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Animating the hair

From: Flash Professional CS5: Character Animation

Video: Animating the hair

So we've animated our walk in place. So it's time to add some secondary actions to the hair. So let's open our file in Exercise Files, Chapter 6. Let's double-click on the stage. We could also double-click in the library on the bd walk symbol. Let's have a little look at it again. As you can see here it's a much broader action than the walk that we did in Chapter 5 and that's going to create some different requirements for the secondary action on this forelock of hair. So let's go in and have look at that.

Animating the hair

So we've animated our walk in place. So it's time to add some secondary actions to the hair. So let's open our file in Exercise Files, Chapter 6. Let's double-click on the stage. We could also double-click in the library on the bd walk symbol. Let's have a little look at it again. As you can see here it's a much broader action than the walk that we did in Chapter 5 and that's going to create some different requirements for the secondary action on this forelock of hair. So let's go in and have look at that.

So we're going to animate keyframes for this layer here. So, all of these positions are going to have some sort of motion on them to react to the broader up and down bouncing up the walk cycles. So let's just switch that whole thing onto a classic tweening and now using our Back and Forward keys we'll move through the timeline. So as you can see from the contact pose to the recoil pose, I would expect the hair to drag. Let's go in a bit and again move to the recoil position.

We've moved in on frame 5. So when you tunnel in, make sure that you are on frame 5 and a reminder again, use the frameEdit shortcut that way when you move into any given frame, you'll be on the correct internal number. You'll match. Otherwise things will seem to pop if you work on the wrong keyframe. So again I'm going to frameEdit in and I'm going to drag this hair. Let's skew it and maybe rotate it. There's an issue when you begin to animate it.

It'll expose issues or potential problems with the rig, so I'm going to go into this symbol here where we have a little gap in the hairline. That's not good. We can probably correct that here and that's an issue that's not going to go away. So I'm going to fix that, maybe pull the hairline up a little bit. That way the hair will have a little more flexibility and motion. Let me bring this down, again making sure that you're on the profile version of the hair. That's the second frame in the head symbol, okay.

So now we can even maybe pull the hair up a little more, whatever we think that we can get away with. Let's move into the next key and now the character is moving up and backwards so we can go with the default. I'm going to push that a bit more. Let's pull it out, really try to accentuate a drag on the hair. So let's see what that looks like again in context. So we want to make sure that this point on the hair has been pulled. It's pointing in the direction that it still wants to be in and now we go into the up position and again some pretty heavy drag here.

So let's pull it down. Let's see what that looks like when we zoom out. Good. So it should be noticeable. You could flap it all over the place if you think it's going to be a fluffy very lightweight hair. You could also make it stiffer. It depends upon the kind of texture of the character's hair or whatever the fabric is as to how far you push it, but in this case I think we're somewhere in the middle. We could go in and add a few more little touches, just increase the squash and stretch. Watch your volume.

You don't want to go in like that. Very, very easy to gain volume when you start doing this. So I'm just going to check. It's a little too big, so let's thin it out a bit. And push him a little more. Okay, so it's happening on the first part of the step. So let's go in and copy those frames, the recoil, passing, and highpoint because they're the same on both. Holding down the Alt or Option key, let's drag to the second part of the step.

Now we have a loose piece of hair. And we can do other little thing. For example, let's do the same thing for this back area, which we did on the previous walk cycle and select that again. First of all I think as we did there too we can break this symbol apart, Ctrl+B, and now it's an object that we can shape tween. I think we'd have to shape tween this. It would be very difficult to do any meaningful animation with that symbol if it was a motion tween. So let's look at it in context again, with the neck and the body.

So now we can imagine the same process here, a big flair at the back. This is going to be a much more subtle range of motion and I just noticed a little issue here with the neck. So not again, the character is pulling a back a bit, so again on this frame, using the frameEdit in keyboard shortcut. That's good. And we can use this if we had a different design. We could help to make this wrap.

If it was a tighter haircut. We could help to align the hair to the back of the neck much more tightly, if we wanted a continuous line here. So this technique can be used in a couple of different ways, but here I'm just doing it to help the hair feel like it's not a stiff symbol. Let's go back in here and I wanted the same thing I did in the previous one, these three frames. I'll copy from the recoil, passing, and highpoint pose to the second one and let's see if that works. Great! So we have done the hair.

It's nice and loose now and it's reacting to the walk and now we have to do the same thing with the hands. You can see that the hands are a little stiff. They should move a little more, especially with a fast walk like this. So we'll save this and we'll move onto the next session where we will give the hands a little more articulation.

Show transcript

This video is part of

Image for Flash Professional CS5: Character Animation
Flash Professional CS5: Character Animation

83 video lessons · 21226 viewers

Dermot O' Connor
Author

 
Expand all | Collapse all
  1. 3m 25s
    1. Welcome
      1m 9s
    2. Using the exercise files
      39s
    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
      49s
    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
      36s

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