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Flash Professional CS5: Character Animation

Animating the recoil position


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Flash Professional CS5: Character Animation

with Dermot O' Connor
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  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

Video: Animating the recoil position

So we have our contact positions and our passing positions all laid out. So it's time to continue to the recoil position. So go into our Chapter 5 Exercise Files and open file number 11, and let's tunnel into our symbol. Let's take a little peep again at the sample image. So here we have our contact position, our passing positions, and our contact positions, they are all done. So the recoil is next. That's where the character actually impacts into the ground and this will give us the feel of weight and of mass. So how far we push this will give the character's weight a greater amount.

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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 recoil position

So we have our contact positions and our passing positions all laid out. So it's time to continue to the recoil position. So go into our Chapter 5 Exercise Files and open file number 11, and let's tunnel into our symbol. Let's take a little peep again at the sample image. So here we have our contact position, our passing positions, and our contact positions, they are all done. So the recoil is next. That's where the character actually impacts into the ground and this will give us the feel of weight and of mass. So how far we push this will give the character's weight a greater amount.

As a less extreme recoil position, he will feel a bit lighter. Just bear in mind that this foot is going to be flat on the ground and this rear foot will be completely off of the ground and ultimately in the final version, this rear foot will actually be slightly curved and right now it's slicing through the ground layer. We are not going to worry about that just yet. So let's hide this preview. Center our character. A couple of things that are worth saying more than once. Go into your Preference panel and make sure the Contact- sensitive Selection and Lasso tools is off and that you are on Object-level undo, not Document-level Undo.

This will actually control your undo's to the symbol you're working on, and that's much easier to follow the undo's. And contact-sensitive means that it will only select an object if you are completely surrounded with your selection area. Whereas the other way, you'll select that just by doing that and that's too sensitive. It's hyper sensitive. So let's start adding in our recoil position. So I am going to draw an F6 to make a keyframe. Now the next step will be to select the upper body, just a big box around all the upper body layers.

Sometimes you can miss levels so that they don't get selected properly, so I also like to just drag everything. Move the down arrow, five or six clicks, maybe one more. Now let's pretty quickly test this. You see, he seems to float from the second step from here on. He doesn't have a recoil yet, but here, boom! We are already seeing a bit of a bounce. Sso I am actually going to push this a little bit further, a couple more clicks.

But further down you go, the more weight he has, but the more difficult it can be to make these legs line up. So bear that in mind. You have to balance that out. The other thing to remember about the recoil -- let's look at this position here. I am going to put a sample image back on. The recoil is the point of maximum impact and the arms being swinging, they are more prone to reacting to that, so they'll flare out slightly on the impact. So let's go into the arms and from the contact to the recoil, I am going to actually push them out a little bit further from the body.

Much harder to do this with a nice angle on the rear arm so we'll just concentrate more on the leading arm. And we will change the bend of the arm later now, but for now I'm more concerned about the position of the hand and seeing how much we can get away with. This might be too much, but it's good also sometimes to over animate these things and then pull them in, to under animate them. Okay. And you might want to tilt the head a bit down on the recoil, because it's shocking a little bit. Now I can feel it.

So let's go in here and I am going to fine-tune the legs. I am using the Shift and the numeric arrow keys for these big crude movements just to get us into a rough position. We can use the regular keys after that. So let's look at this in outline. Okay. So also it's good to have your sample image up here. To give you an idea about what the legs are going to do... So for example, we are going from the contact pose, this, into the recoil.

So look at the recoil leading leg, the left leg. It's actually going to be bending at the knee, so rather than trying to deform the entire leg, I am just going to tween the lower leg on the internal symbol. So make sure again we are on the right frame. We are on frame 5 of the outer timeline. I'm going to also on frame 5 of the leg symbol. So when we go into the leg. Be sure that we are working on frame 5 of the leg. Let's go in closer, let's go into outline, and let's see if we can put a better outline color on this to make it easier to see.

Try not to change the direction of the upper part of the limbs. Just work on the lower part. That's flexible a bit. And then we will do something similar for the right leg. I'm looking at something where the leg is reasonably down. It will bend at the knee. So I am going to move the leg forward a little bit, and use frameEdit, our favorite third party extension from toonmonkey.com. Always remember make a new keyframe or you will be changing the wrong keyframe. That will cause problems. So pull this up, and you can bend this too.

We will do more work, actually changing some of these curves a little later on. Okay. Now to give you a foretaste of what we are really going to be doing at the final stage of this, I am going to go into this symbol and activate shape tweening, and you can see it's working. That's nice and have look at what the final result is as we are looking at this leg here. Let's do with the other one, and that's moving. It's not getting jittery or anything.

So no need for shape hints at least for this case. So that's going to be the technique. We have a shape tween inner comp doing this action in place, which when it's on the outer symbol, this motion tween to line up with the foot. So we can still do things with the float like position it, move it, we can still control or skew to affect the outer symbol, but we do have the shape tween in our form, which is taking care of all the joints. So that's that.

I think we are okay there. Now we need to do the second recoil. So I am going to do a familiar process, I am going to copy all of these, Ctrl+C, Paste them over here, turn them in to an outline. This is a temporary level. It's just here as a guide to give us an idea. Switch off the background and that will give us an idea of the pose that we have to copy, because we want both recoils on each side to be pretty much the same. The arms will be in opposite positions, but we want the upper body and the rest of the poses to be as similar as possible.

So let's draw a box around the upper layers and again just test that we have selected everything. Pull it down a bit. There we go, and I would still use the reference layer for our positions for our hands. Let's see. It's easier if you just pull these completely free. I want to make sure we are working on the correct arms. On the original, the right arm, is out and to the up and so we want this arm to do the same thing on the opposite side. So I want to match it as close as we can.

Again, it doesn't have to be exact. It can be slightly off centered or at a different angle. As long as the pose is the same and the height is close enough. And the same thing with the feet. Let's zoom in on that. I am going to pull these legs apart. Make sure that the foot is on the right line. So we are going to outline mode.

The green is the right side and that's nearer to us. And the green should be a bit lower here. That's right. So let's pull that in. We will keep this reference layer for now. It's still good for helping to position the legs. Let's go and rotate it, so again, most of our work will be on the inner symbol. frameEdit in, and don't forget. Make the keyframe here. Done.

And let's position the leg, frameEdit again. Make a keyframe. If you add anything new in here, add a keyframe first. Okay, so now we can delete that. We will find all these shapes later on. This is a blocking pass. This is still in the process of making sure everything is basically correct, fine tuning can happen and all this is sorted and clean. Okay, we are still seeing the pops, but those are happening where the pipe points would be on the next part of the course.

So I am going to go through it a bit more slowly. It's good. That's good. We are all connected, good. Same here, same there, and there. So let's save this, and then in the next episode we will move on and we will add the final of the four keys, to high point.

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