2D Animation: Bring Your Art To Life In After Effects | Benjmain Child | Skillshare

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2D Animation: Bring Your Art To Life In After Effects

teacher avatar Benjmain Child, Engaged Educator | Simplifier

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

35 Lessons (4h 10m)
    • 1. What's This Course About?

    • 2. Required Software

    • 3. The Flow of this Course - more detail

    • 4. Import Project Files

    • 5. Setting Up Comps - (compositions)

    • 6. Blinks Comp

    • 7. Eye Roundness

    • 8. Auto Lip Sync - (talking)

    • 9. Head Pins

    • 10. Head Controls 1

    • 11. Head Controls 2

    • 12. Body Guide Nulls

    • 13. Body Pins

    • 14. Head Vertical Rotation - up & down

    • 15. Hair Movement

    • 16. Legs

    • 17. Arms

    • 18. Hands 1

    • 19. Hands 2

    • 20. The Dress

    • 21. Replacing Lip Sync Audio

    • 22. Breath

    • 23. The Side View Character

    • 24. Animation 1 - Setup

    • 25. Animation 2 - Scene

    • 26. Animation 3 - Additional Art

    • 27. Animation 4 - Character

    • 28. Animation 5 - Dress

    • 29. Animation 6 - Close Up

    • 30. Animation 7 - Buttercorn (aka: the horned butterfly)

    • 31. Animation 8 - Dialouge

    • 32. Animation 9 - ExitShot

    • 33. Animation 10 - Exporting

    • 34. PremierPro

    • 35. Eye Movement

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About This Class

Heads Up! - the instructor will be absent for the extended future

Save time learning how to rig a character for an animated short or mini-series with After Effects all from a photoshop character (which is provided!)

You will quickly learn:

  • Eyes - blinking and movement
  • Lip-Sync - mouth’s ability to react to replaceable audio tracks
  • Face - facial expressions (which still work with talking)
  • Hair - to be able to move in the wind and react with head movement
  • Legs - including ankle and foot articulation
  • Arms - with opening and closing hands
  • Secondary Clothing - a dress/skirt which moves with the underlying legs
  • Animate - set up a scene for a short animation including walking
  • Exporting - taking the project into Premier Pro to add in background music.

No After Effects experience necessary. Many of the Key Commands are displayed on-screen as the course goes along.

If you love to draw or paint digital art in Photoshop or even the Procreate app for iPad this course will teach you skills to take your own creative characters drawn in a layered fashion and bring them to life for use time and time again with the use of a couple extra tools which massively Save Time.

Let's get started!

Meet Your Teacher

Teacher Profile Image

Benjmain Child

Engaged Educator | Simplifier


Ben is dedicated to simplifying projects and providing a solution to a challenge.

With more of a Ready. Fire. Aim approach he not only educates students about a specific subject but also reveals to them that by simply starting and taking action, they learn at a much faster rate.

He maintains clarity through keeping on track and to the point with any subject as he passionately believes that the best way to achieve your desired outcome is as simple as maintaining focus until you get it. It's that simple.

Always happy to help others along their way, Ben welcomes all those who are interested in After Effects and curious of how to bring their art to life.

See full profile

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1. What's This Course About?: welcome to your two D cut out style animation, fast track Monem spin, and I'm happy to guide you through the process of transforming a simple Photoshopped character to have it ready to use in an animated short or miniseries. You're going to learn the same methods I used to create the three part miniseries Wicked Love found on YouTube. There's no after effects experience necessary, and by the time the course is finished, you'll have the skills to take your own creative characters and bring them to life for used time and time again, essentially turning a photo shop painting into a two D digital robot. Sharing your imagination with the world. This course is loaded straight to the point, learning by doing with no fluff of included detailed notes that you can print out to help you improve. Your learning ability will easily set up after effects was free tools to massively save us time. Some of the editor is that will go over and depth, include the hair movement, eye movement, facial expressions and then setting up the characters, mouth and face to be able to react to any audiophile that we can easily change out and that all works with facial expressions will create hands that open and close. We'll go through a walk cycle and then add on a layer of clothing that moves and functions the characters movement. We'll set up a scene together and begin animating the character we've built all along and all the artworks provided. That way you can dive right in, learn the techniques and then apply to your own characters. You've created Photoshopped or procreate for iPad. 2. Required Software: all the software used in this course minus trap code Particular is the same software for the short little miniseries Wicked Love, where two characters were rigged and animated in Adobe after effects with a little help from Duke I. K. Animation tool for Mac and Windows, which is a huge time saver, you can get this for free and also donate if you wish. Auto Lip Sync by Mama World, which could try for 30 days for free. But you'll realize how useful this is because we'll be able to switch out audio tracks for different episodes. Also, I like beat APP called many No pro. Just to keep is a quick access place for some code snippets to use time and time again, but you could use any text editor to install. Do it. Download the appropriate one for your system and your double click on the file that was downloaded. It will run and you're quick on. Do X Icon opened. You may have to enter in a password for your computer. I check the adobe after effects. CC 15 is That's what I was using. Quick next and I'll click install going into after effects once it opens, we'll go to window, and there it is, at the bottom doing that. JSX to Assault Auto Lip Sync Go ahead and click. Try unless you know you want it already. It is amazing you download that. We'll open up the ZIP file for auto lip Sync. We'll see an auto lip Sync top. JSX. Ben We'll want to navigate on our computer to Adobe after Effects CC the year you're using 2015 scripts. Scripts you I've panels and then we'll place the auto lip. Sync that JSX BIN folder right in there and I've already done that. And when we go into after effects goto window and there is down by do X Tool. 3. The Flow of this Course - more detail: here, I will go over the general flow of this course. We will start by setting up after effects with some free software to dramatically save time rigging the character. This includes Duke I. K animation, dual as well as Mama Worlds Auto Lip Sync Tool. The only aftereffects tool we won't go into that was used in Wicked Love is trapped codes, particular because this is not a free tool. I have provided a character for this course, which has simply been painted and layers. As you will see, We will focus mostly on the front 3/4 view of the character, starting with her face and easily setting up some controls for eye movement and blinking of the eyes. One quick note and this course will be using Photoshopped files, not illustrated files. That is possible in a way. You have to convert the illustrator files to photo shop files. So if you're interested in doing that later on, check out the notes I made on how to do that. Well, then go through the process of setting up auto lip sync in the correct manner for allowing two things. Preserving the characters, facial expressions to function along with any talking the character may be doing and allowing for any additional new audio track to easily be changed out later, which I also cover in detail. We then rigged the face, including some adjustable facial expressions, the torso and set up controls for the hair to react to some body movement as well as if there was a slight breeze or wind in the era. We then rigged the arms along with a working hand fingers. We read the legs with ankle and foot articulation, allowing for multiple positions, and we'll go into setting up a walk cycle together, complete with stopping motion, and move into adding a layer of clothing which will react to the movement of the legs. I'll address a few differences with the side of you character, and then, with our complete front 3/4 view character, I'll run you through one approach to setting up the scene for an initial animated short to the extent of exporting the project and adding in some additional sound to Premier Pro, I have made some very detailed notes toe hope you follow along. As you're setting up this character with me, you have the option of printing out the entire course notes as one or you can print out each individual lesson is, I have divided them up a swell. You may want to take a look at the notes before printing them, as some of them have images. This would require more ink from your printer. - Voter corns are so rare no one believes they even exist. 4. Import Project Files: included in this project is a folder names Oh, inside that you'll find four more folders animated short one was art it. We'll be using this at a much later lesson. When we start animating, we have the audio folder with two audio files will use to set up the auto lip Sync. We have a folder named Character, all with four photos up files, two bodies and two heads. Will primarily be working with the character front head in front body. But I will show you a few differences with the side view and in the folders. Oh ee, this is empty. This is where we will save all over after effects project files. As we're working, we're going along. We want to take character all and duplicate that folder. We'll just rename it as a backup folder. That way, if anything happens to the art, we have the original artwork. There it is. Now we have it when we open after effects will double clicking the project panel. We'll navigate in Zo to the character from Body Photoshopped file. We'll import as composition, retain layer sizes and click open and then we'll click. OK, we see we have a comp that was created. Any folder with all the individual layers, we need to reference them individually. We can save our project in the Zo E folder, and since this is the first lesson, will save it as base project one 0.1 If we were to do some more work, we could save as based, Project 1.2 And for Lesson two, it would be based project to and on and on. Go ahead and import the remaining three Photoshopped files in the character All folder What you get them in you can creating new folder called Character Cops Inside the project panel , we could put all the compositions inside there. Additionally, you can create a couple folders, one each for the layers of the bodies and heads and put all the corresponding folders in there that will click once more and navigate to the audio folder. Click it and click open. Now we have both those wave files inside. If you wish to change that, colors of these items in the Project files list select them, click on the small square and changed the color. There 5. Setting Up Comps - (compositions): to begin setting up. Our compositions will go into the project panel. We'll double click on the character front head, come scroll down in the timeline, delete that bottom wear, which is a background layer, well hit command K to bring up the composition settings, window looking, click background color and change it to something we like. Give this more contrast with the character. We'll set the duration to 60 seconds, and due to the frame rate being 29.97 it automatically changed to 59.28 Repeat the same process for the character front body composition. Scroll down. Delete the background, layer the command K. Adjust the background color, said the duration to 60 seconds, and you want to uncheck lock aspect ratio now set the width to 1400. This widens up our composition so the characters arms won't disappear when they go outside of it. If the arms were out in front by holding age on the keyboard, I can click and drag and move my character around good to the project panel and drag in the character front head compa right onto this composition window of character front body that was huge. So hit T for transparency set that down to 50%. It shift s will take the scale than to 40%. This allows us to line up the character front head comp with that temporary head layer we have in the timeline below. Zoom in, moving down so we can see it better now using the arrow keys. I'm just moving down the character front head Kump lining it up. Once it looks good, I can go down and delete the temporary head layer. We'll set the opacity up to 100% once more. Close that up. Next. We want to create a place where we can have all our sliders will be building in one spot So we'll go up and get a new no object by going to layer selecting new no object or we can hit shift option command. Why on the keyboard? There's a new No and we can grab it and move it up. Out of the way. I'm going to name it. Control all caps So this later stands out on the timeline stack. We can change the color of this No object by changing the layer color. Next, we'll want to duplicate that we'll rename it. I track left what came to scale down to 50%. What teams a color just to differentiate. Well, duplicate that layer. Also in Name it. I track right right to being the right side of the character. The I drag left will control the left eye. Later on, this point will go into the character front head composition. We'll scroll down in the timeline, make some more room here. We'll locate the layer named Face after we turned the visibility on all the layers. What's like to face? Go open, select layer and all the way at the bottom, there's pre composed. We can also hit Shift Grant. See, this creates a composition out of that layer. We're gonna go ahead, name it, face all caps so it also stands out in the wear list. Will select both teeth, layers and the tongue layer. We'll copy and then delete them and we'll go into the face cop with just made, I will place them in one of those teeth. Top is a teeth bottom. We can rename that later. Where are they? Find them and we'll put them in place. Just getting it close for now. Once we get him roughly in the mouth area, we can take those three layers, move them below the face layer in the timeline and then turned the visibility off. We're gonna hit command K in this composition. Just widen up a bit and increasing height to 606 100 spend on the audio file will drag in audio one. We use this in a little while when we set up the auto lip Sync for the character. But first, we're going to set up some eyes. If you ever see this, when you click on, I know it's no big deal and we don't need to see it, so we'll just move that out of the way. 6. Blinks Comp: Now we're going to set up how the characters eyes blink inside character, front head timeline, select all of the blink layers and then pre composed them like you didn't the last lesson by shift command See and name It blinks all caps. So it stands out going to this pre comp. The first thing you want to do is hit command case so we can go into the composition settings window. We're gonna set the duration 25 this time because there are five blinks for each eye. The next thing you want to do is just the wit 2 325 pixels and the height 225 pixels. This just loosely provides a smaller window for the eyes to fit into. You can select all the layers once more and just roughly reposition them inside. This window doesn't have to be perfect at this point. And now we go back into the character front head and you'll see it's out of place. So with this cop selected, you can actually just move it around and again. We're just trying to get it close at this point. Gonna how it looked before we messed with it. The next thing we do is go into blinks. We select a blink zero to a blink for either left or right and you hit option in bracket. And this takes all those layers down to just one frame. And then you right quick, keep frame assistance sequence layers new click. OK, so again, select the blinks of aside zero through four, it option and bracket. And then right quick key frame assistance sequence layers quick. Okay, so now when we kind of stepped through the timeline, you can see that the blinks are working in sequence. You do this by hitting shift command and the arrow key. Also, we go back into character front head. You can go to the top and click the little lock. So that way, when we go back into blinks, we can still see what they'll actually look like on that character. What this is allows us to do is to step through each frame of the blink that will create. We can see which layer may be out of place. So in this case, it would be the right layer for, uh, the third blink, and you can just make sure you re position that to where there's no white showing and keep in mind, a bleak happens pretty quick and we're probably never gonna be this close. So just get it close and they should be fine. Step through him once more. It all looks good. One more thing you can do is by where the small lock was. I showed you. Before you click on the blue lettering, you can select Newcomb fewer. This allows you to have multiple composition windows open so you can see what's happening in two separate cops at the same time. Now go back into character front body. We're gonna set up our first slider control, which will allow us to control the blinks of the character to select the no object we named Control and go up to effect select expression controls and slider control. Go ahead and rename this blinks by having that control layers selected and hitting e on the keyboard. It will reveal the effects in this case of slaughter control named blanks. We want to have this visible here in a second. First dragged the character front head timeline below the character from body time, so we have two timelines visible. They're going to start speaking to each other inside the character front head timeline selected. Let air named blinks, which is our pre calm. And then you want to go up to layer and scroll down to find time. Enable time remapping, which you can also do by option command T. And then you want to notice the small stopwatch you want to alter option. Click on that, and then you look for the small little whip symbol. This is known as pick whip. So with time remap selected in the blinks slider visible in the other timeline, we'll pick with up to the slider, and there will produce a little line of code for us, which we then divide by 29.97 This will always be your frame rate, and in our case is 29.97 You can always find that out by hitting command K, and now we're done with the time remap. So go ahead and close that up and we'll go up into the character front body timeline and comp window and just get a better view of the characters face, and we'll test out the slider by selecting the zeros and dragging. We can notice that the blinks are occurring very fast, and they're also disappearing at the end. So reset that 20 right click at a value and changed the upper range of 100 to 10 missile. Reduce the intensity of the movement We go that smooths the blinks out, but they're still disappearing after we're done. And so there's an easy fix to this. We'll just go into the blinks, pre comp and the final blink lair for each eye, which would be blink for L and blink for our You select both of them, and what we'll do is we'll drag both of those individual frames out past the end. You'll notice it extends just a little bit past there you go by doing this when we go back into character front body and we test the slider on control. Now the I stay shut. Everything worked smoothly if you wanted to have separate control for each, I like, say you want to have a wink, be ableto wink than what we would have done is created a blinks pre comp for each eye and then created a separate blinks. Slider also for each of those pre cops. Just a little bit more work, but you have a little bit more control of your character. 7. Eye Roundness: Now we're going to give a little roundness to the eyes. Go ahead and select both I white layers and pupil layers. Pre composes using shift command. See, go ahead and name this pre comp eyes inside the eyes. Pre come it command K on the keyboard, and it just a with to 400 pixels and the height to 200 pixels. You can then just highlight everything. Drag them roughly inside the box back inside, character, front head. Go up and I select the character, front headed and blue font and select Newcomb Fewer and a little bit. We use to Windows to help us out. Block one of these. Make it a little bigger so we can see that based better and with face selected, it t on the keyboard and bring down the opacity to about 35%. Now we can reposition the eyes comp a little bit better in place, but the white part of the eyes are a little big, so we'll go into the eyes pre calm. We'll select both of the eye white layers and we'll hit s on the keyboard and adjust the scale down to 80% for now. and then to reposition each. I select the pupil and I white for right or left and then just using the arrow keys, you can nudge each one so that there's no gaps showing from the I to the blink layer above . And we can just close everything up and quickly go into character front head, and bring the opacity back of 200% for the face. Okay, back in eyes pre come, we're gonna need a parent, each pupil to the appropriate I white layer. So just used pick whips and get them parented up. And I know I named the pupil, But when I say pupil there, including both the Irish and people, so now go to layer and at a new adjustment layer, you can change the color you want. And with the adjustment layer selected right, click goto effect distort and go to bulge at the top and grab this little bulge effect and move it over the left eye. You can see how it distorts. Go left people in Iris so hit s and the keyboard and it just scaled down to about 90%. No, it's pretty good. So you can see now when I selected this left people in Iris and I move it around with the arrow keys. The eye has a sense of roundness to it. The Irish people moving around a sphere or an eyeball. Now, repeat this process for the right high as well. We can actually make this a little better. Select the I white layer for the left side and duplicate this layer and just name it. Shadow left. Now, with this layer selected right click, I hope to effect color correction and then select hue saturation. We're gonna take this and adjust the master lightness all the way down until the image turns black. And then, with this layer selected still just right, click, Go to the top, Select mask, new mask, and you can hit. I am on the keyboard to reveal that mask you want to check, inverted and then toggle that little arrow so we can see a little bit more options in the mask. You want to set the mask expansion to negative 25 said the opacity to 60% and set the feather to 40%. You can instantly see now that we have some serious depth to the I compared to before. Vice elect the right. I are the right people and Iris and I start moving it around with the arrow keys. It almost looks as if there's no bulge effect on there. When we compared to the eye with shadow, it didn't take very much work to add a little death. I could have painted this on ahead of time. But since I didn't, he was just a quick way to add some more roundness to and I After you get this dawn both of the eyes, you could further refine it by save for the right shadow. Select the mask and then grab one of the four corners and you can start moving that around . I'm just clicking and dragging here with my mouse just to show you we'll zoom in jury. The difference between the two one last important thing before we move on is you want to make sure all layers extend the full 60 seconds. So just going to each comp looked all the layers and then drag him out 8. Auto Lip Sync - (talking): the first time you run auto lip sync. You may need to go up to after effects preferences, general and locate. Allow scripts to write files and access network. Check this and then click. Ok, and now we're ready to go. We want to go into the face pre cop. So now that we're in here, go ahead and select the layer name face. You can always change the name here. And in fact, I'm going to change the name of the teeth, as I said before, top and bottom. Okay, now we're good. So selective face layer and we go up to window all the way down to auto lip sync. And if you're doing a trial, just click OK? Or or if you need to enter a license. It was something that I believe that email to me and you enter here with Okay. You may have noticed I need to select all of the teeth and tongue layers and dragged them out for the duration of the 60 seconds. Okay, so select face layer goto window auto lip sync brings up a window and we want to go ahead and click, Create mouth rake. And now we can just close this big window down. We'll just be using the small pop up. One does the rest of this notice. It says you need to pick two points. So in the effects controls panel, if you don't see it, just goto window and look forward and there should pop up somewhere. First thing I like to do is adjust the thickness of the starting and ending points just to get a thinner line. And then we just pick a starting point with one little target and you can grab the other one and pick the second point. Next, we're going to zoom in real quick, and I'm in full resolution, adaptive resolution so you can see everything here. It's good to see detail when messing around with the mouse mouth like this. So that's why I went pixelated. First again. Okay, so we gotta points picked out here looks pretty good, and the next thing we would do is click continue. Then it tells us we need to use the liquefy tool up here straight in the mouth out so you can hold command, click and drag with the mouse to adjust the size of this tool. What we're gonna do is we want to just kind of get rid of that curvy line that was drawn in there that I drew in there. I kind of get that to follow. The red line here could continue. Now we scroll down in the effects controls panel when we use another liquefied tool. But this was different. It's for shaped mouth. Okay, It behaves exactly the same way, though. So just hold command, click and drag with your mouth sideways and get a small tool. And so now we just basically undo what we just did. This could take a little messing around with specially if you don't remember what it looked like in the first place. So sometimes I'll take a screenshot of the face before I straightened out the mouth Ger, Zoom out, Get it close. It'll work. Could continue. This brings us to the point where we're going to continue to use the same shape, mouth liquefy tool. Only this time we're going to shape the mouth to when it's going to be open the most. So when the character talks in any whatever it's talking about in your O's and who sounds what would what would that shape be? So we're gonna do most of the work here. But then, with auto lip Sync will actually be able to go in and further modify that According to each track audio track specifically that we're using that looks like it will do does not have to be to perfect. It'll take a few tries to get this right, as I mentioned before, so oh, go down and we'll quick continue. No. Yes, we want the three knows to be created for upper jaw a lower jaw until mm quick finish. Pretty simple. There's a few more things that we have to dio and we want to select all three. Knowles. We'll move them out of the way together. Doesn't really matter where in the timeline. Go ahead and grab all those three Knowles and bring them down below the photo shop players , which where are they moved the SETI I to zero mark. We'll take the face it Tiefer opacity. And take that down to 70%. Okay, Now turn the visibility on for the teeth and tongue glares. Here they are. Select a mall. Just use your arrow keys and position them to a place that looks good, then we need to parent them up. So bring their faces opacity up to 100 again, and we will take that top teeth layer. Apparent that to the upper Johnno, the bottom teeth, the lower Johnno and the tongue. Don't know this point would be a good time to test out and see words. That's definitely not complete. You can set the current time indicator, say, at the end of the audio track, hit in on the keyboard, and this will set the duration of the preview that we're going to run. And to do this, all you have to do is put the C T I back a zero and then hit the space bar. Don't come back when that stuff I will go out for a walk in the meadow. See, with the breeze blows this way. Okay, so we can see that there's a few things going on with the teeth and the tongue. They're all over the place. That's all right. You can grab each photoshopped, vile our layer, and then position that around that way you can drag the current time indicator throughout the length of the audio track and see where everything's looking like how is it placing then? If you select say that tongue No layer, for example, in the effects controls panel, it has its own settings. So, like up and down motion. I'm gonna set that down to 10 on the left and right, sit down the five. And that shouldn't make some improvements with a way that the tongue behaves in the mouth as the truck moves along. But I'm even gonna take the speed down. Five. So now just select the tongue layer again, using the arrow keys. Just positioning down a walk in the meadow. See what the breeze blows this way when you hit a preview, a lot of times you won't hear the beginning of the soundtrack, so let it looked through and you'll hear it the second time to create a background for the mouth. Go up and select the Ellipse tool. Next, you can change the fill color. I'm going to select black click OK, and at this point you just want to drag out a large oval that will cover roughly the area of the mountain. It's like that. Layer it deep for capacity. Take it down to no 50% just so we can see what we're doing are for rotation. Knock it down a little bit. We can nudge it around with the arrow keys. Bring that transparency back up to 100% and we'll name it mouth background or anything you like. If you got that good, Dr that to the bottom of the stack and parent mouth background to the face layer solo out the background for the mouth that we just made. This will help us with this next step l on the audio layer. Now hold commanding. Drag over the audio layer and listen, E I lo lo So what? We just heard waas. We're listening for the o sound. No going to fix this. No background real quick. Okay. On solo that No, we will select the face layer and we go up to layer and select Add marker, which you can see a shift eight, But you have to actually select it the way we just did. Otherwise it places a market in the wrong spot that would double click this. And from here in the comments section, you'll notice. Okay. Knows how the mouth looks right now. 100%. I click. OK, that's what you get now. A double click, and I change that 100% down to something like 20% changes the mouth that way. So this this allows us more control to modify the O's and who sounds when a character speaking one more time, you'll select the base layer, have the current time indicator where you want and then go to layer. Add marker. Otherwise, it won't end up on the actual face layer. I think I will go out for a walk in the meadow. See with the breeze blows this way. So it's pretty good, you know, probably had just down that percentage from 100 down to a lower number later. Another great thing that we have with auto lip sync. Click on the face and hit em. We'll have the three masks yellow, red and green. You hit V shipped V. We able to grab the little handlebars and dragged them out. The reason I'm doing this is because then this Maskell actually further affect the face, so it'll help deform the face even more. And I usually only do this to the green and the yellow masks dragging it out past the base up into the nose. If you want the nose to be effective. When the character talks again, we're dragging it down to the gin. Ended the cheeks with the yellow mask. This is just another one of those things where you make some adjustments with handlebars, maybe run a preview and then further refine it later on down the road. I'm sure I will. I think I will go out for a walk in the meadow, see what the breeze blows this way. Now I had those masks pretty exaggerated, so I'll tighten those back up later on so that the mountain, so that the face doesn't move as much when the mouth is speaking. But I wanted to show you how much the face will deformed, literally, behave kind of like we are in a very simple to dimension kind of way. You can also adjust the volume here right in after effects off your audio track if you wish . Auto Lip Sync has two effects in the effects controls panel on the face layer shaped mouth liquefy and O shaped de formacion. The bottom two effects. You want to go ahead and check those off for now because they really tend to slow down your computer. We just have to remember that we unchecked those when we're testing audio to see how the mouth looks to see how the characters talking. We have to remember to turn his back on later. But for now, to keep our computers running a little bit better will turn those off as well as some audio tracks. This is what the characters looks like without those bottom two effects on this should help us remember as it doesn't look so great. 9. Head Pins: before we getting rigging the face. I just want to show you how to make things a little bit easier for yourself so you can always adjust the resolution here from fools. The half that there D quarter keep things moving faster when we can clean up the space. I'm gonna close some panels that I don't need and also move them around. We can set up the workspace anywhere we want. We can always bring back some panels that we've moved weight around. So for this next part, we're really gonna be using the composition window, a timeline and pretty much everything else we can kind of keep out of the way. I am going to grab the effects controls panel, however, however, and have that for easy access, and the rest will just slide to the side. But we can always just grab that very nice to just have a simple, clean work space. Specially is this course goes along and just to clean up the timeline here, not that it's even Messi gonna go ahead and turn the visibility off the rear hair layers and lock them for now in a lock. The eyes comp probably eyebrows in the blinks. Com, and we'll also hide. The bangs are turned the visibility off, you know, take the opacity down to 70% for the main hair layer. Just what were rigging the face up. Now we're pretty much ready to go up to where the puppet tool icon ists. It's selected that way. Or you can also it command P on your keyboard to also get to the puppet tool. Is there to go about this? You just select the face com, and we'll place the first pen. I need to go up next to the puppet tool I've gone and Click Show for the mash and then under the puppet spent down mesh one, we'll set the mess to 600. This is the count of triangles. The less strangles, our more crude the deformations would be delete that first puppet, then for now, is it was only there to show us the original mesh the face. I usually like to start out with the mouth so we see where the vergis ease our with the mesh and see if we need to make any adjustments, I said. A mouth corner, right and mouth corner left than a mouth top, right? A mouth top left, I'm out of the bottom right in the mouth, Bottom left. And after that looks good. I'll add a chin and I'll add a cheek. Right? It she left, then a nose and he knows end. Then I'll place a high center, right? And then I center left. This just holds down the I when the face moves. After that, you want to hit command p again to bring up the starch tool, which is a little spray bottle, I gone. And what you do is what you just start placing this over the upper area of the head or anywhere. You don't really want it to move. It kind of stiffens it up, and you can adjust just how much you want the stiffness to be as well as you can adjust the extent to get it to cover a larger area there and we won't have to name these. But what we do want to dio is going rename all these pens that just say puppet pin 1234 etcetera. So we just start naming them appropriately so we know what they are when we turn them into bones. When you click on a public pain, it will turn into a solid yellow color on the face. Com. But here's the naming convention I use keeps things clean and simple. If you get a mall named, go ahead and close the face. Come, keep it selected. And no, this is the first time we're opening do IQ, so we'll see what happens. But we'll go to window, we'll select, do work it out JSX. And it should show up somewhere. But we can move it anywhere we want. So I'm gonna actually drag it down into the side panel here so that we can bring it in when we want it and just sledded way when we don't want it. You go to the little wrench icon, click on General and change it to animation. I'm sorry. Change it to rigging. You can select the type from solid change that to know this will help us up visually. Click on the little figure icon and now, with face still selected in the timeline, you click bones. Now. All those public pins were instantly created into these little knoll objects called bones, which weakened, then use code expressions to manipulate them with sliders will be turning this into a digital robot. This alone is just a huge time saver. You can always add additional pens and then turn them into bones later if needed. If you want to change the color of the no objects or bones, select a mall and you can click the small square and pick any color. You want to be a good time to save. As you can see, I saved for less than seven. 10. Head Controls 1: Now we're going to start creating some controls for official expressions for the characters face in the project panel, go into the character cops folder and open up the character front body composition. We want to select the layer named Control, and now this should appear in our effects controls panel. Go ahead and click the small lock so that we can work in other timelines and still see this . Go back into character. Front head. Now look the composition window for this one. Now inside the effects control panel, right click, go down a select expression, controls slider control and name this one. Smile. Select the zeros. Right click Edit value. Set up a range of slide. Arrange to 10 instead of 100. Just so it's not so extreme. I wanted to quickly mention that inside the character from Body comp need to select all of the layers that are short. Drag them out for the full duration of 60 seconds. Okay, now back into the character front head Campell would be working. Another thing you can do to keep things a little bit clean for you is to arm of the little shy guy, and then you click that on this layers that you don't want showing. Additionally, you can quicksand with the visibility buttons on some of the knows that you don't want to see cluttering up the faces you work or you know you won't use. Now we're going to use theme position expression I give you, but select the mouth corner right phone eight p for position, and you can copy that from your computer wherever you're storing it, and we'll all click on the small stopwatch. And here we paste in. That position code is basically the skeleton of the code we're going to add to next. We'll create a variable. We're going to call it smile, equal sign, said Michael. In between the equal Sinus and Michael and you pick with up to the slider and that's it. Now we can start using that variable. So on the wife value, go ahead and type and minus smile. Multiply it by two. And what did that do? Well, if we go to smile slider. We started increasing the value, say, up to seven. The corner of the mouth moved. Now it's changed. Multiplier to four makes a little bit more dramatic. Now, a little too much. Really? So we're gonna take that multiplier gonna leave it to point for? Not quite enough. So it said it too. Now we can copy this and added to the X value. What happens then? Well, it takes that bone and it moves it to the left. We could reduce that number if we just wanted a little bit times 0.2, we can go ahead and copy this code. Click on the mouth corner, left bone that people precision all click on the small stopwatch and paste the code in there and what happened and moved it up in the same, which is great, but maybe we don't want to the same. So we can just modify the multiplier value till it looks good. Go ahead and copy this code and paste it into the rest of the bones of the face that we have showing the rest of the bones of the mouth, the chin, the cheeks and the nose experiment and see what you come up with within the slider. I like to have the value said it 10 such as here and smile. And then I had just all the bones to behave accordingly to that value of 10. Go ahead and change the opacity of the hair back to 100. Since we've already penned up the face, I'm going to show you something here. If you scroll down to the face layer, I've added some starch with the puppet tool into the center of the eye. So now that the smile sliders up in 10 if this starts was not here, part of the face would have moved behind the blink layer. When I put it back, you can see that the starts prevents the face from moving upward. Here's the face with no smile. And now here's the face with a smile. You can posit screen here, but with a smile. Slider said it. 10. These air, the multiplier values that I've been using and you can see it's not by very much. Most of the time it's far under a value of one, and it goes over its not by very much either. But all these added together deforms the face very nicely for just being a simple, two dimensional layered Photoshopped, drawing to begin with and said the face comp the cursor over the effects controls panel at the tilde key. We're going to turn back on those two effects that we turned off the bottom hit the tilde key wants more. Now we'll go back into the character front head calm. We're gonna run a little preview. The sound is our but you can see how the mouth is moving now with the smile. Cider said it. 10. This is so cool. If you had set up the auto Lipsey after penning face, it would have cut a strange hole in character space, and you could set up auto lip sync without pre comping the face. But then you wouldn't be able to do the facial expressions like smile or anything else in the future, as we're doing now, so you're doing it the right way. You could just drag the smile cider into the negative range to create another expression like a frown, but it's better to have more control. So just right. Click in the fest controls panel. Select Slider Control named Frown. Go ahead and sit to smile, slider to zero and we'll sit the Frown slider to 10. We'll start building him from here, so let's start with the same bone that we did last time. The mouth corner right bone now as we got to do, is below the smile. Variable type and frown equals C Michael. And then in between the equal sign and said, Michael Pick, whip up to the Frown slider had it into the white position. If we want to move it in that direction on the Y axis, go plus Brown and we'll multiply it by one point. Fire. Okay, shot in the dark. Maybe a little too much so we can play around with this. What if we subtract from it? Moves the bone in the opposite direction. That's definitely know what we want. So we're going to go back to the addition sign and will change 1.5 to 1.1 looks a little bit better. Do we want to keep doing this for the remainder of the bones? How do we want the rest of the bones to react when the from sliders at 10 starting with the chin I multiplied, frowned by times point for which cannot see and then everything else. I'm only multiplying it by a little bit times 0.1. Sometimes I put it on the X access Also, as you can see, there's not much going on here, but all added together, it definitely creates a frown and not a smile. Any time you're messing around with any of the sliders or any of the I track Knowles trying to get the character to move smoothly, which is considered a live update as your testing it and you get a pixelated look like this that's just too. Due to the mode that your composition window is in. You look for the small lightning bowl of the bottom. I have mine and adaptive resolution. If I change it to fast draft, it lowers the clarity. But I'm able to get a better picture of how my character will look when it's animated going from, say, a straight face to a smile. 11. Head Controls 2: this lesson, we're gonna add two more slider controls to the face. Go ahead with control selected and Addis Ladder Control and rename it eyebrows elevation. Duplicate this slider and rename it to eyebrows. Rotation. These will be able to be used alone or together to help with facial expressions. That would be a good time to go into the character front head comp and reduce the opacity of the hair layer while we're pinning up the eyebrows, I've already rigged up the right side. And just to show you what are sliders will be able to do, we could raise the eyebrows. It also rotate them from a central point. You could make more complex eyebrows in this, but we're going to keep it simple for this course. Few things we're gonna need visible is we wanna have the parenting column as well as we wanna find the do it tour. It will be using that we're going to need a room on the timeline as we'll be entering a few simple code expressions by hitting the period key on keyboard, you can zoom in and then old age. Click and drag to position the head so you can see better go to eyebrow left and slept out later. It are on the keyboard to reveal rotation. And now, if you hit, why on keyboard he can move the anchor point of this Photoshopped player and then rotated just to see if this would be a good place. Toe. Put a puppet pin in a second. It looks good, so select the eyebrow left layer and with puppet Tool, plays a pen here in the center. Well, one on me inside and the outside should give us three pens. We're gonna take the mess down to about 100 and then you can see we have are three pens will rename them something like Eyebrow Left out. I brought eloped in an eye. Bella center. You can use abbreviations, BBO or eyebrow left. No close that up. Select the layer going to do it and simply click bones. We want apparent both the eyebrow left in and out to the center bone. Select this center bone. It are for rotation and then optional Click on the small stopwatch. This will bring up our expression panel and above. War says transformed out rotation. Creative variable for the eyebrow rotation E R is fine here in between the equal sign and semicolon picked whip up to the variable slider. That's all we had to do. He's gonna drag this out and show you all that is now is one simple variable. The after effects created most of it for us, then transformed out rotation plus er, which is our variable. That's all we have to do to get the slider toe work. So now when we go up and we increase the value of this slider, die bro rotates from the central point because the centre bone has the expression on it. Go ahead and get the camp window to character, front, body visible. Lock that. So now we can still work in the character front head timeline. And now when I drag the slider up, I get a smooth animated life update of how it's going to be a because we can see. Looks a little odd, but we'll fix Satya later. First thing we want to dio is make sure that we're gonna get the position set up right for this eyebrow. So on the same bone I brought left center, we're going to use the position expression I give you in your notes, go ahead and copy that if you have it on a computer somewhere or you can type it in but had shift P to bring up the position of that bone and now all click on the stopwatch and pace that code into the expression panel now above it will create variable call e for eyebrow elevation and in between the equal sending semicolon connected to the slider with Pickwick . And we want to move this bone on the Why access now as we have to do. Yes, I've been minus E, which is our variable name. The minus will move it upwards. If we put a plus sign, it would move downwards. Judging Decider and it's elevating. Remember, I already read that the right side ahead of time. Make a little bit more room to see in the expression panel by hiding THEBE PARENTING COLUMN Since we don't need that and blower variable we just created at in smile, it's create that variable as you did before, make sure the sliders visible, then connected up. So what we're doing here is making us the one we slide the smile slider. The eyebrows will react also have to do is create that variable. Then we'll include it with a Y access. So just subtract smile times eight for dramatic effect just to show you. As we increase the smile, cider the eyebrow moves up and will reduce that value down to, say 0.8. So it goes up a little bit. I want to drag the slider. The eyebrows are reacting. Both of them are reacting because I already rigged up the right side to smile slider ahead of time. You can select both sliders by clicking one within command, clicking the second we drag him up. We see there's a few differences, which is OK, really. But if you wanted them to be a little bit more symmetrical, we'll start with the rotation so we'll just add a little multiplier to the rotation. Value is to get it to rotate a little bit more, multiply it by 1.2, then the position. We just multiply the elevation by 1.2. You can play with these numbers, but now we have a very symmetrical eyebrow behavior and pretty much match. One thing I want to be aware of is on the rotation value of this center bone. We added it. We did transform dot rotation, plus the slider. No, on the right side. When you got to do this, it's going to be the opposite. It will be transformed on rotation minus the variable. It's really very easy to keep having the eyebrows react to different sliders you create. Let's take frown, for example, here have added into the left eyebrow. You just copy that will be in your clipboard, and then you can take it to any other bony want. Go below. The last variability created, for example, smile and just pasted him. There. You can go into the rotation, paste it in there. Then all you have to do is add it into the expression with multipliers if you need them. If you ever want to change the name, say frown too sad. Here's where it is. If you change it, it doesn't change all of them, so you have to go copy, the new name said in this case, and just replace all the words is that are frowned. Too. Sad doesn't take too long, so it's best to stick with the names you start with. But it can be done, and this is what happens if you do 12. Body Guide Nulls: to ensure that we can place pens on the characters torso so that the legs and arms will be able to connect up well. We're gonna create some guide Knowles for ourselves. We'll just be temporary. We can clean up the timeline by shying away the layers we don't need. We're only gonna be working with the torso and the major limbs at this point, Select the character front had come etpi for position. You can see that the anchor point is in the center of the head. It w you'll be able to rotate the character's head in the camp window. We can see we definitely don't want the head to pivot from that point. So we hit why, and we can move that anchor point down a little bit now we test out the rotation with W once more. That's a lot better. So this would be a good place that will put a guiding all here in a second will really help us out as we select the torso, layer it t for opacity and take that down so we can really see where all the limbs replaced . I select all the limbs and hit P to reveal position as this is what would be working with. We select the right arm. We can see that the anchor points not in a good spot if we were to rotated right now. So we hit. Hold down. Why we can move the anger point up. Do an area that looks like it might be a good joint. Then we'll test it out with the W to rotate toe. That looks pretty good. So you want to do the same thing for the left arm? Get that rotating Very well. They're moving into the legs. Go ahead, take the capacity down on the right leg so you can see how much it actually moves with that horse. Aware this will be important if character was sitting. Move the anchor. Point up with C Pan tool haywire somewhere. You know this stakes a little bit of checking, so we're gonna test the rotation out. Looks pretty good for simple rotations, but if we go to extreme rotations, it's it's a character was sitting, we could see we need to move the anchor point just a little bit. No, when we test, it lines up a little bit better with that torso layer behind. It will repeat the same process for the left leg with the anchor point destino. Now go to layer. It's like new. No object. Go ahead and just name this guide. Underscore and not duplicated till you have five separate Knowles. We're gonna name them one for each leg, one for each arm, one for the neck. Select all these Knowles p to reveal position they're also going to be doing is matching the position value with a corresponding anchor point. So for the guide neck, no. We set the position values to the position values of the character. Front head cop. That was that anchor point or that pivot point that we moved the anchor point to. So for the arm, right? No, you would set the position value to the same position as the arm right layer. Do this for the remaining Knowles. So now you can see all the position. Values are the same as each corresponding layer, and you can change the color of the Knowles just to keep things easy on the eyes. 13. Body Pins: Now that we have the guide Nell's created, we're gonna start ringing up the torso. So go ahead and lock those five Knowles you just created and solo them out. So that's all we see along with the torso layer. So load out it. Command Peter's like the public tour and place your first pen on the top left corner of the guide. In all this would be like the waste right? Go ahead and bumped the mesh up to a triangle count of 600. That looks pretty good. If you want to make it a little bit more easy on your eyes, you can change the color that matched by attention the color of the layer. So we'll just try awful here. And if you don't see it, quick mesh once more and we'll place the second pin when the waste left. That will do shoulder right and we'll do shorter left and moec head from there. We just keep going down. We'll do another Penn called neck low. Then we'll do torso high torso mid high. We'll do a torso mid on a torso, mid low torso, low and pelvis. This is more or less like a spine this point. We just want to name all the puppet pens with a corresponding location, and they will be all out of order because we placed him that way. So then you'll see that pelvis is a top. I like to reorder them from top down. Then I check make sure that they're all labeled correctly going down the spine. Okay, now we're ready to use. Do it to turn all those into bones so we find Doink and will close up the torso layer. Leave it selected, and we'll turn them into bones just like that. That's all we need for doing from now. So we'll just get that back out of the way. And we want to reveal the parenting column. Go ahead, make the head comp visible once more. You want apparent this to the bone neck, Head them apparent neck, head to neck. Low well parent neck, low shoulder right and left, torso high, then torso high to torso mid high down to torso mid mid to mid low it low too low, and then we'll select low and both of the waste bones and apparent them to the pelvis. Now we just have to test out, see if we even did this. Right? So we slept. Pelvis hit are the rotation, and it looks like everything's parented up correctly. If it wasn't, this would look very strange. Some of the bones will be stuck in place, Another one to test that would be neck low. Just a rotation on that one. That I say looks really good Quincy to undo. But if you wanted to, you could select the torso layer once more hit command P and cycle through the public tool until you get to start tool. Take the extent on down to 10. Something really low on place to small little starch pens at the base of the neck, one on each side. Now, let's just see how that looks. We rotate really stiffened up the bottom of the neck, so we're gonna get rid of those. But you could do that, that they're not really well, first shot. Okay, so we can go down and test out some of these bones we've placed somewhat on the spine. Type of area. Mid high Looks pretty good. Mid looks pretty good. And we're just testing means now together when really we're going to be hooking them up together and a slider, But it's nice to test things out before you get to head a yourself. In case you want to move one of the bones, it will select a few of them at a time. Just drive that slider are dragged, the rotation value. They actually work good together at this point, which is what we need, because we're going to utilizing multiple bones here to incorporate into our next letter. So we'll go up in two ZB control air, and we'll add a new slider, right click expression controls slash control and name that bend for now, or whatever you like, right. Click the zeros and added value and change the upper range that they're down to 10. Go down and select the torso low bone. We're gonna all click on the rotation value, which brings up our expression panel and before says transformed our rotation. We can create the variable named bend that we just created. So bend equal sign semicolon and with give ourselves a little bit more visual room here so we'll drag. The comp went over and this air doesn't mean anything. It's just because we didn't finish the expression So we find the pick whip create this letter, I'll just say Transformed Out Rotation Plus and the spaces don't matter too much here, plus Bend does this letter to moving just that one bone alone on Do copy that code. I'll click on the next bone torso Menlo pasted in Go to Torso Mid All click on rotation pay set and also we'll go to Torso Mid High. I'll click on rotation pasted in. It's that easy going up to this lighter. Our character bends very nicely now, as we had to do was at and bend. Undo that. Next. Go down and select the pelvis layer is in command d duplicate that layer. We're gonna change this name, too. Center all caps to make sure that it stands out easier for us. We're gonna change the color of that to green, and it s for scale and we'll bump it up to 200 place at below the pelvis later. Well, parent pelvis too center Well, center is is just allows us to move the character around. One last thing I wanted to do with the torso is that created a second slider named Bend Low and this Onley hooks up to the torso low and pelvis layer. There's the regular band cider, and now the bend of low slider just doesn't include the upper body so much when we don't want that to happen. But if we wanted Teoh, we could select both of those sliders and use them together. 14. Head Vertical Rotation - up & down: next, we're going to create a little bit of up and down rotation for the head. So get the column for parenting visible. I was going to fix the spelling on this neck and easy K. Okay, so select the layer name control like that right click and add a slider control and named that head rotation. This is just upward and downwards, so let the neck head layer. Oh, click on the rotation. Expand the expression panel a little bit than above, transformed out rotation. Create a head rotation variable. Expand that out a little bit. Now would scope transformed out rotation plus head rotation and the tea that I deleted when we test the slider out the head moves. If I would have used minus head rotation, the head would just move in the opposite direction. When we drive the slider, it will take the intensity down to 50 on that cider that's a little bit better now, working on the neck low bone, I'm going to add another slider. So right click Slider Control. I'm gonna call it Neck Bend and we're gonna work on the neck low rotation, so I'll click on that, and we'll just simply create a new, very cold neck bend Pickwick up to the slider transformed deportation. Plus next bend. We'll take their intensity down to 30% for the upper range. Okay, now it looks really good for a neck bend slider you can also do is select both the head, rotation and neck Ben's letter. Move them together for just a little bit different. Look, that's looking good, taking back to zero and we're done here. 15. Hair Movement: have a little movement for that hair. For when the winds blowing or the character move your head, we're gonna rig up the hair. We're going to start with the banks, so get them visible and then, without later selected, change the color to something bright. So it stands out when we have a triangle mesh on it. It's like the main hair layer, right click. Good to effect color correction and go down and select tent. Go to the map black to and then just change the color to something to provide us some contrast while we work on the banks. Click OK, because we could delete this later. Knocked out later. Now select bangs. It's like the puppet tool and place your first pen in the center. It's being called bangs center. From here. I'll just go up the right side, placing 10 separate pens on places where it looks like the hair would bend and then I'll go up the left side as well on the eight pens there. At this point, I want to go over and start naming them. So for the 1st 1 we place was things center. Then the 2nd 1 bangs right 10. Just copy part of that based in at nine. Then work my way up 87 and so on and then do the same thing for the left side. Did you get him all named? Close that up. Select the layer, find do IQ, and then click on bones. You can go ahead and change the color of each side. So the left side and the right side will be different colors just to keep things easy to see from here, we just want to start parenting 10 to 99288 to seven. So on when we get to one, we want a parent that to the center open to care to front body sleight to control air locked at Gonna have a couple different comp windows open now have the character front head Kump in the character from Body Comp. You could hide the parenting for now. Feel free to move your panels around as much as you like gonna move the two composition windows side by side so that I can see a further away shot and a close up shot. At this point, we're going to use the expression if else that I give you in your notes. You can read about what? That kind of means of the general idea in the notes. But really, the best way to learn is just through action. So copy that. Now we're going to start using it with the banks, so go into bangs, right? Three. We're going to create a new slider control. We're going to just name it Bangs. Okay, now all click on rotation and the expression of panel Just paste in that if else expression , you're going to get some errors because it doesn't mean anything because I use words like this and that, and we're all gonna use half of it. We first start so you can delete half of it. So that's all this is Change this to bangs. Copy the word bangs. And then any time you see the word this just paste bangs in this will make more sense as we go along. So to create the banks lighter you've done this before was going on here is that when the slider is greater than zero is going to behave a certain way. And when the sliders lessons your I was gonna behave a certain way. So we're just going to copy that expression. We're going to add it to the rotation value of some more bones that are on the banks, literally. Just copying pacing. These end this point. They all have the exact same general, if else statement for banks. So now when I said the slider up to 20 that's what the banks do, which is a little extreme. You can also add the same expression into the bones in the left side. 3456 and seven. At this point, we still wanna have this slider, said it 20. Now we can begin adjusting how the bangs variable behaves with the slider by adding multipliers to it. So multiply by 0.2, then on things right for all, multiplied by 0.1. We'll keep going down right now. I'm only adding the multipliers two when the Bangs slider is greater than zero. To test out what we're doing here, we'll set up a little animation in the character front Body Timeline. Remove the C T. I, too, about 10 seconds and hit in Creator loop. Go back to zero on the control where it e to reveal the effects. It's been down banks quit the little well. First set it to zero this letter. Now click the little stopwatch to arm it. Instead of keep Frank, hold shift command in the Arrow key six times and set this slider value to 22. We'll shift command tipped Arrow three times. Said it to negative 10. Shift Command Cafiero four times said it to 23 again, and I said it to one. We'll shift command top again four times to 35 and lastly that but again six times, same method and set it to three. We'll move the SETI I back to zero, and we'll test this out with a little animation hitting the space bar. Not a bad start, but we can do better than that. We can make it so the bones on the hair actually have a little bit of a delay as they're going down the hair. So to do this inside the expression panel at the end of the variable will just add something called dot value at time time minus 0.0. And then we'll modify that last number. So on things right for we'll change it 2.2. Then we'll keep going down will change it to 0.3, and you can see the notes I've given. You have better detail on this. On on Bangs, nine will end up with 90.7 scrolling all the way down, making sure we have it on every bone that we want. We can then go over into the bangs or the bones on the left side of the banks. So, like to bones three through seven, and we'll spend down the rotation window where we put expressions in, and we'll just add in the dot value what time at the end, Start with minus 0.1 and then work our way down. Next, we high all those key frames, right Click go key frame assistant Eazy e's. This would be something more appropriate for hair. You know, when we've run a preview, you can see that the hair is moving almost a ziff. A breeze were hitting it, and you could get is crazy as you want. With this, you can also modify, so now I have taken all those key frames, space them out differently and set the slider values differently on each of them. By hitting J or K, you can move through these key frame, see what values I have, and I've made some changes to them. Multipliers on each of the bones is taking a look. Small changes scroll down, Just made a few changes space the key frames out and teams the slider values on each of those key frames, and it gave me a slightly better animation. That's all we're going to do for the bangs. At this point, you can select the main hair layer dropped that effect that we had for the tent can shy away all the layers we don't need at this point in time and we'll bring visible both hair rear layers. We'll reduce ah Cassity of the face so that we can see better where they're placed behind the head. Also, take the opacity of the main hair down 50%. I'm gonna work on the hair rear right layer first. So that selected you could see where the anchor point is. So hit why? And move it to a place you might think would be a good rotation point. Test it out. Using W It looks pretty good. This isn't too critical. Okay, So with the puppet tool place have been there, and we'll place total of five pens, Just kind of almost creating a spine for this image. Really? Okay, go ahead and open to form, and we'll rename them air Rear right. One through five works. Well, reorder. So it's 125 Close that up. Select the layer. Get to our do IQ. Quick bones. Then when we need the comb for parenting to be available, would his parents up? 5 to 4423 3 to 2 to one. That one. Well, parent to here, mate. Now you can bring the opacity backup on both the face comp and the hair. Go ahead and lock the character front Body composition window. Select control. We're gonna add a new slider. We're gonna name it. Hair rear are for the right side. Go into character. Front head. Mrs. War will be working. Far as the timelines concern, we're only going to affect the rotation of the first floor pens we placed on the hair is it wouldn't do anything if we added something to the fifth. So we'll click on the first rotation. Just gonna paste in one of the bangs if else statements expand that out just delete The first part of it will create a hair rear right variable. Now I just copy hair. Where are base that in anywhere. Said banks. We have RFL statement, but just deleting multipliers. Okay, Just copy that whole code No, or pace it into the remaining three rotations. The rest of bones on this hair direct the slider tested out could be useful. Then, after you pent up the left side of the career, you can change the color so we don't make some up. And now, in the rotation of each of those will just paste in the same code. Only changed the hair rear are two hair rear l for the left side and we'll have created an additional slider also. And these sliders become really valuable. You use them in conjunction with the head rotation, neck, bend, ciders. You select them all at the same time. Then we'll drag the sliders. We can see how the hair behaves in relation to how much the head is leaning over like that doesn't look right. So we leave the cider set there, then begin adjusting multipliers and each of the bones on the hair to see how they react. We can reduce that if it's moving too much. Yeah, that's looking a little bit better. Go down as I'm doing is much of reducing the amount of the rotation by multiplying by. Lesson one. Take the slider the other way. She's leaning back. Reduce how much the left rear hair leans over or weaken. There's no rules. We could do whatever we want. This is just to show you that if you want things toe, look right when the heads Laney, There we go. Now we're looking at the bangs and noticed it's not moving exactly how I want it. So test out rotation on the first bone we had didn't quite do it. So go up one bone higher and there's no expression on it. So we just copy the expression from Bangs left. Three. Don't click on the rotation added to bangs. Left to now, Now we can modify. This are now. It behaves with a slider. Test it out again. It looks really good. It's almost like the hair is behaving with gravity as the characters moving. So you could use this whether the characters has just moving or if the characters leaning over one way, bending down to pick something up. This takes a little tweaking of the multipliers, and you can do quite a bit as one affects another. 16. Legs: Now we're ready to set up the characters legs I've already set up the characters left like to show you what we're gonna do. Wonders with a controller that we can actually grab. We'll be able to bend the leg from the bottom up, which is great. If you want great steps in each way, we'll have a controller so we can manipulate the ankle as well as the foot. So I'm gonna walk you through the right leg of the character going Unlock the FX control box, walk the guide. Know that you created for the right leg with the layer named leg right. Selected hit command Pete. It's used the puppet tool and place your first pen down on the ankle, the second pin in the knee area and the third pen where the guide noise and you can leave the triangle count to 3 50 now. When we opened to form, we want to rename each of the pens. Then we'll select that layer going to do it. Click bones and we'll parent the ankle to the knee. No need to the hit. Then the hit. We actually parent to the waist, right? Who hasn't locked the leg layer. For now, you can test out the leg a little bit, so this is what it would look like now. But let's take it further with the ankle selected click controllers and do it. We only need the horizontal and vertical sign. Click Create created a controller force. We can grab that controller, bring it down in the layer list and change the color. As you wish. The next thing you want to do is select in order using the command key ankle, knee and hip. And then the controller go to do it and click I k just click create at this point. Now we have the inverse can a Matic. So we grab the controller. We can move the leg as a leg should move up in the effects controls panel. You can lock that, then spend down stretch. You want to uncheck this otherwise the label stretch out like rubber. And if you click clockwise, this is how you would get delayed to bend in the opposite direction if you wanted to the wrong direction for a late. But if it was an arm, you check that. So select the controller and now we can been the leg down, so we'll probably add some starch to the lake. So with the puppet tool selected cycle through, do you get to start stool and we'll as him starts on the upper leg as well as the lower leg , you can adjust the amount of starch up the top and this. Just leave the knee free of starch, where you lock that lay glare. Once more, grab the controller. Test it out. You can see just by adding that starts really stiffened up the leg, so now it has just more formed to it instead of looking like rubber. At this point, we want to add a few more points to the actual leg, so we'll unlock the leg player. Select the puppet tool, and we'll place a couple more pens won just high upon the foot and then one closer to the toes. Now we'll go in to the leg layer. Spend down puppet mesh. The form and you could see are two pens when I name them leg right foot and toes, reorder them and then slight, both of them in just click bones. Now we have just those two bones created. Next, we just need to parent them properly to a parent, the toes to the foot and then the foot to the ankle. And we're done with the parenting calm. For now. If you open up ankle and foot, you can see the rotation values. One of them already has some stuff in it from doing. You see if I just the ankle here and then it just the foot would be nice to have some slider controls for this. So with the ankle controllers selected right click expression controls and add a slider control name the 1st 1 ankle duplicated in the name 2nd 1 foot go down into the lake of right ankle bone. Spend down rotation and you'll see Do X Code in there already. You don't want to mess with this. Just leave it as is. But now we just set up down below it, and we'll create a variable named ankle just as you've done before. And after that, go down a couple lines and type in transform dot rotation minus ankle change. The value up arranged to a lower one like 30. Now we can see when we drag the slider. We have control over the ankle who could do the same for the foot slider one of this time. There's nothing in the expression panel, so you would just all click on rotation and will create a foot variable transformed dot rotation minus foot. You could do. Plus, it would just make it move the other way when you move the slider, this is totally up to you. There we are. Little ankle control for control. I'm just gonna grab the angle controller here. The right leg test the movement out. That looks pretty good. Really high step. The ankle and foot controllers also work together. This is we're using multiple layers for the head and neck can combine them here. That looks good. There's no weird informations. Now, I just want to show you something that's a little bit odd. So I have the characters legs at the same elevation. Now. This wouldn't be the case if we had a 3/4 from view character. So that center no, you can take note of the position is if you need to get it back. If I grab that and drag it down, commit the character sit, you noticed that the far are the characters left leg is way lower than the right leg, and that does not look right. So also have to do is grab the left hip bone and move it up with the arrow keys. I can take the bone of the right hip and also move that around with the arrow keys. So if you had one shot that was required for sitting and you need to nudge things just a little bit, you could still do that. Bring the legs of past year, see how it really looks. It looks pretty good for sitting down now with the character standing upright. Grab the center known. I just kind of move it up in the air is that she was jumping. That also looks good. Looks like her legs spread apart Really well. And the leg that's further away from us. Her left leg a little bit higher in elevation. If there was a ground for their moves. Very well. Go back up to sitting position by moving the ankle controllers. This still looks pretty good too. Bring them back down. She was a superhero. Something flying. Um, I look good. So what we're going here is just to see how versatile. The legs are for different kinds of poses, and since we can move those two top hip bones, we have a lot of flexibility with the character later on. So this gig off with any character that you designed that has legs sit her down. Now you can see it looks different, and this is because the two ankle controllers are in different positions. In the first time I did that, so you could either move the two ankle controllers or for a particular shot. I could move the top hipbone. Either way, you can always get it to what you want. Turn the opacity back of the torso and you could see that it looks pretty believable. The legs look like the position while bending well, standing up or sitting down with the center. No back still looks good. So you notice that when we move the center position to move the character around, the legs are stuck. And if you want to move the character around inside this camp without that happening, you just parent the center and the two ankles to control, and you move that around. But we'll actually be moving the entire composition around in another scene later on, 17. Arms: Now we're gonna bring the arms, which is a lot like the legs. Only a little more complex because we have fingers to deal with. I'm in fast draft mode to show you this. This is the left arm rigged up moves a lot like the lake. I'm gonna walk you through the right arm. So you want to locate the guide, Know that you created for the right arm and have that layer locked but visible. When you go down and you select Thea arm right layer, it command p for the puppet tool. Place your first pin on the wrist and one up in the elbow and then the last right up with the guiding all that you created. Go to the mess you can see. That triangle count is at 350. We'll zoom in because this is important. Take the trunk. Will count up to 700. Noticed the area by the finger and the thumb. The finger. We bump it up to 700 now has a line running all the way down the middle of the finger. This will allow for better bending. We'll take the expansion under two notice how much space we get between the thumb and the point, your finger. That's what we want. We don't want too much of a mess showing there. This will allow us to keep the finger in the thumb separate in their articulations. I'm gonna take the mesh count up to 7 20 And if the mess ever disappears, this happens often. Go ahead and mess with the triangle count, then just dragged right over the hand once more. Never wear go or to deform and renamed the puppet pens. Get them in order from top down, shoulder, elbow, wrist. So let the arm layer go over and to do it in quick bones. Now that we have the bones, well, despair in the wrist to the elbow and then the elbow to the shoulder, then the shoulder. We're parent to the shoulder, right bone. Next, with the risk selected click controllers and do it again. We only need the horizontal and vertical checked quick create. Bring it down, and if you hold the command key, you can select the wrist, ankle shoulder and then controller, and then you go click I k next click create. You want to remember to spin down stretch and uncheck that no was test The drawer out looks like it's working. See if we uncheck that now we can bend the arm the other way. Really, there's no right or wrong way. It depends on the shot in your script for your animation, so the left arm could have this checked or unchecked. Unlock the arm layer. Now we want to get to the puppet tools starch option. We're gonna play some starts kind of like we did on the leg, so we'll play some starch below the elbow, move it up a little bit and we'll play some above the elbow. You can have just the extent at the top here, and I have recommend keeping the amount 2.2% especially for the arms. A little bit more finicky. Okay, that should step in the arms up a little bit was test Seto. The arm looks good, not too rubbery, and yet it doesn't look like we're just trying to move it. Stick around. We're going to go with that. Then there's one last thing you want to do the arm or you can do. We'll do it a couple of times. Is you select the arm layer and you cycle through the puppet tool until you get this little stack icon. Place a pen, and now when the arm bends, the lower part of the arm will always be on top of the upper part of the arm. 18. Hands 1: the pointer and thumb finger of the hands. Are you ready? This is the left hand. This is what you will be able to do with some sliders. Be able to close and open the hand. This is just the thumb. And the finger at this point are the pointer finger, though each have their individual sliders and then also worked with an open close lighter together. The first thing I like to do is locate all the individual fingers and position them closer to the hand and figure out where I want them to rotate from. This is the same approach you used when finding different pivot positions. We're gonna change too fast draft. Now I'm gonna lock the arm layer. So I'm just messing with the fingers and this is the middle finger. We won't be rigging this first, but I want to get it in place. Okay? So we can just nudge it up. And now person W I can rotate it. See if that's in a good position. Back and forth. Looks pretty good. You do this to the ring finger, and now I'm on the pinky finger and you can adjust the scale of it if you want, did not draw them most accurately. All right, so we're gonna go with that. Go ahead and lock these layers, but we don't need to see him. And now we're ready to work on actual thumb and point a finger. So we select the arm layer once more and we can see the mesh we click the puppet tool. Actually, let's open that up. It's been that down, open, deformed, and we can see that when we place a pen, it should end up in the same deform list. So what place went on a hand? And there it is. A puppet pin shows up in the list. If it didn't just undo and try again Now we'll play some pens along the pointer finger usually place four pens on a long finger like this. Just look at your own finger for reference. Keep in mind the Vergis ease of the triangles. What will affect the pens and I'll put three for the thumb. Wanna go vertically to form and rename these so you can see it did one for the hand and then some for the Poynter and the thumb. We'll just reorder these from top down check to make sure we got him all. It's like the arm layer itself. Click on bones. Do it. You can see they appear right there in the list. You can select them all if you want and then changed the scale so that the bones aren't so big. Okay, Is he gonna change the color of these bones? Just so I know that I'm working with the pointer finger bones and then the thumb bone separately. Not to get the mixed up. I did make a mistake and created bones for the shoulder, elbow and wrist again, which I did not need to do. So I'll remember to delete those in the future, but just ignore that for now. Need to unshowy I the right wrist controller. There it is. Go ahead and lock that controller box. The effect controls, right? Click and add a slider control right. Click on the zeros at a value and change the upper range down to 30. So when we slide, it's not so dramatic. Select the controller and duplicated until we have five. We're going to rename them. We want one for the wrist, a hand pointer, the thumb and open close. Next, select the right wrist on the arm it are, and you'll see that rotation. We spent it down. Has some code in there that was put there by Do it, and we want to leave this as is, but go ahead and get invisible. The parenting calm now apparent the thumb. Three to thumb, too. Them to to someone, someone to the hand and then pointed 4 to 3 to two. Toe one and then pointer, one to hand. Then we parent hand to the wrist. That's all we need for the parent to calm. We can hide that. We expand this expression panel out, but we could see Duke's code, and we're never going to interfere with this coat. Just remember that so create a wrist variable type in risk. Equal signs. Am I going? Man will type in transform dot rotation. It will add wrist. Connect that up in the risk slider, test it out, go ahead and change that, plus sign to a minus. Sign That way, when I dragged the wrist to the left, it makes more sense visually, easier to remember. We can close the wrist up now and select the hand layer all option. Click on rotation, expand out the panel, go above, transformed our rotation and create your variable for hand and equals semicolon. And here we'll just subtract, transformed out, rotation minus hand. That should be all we need. There it goes. Remember, I have multiple bones for the shoulder, elbow and wrist on the screen right now, so don't pay any attention to that. There should only be one of each of those. I'll get rid of those later. Okay, luck those layers up, it's the bottom ones that were extras. Now we're going to start using the if else expression. We're gonna use the whole thing this time, so copy it from your computer. We'll go over. We're going to open the rotation for the right pointer. 12 and three, not four. So we have a pointer. 12 and three all option. Click on rotation. Open the expression panel and paste that generic. If else statement in there, you click out. You'll get an error because it doesn't make any sense. Now we're place every word that says that with open close copy and paste that open close, open, close, open close Change all the words that say this two pointer for the point of finger. So is copy and paste that replace now. Create your variables by just clicking between that equal son and semicolon dragging up to the appropriate slider for each click. Ellas, you get no errors. All right now you can see what it looks like. Two variables, then basically on double NFL's expression, dragging the sliders we could see on that first joint pointer one in the first bone, and moves when this letter is greater than zero and less than zero. So we'll copy that code and paste it into an expression panel on the right point or two. And right point your three bones will go up and set the open close slider to negative 30. This is just a number I like Seems to work really well. You could use any number. I recommend to use 30 and negative 30 for this course. You test out open close to that number as well as pointer or thumb to that number, they should look identical while we have this look kinda going on here. So let the puppet tool on the arm layer and go through until you get the overlap tool. We're just gonna place a little bit here. Watch what happens there. I move that around, you can move it depending on what you want to be in front when the hand is closed there. I'm gonna leave it like that. So when the hand is close, we seem one thumb. Rather than guessing what we want a multiplier values to be in the expression. We can actually drag around the rotation value right now and just get a close idea. If we want the hand look like this, this will help us determine what we want to set the values to be. So if this slider is set at 30 we got the rotation of hand Pointer one at 30. Do you need to do anything for open close now? But on pointer to the rotations, at 100. So we need to do something. One of the multiplier. So we'll take the rotation value of 100. We'll divide that by 30 which is approximately 3.3. So then we'll multiply open close times 3.3. You know that little weird information for now. 9.23 We know 90 divided by three are divided by 30 is three, so we'll multiply open, closed by three. Then we'll set the rotation to zero, which puts it back to 90 1930 which is the default value of rotation, while the sliders at 30. No, we just copy that. Same value for the Poynter slider. For when the slider is greater than zero. We contest the pointer slider. Set that to 30 and it should look identical to the open close lighter when it's at 30. When we set the open close slider to negative 30 we used the same method Onley in the opposite direction. You know his tweak some of the multiplying values here and there. Do you get it? Tell you like it when you're using the thumb they're setting up. The thumb will change the minus signs to the plus signs. That way, the thumb moves in the opposite direction as the pointer finger You can see sometimes I'm not even multiplying by very much at all times. 0.1 times 0.5 Sometimes 0.1 again. Now, when I drag the thumb slider, it's just moving a little bit. And when I drive the open close slider sent them back to zero. Drive the open close lighter. The thumb opens in the opposite direction as a finger that is looking nice. 19. Hands 2: Now we're ready to finish the hand with the rest of the fingers. I've already rigged up the left hand to show you what we're going for and for the open close lighter. I changed the head of values up. Arrange to 96. So now when I dragged this, you can see that just by adding a few more fingers and doing it with the same approach we did with the pointer finger. Get a really nice effect now to get started, select the right wrist controller. It's gonna tighten up that FX controls. Now lock it. We're going to hide the visibility on the rest of the fingers for now and just work on the middle finger going to put it in position and just make sure the work we did earlier still holds true. It looks like it's rotating pretty well. I'm gonna so low that finger now with its selected hit command P for the puppet tool going to place a pen and change the mesh down to 50 and said the expansion to to that should be good for a small finger like this and you'll notice there's a pretty much a line that goes down the center of the finger. This is what you're going for. That way, it increases the chances that it will bend correctly along with placing depends in the correct position. So go ahead and rename those this finger right mid. 123 and four. Order them from top down. Close that up. Get to do X tour. Select the finger layer and click bones. Well, parent, the outermost bone to the innermost then turned that a hand just as he did with the pointer finger. Now, we don't really need to see the bones here, and we're only going to be working on the rotation value of the 1st 3 bones. There's nothing would happen on the fourth ball. Now go to your computer. We're going to grab the if else statement. I'm just going to use half of that full statement. It's in your notes. Just this half, Okay? He's gonna copy that. I'm gonna go into the rotation of the first bone on the middle finger. What? That goat in there and create a very vocal open close. Copy that and replace every time. There's a word this for open, close and finished creating the variable click outside. No problems. Also got to do now is copy that. Get into an expression panel for each of the remaining bone layers and paste it in. You can solo that finger and see how this finger will move with the rest of the hand. But first notice that the rotation value, even with a slider said it. Zero of that first bone is plus 10 point to where the rest just say zero. It does every time you parent this bone to the hand, I'm just going to adjust it down to 10. Forward, put zero. It would rotate the finger, so leave it a 10 for now. And when I move the slider open slider to 30 you can see rotations. Air 2030 and 30 which is fine. We can drag out on these rotation to get a good idea like we did with the pointer finger of what we want to create are multiplying values. To be both close to 100 roughly might be pretty safe, too. Multiply the open close by 3.3 when the open close sliders greater than zero, which it is because it's a 30 times 3.3 not bad. Test the slider out again. The nice thing about this is we can select the finger right, Mid one bone with the arrow keys. We could just move it up and just it that way. Similar to how we did with the hip bone on the way, I'll set the slider to negative 30 and begin making adjustments to the open close. When open close is less than zero, we're gonna multiply by just a little bit like 0.1. There we go and actually reduces the effect fairly well. Remove this mid one bone looks good. This also depends on how the character was drawn and being able to foresee what it will look like when you're closing and opening the hand on the ring finger. And so that out go through the same steps we did with the mid finger. It's literally the same process. Take the mesh down to 50 expansion to to at four pens on this finger. Also name them, reorder them crap, do it, select a layer, threw them into bones, get the calm of parenting out apparent during 4 to 3, then 22 into one, pampering one toe hand. We can run so of these, we don't need to see the bones anymore. And just like we did with the middle finger, we're going to work on the rotation of the 1st 3 bones when we can copy that code and add this into the rotation expression panel by all clicking simple as that at this point, also have to do is figure out how much we want to affect each variable. So you can see if I were to set that top bone 20 even when the slider was at zero. Didn't move a finger. All right, so these are the multiplier values I'm using looking all right for the pinky finger. You do the same. Just place in pens, name them, select a layer term into bones, and then you can use the same code. These are the multiplier values I used with pinky. Finger of the two hands look quite different. For example, in the left hand, we see a little bit more perspective or a little bit now, a little bit more perspective of the fingers. Where's the hand we just rigged up the right hand? A lot of the fingers appear to be in a line with each other also would have to do to change that. Because if is, modify some of the multiplier values on probably the bones that have a one on the name mostly, you know, but that's all you do. You just adjust the multipliers, and you can get it to behave more like the left hand, see more of the other fingers as the hand girls in, and then opens up. 20. The Dress: in this lesson, we're gonna demonstrate using address. I know not every character wears a dress. But if we wanted to create the illusion that a character has another layer of clothing on them, this is one way you could go about it. We're going to do a little set up before we get going to make things easier to see, so we'll move the arms out of the way. We're gonna lock a few layers, hide a few layers, and we'll select the legs and the torso and reduce the opacity down so that we can really see what that dress is going to be doing. Even though it's really a skirt. I guess it's only the bottom part. Okay, so we'll take the opacity of even address front layer down to 70%. We're not gonna mess around with the rear layer just in this moment. We want to go ahead and shy, unsure for a second. We're gonna grab a few layers for reference points. We need to locate center leg, right hip and knee and then left. Hip and knee un shy are shy again. Make those visible and we'll lock them down. Were decision was a reference point like guiding ALS. Select the dress front, layer the command p for the puppet tool and place your first pen on the upper characters left, and we'll go over to spend down mesh and set the triangle. Count up to 700 try the expansion at six. Not with address moves a little bit more smoothly. Next place pens three at the top, one by each hip bone, one by each knee bone, one by each ankle bone and one outward. From there on the side, we're going to reorder these. You can see we have a centre top, a left top, left hip, left knee left shin left shin to outward. And then we have a right top. Right hip, right knee, right Shan and right Shantou. I recommend you check out the notes I gave you, especially when it comes to the parenting that we're going to do in a second now. With that were selected quick bones. And then I recommend separating each side into a different color just so you don't get some mixed up when we're parenting again, check the notes because it's not like you think we're gonna parent the dress right shin to the dress, right shin and the dress right, Shen to the dress, right, Me. Then the dress right knee is parented to the actual right knee bone. An address, right hipbone. It's parroted to the actual leg, right hipbone and the right top dispirited to center. Then we do the same for the left side, making sure we get the dress left knee to the actual me. Same with hip and then both. The dress, left top and dressed center top are parented to center. That's it. Definitely. Check the notes. Okay, we're done with that. Go ahead and luck these layers. Let's test it out. We'll get the controllers of the ankles visible again. Now you can see we're on our way, getting the dress to move like cloth over the characters. Legs. This is pretty sweet. So now you have an option of having a character that it was just warning pants or a dress. Now, if I select this dress left shin bone and I rotate it, you can see it needs a little bit of help, so we'll undo that. Let's get the parenting column one more time. Change the dress left Shin, too, changes parenting to none for a second. Okay, we'll delete that bone because we want to put a new bone there so we'll select the dress again, open up the form and delete that shin to that we had on there Also. Now, with the Dressler selected in the puppet tool chosen, we're going to pick a different spot for that second shin bone. We'll name it. Dress left Shin, too. With that selected only click bones and create that new bone. Now move it up parented to dress election. Now, if we rotate dress Lushan dress is moving a little bit better on the corner down there. However, we can also add another bone to the dress. Let's grab do it again, since we're gonna need it will select the dress with a puppet to of war ad. One more bone down, down lower. We'll name it. Dress left Shin three. With that woman selected turn into a bone well parent that to dress left shin, too. Now, when I rotate dress election, too, we can get a little bit better rotation of the end of the dress. This will come in handy in the near future Now, when I move the leg up to take it step, I can also rotate these and this can all be key Frame herbal later on, you'll see this one were animating. Go ahead and turn the visibility off of all those bones we put on a dress, grab one of the ankle controllers or both, and test out and see how the dresses looking. Does it look like it looks like it's hanging over some legs? That's not too bad, and all this is is a layer in front of the legs or on top. So where she's sitting, it looks like I need to grab the dress right hip bone. I just noticed that out a little bit. Looks great. 21. Replacing Lip Sync Audio: This next step is very powerful. One of the great things about using auto lip sync and we're inside the character front head cop. And there you can go into the face pre come that we made long ago where we have the audio set up Number one, the project panel Go to the audio folder and Dragon Audio set up number two. Now you can delete the first audio file that we read the face with l l to reveal the waveform. Go to layer new solid. Make it comp size and the color doesn't matter. Click OK now with this later selected, go up to window all the way down. Select auto lip sync dot jsx. Click on Create Mouth Rig. Close that big window now just click. Continue and continue on the next box. That's all we need to do. Just X that box out with this layer. Selected e go down towards says voice volume. Spend that down. Click on the word slider command. See to copy all those key frames. Now you can delete that layer. The current time indicator. A zero click on face hit E. It's been down voice volume. Click the small stopwatch to delete everything, click it once more to arm it. Command V to paste all those key frames back in. And that's all we had to do in the face. The mouth will still work with this new audio track. We don't have to go back in and do anything, except for delete the old markers that we have first track like this one here because that was exaggerating. A certain word in the previous track. Have you go into the effects controls panel on the face layer. You can turn back on the bottom two effects, and then we can go into the character. Front head company will run a preview and see how this looks, as is butter Corns are so rare no one believes they even exist. I'll start by adding two markers one up, 40% in one at 60%. So no, Both markers were placed where there was an O sound. We'll test this out with the preview. Butter corns are so rare no one believes they even exist. Butter corns are so rare no one believes they even exist. If you were creating a miniseries of animations, you can see how valuable this would be to your time to easily swap out new dialogue for new episodes of a miniseries 22. Breath: up until this point, the characters mouth is shut unless it's picky, which is almost all the time. I'm gonna show you how to create a breath. Put the C T I at eight seconds, go into the face cop. We'll stroll down. It's like the face layer he on the keyboard. We'll spend down voice volume. You got your current time indicator at eight seconds. Right now. Go ahead and zoom in. You can see all the key frames. Delete the key for him just to the right of the SETI. I hold shift in command and tap the arrow key to the right twice. This moved in 20 key frames. Now delete all those key frames. Well, just in command. Untapped Aero. Once delete all the key frames in between. Do it again. Now hold Children command and touch the arrow key three times. Delete all those key frames in between. I like the three key frames in the middle. Right click on one of them. So, like to keep from assistance Eazy E's, the center key frame command click to get a circle, which is this smooth transition on the first of the easiest key frame, said it 20 set that voice volume slider to 20 and on the third key frame, also said that to 20 on the center key frame will take the voice volume up to 35. See the mouth opening up there. One believes they even exist. One believes they even exist. Now you can change how those key frames air spaced out, as well as the slider values of those center key frames. But now you know how you could go about this before you continue. Remember to go back into the face layer the effects controls panel in turn off the bottom two effects. Keep your computer running smooth. 23. The Side View Character: I included in this course the side view of the character for your experimentation and learning. We're not going to rig up the whole character together, but I wanted to show you a few differences. Now we can drag the character side had come right into the character for side body cop. It s for scale and reduce the scale than 40%. Just like he did with a first head. Reduce the past you down to 50% to help you line it up with the temporary head layer below . You can already see the problem here, the hairs overlapping the neck. Once we get this position, we'll go in and fix that. Now, inside the character side head Kump, we saw that the hair rear left layer which open overlaps the neck will copy it. We'll go back out into character side body and pasted it every huge. So it s for scale. Reduce the size to 40% reposition it and line it up with that slightly transparent temporary head layer. Use it as a guide. Would you get a lined up? Go over into the timeline and we'll drop that hair rear layer that we just added, will drop it below the torso side. Delete the temporary head layer, bring the character side head come back up 200%. Go into the character side head comp and delete the hair were left layer. Whether you would simply parent this hair layer to the actual character side had come inside the character site head comp. The bottom layer that says important image is the hair bangs left clear so the front bangs on the left side of the character. Quick on face pre Koppett Shift Command See called Face Dash s for side. Need to make sure it's different than the first face company. So there's no cross referencing going on quick on layer name. Make sure they both say face Dash s to avoid any confusion. I'm not going to walk you through the entire process of the side of the character, so we'll jump ahead where I've created the face s comp per side and the eyes as comp. And here it's set up the same way that you did with the character. Front view is actually a little bit less work, okay? And I grab the I track knoll. I moves around just like we did. Same method. The blinks slider. The big difference is when we get into setting up the auto lip, sync in the face Eskom. That's because I believe other lip sync was meant for a front view, not a side profile view, because we're only working with half a mouth here. Have a audiophile in the comp getting L l two reveal the wave form with face selected. Oh, start the auto lip sync process here. Create mouth brig. Grabbing one of the little starting point targets. A place that right there grab the ending point. We're gonna place that out in front of the mouth on and setting the thinness of this too one so I can see a little bit better. Go to the next step here, grabbing the straighten mouth liquefy tool holding command decides it down is a click and drag this point. I'm going to totally deform that mouth because I'm trying to straighten out that line in the middle. Get close to that red line. You can see how much I'm actually changing how the drawing looks for this painting looks in the notes. I've included a lot of the before and After moves of this click continue, I'll select the shaped mouth liquefy tool will command, click and drag down an attempt to undo what I just did. But really, I'm just gonna go for making something that looks good enough. We're never gonna be resumed in this close with this type of a drawing and actually looks all right, so could continue. Using the same tool shaped mouth liquefy, I began shaping the open view of the mouth. At this point, you will really notice if you need to start over. Most profile mouths I've done this is taking me multiple attempts, which is why I always save as right before I started. Then open the file and give it another go. We're close enough here. Gonna go and click, Continue. Finish out the same way as we did before. The only difference here is we won't be creating a background for the mouth. That was that black layer we made before the tongue and the teeth will still take a little bit of adjustment, the same as it did with a front view of the character. Grab those Knowles, Pull them to the side. It doesn't really matter where they are will never see them, whom below the teeth and tongue wear, and will make sure we have the current time indicator at zero. Open the parenting calm. Well, parent up the teeth top to the upper jonno, the teeth bottom to the lower Donal, the tongue to the tongue. No. Once more, making visible. Take the face opacity down. Now we get to see how close, far off we have these things said again, When you're going to move the teeth or tongue layer moving around, you want to actually select the photo shop player, not the knoll layers. You move to a couple points in time on the audio track, get a quick idea of how they're going to move a far up far down. Hitting em on the face also reveals the masks. By holding, shift and clicking on the four points, any of the points you'll be able to drag those out. And just the angle that thesis Urkal or ellipses by grabbing the handle bars and pulling on them, and what this does again is deform the actual face layer. When the mouth is speaking, I think I will go out for a walk in the meadow. See what the breeze blows this way. Next, we'll add a couple markers to exaggerate the oh sounds. I think I will go out for a walk in the meadow, see what the breeze blows this way. 24. Animation 1 - Setup: Now that we've completed our character, we're going to set up for animating. We'll just clean up the timeline by locking and shying away all the layers we won't be needing to animate. We only need a few, really, both. I track Nel's in the control air with all our slider controls that we created with that chosen hit E and the keyboard revealing all those effects. And if we spend each one down, we can see that each one is key frame a ble and I usually work from this point. We also have both risk controllers and both ankle controllers, which also contains sliders we've built that are key free mobile for animation. That's really all we'll need to start when we get to the point where we add the dress, we'll have some of the dress bones visible so we can make some smaller adjustments when moving address. But the start will keep it simple and clean without the dress. Now that you have ah version of your character you're satisfied with, we'll go into the main files. Oh, we can see Enzo au where we've saved multiple versions of this project as we went along well now will create a new folder. We'll name it so base with the last version you're satisfied with. Click Save as Going to Zo Base. Name it, Quick Save. And now you have an original base file that you will duplicate every time you have a new miniseries episode, leaving the original unchanged. 25. Animation 2 - Scene: to clarify how this all works. So you have a new idea for an episode and you want to call it animated short one. In there, you put a folder with your art that you want in this episode. I've done this for you for the course. So we go in, we opens. Oh, base aftereffects Project file. You could see that the top. Now we immediately go up to file save as we'll go into the enemy to short 01 file. Now we'll save it as after Frank's project Animated short 1.1 Now we can see this is the file were in so based animated short one. There it is. After you do a little bit of work, we'll save as And I made a short 1.2 Now you can see and said the enemy shorter One folder will have our saves projects and then Zo base is unchanged. It's the original to get started. Go up to the top. Quick on composition, New composition were going to name it. Seen one set the width to 1920 in the height to 10. 80 click OK, this will be where our main final animation is going to be. Go over to the project panel and double click navigate to animated short 01 art folder. Select landscape dot PSD. Go down an import composition, retain later sizes open and okay, we can rearrange our panels here. Get set up for animating. I'll probably move these around a lot. Make sure you get plenty of room to see. Can always change this up. Got her timeline? Okay, now drag in the landscape comp to the timeline. I've seen one ETPI for position, said the position to 9 60 1200. I recommend having your notes with you when running through this section. Before we set a key frame at the beginning, Make sure the current time indicator the C T. I. Is a zero. Click the small stopwatch toe at a key frame. Go to seven seconds. Set the Y value to negative 120 which is the bottom of the landscape. Calm. I like those two key frames. Go down, keep from assistance and Easy's. I grabbed the SETI I and dragged backwards. You can see what we're going for here. Get up to the top and open a new comp window. We want to be able to see both seen one and the landscape cop. You can lock these. We would over make sure you have plenty of room to see. We'll move that c T I back to zero. Next, select the title layer Hippie for position had a key frame. Said it to 9 60 and 5 60 That shifty. Move the SETI I ahead 22 seconds and add a key frame 100%. Next, we'll go ahead to six seconds. Well, said the Y value of the title to 1700. We'll also plays a key frame for a pastie here at zero. Highlight both the position key frames, right click and Eazy e's those, Well, I like the first key frame for rapacity and do the same thing Could go up into seen one well dragged the current time indicator to the right, hit in on the keyboard to get back a little more preview. This just a little intro, with the title fading out as we get to see what the scene looks like. Next we'll go up into the landscape. Timeline will select everything excluding the title. There, we'll turn it to three D Quit that little cube shaped column. Go to layer new camera and click. OK, reposition here. Go down and choose the windmill blades layer. Hit our for rotation. Click the small stopwatch on Z rotation with the current time indicator a zero. We'll move ahead to the end of the composition. 60 seconds, and we'll set the rotation to four. So that means the windmill blade would rotate four times over the duration of the animation like a zero. We'll set the orientation of the windmill blades to 300 45 and zero. You may notice the blades cut into the layers behind them. Such is the mountains and the clouds in the background. So to fix this, we'll temporarily hide the temporary clouds layer and the sky layer. We'll go up and choose the layer named mountains. It P shift s for position and scale. We want to set the position on the easy access to 300 you can see pushes it back in space so they look smaller and don't quite fit the box. So we'll increase the scale to 112 to get that back. Now we just need to adjust B Y access will set that to 2220. Pop it back in place. Close that up. We'll bring back that temporary clouds layer. This is the wrong size is why it's temporary. Double clicking the project panel. Click on clouds dot psd. Import as composition retained layer sizes quick, open and okay, go over to the project panel and delete the composition that was created for clouds. We'll spend down clouds of layers and, with a temporary clouds layer, still selected hold Ault and dragged the new layer on top of it, which replaces it with new image. And now what you just rename that clouds. This image is much wider, much longer, so we can allow for some movement. Well hit P for position. We'll set the position of the clouds toe 1000 2200 and 400 and that should pop that in place. That looks good. The key frame. A zero will also take the C T. I to the end of the animation. 60 seconds. What a key frame for the position of the clouds to 1700 on the X axis, you can see what that will dio next go down and revealed the position for the sky layer. We'll move that back in space to 500. So hit shift s take the scale up to 120 to fill the screen once more. To get a better perspective of what we're doing, you can go up to where it says active camera, Go down to one of the custom views. With that down, if you hit C moving around, you'll be able to gain a little bit better idea of what you're doing. When you push things back on the easy access, I want to add a little frame to our scene. We'll go up to layer quick on solid. Well, this called frame make it comp size will pick a color. In this case, B three B three B three you pick whatever quick. Okay. And click. OK, this is going into this scene One timeline. We have our new solid go up and choose the rounded rectangle toe double click the icon this created mask go down a timeline, click inverted, then spin down the little arrow and said the expansion to negative 10 and that's it. So now we have a few elements we can check out and our preview 26. Animation 3 - Additional Art: next, we're going to import a little bit more art. So double clicking the project panel and navigate to the art folder. Select flower dot PSD and import as composition retained layer sizes double click the flower camp zoom, and so you can see the flower that will want to turn the visibility off of the pedals for a second. You want to place five puppet pens with the puppet tool going up, the stem can set the mesh down to 150. You don't really need to name you spend you can if you want. So with this stem selected will turn all those pens into bones would do it just as you've done before. We will parent them from top down 5 to 4423 3 to 22 to one. Make the pedals visible once more and parent the pedal there to the top bone on the step Select. All of these are for rotation. The C T. I zero. Contest this out and see that we need to increase the size of this cop hit command K and said the with to 400 and the height to 3 50 Click OK I set the rotation to negative three on all the boats that will add a key frame here. We'll move ahead to four seconds. We'll set the rotation deposited. Three. Highlight all those key frames, right. Click. Keep frame Assistant Easy's now grab the puppet pin five bone option. Click on this stopwatch. Enter in this code, Loop out ping pong inside some quotes and parentheses. And copy that and do the same for the remaining bones of the stem. We take a look at what that looks like. We can see that the flower now moves as if it were in a breeze. Uneasy wind back outside in the landscape comp we can from the project panel drag in that flower composition. Now it. Why? To move the anchor point to the bottom of the stem. Turned to a three d layer it are You're gonna just thes e rotation If you want this flower to begin leaning over, as is next, hit s for scale and you can take it down to 35 or 40% anything. Really. I dragged the current time indicator along the time line. You can see that looping animation occurs as if there was a breeze. I wanted to. I could duplicate this flower layer and the timeline. So I have multiple flowers. The problem is move this over, but tested out, they move exactly the same. And if I were to change some of the values inside one of these, they both change because it's the same composition. So go to the project panel, duplicate the flower common there, go into this 2nd 1 flower, too. We'll open up the rotation values, and here we can adjust the rotation values on the key frame. So at the beginning will set it to negative floor. We'll go to the four second mark and set that to four. We'll drag it in now. Turned that to a three d layer it. Why? To move the anchor point. It s to scale it down. We tested out a little bit of a difference. Not much. So we'll go back into the flour to composition after we open a new common view. Zoom in. Okay. Back in flower too. Move the current time indicator. The last key frames. We'll highlight all the bone layers and change that rotation value to something like six. I'm go to zero and changed all those key frames to negative six. Now we can see there's a little bit more difference in the two flowers. You could repeat this process until we have as many different flower compasses you want in the project panel and add them into the timeline. Place them around the landscape, and there we have it a little bit more life to the scene. 27. Animation 4 - Character: before we bring in our character, we can add a new folder in the project panel, but all are animated short cops in there To keep things clean. Been down the character camps folder grab character, front body drag that into landscape. Move that out of the way. We'll take the character front body, come and drag it below the grass four layer. And when I turned that to three D, you can see that she pops in front of it. We don't want that so well selected grass five and four. IT p for position and bring him towards us in space to negative 10. We can hide everything are shy away everything. Keeping the character from body. Select that layer it p for position and shift. As for scale on the X axis, set her position to 100 on the Y. Access 2200. What? Change that to 22 50 in a second instead. Or scale down 25%. Open another con viewer and unseen. We want to find a spot where just before the grass circuses show about five seconds. Okay, so that's where our character starts to appear. Go back and landscape at this time. Five seconds. What plays a key frame? Move ahead 12 seconds. We'll bring the characters position upto a 20 in 1940 will increase her size to 40%. Your values made different in mind, but follow along with the same approach. And this is easier to do with a side view character than what we're going to do. Select both ankle controllers with the C T. I at five seconds plays a key frame on all the ankle and foot sliders, as well as a position for each ankle controller. Do you have six key frames now? We'll move those around well, the current time indicators. Cell of five seconds into a rough mid stride position. He was going to fine tune these position values for the right ankle, going to put it 500 and 1222 for the left ankle. Going to put it at 100 and 1190 for the right ankle slider. Going to sit that five. It's that the foot's letter to 10 and for the left side was that the ankle slider to negative five and set the foot slider to 10. Move the current time indicator ahead to the seven second mark. Copy each of those key frames for each ankle and paste it in. Do the same for the other side. Now we'll move in between that stride to the six second mark, and here we want to create somewhat of an opposite look, A little difficult to do with this somewhat 3/4 view character. Why? I said it works easier with the side view. We're gonna give it a shot here. I'm just swapping out some of the values. It We're gonna settle for the right ankle. The position will be 50 and 1200 for the left ankle will have the position at 450 and 1190 . I want to just the ankle slider for the right ankle. That that's a negative five. And on the right Going wound, he said the ankle slaughtered five foots letter to 20. I'm gonna go halfway in between the end in the middle of the stride, select the position going to hold shift and hit the arrow key just to move that knee into a higher Ben during that part of the stride. Go back five frames, set the foot slider to negative five. We'll do the same. The other half of strike will go in between to five seconds. 5.5. Most of the position The Y value to 11. 45. Get that knee bending high in the air Will go back five frames and adjust the ankles later . Did to that Looks good. It will change the foot slider to to also on the right ankle. Not for the position. I like them. All right. Click. Keep from interpret Elation in select Busier. This will allow you to see these handles. If you didn't see them before, I'm just going to stretch out the upper handle to affect how smooth for the flow of that stride. We're gonna go back 5.5 2nd mark. Do the same for the position. Key frames on the left ankle. Grab that handle. Pull it up into somewhat of a similar shape. Take it to the first key frame hit. Be for beginning to get the last key frame for in it end. Gonna test this out. Now with a preview, I will go ahead and start getting some upper body movement spend down the control. Where with hitting E that's been down bend. Move the current time indicator to the five second mark well at a key frame and set that slider value to negative 1.3 Moved to seven seconds, and we'll copy and paste that key frame. I will go in between to the six second mark a little past it. Five frames we'll set. That's later. Value. 21 I said it 2.7. I like those and set them to Eazy E's, the current time indicator at six. Open up both position values on the wrists at a key frame. We'll just move this arm up now. You'll notice there's a little bit of a snapping motion. The arm will stay bent for so long, and then when it straightens out, there's kind of snaps. So you want to keep that in mind when you're setting up the position of the arm. This is all due to the inverse canon of attics we set up with Duke Tool. So has its upsides and downsides, but mostly it's an amazing tool. It'll take a little bit of playing around to avoid getting that abrupt movement I was talking about. That's what we want. May notice I grab this left arm. I want that to go behind the body. What do I do? Liken. Unsure I Everything. For a second. Now unlock all the left side fingers and arm. Hold command and grab all those. Now just drag him below the leg layers. So it's in the back. No, the arm is behind. There can show everything away again. This is something you could do for a particular shot if you needed to. When we want to extend this walk cycle, the method I'm gonna use now with the current time indicator at seven seconds is highlight all the key frames for the left ankle. Copy and paste. Then move the current time indicator to the nine second mark paste with the C T. I to 11 seconds paced once more. Now repeat this process for the ankle on the right side, both risk controllers and the bending slider. It's a few issues here. The speed at which the characters walking across the scene is going to be adjusted. Gonna have her arrive at the end at 11 seconds rather than 12. I want to bring her to full scale at the 12th mark just before she stops. We'll fix that twitching arm later on to get her to stop moving. Scroll down to the you leg. Right. Ankle controller, the C T. I. 11 seconds, it's gonna bring that ankle backwards. Said it to 275 and 1275. Kind of a final stance for that leg. And we'll delete all the key frames ahead in time on the left ankle. Go up halfway between 11. 12 seconds for a complete step. Will bring that way down So down to 1225 and will also delete any key frames that were ahead in time. From that point, we'll have a little bit of after motion with her bend. Just dragged those last two key frames out for the arms. Gonna delete those last key frames after 11 seconds, moved to 12.5 seconds and then 13.5 seconds and we'll just place our arms in a file final position. Take the last to right click taco hold. Key frame comes to a nice, complete stop that is looking great. Minus the Orna is still twitching. That's a very nice walk cycle. We will fix that twitching arm in the next section. 28. Animation 5 - Dress: we can still use the walk cycle we just created. We're going to see how weaken add on the dress that we already rigged up and see if we can get that Working with the walk cycle we have going now change the color of the dress layer so stands out and I'll turn the visibility on. And the reason it looks like this is because the legs are crossed at this point in the stride, which is fine. This will get better as we go along. So I had the c t i at five seconds. I'm gonna move it to six. This is the other half of the stride. Another good reason to have some of the dress bones visible. One animating the dress. Gonna turn the visibility on the dress left shin and dress left shin to bone which is connected to 1/3 shinbone. The dress taking the current time indicator back toe the beginning of the walk cycle five seconds. Your values may be different here. I'm going to adjust the rotation of the dress left shin to bone to negative 25 jesu position back to negative 10. Move that right. And over 200 from the address left Shin Bone. When it's at the position to negative 75 and 300 well, at a key frame to all of these, then we'll copy them at the seven second mark. Same values. We'll go halfway in between this tried, we'll put into new values. I'll set the position for the dress like Shin back to negative. 150 rotated a little bit somewhere around 25. Well, it looks betters. It's down to five. Looks fine. Then on the dress, left shin to bone and then just the rotation to bring that dress in. Said it. 10. Moving over and we'll elevate it and said, The Y value zero absolutely said to Negative. 20 Could bring it a little higher. We'll settle on negative. 45. Well, half of this dry looks good Bringing it back. We have the other bones of this shen area of the dress we can set some key frames on. Whole arm knows was set him there. Copy and paste. Um, seven seconds. And in between, I want to bring this dress closer to the legs. Turn the rotation of dress right shinbone to negative 45. Now just a position over this is where the second dress comes in that we haven't even rigged up yet. Turn the capacity of the front dress down zero. For the time being, we'll unlock that dress bottom rear layer, change the layers color Well said the capacity down to 50%. There it is. So this is the part of this tribe or the other dresses really messed up. This is very easy to set up, but a recommend getting the notes I included with a course to help you along. We're going to need a few guiding, always available so we'll just make visible and lock both the dress top Knowles and then both knee knows on the actual leg layer. Select address. Get the puppet tool. Place a pin at the top of the left leg. Follow that leg down, but on the left knee. Put one near the left ankle. Go back up to the characters right hip. The characters right. Me Ni characters. Right ankle in the mess down will change the mesh count to 500. When I name these. I'm using a d R to represent dress rear. So D r El top for dress, rear left top and so on. Want to reorder those from top down or side by side? Close that layer up, Find the do it tool panel. Select the layer quick bones. Get that back out of the way. Grab all these layers and changed the color. So not to confuse them and find the parenting colon. This can get a little tricky. Check the notes. We're gonna parent The dress were left bottom to the mid and then the mid We parent to the leg left knee bone. A normal parent dressed rear left top to center. Find that in the list in the middle and on the other side. Dress rear right bottom admitted. Then dress rear right mid to the leg, right knee and then the top again to center goes away. Hideaway. The parenting column. Now, if I dragged a c T, I threw it looks fun on the outside, but now in the middle of six seconds, it doesn't look good, But that doesn't matter, because when we have both dress showing, they work together to fill the illusion. Okay, both that 100% had some of these bones. You don't need to see him turn the visibility off this point. We want to select the shin bones on the front dress. We'll highlight all of those right click key frame assistance and Eazy E's Zoom out. And now, to extend this into a cycle with that current time indicator at seven seconds is copy and paste. Then move the current time indicator to nine seconds. Do the same and 11 seconds as well. You'll do this for the other Shin bones also, and take the C T I and drag it through. Make sure that we got everything lined up properly. Well, the key frames to close up the dress movement. We'll delete the key frames at the 13 2nd mark. We'll move the current time indicator to 12 seconds, and here we'll begin adjusting the rotation and position values for the different dress. Shin bones could reset them back to zero for rotation, and then when we grab the position, we'll just move the dress outward for some final movement. Now this is on the front dress. See, something's going on down below, so we'll select the dress bottom rear and take the opacity down to see what's going on. Now. There's no key frames on this dress, so we'll select the to bottom knows. Go back to 11 seconds. Place some key frames as they were, go back to 12 seconds and, well, simply move them upward. Hold shift and move the Iraqi up. No, it's good. Teddy key frames. Eazy E's Them also should be good at 13 seconds. Move that back a little secondary additional finishing motion. All about the subtleties. Take the opacity. Backup of the rear dress. That arm that had the tweaking problem was just due to a few extra key frames that were on the left wrist. Let's test her out. After doing all this work with a character with a new clothing item, go ahead and save as navigate to Zo Base will create a new base project. We'll call Zo Base. Anything you want is going to use second dress, click save, wait after effects go into the main folder names. Oh, and I could see in So base. I have the original based project with no dress. I also have a base project with address, but it has all these different parts to a specific animation. One we're working on now. So since we're creating a base project that will use again and again and again, I'm gonna go ahead and delete anything related to this specific animation flowers, clouds, landscape. And this won't affect the project we're working on because we'll go back into animated short one point. Whatever we're on and continue our work. This is just the base project. So we'll hit command s save this base project and quit after effects that will navigate to that folder. And there it is. A clean new base project will open up where we left off with everything. We still have an animated short one point 11. 29. Animation 6 - Close Up: in this lesson, we're gonna set up for a close up shot of the character in landscape all shy away. Everything except for the character, front body layer and the camera layer, which I turned green. We'll move the current time indicator to 14 seconds and rather than getting really involved with all the cameras option as there are many of them. Point of entry's position, orientation, zoom, definite field everything like that. We're going to keep it real simple. For the purpose of this course, right click and select a new no object. We're gonna name that camera controller. If you don't see it, go to view and check show layer controls. Move that no object in front of the characters face. Select both camera controller and camera and reveal the position. Now we want to turn that camera controller. Layer three d. We'll locate the parenting options. I'm a parent. The camera to this new camera controller we just made had this zoom out. Now we'll want to open another comp reviewer so that we can see both the landscape comp as well as a Scene one. It's a key frame on the position of camera controller at 14 seconds. Well, move over one frame. We're going to set the position value to 700 2180 in 23 80. Change my scene. One comp window to adaptive resolution and set it to full so you can see it. Go ahead and place a key frame for camera as is. We'll move ahead in time. The 19 2nd mark Most city camera position 2120 on the X axis is in negative 2600 on the Z axis. Place a key frame on the camera controller as is. We'll highlight these key frames four of them and then we'll easy, easier going to see in one set up a little range here for us. Preview. There we go to the next shot, and it zooms in slowly on the character's face to get a little eye. Movement for the character will take the current time indicator back to 14 seconds. We'll select both of the I track those we created long ago and hit P for position and create a key frame where they are. We'll move ahead one second to 15 2nd mark. We'll just move those to I track Nell's so that she's looking down into her left will move ahead in time, another second to 16 seconds. We'll copy both of those key frames and paste them here again Now. RAB. Both. I track Knowles at 17 seconds and have our character look upward. Move ahead to 18.5 seconds. Copy and paste those key frames. We'll move ahead to 20 seconds. We'll bring this to I. Track Knowles back down in front is if she's looking out in front of her. This would things out. Grab the key frames at 15 seconds, right click and select toggle. Hold key frame. Do the same for the key frames at 17 seconds and turned them to hold key frames for 18.5 to 20 seconds. We will Eazy e's over those. This be a great time if our character point on things you've done ahead. So we're going to control it E. And we'll spend down blinks. We'll click the small stopwatch to create the first key frame, and we'll hold down Command Tap the arrow key six times. Move over six frames. We'll set that blink slider to fire, move over another six frames and said the slider back toe one now hold shift in command and kept the arrow key twice to move 20 frames. We'll just copy those key frames and paste them to get the smile set up for this character . Go back over into the project panel, open up character camps and going to face now on the actual face layer on the effects controls panel. Remember, there's two effects at the bottom we turned off. We want to turn those back on, and we'll go back into the character front body composition. We'll spend down the smile slider. But first, let's take the C T I 20 now set a key frame here. Is that the slider to four. Move the current time indicator over to 20 seconds, then copy and paste that first key frame here. That frisky frame at zero will turn to a hold key frame. We'll take the current time indicator to 20 seconds. 22 seconds. We'll set the smile cider up to 10. Those last two key frames Will Eazy E's go back into the face comes affects panel and turn off those bottom two effects back in the character front body calm. We want the character to look up, so we'll put the current time indicator of 20 seconds. We'll spend down the neck bend and head rotation slider on police a key frame by clicking the small stopwatch. Well, hold shift in command and tap over three times to get to the next 2nd 21 seconds. I'm gonna tell the character's head backwards. Gonna set both sliders to negative three. We want the eyes to participate. With this, we'll go toothy. I tracked Knowles. We can see there's a key frame at 20 seconds, so we'll go to the 21 2nd mark, said the camp window. Too fast. Draft quick and then hold command and click the other. I drag Nall. That way I can grab it. Movie eyes toe where they're looking up. It'll plays a key frame there. Then, to make sure that the eyes air leading the head movement, I'll grab all for those key frames. I moved them backward in time three frames. This will give the effect of the eyes of leading the head to complement this head. Movement would be nice to see if the hair also moved. We'll have the current time indicator at 20 seconds. Scroll down and open up the hair rear left. Here we're right and bangs, layer. We'll set the bangs back to zero, and then we'll plays a key frame on the hair. Rear right and left. Select all three of those. Move ahead to 22 seconds. Well said this lighter to negative. 10. Move ahead, toothy. 23 2nd mark. Date that slider. Put it two negative. Six. Go ahead to 23 2nd mark most of that slider to negative eight. I like all those key frames and change them all to easy ease. 30. Animation 7 - Buttercorn (aka: the horned butterfly): well, something cutting SOS, attention, some flying creature. So to get set up for that, the next shot will do a little bit of a ID shot, zooming in slowly, just a little bit. So with the current time indicator at 20 place the key frames as they were, and then move ahead. One frame said the camera controlled position X value to 10 50 the Y value to 2050 in the Z value to 900. We'll place a key frame on the camera position just as the values are already move the current time indicator ahead in time to the 28 2nd mark. And here also we have to dio has changed is the value of the camera to negative 2400 instead of negative 26 just to give us a little bit of a zoom effect. In their news, we double click in the project panel. We'll navigate to the art folder we have. We'll select butter corn dot e p for aftereffects project file and click open. We're not gonna go into building this, just something I included. You're welcome to dissect it and do whatever you want with it. Change the comfort window, too. Fast draft. Now we'll spend down them Butter, corn file and drag in the butter. Corny, come right into the landscape. Turn that layer to three D Spin down, said the SETI I 24 seconds well, at a key frame for positions, scale and orientation. We'll set up, and if you hit you, you can see all the key frames you placed well said the orientation of this flying creature , the 22 to 90 3 52 90 Play around with these values. Just get a feel for what the orientation will dio when something is three d, I dragged the slider ahead In time. It looks a little bit strange now if I go over and I click the little gear Icon box, this continuously rast arises the image. So with a C. T. I 24 seconds will spend down the butter corn transform options. Reset the position, scale, orientation and opacity. We'll set the position to 1817 100 scale down to 12. Leave everything else as it is, except the capacity at zero. Move ahead the 25 2nd mark. We'll change the position to 1700 on the X value move ahead to 26 seconds. Well, trains that same value to 1600 go to 27 seconds. We'll set that same value down to 1400. Got 28 seconds. Said that value down to 1300 Well, with 29 seconds said that value down to 1200. That's at the Y. Value down to 16 50. We'll set the orientation. Teoh 275 325 and 275. Oh, highlight all those key frames for position and we'll sit them or select a key frame. Interpretation. Check busy. A quick. Okay, Now you can grab those handlebars a little variation into the flight path by dragging them out. This next part, we want to have the characters arm elevate in a way to beckon the flying creature to her. But we don't want to mess up any of the previous arm motions, so we'll unlock the risk controllers, and we want to make sure that the last key frame we placed on them is a hold key frame. As you see here, if yours isn't and it's a regular key frame or an easy east key frame, you sure? You right. Click and change that to a hold. A key frame for the position that was that 13 almost 13.5 seconds just before. This is another good point to said, a key frame for all the rest of the hand. The risk, the hand and the fingers. We'll set those to hold the key frames as well. Then we'll copy them. Move ahead, take the current time indicator to 24 2nd mark and well paced those key frames in. We can set them to normal key frames by holding command and clicking scroll over in time, we'll set the current time indicator to the 28 2nd mark. Make the controller of visible for the hand. We're gonna grab it, drag it on up that place, a key frame on the position for the hand. With a little test, we can see kind of snaps at the end. There's I mentioned before, when we're gonna dio go back a couple frames where the arm is still slightly bent. There looks good. Place a key frame knowledge is copy that new key frame. Paste it in 2 28 second mark or dragon. It it looks better so we could see the hands a little bit deformed. As I also mentioned, this is what the wrist in hand sliders come in handy. So I'm gonna take the risk slider to negative 30. And that really straightened things out. We'll take the open close slider said it to negative 25 and justice thumb slider to about 20. I go in my un shy some of these layers gonna locate the finger, right mid to bone and just set finger. Yeah, that someone looked problematic. So open the expression panel. I'm just gonna modify the multiplier value. But when the hand open, close letters less than zero change 0.12 point five. There we go. Close it back up. Shy everything away. Not fix the problem with the hand being behind the front dress layer. In the timeline, I hit the tilde key. Make this bigger. Will go up. None shy. Everything for a moment. Scroll down. We'll unlock. He's dressed layers so I can grab them all the bones in the front dress layer. I'm going to drag him below all the right arm components. Welcome up. It's a tell the key that is finished and fixed. When the arm is elevating, one will improve. Modify at what point the hand opens up from a closed position. So now, as we have to do to do this, set the current time indicator to where we want the hand to start opening. Grab the key frames for the Poynter Thumb and open Close this. Move them to that point and Eazy E's All these guys. The butter corn Subs flying at 29 seconds. Take the current time indicator and move it to the 32nd mark. We'll put a key frame on the camera controller. Move ahead one frame in time. We'll set the position. 28 50 2080 in 1600 Going to the character front body composition. We'll move ahead one second time to 31 seconds. We'll go up to where the blinks slider is. We'll copy one of the blink sequences and paste it in 31. Animation 8 - Dialouge: to get set up for moving the audio track for a dialogue shot. First, we need to go into the arm, right risk controller. Locate The last time we placed a key frame for position, and we'll set that to a hold. The key frame. Now go to the 34 2nd mark on the timeline. We'll make the risk controller visible. Go up and grab it and drag the characters arm down to her side next to go into the landscape. Timeline. Take the CD I back to where we see the last key frames placed on camera controller position will set the last key frame to a hold key frame. Move ahead in time to 34 seconds. We'll change the position values, too. 730 2175 and 2080. That frames up our character nicely. At this point, we can go into the project panel. No, open up the face cop, not a moving audio track. We'll hit the tilde key on the timeline panel who can see a little bit more. We'll grab the bar, the audio bar and will move it. So is that the very beginning of this bar lines up perfectly with the 34 2nd mark, So Zuman line that up 2 34 seconds. Next we go over to the face layer and hit E to reveal the effects will spend down voice volume. We'll click on the word Slater. This highlights all the key frames that are diamond shape. Zoom in so you can see these diamonds zoom out and we'll drag. Just click on any one of them and drag over. Zoom in and make sure that the very first diamond shaped he frame is exactly on the 34 2nd mark where the audio bar starts and that's it. Now the audio track is moved to a new location in time. The only other thing you need to do is move your markers that affect that. Oh, sounds turn on the bottom two effects to test any audio 32. Animation 9 - ExitShot: to set up for the final shot in landscape Timeline on the camera controller position. Toggle. Hold the key frame that we last placed. Now we'll move ahead. 2 45 2nd mark. We'll set the position values 28 50 2080 in 1600 command to click that key frame so it's a normal key frame will move ahead to the 52nd mark. We'll set the position values to 800 1800 and negative 50. To make things a little easier, we're going to change the landscape comp window too fast draft. I'm gonna move it up so that the top of landscape matches the scene. One comp window That way, landscape pretty much looks like our final framed seen one. We'll select the butter corn layer will go back to the last place A position key frame was place. We'll set that to a hold key frame. Then we go ahead to the next shot at 45 seconds. Will place key frames, normal key frames, command click position, scale and orientation. Move ahead to 46 seconds, and we're going to set the position to 1100 16 25 zero. We'll set the orientation 2 to 75 300 and 2 50 with a scale Stella 12th. Go ahead to 47 seconds. Set the position to 1000 1600 0 is fine. What changes the scale to 13 15%. We'll just change the final number on the orientation to 200. Position will be 1100 1700 and zero or change the scale. 2 35 um, for orientation. Well said it. 2 to 70 15 and 100 and 50 degrees 49 seconds. We'll set the position. 2 11 25 2000 and zero Set the scale to 65. The orientation will be 250 degrees, five degrees and 100 50 degrees at 50 seconds. Was that the position to 600 2200 and zero The scale to 85 person said the orientation to 250 345 235. And finally we moved to 51 seconds and we'll set the position to negative 250 2000 zero Set the scale to 100% and the orientation will be to 50 340 250 degrees. Next, we'll highlight all those position key frames from 45 seconds on upto 51 seconds. We'll right click on any one of them. More select key frame interpolation and for spatial interpolation. Select. Busy. Quick. Okay. Now, by grabbing the handles, we can slightly adjust the flight path of the butter corn as much as we want. You do it as you see fit smooth things out, but dragged the current time indicator along and fast draft in the landscape. Comp can see what the butterflies gonna look like. Butter, corn. Excuse me and it flies out of the scene. Now you get at any additional movement to the hair or eyes for the character to follow this white before exporting the project. 33. Animation 10 - Exporting: before we export a project from after effects. We want to remember to go into the face pre comp and turn on the volume or the audio for the audio air. We'll select the face layer and hit E to reveal the effects and turn on those bottom two auto lip sync effects. Close that back up. Going to seen one said are marketed the endpoint of 52 seconds and hit in Drive the SETI I 20 and hit be for beginning. We'll turn the resolution full. Go up to composition and select. Add to Adobe Media Encoder Hugh. This allows us to continue working and after effects if we need it to, because it's a separate application. When the window appears for the media encoder, click under preset. The next box opens up. You can see we have some options here. There's a format, but you can click in a preset scroll down to the setting you would want to export to. You could do Vimeo or YouTube. In this case, we will. Then we can change the output name and where we want that file to end up, so I'm just going to call it butter corn in this case and click safe click. OK, go open will press the green play arrow. And after that finishes which should take a minute or so We can close that out, going to the main folder of Zo and we can see butter corn right there. 34. PremierPro: included in the Adobe Suite is also Premiere Pro, which works well with after effects. It will open that up well, Quick new project. We'll name it Butter, corn. Click OK on the lower left war, says Import Media. To start, we'll double click going to our folder names. Oh, we'll click on butter corn dot mp four from Click Import. We'll double click once more, we'll navigate to the animated short A one, our folder Inside. We should find a sound folder with two wave forms. I like those an import. If you have multiple clips and you only want a little sections of each of those, you could drag the file up into the source panel and select regions. You want to drag down to the lower right corner, where it says drop media here to create sequence will drag our whole file in, and we'll also draggin the course. Score 01 Backtrack right underneath Next Dragon, the second audio file, which is some woodwinds to signify that a butterfly might be flying into the scene. This alerts the audience that something else was happening. Keep in mind the Iose only for demonstration purposes. We'll find a good spot to run up the audio before the butterfly ends up on screen. So after you've gotten any background music you want with your animations layered here in premiere pro love to file export media when the new box pops up, we can change the output, name and location. I'm gonna put my mind to desktop is renaming the butter corn Quick save and for the preset gonna pick the same thing I did last time. Click export narratives on my desktop Scrolling through Got the whole thing. That's all we need to do. - Voter corns are so rare no one believes they even exist. 35. Eye Movement: Now we're going to set up the I track Nels and I've already set up the right side to show you see, when we move on Noel around the corresponding I woman make that movement, I'm going to walk you through setting up the left side. We're going to need to have the character front body comp window locked, and they were gonna have to timelines open the character front body timeline and the eyes timeline could put them side by side by dragging the panel over. You can go ahead and hide the parenting as we won't be using that for either of the compositions. Does it just take up space that we're going to need to use inside the character from Body Comp Select The I track left no hit P to reveal position. Inside the eyes comes looked the left pupil Happy for position. Gonna need the code snippet I gave you at the beginning of the course. It's in your notes where you can simply typing in to be copy it. Now we select the left people. I'll click on the position, and we're going to pace that code or type it into the expression pal up above. We're gonna create two variables. One is E T L position, which is I track left position equals semicolon and then I track left. Start equals C Michael For the position, select between equal sign and semicolon and pick Whip over to the actual word position on the I track left No for the second variable between the equal sign in semi colon at a opening and closing bracket and then enter the position values 970 comma 150. And now we'll add the difference of these two to each of the next two lines. So for Position X equals transformed up position, we'll add. I track with position minus I track Let's start and then we'll close that out with the corresponding closing bracket Number zero. And we can actually just copy that and added Toothy, Why value blow? We'll just change that. Last digit to one, you get in air. I've for gotten to do this many times. It's usually that So what? This dio We moved the no around the eye moves and was really good, actually, but a little bit too much the right one much better. Also, we have to do, though it's good to the end of each of the two values. Well, multiply that by 0.2. You can play around with this value. If you multiply that by five, it would make it way more dramatic, which is what we don't want now. All right, that looks good, and we can take this a step further and we can get it. When the character blinks, the pupil and iris will move down or up. So in the carriage from Body Comp, Select Control hit E to reveal our blink slider, then over in the expression panel, were working in creating new variable and name. It blinks Select in between the equal sign and said Michael and Pickwick over two. Our blink slider. Now, as we have to do for Position X and position, why is at the end simply add the blink slider to it. So go plus parentheses, blanks in between there, so plus blinks. And then we'll multiply that by some dramatic number. Like six. And just to show you what's going on, I'm going to open up a new comic viewer and unlock that one. We'll get it to the eyes. Calm usedto be able to show you what's going on here. Okay, then you can see that when we adjust the blinks that iris and people was going down. So say I took the blinks up to want to. You can see there is and people going down base and that's too much. Obviously set to zero, we'll go back and adjust the multiplier to to try out the blanks. Ah, now the people moves down just a little bit. So what are eyes? Do not looking good. Just to recap what we've done, you can select each I tracked know individually or in the timeline. You can actually select them both and then dragged them around with your mouse and each I will mimic the movement of these Knowles. You can always go back in and change things later. Let's say you notice that one of the iris and pupil of the character is too big. You go in. It's like pupil hit s for scale. Take it from 90% down to 85%. And now when we go back out into character, front head, it looks all that much better