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Animating the shoes


Flash Professional CS5: Character Animation

with Dermot O' Connor

Video: Animating the shoes

So we've animated our character and the major step is to correct the shoes, so that they twist and flex as the feet touch and leave the ground. So let's do that. So we open file number 8. Click in the symbol. And let's pick one of the two feet. So we'll try this one first. So hide the other, so we can concentrate on this. We can focus a little better.
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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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Watch the Online Video Course 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
3D + Animation Web
Flash Professional
Dermot O' Connor

Animating the shoes

So we've animated our character and the major step is to correct the shoes, so that they twist and flex as the feet touch and leave the ground. So let's do that. So we open file number 8. Click in the symbol. And let's pick one of the two feet. So we'll try this one first. So hide the other, so we can concentrate on this. We can focus a little better.

The foot contacts the ground. We'll continue to see little matching issues. If the pants don't quite fit the foot placement and go ahead and correct that. Very easy to do. If the anamoly happens on say frame 9, be sure you tunnel in and make your changes on the inner frame 9. Okay, little bit of a tweening ledge there, but we'll fix that later.

Okay, so what you are seeing now is that foot should begin to bend and that'll reach to its maximum bend on the contact frame. That's when it's going to twist and turn up. So let's move into that frame and set a keyframe and let's set an out keyframe here, back to its normal position. So the bending begins to happen on the passing position, so let me show you the reference image. So the foot to follow up the dark shaded foot here, it's perfectly straight. It impacts the ground, holds there flat on the passing position, begins to bend just slightly on the high point, reaches its maximum bend on the contact, and then we're off the ground on the recoil.

So what we're going to do is begin this foot bending, the shoe twisting on the passing pose, and it'll peak on the contact and then it'll snap back into its normal position on the recoil. So let's go into this shoe symbol. So it'll start here, maximum bend here, and then back to normal somewhere in here. So let's just make all this a shape tween, and what I want to do is find the pose that we want to work as reference is this one.

This is the contact pose of maximum twist. So let's work on the sole level. And then we have to change the lower leg area to better match this and see how far we can push the shoe and check back and forth. The tweening is looking really good, lock that, and let's work with the other blue. The bulk of the shoe area is this brown section. So let's push that up inside the foot, making sure Snap is on so all your points join properly.

I don't think we can really push the geometry too far this direction. I think the foot will start gaining too much volume or too much mass, so let's just do it to here for now. And that's now are very stable. No reason to do shape tweens at the moment, and then the other level is the front of the shoe and if we're feeling fancy, we might just squash that just a little bit. Okay, so this is the animation that we're looking at on the outer layer. So let's zoom out so we can get a better look at it.

So I think we can correct some of the mismatches by pulling the leg back in a bit and then may be altering the shoe as well slightly. It's a little more contained movement and it's tweening okay. Okay, let's zoom out again. Make sure that that's reasonably stable looking. Okay, not too bad. Now as you can see the foot has planted and I want to make sure that it's following along this line, that it's not dipping below this line.

It seems to be a little bit of slippage south. I'm not sure if it's an illusion caused by the guidelines. I'll go in a little closer and let's go frame by frame. Let's go and make sure that these are -- the corner of the foot is closely aligned to that. Do not under any circumstances intend to move the foot left or right because that will really mess the position of pan when we begin to move the walk cycle across the screen.

Okay, I think that's all right. That's pretty good. So now we can repeat this process for the other foot. The next thing you want to do is copy the frames under Edit > Timeline > Copy Frames or Ctrl+Alt+C and then Alt+V. So let's do that. Go into the other foot, I have to find that place have maximum twist on that, which is our frame number one contact position. So let's make a keyframe with the other position here and I'm going to paste those frames in.

This creates sometimes a second dot here. Let's get rid of that. Now let's check our contact pose. It's good. And don't forget we have to apply the same thing to the final frame because this is a cycle. Frame 1 and frame 33 have to have the same graphic and then we need to tween from our second passing position, which is here.

Let's tunnel into that, keyframe these, add a shape tween, here is our second tilt, and that is -- the shoe now properly animated. So now I'm going to actually hide the guides. We can hide the sample screen. So that's all the outstanding large-scale movements. Other thing I want to test is to make sure that the start and the stop are identical.

There are no little motions or glitches in there. That's very important. There are still things that we can play with. That I think we'll buy us a little more entertainment value. So in the next section I am going to show you how to push and pull some of these shapes to just to give it a little extra. And we also probably should add a very quick little drag on the hair. That will be little different from what we did in the walk on the previous chapter, simply because to look at the difference in the movement with the head.

He is dipping and moving backwards and then up and down. We still have a couple of things to do and also a bit more drag. I think we're going to push some of the animation on the hands and give it a bit more swing and I'll show you some of the fun things that you can do and really start squeezing some more tricks out of this nested animation method. So that's it. Hope to see you in the next one.

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