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Bring a cast of characters to life. By following the basics principles of animation, you can build characters that interact naturally with their environments, convey realistic emotion, and talk and walk convincingly. In this course, Dermot O' Connor shows how to design a solid character and stage and storyboard your animation before you begin. He'll examine principles like anticipation and squash and stretch, which provide characters with a sense of weight and flexibility, and show you how to animate walk cycles and dialogue. Finally, learn how to thumbnail scenes from start to finish, so you can sketch out the action before you commit to fully rendering it.
These lessons are designed with Flash in mind, but work just as well with any other 2D animation program.
In the previous section, I showed you how to take a simple line of dialogue and how to analyze it for the accents, the most dramatic points in the line. So, let's see how that applies to an actual scene. I've taken that kind of dialogue and animated it. >> This is way too much for me. >> It's a very simple rig. Basic as they come, and as you can see. >> This is way too much for me. >> It's fairly believable. >> This is way too much for me. >> We don't even have eyes or a mouth. >> This is way too much for me. >> So let's go into the symbol and see how it's put together, how I approached it.
Now again, the, the point of me showing you this isn't to demonstrate one way of doing it. It's to show a process And for you to, I think if your own process is based on what software systems you use. So here's the audio track and here are the words and I laid out the words on the timeline so that they're all marked out so I can find my way through the timeline. Beneath these, remember we have the accents and dialogue and this showed me that I need major key actions in the animation at these points. I knew I had at least four key frames to add after the very stark pose.
Five in total. So, let's see. We have the first key frame here, with his strange little bent knees. Second key frame, marked out at an x, corresponding to the down point of is. And the next major key frame is the major accent. This is the big one. That's on the way. And then the next is the down one corresponding with much. That's here. And then we have the final key frame marked there and then a little bit of a settle. And this key frame really is for nothing more than to soften the motion of the hand there so it doesn't look too floppy.
Let me hide the accent graph cause I think that's obvious now. >> This is way too much for me. This is way too much for me. >> So as you can see This is way too much for me. They both work hand and glove. Now I'm not saying that you should slavishly follow each up and down of the accent plot. But when you see a very big one, especially something like this is way, that's the biggest accent in the line. Not corresponding to that would be very strange. You can even flatten these out. I'm also advising against reading too much detail into the accents.
Keep it really simple. You want to keep your phrasing no too complex, or it can look very choppy. So, here we have, like a set, five keys over about two seconds. And that's about right. >> This is way too much for me. What this demonstrates is that body animation is every bit as important, if not more important, than the mouth animation in the dialogue scene. So when you read the accents correctly and apply the accents to your character's animation, it can result in a truly convincing performance.
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