Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Creating jubilant expressions

From: Rigging a Face in Flash Professional

Video: Creating jubilant expressions

Moving on from the previous chapter where we did a lot of work on the mouth, and where we created all these dialog actions and custom mouth shapes, now it's time to turn to face and to see how we can adjust the face to match those mouths so that they all work together in synchronicity. So I've done a little a bit of housecleaning in the library just to clean things up, because as the project grows, you have to, obviously, keep on top of your symbols and how they're named and so forth. So what I have done, I took the mouth symbol, which is previously called mouth, and renamed with space mt A. The reason why I put a space in at the beginning is so that all of these symbols go on top of the folders where I store all the reference images and all the secondary symbols. And I put the head symbols at the top, as well as the mouth symbols, because I regard the mouth symbols as almost as important as the head, and I don't want them getting lost inside the hd Folder. If I was doing a body, I would call it bd, and I'd put the body bits in there. So here are the other symbols for the different parts of the head, the nose, teeth, et cetera, and the mouth.

Creating jubilant expressions

Moving on from the previous chapter where we did a lot of work on the mouth, and where we created all these dialog actions and custom mouth shapes, now it's time to turn to face and to see how we can adjust the face to match those mouths so that they all work together in synchronicity. So I've done a little a bit of housecleaning in the library just to clean things up, because as the project grows, you have to, obviously, keep on top of your symbols and how they're named and so forth. So what I have done, I took the mouth symbol, which is previously called mouth, and renamed with space mt A. The reason why I put a space in at the beginning is so that all of these symbols go on top of the folders where I store all the reference images and all the secondary symbols. And I put the head symbols at the top, as well as the mouth symbols, because I regard the mouth symbols as almost as important as the head, and I don't want them getting lost inside the hd Folder. If I was doing a body, I would call it bd, and I'd put the body bits in there. So here are the other symbols for the different parts of the head, the nose, teeth, et cetera, and the mouth.

I call it mt A because A of course is the front view, the portrait view. And I've taken the hd 1 turnaround symbol. I duplicated it, so we right-clicked and duplicated, and created the hd 2 Facial acting scene, and this is the scene in which the symbol in which we will create all of the facial work. So lets double-click on that. And what I've done is I went inside the mouth symbol, took the emotions label level, copied those frames, and then pasted those frames inside the hd 2 Facial acting scene. And if you scrub along, you'll see that here we have labels that will help us time and synchronized the mouth with these.

So that's pretty much where we are. On top of that, if you scroll down to the bottom--let's collapse the head folder for a second and hide that. And at the very bottom level, I've put some reference images, and what we have--let me zoom out, so you can see all of these pretty much in full. We have the jubilant face, the furious face. As you can see, I've pushed the expression on the eyebrows so you can see a good strong contrast from one to the other. So okay, let's open up the head folder . And as you can see, too, we kind of having to scroll up and down at lot, and I really don't like doing that, so let's adjust our workspace back to the, I think the Vertical will work much better than this. And I am going to move it forward just a little bit and try to squeeze these so that we get as much real estate as we can. And we're going to be working almost entirely within--well, entirely within this area here. You can see beneath the head as I scrub through, the reference images are flickering through. So let's click on the mouth and get that mouth in the Properties panel to play once. And you can see that the timing matches one to one. You'll see it more clearly if I hide all the layers except the mouth, and if we see the reference beneath.

Okay, so the next step is to set up keyframes on the head level, so select these and hit F6. And pretty much not everything, but most of these layers are going to be animating, in particular the eyebrows, the nose, and let's look at the face by itself again, or the reference I mean. So the jaw certainly will be moving; the mouth will be moving, or motion tweening; the nose would be moving; but maybe lot of these won't, so let's just go through one at a time. We need the jaw. Let's make that, I believe he is a Shape Tween, the mouth, the Motion Tween, Classic Tween that is. You will see the eyeball will Shape Tween. The pupil will Motion Tween. The eyelid will Classic Tween. When I say Motion Tween I mean Classic Motion Tween, which comes up as Create Classic Tween. The brow will Shape Tween, and whether or not it Shapes or Motions, if its a symbol, it will Motion Tween. If it's a shape, it will Shape Tween. And you can tell by something click on it. If you can see a blue outline, it's a Motion Tween. And I think the nose as well, the nose will also, so let's set that up. Okay, so once again, lets switch things off and let's work with just the things that we need to work with. So the first thing, well the big one, I guess, the jaw. And you might find out that the outline color is a little washed out.

So let's change it. You're not stuck with what I've got here. Let's use a slightly darker one, and we will try to get the jaw as close as we can to that shape, so I am going to use the Free Transform tool rather than just pushing and pulling points from it from the get-go. There is also a Distortion tool. Let's see if it will allow us to use that. So I'm clicking Distort in the toolbar. As you can see, I'm changing the actual shape, not just scaling or skewing. And again, go back. And I'm seeing some artifacts here, so it's possible that some rogue points have been added. I believe they have. There, and let's compare it to the first one. We should only have five points and somewhere along the line we've been given extra ones. So let's get rid of them. Let's hide the reference layer for now and let's put to snap it back on. Usually you can get rid of this by doing this. So I'm going to use Selection tool again. It's also possible to delete these by doing this, but the problem I found with doing that is sometimes it can cause issues. I am going to try it now and see if it works. We are still having a problem here. So what I will do to get this to work is copy that and paste it into an empty keyframe directly above the original. And I am going to do what I kind of tried to avoid during the first time around, and I'm just simply going to directly pull the points. Sometimes one method will work; sometimes another method will work, so in this case I'm going to give up on one and try another. So let's take that keyframe and drag it down, right-click, and reselect Shape Tween, and let's see if this works, and this one does. Again, this is like using any approach that will work. There isn't going to be one that works for you all the time, but there's a sufficient number of different methods and workarounds that I think you can probably do many, many things you can think could be impossible. So let's select the reference layer back on and look at the mouth. And the beauty of the mouth, because it's nested as a symbol, you could really push this. You could you rotate it and move it into all kinds of wonderful positions. But right now we'll keep it where it is. And we have the--let's see. Let's do the brows; they're kind of fun. So I will activate the left brow and the right brow. Let's grab them and move them close to where they want to be. And again, let's pull the points without kind of crossing over the lines and messing everything up. Let's switch the Snap to Objects off for finer control here. And again, once you make a few changes, be sure to do a test. Well, this is where I like to activate the tweens before I begin to work, because I can actually test the health of the tweening process as I'm working. If you were ever a traditional animator, this is more like flipping paper than computer animation. Okay, that's, the eyebrows are nice. Let's do--anytime, too, I tie something down that like, I padlock it, and it's a nice way of seeing your progress as well: done, done and done. The next thing will be I think the nose. Let's look at an outline and compare.

Maybe we can push it up just a little bit, padlock that, and I think the lower lip down here. Well, that's inside the mouth symbol; I don't need to worry about that. So the next thing would be the eyes. And we have three layers that constitute the right eye for example. Now for this, I like to just switch off the pupil. And it's very important, I can't stress enough, that you move the invisible eyelid which contains the eye blink and the ball together. Don't let them drift apart, because they are designed to work as a pair. If I double-click it to go inside the eye blink, we have this guy. Let's go back out again.

We got lost here, easy to do. Let's go back into the library, double-click on the facial acting symbol. So like I was saying--and let's just look forward to the point that we were at--we want these two to go together. So if you have padlocked everything around them, you can just simply select them with a vertical click, and you know that all you have got to worry about now are those two. So when you adjust these, when you play with these, then any operation that you perform on it has to happen equally to both; otherwise, the eye blinks will slide out and you will see areas of white above and below the eyelid level. And you really, really don't want to have that happen. So by doing it like this, the eye blink is distorted to match perfectly with the eyeball area. And the pupil is a separate thing. Don't operate on that because you want to keep that nice and round; just move it by itself. Once done, lock them. Now repeat the identical process for the right.

Again I also like to do this in outline. And if you draw a bounding box to select them, just be sure that everything else is padlocked. If you have another layer that's not padlocked, you can often accidentally select the background skin color. And probably safest way to select these will be just by a little vertical line on the timeline. And here, just be sure that you're matching the other eye. It doesn't have to be identical of course--faces are not property symmetrical--but you would like the blink to at least at the start height. That's not too bad. We've got the pupil, and just drag the pupil by itself into place, and now let's look at the whole thing in full color. We can probably switch off the padlocks.

And there we have a nice little wow expression . The eye blinks are then built-in so if you want to see what they're going to look like, just double-click on them. If you feel that with all the skewing that the blink has become a little too, two sloped to this direction--that looks a little bit unnatural--then obviously we can duplicate this and change it to pull it down. We won't do that at the moment, but an eye blink symbol can be duplicated and modified as needed. And because you have one for the left eye and one for the right eye, later on, as we do turns and three-quarter views, it will be very easy to manipulate each one separately. Okay, so that's the first expression taken care of, and with that, let's just move out again. Make sure that he jaw is working, everything is working. With that, we can proceed to the next one, and I'll show you how we can test the tweening to make sure that we can remain consistent between more than one transition from the happy mouth to the jubilant mouth.

Show transcript

This video is part of

Image for Rigging a Face in Flash Professional
Rigging a Face in Flash Professional

44 video lessons · 5983 viewers

Dermot O' Connor
Author

 
Expand all | Collapse all
  1. 14m 16s
    1. Introduction
      42s
    2. What you should know
      2m 0s
    3. Setting up Flash
      8m 35s
    4. Dos and don'ts
      2m 59s
  2. 59m 26s
    1. Establishing the directions
      7m 9s
    2. Setting up layers for the head
      6m 58s
    3. Drawing the head
      19m 2s
    4. Creating the mouth
      11m 27s
    5. Drawing the eyes
      4m 31s
    6. Animating the eye blink
      10m 19s
  3. 48m 0s
    1. Creating happy mouth dialogue shapes, part one
      10m 24s
    2. Creating happy mouth dialogue shapes, part two
      7m 43s
    3. Creating mad or sad mouth dialogue shapes
      10m 7s
    4. Creating neutral mouth dialogue shapes
      7m 36s
    5. Building unique mouth shapes
      12m 10s
  4. 29m 27s
    1. Creating jubilant expressions
      11m 47s
    2. Creating furious expressions
      6m 4s
    3. Fine-tuning expressions
      11m 36s
  5. 1h 9m
    1. Clock rotation demonstration
      2m 23s
    2. Creating the twelve-o'clock pose
      9m 2s
    3. Creating the six-o'clock pose
      5m 19s
    4. Creating the three-o'clock pose
      10m 16s
    5. Creating the nine-o'clock pose
      9m 35s
    6. Creating the remaining poses
      13m 17s
    7. Fine-tuning the head rotation
      11m 54s
    8. Fixing layering issues
      7m 42s
  6. 2h 10m
    1. Introducing the turnaround
      2m 55s
    2. Creating the B head (3-quarter)
      6m 45s
    3. Creating the C head (profile)
      8m 51s
    4. Creating the D head (3-quarter rear)
      13m 2s
    5. Creating the E head (rear)
      8m 59s
    6. In-betweening symbols manually
      9m 58s
    7. Creating the H head
      6m 41s
    8. Creating the G head
      11m 33s
    9. Creating the F head
      19m 18s
    10. Creating the B mouth (3-quarter)
      13m 41s
    11. Creating the C mouth (profile)
      14m 33s
    12. Adding detail to the C mouth
      7m 42s
    13. Creating other mouths
      6m 28s
  7. 54m 24s
    1. Putting together a head rotation
      14m 29s
    2. Moving frames between symbols to make a rotation
      10m 23s
    3. Using the rig with audio
      14m 59s
    4. Adding expressions to the animation
      14m 33s
  8. 1m 0s
    1. Goodbye
      1m 0s

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
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.


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.

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 Rigging a Face in Flash Professional.

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

Your file was successfully uploaded.

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.