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Creating a profile view

From: Flash Professional CS5: Character Animation

Video: Creating a profile view

Let's continue and move on to doing the walk cycle. Now, we go to the Exercise Files, Chapter 5, walk across screen folder, and inside here we have our character_rig_profile_01 file. Let's open that and here we go. So, one issue that we need to deal with is the fact that we're working in three-quarters and we really should be working in profile. Profiles will be much better for beginning our first walk cycle. What I'm going to do is create a profile rig that we can work from. So let's go select our bd file. I'm going to duplicate i, and I'm going to call it profile.

Creating a profile view

Let's continue and move on to doing the walk cycle. Now, we go to the Exercise Files, Chapter 5, walk across screen folder, and inside here we have our character_rig_profile_01 file. Let's open that and here we go. So, one issue that we need to deal with is the fact that we're working in three-quarters and we really should be working in profile. Profiles will be much better for beginning our first walk cycle. What I'm going to do is create a profile rig that we can work from. So let's go select our bd file. I'm going to duplicate i, and I'm going to call it profile.

So let's go into that and there we go. I'm going to make a new layer for our familiar reference image that we used in the previous rigging chapter. So, this should look strangely familiar. So let's make our upper layer outline and line up the three-quarters view with our character. That's good, right alined. So, what we're going to do is change this into this and I think you'll be surprised by how quickly this procedure can go.

I mentioned earlier that the best way to rig a character is to do it in an ideal world with lots of time. You don't always have time. Do it in the front view and then you can twist and deform these front view assets into your three-quarters in profile. It's also easy to go from three- quarters directly into profile view. So let's do that and we'll see how it works. So, I'm going to break apart, Ctrl+B, break apart the reference layer and then delete all the crude and get rid of that, and all the little bits. So that's getting close, here we go.

So, padlock the reference layer and hide everything. We're going to go through this bit by bit. So let's start with the right foot. So, we'll go in tight and let's just move it into position. Let's pick the heel and the ankle joint as our constant positions. Now let's double-click. You can tell obviously it's not quite matching that layout. So, let's go into outline mode. I'm going to make a second keyframe here, hit F6, and let's hit the Free Transform button.

Down here at the bottom, you'll see the Distort widget and click that and this allows us to go crazy. So, let's distort the foot and just try to line up the front of the toe to that, and do as much as you can within this and then let go. So, I'm going to change the outline color to something a bit darker, because it's hard to see. So let's go to dark green and let's start pulling. I've been harping on about keeping the geometry clean and simple and here is why. It's because it's much easier to do this kind of transformation when you only have the smallest number of points making up your symbol. So, there we go.

That's one of the realities of Flash, that as you work and especially you notice as we used the Distort tool, it actually did generate some extra points. So, you may end up later on there's one or two there, and there's an extra one here that we don't need. But that's possible to ignore this for now, but later on if you feel that you need to clean this up, you can certainly take this as reference and redraw it. But for now, this is more than enough. So, we go back to the main layer. The reason why you're still seeing the wrong foot is because the Properties panel is telling that you are number 1.

So let's go and tell it no, you're frame number 2, and set this to Single Frame, so it doesn't loop back and forth. Unfortunately, Flash seems to like, as a default, setting everything to Loop and I wish it didn't. It will be much nicer if it just give us the option of a default. So, here is the blue foot and the same process here, make it Single Frame, frame 2, and that's now our profile foot. That's that part on. Let's reactivate the right foot and let's look at the right leg.

Okay, and now Shift and the numeric arrow keys just to move it around in big chunks, Free Transform, hitting Q on the keyboard to skew the leg into position, and we'll repeat the process with the Left leg. We'll see how quick we were already moving through this thing. The torso, I'm working from foot to up. They're already working and could vary from model to model and whatever psuits you as being the quickest and most efficient.

It's nice being able to reuse the same symbols because it makes tweening between one angle and another much easier when you get into more advanced scenes. Let's do the torso, torso upper. So we get it as close as we can. This, obviously it's too thick at the top, so we're going to have to modify this one as well. Double-click on that. We'll make a second keyframe here. Let's go into outline and just pull that in. Don't forget, Single Frame in the Properties panel. You're now frame number 2, and lock it.

The reason why I like to go through this methodically and lock things, I can tell at a glance from the other side of the room, okay half of them done. So that gives you a good idea about your progress and how much is actually left. So, here is the arm. Now, a couple of ways we can handle this. We can keep the arm in this vertical position and shift the entire frame 2 into this position, or we can try to rotate it, but there's pros and cons of each. In this case, let's just see if we can get there by keeping the motion tweening more responsible for it than the shape tweening.

So, obviously there is still a little defect here. So, click in. Make a second frame. Don't forget Layer 2 down there is our wrist area. So, just lock that, don't mess with that. And then, just reposition the arm layer and again, the default random color that Flash gave us is kind of nasty. So, let's make it dark green. That's much nicer. Great! So, again, you find that's the same thing over and over. At least it's consistent.

Let's see the arm right hand, and this is going to be separate. So that we'll have to worry about later. So, hand redraw, I'm going to cover that in a separate lesson, because I want to show you how to make the hand a series of separate layers for the fingers and the thumbs and that'll allow you to do some very cool things. So, you've got that for now and the neck with the torso, this is a simple one. Bit of scaling perhaps, and a slight skew. Good! The left arm, the hand should go together.

Let's Shift+click and select both of them and we'll just bring them inside, maybe rotate them a little bit, kind of just hide them as best we can behind the body. Okay, you got for now, padlock it again, and the lower level for the hair. We'll just stick that there for now. So let's look at this in color. This is kind of the acid test, looking at the stuff in color. Mistakes will pop out. So, as you can see, the layer hierarchy of the profile, these are a little different from the three-quarters.

We've got the hand on the wrong layer now. So, simple enough. Let's grab the left hand and drag that down to the bottom, and the left arm, arm left, that should go just above it. Let's hide that layer for a second, the reference layer, and you can see that we're having a hard time telling the difference between that right leg and the left leg and the foot. So, I'm going to select those two layers, and in the Properties panel, make their Brightness lower, maybe 9%, 10%; Not much. Just enough to give this a bit of a color definition.

And I think that pretty much covers the rigging of the body in the profile position. If you see the head, clearly the head's in the three-quarters. So, we can now proceed to, in the next section, I'm going to go into the head layer, and you can see-- also do notice how the three-quarters head looks beautifully over the profile body and vice versa. So you want these symbols to be interchangeable. That'll really really help you when you start doing more advanced acting scenes and such.

Let's save this and we'll move on and we'll do the head in the next one.

Show transcript

This video is part of

Image for Flash Professional CS5: Character Animation
Flash Professional CS5: Character Animation

83 video lessons · 21718 viewers

Dermot O' Connor
Author

 
Expand all | Collapse all
  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

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