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Adding finesse to the head turn


Flash Professional CS5: Character Animation

with Dermot O' Connor

Video: Adding finesse to the head turn

Adding finesse to the head turn provides you with in-depth training on 3D + Animation. Taught by Dermot O' Connor as part of the Flash Professional CS5: Character Animation
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  1. 3m 25s
    1. Welcome
      1m 9s
    2. Using the exercise files
    3. Prerequisites
      1m 37s
  2. 34m 58s
    1. Creating Flash-friendly character design
      4m 57s
    2. Animation rendering: SWF or AVI
      2m 24s
    3. Understanding line tool drawbacks when animating
      7m 7s
    4. Using uniform project scales in Flash
      3m 40s
    5. Finding helpful extensions for Flash
      2m 46s
    6. Using commands and keyboard shortcuts
      9m 53s
    7. Setting up your workspaces
      4m 11s
  3. 1h 35m
    1. Understanding character rigging
      2m 0s
    2. Exploring underlying structure in character rigging
      4m 27s
    3. Vectorizing the character body
      6m 22s
    4. Outlining colors in an animated character
      6m 15s
    5. Vectorizing the hands
      6m 43s
    6. Vectorizing the head
      4m 47s
    7. Outlining the head
      8m 20s
    8. Adding finishing touches with hair
      2m 11s
    9. Colorizing the character head
      7m 28s
    10. Colorizing the body
      5m 33s
    11. Applying gradients
      6m 18s
    12. Symbolizing and pivoting the body parts
      10m 47s
    13. Pivoting the head
      4m 42s
    14. Rigging the mouth
      10m 49s
    15. Rigging the eye
      8m 33s
  4. 52m 22s
    1. Tween types: Shape vs. motion
      5m 41s
    2. Combining motion and shape tweening
      4m 31s
    3. Animating an eye blink using shape tweening
      10m 2s
    4. Rigging a mouth in Flash for dialogue and expressions
      5m 30s
    5. Creating a D mouth
      12m 29s
    6. Creating an F mouth
      6m 58s
    7. Getting the polished look
      7m 11s
  5. 1h 2m
    1. Overview of the head turn
      2m 13s
    2. Preparing the rig
      8m 15s
    3. Posing the rig
      7m 17s
    4. Animating the head movement
      11m 5s
    5. Animating the body movement
      12m 9s
    6. Animating the head turn
      11m 28s
    7. Adding finesse to the head turn
      9m 34s
  6. 2h 44m
    1. Introducing the walk
      1m 5s
    2. Creating a profile view
      8m 30s
    3. Creating the head in profile
      10m 10s
    4. Creating the hand
      6m 57s
    5. Creating hand symbols
      8m 32s
    6. Reviewing the walk
      3m 6s
    7. Prepping the walk
      8m 33s
    8. Setting up the contact poses
      6m 45s
    9. Creating secondary contact poses
      9m 38s
    10. Finishing up the contact poses
      6m 48s
    11. Creating the passing poses
      9m 39s
    12. Finishing the passing pose
      5m 56s
    13. Animating the recoil position
      10m 9s
    14. Animating the high point of the walk
      9m 24s
    15. Adding in-betweens
      8m 31s
    16. Rigging the shoes
      8m 27s
    17. Animating the shoes
      11m 58s
    18. Animating the character's head movements
      8m 29s
    19. Fine-tuning the animation
      9m 0s
    20. Nesting the hand symbols
      8m 39s
    21. Repositioning the walk
      4m 11s
  7. 1h 32m
    1. Introducing the walk in place
      1m 30s
    2. Setting up contact poses
      10m 4s
    3. Creating the passing poses
      7m 14s
    4. Creating the recoil positions
      8m 11s
    5. Animating the head's high point
      4m 9s
    6. Tweening the legs
      5m 11s
    7. Tweening the arms
      10m 27s
    8. Setting the placement of the foot
      9m 9s
    9. Animating the shoes
      7m 52s
    10. Animating the hair
      6m 9s
    11. Creating secondary hand actions
      8m 48s
    12. Animating the torso
      6m 27s
    13. Repositioning the walk
      7m 17s
  8. 54m 9s
    1. Understanding dialogue
    2. Using the A-F system of six set mouth shapes
      4m 23s
    3. Animating dialogue using the mouth rig
      14m 30s
    4. Integrating the dialogue with the head turn
      5m 35s
    5. Animating the jaw
      6m 59s
    6. Creating an angry dialogue mouth
      7m 43s
    7. Finishing the angry dialogue mouth
      6m 38s
    8. Integrating acting techniques
      1m 51s
    9. Tips on facial expressions
      5m 41s
  9. 36s
    1. Goodbye

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Adding finesse to the head turn
Video Duration: 9m 34s9h 19m Intermediate Nov 17, 2010

Viewers: in countries Watching now:

Adding finesse to the head turn provides you with in-depth training on 3D + Animation. Taught by Dermot O' Connor as part of the Flash Professional CS5: Character Animation

View Course Description

In Flash Professional CS5: Character Animation, Dermot O' Connor explains the process of character animation in Flash, using nested symbols and motion and shape tweening to create believable characters. The course covers the process from start to finish, from rigging a character to creating a walk cycle animation. Along the way, Dermot demonstrates techniques such as animating eye blinks, head turns, and mouth movements during dialogue. Exercise files accompany the course.

Topics include:
  • Rendering in SWF or AVI
  • Creating vectors for the the character body
  • Coloring the body
  • Rigging a mouth in Flash
  • Posing the rig
  • Animating head and body movement
  • Creating hands
  • Understanding facial expressions
  • Making the contact poses
  • Creating passing poses
  • Animating in-betweens
3D + Animation Web
Flash Professional
Dermot O' Connor

Adding finesse to the head turn

Let's get started and we're going to finish this head turn. So if you go into your exercise folder, Chapter 4 - head turn, and it's file number 07. And let's double-click on our guy on the stage and let's get rid of those thumbnails. I don't want to look at them anymore. So we're going to add some finesse to the head turn. So let's look at what we've got. So first thing that comes out, the character starts to look from left to right. He really should blink on the down point, so let's do that. That's an easy one to add.

So don't forget we have the little nose at the top. That will help us position the blink. I'll double-click on the eye. Now as you can see we already have the blink in there, just on the wrong frame. So let's grab this, hold down the Alt+ Opt key, just drag the entire blink over by one frame, and let go. And then we can just drag this over to where you'd like the closed eye to be. And I like to get rid of the tween at the beginning. I don't need that in there.

This is our blink for open, close, to open, so that should work. That should repeat that on the other eye, same process. So here we go, and that'll look even better in context on the outer clip. Great! Other things we can do just to help to fine-tune this is add a little bit of tilt information to the head,. So for example, in this down position and actually here is a good point. We can push this a little more, just a bit more, not too crazy.

Let's un-padlock all these, and the same thing on this one. Trying to make that transition as smooth as we can. That's the tricky one. But it's moving into this down- tilted the head position to this one. So let's click on that head and I'm going to use frameEDIT in, and that's -- remember that is kind of moving down a bit. So let's move some of his body parts down and his face parts.

You'll be surprised by how subtle the overall effect will be and hopefully it'll help save this from the awful Flash-y effect that we're just snapping the head from one side to the other. Don't forget, these eyebrows can be shape tweened, and the more we can push them the better. People I think don't really expect to see aggressive shape tweening on this kind of animation. And don't forget, this point here it's actually the forehead. That's where the joint happens to the eyebrow, so that will really be important.

That looks great, so there we go. I'm going to skew this a little bit, and can't really go too crazy with it, but there we go. So try to stay on model. That's your big problem here. Keeping these characters on model. So push them as far as you can, without making them look like somebody else. Bringing this hair down. It's kind of important too. Or selling this drop. As you can see now this ghastly gap has been opened up. Working with this hair mask as a symbol, I think it's going to cause us problems.

So what I am going to do is break it apart and shape tween it instead. So let's hide that here so we can see the issue that we've got to worry about. So I'm going to break the first one apart, and that's Ctrl+B. As you can see it's gone live now. Same there. Now we see these little black dots. That's Flash saying, "Oops, something wrong." So let's remove the tween. That making a shape tween and then there is a solid arrow, so we're good. So the down position for the upper hair will be more like this.

So let's pull this down and let's go into outline, so we can grab our points a little more effectively. See if that works. That is beautiful, look at that. Let's see the same for the other side. And again the familiar black dots, so remove that bad tween and insert a shape tween, and then we bring that down, join that point.

Make sure these two are snapped together. And let's go solid on that again and make that solid again. And often, too, wiggly is happening. That's nice, so let's check the first part of that. That's much better, pop to here. So the same thing here, very important this one too. That's the head tilted down. And I'm using again the Shift and the Arrow keys.

It looks almost funky, but you often could be amazed when you see how difficult it is to notice how broad this motion is on the outer symbol. Let me bring the chin in a little bit, and again don't forget this point here is connecting to the eyebrow. Make sure that works. The in-between is great. Nice! Okay, it looks like a huge forward here. Let's get rid of that. So we'll go to outline on this upper one, and we also break apart this symbol and this symbol.

They're both correct. And the others too, here and here. Let's remove that bad tween and make it a shape tween. So on that down position here, I'm going to actually take the forelock and pull this one down quite a bit. Again, see how much we think we can cheat, lock that again, and then let's start pulling the hairline. And now I want to go into outline to select this point here.

Oops, let's take Snap off. It's being unruley again. Okay, see if that works, great. No need to shape tween anything. That's always a bonus. So now we are going to go into the outer turn. Great! There is one last little detail we can add. I think that will help. We're going onto a down position on the head here, snapped to here and up. But on here I'm going to actually push this up pose a little more. You can see from here to here it's not really changing very much, so I'm going to take that head, just tilt it a little bit.

Free Transform, it's great little tool. frameEDIT into this. This should be our up point and that will be the tilt that we want to face to be up. So that's keyframe, because our end position, this is really our end position. So let's go into here. I'm going to tilt up. Mostly the near eye, I think maybe. Everything you do to help sell the range of motion. I'm going to bring that nose up a bit. And oops, I've locked that forelock and I'm going to push that up as well. Again Free Transforming all the way, and let's bring those eyebrows up on the inside.

And also this line here join to there. And make sure everything is shape tweening. This is the one where you might have problems, but no. I'm getting tired of using keys through this Insert, so as you saw in the earlier class we created our own tweens and you can continue to use these if you prefer. But I'm going to use these commands, which I have mapped to the numeric keypad, so let's do that. That's tween out 50, shape tween, motion tween and shape tween. As you can see this is faster.

Let's see what that looks like. Now it's especially going to slow and we're really starting to feel that. One final detail, is I really want people to notice those eyebrows. This is the high point of the eyebrows. Let's see if we can just yank them up a little. Nice! Giving a little change of expression, just a little reaction like, oh, what's that? That's great.

And you can push this further. Don't by any stretch think this is as far as you can go with this, and I'd advise you to play with it and see how far you can take it, but that's as far as I can take it, time permitting. In the next chapter we'll take these very same principles and we're going to apply them to a walk cycle. I'll show you how to do that in Chapter 5.

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