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Adding detail to the C mouth

From: Rigging a Face in Flash Professional

Video: Adding detail to the C mouth

So I am just going to make some finishing touches to our profile mouth, the mt C symbols. If you're not in it already, click on the head to enter into the hd 1 turnaround symbol, or double-click on the Library, go to the C position. And you notice that we have our new profile mouth, which we did in the previous movie, and it needs to be patched, because right now we are seeing air gaps where there really should be the flesh of the upper lip and the lower lip pursing to match the mouth.

Adding detail to the C mouth

So I am just going to make some finishing touches to our profile mouth, the mt C symbols. If you're not in it already, click on the head to enter into the hd 1 turnaround symbol, or double-click on the Library, go to the C position. And you notice that we have our new profile mouth, which we did in the previous movie, and it needs to be patched, because right now we are seeing air gaps where there really should be the flesh of the upper lip and the lower lip pursing to match the mouth.

How we do this is a bit of a clever cheat. We need to have the jaw area which we like to have the jaw on the outer head timeline. But for the dialog purposes it's certainly nice if we have a jaw just to handle the dialog functionality. So let's select to select the jaw area-- it should be covered in lots of little dots to show that it's active--and let's put it into outline so we can kind of position it more carefully. And now we'll double-click on the mouth symbol, and we are going to make a new layer at the very bottom called jaw, and for now we are just going to guide it out because for the moment the primary jaw will be the one for the turnaround, but whenever you want to snap to a profile dialog scene you would guide out the jaw layer on the external timeline and guide in this jaw layer so that it will cover and patch your dialog needs.

So let's put some keyframes here at the beginning and the end, and Ctrl+V just paste it in, don't worry too much about where, put it into outline and then just drag it until it matches the original, and we should be able to find a point here where we can use the arrow keys to really get it very, very close. Make sure that north, south, east and west all line up as best as you can, and that's pretty good, excellent.

So now that we've done that it's just easier if we work directly in the mouth C symbol, so let's just double-click on that in the Library panel, and we need to make some modifications to this. So what I am going to do is hide everything except I think the mask area might be the, maybe not, let's try the mouth inner, see what that looks like. No I need the entire mask area, there we go. So I want to see this in outline better, so I'm going to make the Outline color black for that, and I think if I padlock that that goes away, it becomes invisible, that's kind of annoying.

So what I'm going to do is make a temporary layer above the jaw and just copy these there. Hold down Alt/Option and drag, makes it a mask, we don't need another mask layer, so right-click on that, and we'll just call this uppercase TEMP, so we know it's just junk we want to get rid of when we're done. and then we can put the mask layer back to be white, hide that, and now we can padlock that, keep it in outline color, and now when we start on this jaw layer, let's have a look first at our point geometry and see where all of our points are, because we're going to start adding some more to it.

So hit the Subselection tool, or A, on the keyboard and what we are going to do is add two little points in here and cut the slice out of the jaw, sounds painful, but it won't be for us. So let's select the Line tool and working on the jaw layer. I am just going to draw right through it, and be sure we Snap to Objects right at the end, and now we can switch it off, actually keep it on and match that corner exactly, that will be the cleaner way of doing it. And now that I look at this again I think I probably should have tried harder to match this, so let me undo that, switch Snap off.

I'm going to draw very carefully here to make sure that these lines are inside the orange area, and now we can put Snap back on. Once we have this point lined up when all of this done, let's do a bit of cleanup and Snap can go away now. Let's look at it in color, see what we're dealing with, and we can hide the TEMP layer for a moment. If we click on this and delete it and click on the lines and delete it, what we've done is cut this shape in the jaw, and this will work to patch the area that is currently opening.

So now the thing to do is to match this as best as we can to the TEMP. So I am going to make the TEMP outline black, so it really stands out, and we're working in this new jaw layer, let's just match this gap, let's zoom out so we can see it. So there is our gap, and once again copy that to the end, Alt/Option and drag, and make another F6 here for a new keyframe. Let's zoom out so we can see it better, look ah! Okay, now that you have the second mouth done, let's activate shape tweening in here so we can test this, as you can see, the jaw is now traveling really, really nicely with the mask area in the black outline.

So let's make another copy of this frame for the ooh mouth and move in, and I am going to put Snapping on, so we can get at least these points here to match closely to the edge of the mouth, and then I think we can switch it off after that. And again let's pull these points into something really obvious, so that we can exactly see where we want them to go and then we make them more refined and subtle after that. And Snap on to get the corner of the mouth back to here and then the rest is again refining these points.

You'll see me occasionally move the entire thing by mistake, that's a sensitivity glitch in Flash, and that's just something that you have to develop patience with to deal with and workaround. Okay, so that's looking really solid. I think we can delete the TEMP layer now. I am going to padlock everything, and let's zoom out a little bit and have a look. There is a slight area of trouble to watch for here. I'm not going to fix that it's a masking issue with one of these layers, and it's just something that you'll play with to move some of the curves one side or the other, maybe thicken the lips to give them a more generous area of travel so that they don't have to conflict like that, but it's a fairly straightforward thing to repair.

I'm going to make the E mouth now just hit F6, and then drag that to there as we've done many times already. The C mouth will be this, drag it under the C label. The B mouth will be much more closed so we keyframe these and drag them under the B label, and now you have your first profile AF tweened dialog scene, and the jaw is working really, really well, I think. Let's get it back in frame, looks pretty cool.

Now you have to do the very same thing for the remainder, so what that means is copy these frames for the mad, the sad, and the neutral. And pull the corners of the mouth down to create the angry mouth for the mad/sad and make it neutral as we did in the previous chapters, and you have these as rough reference, as a general idea about what you need to do there. You will also have to add in the jaw layer, of course, and if you're feeling really brave then you can take on the profile versions of the jubilant, the furious, and the puzzled.

Right now we're really approaching a really good level of functionality for our rig.

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This video is part of

Image for Rigging a Face in Flash Professional
Rigging a Face in Flash Professional

44 video lessons · 6205 viewers

Dermot O' Connor
Author

 
Expand all | Collapse all
  1. 14m 16s
    1. Introduction
      42s
    2. What you should know
      2m 0s
    3. Setting up Flash
      8m 35s
    4. Dos and don'ts
      2m 59s
  2. 59m 26s
    1. Establishing the directions
      7m 9s
    2. Setting up layers for the head
      6m 58s
    3. Drawing the head
      19m 2s
    4. Creating the mouth
      11m 27s
    5. Drawing the eyes
      4m 31s
    6. Animating the eye blink
      10m 19s
  3. 48m 0s
    1. Creating happy mouth dialogue shapes, part one
      10m 24s
    2. Creating happy mouth dialogue shapes, part two
      7m 43s
    3. Creating mad or sad mouth dialogue shapes
      10m 7s
    4. Creating neutral mouth dialogue shapes
      7m 36s
    5. Building unique mouth shapes
      12m 10s
  4. 29m 27s
    1. Creating jubilant expressions
      11m 47s
    2. Creating furious expressions
      6m 4s
    3. Fine-tuning expressions
      11m 36s
  5. 1h 9m
    1. Clock rotation demonstration
      2m 23s
    2. Creating the twelve-o'clock pose
      9m 2s
    3. Creating the six-o'clock pose
      5m 19s
    4. Creating the three-o'clock pose
      10m 16s
    5. Creating the nine-o'clock pose
      9m 35s
    6. Creating the remaining poses
      13m 17s
    7. Fine-tuning the head rotation
      11m 54s
    8. Fixing layering issues
      7m 42s
  6. 2h 10m
    1. Introducing the turnaround
      2m 55s
    2. Creating the B head (3-quarter)
      6m 45s
    3. Creating the C head (profile)
      8m 51s
    4. Creating the D head (3-quarter rear)
      13m 2s
    5. Creating the E head (rear)
      8m 59s
    6. In-betweening symbols manually
      9m 58s
    7. Creating the H head
      6m 41s
    8. Creating the G head
      11m 33s
    9. Creating the F head
      19m 18s
    10. Creating the B mouth (3-quarter)
      13m 41s
    11. Creating the C mouth (profile)
      14m 33s
    12. Adding detail to the C mouth
      7m 42s
    13. Creating other mouths
      6m 28s
  7. 54m 24s
    1. Putting together a head rotation
      14m 29s
    2. Moving frames between symbols to make a rotation
      10m 23s
    3. Using the rig with audio
      14m 59s
    4. Adding expressions to the animation
      14m 33s
  8. 1m 0s
    1. Goodbye
      1m 0s

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