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Introducing the turnaround

From: Rigging a Face in Flash Professional

Video: Introducing the turnaround

In this chapter, we're going to do the turnaround. And as that suggests, it's going to involve going from the front view, the A pose through the three-quarter, the profile, the three- quarter rear, the rear view, and so forth. And before we go much further, I'd like to just take a step back, and see what we've done so far and how it's going to be integrated into the rest of the project. So here are our angles, and again, as I explained earlier, the reason why I call them A, B, C, D, and so on, is because I don't like calling them profile, three-quarters profile, because they stack arbitrarily in the library, they follow the alphabetical patterns, and you end up having to scroll through your library to find things.

Introducing the turnaround

In this chapter, we're going to do the turnaround. And as that suggests, it's going to involve going from the front view, the A pose through the three-quarter, the profile, the three- quarter rear, the rear view, and so forth. And before we go much further, I'd like to just take a step back, and see what we've done so far and how it's going to be integrated into the rest of the project. So here are our angles, and again, as I explained earlier, the reason why I call them A, B, C, D, and so on, is because I don't like calling them profile, three-quarters profile, because they stack arbitrarily in the library, they follow the alphabetical patterns, and you end up having to scroll through your library to find things.

That's why the A, B, C, D, E, F, naming convention works better. You'll get used to it very quickly. And let's go forward. I've made some little diagrams, so this is essentially an overview as if we could look down upon the whole setup. So the A view front on, and the B, three quarters. Let's keep going. So what we did essentially in the previous chapter is we took the A view, and we took the three-quarter front to the right side, and the three-quarter front to the left side, and we spun a whole clock rotation out of this, and this gave us great flexibility and a lot of different poses that we can use for the head.

It really articulates the head. Now let's see how this works with the rest of it. Imagine that we could look down from a high viewpoint, and again, here's our familiar A, cycling through the other eight positions. And what we did was, in the clock sequence of the pivot points, we basically spun those from the A direction. So the center of this will be identical to the A pose, and the 3 o'clock is identical to the B pose, and the 9 o'clock is identical to the H. This is the naming convention that I developed and it gives me great flexibility in moving between each of the states, because there might be a time when you want to integrate for example, the profile, or the C into one of the clock points here.

And if you follow this course correctly, and if you're very thorough keeping the layers consistent, you will be able to do this. So take a while to look at this, if you're in anyway confused about why some of these frames are called A, and some are called 3, this should make it clear that essentially I've used a different numbering system for the three-quarters B head, but we will be able to repurpose a lot of the work that we did on the clock chapter when it comes to doing these full turnaround. I'd also like you to bear in mind the key points to focus on are working on the A head, and the B and the H.

So make this your focus if you feel like your time is short. I find it's very rare when I actually need an E head or a D head or an F head. For the rest of this chapter, I am going to walk you through how to fully tween between this entire circuit; a 360 degree turnaround. You may just find a part of this useful, you might find all of it useful, but it's sure as good to know how to do it just in case you ever need to. So with that, we'll proceed.

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This video is part of

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Rigging a Face in Flash Professional

44 video lessons · 5862 viewers

Dermot O' Connor
Author

 
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  1. 14m 16s
    1. Introduction
      42s
    2. What you should know
      2m 0s
    3. Setting up Flash
      8m 35s
    4. Dos and don'ts
      2m 59s
  2. 59m 26s
    1. Establishing the directions
      7m 9s
    2. Setting up layers for the head
      6m 58s
    3. Drawing the head
      19m 2s
    4. Creating the mouth
      11m 27s
    5. Drawing the eyes
      4m 31s
    6. Animating the eye blink
      10m 19s
  3. 48m 0s
    1. Creating happy mouth dialogue shapes, part one
      10m 24s
    2. Creating happy mouth dialogue shapes, part two
      7m 43s
    3. Creating mad or sad mouth dialogue shapes
      10m 7s
    4. Creating neutral mouth dialogue shapes
      7m 36s
    5. Building unique mouth shapes
      12m 10s
  4. 29m 27s
    1. Creating jubilant expressions
      11m 47s
    2. Creating furious expressions
      6m 4s
    3. Fine-tuning expressions
      11m 36s
  5. 1h 9m
    1. Clock rotation demonstration
      2m 23s
    2. Creating the twelve-o'clock pose
      9m 2s
    3. Creating the six-o'clock pose
      5m 19s
    4. Creating the three-o'clock pose
      10m 16s
    5. Creating the nine-o'clock pose
      9m 35s
    6. Creating the remaining poses
      13m 17s
    7. Fine-tuning the head rotation
      11m 54s
    8. Fixing layering issues
      7m 42s
  6. 2h 10m
    1. Introducing the turnaround
      2m 55s
    2. Creating the B head (3-quarter)
      6m 45s
    3. Creating the C head (profile)
      8m 51s
    4. Creating the D head (3-quarter rear)
      13m 2s
    5. Creating the E head (rear)
      8m 59s
    6. In-betweening symbols manually
      9m 58s
    7. Creating the H head
      6m 41s
    8. Creating the G head
      11m 33s
    9. Creating the F head
      19m 18s
    10. Creating the B mouth (3-quarter)
      13m 41s
    11. Creating the C mouth (profile)
      14m 33s
    12. Adding detail to the C mouth
      7m 42s
    13. Creating other mouths
      6m 28s
  7. 54m 24s
    1. Putting together a head rotation
      14m 29s
    2. Moving frames between symbols to make a rotation
      10m 23s
    3. Using the rig with audio
      14m 59s
    4. Adding expressions to the animation
      14m 33s
  8. 1m 0s
    1. Goodbye
      1m 0s

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