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Finishing up the contact poses

From: Flash Professional CS5: Character Animation

Video: Finishing up the contact poses

So now we're ready to start to fine-tune our contact position for the walk cycle. So let's open up our previous file 08 in Chapter 5 of the Exercise Files folder. Let's double-click on the stage, and because we have our little reference guide image here, if you feel like you're getting lost in all this. So let's have a look at where we are. I'm going to zoom out so we can see more of the space for the walk, our guidelines. We began to crudely create the different contact positions. So as you can see, they're not really lining up too well.

Finishing up the contact poses

So now we're ready to start to fine-tune our contact position for the walk cycle. So let's open up our previous file 08 in Chapter 5 of the Exercise Files folder. Let's double-click on the stage, and because we have our little reference guide image here, if you feel like you're getting lost in all this. So let's have a look at where we are. I'm going to zoom out so we can see more of the space for the walk, our guidelines. We began to crudely create the different contact positions. So as you can see, they're not really lining up too well.

That's because we've just made very broad movements. So let's take just one of these and if you feel like it's getting too much like what is going on, let's start switching off say a few of these limbs and just pick one of them. Pick the upper right arm and I'm going to see if we can fix this. Little check to make sure that all of our nested symbols are correctly labeled. Oh! See? A mistake. It should be set to frame 1. Not the end of the world. You'll find this happens naturally. It doesn't matter how careful you are.

So you want all of your symbols to be set to frame 1 on this column and all of these frames to be set to frame 17, or the current frame number on this one. If you make any changes, then you must correct all the internal frame numbers. So I'm going to set this one to Play Once and this will be frame 17. That one escaped me. I thought we'd set all this up earlier. I've never had one of these go perfectly. Play Once, and then the end just to be consistent. The right arm there we will also make it Play Once.

The last frame is currently set to 33, so make that 33. So there we go. So let's go into this frame. I've mentioned earlier too if you double -click for example on this symbol, you will jump back to frame number one. I don't want to be on frame number one. I want to go in at the same frame that I'm on. Luckily, there is a third-party plug-in called frameEdit. We've covered this previously. It's available on a great web site called toonmonkey.com and I've mapped it onto the Forward Slash key on the keyboard.

It's to the right of the Comma and the Period at the bottom of the keyboard. So when you see me doing this and going into the right frame, that's what's happening. Now if you don't have that command, then you're going to have to just go into frame 1 and grind forward to the right frame. But this will really speed up your workflow. Let's add our keys in here. We're going to correct this frame, and basically correct these frames as we go one at a time. I'm going to pull that to here. And same thing with the wrist. So the pivot should be at the top of the point. Go into Free Transform and grab the wrist down.

So now it's roughly in the right place. Again it can be rough at this point. We're not making the final animation yet. But now you can see on this frame that we're a little bit closer. I'm going to just tweak the position of the hand a little bit. Now let's see what happens. You see it's popping into the right position right there. Of course, we'd like it to meet between back and forth. However, there are other keyframes that are going to have to happen first before we get there. I don't want to overstep the mark here. I'm going to just go in and correct these one by one.

So let's switch off this layer, and we will activate right leg. Again, we want to make sure on the right frame this is correctly set. We're on the frame 17 down here, frame 17 here. Let's tunnel in. Set a keyframe here. I'm also going to set a keyframe here, because we should end and start as with everything else in the same frame, because this is a cycle. Let's drag that leg over and the same process for the opposite.

You might find this easier if you set Preview mode to Anti-Alias, because that way when you're actually inside a symbol it'll fade out the others. It'll help you visually hold your position. Let's switch that off and the other limb we have to worry about. Never forget to set keys; otherwise you'd be changing your first keyframe ad that wouldn't be good. This wrist will be easier if we can motion tween it. So I'm going to call it arm left wrist. That should of course be the same all the way through.

So I'm just going to move it all the way back and delete the others. So it's in this correct position here. Let's go in and make sure it's pivoted properly. Then move it back. Then well, again repeat the same process, to be consistent. Drag and drop it up here. There we go. So now if we look at the entire body, we have a contact position that looks much like the first one.

So we go from a contact A to contact B with the left leg now in the back position, not the front. If we animate this, you will still see some glitchiness of course. Now it's more localized. The glitchiness is now happening in these two areas. So before we can really begin to tweak this much further, we have to begin to add the central pose, the passing position, and let's look at what that looks like in the reference image. So the question that would come up, we now have our contact positions.

We're pretty close to that final area. People would wonder which would be the next most important position to animate and I used to think the down position was nicer to work into, because it gives you a good squashing point to feel the weight it happening. But actually, it's kind of counterintuitive, the passing position. That's this guy here. That's the one that we should do next. You will see very quickly why, because it's the halfway point between the contacts and by making even slight changes on this keyframe, such as bending the spine, or making small alterations to the characters emotional state, or the flexibility of the body, you can have it really dramatic and wonderful possibilities with adding personality to the walk.

So we're going to save this project now. We'll move on, and start playing with the passing position and at this point, we're going to start seeing the walk really come together.

Show transcript

This video is part of

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

83 video lessons · 21345 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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