New Feature: Playlist Center! Pick a topic and let our playlists guide the way.

Start learning with our library of video tutorials taught by experts. Get started

Flash Professional CS5: Character Animation
Illustration by

Animating the high point of the walk


From:

Flash Professional CS5: Character Animation

with Dermot O' Connor

Video: Animating the high point of the walk

So now comes the final of our four walk cycle poses. That's the high-point, pretty self-descriptive. So let's go in and add the high-point to the walk. So again, a reminder, we have our contact, recoil, passing poses done. So the character is in the recoil position, smacks into the ground, begins to move through, recovers from this, goes into their highest position where their body is at maximum stretch, and then they move back into the contact, then it repeats. So depending on how high we make the high- point, it's like the opposite of the low point.
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

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
please wait ...
Flash Professional CS5: Character Animation
9h 19m Intermediate Nov 17, 2010

Viewers: in countries Watching now:

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
Subjects:
3D + Animation Web Animation Character Animation
Software:
Flash Professional
Author:
Dermot O' Connor

Animating the high point of the walk

So now comes the final of our four walk cycle poses. That's the high-point, pretty self-descriptive. So let's go in and add the high-point to the walk. So again, a reminder, we have our contact, recoil, passing poses done. So the character is in the recoil position, smacks into the ground, begins to move through, recovers from this, goes into their highest position where their body is at maximum stretch, and then they move back into the contact, then it repeats. So depending on how high we make the high- point, it's like the opposite of the low point.

This is how we control the weights of the character, how light footed they are. So let's do that. I think the easiest way is just let's make a keyframe stack, F6, and draw our bounding box around the upper body. I'll repeat from the last one. Make sure that your Contact-sensitive Selection is off and Object-level Undo is on. So let's select these, pull them around, just make sure that you grab them all. Undo.

And now let's just click the arrow and pull it up, by a bit. Not by too much. I'm going to use 1, 2, 3, 4, maybe 5 clicks of the numerical arrow key. Maybe bring the head up a little, just to give it a bit of a joint feel. And we can actually probably bring the legs up too, 1, 2, 3, 4, 5, 1, 2, 3, 4, 5. And it's good to keep a mental tally of the number of clicks. It helps to line things up if you are going to push them around like that. Now you can see already. You see it's not doing it here, so the first step has a bouncier feel to it.

So as you can see, of course we have some issues with the positions of joining the legs with the feet. Again, look at our reference material to see what we're shooting for. So the thing to bear in mind about the high-point is that we have a lot of flexibility with the position of the foot. It's floating in the air, so there is a huge amount of choices as potential positions that we can use for the foot. So we're not limited to this position by any means. We can play with it. So let's have a look. I'm going to take a look at this high-point. So let's push that foot off for a moment and see what's happening.

So we can actually slide this leg around. If we wanted to layer it slightly differently, we could bring it right up. We could do really crazy things with it. So I am going to try to be reasonably conservative and just pull it out to here. Don't forget, we're going to have access to the inner position as well, so all this will be shape tweened. So let's just do something a little maybe bolder with it. Now we apply the foot. So we can do that for example. Make it a bit more dainty.

What I'm going to do now is activate shape tweening, so that we can see this thing properly tweened. I haven't bothered now, because I've been more worried about just getting the thing positioned at the main points. And you can see here there is a little bit of a point here that's going to need some shape hints. So the first part of this is working great. Let's look at that first. And we're just looking at his physical right leg right now and here it breaks. At this point we have to have shape tweening. So let's use the frameEdit in or the question mark key.

So before we add shape hints, let's say this. Save your project and go Modify > Shape > Add Shape Hint, and let's pick another high corner up here and now we'll use the scrub through. It's a little bit better. Let's add another one, Ctrl+ Shift+H. Already more stable. We'll add another. Just add a couple more. We'll tie this one down. Oh, that one broke it, so I'm just going to put this one here instead.

This is the point where I've found that the program can be a little weird and it can crash, so that's why we saved it. It's possible that you create a shape that Flash just can't tween, so it's response is to crash, but as long as you backup your previous version, you're safe. So that's good now. Well worth the effort. So there we go. That's a pretty cool looking step. Good! So now that's our high-point and we need to make a couple of more little tweaks.

This leg, we can make that reach this foot by a couple of means. We could stretch it up. But bear in mind, look at the foot. We're actually going to bend the foot. So to reach this point here, the foot is beginning to peel off the ground. To work it back into the contact pose, and we're going to do that as well, this foot here is going to be slightly different shape. So I am going to leave that for now. We'll move ahead and deal with the rest of the parts first. I'm going to come back and deal with that last. Let's undo that little move. It's going to line up with the feet, the hands.

Let's go into Outline, because I want to make sure that the left hand is moving properly. That's this guy. Seems to be enough. I think we can pull it down a bit. Notice as well that the left hand and the left limbs are moving opposite to one another. So as the right moves forward, the right arm goes back, and as the left leg moves forward, the left arm moves back.

So that's our character, pretty much posed. We still have to go in and fix some of these inner shapes, but for now this is sufficient. So now I want to create the opposite of that shape, and again, we'll make a placeholder here. I'm going to copy the first high pose position, Ctrl+Shift, and paste it to the temporary layer, and then move this over. And this will be our positional guide, so that both high-points look as close to one another as we can get. Now we can make our keys here, F6, bounding box around the upper body.

Actually I'm going to include the legs as well, take that photo. Good! Now I'll just use the arrow key to roughly line up to the height I want, maybe Free Transform to tilt the head back a little, match the other. And the other thing that's important to match is the position of the foot. That should be the same. Not so much the physical position as the angle. Move them off to one side or here, but definitely the angle details should be as close as possible. And we want to make sure that the foot is on the right line.

We have one line for the left foot, one line for the right foot. Very easy for these to slip. So the one closest to us is green and the one farthest away is blue and that seems to be solid enough. So that's good. And then the other thing would be to position the leg. So I'm moving the left leg to match the one opposite, and I think that should be fine. So let's get rid of this now. Delete that layer. I was a bit premature. I'm going to put that back in for a second. I want to check for the hands as well. There we go.

Now we can get rid of it. So we have the same issue with this foot. This foot should be peeling off to join this back leg, but there's some internal issues here. So let's make a keyframe there and we will just bend the lower trouser leg or the lower leg to match that. And go to Outline for a second. I want to make sure that the arms are all properly aligned. Close enough. We're not in the game yet of being completely accurate. This just needs to get close.

So if we look at each key by itself for a moment, don't worry so much about the in-between frames, and check all the poses are solid, nothing is drifted, or not worrying about this just yet. And that's good. Our recoil pose is good. A little gap there, easy to fix. Passing pose is solid. High-point is good. That's good! And if you want to be very thorough, just check recoil against recoil. Close enough, not too far away. The passing pose to the second passing pose. Make sure they're at the same height.

The same general pose, even though they're on opposite sides. The high-point to the high-point. Fantastic! So let's save this. We call it 13. So with the file saved, it's time to move on and the next step will involve shape tweening the legs and the inner timelines of the legs and the arms to make sure that they're not popping, which is what we're seeing right now, so that way all the keys and all the in- between frames will be smooth.

There are currently no FAQs about Flash Professional CS5: Character Animation.

 
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

join now Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Flash Professional CS5: Character Animation.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.