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Bring a cast of characters to life. By following the basics principles of animation, you can build characters that interact naturally with their environments, convey realistic emotion, and talk and walk convincingly. In this course, Dermot O' Connor shows how to design a solid character and stage and storyboard your animation before you begin. He'll examine principles like anticipation and squash and stretch, which provide characters with a sense of weight and flexibility, and show you how to animate walk cycles and dialogue. Finally, learn how to thumbnail scenes from start to finish, so you can sketch out the action before you commit to fully rendering it.
These lessons are designed with Flash in mind, but work just as well with any other 2D animation program.
Now I'm going to show you how to put key animation actions on your breakdowns to really take the animation to the next level. So here we have two copies of the original dialogue scene from chapter eight. This is way too much for me. This is way too much for me. So what we're going to do is work inside this duplicate. And we're going to add some of these extra movements. So, let's just hide everything except the armature, and we'll play the, actually, leave the dialogue off. So, now we can see him move, and you'll notice that we have these accents marked out, and the animation corresponds with the accents and that's why they seemed placed so nicely.
But there is an issue here. And that is that all of the body movements are keen on exactly the same frame. So we go from this, to this, to this, to this. The hands, the wrists, everything. They're all hitting their extremes on these keys. And that's simply not the way the real world works. Different things overlap and they oppose one another, and they hit their keys on slightly different points. We can use these breakdown frames to control some of this action, so for, let me show you an example, a simple one. From the first frame to the second frame, he's moving down, and everything else is pretty much moving down.
This wrist here is moving up, so let's play with this a little bit. So let's for example, take this wrist here. As he moves down, the risk will be leading the action so it makes sense. But maybe this one here might overlap, or oppose I mean, so maybe it will move up in the opposite direction to counter. And actually maybe it might just fare out slightly just to oppose in the other direction as well. That's looking better. It's very subtle. But these are the kind of subtleties that will really help to improve the scene. Now let's look at the next one, which is a much more dramatic example.
We're going from this pose, to this one. Now there's very little I would dare to do on the body, of course, that's been driven by the structure of the knees. But certainly we can probably add some business to the hands, so again let's look where they're coming from. The right hand here, his physical right hand is moving this way, so maybe we can keep that moving on that arc pattern. We don't want it to stick however, so we'll just pull it out, if it feels like it's too close. And I'm going to pull this one in just slightly, as well. Okay? And now we'll do something of the opposite on this frame.
And I'm going to pull the upper arms in. So we're doing something interesting between going from pose A to pose B. We're adding some extra personality. It's looking better already, huh? Now we already have a breakdown here which I did to fix glitchy action on that arm, so let's add something else here, too. Maybe we can break this limb just a little bit. And one final little touch and we'll keep this very subtle and we'll just slightly move that arm. There we go. He feels a lot looser already, a lot more life-like.
So, let's look at the original scene, on the left. >> This is way too much for me. This is way too much for me. >> Now, it can be hard to look at both of these side by side, so let's go through frame by frame, and we'll see a much richer range of motion, especially when we get into this pose here. This is a really nice touch, when the, the arms are in at the side. He really feels like he's pleading a little bit. And one more time. >> This is way too much for me. >> So this process of adding these little extra touches between your major key movements, they will really help to separate your scene from the pack.
So, always keep this in mind when you make your final pass over your animation.
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