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In this course, author Dermot O' Connor introduces a variety of real-world issues that animators commonly encounter and offers practical solutions to them in Flash. The course covers how to apply gradients to create subtle texture and light characters, reducing the flat look of most cartoons; how to simulate natural phenomenon such as wind, fire, and clouds; how to mimic 3D space; and how to add fades and transitions to create custom cuts between scenes. The course also includes a look at staggers, which can be used to create camera shake, tremor effects, and extreme character reactions.
In the previous section I showed you how to take a single image, like the hair level, and to use the Envelope tool to shape tween the different shapes. The only problem with that was that it felts like, obviously, we were working with a single shape that being tweened at the different forms; it does feel a little static, even though it is kind of nice just to be able to push it that much. So there is a way, fortunately, that we can still use this system, but have a little more flexibility. And what you're seeing here is the same original shape of that hair, but what we've done instead of having the whole thing on one layer is split it up onto several different layers, as well as adding a new little forelock here to vary the head and the whole structure little bit better.
So what you can see down here in this folder -- I've guided out the original animation layers. Let me show you them first. As you can see this looks pretty much like the preceding section that we did, and what I've done is then copied these layers, hairs 1 through 4, to this section, and offset them by one frame. So this stair step that you see here: that is what's creating the illusion of the more natural motion. So let's hide these again. And just go through this.
I have also added this little underlay that helps to give the hair a little more body. And then as I activate each layer one by one, and insert the head, and then we have the forelock on top, which is also slightly offset. If you look at these keys, they are not hitting all in the vertical columns like these. If all of these keyframes were in the vertical stack, then it would feel artificial; it's simply that offset that allows the magic to happen. So this is the basic principle that we'll be applying in this section.
I am going to show you how to split a hair layer onto different sections, and then to apply the Envelope tool individually to each one, and then offset them.
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