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Flash Professional CS5: Character Animation
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Repositioning the walk


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Flash Professional CS5: Character Animation

with Dermot O' Connor

Video: Repositioning the walk

Our in-place walk cycle is now complete, looking good and it's time to reposition that walk and show you what it looks like, how we use it. So let's open up our file number 12 in Exercise Files > Chapter 6. So now we are in the outer. We have been doing a lot of hard work of course on the inner clip. Now we work on the outer clip. This is the one that we'll be repositioning on the stage. So let's select that and in the Properties panel, let's hide our little color area here. Click on this.
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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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Flash Professional CS5: Character Animation
9h 19m Intermediate Nov 17, 2010

Viewers: in countries Watching now:

In Flash Professional CS5: Character Animation, Dermot O' Connor explains the process of character animation in Flash, using nested symbols and motion and shape tweening to create believable characters. The course covers the process from start to finish, from rigging a character to creating a walk cycle animation. Along the way, Dermot demonstrates techniques such as animating eye blinks, head turns, and mouth movements during dialogue. Exercise files accompany the course.

Topics include:
  • Rendering in SWF or AVI
  • Creating vectors for the the character body
  • Coloring the body
  • Rigging a mouth in Flash
  • Posing the rig
  • Animating head and body movement
  • Creating hands
  • Understanding facial expressions
  • Making the contact poses
  • Creating passing poses
  • Animating in-betweens
Subjects:
3D + Animation Web Animation Character Animation
Software:
Flash Professional
Author:
Dermot O' Connor

Repositioning the walk

Our in-place walk cycle is now complete, looking good and it's time to reposition that walk and show you what it looks like, how we use it. So let's open up our file number 12 in Exercise Files > Chapter 6. So now we are in the outer. We have been doing a lot of hard work of course on the inner clip. Now we work on the outer clip. This is the one that we'll be repositioning on the stage. So let's select that and in the Properties panel, let's hide our little color area here. Click on this.

We want this to behave as a graphic and we want it to loop. Be sure your first frame is set to frame 1 and some little housekeeping there. Let's make him using the Free Transform tool, holding down the Shift key, and make him smaller and then now we need to just add some frames to the timeline. I'm hitting F5 to just extend the timeline a bit. Let's go out to about 150 frames, and now if we hit Play, he will just loop in place. So we want this guy to move across the screen.

So I'm going to put a second keyframe, F6 out here, and let's just drag it across. And let's create a classic tween and see how that works. So now he is moving across the stage. Now I'm going to zoom in a little bit so we can see the detail a bit better than that and if you watch his feet, you'll notice that they are sliding. It's like he's on ice or a glass or something and that's simply because the second key is too close. So we need to move it further this way.

The other problem that you would have is that you would move too far. So for example if I am using the numeric and Shift key now, let me zoom out. Now he's sliding across the screen like he is again wearing skates or something. So the issue becomes to just basically find the magic position. There'll be one perfect position at which the feet are planted. So what I like to do, you're making the changes to this keyframes, so let's keep this keyframe in view and let's zoom in closer and then we just use our backwards and forwards keys on the timeline and you can see we are still going forward a little bit, so that means that this key is a little bit too far forward.

So I am just going to bring that back. It's getting much closer. It's very subtle and it comes down to how picky you are, what your demands are. Now that's looking pretty solid, okay. Now try to frame him a little better, so we can seem reasonably close for the whole duration and we watch the feet, make sure the feet aren't sliding. At this point you'll be able to detect, if there are any errors in the animation, you will see them here and we covered this in a previous section.

If there are mistakes, it means that you're spacing on the feet are possibly inaccurate. So if you find that your feet are working for a few frames and then there's a sudden glitch and one of the feet slides backwards or forwards... I'll cover this one more time because it is important. Take your foot, whatever foot is giving you the problem, and we make a temporary layer above the foot and select the Line tool and we draw a vertical line over the heel position and we do this over each frame, the in-betweens as well as the keys.

I am going to go in a little tighter. It doesn't have to be a million percent accurate, but this will be close enough to give you an idea and this way you can tell that the spacing of your feet is completely accurate and we did this in the earlier course already. So this should be still the same. I don't think we changed anything, but at this point here the heel is peeling off the ground. So if you are worried, you could follow the front of the foot rather than the heel and that's maintaining a similar distance between these strokes.

So if you feel that there is a problem or one of your heel points is off, then you know what the correct position of the heel and the other tool that I've used that's really great for this part of the process is to use the Align tool. Click off Align to stage and you can make these points mathematically precise by using the Align Distribute horizontal center tool and you can work to a very high degree of accuracy in this. So that's the process you use if you've gotten to this stage and your feet are doing something unpleasant. So that would be the diagnosis.

Let me zoom out again, back to the stage. There is one thing I am seeing here and that's on the lift off. If we watch the-- see that rear foot here? There is a slide there, see that? The reason being is that our inner symbol has two contact poses. Our start position and our stop position are the same. So what's happening is this is playing twice. So we're seeing the same frame happen twice and it shouldn't be doing that.

There is one way of fixing this, which is to make another keyframe here and just delete our contact pose. Now we have a perfect cycle. Each frame only appears once. We don't have any duplicate contact. So let's see if that works. Sliding has not been removed. Of course, now that there's one last frame. It may or may not have affected the precise positioning of our feet. So let's have a look at that. And also we have a little glitch happening now because I think we are on the wrong frame number; we removed a frame.

So let's click on this fellow. He is in now frame 23. Oops! Let me clear that and this one is calling on frame 21, so that should be 24. So again if you make these little alterations and tweaks and you start seeing strange things happening, the other thing you could do is simply delete this keyframe and make a new one, just repeat the process, but I like to do the mathematical solution rather than that. It gives me more control. Now we're fine. The feet are locked.

There is no sliding and there is another possible solution, which I think we should discuss. The only thing I dislike about this is that it destroys your second contact position. You can always create it by pulling it back over here and then you've restored your end pose, because this should be the same as this. That's that. So as long as you know to create this keyframe before your second contact and as long as you know how to restore that deleted contact, should you need to change any of the internal animation, you should be in a great position.

So one last look before we wind up the chapter. Our happy fellow has had lot of coffee and I think he's perfectly jointed and happy to move onto the next chapter. So hope to see you there.

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