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Finishing the angry dialogue mouth

From: Flash Professional CS5: Character Animation

Video: Finishing the angry dialogue mouth

So we're going to continue creating the angry and sad mouth shapes for our dialogue. So let's open up the previous file, dialog_turn_04, and let's just click on the head symbol and we're going to click on the mouth symbol, moving on that. We did previously create this reference sideline, this layer 4. If you have that, delete it. Okay, so now we have our six happy mouth shapes and we're beginning to create six angry or sad ones. So we've got the outer mouth shapes moving through the D mouth, the wide open one, and the F mouth with the ooh shape and now what remains to be done is to match the inner mouth shape. That's going to be the area of the inner mouth and the mask.

Finishing the angry dialogue mouth

So we're going to continue creating the angry and sad mouth shapes for our dialogue. So let's open up the previous file, dialog_turn_04, and let's just click on the head symbol and we're going to click on the mouth symbol, moving on that. We did previously create this reference sideline, this layer 4. If you have that, delete it. Okay, so now we have our six happy mouth shapes and we're beginning to create six angry or sad ones. So we've got the outer mouth shapes moving through the D mouth, the wide open one, and the F mouth with the ooh shape and now what remains to be done is to match the inner mouth shape. That's going to be the area of the inner mouth and the mask.

So let's line that up. So that's a simple process. Unpadlock that, grabbing the points and matching them. Let's hide the corner crease layer and just pull these points. So we want to make sure that the same points move in the same direction, corner for corner, and nothing is moving to the wrong place in the geometry. So I'm going to move in a bit closer and we don't want to use shape hints for this. We want this part of the shape tweening process to be without shape hints because that will really make the process of moving these mouths around very tedious, but these shapes are fairly simple forms.

They have 6 points. They're all hexagons and as long as we stick at that geometry in most instances we should be fine, just pulling these lines to match, making sure that they are all safely inside or between the blue and the green lines for the upper and lower lip. Not too far outside, not too much inside. It's good. So let's make sure we're still tweening. Very nice, same process for this.

We want Snap to be on, so that these corner points line up precisely. So again let's test that. Very nice and don't forget that the mouth inner also duplicates. Hold on Alt/Option. It's also a mask layer, so that when we start adding our teeth and the other parts of the inner mouth that it will line up. So the next part I would add would be the mouth shadow for the lower the lip area. That was the part here on the first six happy mouths.

Let's see what's that looks like, on the sad, angry. Slightly change probably this position here, from here to there. Maybe we'll bring that down a little and I'm going to make it a bit lower here. Again, bring that corner. Try to match it to this. Okay, let's make sure that tweens too. I'm going to zoom out a bit. Great! That's fine and let's put the other layers on full.

Everything looks very solid. So the last part would be simply to put the teeth in and they should be starting out roughly in the same position as they were on the first six happy mouths. So let's see what that looks like. That's the A mouth in the happy pose. Let's see what that's like in the angry. We might bring it down a bit lower than that. Let's take the padlock off and bring him down by Shift+click and numeric arrow down and I'm going to put him more-- just eyeball that. Let's see what that looks like.

Okay, and let's see how the tongue looks like. About the same. So that's good. So now we have our three angry mouths. I'm going through slow. I'm looking for things that are popping out. I don't want to be seen strange color areas or gaps opening up anywhere between where the layers align and that's looking pretty solid. There is no shape tweening weirdness going on, so all of our geometry looks solid.

Next step is, as we did the first time around, just make the secondary mouth shapes. I'm just going to copy our labels over. So we want a B mouth here and a C mouth and an E. So what I like to do is make the E mouth a little closer to the F. I don't use the E mouth very often but it's nice to have it. It's great for things like M-L shapes or other rolling sounds. So the C mouth, I'll make-- I think that's a fine C mouth where it is actually. And the D mouth, I like to be a little bit tighter close as you can see on the first one, something like that.

So I think this or this. If you want an even finer bunch of tweens to select your B mouth from, we can always open up this with the F5 key, just add a few more frames, and I have a much wider series of tweens. That looks pretty good. So I'm going to F6 to key that and let me just delete the gap and now we have our angry or sad mouth shapes. And they will be angry if you make the upper eyebrows angry or they'll be sad or as you can see here a little bit confused looking. What is going on? Then if you want to make the guy really sad, you'd fold the eyebrows down.

Certainly nice to have these and you can make different sets of mouth shapes and I think if we-- let me just move a few of these around it random-- you'll see that we can move from angry to happy. So you can create by putting more time into this, you can create all kinds of different sets of mouth shapes. You can make different mouth shapes. You're not limited to the six shapes that I'm using here. You can make weird and wonderful ones and with a bit of work you can make them all tween into one another. You could even do custom ones if you don't want to invest time in the tweening.

You could make unique shapes that you snap into for a single use, but this will definitely be more than enough I think to get you started with experimenting with some pretty sophisticated mouth rigs. So we're going to save this. I think this would be the ultimate saved state of our project and we've got a very nice rig already. You can hopefully play with and do some tests and scenes of your own. So I'll move on and conclude the course with just one last little note about some things to bear in mind about the rig of the mouth and other ways of using it.

Show transcript

This video is part of

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

83 video lessons · 21494 viewers

Dermot O' Connor
Author

 
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  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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