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

Creating neutral mouth dialogue shapes

From: Rigging a Face in Flash Professional

Video: Creating neutral mouth dialogue shapes

Let's do one more mouth shape, just to be really thorough and this will be kind of a neutral shape. It doesn't have any particular emotional condition to it. So, same process as before, to begin with. Let's select the happy mouth, hold down the Alt or Option key, and drag those frames to the right of the timeline. And let's rename the happy label to neutral. And I am going to delete the b and the c mouths. Let's right-click and clear those keyframes. I am going to keep the d, the e, and the fs.

Creating neutral mouth dialogue shapes

Let's do one more mouth shape, just to be really thorough and this will be kind of a neutral shape. It doesn't have any particular emotional condition to it. So, same process as before, to begin with. Let's select the happy mouth, hold down the Alt or Option key, and drag those frames to the right of the timeline. And let's rename the happy label to neutral. And I am going to delete the b and the c mouths. Let's right-click and clear those keyframes. I am going to keep the d, the e, and the fs.

So first, let's just work with the inner mouth, and let's go in a little close. I will just padlock it off, grab the the corner, and just pull it down. We don't want him to look angry, so this has to be carefully done. I am going to temporarily move that point up so the lines don't cross over. Let's move that. He is looking a little bit like he might be upset. We don't want that. Again, pull these corners up just a little. That's better, bland.

And again, I like to check to make sure that we haven't accidentally merged. Ah! There, we did. So click on A or the Subselection tool, and let's find the trouble spot. And I am going to just remove that, go in really close. This is the one thing I wish I didn't have to do. It really gets tedious and that feels unnecessary. I wish the program didn't-- and it has done it again.

It would be very nice if I just didn't do this, but it does, so we just have to deal with it. So okay, I think that--there we go! And let's scrub forward a little bit, and same thing for the open mouth. Take those points and just pull them down. And always test as you go. Always do this, as you do each key, before you go too deeply into it. I get into the habit when I do this of going back and forward, like one frame, two frame, to make sure I haven't caused any strange tweening glitches to appear.

Pull the corners down on the e, same on the f. I am not going to worry about the end just yet. Let's keep that the way it is. Okay. Let's lock that, and now that this is working, don't forget that the mask will be the same as that. So the first thing we can do is select these frames, hold down the Alt or Option key, and drag them up to the mask layer. And if you feel like you are getting lost-- sometimes I find it hard to read across all these little dots--just move these a little further over.

That makes life easier. Okay, then let's be sure we're padlocked, and let's go to the upper lip, go to outline, and we simply repeat this. Making sure that the Snap to Object is on, we'll just drop that down. Again, the same issue will hit us here. The other thing that we could do is simply copy the mask layer to the upper lip and color it black, but I think this will be okay. Padlock that, same with the lower lip, again, working in outline, and let's move to the d.

And I find it helpful just to work on one at a time, so hide the other if you think it's becoming visually confusing, like that. Then let's do the upper, and let's see if I got too low. The danger is that these lines at this point cross and get too thin. So I am going to pull that out, pull that in, and then move that back up. So now as you have to do these little double steps to work around balancing this other line. And I just continue through the rest of these. I think we have to fix some of the blues.

Hide the green layer. Okay, so now let's switch them back to black so we can really see what's going on here. And I am moving through it frame by frame. You will see these little areas through the course. If I were doing this for a full production, I would spend a lot of time going in and really fine-tuning these lines. So don't feel like because you see shapes like these, these little bumps, believe me, they can be ironed out.

It's just a question of putting in a little bit of polishing on them. But even so, if you look at this in real time, it moves past so quickly that even those little bumps that need them go right pass the eye. Okay, so then I think we have pretty much everything taken care of here, apart from the teeth. Let's check them. They're looking pretty good. I will put the mask on. I am happy with that. So the next thing will be just to make the secondary keyframes for the c mouth. And I will pick the middle point between the a and the d, hit F6 to make those keys, drag it over. And I am going to pick something very close to the closed mouth and hit F6 to make those keys and drag that over.

And these are the ones that you have to watch very carefully to make sure that no little errors or additional points were created. And we're good! And now I am going to select the a mouth frames, hold down Alt or Option, and drag them, so we begin and end with the neutral mouth. Then right-click and remove the tweens. And again, we have the same issue with what looks like a synced keyframe here and here. As I said in the previous movie, don't worry about that. In older versions of Flash, this would have really bothered me, but now, if I were to make new keyframes here, they would not be synced to that automatically, so that's not really going to affect you.

So now we have three sets, and a quick demonstration of how you would be able to utilize these for a dialogue scene. These should be fairly interchangeable. So for example, let's select the c happy mouth, Alt or Option and drag it over here. And when I select and copy these, I always select the label as well so I can see what shape I am dealing with. So I am just going to randomly select different mouth shapes from the timeline, from each of these three states. And this is a great way to test as well; you should drag as many of these as possible to see.

You may have some transitions that simply are insoluble; it could happen. But if your geometry has been fairly stable and if it's been behaving for you up to this point, then it really should be pretty good. As you can see, here is our experimental line of dialogue. And the beauty of this, so much better using static shapes, this gives you so much power. It's the closest thing that I think Flash will ever come to blend shapes in 3D, and you're only limited by the number of proceeding mouth shapes that you've got.

And you can add customs as well; we'll be doing that later. But for now, these three clusters of three different dialogue scenes, they will give you a phenomenal amount of control, especially if somebody does a long drawn-out, like, "woo-hoo!" then you would simply pick that woo-hoo into here, the f to there, and you could make that for 400 frames long if you wanted to. So you could even do things by moving the teeth around. The teeth don't have to be, for example, in these positions. If you had a Clint-Eastwood-style line of dialogue, there is no reason why you couldn't stretch these down and have the guy talk through grinded teeth, like a cowboy or something.

So again, just to raise your ideas about what this system is capable of, it's very flexible. So with that, we're going to move on and do some unique mouth shapes.

Show transcript

This video is part of

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

44 video lessons · 5909 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.