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Prepping the walk

From: Flash Professional CS5: Character Animation

Video: Prepping the walk

So it's time to set up our character for the walk cycle. And first, that means opening up our project, Rig_profile_05 file. So the first thing we need to do before we do anything is prep this symbol. We could, if you want, to begin animating. The only problem is we will be working inside our primary bd profile symbol. And we might want to do other things with this other than the walk cycle. So let's duplicate it first. So I like to right-click on this, hit Duplicate Symbol, and let's call it bd walk and that's just that.

Prepping the walk

So it's time to set up our character for the walk cycle. And first, that means opening up our project, Rig_profile_05 file. So the first thing we need to do before we do anything is prep this symbol. We could, if you want, to begin animating. The only problem is we will be working inside our primary bd profile symbol. And we might want to do other things with this other than the walk cycle. So let's duplicate it first. So I like to right-click on this, hit Duplicate Symbol, and let's call it bd walk and that's just that.

Let's duplicate all of the other symbols inside it that we are going to animate. So that means the head, the arms, the leg symbols, and the feet. It's a little bit of busy work but it's important. So let's right-click on the head and call it hd walk. And we will see them be generated in here. Right-click on the arm. So I am going to keep moving through all these symbols, just doing one after the other. This shouldn't take about a minute. Oops, wrong one. So what I am going to do is, these are the same symbols and I want to make these different symbols.

So I am going to duplicate this one and call it leg left walk. And I already have one that's done. I am going to duplicate it again, leg right walk2. You can clean up the unused symbols later on if you need. I think we have the same issue with the foot. We have the same foot used for both of these. So I am going to duplicate the right one. Call it leg right foot walk. And let's duplicate the left foot. I am going to call it leg left foot walk.

And we also have probably-- you may be doing animation on the torso. So I am going to duplicate that and call that walk as well and don't forget we also have the background arm, the arm left. I think the hands, we may be animating. I am not sure but for now, well, if in doubt, duplicate. So I will just do that. Okay. And then one more task to do. And that's to make sure that all of these symbols are set to their right format.

We are going to have them playing. Because we have duplicates now, we can start altering the contents and not worry about damaging our original profile rig. Now the thing to bear in mind about the walk cycle is that it's going to be about just over a second long. So I need a keyframe the contact position, as we covered in the previous demonstration, a recoil position, the passing position, high-point, and back to the contact. So lfor now, we will space these our evenly. So there is 3 in between frames, between each of our keys.

And so this will go from contact, recoil, passing, high-point, contact, and to get right back to the start we have to go through one more complete cycle. So let's copy these. Alt+drag, Option+drag. So that's going to be the duration of our cycle. So let's make sure that all of these symbols are this long. So I am going to call this level keys. So these are little placeholders, just notes essentially. And let's actually put a bit of detail in here and then put letters on them, contact, because it's easy to forget which one I am looking at.

In the Properties panel, I am just calling it c and this will be r for recoil, or the down, the squash pose. This will be the h pose for high-point and the passing position we will call that p. Okay. So let's copy these. Edit, Timeline, Copy Frames, Ctrl+Alt+C. I am going to copy that into, for example, we will take the head, make a new layer, and paste, and make sure our internal head timeline is that long.

We will repeat this procedure for all the other elements. Now we may have to make some little alterations in here. For example, this is the first key, if you remember from our previous class, this is our three quarters position for the arm and this the profile position. We are not going to need the three quarters position for any part of this timeline. So I am just going to grab our second key and drop it over the first and delete it. So this is our profile arm. We do it again so you see exactly what happened. What I am doing is deleting this key and I am dragging this one there.

So we have a clean timeline for the left-arm or the right-arm and all these other parts. So the left arm is fine. That doesn't need any alteration other than our notes. Sometimes you get a little defects when you copy these frames. Paste them back in again. Let's see if this is still a glitch. It can be difficult sometimes to copy multiple layers. It won't work. You cannot copy over multiple layers if they're different lengths.

If you're going to do this copying, be sure that all the layers are the same duration. So I am going to continue. I am going to have an animated leg in here. So we want to have this fully laid out again, same with the other leg and the shoes. Again, we have two frames for the shoe. And first one was our three-quarter shoe. We are not going to be using that I think in this walk. We could but I don't think we will.

We will be using this flat one. So Ctrl+X or just drag-and-drop the second frame on top of the first and we repeat that process with this. Our key seems to be disappearing sometimes. So just repeat the Copy Frames process if that happens. We will extend that out. The last step is to select each of these symbols, make sure it's set to Play Once, and it's all set to frame number 1. Now the torso is well. I forgot that one.

Not the end of the world if you forget one of these. You can add it later. It just means you have to tweak some numbers in the Properties panel. Your work will be much smoother if you set them up right in the first place. So again torso should be set to Play Once and set the frame 1. That way when you begin setting secondary keys and you have all your internal timelines, all the frame numbers will lineup here. Any key on this column should be ideally set to one so that this one will be on five, this will be on 10 and so forth.

Same with the leg, Play Once, you are on frame 1, Play Once, frame 1, same with the feet. Some of these were set to Single Frame earlier on because they are just going to be in a static rig. So this is just a part of the process. There is no perfect state for all possible combinations. So this is the three- quarters hand you may remember. So let's get rid of that. I don't think we need it in here, and I am going to add our frames in because we are going to be using this hand for the walk.

So let's track that on to position one, and I am just going to delete this frame. So this is now set to Play Once from frame 1. We're having trouble selecting that left hand. Let's zoom in a little it, and Play Once again. So I think we got them all. So every symbol is set to Play Once. It's all set to frame 1. They all have internal timelines that are duplicates of the external of the master timelines on the body layer, right down to the head. We might even add, if we are going to do something fancy with the mouth or the eye, you might have the same in there but for this walk they will be not doing anything.

So I am just going to leave them as static images. If you are going to do like a very complicated scene with a lot of keyframes, it's always worth doing a little double-check over this. So with that done, we are ready to move on and establish the contact pose of the walk cycle, and that will begin the process of actually making this kind guy move.

Show transcript

This video is part of

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

83 video lessons · 21223 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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