2D Character Animation: Dialogue and Acting | Siobhan Twomey | Skillshare

2D Character Animation: Dialogue and Acting

Siobhan Twomey, Artist, Illustrator, Instructor

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25 Lessons (2h 39m)
    • 1. Introduction

    • 2. Your Project Files

    • 3. Overview of the Steps

    • 4. Anatomy of a Character Build

    • 5. Importing the Rough Drawing

    • 6. Creating the Head

    • 7. Building the Torso

    • 8. Adding Legs and Feet

    • 9. Arranging the Layers

    • 10. Adding Hair

    • 11. Rigging the Eyes

    • 12. Choosing the Mouth Chart

    • 13. Mouth Shapes Part 1

    • 14. Mouth Shapes Part 2

    • 15. Adding a Sound File

    • 16. Key Framing the Dialogue

    • 17. Adding Expression

    • 18. Creating Hand Poses

    • 19. Pose 1

    • 20. Pose 2

    • 21. Pose 3

    • 22. Pose 4

    • 23. Smoothing the Animation

    • 24. Checking the Frames

    • 25. Adjusting the Timing

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About This Class

This course is the third course in a series on learning 2D animation. My first two animation courses are:

  • Learn to Animate: Animation Principles

  • 2d Character Animation: Walk Cycles

If you are brand new to animation, and want to know how to set key frames, how to work with animation principles, check out the first 2 courses in the series. This course focuses solely on how to rig and animate a character for dialogue. At the end of the course, you’ll be able to animate a character to a short audio clip, and be bale to do smooth, acting poses.

  • To start out, you’ll learn things like the proper order of rigging and how to build a simple character in Adobe Animate.

  • From there, you’ll learn how to take your assets and build out multiple frame options, inside each one, so that you can have things like eye blinks and facial expressions.

  • You’ll then learn all about animation mouth charts, I’ll show you exactly how to make your own mouth charts and set them up inside your character, so that when it comes to animating, all you’ll have to do is use Adobe Animate’s powerful Frame Picker to speed through your dialogue scenes.

  • This saves you so much time, and allows you to focus on the fun part of animating, which is setting up the big acting poses.

  • Then you’ll learn the template used for making any key pose read like a fluid and natural movement. I’ll show you how to set your anticipation, over-shoot and settle and explain why you animate in these 3 steps.

As you progress step by step throughout the course, there is opportunity to complete assignments and to ensure that you are moving through the process and able to achieve the final project.

After you are finished, you’ll be a fully fledged animator, with a crucial dialogue project under your belt. With this, you’ll be able to finalize your animation reel and know that you’ve got a professional grade portfolio piece to show to an animation studio.W

When  you enrol in this course, you’ll be joining a growing group of artists and animators, that have come together and are sharing their skills, talent and ideas. You’ll be able to see their work in the project section, and you can also direct message me at any time to ask questions, or to get personalised feedback on your work. I love working with students and spend time each day discussing ongoing projects and work.

I can’t wait for you to join in and get started. Animation is an really exciting, creative and rewarding field to work in. Together, we’re goon to spend the next few hours with me, to improve your animation skills today and help you take your first steps towards an exciting career path in animation.


1. Introduction: thanks for checking out this class on Judy character animation. For dialogue and acting in this class, you're going to learn how to build a rig and Andalasia to a specific piece of audio. I'm going to guide you step by step through the exact process that professional animators used to add lip sync on set key poses for their character animation. For any seen in a TV show or a movie. My name Misha born. I have, over 15 years professional experience working in the animation industry. I worked for studios whose clients include Disney, Sony, DreamWorks on Canada's Y T V On I'm focused on teaching and sharing professional tips and techniques with you. So this class is the third in a series of classes on how to animate from scratch. If you're completely brand new toe adoration and you want to learn how to set key frames or learn about animation principles, then I suggest that you check out the 1st 2 courses in the Siri's. This class focuses solely on how to rig an animation character for dialogue. At the end of you will be able to animate a character to short dialogue clips on be able to set smooth on fluid acting poses. Here's an example off a short six second clip. What's it worth to you for me? Toe. Keep my mouth shut just, uh, fade away. To start out, you're gonna learn things like the proper order of rigging on how to build a simple character in adobe animation. From there you'll learn how to create assets and build up multiple frame options inside of each one, so that you can have things like eye blinks and facial expressions. Then you'll learn all about animation birth charts on our show you exactly how to make your own birth charts on how to set them up inside of your character so that when it does come to an amazing all, he'll have to do with use. Adobe animates powerful frame picker to speed through your dialogue seats. This is going to save you so much time, and it allows you then to focus on the fun part of animation, setting up the acting poses. So to do that, I'm going to teach you the template that's used for making any key pose read like a fluid and natural movement. I'll show you how to set your anticipation, overshoot and settle, and I'll explain why you animation these through steps. As you progress through the course, there's opportunities to do many assignments to get feedback on your work and to ensure that you stay on track from the big final project. When you are finished, you'll be a fully fledged Anna measure with a crucial dialogue scene under your belt. With this, you'll be able to finalize your animation real and know that you've got a professional grade portfolio piece show to any studio, so I can't wait for you to join in and get started and spend the next few hours of me to improve your animation skills today. 2. Your Project Files: throughout this course, I'm going to be working in Adobe Animal. If you want to follow along with me and you don't have it, yes, you can go to their website. Adobe. Don't come on. You can even download a free trial, use it for the duration of this course, and then see if this really is the software option for you. If you're comfortable to work alongside me and another softer option, that's totally fine. The reason that I wanted to use Adobe Animation to make this course is just because it's a professional grade software that many big studios use in order to make TV shows and shorts . And so for that reason, it's really an industry standard. I believe it's worth investing in it now if you really love animation. But if you've got any questions at all and you want some suggestions on what others software you can use, feel free to send me a message and we can discuss us. So in this course I'm not going to be going over the details off every aspect off Adobe, an image especially like within the workspace, the tools, etcetera. If this is your first time ever opening up this program. Then I I highly recommend that you do go and check out my other two courses first, because both of those will give you the proper overview off all of the technical aspect off either drawing or animation in the software. So this course is since is really focused on design and animation techniques. With that in mind thief files that have left for you are all adobe animate files on that's dot fl a files. I want you to be able to follow my steps exactly. So I've left all of my rig and animation files for you to download. If you don't want to build a rig or a character yourself, then you can just go and grab my character rig and work with ash. It's totally fine, but I do suggest that you watch the videos where I am building at the character just so that you get a good understanding off how this particular rig will work for animation. Now, when it comes to the audio files, I'm using a specific piece of audio, but I also have included some alternative sand clips that you can practice animation with. On these you're gonna find in one folder. When you get to that lecture on adding a sound file, I think this will be very helpful for you. And you can learn a lot by seeing my file, especially if your animation isn't working out exactly the same as mine on the video, then just opened that up and check your work against mine. But above all again, just send me a message. If you've got a question, then lastly, before we start, I have to give you a heads up that you will probably get prompted to leave a review or a raging I would appreciate. If you do leave a raging, this course actually gets ranked based on racing's not on the content. So your feedback is what helps other shootings find this material that's most of the housekeeping done in the next video, unexplained the structure and the outline of the course so that you know what to expect. 3. Overview of the Steps: thin this video, I'll go through the steps that you're going to be taking to go from a rough drawing to fully and what's worse, Teoh keep my mouth shut just, uh, fade away. So I want us to have a check this so that you will have something to for back to Ondo so that you could monitor your progress as you go through the course. There's a lot to get covered on. I don't want us to get halfway through and lose track of where we are, so I find it very useful toe. Have a checklist that you can check off. Okay, I've done this step the step in the step on you'll know exactly where you are and how you're getting on. So the first thing that you're going to do is import your drawing. Then I'm going to show you how to build body parts for your character. We're going to use symbols to write the course, and I'll explain exactly how those work as we go along. That's going to result in the composite off the character on Once the body parts are all built, then we'll go into the head on will rig the eyes for animation as well as the. After that, you're gonna add a sound file on. I will show you exactly how to import that into library to make sure that it's working, and then we'll keep framed the dialogue. After that, we've done when we've done one pass off the key frames, then we will go back. We find them, get the dialogue. Matching the mouth shapes after we've done the mouth shapes, then will animate the expressions on the face on. Once that done, the final thing that will do is animate the big acting poses. So to do all of these steps will need to convert everything into symbols. As we go along at each stage on, I'll explain exactly how to do that, but just know from the outset that a symbol is something that can be used multiple times without you re drawing us. And it's also something that can contain it's own key frames. So all of this will become much clearer once we actually get started in the next video, I'm going to explain how your character camp is basically built on what the late the different levels are that you need to know about 4. Anatomy of a Character Build: think video is going to be very useful for you to refer back to as you build your character , because I'm going to explain the exact sort of hierarchy all and order off symbols and layers and parts. Whenever you receive a character rig for animation, you're likely. Always get a fire like this. You've got one layer. It's locked. This is called a character camp. In order to animators, you need to access all the different parts, so you need to double click to go inside this, and here you can see all of the layers that make up the character. And in this instance, you can see all of the key frames that have been used to animate Um, But when it comes to the mouth and the eyes on also hands, for example, you need tohave options to make your animation look much more sort of come to life and much more appealing. So to do that you double click wants more inside of these assets on this will bring you inside to where you can create key frames off different shapes and different poses. Now, this doesn't mean here that this is the animation. This just means that you can pick which one of these frames that you want to use back out on your main animation. So don't worry. This will become much clearer when we start an amazing, But I just want you to be able to come back to this video and get an overview or a clear understanding off the three different levels that a character build is going to take. So you, your absolute basic level, is where you've got different options and different poses or different math shapes. For example. Then the next layer up, you've got the different parts off the character that you're gonna move around and animation, and then the layer above that is the actual full comp, which can either be itself animated and Tween, or it can just be handed off, locked and ready to go. So remember, as we progress, and as we start to build out our character, we're gonna make the main come first. Inside of that would make body parts and inside of the red of the body parts who make the different frame options. As I said, the whole concept is based on the fact that you can have a bunch of animation inside a symbol, then come back out off that symbol on animation again, completely in a new way. So in that sense, it becomes very easy to animate something that looks quite complex. With that in mind, let's take our first steps towards animating a character. In the next video, we're going to import the rough drawing and start building out the camp. 5. Importing the Rough Drawing: Okay, so I've got a very rough sketch of a character dash we're going to bring into Adobe, animate on, build this character out grazier rig so that we can animate some lip sync, some expression and some emotion. You are more than welcome to take this character design if you like, or work with this sketch or use your own sketch on follow along with me step by step through the process. But I just wanted to show you how I wouldn't normally just prep the file in order to bring it into Adobe animation. This bothers too big. It's not necessary to have it so wide, so I'll quickly just crop it down and save it out. I'm going to hit see on my keyboard to bring up the crop tool and then just click and drag around the drawing like that and come up here on click on the check box to commit to that trance or to commit to that Kush or that crop and now will save it out. You can either save it as a P and G or a J pig. Um, it doesn't really matter. I'll just save it out as a J Peg in my characters folder like Okay, and then I can go over to Adobe Animation. I'm going to create a new document and again under character animation on full HD. I'll just go with that preset, which is 1920 by 10 80 pixels on the frame race year is set to 24 frames. I'm not gonna change that. It doesn't really matter a huge deal in this case because we're I'm not animating. Yes, I'm just literally building the character, so it's fine, but it's good practice just to leave it on that. And then I hit creation. Okay, so my new document opens up on it looks a little bit like this, which I think if I come up to this little icon appear which is workspaces, and I hold it down, I think it is under classic. So what I'm going to do is just basically rearrange my workspace to the way that I like to work, especially when I'm making artwork on to do that. I like to have a much screen space as possible, so I make sure that my tools are all lined up over to the left and my windows or controls are all lined up over here on the right. Now the timeline doesn't need to be all the way across the screen while I'm just making my characters. So I'm gonna actually drag out releases and then just narrow it down a little bit. I am going to be building lots and lots of layers. So that's why I like to drag this out like this. And it was a little bit like for the shop. In that sense, I'll be able to see my layers when it comes to animation creation key frames. Then I moved my time. I'm back so that it stretches along the bottom. Now, if for any reason I pull up a window, say the properties tab or the library and you don't see it on your workspace, simply come up to window and you can look for it here. There's nothing that I'll be pulling up that isn't here. Eso properties and library or the two million ones at the moment summary with the tools I just want to point out, especially in Adobe animate 2020. They've changed a few things. If I drag this toolbar out, not all of the tools air here. So if there is a tool that's missing, you need to actually come down to this little three dots and which is edit toolbar. Click on Nash and here there's some other tools that, for some reason, are not included by default Deacon. Drag, drag and drop them like we might keep all of the painting tools out. I like to keep them all in the same sort of section. So here are all my painting tools. I'll put my shaped tools together as well. So I've got the rectangle. I need the oval down here for tangling Oval of the main ones. Then I got my pento the Bucket Tour eyedropper, so we'll just leave it at that for now. If there are any tools that I start looking for or using, I'll make sure to mention them. And if they're not there, you can just check if there, underneath, here on my first layer, I'll import my drawings. I'm gonna go to file import now. You can choose import to library or import to stage. It doesn't matter at the stage at this point, so just choose import to stage. Since I'm gonna be working directly on the stage and he arrives onto the stage. I'll scale them down slightly. So cue on the keyboard. And if you want Teoh constrain proportions in Animate Hold on Shift and Ault and then click and drag or you can hold on shift, click and drag does the same thing. Okay, now I'll just name this layer Rough were drawing or something like Dash on our lockers. So now we're all set up and ready to start making our character built. Join me in the next video on I'll walk you through the process, step by step. 6. Creating the Head: so there are many ways to start creating the artwork on coloring up this character. A lot of people will use the shape tools to design and to build. Or you could use the line tool or the brush tools, so I'll probably use a combination of all of these. But my go to prefer tool is the pen to Onda. I'll explain why, as we go along, so the first thing I'll do in my layers stack is creating new layer on. This is the layer that's going to contain my character. Comp. Um, this character's called Joe, so it's just a joke camp. So the first thing that I will do is make a shape for the head on, turned out into a symbol. I'm gonna hit pee on my keyboard to bring up the pen tool, which is there, and I'm just going to start to create a shape. Now with depend tool, you basically click and drag, so you click on a point and drag the pain, and that creates these handles. If you wanted to go back on, change the direction of the handles, you can do so like that. If you make a mistake you just hit command or control Z to undo. So I am building out the underneath shape of the head. I'm going to do the ear separately as well. Okay, so I'll zoom in a little bit now at this point. So that's a general shape to just edit or change the shape. You can hit V on your keyboard and you can just hover over the line, and you can drag the points into place. Me hide ish Look, it's looking pretty close to the drawing, so I'm gonna fill this area with color. So over here, these two boxes represent fill color on stroke color. As you can see, the stroke is black at the moment. Fill color is white, so if you click on Phil, you do have the option to choose from. Thes air called The Defaults Watches on there. That's fine. That's OK, but what I prefer to do is come up to window on, come down to color, and if I click on that, it opens up the color picker in a separate window, which, if I drag out and have it floating like this, then it's a much easier sort of go to color picker for me. As you can see minors set up in this way, and that's because I've got saturation checked. You always might look like this. That's just with huge checked on. It doesn't really matter. It's the exact same set of colors. It's just a different way of looking at them. There's just pick a skin tone. I'm gonna hit K on my keyboard on tap into that shape, and what I'm going to do now is double click on the line and delicious. Before I go any further, I should just say that's a totally a stylistic choice. You can leave your artwork without lines if you like, but I think for the way I'm gonna be building this character. I think I want him to have that kind of look that doesn't necessarily have an outline I might add in some outlines, maybe around the ear, around the limbs. But for now, I'm going to keep my paint, uh, without any outlines. Now I'm going to click and drag around the shape, and then I want to turn this into a symbol so that my camp is ready to start filling us. So to do that you can hit F H on your keyboard or right click and choose convert to symbol . So from here on out, naming convention has to stay the same. It's just good practice to keep your name and conventions in order. I'm gonna go Joe underscore Head. Make sure that the type is said to graphic and not anything else. You do have the option off movie clip or button button is for interactivity. Movie clip You might think it's more intuitive to go with movie clips, since for an amazing Andi will have motion. But actually, animators always work with graphic symbols in adobe Animate. You'll see that now you've got a symbol on your stage because it's got this blue box around it. You can't edit us. You can move it around, but you can't change the edge off of the shape or anything like that. In orderto access us to change is just double click on the symbol, and now you're inside. Now you can, um, editors away, you know, delete parts of it If you want. Change the color, add to us whatever. So just so that, you know, appear in the top left will always show you where you are in relation to your main stage. Right now, this little breadcrumb trail shows us that were inside of the graphic called Joe Head. If you want to get back out onto the main stage, just hit on scene or let's say you're inside it. Just double click on the white space that also brings it back out. So I'm on the moon stage, and as you see, I've got my rough drawing on. I've got the joke camp, but I've named this symbol the head, and I don't want to do that. I'm going to just right click and say, showing library on its right there. I'm going to double click on the symbol to change the name. I wanted to be the same as my there. So, Joe, underscore Kump. Okay, now, when I click in, I've got this on one there. I'm not going to make this into a symbol. So right click Convert to Symbol Joe Head instead of right away, starting to do the features like the nose, the eyes and Nash. I'm actually going to continue on and create the rest of the body, and that's simply because the hierarchy is gonna be that within this within Joe camp will have all of the body parts and within each of those body parts, like the face or the hands will have different symbols for mouth shapes, eye blinks and hand poses. So in the next video, I'm going to continue on and start building at the rest of the body. 7. Building the Torso: All right. So next up, I'm going to start creating the body. The first thing I'm gonna do is the neck, so I'm gonna come over to the layers, make a new layer on a the neck is very simple. Obviously, it can just be a rectangular shape. Click and drag out like that. Get rid of the line. I'm like, turn off the visibility off the face, layer on and just try and manipulate the shape. So how I want us. Well, then click and drag around us. Right. Click on converted to symbol on. That's gonna be called Joe Underscore Neck, and it should really be underneath the face. So we're underneath the head. There we go. Okay. Now, on top of dash, I'm going to make the shape for the body or the torso. Your nose is I'm not really naming my layers as I'm going, I want to show you in a few moments exactly how you can really easily name your layers so that they're the exact same name as your symbols. I find personally that I tend to always make a mistake. When I'm naming my layers on my symbols, they don't match up correctly. So the way I'll show you in a few minutes, it's just a very handy way to make sure that they're all property named. So let me do the torso very quickly. I'm gonna go back to the pen tour, and I just first of all, just click and drag out the shape that I want. I could see that sort of roughly. This is shape of the characters, T shirts. The drawing is really just a guide. I mean, it's got a definite sort of look and feel to it that I'm going to try my hardest to capture in the in this very graphic builds that I'm doing. But I'm not. I don't need to be totally exact, so I just adjust it. I could make any changes that I want, really at this stage. Then let's true the color a bit generic at the stage. Given the kind of a light blue T shirt, we could always change these colors up later. It's not a problem. Okay? DoubleClick the line work too delicious. Okay, so convert that to a symbol. You don't have to, right? Click every time. You could just hit a phase on your keyboard se torso click. OK, I now quickly do the arms, so I'll create a new layer. I wanted to be above the torso layer. Andi, let's see. I will go back to the pen tool. You can also lock your layers and then just keep the active or the layer that you want to work on unlocked, like dash. It's a better wait. I find that's an easier way to work. Make sure you're on your layer on then using the pen to I'm gonna click and drag out shaped like this, and I'm gonna use the state color. I'm not finished with the upper arm, but I will go ahead and turn it into a symbol right now. Convert to symbol and I'm gonna call it Joe Upper arm on. It's going to be the left arm, so it's obviously his right arm, but I really struggled to get my left and rice sorted in my head. So I always name is just the way that I'm looking at it. But you can definitely name this right arm if you want to be exact about it. So now I'm gonna inside this layer of good inside this symbol When you create a new layer and dragged underneath the sleeve, it pee on my keyboard and just draw out a shape for the arm that's going to be part off the upper arm. Make sure that you've got a rounded edge to the end of the arms of the arms and the legs always need to have this round edge for animation on. It'll become clear when we do get into animating the character why we do that. But it has to do with the rotation. So I'm going to double click on the white space to go back outside and need to select this skin tone. Gonna hit I on my keyboard selected. Go back to V double click of my symbol on just top up paint in there, and then I can get route up the line by double clicking honors and hitting back space. Now, if I come back out, you can see my upper arm YSL one symbol and it needs to rotate. So right now, when I rotation, I can see that this is happening, which is a bit of a problem. So I'm gonna double click inside on drag that down so that it's I wanted to be the same. I wanted to sort of match into the T shirt. Now the reason that my when I moved points around or the paint around. The reason why that's happening is because I've got snapped objects turn on. So I'm going to go up to view snapping on. I'm going to snap to objects when to turn that off and I'll be able to move this with much more control. Let me see if I go back outs and Tatis yet. That's looking okay. We could probably nudge it down a little bit so that it fits in. But I think for now that's pretty good. Okay, so the next one is going to be Let me just double check that's already assembled. The next one will be the lower arm on. I could do that above the upper arm. Hazing pee on my keyboard, gonna click and drag the shape que to finish, and then I'll just double tap on the line, work too delicious, then selected on right click to convert it to a symbol. Now the last thing I'm going to do is draw the hand on. This is my seem a bit tricky at first, but you really just wanna have a basic shape for the hand that you can then so almost like a bit of a cube orbit of, ah, rectangular shape fillets. Let's get rid of the line. And now I'm going to switch to the line tool. But I'm going to go back and put my snapped objects back on, because when you're working with the line tool, you got to make sure that the points off the line actually match up and do snap closed. Okay, So selected. I dropped her tool now for their hands. I actually do want to have some line work present, so I don't want the outer edge of the line to be there, but definitely between the fingers. I'm gonna need toe, have some kind of delineation. What I will do, though I don't like the thick, black, heavy lines, so I'll just select the line work and changes change the color to something that's a little bit darker whoops than the skin tone. So a kind of a darker, maybe a richer, color like dash. So I'm just going to double click the whole hand, then converts it to a symbol. Joe Andi. Left. Click. Ok, all right. So I'm gonna quickly do the other arm, and then that's the top half the body done. So creating new layer on back to my pen tool, click and drag shape. For this arm, I forward the color selector and then double quick to delete. So just a check that I'm doing OK at me. Convert that to a symbol, go inside to that symbol, and now I can see that it's a little bit wonky appear I'm gonna turn off my stopping. It's not objects that I could properly moved us around. Another thing that you can do if you are struggling to manipulate the edges and get everything exact is If you put a on your keyboard and click on your shape, you can actually see the individual vector points. And if you wanted to, you could delete one of them by clicking on us hitting back space. Then go back to your regular selection tool and moved the paint around. That might help you out a little bit just to finesse the edges. It's not going to really make a huge, huge difference. I'm going to create another layer dragon underneath my sleeve on do the rest of the upper arm. All right, so there we have it. Did I? I don't think I converted that to symbol. That's the last thing I'll do for this video. Just conversion to a symbol. Joe underscore. Hand lift. No. Right. Great. So we're almost there. Just going to do the legs and fish in the next video name. Come back in and start rigging the face for animation on dialogue. 8. Adding Legs and Feet: Okay, so let's get the legs and feet sorted out on to do that. The very first thing I want to do is create the pelvis, great new layer on and her back to my pen tool. I'm doing this so that when I animate the character walking or animations legs moving, it's not gonna look. It's gonna have something Teoh kind of be couched in or hidden by Andi because you don't want the joints to. You don't want a corner to stick out much in the same way as the arm always needs to be built with rounded edges at the elbows and the shoulders. The legs will also need tohave a round edges so that they don't look so abuse when you animate them. So hit K on your keyboard. But let's choose. I'm not sure what color shall we choose? Let's just choose a gin, any color for now. We can always change this later. If that happens to you ever. What happened there was, I changed the color over here, but for some reason, stroke color was active, and so it made the stroke. This color on the paper could stayed the same colors, all you do is you could swap colors on this little icon or over here, this little icon. Now my paint buckets is purposely color. Double click on the stroke color. Too delicious. Andi, let me just convert that to symbol before I forget. So, Joe Palace, okay, Creating new layer on and go back to P or the pen tool on about here is gonna be where the knee joint will be. Just like that. Que two fillets with a dash. Select that shape and converted to a symbol upper leg. Next, that's my left, not Joe's left. So the lower leg on a new layer p on a keyboard on K two fillets. Delete that layer or delete that line. Work. Convert this to a symbol Joe number dick on. I can see it's looking a bit strange at the joint, joining part so tweaking it just to get it into the proper shape that needs to be. If you're finding this part where you're pulling the paint a little bit annoying, another option that you can do is click and drag over it and delete that completely. It's a bit drastic, but it does give you that's much easier. I mean, look at that. Then you're not like you're only dealing with two points instead of a bunch of points. All right, so that's done. I'm just not gonna get to detailed into the fish right now. I can just make, uh, basic shape for the feet. The shoes, it's buying shape. I'm going to switch over to the end tool just to put a little bit of detail into the shoes . I don't want it get too carried away, but obviously just a little bit Would would help at this point, just like that. Okay, so let's finish off this design by doing the other leg, and then we'll be able to focus on the face and the facial features. I'm gonna create another layer on in that layer. I'll do the exact same that I did with the left leg. Okay, so that's looking good. I'm going to select this foot copy ish, create a new layer, paste it down on, then not got to modify, transform and flip horizontal. So normally, I wouldn't recommend a copying like one leg over to create the other leg because you will get into trouble if you've copied symbols over. You need to have separate symbols all the time because any changes that you make in one symbol will then appear in the other symbol and don't want that when things are so, you know, supposed to be different. Also, to make it just look more realistic and appealing. Characters, limbs, Andi, arms and legs are often quite different. One from the other. Now I'm going to just turn them into symbols. Uh, Joe, foot left to believe it or not, we've got the most of our character built now it looks doesn't look like anything. I do agree with you on that, but we haven't finished it yet, But at least you've got the main, the main camp done. 9. Arranging the Layers: So now I'm going to do what I was mentioned earlier, where instead of having to layer or name all of the layers as you go, I've focused on naming the symbols. Only now I'm going to select everything. So if I click and drag over the whole thing, you can see everything has a blue box around us. If you do that, if you click and drag on one thing, doesn't have a blue box, then you know to go in and create symbol for that that piece. Okay, so I've just noticed that something's missing. I'm going to on high data. It's the neck. So now click and drag over everything. I'm gonna hit command or control plus X on my keyboard that cuts everything off from the stage. And as you can see, every layer is now empty. I'm going to choose one of these layers. Layer to is fine. And then I'm gonna go command or control and V to paste that down. Now all of the symbols are on just one layer. So everything is still selected right? Click over that and come down to distribute two layers. What has happened is that adobe animation has placed everything on separate layers. Andi has named the layers according to every symbols. That is super handy. I can no delete thes empty layers by selecting the 1st 1 holding on shift, selecting the last one and then just hitting the trash can. I know I'm actually in a good position because I've got everything on separate layers and everything named If you can't see the full name and you want to, uh, dry. Dragging this out a little bit on you should be a credit there. So now I want to move things around so that they're in the proper order, so that pile of this needs to be underneath the torso on the legs need to be underneath the pelvis. The feet need to be right at the bottom, so foot right foot left comes down to the bottom. The neck can probably go above the torso, and we're going to sort that out later. The upper arm left lower arm left, so that's fine. That's on top of this T shirt layer, and then these need to be underneath the T shirt. So, Joe, hand right arm, right on arm rice sort of been there drag those underneath the torso. Which is there? Okay, it's no. Everything is in the proper order, and the only thing that looks a bit weird is the neck. So I will quickly go in there and you could even, like, create a new layer underneath it with your click and drag out your oval. Let me get rid of the stroke color so it could be like a dark blue color or white, a much lighter color. See what it's like if you make it a brighter color that looks OK now. If you're not happy with the colors of your of your model at the stage, you could go in and change the colors. What I did was in voter shop. I made some swatches. So if I'm just going to import to the stage for now, and so here's a bunch of colors that I thought might work for this character. So let's say we changed the top, then go into the top K. Andi his Maybe his genes are this color 10. Adding Hair: I have pretty much finished my rig. I just need to finish off the head. I tweet the legs and the shoes a little bit, changed the colors up. So again I might go back and change them even more. But for now, I think it's time to move on. So double picking into my camp, you can see as I showed you before all my layers are numbered. And in order on what I want to do that is finish out the head. So I'm gonna double click to get inside. I think I'm going to just add the hair and ear on on. Then we'll be able to start making the rigging the eyes and bringing the mouth for animation. So to do the hair, I think I'll turn the face layer off or thes turn it to outline so I can see what's what is what my drawing is underneath. I'll create a new layer on top of ash on, then Zubin and I'm going to switch to the pen tool way. I just want to point out when I'm using the pen tool and I want to make a curve going this way. But then a curve going the other way or even a strict line going the other way. All I do is click back on to that point on. That closes off the curb and allows me to make a different shape on the other side. You see what I mean? So I'll just do it like that again. Click and drag out, tap back into that point and then create a brand new curve. So this one, I want both handles to be hours and active, but here are close off 1/4. Do the ear next gonna close off the shape so that I can fill it with skin tone. Indeed, eat my exterior layers, but I do want just to have a little line on the inside. So hit N on my keyboard. Make sure that the stroke is a dark color for now, that just put too little lines just to kind of delineate the year of it. 11. Rigging the Eyes: Okay, so now it's time to really dive in and get the racial features working. We're going to rig the eyes on rig mouth for animation. So I'm going to double click into my symbol on then on the head layer. I'm gonna double pick into their and what I'm gonna do to start drawing the eyes is just turned the face to outline our lock everything on. Just create a new layer at the top. Okay, so there is a very specific way that you need to honor award that you need to rig the eyes in order to be able to animate, say eye blinks or have the character kind of look from left to right on. I'm going to show you exactly how to do that will go through this step by step. Okay, so the first thing I'm gonna do is draw out an oval shape. Okay? So just grab my over tool click and drag out, and then I'll change this color to whites. I'll make sure that the outline is on black. I'll just turn that whole thing into a now, trying just to see that I'm on matching the drawing on that looks about. Right, So that's cool. Turn, turn you out. I'm back on Gonna call the Slayer. I'm not gonna convert this to a symbol just yet, but I am gonna name my layer. So in a double click on the layer name, I call this I whites. I don't need the outline on this layer. So I'm going to double click to selectors hit command or control X on your keyboard. Create another layer on hit command or control, plus shift plus P to pace that outline in place. So it's now pace it back down in the exact same spot. I'm going to double click on that layer and call this, um, I shape. Okay, click off. So now I've got on there with the eye shape and there with the I wife. And in between these two layers, I'm gonna put the pupil so grabbing the oval tool again, I'll click and drag this shape boat turned the white to black and I can delete the outline . I don't need it on the pupil and then just drag that over into place. So let me just set everything to outline. I consider every single layer to outline mode by just clicking on this show. All layers that outlines as outlines button that would make everything. And now I can just move the pupil into place on may be effecting Change the shape of it a little bit in the drawing. He doesn't really have an exact perfect circle. Okay, during those back on. Okay, So I will convert this to a symbol out right Click on call this job underscore pupil left. Enter on. The reason that you do this is so Dash, you can now in separately, move the pupil around. So say he's looking over to the right or if he's looking over to the left. But what we want to do is to make sure that the pupil doesn't show beyond the shape off the I so above the pupil. I'm gonna create another layer, and I'm gonna make this layer be a mask. So it's essentially going to mask the pupil there. So let me double click their ago. Call this one mask. I'll just call this layer people. So we know where we are and then come down to the eye. Whites click on that key frame to select that hit Commander Control C two copiers and in the mask layer hit Commander Control plus shift plus B to paste it in place. And now you can see that the pupil is behind the mask over on the layer stack, right. Click over that layer and select mask. Okay, so soon as you do that, you can see that. Okay, For one thing, the icons for the layer have changed. The two layers are automatically locked on. Indeed, it is masking out the pupil so that if the character is looking off to the right there, that people is safely within the eye shape. However, we can't move to people now because it's locked. So what you need to do, you can unlock the pupil there and then to see us, you can just change your mosque layer to outline. So now you can see people. The mosque, like the mask mask layer, stays locked on. You could move this around so you can't see the effects off the mask at this point. But don't worry. If you go back out, even out to the very first layer to a scene, the mass is effective. It is actually working. So just remember to keep your mouse layer locked and keep it to outline. So let's go ahead on start making an eye blink. We're going to come up to the eye shape layer we're going to right click and courageous converted to a symbol Joe underscore I shape on underscore left. So the way blink works is that you need to give at least three or four frames for the island to come down. And then, generally speaking, the standard sort of convention is that you just have one more frame for the island to open , and that creates a very realistic natural blink. So in our timeline, I let me just grab and pull us out a little bit. Let's go ahead and create a new key frame on frame number three, So Frame number one is our outline shape. We'll go over to frame number three, so that's two friends ahead on Insert a key frame there, so that key frame is not the exact same is this? It's just basic copied itself over, and then we'll grab this line tool on. I'm going to go up to view snapping and make sure that snapped objects is turned on on what you want to do is great. Your first I pose or your first eyelid coming down at about, you know, 1/3 of the distance down. Hit the on your keyboard on selecting delish the outlying lines, and then you can just nudge this up a little bit. Then, on your timeline, go forwards two frames tonight from five. You can right click and insert. A key friend there didn't select that island line. Andi, you can nudge it down. You don't have to delete it and read, George, you could not get down to about there. Andi, Try get the other way and then the final one. So now we go forwards to spaces were a frame number seven. Right click. Insert a key frame this frame. The island's going to be fully closed, so let's just delete that. So now what we've got is open closing almost closed and closed. You could hold dash for maybe one or two key frames as to see what that looks like. Insert a key frame so it's closed. We're now frame number nine and then frame number 11. Insert a key frame again, and it's going to be open, so don't make much sense now because we can't see it in action. So I'm gonna pop out back out to the head layer. I'm going to select que aware keyboard for the paint Booker, too, and select the skin tone color, then double click on the eye shape. Go back in on frame one. It's open. So that's frying frame of the three. I'm gonna fill in the top island Prime number five. Fill the island in like that prime seven. It's fully closed. I think we kept it closed for frame nine, and then it's open fully for frame number 11. I'll just add in an extra frame at the end because everything is has two key friends. So let's see what that looks like. Bring your play head back to frame number one you can hit. Enter on. That's a very realistic, natural looking blink. So because we've put 11 frames 12 frames into this I symbol in order to see it play out in every other layer like we're in, I shape left. We need to see it in Joe Head in Joe Camp and unseen. We need to add in 12 more frames to each of these sections, so that's got back out to the head on. I find us on a frame. 12 inserts Okeafor or insert. Just insert frames. You don't have to make any key frames yet. Go to entire camp and then on the scene itself, let's insert frames all the way up to free number 12. So if I hit enter There you go. Now you might think that it looks a bit slow. If I play it back, it does look a tiny bit slow. So what I might do is just get rid of Dash hold that we put on us. So we have a closing nearly close, nearly closed, closed. I'm going to get rid off this key frame. So when the selectors and I, right click and go to remove frames and now I've only got 10 frames of animation, but I think that's a better blink because I don't want the island to open much faster than that works for me. Okay, Come back out to the head. Yeah, that's quickly moved through making second I and then we'll get on to doing the eyebrows. This is I white, and that is right. Command or control. X to cut dash, create a new layer, Commander control plus shift and be paste in place. And that is the eye shape on the right. Okay, click off. That's good. Let me create a layer between these two on Make the Pupil. And now the last thing I want to do is above the people. I want to make the mask, and I'm going to copy the I white from underneath. So command control see creating your layer above the pupil on command shift free to paste it in place. And now I'm gonna write. We'll double click first and they call this mask left mask right and then right click Change the layer to a mask layer. They would go. It's locked. Turn the mask to an outline on, unlocked the people if you need to move it around. So before I go any further, I'm going to make all of these things symbols, and that's double click in there and create our 10 frame of animation for the blink. So going to friends ahead, right click and inserted key frame. So that did that exact drawing is copied over to frame number three on. Then we're going to grab our line to and make Gush eyelids coming down ever so slightly. No, get up. So it looks like it's curved on. Select and delete the extra bits that we don't want going ahead two frames to bring up a five right click and insert a key frame there and then drag this line, nudge it all the way down. Make sure that it has snaps to the edge There, that's OK. Track it down and then the last pose. My click insert key frame he's gonna have. No, either. Okay, now we'll go back out and select my skin tone color. Double click on the ice shape. Andi for this one. Fill that island, Load that island and feel disclosed, either. Then, for the Open Island, I'm just gonna go back to frame number one. Hold on Option or Ault on my keyboard on just as I do so dragged that key frame all the way over to frame number nine and then right click and insert another frame just like that. And now we should have a really good blink there. Let's see if both blinks are working. Come back to frame number one hit. Enter. Yep, There we go. That's but face back on. So you, uh if you've gotten this far, you've done really well. You've gotten quite a good bit off animation, done a good bit of rigging. And you've got a working I blink, which is also meet me in the next video on. We'll start rigging the mouth. 12. Choosing the Mouth Chart: So far, we've don't quite a bit of work on this character rig. As you can see, I've tweaked ish a tiny little bit, and I've changed the pose off the character to be facing to the right. What we're going to do in this video is look at the mouth charts because when we start to animate dialogue and animation, we're going to need different positions off the mouth for a different sounds off the dialogue. Now, this is an absolutely standard thing across all animation, especially two D animation. Your we're gonna want to work with something called a mouth chart. And, um, er chart is essentially a Siri's off mouth shapes that correspond to sounds off the alphabet. Like, um, an s sound or an O sound. You can just even right now just, you know, say a sentence and be very aware off the shapes that your mouth makes Well, you're speaking, um, those are the kind of mouth shapes that we want to get, and you could even go to Google type of mouth shapes or Pinterest. That's another place where people get a lot of my charts from, and immediately you'll see what I'm talking about. There are tons of these kinds of things, which are the mouth shapes for lip sync. So if you're stuck and you don't know which mud shapes you want, have a look here and you could see the most common the most kind of universal ones. I think I see this charge a lot on this chart, a lush. So what we'll do is I've will download something like this as a reference guide and bring it into Adobe animate. But then we might just tweak things to make us, uh, suitable for our character. So, for example, if I'm looking at this one, all of these mirth shapes are straight on from the front. And if you pop back over to our character rig, I'm gonna need something that's a little bit more 3/4 in the 3/4 view. What we'll do first is bring a chart of mad shapes into animates that we can use as a reference. OK, so I'm going to double click into my symbol off my character, double click into the head so I can go inside the head and I'll just strike my timeline out again so I can see all of my layers. So the first thing I'm gonna do is make a new layer on top of everything else and just bring in a Chart America chart for reference so I can work from Okay, so I've got I find to my charts that I think are cartoony enough. Andi will give me a bit of a guide. The reason I've got to is because I think that in either one it doesn't have everything that I need. So let's just take a quick look at them so we know what exactly we are talking about. So this kind of emerge shape is going to be used for all of the M will be this kind of a most shape. It's for thes sounds. Then you've got a this mad shape, our and then you got do could the l and D shape on the F and V shape. So this this is indicating that the bottom lip is sort of underneath the top teeth. That's what those three lines. I mean, you see that a lot in animation. The only thing for me that's missing out of here is the tee hate sound. So the D. H like that and there is made by with the tongue touching the teeth. You can say that yourself when you'll see what I mean. So l and D the tongue goes behind the top teeth. Andi for th it goes, it touches the front off the top teeth on. So that is why I chose to work with too much arts. Because on this March chart, you can see it does have a th This has got pretty much there's that l shape. I just like the more fluid kind of look off this one. But I'm gonna look at both of these charts when I make the mouth shapes with his character and just use these as the reference. So let's just lock that layer so I don't have to worry too much about it on. Then, in the next video on, when a dive in and start drawing out a mode shapes, putting the mode shapes on each successive key frame, and then I'll show you exactly how that could be used to animate the dialogue 13. Mouth Shapes Part 1: Okay, So above the eye shapes, I'm going to make a new layer on in here. I'm gonna just first of all draw like a basic shape. So simply following the shape that I have a Ford, my character and that's really just a line we could do one of two things. We could use the line tool. Or we could use the brush tool. Let me lock every layer first on unlock the blank layer. Civil ish. I have a bit more so I'm not gonna draw on anything else. If I go to the line tool on draw a straight line on bended into shape, it's all right. It just looks doesn't look great to my eye. Let's change the color to like a dark mirth color sort of the same color as that line there on. What I'm going to try and do is see if I can make this look a little bit more appealing. So I've selected the line and I'm going to go up to modify shape, and there's an option here that allows you to convert lines to Phil's. I'm going to click on Nash. What that does is it essentially changes this object from a line with only two vector points to a paint layer or a paint object. And I can now drag the edges off us and manipulations a little bit better. Alright, so I've just changed the color to black. We can always go back and change it again. Let's now turn this into a symbol on. We're gonna call it Joe. Okay, on, then, Hit, OK, on double click on it to go inside. What we're gonna do is make a whole set of new key frames, much like the way we did for the eye blink. And we're gonna put different mode shapes on each key frame. The only thing that's going to be different from this to the eye blink is that the eye blink was an actual animation loop, so it was timed out. I made sure that my key frames were on every second frame on that it looped back to open. We're not going to do that for the mouth because you're going to want to be able to just click one key frame on choose that per mouth shape in your dialogue. So the general sort of standard practice is to make a row of key frames with each containing a different math shape. So let's go ahead on the next key frame over. I'm going to right click on insert a blank key frame. Then I'm going to just drag us over. We push on click on the onion skinning so that I can see my previous drawing on. I haven't decided yet which magic I'm going to do, but maybe we'll go for just what seems to be this order that's do the closed teeth sort of shape for these kind these letters. So I'm gonna choose the line tool again. I'll do one for the top lip and then draw another line for sea bottom. Lip on, come up to modify, shape a shape, convert lines to fill. And now I can try and just refine the shape a little bit, make it a bit of a more nicer, appealing kind of shape, well kept. Then, inside this shape, I'm going to fill it with white. You could leave it there, but what I might do is indicate to little lines at the edge for teeth. You could also use the lasso tool if you want a free hand draw things out like that. So that little tiny area selected I'm just gonna tap in the color window for Black de Select. So that is the S teach sound. Now let's move on. The next shape that I want to make is a kind of e shape. You know, your most really stretches. The lips are going to be a parts the teeth will be apart on I think, Oh, kind of approximate this bad shape a little bit more So going one frame over in my timeline and when a right click and insert a blankie brain. And now turn on onion skin again just for my position. And I could do and for my line tool so it's gonna be a bit more stretched out. - Okay , so that's the basic shape on for the e sound. I'm seeing the top of teeth on. I don't see the tongue in this. Let me draw the teeth in first hit n on my keyboard. And another tip that I I'll tell you about is if you want to draw a line. But you don't to be so big. Go over two properties on underneath line. You have the option to set the style to solid or this one hairline. And if you said it to hairline, it's gonna be super super thin. So that's easier to work with. I think so. Let's just do a row top teeth in this area. I'm gonna fill this with wash. Well, I can fill the area for the mouth in a dark red color on filthy area for the teeth in white . Okay, it's now if I double click on that hairline, the whole thing is selected on backspace to delete. All right, so we've got three mouth shapes done, make a little modification to this shape. All I'm going to do is rotation. So it's not so hugely towards the side. If I turn on onion skinning, conceal we're and going a little bit, Uh, yeah, that looks look better 14. Mouth Shapes Part 2: Okay, lets keep going. Were three down on a few more to go, but it's looking good and I really think is coming together. So all I want to do now is the's. A few more months shapes on, maybe one extra for the th sound. Double click on there, go over to properties and change it to I wanted to go back to solid, and I want the wits to be to enter then and again. Gonna make the I was quite open here a little bit more open than what we've had previously . When I'm happy enough with that, I'm going to double click on the line, go to modify shape. I convert my lines to Phil's zoom in and just refined them a little bit. Okay, sort of onion skin. Now this shape sees we see the teeth as we do in the previous one. But on we also see the tongue so I can just pop back over to the previous phrase. Click on that teeth that I painted Quick command or control, see to copy. Come back to this one on. I've got first of all, just paste it anywhere and then move it up into place and zoom in a little bit. Now go back to my line tool and for the nine tool, make a shape over here on. I'm gonna go to this frame and grab this color pasted in around the teeth and the tongue, But then for the tongue, I think we should probably go with a pink, more pinker color like that, right to the next one over. Click over to that frame, right Click on in. Sort of blankie frayed there. And I'm going to do this you or are sound so zooming right in gonna switch on the line tool And it's definitely a smaller, smaller mouth shape down the rest. So let's keep it like that. Gonna have the teeth and just put a little line there with the teeth. Actually, I think I'm gonna delete that outline around the tongue We go. They moving swiftly on next key frame, right click, insert blankie frame after our we want to guess that sound. So that's very easy. That's just a simple We could even just do an oval fill it. What I did there was just shift the who sound over to the right, and I might just exaggeration a little bit more so that we get the impression that the mouth is moving around the base as its speaking because you don't want to have it just open and close and same spar Shit must move forward. So even there you can see that's looking okay. If I go from that shape to that shape, there's a bit more of a movement that's just really emphasizes. See if it works. Uh huh. E Okay. So the last three months shapes gonna make are the l sound the or V or F sound and the th So the l sound is very similar to the, uh, sound Al. Uh, so I'm going to just copy this mirth shape and then adjusted for it the tongue. So, like, the key frame command or control. See, to copy and go to the blankie frame on command shift v toothpaste ish. Okay, So the way I'm gonna edit this is just simply, uh, click into that shape and fill it all with this color. And now I'm going to do something by just to make it easier on myself. Created new layer, both dash, insert a blankie frame right there. And now I can lock that lower one and just draw in shape for the tongue. I'm going to select these two lines. Cut them, Commander Control X are not my layer. Click back down onto this key frame command shift V to paste, and then I can hop back over and I drop for that color. Okay, so moving on, I'm going to do the V sound on that murdered shape is a little bit like dash with some modification. So I'm gonna go grab this s mouth shape, which I think is the 2nd 1 over. Oh, yeah. I have to drive my Yeah, it's the 2nd 1 over. Click on that key frame. Come on, seed. Copy. Come over to my blankie frame. Ron Shipp. Feet to paste. We see. So I basically want to not see the lower lip. Just see the top teeth. So what I'm going to do is delete that switch over to the brush tool on. Just try and draw a line along that could fix it up later if I want. And increase the brush size one bit and then just at this now and just tidy that up all right, That looks better. That definitely looks like a V shape. Let's move on to the very last month shape. It's sort playing key frame going to do the th. So I'm gonna go and grab that l mouth shape copy it paces into the blankie frame I'm gonna use be on my keyboard on a fill in that. All right, so for now, I will leave it there. I think that's more than enough. We've got nine different mode shapes on. I think we should be okay. We're gonna test it out, at least with our lip sync. If we do need to create anymore you math shapes will just come back in here and adding a new frame. So now the work is done. If you've gotten this far, and if you've been working alongside me step by step Wild own congratulations, I'm really thrilled. Think it's exciting because now we get to the actual fun part. So the rigging section off character animation can be tedious, and it can be very time consuming and persnickety. But once you've set that up, you've now got a character that you can use over and over again in so many different animations. So you really don't all of the hard work now the easy part starts. Hope you're excited. I'll see you in the next video. 15. Adding a Sound File: so I could finally get rid off my rough drawing. Or together, I've got my character model. And now I'm going to import my audio file for the purposes of your final project. I've actually included a number of files for you to choose from. These are all very short audio clips. You can have a listen through and select whichever one you want. We will listen to them together. I I got them from a website called free sounds dot org's. There are royalty free audio clips on that website that you can download and use in your animation because I just wanted you to have a short clip, short audio clip. I chose things that were, you know, just a few seconds long so that we can get through the lip sync in a very clear and understandable way. I've got 123456 I've got about six files here will have a listen to each of them. Now, that boy never go amount to nothing on. Then there's this one. Hold on side. This is gonna be a bumpy ride. All right? Come and get the news over with. I want to hear the music. Okay. When I suppose you think that's funny, huh? Birthday party club. What's it worth to you? For me? Toe Keep my mouth shut. Just, uh, fade away. I think I'm going to use this last one, but it's totally up to you can choose which ever sound find you like or you can go to free sound on Look for us some audiophiles yourself. Now I suggest that you search for something like male, voice or female voice on. Do you really have to sort of sit through quite a lot that you can see when you put in male voice? You've got 136 pages off little sound bites, and so not all of them are going to be suitable. Some are screams, for example. But you know, there are quite a few to choose from. For my purposes, I'm going to just stick with this last one. This last sound bite here. So just to review the animation process, the first thing that we're going to do is animate my shapes to the dialogue. The second thing that will do is then add any expressions onto the face like eye blinks and eyebrow movements and then the third and final thing we'll do is add to the acting. So if you think of the three step process, we have to go down to the head layer first for our first stage of animation because we want to animate this mouth shape in different shapes according to what the dialogue is. So for that reason, I'm going to take thesis sound file and place it into a layer within this head symbol. So notions are gone from my main scene to the body symbol and then down into the head symbol. Okay, so let me drag my timeline down at the very top off my layer stack. I'm going to create a new layer. Then I'm going to go up to file import. I'm I want to import to the library my sound so that CBO scarred it. Street one click open and then we'll go to our library and should be there. There it is. It's always on the last, so if you just click on that, it'll show you the way. Form off the sound. While that tells you that it's there, everything is good. Um, what am I do at this stage? is drag my library panel how sh on and put it underneath the properties so that it stays open. Where has put it on the top? So now I've got my properties tired down here, and I've got my library in case I need it on the other things I'm going to need is my framed picker. So the frame picker is going to allow me to change. My mind shapes very, very easily. You could, if you don't see it, come up to window on, look for it. In this drop down menu, bring picker day without on. You can have it as a floating window or you can attach us to to appear. That's fine as well. So my top player, I'm gonna click on the first key frame and from the library, I'll drag the sound file onto the stage and release, and now you could see that There it is. It's up there. This sounds while though, is six seconds long. So that's about 170 frames or so. Let's go all the way down to maybe 200 just to be on the safe side. Click and drag all the way through the stack on, then hits frame. So don't insert key frames or blank keep rhymes. Just hit frame on that will extend out your timeline on there. As you can see, my sound file actually ends on frame 1 66 So I'm going to click and drag this empty space that we don't need on. Then right? Click on choose roof frames. Okay, so now let's go back to the beginning. I'm gonna just click on the might symbol. Make sure that I've got my looping windows open. So I just wanted to That's just too play single frame for now so that it's not opening and closing actually gonna bring my library back over here. That so really, I just need properties and my friend picker. Okay, so let's just give the audio and listen. What's it worth to you for me? Toe Keep my mouth shut just, uh, fade away. Perfect. Could come back to the start. So believe it or not, this next part is incredibly easy. And it's very straightforward. All of the hard work is done, making all of those mouth shapes spending as much time as possible to get them right. Aunt, to really draw them nicely. That's all behind us. And now we just get to play around with those and match them to the sounds. So there are a few sort of conventions that animators work with in terms of lip sync that I'm going to explain that will make it much easier to do. Generally speaking, you will try to animate on the fouls. So if you scrub through the time nine, you can see that the A is there. What? It's worst Teoh. So a, uh, No, a worse. And me. Those are the vile sounds that you would hit with your mouth shapes. So that's one tip what people like to do, and you don't have to do this, but it's an option that is there for you is to create a new layer above your sound file and to go through and just write down like you can create a key frame here and in that key frame, give it a label. Say what on what's it worth to you type in words or that you know you don't have to type the actual words. You can just type the sounds, so I might just quickly do that Um, just so that we have a visual that we can work to us. Well, because scrubbing through the timeline might just drive you a little bit crazy. But I have to say, Welcome to the world of being an animator because this is what you'll be doing pretty much all day long on. You need to be able to do that without making it, making yourself go totally crazy. But we'll try and minimize that scrubby, awful dialogue sound by working with labels as well. I've labeled all of the sounds that I have heard on my way form, and they sort of correspond to the peaks as well. So let's just take a quick listen. You can read along on the top layer the kind of sounds that I've identified. What's it worth to you for me? Toe. Keep my mouth shut just, uh, fade away. I don't have absolutely everything knows it simply because for one reason, we don't make the mouth shape for every single sound that comes out. So what city were you know, we could get away with, probably just making one mild shape. Their one mile trip there. We'll see how that looks But I wanted to just point out the very important ones. See, keep my mouth shut just, uh, fade away. Fade away. One thing I didn't mention at the beginning is that if you do not hear your sound file when you're scrubbing back, you don't hear anything. Make sure that you click on anywhere on the sound file in the timeline, come over to properties on. This is really important. Go down to sink on this drop down menu. Make sure make sure that it's set to stream. Sometimes if it's set to event, it won't. It won't. You won't be able to hear a playback, and that's obviously not gonna work because you need to hear it. So that's an important one to know. Just said it to stream Andi. Then you'll be able to play back. Okay, so in the next video, we'll start doing the math shapes 16. Key Framing the Dialogue: so I want to be able to access the mouth. So I'm going to lock all of these layers on, then unlocked the mouth layer. That way, I won't make any mistakes on you can also highlight this layer. You click on this little dot that creates a highlight line underneath, which is very useful when you got a lot of layers and you're only working with one layer. But what I'm going to do is change the color off the highlight. So I'm going to right click come down to properties over here, and this will allow me to actually change that outline color. Let's say to something Ready, Pink click. OK, so now you can clearly see the layer that I'm working on going to drag my brain picker out on. I want to place it on top top right over here above properties. If I click on the mouth layer, you can see all the different shapes or the frames really there inside and you can scale up the thumbnails or scale them down or drugging that slider. Okay, so make sure that your sound file is set to stream in the properties on. I will find my layer where I made the notes stare. It is on the top. First thing you want to do is click on the mouth later, make sure that it's set to single frame on that. That single frame set up one so it doesn't start looping as you move forward in the timeline, I'm gonna go over to my first sound. Just click on the mouth shape and it automatically creates a key frame. You don't even have to great keeping. Just place your play head at the sound that you want. Click on your some nail. What? What's But what Then we're gonna dio open night there. What's it worth w sort of. But here we've got a t h sound the So what? So maybe that one doesn't necessarily work there. Two worth comes in a bit sooner, but all I want to do is get my key for signs down. I can come back leisure and finesse the frames and move them around and change them going on. Obviously you can follow along with me if you're using this particular sound track or if you're using a different sound altogether. Just follow the steps like I'm doing As you can see, it's a very straightforward process. I'm gonna rectal through the whole, submitted very quickly. It'll only take me probably about, you know, five or 10 minutes and then I'm going to loop back afterwards and I'll and finessed anything that I need to make. I didn't that a that you keep his mouth closed to. But here, then slightly open and then open a bit wider, you know, close and then close. Keep my mouth keep it was again but keep. And then I'm gonna go straight into the but best sound t sound goes there. And then maybe he closes his mouth again. So just do a transition shape and then close it altogether. And maybe he has goes back to his little smile. Then I wanted to come straight into that. FV sounds are great. Admirers shape just to open a little bit and then f and then wide open. Yes, the and then a w for here and then in a hold it for a while and then was back into a closed mouth shape. All right, fade away. So I'll just remove that top layer has one frame too much. So just right click on choose room move frames, which is their removed frames. Okay, so now I can play it back and have a listen. Hit. Enter. What's it worth to you? For me? Toe. Keep my mouth shut. Just, uh, fade away. What's it worth to you for me? Toe. Keep my mouth shut. Just, uh, So there's a couple of things I concede. This part here immediately is not really working for me, so I'm going to move this. I'm gonna get rid of this key frame. Moved that one in Fade away. What's it worth to you? For me toe and right about there. Hang on. So this is where I'm gonna look back on. Just adjust things slightly. What I want to do is just move my key frames one or two frames to the left. So the idea for lip sync what a lot of people say is that you see the mouth shape before you hear the sound. And that comes down to the fact that you know, for one thing, sometimes characters mouth might open before they actually speak. Sort of in preparations. Almost like an anticipation that they're about to say a word. Um, and a kind of ah general rule of thumb that people have often talked about is think about thunder and lightning. You see lightning before you hear the thunder. So a good practice is to drag your key frames for each to find vile sound. Just one frame. Um, sooner and that actually makes the animation look a lot more natural. What? - What's it worth to you for me? Toe. Keep my mouth shut, just, uh, fade away. What's it worth to you for me? Toe? Keep them. It should work. So that's looking a lot better to me now that I've just made those very small changes. But I think you'll agree it does look a lot better. Fade away, fade away. So that's grand. I'm very happy with that. I think that I mean, it doesn't look like he's got any emotion or anything while he's saying that, but that's what we're going to start layering on top in the next video. But I think the timing is right. The mouth shapes fit the sounds pretty pretty well, so I'm going to keep going, join me in the next video, and I'll start to add eye blinks and eye brow movements 17. Adding Expression: I think this video I'm going to at eye blinks on eyebrow movements to this animation on each. I'll create a key frame and then come over with that selected. Remember, it's the eye shape that has the island animation with that selected on the stage will come over to my looping option in properties on. I want to just do play once. So click on that button. Play once. Make sure the freight first frame is set at one on. If I hit enter, Let me go back to the starting enter. You see that? His house one blink. So that's to the other I I shape right we're looking for which is just there I shape right And what I might do is highlight both of these layers right now so that we can easily see where we're going. So at frame number five, I'm gonna create a key frame, Click onto the item on the stage so it comes up in the properties on then just choose play once for the looping option on the first frame is set at one. So I've turned off the sound of the dialogues. You can't really hear it, but I think I know for a fact that he says, What's it worth to you for me to? So maybe around here just voices keep my mouth shuts. We'll do two more. My blinks. Keep praying that keep doing that. Andi again. Click onto the I shaped on the stage. I want to come down. It's already set to play once, but the first frame has now gone on to 10. So I'll just double click on that and hit one. So it goes back to one and the same thing for that one. Click on the eye shape and you want the first frame to be one. So there's another Let me see. Might move it back in a little bit. Just that so that it anticipates the the dialogue. And then one more. I blink, say about here. Hey way! So he says, fade away. Um, that's just giving a little eye. Blink here one and, well, you can't give him a little one. It's either one or it isn't. But you know what I mean. Let's see how we get on click on Nash, looping or playing once. First famous one. That's good. Click on that play once on the first frame was once, and I'm just double check that. That one actually is the right one that were on. No. After pushing a key frame on the wrong one, I put it onto the mask instead of the eye shape. So I'll just clear that key frame, make my key friend there, and now click on it. And yet first we need to be one. Okay, so All right, let's play back, see how it looks. What's it worth to you? For me, toe? I keep my mouth shut. Just, uh, fade away. That's OK, I think. What's it worth to you for me? Toe Keep my mouth shut. Just, uh, fade away. Now I'm gonna I'm gonna add some eyebrow movements. So in the time line, I think round about here, I want to have his eyebrows move up. So create two key frames on, then ahead in slightly the timeline. I'm gonna create two more on, nudged the eyebrows up, and then I'll come back and simply insert classic Tween. So there we've got a nice, smooth motion going up like that. Then about here, I want his I rise to come back down again um So what I'm gonna do is go back to the very 1st 2 key frames and simply hold on. Olt dragged him along so that their copied in place, Andi, I can between the Aibos to go back down to normal again. Then run about here in the animation where he says when he starts to say this line of dialogue, I think I want his I rose to come down in something like a frown. Then the last bit of eyebrow movements will be towards the end. So we'll have the eyebrows go back to normal. So go back to my first frame on just I can copy these. Right click. Copy these frames. Come over to here in the timeline on select and paste the frames. Okay, so I just need to clear those empty key frames. So just right. Click on go clear, clear key frame. But that So that's where they're back to normal. It's just create our classic between in between these two poses on. Then in between there create a classic Tween that looks okay. Now I can play around with the timing. If I want, I can also just grab one eyebrow if I want the wanted to be offset a little Bush, just grab one eyebrow, move it out. So the timing's a bit better. That looks OK. That was very, very simple. I could possibly come back in on changes later on, but I think right now I want to move on and start doing the acting poses. So join me in the next video and I'll show you how to set things up for that. 18. Creating Hand Poses: So in this video, I want to show you how to create a multiple set of hand poses on. I also want to show you how you can easily swap some bills out from assets that are already in your library. If there's for example, Ah, hand pose on the stage on your rig that you want to swap out for another session poses what I did. I basically just drew out very rough and very sketchy. A whole set of different hand poses for this character. I think I got about nine poses done altogether on. Then once I had the rough drawings done, I was able to go in on start drawing over them, using the line tool on the Phil and Buck. It'll So this process was done in exactly the same way as we've been working throughout the build off the character rig. There is nothing you don't at all on. It did take me a little bit of time, but I managed to get a smudge of thumb done. I left the outline on for the whole hand. For now, I'm gonna go back in leisure and refine up once I've matched the hands up to the actual character rig. But now that I've got all of these done all of these drawings stone for the hands, I want to show you how you can swap out symbols. I made all of these into one symbol, and now I'm gonna go over to the rig and I'm going to swap out the characters existing hand for the new set of hand with all of the's poses inside of us. So now I'm in the symbol Joe Hand rice, which is this. But I've just drawn all of my new hands in a symbol that I think I just named hand poses. So I'm going to double pick into this symbol, and what I want to do is get all of these on two different key frames. So let's start off with a neutral pose. We just have the hand like this gonna be the neutral pose. Go command X, creating new layer above ish on, paste it in to their come back down to this layer. And essentially, I'm going to go one frame ahead in the time nine and sort of blanket key frame. I'm just going to paste it in. Then I'll come back to frame one. Lock the top layer and simply repeat that for all off the rest of the hands. So now I've just got one hand shaped left and that's it. So everything is now on this top layer Serb lanky frame and paste ish. Now I can delete that bottom layer altogether on. If I scrub through, you'll see all the different hand shapes. So I've got up to nine. All right, coming back out. Back out onto my character rig. I'm going to know. Swap those hands out for thes hands here, going to swap out for the ones I've just created. So to do that double click, I'm going to select the hand right click on this and go down to show and library. Let's go ahead and delete that symbol come up to my hand poses. But first of all, I'm going to duplicate this symbol. I'm going to rename it Joe Underscore, hand under school, right and then dragged out onto the stage and scale ish into place key on my cue on my keyboard to scale it down. So now what I want to do is come in on at this hand so so in order to match the body. And that means taking off my lines. Okay, it's looking better. I mean, I'm just gonna go through each frame and do that. Just match it up to the rig and delete the exterior lines that I don't want. I am going to now select all of these frames. Right. Click go. Copy frames. Come back out onto the stage. Select this frame. Right. Click on showing library. My click. Go show in library. There it is. Johann left. I'm just going to delete Dash on. Then go insert new symbol. Joe, underscore. Hand underscore. Left click. Ok, And now paste those same frames. So those are all of the left hands. But I might just want to orientate them for the other side of the body. So I'm going to go back out to the stage. DoubleClick back into my symbols. Andi, go to the library, find Joe hand left, drag it out, and then scale it down. Go up to modify it, Transform flip horizontal, scale it down a little bit more. Andi, that might work. Those hands are now much better looking, I think. And they fit the rig on Now everything is done. We're now ready to dive into character, acting and posing. Submit me in the next video on will do the final layer up animation. 19. Pose 1: Okay, so now I'm going to double click into my head layer because this is where all of the animation has been done. Up until now on, I'm going to delete out the dialogue on bring it on to the next layer up that I can animate the gestures of the body. I don't need my mouth words anymore. So gonna just highlight that layer on delete dash. And then on this layer of which says Joe face of no one says that but it's the dialogue track. You can see it. They're gonna right, click, and I'm going to go cut layers, then come back out. This is the part of my symbol, the layer order of my symbol, where all of the body parts are so again at the very, very top. I will right click and paste layers. And there's my sound file going all the way out to frame 1 65 or 1 64 65 So now I'll just fill in the rest of the frames here. So right, click on insert frame. And as you can see on the hands and just want to point out that we haven't set these two single frames, so they are looping through all of the different poses. So let's just quickly click on them. Come over to the Properties tab under looping, select single frame, and make sure it's on one for now and do the same with the other one single frame. I've actually got it set to to just to offset just have different hand poses. Now we're going to tackle the first pose, so I don't need my rough drawing anymore to lead that and then double click into the camp. And in here, this is where all the body parts are. You can hear the dialogue track at the torturers, to you, for me. Keep my mouth shut, just, uh, fade away. This is where I'm going to start building out my acting animation. If I scrub through, you can hear at this point at this point, steeds or the main beats, that's the 2nd 1 on. This is 1/3 1 over here. Scrub through. I know I've got a but three main major poses that I didn't do it to match the soundtrack, possibly four. But the three big main ones are are here. So at the 1st 1 is gonna be on worse. I'm going to key frame the whole rig at this point in the timeline. That's about frame 18 or so. So just keep frame everything over there. That's where he's going to his his first big mejor pose. And as I said before in anticipation off that pose, we're gonna have opposed just before that I'll give it to friends before that. I'm gonna keep from everything there. Andi, I had a boat frame 10. So about 45 friends before that key frame everything. So now I've got three main key poses that I've timed on the timeline on. It's really good practice to just make your key friends first so that you don't lose sight off the neutral pose. But now that I've done that, the first thing I'm going to do is go in on animation or pose out my anticipation. So I know for the main mejor pose, he's going to be sort of leaning back with his arms out. So for the anticipation, I'm gonna go a little bit opposite to that. I'm gonna have its arms coming in. I'm gonna have him leaning forward slightly, so it's just really a matter off tweaking the rig so that I get it into the position that I want. And I'm not worried if I make a mistake here because of key framed the other two poses on their set to the neutral pose. So even if I go way off on this, all I need to do is clear out the pose to go back to the normal, the normal pose that he's in. I know his head's going to be going back, so I'm gonna tilt it forward slightly for this pose. This might look really weird, but when you see it next to the other pros, it'll be OK. So that's he's going into that anticipation. I can also, if I want at this point, get put a tiny bit of a squash on onto the character. Okay, I think that looks pretty good. Now move over to the main pose, the actual key pose. Andi put him into that position. So again, I'm just gonna grab the whole upper rig upper part of the rig on Bring the pivot point down low on scale. Amore. Rotate him back. I want his arms to go out. His head's gonna be looking upwards, okay? And now I'm gonna swap out the hand. So I think I wanted to have this hand want his hands. We opened a little bit. So that's just a matter of clicking on the hand and swapping it out from the frame picker Andi. It's rotate that lower arm and hand up. Now it's good to have the arms kind of offset from each other, so I don't want them both in the exact same pose on. Otherwise, it look weird if its arms are doing the exact same thing. So we'll keep this arm like dash. But maybe I'll rotated up ever so slightly. You have a outstanding anticipation key. Pose good, let's move on. So that's one major post done. I'm gonna do the next two poses or the next two or three poses in exactly the same way, building it up from an anticipation to the key pose on. I'll also probably add a settle or an overshoot, depending on us, So join me in the next video. Let's get through the next couple of poses 20. Pose 2: So that's my first pose. Springs into cash composed down the road here. I wanted to go into his next main key pose. So about frame number nearly eight. I'm gonna keep frame the entire rig once again. So holding down, shift, select every layer key frame. So now that's where I know my next main mejor pose is on in the same way. I'm going to set a set of key frames with the anticipation. So said a road just two friends before that. So I'm gonna have him anticipate first and about four fright. Five friends afford that. I'm gonna have him go from post one into the anticipation. So key frame dash. So once again, just setting up my three main poses for timing on. That's perfect. Obviously, I'm going to come back later and tweak these key poses. What I'm doing right now on this is a very sort of useful way for you to work is to really just do it in a broad sense. So without getting too bogged down into details, animate your opposes in a very broad sense. We're gonna look back around after we've said everything into keys and anticipation poses on would add the necessary settle or the necessary overshoot. So right now, let's just do the anticipation quickly. He's going to come from this wide, sort of open, armed pose into a prose where I want him to be pointing at himself where he says me so to anticipate that movement, let's just get him growing even wider first, So lifting his hands up, going to select the whole upper body, tilting backwards just to emphasize the anticipation a little bit more. And again. Add a bit of a squash on this pose from the spring into this one, where I want him leaning forwards. So select everything. Make sure got the torso selected, moved to pivot point down and tilt affords. And now I'm gonna reposition the arms for this post. So, as I said, I want his arm to be sort of pointing to himself when he says me so I could just rotate that forearm all the way like that, grab the hand, bring it over and then on the frame picker. Let's see. I think this clenched fist at the bottom would actually work quite nicely. It looks like maybe he's pointing his thumb at himself. You know, something like that little work that'll work excellent for just pointing at himself on. Now, I just need to know that the arms into the position a bit better. And we just bring that out of it and bring the forearm and hand in slightly. And I'm gonna have disarm just down by his side. Just we take that back down and swapped the hand back out. So I did see without upside participation, tweak it a little bit better. Maybe his head drags back of fish. I think I'm also going toe Renta's legs so that it really looks like his body is coming down. It'll look a bit weird if I only moves torso on this pose. So let's have a bending his knees. So it really gives the impression that, you know, his whole body anticipates downwards to the so just bending the knees slightly gives us that bit of room to nudge torso down. Okay, Now we can grab the whole upper body on using my arrow keys. Just nudge it, Dan. What's it worth to you for, Meteo? Okay, that's good. Think that looks good? This pose probably does need and anticipation or a bit of an overshoot. So two frames ahead, I'm gonna key everything. And now this the'keeper's that I just did will become the overshoot pose. So I'm gonna go in and I'm gonna grab the top half of the body, moved a pivot point down on skewers and stretch him a little bit in this pose and just exaggeration this so that he can actually settle, overshoot this and then settle into the key post on have already made that was keep frame. So I think that's gonna work much better. It's a tiny bit of overshoot, but it works because we're going from such an extreme anticipation to keep owes its gonna We're gonna need to overshoot it slightly. Just a sellers. That better factor might even just put it out a little bit. Just gravel. The key frames pull the moat. You get perfect. Okay. Happy with that? That's my second post. Done. So I'm ready to move on to pose number three. Meet me in the next video 21. Pose 3: Theo. Dialogue is right about here on because I've just done too big poses. I'm not going to do another big, big pose here. It'll look a bit too monotonous. So I'm just going to make a what's called an accent. I'm gonna a key frame the whole rig once again, but that's where I know we'll have the accent. So now we just want to get his arms back down to normal before we do the post. So going back in the timeline at frame number 47 I'll have key frames here that I can get the character's hands. I don't want him to be standing with his hands in the same pose for the whole length of time. So here, I'm just gonna get his arms and hands back down into a neutral pose, all right, on the same with the other arm. I'll just make my key frames in the timeline on, then rotated back down. Now, let me just quickly drag these across over to the key pose. So select all of these key frames. Hold on, hold on my keyboard and drag him over. So this now is gonna be word I'll anticipate. Set my key frames, and that's gonna be the accent pose. So I'm not going to change too much from what he's doing here. I think I wanted to stand and maybe just tilt his head back, maybe bring a little bit of life and a little bit of movement into the upper tours into the upper body. But not huge is that Could be a big, huge exaggeration pose just something very subtle. Okay, so just bringing a little bit of movement into the audiences while you don't want them to be totally static if the upper body is moving. So just give a little bit of life on natural naturalness into the arms have been moved slightly great. I think that's gonna work well because it sort of ties in with the seriousness, like his Iver's air coming down. At that point, he's got a bit of a serious look on his face, so we want the actual acting or the body movements to be quite simple. So that's pretty much posed three done in the next video. We're going to do the final big acting pose 22. Pose 4: see the way. Okay, so round about here is where I'm going to do my last and final pose right where he says, Fade. I'm going to select all of the players in the timeline, create my key frames for the entire rig as per usual and then create a row of key frames for an anticipation pose. So he's going to move from this neutral standing post, which we set up in the previous video. Andi, he's going to move into his final big acting pose. So again I'll give but 45 frames for him to wind up into the anticipation. He'll hit the anticipation and then he'll go into is acting into his vein pose his keepers ? Let's do that anticipation. So for the key pose, I'm one of two again fling his arms out and, you know, reach fours. So to anticipate that I'm going to tilt him back, wind his arms up almost so I wanna fold him up into in front of them, and I'm also gonna bend the legs so that we can get his torso moving down so it's a bit more realistic. So just moving the upper leg outwards, rotating it outwards like that on rotation. The lower leg. Okay, let's see how that looks. He's going Teoh. Sort of really scrunched down a little bit. Like getting his arm scrunched down, maybe hunching his shoulders up. It's so they're anticipates down and then spring up. Cool, dissipate down and spring. So for the key pose, we're gonna have a really leaning forwards on his arms, going out again. It looks good. I could just tweak the pose now as much as I want, but I think that's the main action. I want to see him do what I for the last pose. I'm just going to do another settle, I think, because I think it needs that it's quite a a big change in movement and shape from the anticipation pose. So I got a few frames ahead this time on. Give him a lot more room to second going into that final pose, so that would be the final pose. Now, I'm gonna go jump lack here on make this pose be the overshoot. So he's gonna overshoot this on, then have about four or five rooms to settle. Do you think will work? Very nice. So selecting the whole rig. I'm just going to skew it over very slightly. Not too much. You don't make it too obvious on. I was gonna turn on onions, getting to see where I'm going. It's to make sure. Okay, that looks good. Just rotating forwards. Head maybe is going up like that and then his on can also overshoot. Eight away, eight away. Fade away, eight away. All right, there we go. I think that's fine. That's all done. Now we've got all our 1,000,000 key poses. We've got our anticipation and overshoot poses. So in the next video, I'm going to show you how you can now add your Tweens classic dreams onto these key frames to make the whole action look a lot smoother, A lot more natural. 23. Smoothing the Animation: What's it worth to you for? Meteo? Keep my mouth shut. Just, uh, fade away. What's it was Teoh. It looks a little bit jumping the stage, But in this video, what I'm going to do is go through, add a bit of a settle onto a couple of the poses, and then I'm going to Tween everything to make it a bit smoother. So in this first key pose, let's add a settle. Um, so this is his main posted. He hits. That's the anticipation may impose on. Then I think we could give him a few frames for him to just settle into that post. So I'm going to tweet the arms on, bring them down slightly so that he has room to settle into the pose. Okay, let's see what that dissipation. Yeah, so that's a little bit of a second. I hope you can notice it, but it will make a big difference. They'll have opposed to not look so jumpy, so that looks totally fine. So now I'm gonna go ahead to this middle pose. It's just the accent pose on. I'm just going to give this, uh, just one more one more set of key frames so that he can settle nicely. So let's make it a bit slower this time. Will come out about three or four frames, select the whole row off layers key from everything and give a little bit of movement to the arms. So the arms air going back like that So in this pose will just notched back very slightly. They would go on then, going forwards in the timeline. Let's see, I've no changed that pose because I made him settle on. So the following pose is gonna be wrong at the start of the anticipation. So I'm just going to select all of these key frames, hold on ultimate keyboard and drag him over on that has copied that post. So it's gonna be nice and smooth going into that one. Okay, so now I'm gonna come back to my first pose, select everything in between the key frames, right click and create a classic Tween Do the same on the second post. Just click and drag through the stack of layers. Right click Choose classic Tween created casa between here and then do the last post. So select everything in the time line between all of these key frames right click create classic Tween So now I've got all the Tweens in says you can see there's a couple of things a couple of issues Often when you put in a Tween your Tween will break So I'm just gonna go in It's very easy to fix Like, for example, here the arm didn't between the arm and hand Didn't Tween at the same time. So just wherever scrub through the timeline Select the point where the break happens which is there create a key frame for that position and then just drag the in this case, the hand just gonna drag it down towards Supposed to be the reason that this happens in adobe an image is because I have rotated my symbols around a different point other than the registration point. So sometimes that can't be avoided, especially if you are flipping symbols on. All it means is that then you go back in and manually just fixed up the broken Tweens. So So this pose last poses change. So I'm gonna move the new session key friends out, and then Cohen and cream my classic Tweens, so it's a little bit wonky That's no problem. Just choose where I see between breaking on key frame it's on. Nudge the symbols properly into place. Okay, so that's better. That's what confined. The next pose is fine. And then in the last post is just another jump with his arm, his left arm. So I'll just quickly go in, zoom in close and fix the arms. Okay, Perfect. And so the very last thing I'm going to do is add and ease onto the Tweens because very often the Tweens will make the motion look very sort of monotonous. Andi, even on you want to have the ability to add A and e's either an easy and or in ease out. It just gives a very subtle quality to the to the animation. Let's go back to the beginning that select this last row key frames hear the one where he settles in. I'll drag it out a couple of friends and then selecting the Tweens in every road, come over to tweeting and the properties. I just said that 200 So it's a nice easing out on. We'll see how that looks. Yeah, to meet my eye, that looks a lot smoother so I'm not going to do it for every single pose. I'll leave it at that. But if you wanted to, you could play around and experiment, adding, Annie's okay, there's one last final thing that I want to show you in the next video on that will wrap up the acting. Now that you've added Tweens, the head can sometimes lose its looping. So remember, we've animated at the mouth, shapes the eye blinks or with inside the head symbol on. I want to go back in and just double check that the correct frames are assigned to each key frame in my main action. So let me explain exactly what that means. In the next video, I'll see you there. 24. Checking the Frames: very last thing that you're going to need to do for your animation before it's completely finalized is to now check that the animation that you've done for the lip sync for the eye blinks actually corresponds to the new key frames that you've set on your timeline within the camp. This is something that happens in Adobe animate when you use between function. So wherever you've made nuking frames this level of your rig, you just need to double check that any other animation on subsequent lower levels of the rig, like the eyes and the mouth that they are going to match up. So it's very, very easy way to do this. Just go along the time line to anywhere where there's a key frame and I'm only checking the head because the head is the only thing we put animation in. Click on the symbol on the stage and come over to the looping options underneath properties . And just make sure that that cars that number corresponds to your timeline. So here we can see we're actually frame number eight, so we need to change this for the first frame to be H scrub through. Go to the next key frame that's on 14. Click onto the symbol on under properties. Looping. Change it to 14 again. I'm going to do this for every key frame. It just means that the mouth shapes are not going to match up correctly unless they correspond exactly to any other new key frames that we've made in the larger camp. Okay, so again, just to recap, it's a matter off going through the timeline, clicking on the key frame, establishing its A 33 click on the actual symbol and changed the looping for that symbol to be the exact same frame. Okay, it doesn't take long at all. It just takes a few minutes. You go through your time. Nine. You make sure everything is fine and you'll find that the animation actually does match up much, much better. So now let's take a listen back. What's it worth to you for me? Toe. Keep my mouth shut Just, uh, fade away. What's it worth to you for me? Toe Keep my mouth shut Just, uh, fade away 25. Adjusting the Timing: way. So we finished our an emotion. Believe it or not, that is a fully animation scene on as simple as it is, I really want to stress how important this approach to the workflow is. If you just dial it down on approach your animation with the idea that you just want to get the main poses to correspond to the main beats off the dialogue, set those poses and then add an anticipation on an overshoot. That's really the best way to approach two D animation. So I'll just play it through once again. What's it worth to you for me? Toe. Keep my mouth shut just, uh, fade away. I did want to point out that if if you feel comfortable, if at this level, if you've gotten through all of these stages on everything still makes sense to you and you're still with me, then I did want to show you that the next stage up, if you are feeling that you want to advance it a little bit, is to go in and tweak the pope. The timing on what I've done in this file is I have basically with the exact same poses of animation. I've just adjusted the timing off each post and ive obsessed the arms. So play this through for you so you can hear What's it worth to you for me? Toe Keep my mouth shut just, uh, fade away So it's it's quite different to the first animation, that's for sure. What's it worth to you for me? Toe Keep my mouth shut just, uh, fade away. But this is all you need, really. And truly it is. But if you wanted to go back in on, just add another layer on top, then I'll show you what I did in this in this file. So, for example, if you look at his arm and hand over here, I just got them moving first into the pose. Then he goes to his anticipation, hits the key pose, and I adjusted the timing on the settle. So he takes a little bit longer to settle in. And then if you look at this arm and hand, I offset Dash and kept a little bit of motion in on that Second poses straightforward. It's the same. But going into this accent pose, I worked on the arms and hands. Just make the movement, so it's not so completely static. I wanted the movement to go in, and I just obsessed that a little bit. Then he goes into his accent pose on. The only other thing I did was I added a shoulder shrug in this section. Just, uh, which I think worked very nicely with that little hint of dialogue. And that was literally three key frames. So the shoulders up, shoulders down and shoulders back down. And then for the last pose, I might have gone a little bit overboard here. But I adjusted the timing. I pulled my pull the key frames out on, tried toe opposite the hands a little bit and had this arm continue on. I wanted him to go from that big main pose back into a standing pose. So all I did was What's it worth to you for me? Toe. I keep my mouth shut just, uh, and that those basic tweaks really add another layer to the animation. So I will leave this file for you to study and to see if, if you feel like adjusting the timing of your animation file on in the last video which is coming up next. I want to show you some more advanced options in case you feel like you want to add more expression into the facial features, so I'll see you in the next video.