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Finishing the passing pose

From: Flash Professional CS5: Character Animation

Video: Finishing the passing pose

In the last section we did the passing position. We actually went in and fixed the positions of the feet and the hands. So now we are going to go in and make the arms work with them. So let's see that. It's in your Chapter 5 Exercise Files folder, file 10. Let's tunnel in here. We can hide the reference image. Quick through, so you can see the walk is starting to get a little better. But we still got some broken parts and that's where the limbs are intersecting and not quite working.

Finishing the passing pose

In the last section we did the passing position. We actually went in and fixed the positions of the feet and the hands. So now we are going to go in and make the arms work with them. So let's see that. It's in your Chapter 5 Exercise Files folder, file 10. Let's tunnel in here. We can hide the reference image. Quick through, so you can see the walk is starting to get a little better. But we still got some broken parts and that's where the limbs are intersecting and not quite working.

So, one way of doing this, if you don't like the layer horrors, is simply hide everything except the arm or the leg that you are working on. So we treat the hand position as the more stable and permanent. So let's keep that. Make sure that you are set to work in Preview Mode > Anti-Alias, so it shades out the other level. I find that's helpful. And critical always when you work, you select your frame number. You are going to be working on whatever frame this is, frame 9 in this case. Check that you set the frame 9 in the Properties panel and when you are going to your symbol, make sure that you are working on frame 9, so that everything matches up. Otherwise you'll start seeing crazy glitches.

If you see glitches and things popping, it's a pretty good sign that you have one of your numbers set incorrectly somewhere. So let's pull this. Try not be too crazy with moving the upper part. I like to keep that as close to the same axis as possible. And it's that simple. So we take a quick peep at the overall body. Okay. So then we can pick another part. The leg left, the leg foot, same thing there, so a couple of ways we can do this.

I am going to again, don't forget, keyframe. You can squash the entire thing or I prefer do a little bend if I can. That makes it feel more anatomical and much richer. In this case we might be able to get it through just rotating the outer symbol. Do as much as you can by working in the outer symbol. And now the leg right and the leg right foot, this is the big one so that's, it's a big change. So if you remember, we were having to lift that foot into this position here.

That means the leg has to bend quite a bit. Go into outline. Except for the right foot and the right leg, so we can may be lift the leg up a little bit. Don't forget to keyframe. Let's see what we can do there. We did something the other side, but it's feeling a little more extreme here. So the other solution is if you feel like you're hitting a limb as to how far you can deform this, then you can always go back into your foot and put it down a little bit.

This time there is reason to be close to the, I will turn them to the other side. Okay. So now let's take a good look in outline. It looks clean. Put in a different color, looks good. So that's our first passing position, and of course the in-between frames are still a little disjointed. So we will do them next, but for now we are just taking care of this guy and this guy, so repeat the process over here.

Same thing if you feel the layers are too much. Just hide what you don't need. Hit F6. And I am working inside the internal arm comp or composite frame. Ultimately we are going to tween many of these spaces, so we won't be popping from one shape to another. This whole thing will blend into itself very nicely. Don't be surprised when you start doing this, if you forget to make a keyframe and you start making changes here, but then you realize, "Oh no, I've been making the changes to the wrong frame." It happens.

That's why you like to have undo available. And also save your files, save them often. There is the other big one, so let's fix this too. I think on the other we brought the foot down a little bit, make this a bit easier, and also set the key. And on this one, we need to straighten up the arm. That gives a nice swing on the arm too. Okay, let's have a look at that. Much better. So right now I am trying to focus on the best of the work and ignore the bits that don't. The things we are watching out for are our foot placement. The feet should be solid.

Even though they are at the moment, as you can see, sliding. In this case, this foot here is sliding to the ground. We'll fix that later. There is no reason to worry about that right now. We are looking at the overall larger movement. As you can see even without the recoil on the high points added, we have a nice feeling of a walk. So when they go in, that's really going to start coming to life. That will also tie down these ugly little gaps and breaks. So let's save this and we will move onto the walk cycle where we impact this character into the ground and really give him some weight.

Show transcript

This video is part of

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

83 video lessons · 21336 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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