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Flash Professional CS5: Character Animation
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Tips on facial expressions


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Flash Professional CS5: Character Animation

with Dermot O' Connor

Video: Tips on facial expressions

So I want to make one little final note. Not so much a warning but some good advice about your approach when it comes to dealing with the rig, especially the face because the face is by far the most important part. So let's open up our last file. 05. And let's just go right into the head. And I want the vertical timeline for this. So we will go Window > Workspace and then the Animation tool. So to make that a little bit bigger and let's-- I think we can get rid of Library panel. It's just getting in the way.
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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

Tips on facial expressions

So I want to make one little final note. Not so much a warning but some good advice about your approach when it comes to dealing with the rig, especially the face because the face is by far the most important part. So let's open up our last file. 05. And let's just go right into the head. And I want the vertical timeline for this. So we will go Window > Workspace and then the Animation tool. So to make that a little bit bigger and let's-- I think we can get rid of Library panel. It's just getting in the way.

Great! Okay, so that's much better. We got a good looking face here. We worked very hard to make this face, so there would be a natural tendency to be precious about it, not want to be too bold. That would be unfortunate. So I am just going to do a very quick and dirty alteration to this guy, make a couple of different expressions. So let's take the closed eyes, for example, you can do weird things like pick this eye. It doesn't have to be this particular frame that can be open.

And by of course just changing the frame number in here, we're changing like if we had a single frame. So you can push these I think a lot further than you suspect. Let's go in tighter. You can take that up. If you want to, you can even create new layers. If you want to add a crease that would help match these two eyebrows together, no reason why you can't put a new layer in here and draw that in. And strong flash animators are very comfortable in making pretty bold additions, just like any animator should be, to their scene.

You can take this mouth, for example, if you want to make him more look like that he is doing some cheesy wink, you can do that. Your real issue to worry about will be volume and keeping things on model. Yes, it's important, but in reality people's faces do change quite dramatically and I think there's too much emphasis many times on being religious about staying on model. And if you're working on your own project and you don't have somebody breathing down your neck, then I strongly recommend that you really play around with your rigs and see how far they can go before they start looking too strange.

But that's as if you animate the character from one of the states into the other, the thing you will be worrying about will just keeping the eyes. The eyebrow should be physically similar but you can have one almost popping off the top of the head like in the old cartoons from the 40s. Okay that looks there will be one more pose we can make. Maybe this mouth hasn't opened quiet enough for some yell or scream. Just how far can we pull this? My advice, if you're not an experienced animator and this is maybe your first time playing around with this medium, overdo it, go far beyond what you think you should, and see at what point your scene breaks.

And it's better than being too conservative and constantly pushing out. I would rather go all the way out and then bring it in. So at what point, just how big can we make this guy yell? And I think you find yourself having a lot more fun. This is the payoff really, after all the hard work you have put in making a rig. I would actually for this particular guy, I would take these eye balls and bring them out on to the main timeline. They are not behaving very nicely as the eyes stretch. So you got to make some different decisions based on how far you want to distort your character.

And don't forget. A Free Transform tool is great to for making these big moves. If you don't like pulling little points around, you could maybe pull eyebrows off the head and have them up in the air. What happens if we bring this hair up? You might need to change his area. So do that transition. So obviously, way goofy, far too much but I think you get the idea that's a strong transition. So can you rein it in? Can you make it a little more believable? Don't forget. These are supposed to be really flesh and blood.

So as you can, in your real mouth, you can talk out one side of you face, the other. So now let me bring it in there. Bring these eyes down slightly. The eyebrows are too far, just a bit, and so forth. So all these elements can be changed. They can all be played with. And they can be thrown around pretty drastically from their original state, from state one, which is meant to look normal and quite blase, to cheesy.

"Hey! How it's going?" To "Noooo" or any other number of conditions that you want to create. And if you do it right, you will be able to tween between all of these and create some pretty cool stuff. So that's it and I hope that's just given you a teaser or a hint of some of the possibilities. And we will conclude the course and I hope you have enjoyed doing this.

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