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In this course, author Dermot O' Connor introduces a variety of real-world issues that animators commonly encounter and offers practical solutions to them in Flash. The course covers how to apply gradients to create subtle texture and light characters, reducing the flat look of most cartoons; how to simulate natural phenomenon such as wind, fire, and clouds; how to mimic 3D space; and how to add fades and transitions to create custom cuts between scenes. The course also includes a look at staggers, which can be used to create camera shake, tremor effects, and extreme character reactions.
Okay, so we are back again and we are going to finish the walk cycle. So I'm just going to double-click, go back into the walk, and now we start adding the passing position. So the reason why we got the tweens to make everything work was to allow Flash to calculate the positions of the feet on the guidelines. We will make some changes, but obviously we need to make this a little different. So let's hit F6 on this passing position; insert a new keyframe, and the hints are basically calling on the wrong positions.
So the first thing we need to do is just reposition the animation first, before I apply the hints. So what's going to happen here is that back foot, that's this one here, that's going to be lifting off the ground as it moves forward, so let's do that first. Okay, so now let's activate our hints again. Modify>Shape>Add Shape Hint, and it adds a fifth hint that we don't need, so let's remove that. And we will scrub through to the next key, and just reapply these fellows.
Now we can see it's starting to look a little better. We need to add hints to the second step, because when we made F6 here it called the hints to this keyframe, whereas they used to be on the contact position. So let's go back to here, and I am going to add four more hints on the passing position. Scrub through to the second contact and put them down there.
And what you are going to see is the hints from the previous keyframe, from passing to contact being overlaid over contact to the next contact. So it can be confusing, but that is just a part of the process that we have to endure I am afraid. So now we have at least the foot working. So I'm going to actually leave that for now, and make the same process happen on the second passing position. Hit F6 on the second passing position, same thing has happened here. That will temporarily break our nice tweening, but what we need to do is figure out where we need the foot that's lifting off the ground, and I believe it's this one here.
So let's lift that first. And yet another reminder: if you get something working the way you like, save these files very often. So obviously the hints are completely in the wrong positions, so let's pull them in now. There we go; actually there are now no hints between these two frames, which is kind of nice. Occasionally you will get lucky with some of this. So we need to obviously push these passing positions a little bit. The passing pose tends to be a little higher than the contacts, so we need to lift this part of the body higher.
So let's hide the hints for now. And not by a lot, but just enough to give it a little bit more attitude here. And I am going to push his chest out, watching the volume so we don't make them too big, and that hasn't broken any of the tweening. Same thing here; you can usually make big changes on the passing position, but for a first scene, if this is your first scene, I wouldn't go too crazy. Keep it reasonably functional for now, but you can later on, if you get braver, make some pretty huge alterations. Any alterations you make to the passing position that are really substantial, if you do something like this, for example; you know, you can get away with them.
I like that, so you know what, I am going to do that here too. Make him a little cocky; nice. Okay, so the next thing that we do; we will go into the recoil, and we will have to squash him on this. You can see immediately some of our tweens are beginning to break down here; I am not going to worry about that immediately, but I want to first build the squash. So I am just going to select everything and pull it down. Watch to make sure that that foot, this one here, is still on that little orange line. And this is like more of a squashing of the leg underneath the body, and to look at the original, that's what we are kind of trying to emulate or give the impression of. And I am going to pull the shoulders down just a little bit more; see if this works. Seems to.
So now let's fix those hints again. I hit Control+Shift+H; creates a fifth hint that's not needed. Remove that, and I'm going to scrub through, and you can see obviously these little guys keep moving around, so you keep pulling them in. That might seem like, why on earth are we doing this moving hints around? It is a nuisance, but look how cool this is when you get it to work. So they're basically little temporary placeholders that constantly change position. I would love it if they would lock themselves onto these points and never move, but sadly Flash doesn't do that, so we have to work around that.
Anyway, let's go to the second recoil, hit F6, and same thing here. I am going to just select the whole thing; Q, Free Transform, pull this down, and maybe squash the -- as best as we can with four vertices and four lines. It's nice working within these constraints sometimes, because it really focuses your mind on just personality of this object. So now that that's done let's see if it matches the other one. So I am just going to go back to the other recoil. See, this one is a little higher than that; you want them to match reasonably well. So I am going to pull him down a bit more.
See if it's a little closer. That's much better; that's a nicer transition. So now I'll go in, and Control+Shift+H to make a fifth unnecessary hint; remove that. And go to this next one, and once again, let's pull everything back in. So it's broken this transition here. So I am going to make some new hints to protect that. I will remind you again, be sure you save your project. If you fix the passings the way you like; save, save, save again.
Now, we are starting to really see a walk. And one last little touch, the highpoint. F6 that, and this is the highpoint. So pull them up. Maybe we can stretch them a little bit. I am going to fix those hints, and I am also going to pull that foot up. See if we can get away with that. And maybe bring it forward a little bit.
That's nice. And the other one, F6 this, pull them up, lift that up. Don't change this one. The whole of point of doing this is, do not mess with the feet that are contacting the ground; Flash has calculated the positions of those better than a human can. So now let's play that through.
That's looking really nice. And what's giving it that ping effect that you're feeling: that's the little chest pump that I put into the passing positions. If you want to get that to work then do it on the passing. If you do that once the recoil and the high points are set, you probably will see movements aren't as smooth as you would like. The reason why this is feeling so smooth is that a lot of tweening has been done by the computer, and that's a very difficult thing to get right by hand. I find sometimes, I will do these walks, and it's easier, if I want to make a drastic change, just delete the recoil, delete the highpoint, and redo the passing if you want to make those big changes. Then redo the recoil and the highpoint after Flash has calculated all of the little bits and pieces that have to be filled in.
So that's it. And on the outer, as you can see, this is simple enough. All I did here was create the -- well I'll do it again. I'll just copy this; paste it. Control+Shift+V to paste in place. And the only thing you really need to watch out for if you're making -- let's say now we will make a classic tween. And the only thing to watch out for when you start positioning this across the screen is the foot placement. If you place it too far, he seems to be skating on ice. The feet are sliding too far forward. If I put them too close, he seems to be moonwalking. He is barely moving forward at all.
So there is kind of a magic distance for every walk, depending on the spacing of the feet. That's not too far away. So as you can see, that's what I have already worked out here on the bottom layer. It could be improved; there is some stuff that's still happening there. It's really only a matter of going in, and finding the ideal distance so that that doesn't happen. And I would say this one it's probably a little bit further down to her. And sometimes when I position these, what I will do is unguide the Guide layer so that I can see the guides, and then I can make sure that my actual angle is being consistent across the screen as well.
And when I am happy with it, I can go in, and guide them back out again. So never delete your guide layers. They are always handy to have in case you ever have to go back and make changes. So that's it. We have made a magic carpet walk across the screen.
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