment, it will make sense.
| | 00:44 | So what I want to do is go to our timeline,
I'm going to expand our arm down here, and
| | 00:53 | I want to make sure that not only the upper arm
is expanded but the lower arm is expanded as well.
| | 00:59 | So I want to select the lower arm, and I want
to click and drag this straight to our library.
| | 01:08 | That's creating a symbol
for the right lower arm.
| | 01:11 | Just double-click on the symbol, and what I
want to do next is click just this fill here.
| | 01:19 | I'm going to copy this, Command+C, Ctrl+C on PC.
| | 01:24 | Now what I'm copying is just the fill, not the stroke
around it, not the black line, just the blue inner part.
| | 01:31 | Let's create a new drawing layer, and
we're going to call this layer Patch.
| | 01:39 | We are going to select the very first frame of our
Patch layer, go ahead and paste, Command+V, Ctrl+V on PC.
| | 01:49 | We're now going to move to our Transform tool.
This step is crucial.
| | 01:55 | Right now, if you look at my
interface, the timeline is active.
| | 02:00 | We know the timeline is active because it has
that little thin little line going around it.
| | 02:05 | In order for you to create a patch, your
Camera view has to be active, so I'm going to simply
| | 02:12 | move my cursor up so now the Camera view is
active, and we see that little red line around it.
| | 02:18 | What a patch is we're taking that little
blue fill that we place on the upper layer, and
| | 02:25 | we're going to move it forward in Z space.
| | 02:29 | There are three different
directions that you can go in Animate.
| | 02:34 | There's X, going left and right, Y, going up and
down, and Z, moving back and forward in 3D space.
| | 02:43 | So by us moving it forward, it's going to
be in front of any of the other drawings that
| | 02:48 | we have on the main timeline.
| | 02:50 | That being said, we have our Transform tool
selected, and we have our Camera view active.
| | 02:57 | I'm going to hold down my Option key, Alt on PC, and
on my keyboard I'm going to press the Down Arrow once.
| | 03:04 | The next think I want to do,
let's go back to our top Camera view.
| | 03:09 | Now I'm going to select the right and lower
arm, and let's go over to our library, and
| | 03:17 | I'm going to click and drag over our right lower arm
and drag it directly on top of the right lower arm drawing.
| | 03:25 | So we're dragging the symbol from the
library and dragging it on top of the same drawing.
| | 03:32 | I'm going to let go of my mouse, looks like some
things have gone a little bit awry, don't worry.
| | 03:38 | What we're going to do at this point is simply move
the arm right to the point of where it makes sense.
| | 03:46 | Now we know his arm is kind
of breaking in joint right now.
| | 03:48 | I'm not worried about that.
| | 03:50 | I do want to make sure it's
in the right place, though.
| | 03:53 | Once it's in the right place, I'm going to
go to my pivot point and click right back
| | 04:01 | on that little dot that was there, I'm going
to zoom in, Command+Equals, Ctrl+Equals on PC
| | 04:08 | and just make sure I'm clicking the
right where that should be pivoting.
| | 04:12 | Let's get back to our Fit to view there.
Let's go back to our Transform tool.
| | 04:20 | I'm going to click just in
the Camera view for a moment.
| | 04:24 | If you look, we now have a patch working.
| | 04:28 | So that little black line
is now no longer that harsh.
| | 04:33 | This is the way it looked originally. If you
look at the left arm, that's where it looked
| | 04:37 | originally, and now we have it softened up.
| | 04:39 | What I'm going to do next, let's click here.
Our hands seems like it's out of place.
| | 04:44 | We're just going to move this.
We're going to have to move it again anyway.
| | 04:50 | The reason I'm saying we're going to have
to move it again, we're about to make a patch
| | 04:54 | for the hands, so we're going
to get rid of the seam here.
| | 04:57 | So we'll select our Hand layer, and we're
going to click and drag this to the library.
| | 05:02 | I'm going to double-click on the Hand symbol.
| | 05:07 | Let's get our Select tool, click the center
or just click in the fill here, let's copy.
| | 05:14 | Let's make a new drawing later, and we'll
call this Patch, select that for your first
| | 05:22 | frame, let's paste it, Command+V.
| | 05:26 | We'll select our Transform tool,
make sure our Camera view is active.
| | 05:32 | Can you see the little thin
red strike around everything.
| | 05:34 | Hold down our Option key, Alt on PC, press
the Down Arrow on your keyboard once, and
| | 05:40 | that's moving that fill forward in our Z space.
Let's go back to the top.
| | 05:50 | We're going to click and drag our Right Hand
symbol directly on top of our right-hand drawing.
| | 06:00 | Let's move the hand where
it should be. Let's zoom in.
| | 06:11 | I'm going to move this out for a second
because I can't see where that pivot point is.
| | 06:15 | Let's grab the pivot point.
Now we'll put it back.
| | 06:25 | Let's grab the pivot point.
| | 06:31 | We actually have the patch
working all the way through.
| | 06:35 | So I'm going to place this a little bit
different here, just rotate it a little bit.
| | 06:43 | I'm going to zoom out for a moment and show
you just what the patch would do if the blue
| | 06:54 | here weren't translucent.
What if it were opaque?
| | 06:57 | So I'm going to simply double-click on my blue
sketch here, and I'm going to alter this a little bit.
| | 07:05 | Watch the arm. What I'm going to do is in our color picker,
I'm going to alter the Alpha and move it up so it's now opaque.
| | 07:16 | So I'm just going to keep dragging
it up, and that is what a patch does.
| | 07:22 | It hides the fact that this is a segmented
character, so now if we're animating this,
| | 07:29 | it looks like it's one complete solid line,
and you can keep moving things around.
| | 07:37 | So there is X-ray Bob, regular Bob.
X-ray Bob, regular Bob.
| | 07:45 | So I'm going to keep him at X-ray
for this point. Let's close this.
| | 07:49 | If you think you've actually have this so
far, we're going to do this one more time
| | 07:54 | with our left arm. Let's collapse our right arm here, and we're
going to open up here, let's start with--use our Select tool.
| | 08:15 | We'll do our left lower arm.
| | 08:17 | We'll click and drag this to
the library. Double-click.
| | 08:23 | Select the fill.
Let's copy that, Command+C.
| | 08:28 | We'll add a new drawing later.
| | 08:29 | We'll call this a Patch, and we'll paste this,
Command+V, Ctrl+V on PC, let's get our Transform
| | 08:38 | tool and make sure our Camera view is active.
Hold down our Option key, Alt on PC.
| | 08:46 | I'm going to do Option, and
we'll press our Down Arrow once.
| | 08:50 | Let's go back to the Top Camera view.
| | 08:57 | I'm going to grab our left lower arm and drag
the symbol on top of our left lower arm drawing.
| | 09:09 | Right now, I'm just going to grab our transform.
Let's move our drawing here.
| | 09:18 | Let's get our pivot point, set it correctly.
Scroll down here.
| | 09:30 | Do the last little part of this.
Let's do the hand.
| | 09:37 | Let's get our Select tool.
Copy it, Command+C, Ctrl+C on PC.
| | 09:44 | Let's do a new drawing layer.
This is our patch.
| | 09:51 | We'll paste this, Command+V.
Let's get our Transform tool.
| | 09:58 | Make sure that the Camera view is active.
| | 10:01 | Hold down your Option key,
Alt on PC, press down once.
| | 10:14 | I'm going to grab our left-hand symbol, let's
drag this straight on top of our left-hand drawing.
| | 10:21 | We'll select this, move it into the right place.
| | 10:25 | Let's get our pivot point
set up to where it should be.
| | 10:31 | I'm going to zoom in here,
Command+Equals. There it is.
| | 10:39 | Let's go back to our Transform tool.
| | 10:52 | Looks like we've got a little bit of shifting here.
No problem, we'll just place that in the right spot.
| | 11:06 | There are two arms set up with patches.
Let's zoom out here.
| | 11:14 | I'm going to show you this one more time.
| | 11:21 | I'm going to double-click on my blue sketch here
and take our Alpha all the way, so it is opaque.
| | 11:29 | So look at the difference between
our blue arm here versus the white arm.
| | 11:35 | So that is how you would set up a patch.
| | 11:38 | If you're still confused by any of this, I'm going
to keep moving forward and go ahead and do the legs.
| | 11:44 | If you think you've got this, and you're
ready to move forward, go ahead to the next lesson
| | 11:49 | which is using the inverse kinetics tool.
| | 11:52 | All right, so we're going to go ahead and
set our blue sketch back down to 128 here.
| | 11:59 | Let's close this out.
| | 12:01 | We'll keep moving forward and what we're going to
do is go ahead and start working on our right leg.
| | 12:09 | So I'm going to make sure this is expanded.
| | 12:14 | The reason I want to make sure it is expanded,
it's like you don't want to pull over like
| | 12:17 | the calf and the foot,
so you just want the calf.
| | 12:21 | So let's go ahead and do grab our Select tool.
| | 12:23 | Let's click and drag the calf to our
library, so now we have a Right Calf symbol.
| | 12:30 | Let's make a new drawing layer.
| | 12:33 | Call this Patch, and we'll
select our little fill here.
| | 12:42 | Let's copy, and let's go to our
patch later, we'll paste, Command+V.
| | 12:46 | I'm going to select our Transform tool
and make sure our Camera view is active.
| | 12:52 | Hold down Option, Alt on PC, press down once with
your arrows, and let's go back to our Top Camera view.
| | 13:03 | Select the right calf, and let's grab our
right calf symbol and drag it unto the timeline
| | 13:09 | on top of our right calf drawing.
| | 13:13 | Next, let's go ahead and move it where it should
be, grab our pivot point, and set our pivot point.
| | 13:26 | Let's do the same with the foot.
Grab the right foot from our timeline.
| | 13:30 | We'll make sure we're doing
this with our Select tool.
| | 13:35 | Let's drag the foot to the library.
| | 13:38 | Double-click on the right foot. I'm going to
move this up, so we can see a little better.
| | 13:46 | We will copy the fill.
It's Command+C, Ctrl+C on PC. Add a new layer.
| | 13:53 | We'll call this Patch, and let's paste.
| | 13:59 | Select that frame and paste,
go to our Transform tool.
| | 14:05 | Make sure your Camera view is active.
| | 14:08 | Hold down your Option key, Alt on PC,
press your Down Arrow on your keyboard once.
| | 14:13 | On the top, drag the Right Foot symbol from the
library on top of the right foot drawing in the timeline.
| | 14:23 | Hey cool, that actually
snapped in place, awesome.
| | 14:30 | So make sure its pivot point is set
exactly where it should be. There it is.
| | 14:43 | Let's collapse the right leg,
open up the left leg.
| | 14:52 | We'll start the same thing with the left calf and
double-click on the left calf in the library view.
| | 15:05 | Let's get our Select tool, copy the center,
new layer, call it patch, select that first
| | 15:15 | frame, paste that center fill there.
| | 15:21 | Select the Transform tool, make
sure the Camera view is active.
| | 15:24 | Hold down your Option key, Alt on PC,
press the Down Arrow on your keyboard once.
| | 15:29 | Back to your Top Camera view, drag the left
calf symbol from your library on top of the
| | 15:37 | left calf drawing in your timeline.
You want to place this where it should be.
| | 15:51 | Grab your pivot point, click
directly on your little guy there.
| | 16:04 | Last but not the least, let's do the left foot.
| | 16:07 | Let's go ahead and make
sure we have our Select tool.
| | 16:12 | Drag the left foot drawing to the library.
We now have a left foot symbol. Double-click.
| | 16:20 | Select the center. Fill here.
Let's copy that, Command+C, Ctrl+C on PC.
| | 16:25 | Add a new drawing layer.
This is going to be a patch.
| | 16:31 | Let me select that first frame. Let's paste.
Select our Transform tool.
| | 16:39 | Make sure the Camera view is active.
| | 16:41 | Hold on your Option key, press down once, and
that's Alt on PC and pressing your Down Arrow once.
| | 16:48 | Let's go to the top.
| | 16:52 | We'll drag our left foot symbol from our library
onto the left foot drawing that's in the timeline,
| | 17:04 | move this where it should be,
grab our pivot point, and reset that point.
| | 17:18 | So we can collapse the left
part there, so just go to Select.
| | 17:27 | Let's move this all the way down.
Let's go to our Transform tool, looks good.
| | 17:46 | Last but not the least, let's double-click
on our blue sketch color here, and I'm going
| | 17:51 | to take the Alpha all the way up.
| | 17:57 | So we can look at it before and after,
this is what the character looks like with our
| | 18:08 | little translucent fills, this is the X-ray
Bob, and here he is with his full skin on.
| | 18:16 | Now if you wanted to, you could probably
even do a patch for his leg--or technically you
| | 18:24 | can probably do it like so the
leg and torso actually match.
| | 18:28 | You'd probably do a patch for the torso
and bring that forward, and of course once you
| | 18:35 | do that you'd need to pull the forearm forward.
| | 18:40 | Now you can also move your drawings back and
forth in Z Depth during your animations, for
| | 18:46 | example, a hand moving in front of a character,
then later moving behind the character.
| | 18:51 | With Z Depth and patches, this can be done
without having to restructure your layer hierarchy.
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| Using the Inverse Kinematics tool| 00:00 | Inverse Kinematics, or IK, works in tandem
with the drawings you have set up in hierarchies.
| | 00:06 | If you're not familiar with the term
Inverse Kinematics, think of it this way:
| | 00:10 | If I pull on your hand, your
arm and your body will follow.
| | 00:14 | Now, what we're going to do here is take a
look at the right arm because I do have that
| | 00:20 | set up in my hierarchy.
| | 00:23 | To see the inverse kinematics,
you have to do two things.
| | 00:26 | One, turn on the Inverse Kinematics tool, and
two, you're going to turn on the Animate button.
| | 00:33 | Now, we're not going to animate anything at
this point, but in order to see this work,
| | 00:39 | you do have to have that button turned on.
| | 00:41 | So what I want to do is select the right
upper arm in the timeline, and because it's set up
| | 00:49 | in the hierarchy, it's going to grab everything
there, and what you're seeing here are the bones.
| | 00:54 | Now, these are already set up.
We didn't do anything extra.
| | 00:59 | In order to actually make this work, you're
just going to simply click, and you can start
| | 01:05 | pulling the different parts of your character.
| | 01:10 | I'm just moving the arm at this point, or
I can just come up here and move the hand,
| | 01:20 | so it's kind of brushing
his hair a little bit there.
| | 01:26 | So the way this works is it's
like everything is connected.
| | 01:35 | Just like it is in real life
except if we're breaking a joint there.
| | 01:38 | Now, he's loving his lovely hair.
| | 01:44 | But the point is you can just kind of move and do
your animation this way versus the other way,
| | 01:52 | which is--I'm going to turn off the Animate
for a moment here--which is using your keys
| | 01:59 | like doing Shift+B, moving down the hierarchy and
then pressing letter B and moving up the hierarchy.
| | 02:13 | Now, as for me, this is my preferred method,
but IK definitely, definitely a powerhouse
| | 02:24 | of a tool, and you can get
a lot accomplished with that.
| | 02:30 | IK is optional, but that being said, there are massive
advantages to adding it to your production pipeline.
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|
|
9. Animating Your CharacterMotion keyframes vs. stop-motion keyframes| 00:00 | There are two methods to create keyframes in
Animate, motion keyframes and stop-motion keyframes.
| | 00:06 | With motion keyframes, you can set a
starting keyframe and an ending keyframe and Animate
| | 00:11 | interpolates or tweens of
frames in between the two keyframes.
| | 00:15 | In contrast, with stop-motion keyframes, you
will create the beginning and ending keyframes,
| | 00:21 | as well as all the frames in-between.
| | 00:23 | Now, we have two examples
here of Stick Dude Bob's arm.
| | 00:27 | On the bottom, we're using motion keyframes and
then on the top, we're using stop-motion keyframes.
| | 00:32 | So I'm going to stop this, and we're
going to take a closer look at this.
| | 00:36 | Zoomed in here on my timeline--let
me just go ahead and do Command+Equals--
| | 00:40 | I'm going to turn off our stop-motion layer for a
moment, and we'll take a look at the motion tween layer.
| | 00:47 | Each time you see these rectangles here, these
are keyframes that have been set and the long
| | 00:53 | little arrow in between of these keyframes
is where Animate has tweened the animation
| | 01:00 | for us, so if I select this first keyframe, we'll
take a look here, and the arm is at this position.
| | 01:08 | The next keyframe, the arm is bent in this
upward position, all of the frames in between
| | 01:14 | this were automatically created by Animate, and
this is set by default, this is your motion keyframes.
| | 01:22 | Now, in contrast, let's turn off our
motion keyframe, let's go to stop-motion.
| | 01:26 | We have keyframes on our stop-motion keyframe layer.
If we move from this keyframe to the
| | 01:32 | very next frame, there is no change
because we have not set any type of tween here.
| | 01:38 | So we'll go to the next keyframe, and
again, you're not seeing any arrows here.
| | 01:41 | There's no tweens.
| | 01:42 | So any movement is happening strictly via
keyframes, and each one of this is set manually.
| | 01:51 | You are not limited to just doing stop-
motion keyframes or motion keyframes.
| | 01:57 | You can use a combination of the
two and even on the same layer.
| | 02:01 | The way you would do that, first and foremost,
you would want to turn on your Animate button.
| | 02:05 | You could select any frame that you want to
do this on and using your timeline toolbars,
| | 02:11 | you can set a motion keyframe
or set a stop-motion keyframe.
| | 02:16 | To use either motion keyframes or stop-motion
keyframes, you'll be animating at that point.
| | 02:21 | Your Animate button does have to be turned on.
To toggle your entire movie or your default
| | 02:27 | setting from stop-motion to motion keyframes,
| | 02:31 | you simply go to your menu, go to Animation and come
down, and you'll see the command Stop-Motion Key Frame.
| | 02:36 | Now, right now this is not checked, which
means we are in motion keyframe mode.
| | 02:42 | Now, if this were checked, we would
be in a Stop-Motion Key Frame mode.
| | 02:47 | So whether you use motion keyframes or stop-
motion keyframes or a combination of the two,
| | 02:52 | setting and adjusting your keyframes is a
pretty simple process, and we're going to
| | 02:56 | get more involved in this in the lessons using
motion keyframes and using stop-motion keyframes.
| | Collapse this transcript |
| Using motion keyframes| 00:00 | To show off the strength of motion keyframes,
we're going to take Stick Dude Bob's arm here
| | 00:04 | and animate it from one pose to another.
| | 00:07 | We'll just set two keyframes, a beginning
and an end, and let Animate fill in the tweens.
| | 00:12 | The first thing I want to do is I
want to adjust a few things here.
| | 00:16 | I want the movie to be about 30 frames, so I'm
going to select each of our layers on frame 30.
| | 00:23 | I'll extend the exposure by pressing F5.
| | 00:26 | I also want to adjust the length of the
movie so I'm going to click the bracket here at
| | 00:29 | frame 60, just drag this
in to frame 30. All right.
| | 00:33 | Let's move our playhead back to frame 1.
| | 00:36 | Make sure once we're ready to animate,
we're going to turn on our Animate button here.
| | 00:41 | I also want to make sure that we
are set to do motion keyframes.
| | 00:46 | So we'll go to our menu, to Animation, and
make sure Stop-Motion Key Frame is unchecked
| | 00:52 | because what we're doing is motion
keyframes, the default of Animate.
| | 00:56 | The next thing we're going to do is go
ahead and grab my Transform tool, and I want to
| | 01:00 | select the very first
frame of my upper arm here.
| | 01:04 | I want to remind you of a couple of
little shortcuts we're going to be using.
| | 01:08 | We're going to move up and down the hierarchy of our
little puppet here by either pressing B or Shift+B.
| | 01:14 | Now, we had the entire hierarchy selected,
so I'm going to move down the hierarchy by
| | 01:19 | pressing Shift and the letter B.
So I move down to the lower arm.
| | 01:24 | If I press Shift+B again, I go to the hand.
To go up to hierarchy, I'm pressing just B.
| | 01:29 | Now, there are two ways of
setting keyframes once you're working.
| | 01:33 | You can either manually do this by pressing
F6, and you'll notice there is a hierarchy
| | 01:38 | frame on my upper arm.
I'm going to undo that, Command+Z.
| | 01:42 | The second way, if your Animate button is
turned on, and you move anything on your camera
| | 01:48 | view, we automatically have a keyframe set.
I'm going to undo that. Let's do Command+Z.
| | 01:55 | What I want to do is
manually set these on each frame.
| | 01:57 | Let's select all three frames on frame 1,
and I'm going to insert a keyframe, F6.
| | 02:02 | I'm going to rotate my arm a
little bit, and let's do Shift+B.
| | 02:07 | What I want to do next is select my upper
arm on the timeline, and let's do Shift+B,
| | 02:13 | then we're going to rotate the arm a bit.
| | 02:17 | Shift+B again, and we're
going to rotate the hand.
| | 02:22 | What I want to do is have this change by
the time it gets to frame 20. All right.
| | 02:27 | So I'm going to select the upper arm in my
timeline, and I'm going to rotate the arm
| | 02:33 | down, maybe about right here.
I'll press Shift+B again and rotate.
| | 02:37 | Now, if you notice, each time I'm doing
this, we haven't actually rotated the hand
| | 02:43 | yet, but each time I'm doing this, we're noticing
there are these arrows of tweens that are showing up.
| | 02:49 | So we'll do Shift+B one more time.
I'm going to rotate the fist.
| | 02:54 | What I want to do now is make
sure we have this set to Loop.
| | 02:59 | Now, I'm going to click Play.
Actually, let's turn this off.
| | 03:03 | Let's just click once so we
can see this a little clearer.
| | 03:09 | I do want to over-exaggerate this a bit.
I'll select the upper arm.
| | 03:13 | Let's do Shift+B again, and let's bend
this a little more. Okay, that's better.
| | 03:21 | Let's do Shift+B one more time and pull the fist
back a bit. It looks good. We'll play this.
| | 03:32 | Now, we only have two keyframes, and we've
allowed the computer to set the other tweens for us.
| | 03:39 | A couples of things, we can move
this and actually speed this up a bit.
| | 03:44 | Let's bring this down to maybe about frame 12,
and we'll play this again to the Animation sped up.
| | 03:54 | Last but not the least, the hand we're using
is actually a symbol we have set up, and this
| | 04:00 | is from our drawings earlier where
we created the rock, paper, scissors.
| | 04:06 | So what I can do is when the hand comes
down here to this very last frame, what we can
| | 04:13 | do is actually change what the hand pose is.
| | 04:16 | So I'm going to select this last frame
right after the keyframe on our hand layer here.
| | 04:23 | I'm going to use my bracket keys so I can
use one of the other drawing substitutions.
| | 04:27 | So I'm going to press the
bracket. There is a paper.
| | 04:32 | Press bracket again.
Ah, there are the scissors.
| | 04:35 | Maybe we'll even rotate this up a little bit.
Click once to deselect that. Let's play it now.
| | 04:43 | All right. Now, I did cheat a little bit.
If you notice, I did add another keyframe here.
| | 04:50 | That's mainly because we moved where the
scissors are, but I want to keep my word.
| | 04:56 | I said we're only going
to do two keyframes here.
| | 04:58 | I'm going to copy or cut this keyframe.
Actually, we'll just do it this way.
| | 05:03 | We'll just click here, and we'll drag this
keyframe right on top of the other keyframe,
| | 05:08 | and that's going to overwrite it.
| | 05:10 | So we have a keyframe at frame 1,
keyframe at frame 12, and there is our animation.
| | 05:16 | Now to push this farther, you can add
additional keyframes between your starting and ending
| | 05:20 | points and make adjustments to the
poses that Animate created for us.
| | Collapse this transcript |
| Using stop-motion keyframes| 00:00 | Now, with stop-motion keyframes, we will be
setting Stick Dude Bob's arm in a different
| | 00:05 | pose for each frame, but we're
going to be doing that manually.
| | 00:09 | So what we're going to do to start this is I'm
going to set our timeline to about 30 frames.
| | 00:15 | I'm going to select all three layers--the
arm, the lower arm, and the hand, and I'm just
| | 00:21 | going to hold down my Shift key
to do that, F5 to extend this.
| | 00:25 | We're going to shorten the moving when I click
on a bracket here just drag it down to frame 30.
| | 00:30 | Let's go up to our menu.
| | 00:32 | Let's go to Animation, and we want
to set this to Stop-Motion Key Frame.
| | 00:36 | Now, by default, Animate has this set up to do
motion keyframes which would handle all that
| | 00:42 | we enforce, but for this lesson, we're
going to be setting all of our keyframes and a
| | 00:46 | couple of the tween frames,
we're going to set that on our own.
| | 00:49 | Now, so I'm going to turn on my Animate button.
In order to use stop-motion keyframes, or
| | 00:55 | motion keyframes, Animate has to be turned
on and select my Transform button, then move
| | 01:01 | my playhead at to frame 1, and
I want to select the upper arm.
| | 01:04 | Now, I'm just going to remind you a few little
shortcuts. We're going to use B and Shift+B
| | 01:10 | to move up and down the hierarchy of our arm here.
A little much, right now the entire hierarchy is selected.
| | 01:15 | So for now, we'd actually moved down the
hierarchy and press Shift+B, and now the lower arm and
| | 01:22 | the fist is selected. We'll do Shift+B
again and just the fist is selected.
| | 01:27 | To move back up the hierarchy,
we'll press B, press B again.
| | 01:30 | When the Animate button is turned on, any
movement that we create at this point--if we start
| | 01:36 | doing a movement--will
automatically get a keyframe here.
| | 01:40 | I'm going to undo that Command+Z, Ctrl+Z on PC.
| | 01:43 | I personally like to set my
keyframes at least in the very beginning.
| | 01:46 | So I'm going to select all three layers
here, the hand, arm, and the upper arm.
| | 01:51 | I'm just going to hold down my Shift, and we're
going to insert a keyframe, let's do F6, and
| | 01:57 | now I'm going to rotate this up a little bit,
and let's do Shift+B to move down the hierarchy,
| | 02:04 | and let's select our upper arm
to start working on our hierarchy.
| | 02:08 | We'll do Shift+B to move
down the hierarchy a little bit.
| | 02:13 | Let's bend our arm back,
and let's do Shift+B again.
| | 02:17 | The next thing we're going to do, I think by
frame 20 is where I want our next movement to happen.
| | 02:24 | I'm going to simply select my
upper arm here. Just rotate this down.
| | 02:31 | You notice we'll get an automatic keyframe
there, and let's do Shift+B to move down our
| | 02:36 | hierarchy, Shift+B one more time.
There's no arrows. There's no tweens.
| | 02:43 | We'd go from one keyframe
immediately to the other keyframe.
| | 02:48 | What you would have to do if you're using
stop-motion keyframes, all the frames between
| | 02:53 | those keyframes, you would have to manually set.
| | 02:55 | We're going to do that, and we're going to
use our Onionskin to kind of help us out here.
| | 03:00 | I'm going to turn Onionskin on in each layer.
| | 03:03 | I'm going to select all three of my layers somewhere
between here, and I want to go ahead and rotate the arm.
| | 03:10 | Right now, it looks like we can
only see one of the keyframes.
| | 03:13 | I think I want to see both of them, so I'm
going to adjust my out point for the Onionskin.
| | 03:19 | So, now it shows us where the other arm is.
So I can rotate this a little bit.
| | 03:24 | I'm going to select the upper arm.
| | 03:26 | Let's do Shift+B, and we can rotate the handle over
that way, and let's do Shift+B again and rotate that.
| | 03:36 | So now we have three keys, and we would just keep doing
this until the animation is smooth enough to our liking.
| | 03:46 | Now, the other thing I want to do is I do
want to speed this up a bit, so what I can
| | 03:51 | do is simply take the keyframes.
| | 03:52 | I will hold down my Shift key and
select all three layers of keyframes here.
| | 03:58 | Let's drag this back, and I'll take all
three layers of keyframes at frame 20 and drag it
| | 04:04 | back to about frame 12.
| | 04:05 | I'm going to turn off our Onionskin, so I'm going to
click right here, and let's go ahead and play this.
| | 04:15 | That's pretty choppy.
| | 04:17 | So I will just restart doing this going in
between each one of those frames and cleaning it up.
| | 04:22 | Then last but not the least, what I want to
do is show off the fact that we are using
| | 04:27 | our rock, paper, scissors hand here.
| | 04:29 | So, I'm going to select the hand in the very
last keyframe, and I'm going to use my bracket
| | 04:34 | keys just scroll through the other hands,
so I'll press my Right Bracket key once.
| | 04:39 | There's the paper, and
twice, there's the scissors.
| | 04:44 | That didn't have to be done on a keyframe.
I just noticed there's a little line here,
| | 04:48 | that's where we've
actually changed up the drawing.
| | 04:52 | We'll talk more about this in the lesson Pose
to Pose Animation, but basically we have our
| | 04:58 | keyframe at the beginning.
| | 04:59 | We have a keyframe at the end, but this
middle keyframe is referred to as the breakdown.
| | 05:06 | We'll be discussing this
further in Pose to Pose to animation.
| | Collapse this transcript |
| Pose-to-pose animation| 00:00 | Pose to pose animation is one
of the easiest ways to animate.
| | 00:04 | You basically set a beginning and ending
keyframe, then set the breakdown--or middle frame--
| | 00:11 | then add tweens as needed on either
side of your breakdown frame.
| | 00:15 | The way I like to explain it is, you're learning
a new way to count. For a 5-frame animation
| | 00:20 | instead of counting 1, 2, 3, 4, 5,
you would count 1, 5, 3, 2, 4.
| | 00:27 | Now, in this lesson we're going to take
Stick Dude Bob here, and we're going to take him
| | 00:32 | from a sitting position to a standing position.
| | 00:34 | We're going to adjust our timeline, let's
just do 30 frames here, and I'll select all
| | 00:41 | of our layers on frame 30, and
let's extend these frames. Let's do F5.
| | 00:48 | The next thing I want to do is we are going
to be using our motion keyframes, so I want
| | 00:53 | to make sure that option is turned on.
| | 00:56 | Let's go to Animation in our menu, and if
you have Stop-Motion Key Frame checked, let's
| | 01:01 | uncheck that, and let's go to our frame 1.
| | 01:04 | I'm going to turn on my Animate because
whether you're using stop-motion or motion keyframes,
| | 01:11 | you have to have your Animate button turned on,
and I'm going to select my Transform tool.
| | 01:16 | We are going to take Bob from a sitting
position to a standing position, and I know what you're
| | 01:22 | thinking, Bob has no arms.
It's not important right now.
| | 01:25 | We just want to focus on him standing up.
So, it's going to be no-arm Bob for a bit.
| | 01:31 | Let's go ahead and set
keyframes on our very first frame here.
| | 01:36 | Now, our box isn't really going to be doing
any animation, so let's go ahead and just
| | 01:40 | select everything except the box.
| | 01:43 | All our layers are in frame 1,
and let's insert keyframe, F6.
| | 01:48 | So this is our first position.
| | 01:50 | This is frame 1, so again, with our count we are
doing 1, 5, 3, 2, 4, so we just did frame 1.
| | 01:58 | We're now going to go to frame 5, so we're
setting what's going to happen at the very end.
| | 02:05 | What should it look like in the end?
| | 02:08 | So I'm going to select one more frame to a
keyframe, and let's do F6, and by this frame,
| | 02:16 | Bob should be standing up.
| | 02:17 | I'm going to select my calf,
which is going to grab the foot also.
| | 02:21 | Let's rotate that a little bit.
We're going to move this around and down a little bit.
| | 02:26 | Now the cool thing with Animate is I can actually get
away with doing this. It's not going to freak out on me.
| | 02:32 | So now select the thigh, bring that straight
down, and let's hold down our Shift key, let's
| | 02:39 | grab our torso and place
Bob about where he should be.
| | 02:46 | Just so I don't have to really estimate this,
let's go ahead and turn on our Onionskin,
| | 02:53 | and I'm going to hold down my spacebar just to see where
his feet are. Looks like we did something weird there.
| | 03:01 | So we have met the very first frame and
the fifth frame, he is actually standing up.
| | 03:07 | Let's move his feet down just a little bit.
| | 03:12 | Looks totally weird, but we've
only done frames 1 and 5.
| | 03:15 | Now get in the count, 1, 5, 3, 2, 4, so 3
is the next frame we're going to work on.
| | 03:22 | This is what's referred
to as the breakdown frame.
| | 03:27 | Now, in case you're not noticing how am I
sure exactly what frame I'm on, just look right
| | 03:31 | up here, and it tells us we're on frame 3.
| | 03:33 | I'm going to hold down my spacebar just to adjust my
view here but frame 3. Let's select all of our layers.
| | 03:41 | I'm going to insert a keyframe,
F6, in our Camera view.
| | 03:46 | I'm noticing that Bob drops down a bit here, so
let's try to match up the feet there a little.
| | 03:52 | One of the things I think that should
happen here, Bob's not going to be able to stand
| | 03:56 | straight up, so I'm going to take his torso.
| | 03:59 | I'm going to rotate that down a bit, so
he's got a little bit of oomph to get up.
| | 04:05 | Maybe rotate his head a little bit.
| | 04:07 | Now, what happens now is we go from
frame 1 to frame 3 to frame 5.
| | 04:14 | That's not too bad looking, but there are
still these little jumps here, so we did keyframe 1,
| | 04:20 | keyframe 5, and then we did our breakdown
which is 3, and what we're going to do now is 2.
| | 04:27 | Frame 2, which is our in-between
of frames 1 and 3.
| | 04:32 | So the only frames we really need to see--
I'm going to adjust my Onionskin--the only
| | 04:37 | frames that we really need to see are frames 1
and 3, just to know what movements we need to do.
| | 04:45 | So we can see right here in the red that's what frame 1
is and then the green, that's what frame 3 is.
| | 04:52 | I'm going to make a few adjustments here.
| | 04:54 | I'm going to rotate his legs a little
more, bring this back a little more.
| | 05:00 | I'm just holding my Shift key and selecting
more than one piece at a time, okay,
| | 05:06 | and I think I want to rotate
his head a little more down.
| | 05:13 | So we're just looking at these three frames right
now and make sure we're not doing anything weird.
| | 05:20 | Let's see. I'm going to adjust where his feet
are. I don't want him bouncing too much there.
| | 05:29 | The last but not the least, I'm going to make sure we
have our keyframes each time we are making movements.
| | 05:38 | Go ahead and zoom in here, and I'm going to
do Command+Equals, and because I have my timeline
| | 05:44 | active, that's what I'm zooming in on, and
let's make sure we have keyframes in each
| | 05:48 | one, and let's go to frame 4.
| | 05:52 | I'm going to adjust where my
Onionskin is for a moment here.
| | 05:56 | Let's move our playhead to frame 4, so to
see what our animation and frame 4 should
| | 06:02 | look like, we only need to
really see frame 3 and frame 5.
| | 06:07 | So this is ending our count, we did 1, 5,
3, our breakdown, then we did what's between
| | 06:12 | 1 and 3, which is frame 2, and now
we're doing what's between frames 3
| | 06:17 | and 5, which is frame 4.
So we'll set a keyframe here, F6.
| | 06:25 | It looks like Bob's feet
drop below our line here.
| | 06:29 | So we're going to bring that up first and
foremost, and I think I want to have his head
| | 06:35 | a little bit more bent and he'll
finally get to normal in a minute.
| | 06:40 | So I'm just scrubbing here.
It doesn't look too bad.
| | 06:45 | This is not our complete animation.
| | 06:46 | I'm going to turn off our Onionskin
and just click once on the stage.
| | 06:51 | If we play this right now,
it is running extremely fast.
| | 06:54 | That is not what we want, but what we did
was we set our key poses, and because we're
| | 07:00 | using our motion keyframes, what I'm going
to do now is select frame 2, and I'm going
| | 07:07 | to select that on all of our layers and
then hold down my Shift key and select frame 5
| | 07:12 | so that's grabbing all the layers.
I'm going to extend this out a little bit, okay.
| | 07:17 | So I'm going to pull this out to about frame 6,
and I'm going to select the next group
| | 07:23 | of keyframes and pull it out a
little bit to about frame 10.
| | 07:29 | I'm randomly picking numbers at this point,
but the bottom line is I want to stretch
| | 07:33 | out this poses, and because we have on our
motion keyframes, Animate is going to be
| | 07:40 | handling all of the tweens there.
| | 07:42 | So we're no longer going to
have Bob jumping up quickly.
| | 07:45 | It's going to actually be a
pretty nice subtle movement.
| | 07:48 | So I'm going to click once in
this stage, do you select everything?
| | 07:52 | Let's go ahead and play this, and there
we have Bob going from one pose to another.
| | 07:58 | Now that's pose to pose animation.
| | 08:00 | It may sound confusing, but you
have to try it a couple of times.
| | 08:03 | So we just count on 1, 5, 3, 2, 4,
and then once those poses were set, then
| | 08:10 | we started spacing the poses out
and let Animate tween those for us.
| | 08:15 | One of my favorite practices for pose to
pose animation is to complete all key poses on
| | 08:21 | the first pass, the breakdowns on the next
pass, then take as many passes as needed to
| | 08:27 | complete the tweens and any cleanup work.
Now, how many passes does it take?
| | 08:32 | Only as many as it takes to
look right, or budget and time allow.
| | Collapse this transcript |
| Straight-ahead animation| 00:00 | Straight ahead animation can be one
of the more difficult ways to animate.
| | 00:04 | When we went to our pose to pose lesson, we
talked of a way of setting up our keyframes
| | 00:09 | as 1, 5, 3, 2, and 4 as the order
that we should try to follow them.
| | 00:17 | Straight ahead animation follows a more traditional
count, where you're going to animate frame 1
| | 00:21 | then frame 2, then frame 3,
and so on, and so on.
| | 00:25 | Now, though straight ahead animations can
be difficult,. I do want to show you a couple
| | 00:29 | of tips on how you can make it
work for you using Toon Boom Animate.
| | 00:33 | So, lets go ahead and get started here. One
of the first thing we're going to do is we're
| | 00:37 | going to extend this movie up to about frame 30.
| | 00:41 | We'll extend this by doing F5, and I will
shorten our movie. I'm going to click our
| | 00:46 | bracket from 60, bring it
down to about frame 30 there.
| | 00:51 | I want to make sure that we're set up for
motion keyframes, so go to Animation
| | 00:58 | in our menu, make sure Stop-Motion
Key frame is not selected, okay?
| | 01:02 | And to warp ahead to frame 1. And we're
going to turn on our Animate button.
| | 01:08 | In order to animate at all, whether you use stop
motion keyframes or motion keyframes,
| | 01:13 | you want to make sure your Animate button is
turned on, and let's go ahead and select transform.
| | 01:18 | Okay, now I want to set a keyframe for each one
of our layers, pretty much except for the box,
| | 01:25 | because the box isn't go to move on us.
| | 01:27 | So, we'll select a very
first frame on the Head layer.
| | 01:31 | I'm going to hold down my Shift key and select
the right thigh layer and insert a keyframe, F6.
| | 01:39 | With pose to pose animation we'd do a key from
frame 1, then frame 5 then 3 and 2 then 4.
| | 01:48 | With straight ahead animation, we just set a
keyframe at frame 1. The next thing we're
| | 01:53 | going to do, we are going to
set the keyframe at frame 2.
| | 01:56 | So when I hold down my Shift key, make sure all of my
layers are selected, and let's enter the keyframe, F6, okay.
| | 02:03 | Now, what I want to do next, we have--all
of Bob is selected right now, and we see the
| | 02:08 | pivot point is right at his hip.
| | 02:12 | I want to bring that actually down
to his foot there for a little bit.
| | 02:16 | And I want to rotate the body as a whole. I'm going
to bring just his torso and head down a bit, okay.
| | 02:23 | I'm going to just kind of check my
first frame there and see what's happening.
| | 02:30 | Now his foot's rocking a little bit too much,
so let's select the foot, and we'll make that
| | 02:36 | more just to flat foot there.
| | 02:45 | The next thing we do is frame 3;
we'll select all of our layers in frame 3.
| | 02:51 | I'm just going to hold down my
Shift key and select all of these.
| | 02:54 | So let's insert a keyframe on frame 3,
F6, what I want to do now is we're going to
| | 03:03 | rotate him a little bit more.
So, select the torso and the head and the leg.
| | 03:09 | I'm going to bring the pivot point down to
his ankle again, rotate this forward, and
| | 03:19 | start bringing him up a
little more and bend the legs out.
| | 03:26 | Now, to make sure I know what happened in previous,
I want to go ahead and turn on my Onionskin.
| | 03:31 | I want to make sure that his feet aren't
getting too far away from us, click on the thigh,
| | 03:37 | hold down my Shift key, and
then click on the torso here.
| | 03:46 | It's not too bad. I think I do want to
rotate him a little more forward, though.
| | 03:52 | So we'll take--let me undo that really quick.
Didn't want to move the whole body just move
| | 03:55 | it to the pivot point.
| | 03:56 | Take the pivot point pretty much down to his
feet, and we'll rotate Bob a little more ahead.
| | 04:08 | Now, we're going to frame 4.
| | 04:09 | I'm going to hold down my Shift key and select
all of our frames here and insert a keyframe, F6.
| | 04:16 | Now, Bob should almost be standing up.
We've only got one more frame to go here.
| | 04:21 | Let's bend his legs here, I'm going to
rotate this leg back a little bit, and I'm going
| | 04:29 | to hold down my Shift key, grab
all of Bob here and rotate him.
| | 04:34 | And using our Onionskin, we can kind of
see where he is now. He shouldn't be standing
| | 04:38 | up just yet, so we got
to correct something here.
| | 04:41 | So, this is one of the reasons
why it becomes a little more tedious.
| | 04:46 | It can be done, just a little more
tricky than doing pose to pose animation.
| | 04:53 | I'm going to rotate him down a little bit.
| | 04:58 | All right, hold down my Shift key, grab that
thigh, and just place his feet down here at
| | 05:04 | the bottom, and let's move our
pivot point down so I can rotate this
| | 05:10 | and make sure he doesn't look like he's
about to fall over, which he currently does.
| | 05:15 | Let's rotate his foot back with a little bit.
Okay, that looks a little better.
| | 05:29 | I'm going to hold down my Shift key,
and the last frames, or frame 5,
| | 05:38 | we'll insert keyframes, F6, and Bob
should be pretty much standing up right now.
| | 05:45 | He's just standing up straight.
| | 05:52 | Let's rotate him. I'm going to bring the
pivot point down to the back of his foot here.
| | 05:57 | Okay, looks pretty decent.
Let's rotate the foot down a little bit.
| | 06:05 | Okay, not too bad, all right.
| | 06:07 | Now, we're not done by any means. Of course, if we
try to play this right now, Bob is extremely fast.
| | 06:13 | So, what I want to do--and the reason that
we set this to our motion keyframes is I'm
| | 06:20 | going to select frame 2, on our
right thigh layer, hold down my Shift key,
| | 06:26 | and what I'm doing is selecting frames 2
through 5 on all the layers and pull this
| | 06:34 | over maybe about 3 or 4 frames, okay?
| | 06:39 | This is just going to let the
computer start tweening those for me.
| | 06:44 | And now I'll grab our next set of keyframes
and pull those over 2 or 3 frames, and
| | 06:50 | I'm just randomly doing this just to make
sure that all the keyframes aren't bumped
| | 06:54 | together and Bob isn't popping up really quick.
| | 06:58 | Grab this last set of
keyframes and pull this out.
| | 07:02 | And the beauty of this is if you think,
okay well, it's either moving too fast or moving
| | 07:06 | too slow, you can grab the keyframes and just slide them
back and forth on your timeline until it looks right.
| | 07:13 | All right, so now let's play this.
Okay, and it looks pretty decent.
| | 07:18 | The straight ahead animation is difficult.
It does have some advantages over pose to
| | 07:24 | pose animation in that it has more of an organic feel
to its movement, versus a more planned or posed movement.
| | Collapse this transcript |
| Creating pegs| 00:00 | Wouldn't it be cool if we didn't have to keep selecting
several layers every time we wanted to set a keyframe?
| | 00:06 | I mean, there is the head layer, the torso,
the thigh, layer after layer after layer,
| | 00:12 | you get the picture.
That's where pegs come in.
| | 00:14 | Peg is a term taken from traditional
animation where pre drilled sheets of animation paper
| | 00:19 | were attached to drawing
and animation tables via pegs.
| | 00:24 | In Animate, we'll attach all the layers of our
character to a peg, then we can set our keyframes
| | 00:29 | via one layer, our peg layer.
What we're going to do at this point,
| | 00:34 | we're going to still take Bob from his sitting
position and move him to a standing position,
| | 00:40 | and we're going to do this over 30 frames.
| | 00:42 | So select on all of our layers, frame 30,
and let's go ahead and extend that.
| | 00:47 | Let's do F5, let's move our bracket down to 30.
So our move is only 30 frames along.
| | 00:55 | All right, and the next thing I want to do
is make sure we're set for motion keyframes,
| | 00:58 | so let's go to Animation, in our menu and
make sure Stop-Motion Key Frame is not selected.
| | 01:05 | We're going to move our playhead back to frame 1.
What we're going to do now is add a peg layer, okay?
| | 01:13 | So, there's two ways you can do this on the
timeline, you can simply click the add peg
| | 01:19 | button, or you can go to the
plus sign and add a peg here.
| | 01:23 | So I'm just going to add a peg and just
drop the peg down at the bottom here, and what
| | 01:27 | I'm going to do now is select
all of the layers of our character.
| | 01:31 | I'm not going to select the box, so I've got
the right thigh, I'm going to hold down my Shift
| | 01:35 | key, select the head layer, and I'm going to
drag all of these directly on top of the peg layer.
| | 01:41 | You will notice that this vertical line here is
going to mean that all the layers I'm selecting
| | 01:46 | are going to be child layers under
the parent layer, which is the peg.
| | 01:50 | So, that's all there, and now I'm going to
collapse this, and let's change the name of
| | 01:56 | our peg, and we'll call it Bob_peg.
| | 02:01 | Let's go ahead and turn on our Animate button,
and let's set our transform button on, and
| | 02:06 | we'll select the very first frame.
| | 02:09 | And let's set a keyframe, F6, and we'll
set a keyframe at frame 5, let's do F6.
| | 02:18 | And we'll do this as we did
in our pose to pose lesson.
| | 02:22 | We're going to have Bob stand up by frame 5.
| | 02:25 | So, I'm going to move my pivot point
down a bit and rotate Bob a little bit here.
| | 02:32 | And just grab his foot,
kind of keep it straight.
| | 02:37 | Just rotate a bunch of pieces here.
| | 02:42 | I'm going to hold down my Shift key,
so grab all of Bob and rotate him.
| | 02:52 | Place him about where he should be. Let's fix
that foot again. Looks like he's standing pretty decent.
| | 03:07 | Just adjusting a few pivots here,
all right, now we'll got to frame 3.
| | 03:15 | And note, I'm not adding any keyframes at
this point because we have our Animate button
| | 03:19 | turned on, and we're using our
motion keyframes, and we're using a peg.
| | 03:24 | I'm not having to go and
constantly set different keyframes.
| | 03:30 | So I'm just rotating pieces as we go.
| | 03:44 | Bob is bending over a little bit more.
I'll just bring his head up.
| | 03:55 | Very interesting position, okay,
and just set this last frame here.
| | 04:08 | This last little keyframe at frame 4, so
let's just check this out, he's just going
| | 04:16 | to pop up until we decide to
space this out a little bit more.
| | 04:21 | So, again, I'm just doing
this from one frame now.
| | 04:24 | Everything is hidden, if you will.
| | 04:26 | All of our animation and selecting all the
different keyframes is happening, but you
| | 04:33 | don't have to worry about selecting multiple frames
and figuring out if things are moving around or not.
| | 04:39 | We're just doing this via the peg.
| | 04:41 | Now, the really cool thing about pegs is
you're not limited to just one peg per character.
| | 04:46 | In our lesson creating a walk cycle,
we're going to work with nesting pegs.
| | Collapse this transcript |
|
|
10. Creating a Simple Walk CycleAdding your character to a peg| 00:00 | Now in the lesson of animating your character, we
attached good old no-arm stick dude Bob to a peg.
| | 00:05 | And quite frankly, that wasn't too
difficult because we only had five layers.
| | 00:10 | Well, for this lesson, Bob is new and improved
with both right and left arms as well as both legs.
| | 00:17 | But the cool part is the steps
to add them to a peg are the same.
| | 00:20 | I just want to go over a few tricks to
help you work with more complex characters.
| | 00:25 | One of the first things I'm noticing here
with Bob in our chapter creating patches and
| | 00:31 | working with Z Depth, we did a few things like
moving forward the fills of part of the character.
| | 00:38 | Now, you can kind of see this.
| | 00:39 | I'm going to zoom in here, let's do the Command+Equals,
and you can see we have some artifacts of that.
| | 00:45 | The left arm, which is filled with the translucent
white, is actually showing up in front of parts
| | 00:52 | of our right side or the blue side.
| | 00:54 | To show this more exaggerated, I'm going to
grab my Transform tool here and then select
| | 01:00 | on all of our layers, hold down my Shift key,
and we can see exactly where this part of
| | 01:06 | the fill is actually in front of the
right side of the body, which it shouldn't be.
| | 01:11 | That's actually to be kind of hidden.
| | 01:13 | We're going to make a few
changes here and adjust our Z Depth.
| | 01:15 | So I'm going to click once on our
camera view to deselect everything.
| | 01:21 | And first and foremost, I'll go ahead
and let's just zoom this out a bit.
| | 01:25 | We want to make sure that our Animate button
is turned off, and we have our Transform tool
| | 01:30 | selected, and last but not least, we want
to make sure our camera view is active, okay?
| | 01:35 | And you can tell the fact because it has a little
thin, little outline, a little red outline there.
| | 01:41 | So I'm going to click once on Bob's head to
select it, hold down my Shift key, click on
| | 01:46 | the torso and just click on the upper arm.
Also, I want to click on Bob's thigh here.
| | 01:53 | And that should select all of that, and we can
even see the arm a little more pronounced now.
| | 01:59 | That's not where it should be.
| | 02:02 | While the camera view is active, I'm
going to hold down my Option key, Alt on PC.
| | 02:07 | And on my keyboard I'm
going to press down once, okay?
| | 02:12 | And so now that brought the right side forward.
| | 02:14 | I want to click just once in our camera to
deselect, and I want to make sure that everything
| | 02:20 | else is going to work fine.
| | 02:21 | Now I'm rotating this back, and
we're noticing another Z Depth error.
| | 02:26 | And this time it's the right calf
that's interfering with the hand.
| | 02:30 | So, I'm going to place just right
here just so we can see what's happening.
| | 02:34 | What I want to do now, while the whole arm
is selected, that should be the thing that
| | 02:40 | is the most forward as far as our view.
| | 02:43 | So I'm going to hold down Option, Alt on PC,
and press my down arrow once more.
| | 02:48 | And now, the arm, our right arm is
forward, and it's not doing anything weird.
| | 02:55 | So we got those adjustments made, and the next
that we're going to go ahead and do is start
| | 02:59 | setting up our movie for our walk cycle.
| | 03:02 | Now we're going to do this over 40 frames,
so what I'm going to frame 40 and click and
| | 03:08 | drag to select all layers, okay?
| | 03:11 | And we're going to extend those by pressing F5.
Next, I'm going to shorten this movie.
| | 03:16 | I'm going to bring your bracket right down
from frame 60 to 40, and I'm going to click
| | 03:22 | just once in our timeline
to deselect everything.
| | 03:26 | So, we're going to go ahead and add a peg.
| | 03:30 | I'm going to change the name of the peg,
and I'm going to call this BobWalk.
| | 03:36 | Just place an underscore
there and just click once.
| | 03:41 | Now, I'm going to select every layer except for
our peg layer, so I'll start with the upper arm.
| | 03:47 | Hold down my Shift key.
| | 03:49 | Select the left upper arm, and now I'm going to
click and drag these directly on top of the peg.
| | 03:55 | I should be able to see a little vertical
line as I do, and let go of the mouse, all right?
| | 04:00 | And now everything is under our peg.
I'm going to collapse the peg just to make sure.
| | 04:05 | I'm going to click to deselect everything,
and the next thing we're going to do, let's
| | 04:10 | go ahead and zoom out a little bit.
| | 04:11 | Command+Minus, and I want to go ahead and
give Bob something to walk on like a floor.
| | 04:16 | I'm just going to deal with just a single
little line, so I'll add a drawing layer.
| | 04:21 | I call this something complicated
like floor, and let's get our line tool.
| | 04:28 | And I'm just going to hold down my
Shift key and click and drag out the line.
| | 04:32 | Now holding the Shift is allowing me to do
that straight line without this going all
| | 04:36 | over the place, let go of the mouse, let go of the
keyboard and make sure this is actually an all 40 frames.
| | 04:41 | So I'm going to click and drag this back to
frame 1, select frame 40, and let's extend
| | 04:46 | this by pressing F5.
We have that set up.
| | 04:51 | We can expand and collapse our peg layer as
well as expanding and collapsing any of the
| | 04:58 | layers that are here.
And that way we can actually show our hierarchy.
| | 05:04 | And even though the floor is above, because
we've done a lot of work, working with our
| | 05:10 | Z Depth, the feet are still
showing up in front of that.
| | 05:14 | In spite of that, I'm still going to bring
the floor one layer below, because I want
| | 05:18 | us to concentrate just on Bob's walk here.
See? That wasn't too hard.
| | 05:24 | Just remember, pegs are not locked
in stone, and neither are your layers.
| | 05:28 | Hide them when needed, collapse and expand them and keep
your layer names short and to the point, but sensible.
| | 05:34 | Cute layer or peg names won't be too helpful if you have
to revisit a project or file several months down the road.
| | Collapse this transcript |
| Animating the legs| 00:00 | Creating a walk cycle's pretty much the most
difficult thing to do in animation. What do I mean by this?
| | 00:06 | I mean that jobs have been won and lost over the
ability or inability to create a convincing walk cycle.
| | 00:13 | What might be considered to be the hardest part of
the walk cycle is animating the legs, but it's okay.
| | 00:19 | I'm here to hold your hand and walk you step
by step as we work on animating these legs.
| | 00:24 | Now this is not the only way nor
the best way to do a walk cycle.
| | 00:29 | It's just a way that works for me.
| | 00:31 | That being said, walk cycles are basically
two poses, then a repeat of those poses with
| | 00:36 | the arms and legs reversed.
| | 00:38 | All right, so we have Bob here, and we're
go to and start working on our walk cycle.
| | 00:43 | What I want to first do is make
sure we're going to collapse our peg.
| | 00:46 | I want to make sure that we're using our
motion keyframes, so let's go up to animation and
| | 00:53 | make sure that Stop-Motion Key Frame
is unchecked, which we're good.
| | 00:56 | Let's go ahead and turn on our animate
button and grab our Transform tool as well.
| | 01:03 | Let's go ahead and lock our floor to keep
us out of trouble, and we'll select frame
| | 01:08 | one of our peg layer, and we're
going to insert a keyframe. Let's do F6.
| | 01:14 | I'm going to click on our camera
view just to deselect everything.
| | 01:19 | There are two poses that
we're going to be working with.
| | 01:22 | The first one, the legs are going to be
doing kind of an upside-down V, if you will.
| | 01:27 | So I'm going to click the right thigh, and because of
our hierarchy we've basically select the entire length.
| | 01:33 | I'm going to move this forward a bit,
and then I'll click the left thigh.
| | 01:37 | Rotate that back a bit, okay?
| | 01:40 | And this is looking a little bit stiff,
so I'm going to select now the right calf.
| | 01:45 | I'm going to bend this down a little, and let's
select the left calf, and we'll bend that as well.
| | 01:50 | I'm going to start using a little bit of
our hierarchy here, and I'm going to press the
| | 01:55 | letter B to move up the hierarchy.
So, I'll select the left thigh by doing that.
| | 02:01 | Let's rotate this down a bit.
And I think we'll rotate the right up a little.
| | 02:06 | All right, so that's not too bad, but what I want
to do now is I want to move Bob--the entire body.
| | 02:12 | I'm going to move it down. So select the first
keyframe here, frame 1, and I'll move my cursor
| | 02:19 | up into the camera view.
| | 02:21 | I'm just going to use my down arrows and press
down just so the heels are touching our floor.
| | 02:26 | What I'm going to do next is we're
going to work on the second pose.
| | 02:29 | I'm going to select frame 10,
and I want to insert a keyframe.
| | 02:35 | Let's do F6, and this one is going to be
pretty much kind of a relaxed figure 4.
| | 02:40 | Going to click and deselect everything, and
I'm going to grab our right leg here and pull
| | 02:46 | this back quite a bit.
| | 02:48 | Going to hold down my Shift key,
and let's move down the hierarchy.
| | 02:50 | I'm going to press B once that goes to the calf.
| | 02:53 | Press B again, it goes to the foot, and we'll rotate
the foot, so let's flat end with the foot being flat.
| | 02:59 | I'm going to select keyframe here, and
with my cursor up into the camera view.
| | 03:04 | I'm going to move Bob up a little bit there.
Now, I'm going to deselect everything.
| | 03:10 | Click on the left thigh, we're going to
rotate this forward a bit, and this is where we're
| | 03:14 | going to do that little relaxed figure 4.
| | 03:17 | So, everything selected I'll press Shift and
the letter B to get to the calf in the foot.
| | 03:22 | I'm going to rotate this back
a bit, and so there's our 4.
| | 03:26 | So that's like straight line down and
then we have this little zig-zag there.
| | 03:30 | Let's do Shift B one more time.
I'll rotate the foot just a little bit.
| | 03:34 | So, basically, a Walk Cycle has two poses.
It's this first pose, and it's this second pose.
| | 03:40 | The rest of it, it's going to be reversing
these poses so that's what we're about to do.
| | 03:45 | I'm going to show you a
little trick to get this done.
| | 03:48 | I'm going to select frame 1 and the first thing
we're going to do is we're going to reverse this pose.
| | 03:54 | So we'll copy this keyframe, Command+C, Ctrl+C on PC,
and we're going to select then frame 2, all right?
| | 04:01 | And we're going to paste this, Command+V,
| | 04:05 | Ctrl+V on PC, and I'm going to turn on
my Onionskin, and I'm adjusting the in and
| | 04:10 | out of our Onionskin, I don't want to see a lot, I
just want to see two frames, frame 1 and frame 2.
| | 04:17 | I'm going to I click once in our camera view just to
deselect everything, what I want to do is the right leg.
| | 04:24 | We're going to make it look like the left leg, so
I'm going to click right here on the right thigh.
| | 04:30 | I'm going to rotate this backward,
and let's adjust this a little bit.
| | 04:34 | Let's do Shift+B and move down our hierarchy,
going to rotate that leg back a little bit,
| | 04:39 | do Shift+B one more time and
bring the foot forward a little bit.
| | 04:44 | Now, what we're going to do is make the left
leg match what the right leg was doing previously.
| | 04:50 | And this why we turned on our onion
skin, so we can see what's happening.
| | 04:55 | But here's our problem, how are we going to
reach our left leg, because you know the right
| | 04:59 | legs covering it up perfectly right now?
So this is where our expanding comes in.
| | 05:04 | Let's expand our peg, all right, and
we're going to turn off for a moment.
| | 05:08 | We're going to turn off
the right thigh hierarchy.
| | 05:12 | And once we've done that,
we can now see the left leg.
| | 05:15 | We'll click here, and we're just
going to rotate this forward for a moment.
| | 05:19 | Just a little bit extreme, and we're going to
turn back on the visibility of the right leg.
| | 05:24 | Let's go ahead and turn on the right thigh.
| | 05:26 | Okay, and so now we can see
where the right thigh was previously.
| | 05:31 | So rotate this left leg down and do Shift+B
and move down our hierarchy so we can select
| | 05:36 | our calf with that forward,
Shift+B again, and we have our foot.
| | 05:42 | And I think that's pretty decent about
right there, maybe move this a little.
| | 05:48 | We have frame 1 and frame 2.
| | 05:50 | So the only thing is the reverse of these.
We're not doing the hand yet, just the legs,
| | 05:55 | so we're doing a reverse.
I'm going to collapse our peg, select frame 2.
| | 06:01 | We're going to copy this
keyframe, Command+C, Ctrl+C on PC.
| | 06:04 | Now, what we're going to
do is delete the keyframe.
| | 06:08 | Not the frame just the keyframe, okay?
| | 06:10 | So in order to do that, we're going to hold
on our Shift key and press F6. We are now
| | 06:16 | going to take that copy that's in our clipboard,
and we'll select frame 20, and we'll go ahead
| | 06:22 | and paste this, Command+V, Ctrl+V on PC.
| | 06:25 | We're going to do the same
thing with the figure 4 pose.
| | 06:30 | Let's go to frame 10, we're going to copy this
keyframe, Command+C, Ctrl+C on PC, select frame 11.
| | 06:39 | We're going to paste this, Command+V, Ctrl+V on PC,
and we'll do the same thing and start reversing the legs here.
| | 06:46 | So I'm going to click once in our camera
view to deselect, then I want to click once on
| | 06:51 | our right thigh, and let's rotate this forward.
| | 06:54 | And we'll go down the hierarchy, Shift+B,
and let's bend the calf backward and go down
| | 06:59 | the hierarchy one more time,
Shift+B, rotate the foot down.
| | 07:02 | I'm going to make a little adjustment here.
Let's do press the letter B, move back up.
| | 07:07 | We are just going to
adjust our calf there a bit.
| | 07:10 | All right, so that's set, and we're now
going to expand our peg, and we'll turn off our
| | 07:15 | right thigh for a moment, the right thigh hierarchy,
turn off that whole leg, and we'll select the left thigh.
| | 07:24 | And let's just go ahead and do Shift+B, move
down a bit here to the calf and rotate that out.
| | 07:29 | Press B again, and I'm going to
bring this up for a moment there.
| | 07:34 | We'll turn back on the visibility of our right thigh,
and now we see exactly what the left leg should be doing.
| | 07:42 | So we'll rotate this down, and let's do Shift+B, so
we just have the calf, and we'll bring it back a bit.
| | 07:49 | And Shift+B again, so we have the
foot, and we'll flatten that out.
| | 07:53 | Let's collapse our peg, and we're now
going to copy our keyframe with frame 11.
| | 07:59 | Let's copy this, Command+C, Ctrl+C on PC.
| | 08:02 | We're now going to get rid of the
keyframe, not the frame, just the keyframe.
| | 08:07 | So we'll do Shift+F6.
| | 08:10 | We'll select frame 30, and we're going to paste the keyframe
that's now in our clipboard, Command+V, Ctrl+V on PC.
| | 08:19 | And last but not the least, because this is a
loop, frames 1 and the last one of our animation,
| | 08:25 | frame 40, will be identical.
| | 08:27 | We'll select the keyframe frame 1, copy Command+C, Ctrl+C
on PC, and let's go to frame 40, and we'll paste this.
| | 08:36 | And that's Command+V, Ctrl+V on PC.
| | 08:39 | And I'm going to move my play ahead all the way
back to the beginning here, scrub that backward.
| | 08:44 | And to make sure that we're
not getting any weird loop.
| | 08:47 | Frames 1 and 40 are identical.
| | 08:50 | Okay, now if we play this
right now, I'm going to play this.
| | 08:59 | There's a slight pause, and the reason that
that slight pause is there is because we have
| | 09:03 | two frames that look identical,
and that's frame 1 and 40.
| | 09:07 | We're going to temporarily alter that by
changing our work space, and we're going to do that
| | 09:13 | by changing the out point by clicking this little black
triangle here and moving that back just one frame.
| | 09:19 | So now, the work space, it'll automatically
stop at 39 when we decide to loop this.
| | 09:26 | All right, so let's play this.
| | 09:27 | I have my loop turned on, and when I go
ahead and play this, see what happens.
| | 09:37 | That's not too bad, and we are going to be
doing some tweaking a little bit later, but
| | 09:41 | the basic walk cycle is there
as far as the legs are concerned.
| | 09:45 | A good way to strengthen your walk cycle
animating skills is to study walks in real life.
| | 09:51 | If you see an interesting walk, look to
see what type of shoes they're wearing.
| | 09:54 | How much of a bounce is in their step?
| | 09:56 | Take video or sketch notes and try to recreate the walk
with Stick Dude Bob or a character of your own.
| | Collapse this transcript |
| Animating the arms| 00:00 | Animating the arms for walk cycle is a lot
easier than animating the legs, but in no
| | 00:05 | way does that mean that this should
be taken lightly. Don't believe me?
| | 00:08 | Let's have a quick reminder of what Bob
looks like with his arms animated incorrectly or
| | 00:14 | not at all actually.
Okay, and this could even be worse.
| | 00:23 | I mean his right arm could move back and forth,
matching his right leg and his left arm matching his left leg.
| | 00:31 | The bottom line is animating arms can be easy,
but you can easily mess with the animation as well.
| | 00:36 | All right, so let's go ahead and get started here.
I want to start with our very first
| | 00:42 | frame, and we're going to make
sure our Animate button is turned on.
| | 00:45 | Set up our transform as well.
| | 00:48 | Turn on our transform button, and we'll make
sure our Stop-Motion Key Frame is not checked.
| | 00:53 | We're going to expand our peg
here so we can see what's going on.
| | 00:58 | First thing I want to do here is grab our right arm,
and we're going to rotate this back a little bit.
| | 01:03 | And the next thing we're going to do
is something called breaking the joint.
| | 01:06 | This is basically meaning we were going to
bend his arm backwards in a way that it shouldn't
| | 01:11 | go, but if we don't do it, the
animation is going look wrong.
| | 01:15 | So I'm going to move down the
hierarchy by pressing Shift and the letter B.
| | 01:19 | I'm going to rotate the arm back a little
bit, and let's do Shift+B one more time.
| | 01:23 | All right, and we'll move
the hand back, looks good.
| | 01:26 | Now, even though we can't see it, I'm going
to do a little cheat, come down on my timeline
| | 01:31 | and select the left upper arm.
| | 01:35 | And because of our hierarchy it's grabbing
the entire arm, and we'll rotate this forward,
| | 01:40 | and let's go about right here.
| | 01:42 | And let's move down the hierarchy, Shift+B,
and we'll move our forearm up a little bit.
| | 01:47 | Let's do Shift+B one more time, and
we'll do the same thing with the hand.
| | 01:51 | The next thing I want to do, you're going
to copy the keyframe from frame 1 and paste
| | 01:55 | them directly into frame 2.
| | 01:57 | So the same thing we did with the legs and
animating the legs, so we'll select the right
| | 02:03 | upper arm keyframe here, which
is going to grab the entire arm.
| | 02:07 | So we'll copy that, Command+C, Ctrl+C on PC.
| | 02:10 | Select frame 2, and I'm going to paste that,
Command+V, Ctrl+V on PC, and we'll do the
| | 02:16 | same thing for the left upper arm.
Select the very first keyframe.
| | 02:20 | Let's copy it, Command+C, and select the second frame,
and let's paste that keyframe, Command+V, Ctrl+V on PC.
| | 02:29 | And what we're going to do
now is turn our Onionskin.
| | 02:32 | I want to make sure that I can see the Onionskin
on our right arm layer and our left arm layer.
| | 02:39 | So it's good to make sure
both of those are turned on.
| | 02:41 | Now, the first things we're going do.
| | 02:43 | We're going to click once on our camera
view just so we can see it's going on.
| | 02:46 | We're going to move the right arm, so it is
matching exactly what the left arm is doing here.
| | 02:52 | So, I'll click just in the upper arm,
I'm just going grab the entire hierarchy.
| | 02:56 | We're going to rotate this forward, and now
I'm going to move down the hierarchy, Shift+B,
| | 03:00 | and we'll move the lower arm,
so we're going to take that up.
| | 03:05 | Let's do Shift+B one more time to
get the hand, clapping hands there.
| | 03:09 | There is exactly what I need to have happened.
| | 03:12 | Let's go ahead and do the
same thing with the left arm.
| | 03:15 | I'm going to select this keyframe, and
we're going to match the Onionskin that we see
| | 03:22 | in the previous frame here, so I'm going to
rotate this arm backward, and we'll stop right here.
| | 03:27 | And we'll move down the hierarchy, Shift+B,
and this is us breaking the joint on the left
| | 03:32 | arm, I'm going to do Shift+B
one more time to get the hand.
| | 03:37 | What should happen in frame 1 is we have the
left arm moving forward and the right arm is backward.
| | 03:45 | And then on frame 2, we
actually have that reversed.
| | 03:49 | Now don't get too excited. This looks like
it's very wrong for the whole body, but these
| | 03:53 | keys aren't staying here, all right?
| | 03:54 | I'm going to copy the right arm
keyframe from frame 2, Command+C.
| | 04:00 | But before we move away from this frame,
we want to get rid of the keyframe.
| | 04:03 | Not the frame, just the keyframe.
| | 04:05 | Okay, so hold down our Shift key and press F6, and now
we're going to go to frame 20 of our right upper arm.
| | 04:13 | We're going to select this
keyframe, and we're going to paste.
| | 04:17 | And now let's do the
same thing for our left arm.
| | 04:20 | We'll select frame 2, the left upper arm.
| | 04:23 | We're just going to grab the entire left
arm hierarchy, copy that, Command+C, and let's
| | 04:29 | get rid of the keyframe.
| | 04:30 | Hold down our Shift key, press F6, and we'll
select frame 20 of our left upper arm and paste,
| | 04:38 | Command+V, Ctrl+V on PC.
| | 04:41 | And I'm going to scrub just
to see how this looks, not bad.
| | 04:45 | But it looks like we get right here and everything
stops. What's going on with that? You know what?
| | 04:50 | We have to copy the keyframe from frame 1 as far as
our arms are concerned and paste that onto frame 40.
| | 04:59 | So let's do that, and we'll select
the keyframe on our right upper arm.
| | 05:03 | All right, so let's copy, Command+C,
Ctrl+C on PC, select the last frame, frame 40,
| | 05:09 | and we'll go ahead and paste this, Command+V.
| | 05:12 | Let's grab our left upper arm, let's grabs
the whole hierarchy, and we'll copy that,
| | 05:18 | Command+C, and let's go ahead and paste
that on frame 40, on the left upper arm.
| | 05:24 | Command+V, Ctrl+V on PC, we're going to
move our play ahead back a little bit, and
| | 05:29 | let's grab our work space there, and let's move that
little triangle back one frame, just right at frame 39.
| | 05:35 | All right, and so let's go ahead and
play this to see what it looks like.
| | 05:42 | So in animating arms, keep it
simple but don't over-complicate it.
| | 05:46 | There should be a compliment to the legs to
the point that they're almost invisible or
| | 05:52 | at the very least unnoticeable.
| | Collapse this transcript |
| Tweaking the walk cycle| 00:00 | Now that we have our basic Walk Cycle completed, let's
tweak some of the details and make this walk even stronger.
| | 00:06 | One of the first things I want
to take a look at is Bob's head.
| | 00:10 | Let's grab this back and have my loop set
to play, we're going to go ahead and play this.
| | 00:14 | Before I do want to make sure that
I'm not repeating with my frames.
| | 00:19 | So I know frame 40 and frame 1 are the same, so I'm
going to shorten our movie here just in the work space.
| | 00:27 | I'm going to click my little black triangle
here, just pull down, and just move that one over.
| | 00:33 | Okay, and that way and my workspace is
just going to stop right at frame 39, so we'll
| | 00:39 | actually see a loop here.
So go ahead and play. Okay.
| | 00:43 | Now what I'm noticing is Bob could pretty much balance
a book on his head and would be pretty good with that.
| | 00:50 | Let's go ahead and change that.
Let's give him a little nod.
| | 00:52 | So stop, and I want to go to frame 1.
| | 00:57 | Let's turn on our Animate button,
and let's get our Transform tool.
| | 01:01 | What I'll do first is go ahead and select
Bob's head in frame 1, and what I want to
| | 01:07 | do is each time, he is actually going down, I
actually want his head to lean a little bit forward.
| | 01:12 | So I'm going to rock that forward just a little,
and the next thing I want to do is going to
| | 01:16 | go ahead and expand this peg
here, and let's find the head.
| | 01:20 | Now I know the head is parented in the
torso, so I'm going to expand the torso.
| | 01:27 | And here we are, we already selected
because the head is selected in our camera view.
| | 01:32 | It is also selected in our
pegs right here on this keyframe.
| | 01:35 | Now what I'm going to do from our
timeline is select this keyframe.
| | 01:40 | Let's copy it, Command+C, Ctrl+C on PC.
| | 01:42 | We're going to go to frame 20 and select
this next frame, and this is also where Bob is
| | 01:49 | going down a little bit, so we'll go
ahead and paste this again, Command+V.
| | 01:53 | Let's go to frame 40 which
is the identical of frame 1.
| | 01:58 | Select frame 40, and let's
paste one more time, Command+V.
| | 02:03 | All right, now I'm going to click once in our
camera view to deselect, and let's play this again.
| | 02:09 | So now we have Bob doing this nice
little nod, and it looks pretty decent.
| | 02:15 | I think we're going to push a little bit
further and have his head go back the other way on
| | 02:21 | some of our other keyframes, so let's stop.
| | 02:26 | And what I want to do, this
point here or when he's up.
| | 02:29 | I'm going to click his head.
| | 02:31 | I want to move it back, not
as much as we moved it forward.
| | 02:34 | They will come down here to our timeline and select
the head, and let's copy that, Command+C, Ctrl+C on PC.
| | 02:44 | And this is at frame 10, so I know the
match of that is going to be at frame 30.
| | 02:48 | All right, and we'll go ahead and paste this
Command+V, Ctrl+V on PC, and we're going
| | 02:54 | to click once in our camera area to
deselect, and let's play this again. Okay.
| | 03:05 | So we've got a nice nod going.
| | 03:07 | Now we've been tweaking the keyframe already
established, but let's add some additional
| | 03:11 | keyframe to the cycle to
really push this walk over the top.
| | 03:14 | Now just remember when we are working on this,
we can copy and paste our keyframes just to
| | 03:19 | much what our actions are doing.
| | 03:21 | For a 40-frame cycle like Stick Dude Bob's here,
we're going to add keyframe at 5, 15, 25, and 35.
| | 03:27 | So I want to show you exactly
what I'm talking about here.
| | 03:31 | We're going to come here to our frame count here
and going to enter frame 5, and press Return or Enter.
| | 03:39 | Now here's the first frame we're
going to enter an additional keyframe.
| | 03:43 | So there is frame 5, and the reverse or
the mirror of this would be at frame 25.
| | 03:51 | And then we're also going to do frame 15,
and the reverse of mirror would be frame 35.
| | 04:00 | Let's start with frame 5, and I'm going to
collapse our peg here and select frame 5 here
| | 04:08 | at our timeline, and I
want to insert a keyframe, F6.
| | 04:12 | Right now, the first thing I want to do is
adjust how this foot is landing, so I want
| | 04:18 | to flatten that out a little more.
| | 04:21 | Okay, so that's frame 5, and we're also
going to go to frame 25 and do the same thing.
| | 04:27 | We'll insert the keyframe, F6, click one step
here in our camera view to deselect, and we're
| | 04:34 | going to flatten out the foot.
| | 04:36 | Now, in addition to this, let's go back to
frame 5, and I want to lift our left leg here,
| | 04:43 | this back leg a little.
| | 04:45 | So I'm going to select the calf and rotate
it up a little bit, and I'm going to move
| | 04:52 | down our hierarchy, hold down my
Shift key, and press the letter B.
| | 04:55 | So I just set the foot, rotate that a little,
and let's move back up to hierarchy by pressing
| | 05:00 | B, and we'll move this here, and
let's move back down, let's do Shift+B.
| | 05:07 | All right, now if you notice, I'm not actually
going to do a copying and pasting and matching
| | 05:14 | everything exactly since we already
have this as set up earlier that way.
| | 05:19 | We're going to add a little more of an organic
feels to this, by this kind of winging it, if you will.
| | 05:24 | We're going to line this up.
We're at frame 5 right now.
| | 05:28 | Let's check out frame 25, and we're
going to do some of the same things here.
| | 05:33 | I'll just go ahead and grab our calf.
| | 05:34 | We're going to rotate it up, Shift+B move down our
hierarchy, and then we'll flip this a little bit.
| | 05:41 | And he looks a little bit off here just to me.
| | 05:45 | It looks like he's leaning back a little
bit, so I'm going to do something here.
| | 05:47 | I'm going to rotate the foot just ever so
much, then I'm going to rotate the entire body.
| | 05:55 | Not a lot, just a little bit, so I'm going
to bring my pivot point right down to his
| | 05:59 | ankle here, and I want it
to rotate just a little.
| | 06:01 | Okay, now that's bothering me a little less.
Okay, so that'll work.
| | 06:08 | Okay, so now let's take a look at this.
| | 06:14 | It looks pretty good, and last but not
least, I think I want to have Bob move down
| | 06:20 | a little bit more as he
is actually stepping down.
| | 06:23 | So he's going to have a
little more bounce to his walk.
| | 06:25 | So, let's taka a look at
this before we change anything.
| | 06:32 | All right, so you can even see that little bend
I did so he doesn't look like his falling over.
| | 06:37 | So what I'm going to do now is select frame 1, and
I'll move my cursor up in the camera view area.
| | 06:43 | I'm making sure the camera is active.
| | 06:45 | You'll notice that by the red
stroke around the camera view.
| | 06:49 | So what I'm going to do is press my down arrow.
Let's do five times, one, two, three, four, five.
| | 06:57 | Okay, so it's moving down 5 pixels, so
frames 1, frames 20, and frames 40 are identical.
| | 07:05 | So we're going to do our move down with
each one of those, so in frame 20, make sure my
| | 07:10 | camera view is active, and I'm going to press
right down the row four times, one, two, three, four.
| | 07:15 | And frame 40, make sure the camera view is
active and press down four times using our arrows.
| | 07:22 | Let's go one, two, three, four.
Now, let's play this one more time.
| | 07:31 | Okay, and let's double check on one thing here.
| | 07:35 | Let's go ahead and make sure that
frame 1 and frame 40 still are identical.
| | 07:40 | So we'll select keyframe at frame 1, and
frame 40, we're looking a little bit off here.
| | 07:46 | So, let's go and correct this.
| | 07:48 | I'm going to copy the keyframe at frame 1, and
this is copying everything here, so do--in my timeline,
| | 07:54 | let's do Command+C, Ctrl+C on the PC and
then select frame 40, and let's go and paste
| | 08:00 | Command+V, Ctrl+V on PC.
| | 08:03 | All right, and now let's look at this again.
Okay, I think it's looking pretty decent.
| | 08:09 | To take the quality of this walk even
further, consider adding drawing substitutions.
| | 08:14 | So as Bob walks, his foot could bend as he
goes up on his toes, or maybe even add extra
| | 08:20 | drawing to the head so Bob could
have hat or maybe bouncing flowing hair.
| | Collapse this transcript |
| Adding the cycle to the library| 00:01 | The cool thing about creating walk cycles
is that they can be a bit tricky.
| | 00:05 | For the most part, you just have to get a small
number of frames animated, and then you can loop them.
| | 00:10 | So what we have here is the walk cycle we've
created, and we're now going to add this to
| | 00:16 | the library so we can create a symbol
and then we can also make a loop for it.
| | 00:20 | So what we have here is all
40 frames of our walk cycle.
| | 00:24 | But if you remember, frames 1
and frames 40 are identical.
| | 00:28 | So what I want to do is only use frames 1
through 39, and I'm also not going to add the floor.
| | 00:34 | I just need to have Bob walking here.
| | 00:36 | All right, so I'm going to select frame 1, I'm
going to hold down my Shift key, and select frame 39.
| | 00:43 | All right, so the next thing we're going to do is
to simply click and drag this straight to my library.
| | 00:50 | And if you look, we now have a symbol
called BobWalk_Peg and then it says path.
| | 00:57 | So if I double-click on here,
we have our full symbol.
| | 01:01 | We can still go on to this symbol and
see all of our different layers, all right?
| | 01:06 | Let's go back to our main timeline, and what
I'm going to do now is I want to just turn
| | 01:11 | off our original peg layer.
Make sure I'm on frame 1.
| | 01:16 | I want to bring in our symbol, so let's go
ahead and just simply click and drag our new
| | 01:24 | symbol right to our timeline,
and I'm going to let go.
| | 01:27 | So now we have the exact same walk cycle.
| | 01:31 | Now there is one difference. It is one
frame shy because we wanted it to loop correctly.
| | 01:37 | And while we're at it, we actually go ahead and even
shorten this movie and officially make it 39 frames.
| | 01:43 | So if we play this, so we have that set.
| | 01:48 | A stationary walk cycle is a good place to
start, and in a later lesson, animating the
| | 01:52 | scene, we'll be adding a panning
background and foreground to the same shot.
| | 01:57 | But another way to use this cycle is to
attach to a peg and pan the peg across the camera
| | 02:02 | view, which we'll cover in
adding a walk cycle to a peg.
| | Collapse this transcript |
| Adding a cycle to a peg| 00:01 | Now that we have our walk cycle of Bob
walking in place, let's attach him to a peg and have
| | 00:06 | him walk from one side of the
camera view to the other, all right?
| | 00:09 | So, I'm going to reach over into my library,
and I'm going to drag the BobWalk_Symbol
| | 00:15 | right over here to my timeline and let go.
It's of course called BobWalk_Peg_Path.
| | 00:23 | I'm going to change the name of
that and just make it BobWalk_Symbol.
| | 00:26 | Let's go ahead and place this above our floor.
| | 00:31 | What I want to do now is just kind of scrub through
this and make sure it looks pretty decent, and it does.
| | 00:37 | The next thing I want to do is select our
BobWalk_symbol layer, and we're going to add a peg.
| | 00:43 | So let's go over here to our Add Peg button and right
now we have our BobWalk_symbol attached to our peg.
| | 00:53 | What we're going to have Bob do is pretty much
walk from one side of the screen to the other.
| | 00:57 | Now there are two ways of doing this.
| | 01:00 | There's the fast, cheap way, and we're
going to refer to that as Hamburger.
| | 01:04 | There's the way that takes a little more time, but it
looks awesome, and we're going to refer to that as Steak.
| | 01:09 | If you're wondering what I'm talking about,
I like to refer to jobs and/or clients as
| | 01:14 | Hamburger clients and Steak clients.
| | 01:17 | You still want to actually have some decent
beef, but there are shortcuts and then there
| | 01:21 | are ways you can get things done
pretty quick, but it'll look much better.
| | 01:25 | All right, so let's go and start animating.
| | 01:26 | We're going to turn on our Animate button
and select our Transform tool, and let's select
| | 01:33 | the very first frame of our symbol here.
And let's add in a keyframe, F6.
| | 01:39 | If you notice, we have
our pivot point right here.
| | 01:42 | We're not going to be pivoting or doing
any type of transform to our peg, so I'm just
| | 01:46 | going to move this for now just
place it at the top of Bob's head.
| | 01:51 | The very first thing you're going to
do is let's move Bob back a little bit.
| | 01:59 | Maybe have him right at the start here.
| | 02:00 | So what I'm going to do now is
select frame 39, it's our last frame here.
| | 02:05 | And I want to move Bob all the way
to the other side of the camera view.
| | 02:09 | I'm going to click and start moving him a
little bit, but then I'm going to hold down my
| | 02:13 | Shift key to make sure he stays locked in place.
| | 02:16 | Let go of the mouse, let go of the keyboard, and
after I scrub this all the way back to the beginning.
| | 02:21 | You can play this so we have Bob moving across
but if you look at his feet, they are sliding.
| | 02:29 | I'm going to deselect this, so
we can see this a little better.
| | 02:32 | Bob's feet are definitely sliding across here.
| | 02:37 | This is one method of having Bob
walk from one side to the other side.
| | 02:41 | Now, and this is what I like to refer to as the very
fast cheap way, or the Hamburger client, if you will.
| | 02:49 | What I want to do is show you a better way. It
just takes a little more time, but it's well worth it.
| | 02:55 | We're going to now do our method for--we have a
larger budget or a longer time or our Steak client.
| | 03:01 | Let's hold down Shift, I'm going
to get through to these key frames.
| | 03:04 | I'm going to do Shift+F6.
| | 03:07 | Now what we're going to do is
I want to turn on my Onionskin.
| | 03:11 | We have our first keyframe set, and so I'll now
select frame 5, and with the Onionskin I can
| | 03:16 | see where the previous frames were.
| | 03:20 | So I'm looking at Bob's feet here,
I'm going to go ahead and zoom in.
| | 03:22 | Let's do Command+Equals a couple of times,
hold down the Spacebar and move this up because
| | 03:27 | I just want to see his feet.
In the current frame, Bob's foot is right here.
| | 03:32 | The previous frames, it was
right here where it's the most faint.
| | 03:37 | What we want to do is match where his
foot is right here right to this area.
| | 03:41 | We're going to click in our camera view, and
I'm going to use my arrow keys, pressing my
| | 03:46 | Right Arrow key until that foot
lines right up with that, okay?
| | 03:51 | The next thing I want to do is
select frame 10, enter the keyframe, F6.
| | 03:55 | I have my Onionskin the in and out point
set so I can see where the last keyframe was.
| | 04:00 | So the last keyframe is this faint little
foot right here and what we see as totally
| | 04:05 | opaque is our current.
| | 04:08 | So in my camera view again, you have to make
sure you're in you're camera view, that way
| | 04:12 | we can actually move Bob a little further ahead.
| | 04:16 | Do a little tweak there.
The next frame, let's go to frame 15.
| | 04:21 | I'm just going to scrub back
just to see what's happening here.
| | 04:26 | So Bob's foot was right at this point, we're
going to have to move Bob ahead and what we're
| | 04:36 | looking is his back foot to line up.
| | 04:40 | I'm just going to scrub back to see if
that makes any sense, and yes, that works.
| | 04:45 | We'll select frame 20 and do this again.
| | 04:54 | So pretty much I'm doing every fifth frame,
so what you want to look for is where the
| | 05:00 | foot is--especially if it
kind of flat like this one is here.
| | 05:03 | We're going to pay attention to the left
foot here and move it ahead until it lines up.
| | 05:15 | We just keep tweaking this as we go along.
Looks like we have a little slide there.
| | 05:26 | The very first frame, we're going to move
that back up, but the only thing we'd be doing is
| | 05:32 | just getting it to a point
that looks good. It's good.
| | 05:35 | Let's zoom out here, Command+Minus,
Command+Minus again.
| | 05:39 | Now does it take a little longer?
Yes, but it is definitely worth it.
| | 05:43 | We're going to turn off our Onionskin
just to take a look at Bob walking here.
| | 05:48 | You don't see any sliding at that point.
We originally created this at 39 frames.
| | 05:54 | That's how long the cycle is,
but what if we needed it longer?
| | 05:58 | Let's go ahead and undo a few things here.
| | 06:01 | What we're going to do is hide our
BobWalk_symbol, and I'm going to extend our movie.
| | 06:07 | Let's make it about double
the length. Let's make it 78.
| | 06:11 | All right, and we'll extend our floor that
long, so select frame 78 on our floor layer,
| | 06:17 | and let's extend this, F5.
| | 06:18 | All right, and let's bring
Bob over again from our library.
| | 06:23 | I'm just going to click and drag straight to our
timeline area, and if you're looking, you know what?
| | 06:30 | This is only up to 39
frames here. It just stops.
| | 06:33 | Well, how do we get that to pretty much
loop, or if we want them play more than once?
| | 06:39 | We're going to undo this, Command+Z,
and I'm going to click and drag this over.
| | 06:44 | But this time I'm going to hold down my
Ctrl key, and I'll let go of the mouse.
| | 06:48 | And what we see is now a
window for Paste Special.
| | 06:52 | So you can have it to bring in all the drawings,
extend the exposure, and we definitely want
| | 06:58 | it to paste all of the frames to the symbol.
| | 07:01 | This is where we come in
with the ability to do cycles.
| | 07:05 | This is twice as long, so we'll just simply
press the number 2, and you can even have
| | 07:09 | the cycle move just forward.
| | 07:11 | You can have it come in reverse or
forward reverse or reverse forward.
| | 07:16 | I'm just going to go ahead
and hit my Return or Enter key.
| | 07:19 | We now have all of the frames looping.
We have that for our full 78-frame movie.
| | 07:26 | Now another example of adding a cycle to a
peg could be a baseball spinning in place.
| | 07:32 | Attaching a ball to a peg allows you to
animate a ball flying from one side of the screen
| | 07:35 | to the other, or maybe even scale it over time so
it looks like it's heading right toward the camera.
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|
|
11. Sound and DialogueImporting sounds| 00:00 | Sound is a key component
to almost every animation.
| | 00:03 | Imagine a beautifully-animated rainstorm
minus the sound of rain or thunder.
| | 00:09 | Animate allows you to import and
even do basic editing of sound files.
| | 00:13 | We have Bob here who
seems a little bit concerned.
| | 00:16 | He's going to be given some dialogue, and
he's still a little perturbed, if you will.
| | 00:20 | But the first thing we're going to have to do
is go ahead and get that sound in of that dialogue.
| | 00:25 | So we're going go to File, come down
to Import, and we'll go to Sound, okay?
| | 00:33 | We have several different
versions of the same file.
| | 00:36 | You can bring in an AIF or a WAV file or an MP3.
| | 00:42 | For best results, I usually go
with either an AIF or a WAV.
| | 00:46 | You can bring in an MP3, but remember that
an MP3 is what's referred to as a lossy type
| | 00:53 | of file so it's going to a little bit of
the quality, and it's not going to be as clean
| | 00:57 | as a WAV or an AIF.
| | 00:59 | One other thing you also want to be aware
of is make sure when you're importing your
| | 01:04 | sound you want to keep it at 24 bit and not 32.
| | 01:07 | 32 can cause some errors
when you're bringing that in.
| | 01:10 | So I'm going to go ahead and select the
AIF file, and I'm going to click Open.
| | 01:15 | And I now have a layer
with our sound file on here.
| | 01:23 | And what I want to do next at least
extend out the rest of our drawing layers here.
| | 01:31 | So select all of my layers, hold down my Shift
key, and I'm going to press F5 to extend that,
| | 01:38 | and let's take a listen.
| | 01:41 | If I try to scrub this, I don't hear
anything, and if I play, I'm not hearing anything.
| | 01:47 | Well, the reason is you want to go to your
Playback toolbar, and you want to one, turn
| | 01:51 | on your sound, and two, you want to select
Scrubbing which is going to come in handy
| | 01:56 | when you're starting to do lip sync.
Now, if I play this.
| | 02:02 | (Bob: Are you kidding?)
So we have a sound in.
| | 02:07 | It sounds like it was being cut off, but we'll worry
about that in the next lesson which is Editing Sounds.
| | 02:13 | You can scrub your playhead, or you can just
click Play and start to work with your files.
| | 02:23 | Sound is just as important as your
animation, and in some cases more.
| | 02:28 | The rule is people will forgive a bad
image, they will not forgive bad sound.
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| Editing sounds| 00:00 | Though Animate does not come with the full-
blown sound editing suite, you can still do some
| | 00:04 | basic sound editing without leaving the program.
| | 00:07 | In the lesson, Importing Sounds, we notice
that the end of Bob's statement seemed to
| | 00:13 | be getting cut off, so let's take a listen.
(Bob: Are you kidding?
| | 00:19 | So he's saying, "Are you kidding?", and it's--
even "kidding" has been cut off, but the full
| | 00:24 | phrase is "Are you kidding me?" To edit this,
we're just going to go down to our sound layer,
| | 00:30 | and when I double-click
directly on the little icon here.
| | 00:33 | It looks like a music note.
And you can play the sound here.
| | 00:41 | (Bob: Are you kidding?)
| | 00:43 | All right, and it's stopping at frame 60, and
what I want to do next is go ahead and select
| | 00:49 | this tab that says 59, and I'm going to
expand this just by clicking and dragging out.
| | 00:56 | And this is expanding the movie until we
think we hear what we want to on the end here.
| | 01:02 | Now, I'm going to turn on my
Scrubbing button so I can actually hear this.
| | 01:10 | Well, it sounds like it ends, but
let's go ahead and play it anyway.
| | 01:14 | (Bob: Are you kidding me?)
| | 01:18 | So it does work all the way up to 70.
I do want to extend this to up to 80, though.
| | 01:23 | I'm just going to type it in here on
the stop frame and hit Return or Enter.
| | 01:29 | Okay, and we'll go ahead and close this, and
now on our main timeline, I'm going to click
| | 01:37 | and expand our movie lines here up to 80 frames.
| | 01:44 | And our drawing layers have
also extended out to frame 80.
| | 01:47 | We have a few artifacts here, but I'm not
going to worry about that at this point.
| | 01:52 | These are just some drawing substitutions
that have come in on our mouth shape layer.
| | 01:56 | But those are going to be edited
out once we do our auto lip sync.
| | 02:01 | Now that we have our sound in here correctly,
let's take a listen and make sure it's playing right.
| | 02:09 | (Bob: Are you kidding me?)
| | 02:10 | Even though you can do a few sound edits,
a good practice is to do the bulk of your
| | 02:14 | sound editing outside of Animate
in the sound program of your choice.
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| Mapping sounds for lip sync| 00:00 | One of the most powerful tools on
Animate is the ability to auto lip-sync sound.
| | 00:05 | To access this feature, what we're going to
do is simply go to our sound layer, and we're
| | 00:09 | going to double-click directly on the little music
note here, and that will open up our Sound Element Editor.
| | 00:16 | If you look to the right, we
have Animate's mouth chart.
| | 00:19 | Now, these are all the different phonemes and
they're laid out with little letters attached to them.
| | 00:24 | It's not about the sound of the actual
phoneme, but it's just a way of organizing it.
| | 00:29 | If we look at the larger image at the top,
this is where we're going to preview the auto
| | 00:34 | lip-sync that it's going to generate.
Let's go ahead and start our automated lip-sync.
| | 00:40 | What I want to do is right
click on our wave form here.
| | 00:46 | If you're on a Mac, and you're using a single-
button mouse, you want to do a Ctrl-click.
| | 00:51 | Let's go ahead and select Auto Lip-Sync Detection, and
what this is going to do is go through all the sound.
| | 00:58 | Once it's done, you'll be able to go ahead and
click on your Play button to see the preview.
| | 01:04 | (Bob: Are you kidding me?)
| | 01:07 | I'm going to loop this just to take
a look at this for a few times.
| | 01:13 | (Bob: Are you kidding me? Are you kidding me?
Are you kidding me? Are you kidding me?)
| | 01:22 | It did a pretty decent job of doing
our auto lip-sync, so I'm just
| | 01:25 | going to go ahead and close this now.
| | 01:29 | Once your auto lip-sync is done, you need
to pass the lip-sync information to the mouth
| | 01:33 | for your character, which we'll cover in
the lesson Mapping Sounds for Lip-Sync.
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| Exploring auto lip sync| 00:00 | Though mapping sounds for lip-sync may sound
like rocket surgery, it's a pretty simple step.
| | 00:06 | We're just pointing Animate's lip-sync
chart to the layer that has our mouth shapes.
| | 00:11 | To access this, we're just going to right
click on our sound layer right on the wave
| | 00:15 | form, and let's go down to Lip-Sync,
come down to Map Lip-Sync.
| | 00:22 | You'll notice a couple of things.
| | 00:23 | With our particular file, it's immediately
gone to the destination for mouth shapes.
| | 00:30 | There are a couple of reasons for this.
| | 00:33 | We've just simply named it mouth_shapes, but the only
alternatives are the eyes, the head, and the torso.
| | 00:40 | You don't have to call yours mouth shapes.
You can call it something different and the
| | 00:44 | only thing that you're doing at this
point is saying which layer you want to use.
| | 00:47 | On our mouth shape layer, all of our drawings are
named the exact way that Animate's chart is set up.
| | 00:54 | So it's automatically gone in and mapped them.
| | 00:57 | Now, it's not necessary
that you do this.
| | 01:00 | For instance, I know that the F sound
is the "oo" or U phoneme.
| | 01:07 | Now if we had actually named our drawing "ooh"
or U, we could simply type in oo_uu, or
| | 01:17 | however we had actually set up that sound.
| | 01:19 | However, you'd written it out, you want to
write it at the exact same way and maps this
| | 01:24 | up, but ours have been named in the
exact same way that Animate has their chart.
| | 01:30 | So I'll click on OK.
| | 01:31 | Now once I do click on OK, I
want to show you this one thing.
| | 01:35 | If you see on our mouth shapes layer--at
the very beginning, you see all the different
| | 01:40 | drawing substitution lines
that are showing up here.
| | 01:43 | Once we click OK on Lip-Sync Mapping, all of that
will be updated and our lip-sync will be complete.
| | 01:50 | So let's go.
| | 01:53 | You notice all these have been spaced out now,
and if we play this, we'll see the results
| | 01:59 | of the automated lip-sync.
| | 02:02 | (Bob: Are you kidding me? Are you kidding me?
Are you kidding me?)
| | 02:10 | I just want to reiterate that when
you do name your mouth shapes, you
| | 02:15 | can name them the different phonemes if you're
used to that, but using the same naming convention
| | 02:21 | that Animate has does save you a few steps.
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| Exploring manual lip sync| 00:00 | There may be times that Animate's Auto Lip
Sync doesn't quite match what you had in mind,
| | 00:05 | so you have to tweak some of the shapes here
and there, or maybe you prefer to handle a
| | 00:09 | Lip Sync manually, either way, this is
done quite easily using drawing substitutions.
| | 00:15 | Let's take a listen to what the
Auto Lip Sync has done so far.
| | 00:15 | (Bob: Are you kidding me? Are you kidding me?
Are you kidding me?)
| | 00:28 | Now I can see right off the bat
there are few things I want to change.
| | 00:30 | But for the most part, it's
actually doing a pretty decent job.
| | 00:34 | What I want to start with is
working with where he says "You".
| | 00:38 | Now, there are several ways I can start working
with the drawing substitutions on our mouth layer.
| | 00:43 | I'm going to expand the Data view.
| | 00:45 | Now you may want to scrub back and forth
using the Data view, or you can use your Library,
| | 00:56 | or you can use the
bracket keys on your keyboard.
| | 01:01 | So I'm going to move a little bit further down
by the timeline here and find the word "You".
| | 01:10 | Okay, now right here, right about frame 38,
this is where Bob is starting to say "You".
| | 01:20 | But the shape that's here,
that doesn't work for me.
| | 01:24 | So what I want to do, I'm going to go ahead and
use my bracket keys and find--ah, there it is--
| | 01:30 | the shape that I want to use for
where he is starting to say "You".
| | 01:35 | Now let me be clear.
Am I following to the letter?
| | 01:39 | Now this phoneme should
match up when he says "You".
| | 01:43 | Not exactly. I am following the mirror that's
sitting in front of me, so anytime I'm working
| | 01:48 | on Lip Sync, I'm looking at a mirror in front of
me and saying the words over and over, you, you...
| | 01:54 | Now how does that look to me?
| | 01:56 | So that's when I would start
changing out things in my timeline here.
| | 02:12 | I think we want to maybe leave this
actually there for a longer period.
| | 02:16 | So I'm going to change this mouth as
well, and so the "You" is ending there.
| | 02:32 | Let's change the shape one more time.
| | 02:38 | Now I like the same shape for kidding, so
I'm going to maybe change one thing here.
| | 02:58 | Now, maybe at this point I'm going
to actually close them out totally.
| | 03:02 | There, that's what I like.
| | 03:12 | Okay, at this point we'll open
up the mouth for kidding.
| | 03:21 | Now I don't think an O belongs
here at all. He's saying kidding.
| | 03:25 | So let's go ahead and change that.
| | 03:27 | We had this shape right before
that, and I'm going to just scrub.
| | 03:32 | (Bob: Are you kidding me?
Are you kidding me?)
| | 03:37 | Now I'm going to play this
back just to take a look.
| | 03:52 | Now speaking of things that don't quite
make sense, he is saying, "Are you kidding me?"
| | 03:57 | He is not saying, "Are you killing me." But
that being said, I'm going to use our L phoneme
| | 04:05 | for the D in kidding because I think it will
work, so right where he is saying "Kidding,"
| | 04:14 | this is right where the D would be so I'm
going to scrub down and find our L sound.
| | 04:19 | All right, let's open the mouth back up, and that
should not be an O there, and he is going to say "Me".
| | 04:53 | Now this is the same "Me".
It looks like it's different.
| | 04:56 | I think I want to close his mouth totally.
Let's find that shape. There we are.
| | 05:07 | I think I want his mouth open bigger,
which is D, and have it come back smaller.
| | 05:27 | All right, I think I'm done.
Let's go ahead and play this.
| | 05:32 | (Bob: Are you kidding me? Are you kidding me?
Are you kidding me?)
| | 05:42 | Whether you're lip synching manually, using
the Auto Lip Sync, or a combination of the
| | 05:47 | two, creating your lip syncs in Animate
will have your characters talking in no time.
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|
|
12. Bringing Cutouts to LifeUsing squash and stretch| 00:00 | An unfortunate flaw I've seen with a lot of
cutout characters is once animators have a
| | 00:05 | character built, they seem afraid
to alter or distort their creations.
| | 00:11 | This is especially true for characters built
using the vector-based programs such as Animate.
| | 00:16 | These shapes and objects are not made of stone
and won't break, so please squash them, stretch
| | 00:23 | them, and distort them when the animation calls for
it, and it will breathe life into your characters.
| | 00:29 | That being said, let's start
with a little squash and stretch.
| | 00:32 | All right, so we have Bob's eyes
here, and I have three drawings.
| | 00:38 | So we have the eyes open, start
to close, and then they blink.
| | 00:43 | So let's go ahead and animate out a blink here.
I want to extend our frames here.
| | 00:49 | Let's go ahead and select frame 60.
| | 00:51 | We'll hit F5 and for frame number 1,
we're going to leave it at drawing one.
| | 00:58 | I'm going to use my
bracket keys here to alter this.
| | 01:02 | So if I press my Left Bracket key,
it's going to go to my previous drawing.
| | 01:10 | So I have all drawing one here.
| | 01:16 | If you would like you can also use your
library to go back and forth between your drawing
| | 01:22 | substitutions, or you can use the Data view.
| | 01:24 | I'm just going to be
using the bracket keys here.
| | 01:28 | So frame 20, I want to use drawing number
two so I will use my Right Bracket key, and
| | 01:36 | then I'm going to move ahead a few drawings,
and I'll use the Right Bracket key again to
| | 01:40 | get drawing number three.
| | 01:42 | I'm going to hold that there for a bit and
use the Left Bracket key, move backwards to
| | 01:48 | drawing two and a few frames later, Left
Bracket key again to go to drawing one.
| | 01:57 | So pretty much what I have
done is animate it out a blink.
| | 02:01 | Let's take a look at this.
Okay, not bad.
| | 02:07 | I think I'm going a little bit too slow on
the beginning here, so let's change that. Okay.
| | 02:13 | So I'm just going to do a fewer frames going in and
just play this, and maybe a few frames closer coming out.
| | 02:30 | I'm happy with the blink, but let's go
ahead and take this a little bit further.
| | 02:37 | Now with squash and stretch, I want you to
think of a playground ball or a dodgeball.
| | 02:42 | If you're actually squishing that down from
the top to the bottom, you'd actually have
| | 02:47 | the sides kind of bulge out.
So that's what we're going to do.
| | 02:51 | Now drawing one is fine, but drawing number two is
where we're going to start doing our squash and stretch.
| | 02:56 | Let's go ahead and zoom in here,
Command+Equals, Ctrl+Equals on PC.
| | 03:03 | I'm going to select all or one of the eyes here.
| | 03:08 | So I'm going to click our pivot point,
bring it right down to the base of the eye.
| | 03:12 | So I'm going to pull this down a bit and
then on one of the side modifiers here,
| | 03:21 | I'm going to hold down my Option
key, Alt on PC, and pull outward.
| | 03:28 | We're going to do the same for the other eye.
| | 03:33 | We're going to move our pivot point down,
and I'm going to push this downward and then
| | 03:40 | hold down my Option key, Alt on PC, and pull
outward, and I may even move this over a little bit.
| | 03:49 | So that's where the eyes are on
frame 1 and then frame 2 there.
| | 03:57 | Let's go at frame 3.
| | 03:58 | I'm going to turn on my Onionskin to
see exactly what happened in frame 2.
| | 04:03 | All right, so I'm going to select one of
the closed eyes here, and again, we'll move our
| | 04:09 | pivot point down to the base, and I'm going
to squash this down even lower and hold down
| | 04:17 | my Option key, Alt on PC, and pull out the sides.
| | 04:21 | We're going to move this over just a little.
All right, and we'll do the same thing here.
| | 04:34 | Move our pivot point down and squash this down, and
I'm going to hold my Option key, Alt on PC, and pull out.
| | 04:52 | Let's take a look at our animation again.
I'm going to turn off our Onionskin.
| | 04:58 | Let's get back to frame 1,
and let's play this.
| | 05:07 | All right, now the eyes are really
starting to have this little bounce feel to them.
| | 05:13 | Now the blink worked before, but just doing
this little tweak, just distorting this just
| | 05:18 | a little bit takes it so much further.
| | 05:22 | It doesn't take much. Just by adding
distortions like squash and stretch to your animations,
| | 05:27 | it helps your characters from looking so stiff.
| | Collapse this transcript |
| Exploring anticipation and follow-through| 00:00 | Imagine someone sneezing. You rarely see them
just being pushed or thrusted forward by a sneeze.
| | 00:07 | Usually, the anticipation of a sneeze is a person
leaning back, the "Ah" to the forthcoming "choo".
| | 00:15 | To break this down further, a typical
sneeze, "achoo" if you will, goes as follows.
| | 00:20 | "Ah" equals anticipation, "choo" equals
follow-through, and as the sneezer returns to normal, it's
| | 00:28 | referred to as a settle or a cushion. To
illustrate our anticipation and follow-through,
| | 00:34 | we'll use the game Rock, Paper, Scissors.
Now, we have Bob's arm here, and we're going
| | 00:40 | to be using our Transform tool, and if you
remember our shortcuts, what we can do is
| | 00:46 | move up and down the hierarchy of this arm.
| | 00:49 | I'm going to hold down my
Shift key and press the letter B.
| | 00:53 | So now I have the forearm and the hand selected,
press Shift+B again, and now just the hand is selected.
| | 01:00 | Also, the hand is actually
using several drawing substitutions.
| | 01:05 | There's the rock,--and I'm going to use my
bracket keys on my keyboard to move forward--
| | 01:10 | there's paper, move forward
again and there's scissors.
| | 01:15 | Left Bracket moves backwards.
Right Bracket moves forward, okay?
| | 01:21 | We want to make sure that
we're using motion keyframes,
| | 01:24 | so let's go to our menu to Animation.
Make sure Stop-Motion Key Frame is unchecked.
| | 01:30 | I'm going to turn on my Animate button, and
I want to select all of my layers on frame 60 here,
| | 01:38 | and let's extend our frames, F5.
Let's go back to frame 1.
| | 01:46 | I'm going to go ahead and
collapse my hierarchy here.
| | 01:50 | That way, I can focus and
just do a keyframe on one layer.
| | 01:54 | Let's insert a keyframe, F6.
| | 02:03 | What I want to do for the very first frame,
we're going to rotate our arm backward.
| | 02:07 | Let's do Shift+B to get our forearm.
| | 02:13 | I'm going to do Shift+B again to get
our hand, and let's rotate that back also.
| | 02:19 | I'm going to select frame 10.
| | 02:22 | I'm going to insert another
keyframe. Let's do F6.
| | 02:27 | What we're going to work on
first is our anticipation.
| | 02:31 | Our hand is way up here, but before it moves
forward, we're going to close in a little bit more.
| | 02:39 | So let's go to about frame 6, and
I'm going to insert a keyframe, F6.
| | 02:45 | I'm going to rotate this
back just a little bit more.
| | 02:51 | Let's move down our hierarchy,
Shift+B, and rotate the forearm down.
| | 02:58 | Let's move down the hierarchy one more time, Shift+B,
and I'm going to bend the wrist back a little bit more.
| | 03:07 | Now, you might be looking at
this and going, "You know what?
| | 03:10 | Your hand would be broken if you did that." Well,
this is a cartoon, and you're supposed to exaggerate.
| | 03:14 | Believe it or not, this is
actually going to work, all right?
| | 03:21 | So just a little anticipation
before moving forward.
| | 03:25 | So I'm going to move down to about frame 15,
and by frame 15, I want to show you something.
| | 03:33 | I'm not going to insert a keyframe.
I'm just going to rotate our arm.
| | 03:39 | The beauty is that keyframe is going to
be there automatically. So there we are.
| | 03:45 | All right, I'm going to bring the arm down.
Let's move down our hierarchy, Shift+B.
| | 03:54 | This is pretty much the position of where
we're going to declare whether we're having
| | 03:58 | rock, paper, or scissors. Do Shift+B again.
All right, so that's not bad.
| | 04:11 | The next thing I want to do is we're
going to do a little bit of follow-through.
| | 04:17 | There's a lot of force coming with this.
| | 04:19 | This is where it's supposed to be, but
it's going to keep going on frame 17.
| | 04:26 | On frame 17, what we're going to do is
called breaking the joint. All right.
| | 04:30 | I'm going to move back up my
hierarchy, press the letter B twice.
| | 04:37 | I think I'm going to turn on my
Onionskin just to see it's happening.
| | 04:41 | I'm going to bring this down a little.
| | 04:45 | Let's move down the hierarchy, Shift+B, and I'm
going to bend the arm backward, Shift+B again.
| | 04:54 | We'll rotate the fist back a little bit, right?
Let's turn off our Onionskin here.
| | 05:04 | We start from the beginning, anticipation.
| | 05:07 | Go all the way down, follow-through, and
what we're going to do now is a little cushion.
| | 05:12 | I'm just going to Copy frame 15, Command+C, Ctrl+C on PC,
and select frame 20 and Paste, Command+V, Ctrl+V on PC.
| | 05:24 | If I play this now, I'm going to deselect this.
Just click once in our camera view.
| | 05:33 | All right, not too bad.
| | 05:36 | I think I might want to tighten
up our anticipation a little bit.
| | 05:40 | Let's bring that up to maybe a frame or two.
Okay, so where the arms bends back.
| | 05:52 | Actually, let's undo that real quick, Command+Z.
| | 05:56 | The problem is we start from the very beginning, then
it starts going all the way back then moves forward.
| | 06:07 | I think we're going to leave that there for now.
| | 06:09 | The next step we're going to do is I'm going to select
right where our anticipation starts, which is at frame 6,
| | 06:17 | hold down my Shift key, and select frame 20.
So we have all these frames selected.
| | 06:24 | Let's Copy this, Command+C, and I'm going to
skip one frame then we're landing on frame 22,
| | 06:31 | and let's go ahead and Paste this.
| | 06:35 | We just pasted all of the
keys we've just made previously.
| | 06:39 | When I play this from the beginning. I'm
going to click once to deselect everything. Okay.
| | 06:47 | That looks pretty good.
| | 06:50 | Of course we're playing rock, paper,
scissors so we need one more of this.
| | 06:54 | So it's on our clipboard so I'll skip one
frame again and on this frame, we're going
| | 07:00 | to paste all those keys again.
Let's do Command+V, Ctrl+V on PC.
| | 07:06 | Click once to deselect, and
let's look at this. All right.
| | 07:12 | Not bad, so we have that happening.
| | 07:16 | On the last one, here's
where we get interesting.
| | 07:20 | About right here, I think--and trust me
on this, if you want to animate this, and
| | 07:25 | you want to really do a good job on it,
you're going to have to practice in the mirror to
| | 07:28 | figure out exactly at what point do you
switch from the rock to the paper or scissors.
| | 07:36 | Now me, where I ended up landing was about here.
| | 07:40 | What I want to do at this point, I'm going to go
up and select our rock or our hand, pretty much.
| | 07:48 | I'm going to use my bracket keys and
move this forward twice to get scissors.
| | 07:53 | So the frame before is rock, it
comes down to scissors, and we are set.
| | 07:58 | I'm going to click to deselect
everything, and let's play this.
| | 08:06 | Now, another example of anticipation and follow-through,
imagine someone's throwing a baseball.
| | 08:11 | Their arm would have to go backward
before throwing the ball forward.
| | Collapse this transcript |
| Exploring exaggeration and overexaggeration| 00:00 | It's been said that the one thing that beginning
animators fail to do is exaggerate their animations enough.
| | 00:07 | Let me be clear.
I am in no way stating that I am immune to this.
| | 00:11 | That's what critiques from your peers are for.
| | 00:13 | Anyway, because these are cartoons, you
should stretch the boundaries of reality.
| | 00:18 | If you pop a balloon in real life, well, it
pops, but in a cartoon, it will deflate while
| | 00:25 | widely darting and swishing around the room.
| | 00:29 | For our example, we'll squash and stretch Bob's
body to create a take to express how angry he is.
| | 00:37 | We have our character Bob here and he's
got his lip-sync going. Let's play this.
| | 00:43 | (Bob: Are you kidding me?)
| | 00:48 | But you know, he seems very calm and the body
is very stiff, so let's do a few things here.
| | 00:52 | I want to add a peg layer, and
I'm going to change the name.
| | 01:00 | Let's call this Bob_Peg. I'm
going to select all of my layers.
| | 01:06 | Let's do the torso, the head, the eyes,
and the mouth shapes, not the audio.
| | 01:11 | I'm just going to drag that straight on
to my peg, and let's collapse the peg.
| | 01:19 | Let's place our playhead at the beginning.
| | 01:21 | I'm going to turn on my Animate
button and select our Transform tool.
| | 01:27 | Let's check and make sure Stop-Motion
Key Frames are turned off.
| | 01:33 | This is our pivot point for our peg.
| | 01:37 | I'm going to bring that all
the way down to the bottom here.
| | 01:40 | Let's set a keyframe at frame 1, F6.
| | 01:47 | What I want to do is I'm going to move my
playhead forward, and I think he just starts
| | 01:53 | talking at about frame 30.
| | 01:56 | I'm going to drop another keyframe here, F6.
| | 02:02 | What I want him to do, where he's saying
"Are you," he's going to kind
| | 02:08 | of squash down before doing
a kind of stretch out there.
| | 02:12 | So we're going to set a
keyframe at 45. Let's do F6.
| | 02:19 | I'll bring my pivot point down to the bottom
again, and I'm going to one, squash this down
| | 02:28 | a little bit just a little, and then two,
we're going to stretch out the sides just a little
| | 02:36 | bit, and three, I'm going to bend him backward just a
little, just kind of skew this kind of leaning back.
| | 02:54 | So, it's not a lot of movement
that I'm doing at this point.
| | 02:58 | The next thing I want to do is where he
actually says "Kidding me," that first little part
| | 03:05 | of that is about at frame 50.
I'm going to do a keyframe, F6.
| | 03:13 | This is where we're going
to get a little different.
| | 03:15 | I want to select just Bob's head,
which is the eyes and the mouth.
| | 03:24 | I'm going to move this
up and away from his body.
| | 03:29 | We're going to distort this a
little bit and make it a little larger.
| | 03:34 | I don't want to break my frame.
| | 03:41 | Then we'll grab the body, make sure the pivot
points are at the bottom here, and we're going
| | 03:47 | to shift at this direction, but I want to
give him some extra space so it's like his
| | 03:57 | head becomes detached, sort of.
Looks good.
| | 04:08 | So he's going to say "Kidding me," and about at
frame 65, I'm going to drop another keyframe here, F6.
| | 04:20 | And what is going to happen at that point is
he's going to calm back down, about 75.
| | 04:27 | What I want to do, I'm going to
simply copy the keyframe we had in frame 1.
| | 04:32 | What we're doing is copying the different
distortions, so it's not copying the animation
| | 04:38 | or what's happening with the mouth or anything.
| | 04:40 | It's just the distortion
that we're doing with the peg.
| | 04:43 | So we'll copy frame 1, and
let's go to frame 75 and Paste.
| | 04:54 | So, let's now test this.
| | 04:57 | (Bob: Are you kidding me? Are you kidding me?
Are you kidding me? Are you kidding me?)
| | 04:59 | And there you have it.
| | 05:10 | This is a pretty subtle take, but for some
really good examples of cartoon takes, watch
| | 05:16 | classic Warner Brothers cartoons
like Bugs Bunny or Daffy Duck.
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| Timing and animation| 00:00 | Let's talk about timing in animation.
In particular, easing in and easing out.
| | 00:05 | Nothing in life moves at a constant speed.
| | 00:09 | No car starts at 60 miles per hour, and
when it stops, it doesn't instantly stop.
| | 00:15 | The car gradually getting up to 60 miles
per hour in animation we'd refer to as easing
| | 00:20 | in, and the car halting to
a stop would be easing out.
| | 00:24 | We'll use the animation from the exaggeration and
over-exaggeration lesson and apply an ease out to Bob's take.
| | 00:30 | To get started, what I'd like to do first is
add a custom setting to our Timeline toolbar.
| | 00:37 | So I'm going to go to our Timeline toolbar
and simply right-click and go to Customize.
| | 00:43 | I want to scroll down, and what I'm looking for is the
tool Set Ease for Multiple Perimeters. There it is.
| | 00:56 | So I'm just going to click the arrow
and add this to my toolbar and click OK.
| | 01:03 | So now we have this tool
right at the very end, okay?
| | 01:09 | Let's go right at the end here, right as Bob
is coming back down to his resting place here.
| | 01:21 | I'm going to turn on our Onionskin
just to show you what is happening here.
| | 01:27 | As you can see, this is frame 66 and way
down here at the end, this is frame 70.
| | 01:35 | Now, each of these frames
is evenly spaced out.
| | 01:38 | Now, this is what we're talking about earlier.
| | 01:40 | Nothing in life moves at a constant pace.
So, what we're going to do is at frame 66,
| | 01:47 | Bob is going to move very quickly and then
as he gets closer to frame 76, he's going
| | 01:53 | to start slowing down.
| | 01:55 | Now, in order to do that, we're going to go and
click on our Set Ease for Multiple Perimeters.
| | 02:01 | Now, what do we mean by multiple perimeters?
| | 02:05 | Basically, we have several layers that
we're scaling, skewing, and I believe we're even
| | 02:10 | doing a little bit of rotation.
| | 02:12 | So we're actually going to
affect all of these at once.
| | 02:17 | When you look at our window here and see
our frames represented, we have frame 66, and
| | 02:22 | we also have frame 76, and we
have this straight line here.
| | 02:27 | If I pull out this tab,
we're going to get an arc, okay?
| | 02:33 | The way this works is if the arc is very
close to this line at the very beginning, it means
| | 02:41 | that all of our frames are going to be
gathered at the beginning and then as it gets closer
| | 02:48 | to 76, it's going to move off very rapidly.
| | 02:52 | So this is a very slow curve
and then it gets very quick.
| | 02:56 | So this curve represents easing in.
I want to show you what this looks like.
| | 03:01 | I'm going to click Apply.
Remember, Bob is very large at the beginning.
| | 03:06 | So if you look at this now, the majority of the
frames are at the very beginning and clustered
| | 03:11 | together, if you will, and as it gets
closer to the end, they start to space out.
| | 03:16 | So Bob would be going very slow at the
beginning and then he would speed up.
| | 03:22 | Well, actually, we want the opposite of that.
| | 03:24 | So to do that, we're going to click
and pull and change our arc this way.
| | 03:31 | We're saying at the very beginning it is very
extremely fast, and then it gets slow at the end.
| | 03:41 | We can pull this even further
down here, and we can apply this.
| | 03:50 | So we have Bob drop down suddenly and then
he gets smaller and smaller, and that's very
| | 03:58 | gradual at the end. Okay.
So I'll show you this one more time.
| | 04:03 | Let's turn our Motion off.
| | 04:05 | So, if the arc is closer at the beginning,
everything is slow and then it speeds up.
| | 04:12 | In contrast, enter the arc this way, and
it's very fast and then it slows down.
| | 04:22 | I think we're going to leave ours
about right here. Let's click Apply.
| | 04:27 | All right, and we'll say Close.
Now, let's play this.
| | 04:37 | (Bob: Are you kidding me? Are you kidding me? Are you kidding me?
Are you kidding me? Are you kidding me? Are you kidding me?)
| | 04:54 | So, if you notice, as Bob comes down,
he does that nice little settle there.
| | 05:06 | That's how we set our timing.
| | 05:07 | Adding an arc, or an ease-in or an ease-out, to
your animation can be a subtle but an extremely
| | 05:14 | effective detail,
especially in character animation.
| | Collapse this transcript |
| Moving your character based on dialogue| 00:00 | We have the bulk of our character, Bob,
already moving to the beat of dialogue, but for the most
| | 00:06 | part, Bob's face is still very well still.
| | 00:11 | Let's add in some drawing substitutions and
help liven up the conversation using Bob's eyes.
| | 00:17 | So, let's go ahead and take
a look and see where we are.
| | 00:22 | (Bob: Are you kidding me? Are you kidding me?
Are you kidding me?)
| | 00:33 | And one of the last things we did was we just finished doing
an ease out as Bob settles back into his position here.
| | 00:47 | And what I want to do now is as Bob
gets all the way up to his yelling point.
| | 01:02 | All right, what I want to do is give
Bob some different eyes, if you will.
| | 01:06 | So, I'm going to open up the peg here,
and I'm going to go to the eye layer.
| | 01:13 | What we're going to do here is we're going
to give Bob some extremely large eyes that
| | 01:19 | are traditional with doing a take.
| | 01:23 | So, on the eye layer, I want to
right-click right at this frame.
| | 01:32 | So, right where he's saying, "Kidding,"
I'm going to right-click right on this frame,
| | 01:36 | and let's go to drawings, and I'm going to
duplicate this drawing, and that way I can
| | 01:42 | go in and start manipulating some things.
| | 01:45 | I know there's a stroke on
the outside of a fill here.
| | 01:50 | So, if I actually start pulling this.
All right, I can do the same on the other.
| | 02:01 | And I think I'm going to have his
eyebrows actually come up a little bit.
| | 02:06 | Now, what's kind of funny is I'm drawing this,
but my face is literally trying to make the
| | 02:16 | expression as I'm doing this.
Not sure that helps, I've heard it does.
| | 02:25 | I just want Bob to be very extremely angry.
I'm not actually even sure what Bob's angry about.
| | 02:31 | We're just pulling and
stretching out these eyes here, and
| | 02:49 | I think one of the others things I want to do,
let's go ahead and click the eyeballs here.
| | 02:57 | I'm going to try something. Let's go ahead
and I think I'll just make these perfect little
| | 03:01 | circles, and let's go
ahead and do this a lot easier.
| | 03:06 | We'll grab our paintbrush, and we'll do this
with a nice little--undo that, Command+Z.
| | 03:14 | It's a nice little paranoid dot formulate.
| | 03:33 | And just as he's saying, "Me," I think
we'll bring these down just a little bit.
| | 03:36 | So, I'm going to duplicate this drawing again,
and now we're going to scale this just a little bit.
| | 03:49 | I'm going to bring my
period point down to the bottom.
| | 03:51 | We'll squash this down and a little
out and the same with our other eye here.
| | 04:01 | Bring the eyes down a bit, and
let's bring his eyebrows down.
| | 04:06 | So, what we're doing is we're actually
doing these drawings directly on his speech.
| | 04:20 | So now if we play this...
(Bob: Are you kidding me? Are you kidding me?
| | 04:29 | Are you kidding me? Are you kidding me? Are you kidding me?
Are you kidding me? Are you kidding me?)
| | 04:45 | Now, if we want to push this even further,
| | 04:50 | what we could do is for when he says, "Are you,"
you can just have him go into a hard blink.
| | 04:57 | I'm going to insert an empty drawing here,
and I'm going to turn on our Onionskin here
| | 05:07 | and make sure I can see the previous drawing, and
I'm just going to paint in some little arrows here.
| | 05:34 | And don't want to have to redraw our eyebrows.
So, this is a trick I want to do.
| | 05:39 | I'm going to copy the eyebrows in the previous
frame, and I'm doing this in the camera view,
| | 05:43 | let's copy, Command+C, Ctrl+C on PC.
| | 05:47 | Move ahead one frame, and this is our new
drawing, I'm going to paste this, Command+V,
| | 05:54 | and we're going to bring this down.
| | 06:01 | And then at this point, I'm going to use
my bracket keys to find the eyes that I need
| | 06:09 | right before he loses it.
(Bob: Are you kidding me?)
| | 06:18 | So now, if we play this all together...
| | 06:22 | (Bob: Are you kidding me? Are you kidding me? Are you kidding me?
Are you kidding me? Are you kidding me? Are you kidding me?
| | 06:40 | Now, the only thing I don't like, I think I want Bob's
blink or his hard wink to happen a little bit earlier.
| | 06:49 | So, let's bring it about here, and I'm
going to use my bracket keys.
| | 07:00 | All right, so now if we play this...
(Bob: Are you kidding me? Are you kidding me? Are you kidding me?)
| | 07:16 | And there we have it.
| | 07:19 | You could push the level of Bob's current
discontent by adding arms and swapping in
| | 07:24 | hands during keywords, but remember the
important thing is that you want to push the animation
| | 07:31 | and distort your images
when the animation calls for.
| | 07:35 | It's really going to push
your characters to the next level.
| | Collapse this transcript |
|
|
13. Animating the SceneCreating foregrounds and backgrounds| 00:00 | In addition to creating images in Animate
or importing them from Illustrator, you can
| | 00:04 | also import images from Photoshop.
| | 00:07 | We're going to import our background and foreground
via a multi-layered Photoshop document, but there's
| | 00:12 | a small trick in doing this.
| | 00:14 | For every layer you want in Animate, you
have to make a group folder in Photoshop.
| | 00:19 | So, we have a basic sketch
we did here in Photoshop.
| | 00:24 | We have our foreground which consists of this
little tree, some grass, and this little bush
| | 00:29 | here, and we have a background of
some little pseudo mountains and sky.
| | 00:36 | But each one of these is
just a single layered image.
| | 00:40 | Now, traditionally, you'd be thinking, "Okay.
| | 00:42 | Well, yes, I just need the layers in Photoshop."
But the trick is in order for this to show
| | 00:47 | up in Toon Boom Animate as two different
layers, you're going to have to place each one of
| | 00:53 | these layers in a group folder.
| | 00:55 | So right here at the base, you just
simply click Create New Group, and you can place
| | 01:00 | whatever you wanted in there,
even if it's just a single layer.
| | 01:04 | By the same token, if this bush, the grass
and the tree were all three separate images,
| | 01:10 | I can still place them inside the folder,
and it will just merge that one layer there.
| | 01:15 | So, I'm going to get rid of that extra group.
So, let's go ahead and get this into Animate.
| | 01:22 | All right, in Animate, we have
our character, Stick Dude Bob, here.
| | 01:27 | And if I play this animation, Bob is comfortably
walking from one side of the screen to the other.
| | 01:34 | Okay, let's bring our playhead right to the beginning,
and let's go ahead and import our Photoshop document.
| | 01:41 | Let's go to File > Import > Images, and we'll
browse, and there's my Photoshop document,
| | 01:52 | and we definitely want to create layers.
We don't want this to be a single layer.
| | 01:56 | We want both layers that we created via the
group folders in our Photoshop document to
| | 02:02 | come over into our Animate timeline.
| | 02:05 | So, I'm going to select
Create Layers Based on Filenames.
| | 02:09 | We don't want to add to the existing layer, and
we're not vectorizing this, nor are we creating symbols.
| | 02:15 | Now, if we're going to be using this over
and over, I could see creating symbols, but
| | 02:18 | this is just a quick shot we're going to
do, so we don't want a symbol from this.
| | 02:23 | As far as alignment, we're going to have
that set to fit because we actually created this
| | 02:28 | at the exact same size as our Animate document.
| | 02:32 | For transparency, we're going to set this
to straight, and that's going to give us the
| | 02:36 | same type of transparency as if we are
in a Photoshop layer. Just click OK.
| | 02:43 | Images to Load, do you want this to be a
composite image? Basically, it would flatten that.
| | 02:47 | We don't want it flat, though, so we'll say All
Layer Images and Recommended Transparency is Straight.
| | 02:53 | So, we'll click OK.
| | 02:54 | Now if we look at our timeline here,
this is only in our first frame.
| | 02:59 | So, let's zoom out of our timeline a little bit here,
and let's select the last frame here, which is 78.
| | 03:08 | On both are background and foreground layers,
let's insert frames, let's do F5. It looks good.
| | 03:14 | When we have this point, let's
take a look at our data view.
| | 03:17 | We're going to expand so we can see it.
We have our foreground and our background.
| | 03:21 | So, I'm going to click our
foreground, and let's move this above Bob.
| | 03:26 | Now, if you're looking, you're thinking, "Okay.
| | 03:29 | Well, only parts of this are in front
of Bob." Let's make one little change.
| | 03:34 | I'm going to select my Transform tool.
| | 03:37 | Now, the reason, if you notice that half of
Bob is moved in front of our foreground even
| | 03:43 | though our layers suggest otherwise.
| | 03:46 | When we created attachments for Bob, anytime
we move something in the Z space, we basically
| | 03:51 | brought that further toward our view or
further toward the camera, and that what's happened
| | 03:56 | with Bob here, and that's why
he's in front of our foreground.
| | 03:59 | So, what I'm doing at this point, I'm selecting
our foreground with our Transform tool, and
| | 04:06 | I don't want Animate on.
| | 04:07 | But what I'm going to do is move our
foreground ahead a little bit in Z space.
| | 04:12 | Hold on our Option key, Alt on PC, and I'm
going to press the Down Arrow on my keyboard once.
| | 04:17 | Okay, there's still some pieces there,
twice, still some pieces, three times, okay.
| | 04:24 | The fourth one is just for the heck of it.
| | 04:26 | And I'm going to click off of this to deselect it,
and we only see Bob hidden behind the little bush there.
| | 04:33 | So now if I play this, we
have Bob walking through our scene.
| | 04:42 | It's like a Bigfoot sighting.
| | 04:44 | And there we have our multi-
layered Photoshop document in Animate.
| | 04:49 | Just remember, create a Group folder in Photoshop for
every Photoshop layer you want to have in Animate.
| | Collapse this transcript |
| Using the True Space camera| 00:00 | Another one of Animate's
powerful tools is the trueSpace camera.
| | 00:03 | We can place elements in different layers
via Z Depth and then use a trueSpace camera
| | 00:08 | to animate through the scene, giving it
a more 3D rather than flat or 2D field.
| | 00:13 | The first thing we'll need to do is to add a
new window which is going to be a top view.
| | 00:18 | So, we go to Windows, come down, and we'll
select Top and what we see here is we have
| | 00:25 | our background, we have Bob,
and we have our foreground.
| | 00:30 | And this view right here is pretty much
showing us, looking from the top down, this thin line
| | 00:36 | right across the middle here, it
represents all three layers that we have.
| | 00:40 | By default, each layer is set as an
identical Z Depth so there's nothing really happening
| | 00:46 | if we decide to move our camera,
everything is very flat right now.
| | 00:49 | What we're going to do is going ahead and
separate these into layers as far as the Z Depth
| | 00:54 | is concerned, that way we can have a beautiful
multi-plane animation as our camera pushes through.
| | 01:00 | What I'm going to do first is I'm going to
share the top view along with our color view.
| | 01:04 | So, I'm going to simply going to click on
the top tab here and drag it straight on top
| | 01:09 | of our color view tab, and now it's split.
| | 01:14 | In addition to that, let's go ahead
and grab our Advanced Animation toolbar.
| | 01:18 | I'm going to drag it over here, so I can
use this right along with our top view.
| | 01:25 | And I'm going to select this
button here which is Maintain Size.
| | 01:28 | So, when we decide to move things back and
forth in our Z space, it's actually going to
| | 01:33 | stay the same size so it doesn't
look like it's distorting or scaling.
| | 01:36 | So, I'm going to first click, on our left
side if I click right here, I'm selecting
| | 01:41 | our background and then I'm going to come into the top
here, and I'm going to click and push this backward.
| | 01:47 | I'm going to now select our foreground. I'm
not going to mess with Bob. I'm just going
| | 01:51 | to bring our foreground a
little more to the foreground.
| | 01:55 | And so now, what I've done is
created several different layers.
| | 02:00 | I have our background
which is pushed way back here.
| | 02:02 | I think I'm going to bring the
foreground a little bit closer.
| | 02:06 | So, right now nothing is really too
different. Everything looks pretty good.
| | 02:13 | What I do want to do next is add a camera.
| | 02:15 | So, I'm going to come down to my timeline,
and we'll add a camera and in order to make
| | 02:21 | this camera move, we're going
to have to attach it to a peg.
| | 02:24 | So, while the camera is selected, we're
going to come up here, and let's attach a peg and
| | 02:30 | just go ahead and collapse our
camera view there, our camera peg.
| | 02:35 | And I'm going to turn on our Animate
button and select our Transform tool.
| | 02:41 | I'm going to insert a keyframe at
the very first frame here. Let's do F6.
| | 02:46 | We're going to move our play
head all the way to the end.
| | 02:49 | What I'm going to do next is come down here
and select where our camera is in our view.
| | 02:54 | We're going to click and the push forward.
Not much, just enough.
| | 03:02 | And if we look down in our timeline, we
now have a nice motion tween happening.
| | 03:08 | And I'm going to go back to frame 1,
and let's play this to see what happens.
| | 03:22 | As you may notice, as we start moving ahead,
our bush here is actually showing like it's
| | 03:27 | really in the foreground as it starts moving separately
than where the background is. Same with the tree.
| | 03:37 | And we can take this even
further, let's go about halfway.
| | 03:42 | And we can move our camera, we don't want
to actually cut off our tree, we actually
| | 03:46 | only have a little bit there.
| | 03:49 | And we'll do something different with our
animation to make sure our Animate is still on.
| | 04:00 | And there you have it.
| | 04:01 | A way to push this even further would be to
add more layers as well as animate the camera's
| | 04:06 | path using ease ins and ease outs as well
as maybe even turning or rotating the camera.
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| Saving your character as a template| 00:00 | Imagine you've spent the time creating
Stick Dude Bob for a scene in Animate.
| | 00:04 | But you like to use him for other scenes as
well or send him to a client, friend, or studio.
| | 00:09 | We'll need to make him a template.
| | 00:11 | So to get started with this, the first
thing I want to do is go to my Library view.
| | 00:15 | We have symbols, and we
also have the Animate Library.
| | 00:18 | What I want to do is right-click on the
Animate Library and select Right to Modify.
| | 00:24 | The next thing we're going to do is we have
Bob here, and I'm going to select Bob in the
| | 00:30 | very first frame of all of his
layers, and I want to insert a keyframe.
| | 00:35 | Simply press F6, and I'm going to expand
all of our hierarchies here just to make sure
| | 00:42 | that each one of these has a keyframe.
| | 00:46 | Now if you look at the Camera view, you'll
notice that some of Bob's parts, like the
| | 00:51 | arms and part of the
legs are highlighted in red.
| | 00:54 | It simply means that these are symbols.
| | 00:56 | Now, if this is a symbol, you're going
to need to go to your Symbols Library.
| | 01:01 | Double-click on each symbol to take you into
its editing mode and select both glares here
| | 01:08 | and insert a keyframe as well, F6.
| | 01:13 | Now it's very possible you do not
have symbols for your character.
| | 01:16 | You can actually build a
character that is nothing but drawings.
| | 01:19 | We had a lot of symbols with Stick Dude Bob
here because we used what's referred to as
| | 01:24 | patches to cover up where the seams are
in Bob's different joints. Let's do F6.
| | 01:33 | So each one of these symbols we're going in,
selecting both layers, pressing F6, and here is the last one.
| | 01:52 | We'll go back to our Top view, and
I'll collapse all of my hierarchies.
| | 02:02 | I want to make sure that the Animate Library
is viewable, and I will select all of my layers
| | 02:09 | and what I want to do next is
I can do one of two things.
| | 02:13 | I can pull this directly into the library
as is, or I can come here--I'm going to add
| | 02:18 | a peg, and I'll simply
call the peg stick_dude_bob.
| | 02:28 | We'll take all of our pieces and drag it
directly on to the peg, and now I'll simply click
| | 02:35 | and drag this peg to our Animate Library.
| | 02:41 | It's asking for a name, and
I will give the same name.
| | 02:43 | I'll just call it Stick Dude Bob,
and that's .tpl for template.
| | 02:48 | So let's click OK, and
we now have our template.
| | 02:52 | So, for example, if we decided to delete this
layer, we could go to my Animate Library and
| | 02:59 | drag Stick Dude Bob straight to our
timeline, and we have a working template.
| | 03:06 | In addition to this, you can save Bob's
walk cycle or even full scenes as templates.
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| Exporting the scene| 00:00 | Once you're ready to export your movie,
Animate has several options to choose from.
| | 00:04 | But for this tutorial, I will go over the
two settings I use the most, SWF and MOV.
| | 00:10 | Let's go to File, and we'll come down to
Export, and there are several options here.
| | 00:16 | There are images, so you can actually export
your movie as a PNG sequence or GIF or
| | 00:23 | even a series of JPEGs.
There is Movie, or MOV, Flash video, and SWF.
| | 00:29 | So let's take a look at Movie.
| | 00:32 | The first setting here is actually saying this
is where you're going to save out your movie.
| | 00:37 | So, you're going to browse and
pick the area you want to save it.
| | 00:43 | I'm going to give it a name, but we're
going to come back to the naming in a minute.
| | 00:48 | I want to show you
something that's very important.
| | 00:50 | So I'm just going to call this walking.
| | 00:52 | The export range, now you can select all
of your movie or perhaps you actually have a
| | 00:57 | longer movie, and you just need
to take a look at a section of it.
| | 01:02 | So you could come in here and say, well,
maybe I just need frames 1 to 24.
| | 01:08 | It would just export those frames.
Movie options, I'm going to click here.
| | 01:15 | Now, I usually do not bother any of these
settings, but if you're going to--I'm going
| | 01:20 | to click on settings, and I'll
show you exactly what to change--
| | 01:22 | make sure your keyframes are set to Automatic,
and you want to make sure the Compressor is
| | 01:29 | Millions of Colors and the
Quality is set to Best, so click on OK.
| | 01:37 | For the sound, we'll click on the settings here.
| | 01:40 | Leave the Compression at None, for the Rate,
you want to do 44.1 and make it 16-bit Stereo,
| | 01:47 | that's CD quality, so we'll click OK.
| | 01:51 | I usually do not select Prepare for Internet
Streaming, and the reason is the compression
| | 01:57 | of animation and then uncompressed sound
is going to make a very large file, and that
| | 02:02 | file is not meant for being played on
the Internet, say like on Vimeo or YouTube.
| | 02:09 | Now when I do want to take my animations and
place them on a site like YouTube or Vimeo,
| | 02:14 | what I usually do is export from Animate
using this format and then use a third-party video
| | 02:20 | software to get the
settings that I want for YouTube.
| | 02:24 | So I'm getting ready to click OK, but this
is very important, you need to pay attention
| | 02:29 | to this one little hiccup.
| | 02:30 | I'm going to click OK, and we go back to the output,
and you know what? It turned my movie and title.
| | 02:36 | I had already given this a title, and
that's the one thing you have to watch out for.
| | 02:42 | So we'll call this
Walking again, and I'll say OK.
| | 02:45 | Now it's exporting my movie.
| | 02:49 | The next option I'm going to show you,
let's go to File and export in SWF.
| | 02:56 | This is perhaps the file that I use the most.
| | 03:00 | I typically will export an SWF format to send
work sometimes to client, but I like to send
| | 03:08 | the SWF to a program like
Adobe Premiere or After Effects.
| | 03:13 | It allows me to use the animation with a
transparent background, and it's a really nice quality.
| | 03:19 | There is a drawback, though. When you import
the SWF into Premiere or After Effects, it
| | 03:24 | does not bring the sound with
it, so just be aware of that.
| | 03:29 | At this point we can go
ahead and give it a name.
| | 03:31 | We're just going to call this Walking.
| | 03:33 | We also have the Export Range, so you can
choose how many frames you want to export.
| | 03:38 | The option of frame rate, this is something
I do play around with sometimes if I think,
| | 03:42 | well, maybe the movie could run faster,
what's going to happen at that point?
| | 03:47 | So I can change the frame rate
here and just try it out.
| | 03:50 | JPEG quality, if you're not using JPEGs in
your movie, it's not something you need to
| | 03:55 | worry about, but for instance in this
particular movie, we do have JPEGs, so I would leave
| | 04:01 | it at 80 or if you're really
concerned, bump it up to about 100.
| | 04:06 | Protect from Import and Compress Movie, these
two options are pretty much--if you're going
| | 04:12 | to be playing your SWF or
placing your SWF online.
| | 04:16 | There are ways of importing an SWF and
deciphering how you put together files.
| | 04:22 | So you can set this up and do your Protect
from Import, so it cannot be imported into
| | 04:26 | a program like Flash or even Toon Boom Animate.
| | 04:30 | Compressing the movie is also
something that happens with the Internet.
| | 04:33 | It gives a much smaller file size, but
neither one of these are things I usually select.
| | 04:39 | Disabled Effects, this is for more advance
things if you would add in shadows and transparencies
| | 04:45 | or some of the filters.
| | 04:47 | You can actually turn those off and export
without it because it does add to the file size.
| | 04:52 | So once we're done with this, I'll
click on OK, and it exported out my SWF.
| | 04:59 | Both in Movie and SWF
default settings tend to work best.
| | 05:02 | So just export, and you can take your movies
on to the next step in your production pipeline.
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ConclusionWhat's next?| 00:00 | Hey, congratulations. You've made it through
Animating Characters in Toon Boom Animate.
| | 00:05 | I just want to thank you for watching, and I wanted to
share with you some of my favorite Toon Boom resources.
| | 00:12 | First and foremost, you should check out toonboon.com,
and you can get a lot of information from
| | 00:17 | there as well as their full
portfolio of animation software.
| | 00:22 | There are online tutorials
as well as different forums.
| | 00:27 | You could even submit your works in progress
and get critiques from other people in the field.
| | 00:32 | Another good resource, you should check
out the Toon Boom Channel on YouTube.
| | 00:38 | One of my favorite places to go is bitey.com,
and if you go there just click on the academy
| | 00:46 | and go under Toon Boom.
| | 00:48 | This is by Adam Philips, and he
is an incredible effects animator.
| | 00:52 | You can learn things like
rain, fire, running water.
| | 00:57 | There is a lot to learn.
| | 00:58 | He actually has an online
academy you can sign up for.
| | 01:01 | So this has been Tony Ross for lynda.com.
Thanks again, and have a good one.
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