Hand-Drawn Animation: Weight | Isaac Ramos | Skillshare
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15 Lessons (2h 17m)
    • 1. Welcome to Animating Weight!

    • 2. Setup and Rendering

    • 3. Understanding PS Animation Workflow

    • 4. The (Heavy) Ball Bounce

    • 5. The (Light) Ball Bounce

    • 6. The Flour Sack!: Fall - Part One

    • 7. The Flour Sack!: Fall - Part Two

    • 8. The Flour Sack!: Jump - Part One

    • 9. The Flour Sack!: Jump - Part Two

    • 10. The Flour Sack!: Jump - Playback

    • 11. The Flour Sack!: Walk - Part One

    • 12. The Flour Sack!: Walk - Part Two

    • 13. The Flour Sack!: Walk - Part Three

    • 14. The Flour Sack!: Walk - Part Four

    • 15. A Weighty Thank You!


About This Class

Creating the illusion of life through animation is not easy!  Weight is one of those characteristics that is really tough to tackle, but can really boost your animation from "okay" to "BELIEVABLE" in no time!  This class tackles that really tough subject by working through the ball bounce and flour sack exercises that will help your animation become top-notch.  We will be using Photoshop in this class, but the principles and practices are program agnostic (it doesn't matter how you do it!).

By the end of this class, you'll be able to create your own version of the three videos below!





1. Welcome to Animating Weight!: it's still sure it is great. Fourth class out animates. Wait, so it's really great being able to animate characters. Ball bounced, plan out, storyboard. But now, in this times, it's advanced topics and I've brought this last in a meeting and romantic way. I'm so excited to share goes like this way. Find yourself in a meeting. Weight, flowers jump. Once this one's so great way and to make it something that's just watch much more so it's really great to be able to share this fun exercise a lot while I was teaching. So I hope that you can enjoy it just so go ahead, jump in. I cannot wait Amazing products in this class, so yeah, happy animating. 2. Setup and Rendering: All right. So to get started in Photoshop, you want to have your animation down here. So go ahead. Make sure that animation is checked on your windows are window tab up here at the top? Animation. And just so you know, I'm working in CS four of Photoshopped, so mine is gonna look probably a little bit different than yours. Um, I know that there's another, um there's animation frames and timeline in CS six, maybe even CS five. I don't remember. Um, but this is what I have. So, um, it's still applicability to future versions of Photoshopped. But just say no. This is what I'm working in so that you don't get weirded out by how different this looks. You got your layers. I have the essentials set up right here. You can save your work space as it is. And every time you get into photo shop, it'll bring up everything that you need. Um, if you want to check that out, you can go and check out my first video. Are my first class, um, hand drawn animation, part one. The ball bounce. Um, and that will teach you more about setting up your document as well. Um, one of just a little bit more so that you have some more readily available reference to what I am gonna be working in right here. And you can set it up just like mine. So go file, click new, and that's gonna bring up your new page. Um, usually, it will be defaults Photoshopped size, and I don't use this one. I customized my own presets so that you could so that I could jump in, hit what I want automatically and then do that. So as soon as you start changing things in here, it's gonna change to, um, custom preset. And I want to change this to pixels. And let's see, my width is going to be, um 1920. So this is 10. 80 p high def video. If you don't want your dot document being this big, then you can changed to be someone else. Uh, something else. Resolution. I work at 300 pixels, per instance, because it gives the cleanest picture. So if you don't want to work with a document this big go 12 80 by 7 20 and that'll that'll work. Just finds about half a size, so click save preset, and you can name your preset whatever you want. Um, I've named mine HD 7 20 p, and that works. I don't really work mess with this advanced stuff down here, um, and then HD 10 80 p. And you can work in there and you can also believe these presets. You can't delete any of these others because that's they come with it. I don't mess with film and video either, because, um, whenever you get into film video, it's got these borders up. And I don't really like those I just want to work with, Ah, completely blank document. So I have HD 10 80 p, and you can name it whatever you want. This is skill share. Set up, um, and then go in. Do that. That's working with my mouse. That's but here's working with my tablet. If you don't have a tablet, highly recommend it. They're amazing. And if you're gonna be doing more animation, you definitely need it. Um, because the mouth a mouse is not going to I assume that if you're in this class that you're working on, um, on a tablet. So this probably safe, um when, uh, when you need to render something, you go to file export, render video. Click on that. Well, I'm probably not doing anything because I don't have anything up right now, So I'm gonna make a little couple of squiggles so that I'll explain what I'm doing right here in just a minute. And another video for the next video. That way you'd see that. So I've got a little video right there. Amazing animation, isn't it? Getting your money's worth. All right, export. Render video. Um, it's not gonna let you do it unless you have something to render. Um, So just to make sure that you have this set up the way that you want select where you would like Teoh. Um, publish your video. As you can see, I have set mine up in a very profound folder. Two D stuff. Um, click on settings. If you're working on Ah, we'll probably anything. Ah, Mac or PC. Then you're probably used quick time. Um I was published from Photoshopped me and a quick time movie. It'll probably be by default be set up to image sequence. Don't do that. Is you're gonna publish every one of your frames into an image. And so if you have a revealing animation, that's just a hassle. Don't mess with that quick time movie settings. Um, click on video settings and I'll be using H 264 Use this use animation. Um, either one probably worked fine. I prefer h 264 It works really well with a lot of video editing Softwares, and I'm honestly not sure what kind of format this is or compression type. This is, um I am familiar with H 264 eso Go ahead. Do that frame rate. You can either click current or 24 quick. You know, just double double it up on so that your assure that it's gonna work at 24 frames per second. Um, standard for anything developed in the US frame rate 24 frames per 2nd 24 FPs Um, that will have you set. I would make sure it'll probably set to this right here. Make sure that it's set to quick time export and then quick time movie H 264 24 frames per 2nd 24 friends for second. And it's gonna be 24 frames per second in here as well. So that will get you that. And then you click render, and it does everything for you. Saves it to the folder that you want. Make sure that you know where it's being saved of Lost track of that several times. So there's a quick rundown of how things are going to be working whenever I render things. And so if you want to render things as well, you can do it just the same and not have any problems, or be confused about what I'm doing. Hope that works for you. Um, you ever need a reference it Just come back, Watch this video and you'll be set All right, see in the next one. 3. Understanding PS Animation Workflow: this right? So whenever you are doing animation, you want to make sure that you have everything set up for you and Photoshopped. You've got your timeline down. Here you go, the window and animation, and that will give you You're set up for that. Every new friend you turn on, we'll start at one. So whenever you have, say, this is your frame one. Um, if I add a new frame and I go all the way to here and let's say I've got one frame for every one of those to go here, draw on frame to frame three frame for five on six. I couldn't just go and then play through it and then have it do everything automatically. This is one of the downsides of animating Photoshopped, but it's still okay, so I have to go to frame one, turn it off and then what I like to do is I like to have frame one. Just be my blank animation that way her my blank frames so that I can go back and then on frame to I would have turned my first frame. Then the next frame would be off trained to three going for cream five and frame six. China on the next one. Also, whenever you make a new frame from this position right here, you click new and it copies the previous layer onto the next train, so you would have to make a new frame. We'll say this is seven. Distraught, big frequent. Now, whenever I go back, I see frame seven on every single one of the frames. So let's go back to frame one. Turn it off on that layer. Go back to where I wanted to be on you don't have it right there. Not Kingo cereal, and it'll loop right here. I says forever. Loop forever. I can change it to ones three times. Or do it however many times I want to, um, so that's how you can set that up right there. That's Ah, quick and easy way to remember that I always do frame one blank and then start my animation on frame to then. If I want to publish it or render it out, then I could just go through, delete frame one and run through. Sometimes obviously that on if I have a background in, that can always be my that ground frame just starting from a like a buffer point. Um, anything that you have turned on on the frame before. Let's change this to one second. Anything that you have turned rain turned on in this frame is going to be copied to the next frame. So whenever you hit new new frame from this frame the existing frame, then you will have, um, that frame and all of its properties be copied over to the next train. So I would have to go back and change this to be 0.1 seconds. Um, and then I can choose that. Let's say I wanted to go backwards. How you just see there you're so have a little hot back seven for one second back to six and then start over just so you can see the change. So whenever you want to do an animation, this is how we will lay it out, get it all ready to go. And if you're having trouble, you're getting really frustrated, and you can't figure out why every layer is showing up on every frame. When you make a new frame, our new layer, then I'll leave my first frame blank so that you can go back, I can go back and change that. And then you don't have to worry about figuring out and going back on every single frame and turning off that layer for that frame. This whatever happens on the first frame, it stinks. But whatever happened on the first frame happens on every frame afterwards, so that's really the only one of the few downsides to animating a Photoshopped. But really, if you already have Photoshopped and that you keeps you from having to go and buy a new ah software, so that's pretty nice. So there we go and ah, that's just how we will work for this lesson or this course in animating weight in photo shop. 4. The (Heavy) Ball Bounce: So whenever you are animating and Photoshopped, um, got to keep in mind the whole deal with the layers and also your in betweens in betweens can be tricky whenever you're animating and photoshopped. Um, just because, uh, there's a whole lot that you have to remember. My God make several different layers here. And a few more crime sweeps keep Keep it, Norman. So since I have all of my layers turned off on rain one then I won't have to worry about doing that on the rest of my layers. I'm not gonna have to go through individually and turn them off here. Um, actually, right now, I'm gonna tpp these off, and I'm just gonna work. Worry about my first drawing right here. So turn on layer one and let me give you that. So start with layer two for me, and I'm gonna turn the visibility on. Um, for this 1st 1 I want to do a heavy ball bounce. So I'm going to, um, go through and look at Let's see bowling parents and you Sure. Quick. Okay, So I see how a ball the bowling ball bounces one more time. So if you're following my other courses and you'll see that I've done the class on the regular ball bounce, which is just getting the ball to balance across the screen, have it bouncing up and down on a loop, and this time I'm going to do it up and down. And, ah, just to show how bowling ball. Well, Sonny, too, in my bowling ball shape, and I'm not worried about tying us down, so it's fine if it looks rushed. Go to my next frame and I know that my bowling ball. I'm gonna draw this on the background, so I have a ground plane to work with. So again, since I drew on the background background frame is on, it's gonna show up on every frame, so I'm gonna go to next right here. Since I made a frame from this, a new frame from the existing cream it has this one turned on, so I want to bring that one. Want to make sure that it's still the same size solid drawing is one of the principles of animation, and that just means that things stay the same size, so if you're going to stretch it out, it's still gonna have the same amount of mass as if it wasn't so Those air Pretty close, but still not quite. It's Mary size that using control t all right, that works right now. It was pretty good getting him lined up to So another thing you gotta watch out or make sure that you don't draw. Try to draw on a layer that's underneath whenever you're still have ah, different layer active. So since I've got those two right there fixed and I can do that, I'm gonna make it in between now. So I'm gonna have both of these frames on maternity capacity down, and you can animate properties like opacity and position. So if I wanted to, um, animate something disappearing or fading away, then I could animate the opacity being turned down. It's not gonna do it for every layer. So for this one frame, the capacity for this one is 33. And for this morning, just because it was 43 um, you can animate opacity. So that's that. Something is pretty nice. And if you want to do Luke without having to draw something over and over and over again, and you can, um, take this and you can move it off to this way and it won't move it for the frame before we'll just move it for that frame. So again pretty neat, but can easily get lose track of that. Alright, so I've got those too. So one of the things that I noticed is whenever it falls, it's picking up speed. Say you got it from a standard position is going to skis out. It doesn't just immediately started at full speed. So I'm gonna draw a few frames close together here, and then it hits the ground. Doesn't have a whole lot of mint momentum. So it bounces up small bounce like not even maybe about right here. So it doesn't even bounce up halfway again. So it loses a lot once it hits a solid object. Her solid ground hits the ground, bounces a little bit, has a my knee tiny bounce right after, and then rolls to a stop very quickly. So my next frame I'm gonna go and put these in order so that I don't lose track of them. Um, this is my first frame. Second frame, third frame. And if you want, you can go through and say Ball high, Just sign of that. That's my key for the ball high and then all hit because that's not the end of my animation . It's just the next part. So I'm gonna draw this, and and it's so close that it's almost tracing and it's gonna we kind of sloppy looking. That's okay. Uh, well, Hybl hit. I'm gonna drag one in between and here, and this has a little bit of a blur, but it doesn't have a lot of stretch. So the ball is going to stretch a little bit just because we want to simulate the motion that is picking up. We're not going to get it together, which gets a big deal about back there in the capacity down on layer four. This is our easing out cracking here. That was right. Now turn that one. Uh, you gonna frame drug another one? Here, turn it on. Capacity down on this one. So now it's gonna start picking up speed pretty quick. So Yep, that's right frame. So if you stretch it long, just a little bit. Need to make it a little bit more narrow, too. All right. Making new frames and those two existing drag this one in here trade on one layer six down capacity. You're gonna start to see very little bit of stretch. The amount of stretching squash that we see in objects also tells us what it's made up. Bowling balls don't have any gift, so they're not going to have a whole lot of stretch a rubber ball. However, we'll have a lot of stretch because it's squishing. It's a softer substance. There's air inside of it. It's going to be much less rigid. All right, I'm going to go ahead and just a little tiny bit of stretch just for the effect of Blur. Yeah, I'm gonna go turn. There's That's the ball hit layer. Turn on here, Turn it off. Turn it off for all of my layers. That can just turn it on right there. Okay. And let's see. I want this to run it. About 25 frames started 24 frames per second. So that's 240.4 actually. What? He's tall. Run on twos. Somebody put 0.8 on there. Be, like 12 frames per second. Okay, that doesn't really feel like you have a whole lot of impact because those were close together and it looks like it slows down. So probably what I will do. I'm skipping a layer with seven in there, too. So I may just get rid of this all together and see if that fixes my problem for impact. Who? Okay, what I'm seeing is that looks like there's just a magic jump from there to there. So I might move this layer a bit, holding control and shift, and then put one in between these two. No, this is where time timing and spacing come in on a really big way. If you don't have timing and space and met, throws everything else. So let's see how that looks. I'd be fair. Let's see if this comes. Okay, counts. Let's see. All right, let's see if we can do very quickly. Another bounce and settle. Let's see. Bounce. So I want this one here, and this is just rough. I'm not trying to do anything spectacular here. I was trying to get the feel on this whole thing. Normally, depositions that's gonna bounce up just a little bit and off to the side. No, I might have a little bit of stretching here home. Then it needs to also settle up here for just a second. All right, It's starting to get a little bit sloppy right there. Signing, too. Your race. What's on either side of it? Turn the opacity down. It was better only Racists that in there. J Sunday to go through in the race. There was marks that I wanted. Well, there is. It sees. Make one new one. It's next train. New on off. One more. Let's just check this quickly. See how the weight feels. Okay, I don't like, see, where is it? This stretch? Right here. It's too even I don't get the sense of speeds. I'm gonna She even get like that. Okay, that feels a little bit better. So the amount of drawings that you have and the amount of time that they take Let's move this to yours. 0.4 seconds. Real quick hands half those little bit better. So that's how it works. We'll see if we can keep that up and make a transition in the next one. Do you? There 5. The (Light) Ball Bounce: All right. So for this video, I wanted Teoh check out how, um it was Do you ping Pong ball would bounce. So let's find a ping Pong ball bounce reference, and we can find one right here. I've provided the length of this video some things that you might notice about this, Um, notice how high it cause it has a lot of bounces in a really short amount of time. It doesnt lose a whole lot of momentum, like the bowling ball does. The bowling ball has one bounce loses more than half of its momentum for a back bounce ability. I'm not sure what that So, um and it's Bob. Its energy decays very quickly. The Ping Pong ball doesn't the ping bungle lasts. It's bounced last since last for a very long time. So if you were to translate that into an animation, then you could look at some of these. I've gone ahead and made this animation beforehand. That way you could see it and we could look through it together. So here's the animation. It looks a little bit slower in this. It's probably because I'm running the screen, cast app and also have Photoshopped running at the same time. But I've tried to mimic the same thing that the ball bounce does the ping Pong ball. I start the ball bounce up here and it slowly loses its decay. So it's not losing starts here. Second bounces here, third balances here. So the ball bounce Energy goes about like this right here. So then it might slowly decay if you saw it. It these bounces should probably be just a little bit closer together because, I mean, the person in the video dropped it and it bounced into, went right here and there here, kind of it down. It would look kind of like a curved down with the energy. So it bounced down and then would slowly roll off this way as its energy went from up and down to horizontal. So energy moves from vertical to horizontal. Um, as you are watching the ball bounce, it doesn't go up and down forever and just stay in the same spot until it slowly comes to, uh to a dead stop. But it bounces and then moves off to the side a little bit. And then the energy changes into a role and it would probably roll around like crazy. Um, so this versus the heavy ball bounce, um, is very different. Let me show you what it looks like in real time playback. Um went ahead and published the video, and I did this with two different speeds. This one is on twos, light bounce twos. Um, and we can play it on repeat, which is already on. So go ahead and play like that. This is what it looks like. It looks a little bit closer to the ping pong ball bounce, except for the distance between bouncers. Um, this speed looks about right. I liked this speed better than on ones. That's why when I had put on Tuesday as well, let me find that right here. Um, so this life going do this so you get a better idea. So just bounces very quickly. And if I was gonna run this on ones and I need to have twice as many drawings to save me from having that many more drawings and I didn't have to go through and do this, So this is nice. And if we wanted to compare them together, go ahead in bring these up together. Let's see you do that. There we go. It's not gonna let me pull it both. Well, that's OK. The light bounce. Um, and by light, I mean, wait, the light bounce, um, on twos has a lot better feel. So just remember that if you were going to if you're gonna be doing a feature, then you need to put this on ones, but probably gonna have a feature of ball bounces. Um, so whenever you're doing this, I just wanted to do this on twos. Um, which in photo shop would be 0.8 seconds per frame. Um, I just wanted to do this on twos and have it run like this cause it feels better. It looks like it's about the right speed. The spacing feels about right, um, lot of tweaking that you could do. There's not a whole lot of air resistance either with a ping pong ball because it's so light and eso small, there's not gonna be a whole lot. It's not going to slow down very quickly. Um, the decay of motion is very slow between the first balance and its final stop. And I didn't want to keep drawing these and make this super long video. So that's why you're only seeing two bounces in a contact at the end. Um, so when you look through this right here, as it's bouncing up and down and uh do not it has very little air resistance, so it's gonna bounce up almost a high is when it starts, and it's gonna decay slowly and move all over the place very quickly. So very quick bounces on something as light. Is that so? When you decide to go through an animate a tennis ball, Um, that's gonna have more air resistance, but it's gonna have less, um, less weight than a bowling ball. So it's kind of the in between for these two when you have a basketball, basketballs are pretty good about bouncing straight up and down and stopping and maybe rolling around just a slight little bit. Volleyballs. They're made up of different panels, so they're going to bounce off to side little bit, and you can have. Or you can find all of these references on YouTube if you just search um, bouncing ball reference and you can type in that and will bring up dozens of videos of people who have shot specifically for either physics or for animation, and either one is gonna be a really good reference for you to check out. So if you want to go through and check those out, um, I highly recommend. Always use reference, whether it's yourself or a video or an object that you have. If you want to make your animation believable, always use records, observe the way that it behaves. Observe the way that it falls. The resistance observed the height of the bounces, the movement, Um, this one, probably. I guess advances would have been closer. But, um, working through this, you're gonna see those flaws. You're going to see those things that you need to fix, just like I'm doing right now. I'm noticing how I should have done that a little bit differently, but use reference. Pay attention to timing and spacing. Um, I don't need to add any more drawings for what I'm trying to accomplish here. And, um, the spacing is really important. It means so right now, everything's on one or on twos, and my spacing looks like it's working for what I'm trying to communicate. Feels like it probably could have stretched it and squashed in a little bit less, made it feel a little bit more solar like a ping pong ball. But it works for right now. There's a little bit too much stretch in these in these drawings. So there you go. Take it for what? What it is. Take it for what it's worth and I'll see in the next video. 6. The Flour Sack!: Fall - Part One: okay for this lesson. I wanted to look at how a flour sack falls. So I'm gonna have a flour sack animation that starts from midair, and then it's just gonna fall and hit the ground. So, as usual, I'm going to draw a ground claim and Well, yeah, I don't really like where that is right there. Eso I'm going to move it. Yeah, that's better. Um, very picky thing. Um, not really all that important, and I actually driven differently. Or so he's gonna make a new layer. And this one, I don't expect it to be perfect. So I mean, I'm just trying to get the feel of this flour sacks. So when a man imagine that it's sitting on some shorter shelf and flour sacks. Remember how a flour sack looks if you don't know what a flour sack looks like, um, or you need some help again? Reference images. Um, so it's kind of sitting like that flat on their Indians, really scratchy again, just trying to get the idea down. So, I mean, you can see frame one. It's turned on. So frame to I turned off on frame one. It's gonna be turned off from frame to you. If I turn it off, turn it on on from one can be turned on on every frame afterwards. I don't know why they did that, but they did. So go back to that one. My first frame is gonna be a blank frame. I know where I wanted to start, and I know where I want it to end. So I'm going to, um, just gonna be kind of like looking down this way right here. So I'm gonna have it end right here. Can may get some quietness for me. And I know you might be OK with that. Um, just as I work, I just want you to see the process that I go through and making it look like it has volume and weight. So that's kind of what it looks like, is it Falls. And I know that I need something in between there, so I'm gonna go ahead, duplicate this and grand name That and and type of an accident Doesn't matter, doesn't affect the drawing or the animation. So I'm gonna turn the opacity down on both of these. Well, actually, on this one, I can turn that one off because I know that it's gonna be the start and it's gonna be the end. Perhaps that's going to start and I can turn this off if you don't have a good workflow. It makes you really complicated. Teoh work through all of things. So that's why I turn everything off right there. Okay, this is going to be my in between, and it's not gonna be a perfectly balanced in between because it's not gonna be perfectly in the middle. Um, there's a lot that happens up here, and then it falls quickly, hits the ground and then falls over. So my in between is going to be a stretched flour sack because it's getting that mo mentum . And I may just pretend like there's a latch door under here and somebody wants to imagine like they are torturing this pour flour sack. And I think they're being funny, releasing him into dungeon after I don't know. It's like a trap door, but it helps to have a little bit of a story if you're trying to figure out what you want to think about so I can go ahead and play through these, I'm gonna put these on twos. So click other 0.8 Inter just to see what it looks like. So already we're getting a sense of motion because it's falling down, sliding off trapdoor, whatever. Um, and I can turn on that one. Turn on that one because they're both part of this frame. I need to figure out what goes in between them. Turn the opacity down here. Down to 23. Down to 34. That works. Um, let's see. I can start breaking these down. It's picking up momentum. So I don't need this to be right beside this one right here. Um, so it kind of slides off. It's got a funky shape a little bit right there, because it is sliding off the trap door before it wasn't a sudden drop. Remember to overlap your drawings, create some visual interest and your drawings so that it's not just flattened. Doesn't look like things air being held together by strings, but that they're actually attached. And then I can turn off these two layers that want to go back here, Turn it on, See, already and intense, intense, um, an immense amount of improvement and what it looks like in four drawings that for 1234 Yep . And then five comes right here. So I need to turn on Layer three turned down the opacity on that non capacity on the starting frame. Okay? And this is where get to kind of mess around with it. So this is where details start To get a little bit closer together. You're making drawings that are closer in space, as in they're not far apart. You're easing out. You see the curve coming out at the top. So it goes from there, moves up a little bit, comes out completely and starts falling. Hits the ground. I'm not worried about this end of things yet. I just want to get some drawings in, summitted at another frame, turn on, needs to u turn the opacity down, and I want to still be visible, but not super dark. So there's a lot of change happening down at the bottom, but not a whole lot of change of the top is the bottom is starting to slip off some details in there, and it's sliding toward the camera, so it's gonna grow a little bit. It's a frame three turn it off lecturing three. Turn that on already. You're seeing a huge difference. Hopefully, you can see that as well. Um, a huge difference in the motion. And I'm getting the sense that this thing is heavy, and so it slides off pretty quickly. I mean, yeah, that's pretty quick and then starts to fall down. I might stretch this out just a little bit. You can't animate a transform, so you can't animate this. If you transform this on one layer, then you're gonna transform it on all there's so it's not the same as, um oh, Cassidy. You're not going to animate capacity. So I just wanted to stretch it out a little bit, and then it's going to hit the ground was turned that on right there. And these two gonna be in between those two. So I'm gonna go to this one right here, and and c turn this capacity down right there in this capacity down, and it's going to stretch into an impact position and stretch out some of the smaller details. And then I want you to see how this plays in, like stretches Squatch, stretching squash. Yep. Plays into things other than balls as well. So it's not just the bouncing ball that you're going to get squash and stretching. So right there. I don't want it to immediately go from this to this. So I'm going to squash it just a little bit, and then hopefully ease that into the final fall where it looks like it face plants, so I'm going to squash it down a bit. You don't want the same thing happening on the left side, is it is on the right either Consents called twinning. And when you twin, something generally makes it less appealing. So get that fold in there. She played this back real quick. Okay, Mitch, we're going next frame. Okay? I'm gonna roll the this bottom part back down, so I'm gonna start pulling it forward. Yeah, these hit the ground. This starts getting pulled forward, and I want to leave the top part up a little bit while this is getting rolls forward. Kind of start undoing the wrinkle right here. I want this to be moved back while this is being rolled forward. It's known it. It unravels, I guess, to the floor was turned this down a bit. New frame This is kind of a slow process. So the slower you want something to be, the more frames you need to add closer together. I want to make this a short, shorter video. So may do. That May end up just making this part one of to Okay, let's check it real quick. See what this looks like? I don't want that on every frames racing on the 1st 1 All right. She kind of see it bounce up, and then it rolls forward falls flat. I think I can make this work in just this video. So you see how wait gives it a certain feel and and his patient at all. All right, But those raced on there for you here. Chan, there's not anything. It's not spreading out, so I don't need toe. Keep pulling it forward right there. Get the wrinkles in as they're coming out. One more drawing. See if we have time for it and then call this video. Done. All right. We have to make sport want you, but that's okay. 7. The Flour Sack!: Fall - Part Two: So when you are doing some of these details, um, remember that everything does not happen evenly. Not everything happens at the same time. So you want to have some overlap? Have some, uh, lay over, and I don't want to settle in, um, super quick. So I'm gonna have this corner fall down just a little bit faster than the other, and looks like that. And it's gonna settle in, you hear? Kind of happening all over the place. Can get some details in there, and then whenever we play it batch, go ahead, erase some of these. I don't have a 13. Okay. I want to get rid of that's and met one on. I have it. 13th trying yet I might. Okay, that happens a little too evenly and looks a little bit like Jell O. So I need to see if there's something that I can do to make it less smooth. May see, So I need to have it move a little bit more quickly. So my drawings air to even so it probably will settle about like that. Um, I want to go and get rid of this one. Let's just see how that feels okay. That works right now. All right? I don't want that one. Let's see how that feels. That's a little better. Okay, So you're gonna have to go through and play with it a little bit whenever you get it finished up. Bounce. Okay. I think that's part of it. Right there. I need to add a bounce up, so I need to have something in between these that makes it feel like it bounces a bit. That's right. Now it just feels like it flubs out. Show him and, ah, have it bounce up right there. And he's arrested because gravity is acting on. Um, this bounces up. So it's slight, very, very slight change, but it should make it feel pretty good. Okay, c just right there. Little bounce up and then it falls forward. It's not extreme. It's not making a huge difference. But it's enough that it gives it just that little bit more life and then falls forward and lays flat. So I could even turn this upto one second so that it rests for a little bit. And I'm gonna put this on for one second. So it's it's falls. Boom, rest. Let your mind, process it just a little bit. Yeah, I think that works right there. Pretty great. Um, and it was just that one little tweak. Or I guess those few little tweaks that helped to make it just that much more believable. It was falling out to smoothly along that right there, Sonny to take a few out. Um, that's the timing aspect of it. And they were too close together. That's the spacing aspect of it. The drawings were too close together both in time and space, and it made it just kind of roll out like jelly her jello? I don't know. Um, it didn't feel like a sack of flour. This right here makes it feel a little bit more like a sack of flour. It's gonna have a little bit of recoil when it hits the ground. So it's got the bounce right there, and then it rolls through. So hopefully that helps you understand a little bit more about, um, wait in the sat flour sack animation. Something very quick. Um, hopefully relatively easy, um, for you to grasp and yeah, I'm pretty proud of that. So go ahead, take some time, do yours, and I'll see you in the next video. 8. The Flour Sack!: Jump - Part One: So we just finished the flour sack fall animation. And now I would like to go to a flour sack jump animation. So working in order of complexity. And, um, I really want to make sure that whenever I'm animating things that I'm working from building blocks, I'm not working in order of this is what I want to do. Most women start on that. The fundamentals are essential and crucial. So when I'm working, what I'm teaching is using weight with a bouncing ball and then using weight with flour sack. And then later on, we'll get to the more complex and more fun stuff. Um, the that using weight in character animation. So this is gonna be the first exercise in that, um, I'm going to animate a flour sack jumping from here. Ah, well, best before from here to here. I just want it to be in ah, in the scene. And I want to be center of attention. Um, so I'm gonna animate from here to here jumping? No, very simply not a whole lot of art happening, but it's art is art, I guess. I don't know. Um, so I'm gonna start with my flour sack, and she's going to scratch it in as usual. So it's got all the weight down at the bottom, and it's going to start right here for our sex kind of bulge, their base trying to hold in a bunch of stuff. So it's gonna jump from here, and it's going to land over on the other side. I want it to look pretty similar. Beginning is gonna jump and turn a little bit. So this will probably be similar to the 1st 10 definitely. Will, um, where it's gonna fall into two parts. So this 1st 1 getting my keys, keys are gonna be where I want my animation to start. And I want it to end. So that's not as wide as it is over. Only this side. So just a little bit wider. It's turning a bunch. I'm gonna this top part down a bit that no, actually, it's just turning slightly. Okay. How whips. I missed a big time on that, but not a nightmare. So I could just do this. If you happen to do this and you're late pick, images aren't touching. Just get on their layer. Cut two different layers. So super nice perk of working in photo shop. So I want to start there, end there. So if I were to play this animation now, you didn't set these 2.8 working on twos. That's how it looks. Yea, for exciting, right? It gets exciting pretty quick. So I'm gonna start a new layer, and this one go back to my brush tool is going to be this sack jumping from here to here. So I'm gonna have, um, my midpoint. I'm not sure if I wanted to be right in the middle or at least not like I and thinking I dio someone have it Tuck up. This is the nice thing about animation is it doesn't have to be rial has to be believable, but it doesn't have to be Rial show jumping up hands little corners of it Look like hands there and maybe size it up just a little bit. If you need to transform it, resize it or anything like that. Control T is your best friend Control control to use your hot keys and photo shopped for, um transforming. So I'm gonna mark this start and this layer and and this layer high points. There's gonna be the break down the middle drawing of animation. So I want to go from here to here to here. Um might say that sounds dumb. Of course I know that. But it's important Teoh to say that. Um so as you can see, I didn't move my animation on the frame one. So it moved it over a frame kind of stinks. That's one thing that I don't like about the way that animation happens in photo shop. But what do you do? You okay? So wanted to jump from there. I'm gonna turn on my animation right here, making from that one. And let's see, can you to turn the capacity or visibility down on these and in certainly in between. So his left her. I guess this would be his right leg is going from right there. So I need him to anticipate the jump first, and then he's gonna be jumping up with his right leg up with his left leg, his left leg leads and his right leg trail behind. So there's gonna be quite a bit going on here, so I need to think it wasn't me squash happening, right? here, then he's leaning forward. All right, so he's tucking up, Got that coming right there, taking out. And then he's gonna stretch out and jump. Nope. Some between these two. I'm gonna have another drawing. Maternal capacity down on layer one. That's my previous frame. And he's gonna stretch. Really exaggerated stretch. It's Yeah, and this may be too much, but we'll see. We'll see how it works. See if it works. No. Okay. Attorneys to off. But here. Got a later one. Turn that layer off. Okay. You already see it's coming to life, which is great. Always the goal. Make sure it comes to life first. Okay. All right. Now I want to animate him, leaving the ground, so turn visibility down on that. So let's see. Got now. That's gonna be a pretty evenly spaced drawing right there. He's checking up. All right. So let's see how that looks right there. Karen Tramps. This right here. Turn this frame on. Okay. I think that will work for right now. I won't get into more detail with that later. I just want to make sure that the timing and spacing is on right now, so I'm gonna turn the visibility down opacity down on these two. Okay? Now he's going to start stretching out right here to make his way down. So his I want his right foot coming down right there, And his body is her leg. See there, money. Go ahead, Get him close to contact. Okay. Doing a mix of straight ahead drawing and opposed to pose. Kind of just getting a feel for what's working and then drawing head just great. Okay, lets see. So I need something in between here and here to make it feel like he's actually turning. So let's do it and start on working on that king at a layer. And I need to show the transition, just like in the mall amounts. He's gonna linger here for a second, all right? Still moving forward, but not quite at the same speed as he was before. So I need him. No, that's too much. Not turning that much just yet. All right, let's see that right there. Okay. There's something in there that's so he's getting there. I need one more drawing to make it work. That was already turned down in this one down. Don't turn down carrying. And then that she's gonna start falling. He's twisting now, too. So rotating in space. Get this. Hey, loses a whole lot of blame there, so I need to readjust him about same size. Okay, that's better. All right, let's check these frames. All right? Getting there. Need a few more drawings to get in. And they probably need to happen in between these two, and then we'll have one in there as well. So I'm gonna go ahead and start working on the one in between. Needs to. And then you will see me in next video in between those two. So I'm gonna continue working on getting in between these two drawings and making sure that they look like they fit and like, he's actually twisting and turning. 9. The Flour Sack!: Jump - Part Two: Okay, let's see if I can finished getting this to where I wanted to go. This is a front leg right here. So I need to make sure that can It whips that in there. Que is starting to turn a little bit. So I still see a little bit left over from front hand. The sack turning in space will make sure that we have that in that lesson. Look like it's got the same volume as the other someone. Ah, that actually, I think it probably needs to stretch out a little bit more. So as it gets close, just like in the ball bounce, we're going to stretch him out a little bit that I'm gonna draw the whole work here. Okay? That's feeling better. It's an overlap on the drawing. That way it looks more dimensional. And I want everything to be attached by Ah, just small points. Online's much more visually interesting this way. Let's see how that looks right here. No, forget to turn it off. Can you come back, Teoh? Okay, we won't turn up these two layers. Term that one on. Okay, You can see how he's turning in space. All right, so I need to add some in betweens right here. Looks like these are fair and could probably needed in between right here and at the end, cause I want him to settle down and then, like, settle down into it and then come back up. Also, there's a feature that, um, whenever you create a new layer are for each new frame, you can get a new layer. So every time I click, this is pretty neat right here. Something I actually just found out. Click New layer will make a new frame for you, so that is incredibly handy. Um, and it names it after the frame, so that's well, as far as I know, Um, so that's pretty pretty handy right there. If you want to end up doing that, okay? And it won't duplicate the image over either. So you can just put things down and move on the next one. So I'm not sure if I'm actually make any sense right there. Okay, This needs to be in between these two right over here. So this needs to be in between those because I want to settle down into the next pose. So again, we're gonna get a squash right here. So let's see. And I'm not gonna in between this fully because he's not going to ease into this position is gonna be a whack down into the bottom, like, get some impact in there, case. Ah, uh, that right there. And I'm, like, fold over backwards, Still stretch up a little bit and get some squash on him in here. Wrinkles in there squashes down a little bit. Must make him a little bit fatter right over here in this area. That way we can keep that. All right, turn off the frame of the French. Come back here. Let's play through it. All right. So he hits used to come back up. Actually, I want to squash this down a little bit, so I'm gonna transform it down, hold the all key and drag one of the handle. Donald, um, stretch it out on both sides. It's here. That feels them. Okay, that makes a difference. Right there. Say squashes down and pops back up. Let's make a new They're in a new frame, right? I want that one on, but capacity turned down. Turn this war on. Okay. And now is going to kind of comes through and then settle up. So he's going to working here. King. It's overlap on that. Still a little bit wide. He's kind of swinging through. Can you go and turn that one off? Making new frame? No. In turn this one off on that thing to turn off frame 12 McGraw internal frame 13 That way could just go into the next frame. All right, turn capacity down on this one. Too much can I need to get him, go forward and then settle back up. Hey, he's gonna be moving up and back then I want little ears to start going forward because his emotions going back this way. So that gives kind of the effect that some of the momentum is going forward like that while the whole SEC There's kind of like this visual interest where you have opposing forces going back in force King. And let's do one more strange It's this. Well, settle the end of our animation, Uh, on a kind of looks like I'm tracing this one right here, but getting some closer finer in betweens. All right, let's see here. Turn up with those t This frame. Then turn off the money. All right, let's see how this feels, Okay? Haven't frame one right there. Don't want that one. Okay, kind of what I see here is the timing is off, so I'm gonna change. The timing of this impact happens pretty fast, so I'm a change of timing over here. 2.4 That'll hold it for one frame. The equivalent of one frame in Ah, most of the programs. Yeah. Okay. It's a little bit like jelly right there. Don't like how smoothly it comes up. Some kind of have a pop. So maybe instead of that one, it just goes right there. It's great. And delete this frame and see what that does for our animation. Okay, that's getting better. Okay. And And Lehman, delete this frame right here and see what that does. Hold this for 1/2 2nd okay? I gotta work right now and see, I want Teoh. He's into this right here, so I'm gonna go ahead and figure out where this actually belongs. It's frame. It starts. So it's gonna sit in between here. Yeah, I guess it does actually name it after the frames. That's pretty Nice. Okay. Want to figure out where I'm going? Still, too dark. All right. I want to make this. He's out. He's going to anticipate Move. Can you? It's gonna make another one there. Turn the capacity down right here. Make a little bit larger increments of moves. Kids down cause we got to start kind of squashing him down at the bottom two. And there. Let's get another frame. Right turn frame four down. This one might be a little bit more. Even the frame. Look, we'll even split. All right, let's see what those few frames did German operate there? Their first in between. I drink three for From size. Can I want to go ahead? I'm gonna turn this to half second. Can get ready for the motion. Then I want these to all be on once. Okay, Let's see what it looks like. All right. Something real quick that I watch to happen. I think I want this one to be on one frame as well. The impact right here. I want it to be a little bit bigger. I wanted to feel like it has some smashed to it. Okay, there we go. That feels a whole lot better. And then if we were to render it out, we've actually be able to see it played out in real time. So I'm gonna go ahead and do that. She render video using my settings. Quick time movie H 264 High quality. I can go ahead and render that out and we'll see what that looks like. 10. The Flour Sack!: Jump - Playback: Okay, well, I have those videos rendered, and I wanted to show you the frames that I took out last video after seeing it rendered, um, looked like this. I'm gonna put this on, repeat and show what it looks like, and you'll see how it kind of pops into the last bit. Um, while it has a good effect, it doesn't really look that good. So I wanted to go through and I want to show what it looked like with the one of the two frames put back into it. And then all of the frames back into its that's gonna agree with the first time game. And I play it like there's just one frame added back in, and it doesn't makes a little bit of difference. And ah, keeps it from going just straight into a pop. There is, um, the one motion right there where you see it kind of pop up and around rather than just going straight up and back. Okay. And here is what the final version look like the one that, in my opinion, looks and feels the best. So you see how it has just a little bit extra to it that makes you feel whole lot better playing it back in photo shop. It wasn't playing back quickly enough, so it couldn't get a good feel for what it looked like. But playing it back after it's been rendered can make a huge difference and show what it actually looks and feels like whenever it's all played out in, ah, the play back video. So just a few different frames can make a massive difference in the way that your animation looks and feels. So take that, and if something doesn't feel right, add some frames, take some frames, array away, render it out and see how it feels when I was playing back in real time, rather than just in photo shop or whatever program you're animating it if you can get it to feel right, rather than had not having poppy emotions not having um, things that air sudden, that will make a huge difference for the way that your animation feels when somebody's viewing it. They should be able to feel the weight, and I think right here we start to get that down and get the, um, squash stretch and that he's in to the final motion. All right, well ah, can't wait to see what you do with this. See, in the next video. 11. The Flour Sack!: Walk - Part One: All right, so in this video, we are going to be animating this guy right here and using Wait to show how this flour sack this weighty thing would demonstrate weight and a walk cycle. So let's go ahead and get started. I've got my reference drawings up here, and it works reference. And, um so I'm gonna make sure that my character is staying, um, consistent with these drawings up here. So I got a front drawing aside drawing and then what he might look like as he steps and did these very quickly. Um, you're gonna see this whenever you have a character, you're gonna have a character reference sheet, and it's gonna show their expressions how they would look if they were angry, how they would look if they were sad, how they would look if they were flustered or frustrated. Um, you would have all these different looks to these characters. This one is really simple. All we're trying to do is get this character toe walk. So these are the only three poses that we need. And really, we don't need the front, but it's helpful. Just so we know that he would look what he would look like in a 360 degree view. Um, important is side and step right here. So that's what we're gonna work on. That's what we're gonna focus on. So my first things that I need to do is get I'm a new layer. Get my timeline up. Let's see Animation. Um, window. I got my first frame. I'm gonna set a blank frame right there. I'm right now. I'm not worried about these right here, So I'm gonna get these group him up that I could just turn that layer off, actually. Really? I don't need that cause I got the background layer right there. If I could turn my friend picture off there, we'll get to that later. Okay? So I need to set my contact points. So I want him to take a pretty weighty step. So I'm gonna focus right now on getting that contact in. So I'm gonna Ruffin hands his characters first step shut my contact, and he needs to be twisting. So it's gonna look something like that over here, then kind of going like this on that side. So use that as a reference and I wanted to squash down on contact. This is gonna be my contact. She twisting forward and his little you're looking thing right here. Here's a step. He doesn't have any weight going down just yet, so I need to worry too much about bringing everything down. It's whenever he goes back up that we're going to make him feel some weight. So he got his first contact down. Let's get his second contact. I want to turn the opacity down right here and I don't see Get him left in. Says his front foot now. So we're gonna have some overlap on that. Really interesting back like that. There you go. Probably a little bit forward. Then we taking a big step. Big, heavy step the's air, my contacts. And I'm choosing to use my contacts as my key poses. So key one and key tour right here. So this is Mikey. It looks like it gains a little bit of weight in that steps. I'm gonna shrink him down just a little bit, make a little bit center. That looks a bit more consistent, Kate. Now, let's set our third key. So turn the capacity down right there, and it's gonna be like he's taking another step more there. Oh, we twisting up like that, like having this side seam right here so I can see where he needs to be twisting and setting up. And I'm just gonna set these three. Keyes is gonna make it into a walk cycle. So I could even use this one as a key and just loop it if I wanted Teoh. I don't always have to redraw all your drawings. Have some overlap. Here's that we get that twisting feel. Okay? Got our key contact poses. So here's I was right. Contact again. Contact with this one. We got a contact contact, contact. They're all keys and have those set, so that's pretty nice. So go ahead, get into your program. Um, if you use a photo shop perfect refusing anything else, you're gonna be the same idea. We're gonna set your contacts first, So go through. Make sure that your contacts each have Oh, and that's right. So if you move something in another frame, you don't move it in the first frame. It's going to be Onley in that position on that frame, so just make sure that if you move something try and do it on the first key frame rather than on the frame. The actually want it to be moved for that. If that makes any sense, go through. If you move it on a certain on a frame other than one, it's only gonna be moved for that frame. Any other frame, it'll go back. Any frame after that do you make from that frame? It will be moved. But any frame before. If you want to move it, move it on the first ring. So I'm trying say, Uh huh. Um So, go ahead, work on that. Make sure that your drawings are consistent, that they look the same in the same volume, same size, same shape. Um, you can make yourself little character reference sheet up here and go through. Set your keys, your contacts, and then we can move on to a breakdown and then from there will go into in between. So get after it. That'll be your first goal for the setting the weight of your animation. Do it on the context 12. The Flour Sack!: Walk - Part Two: Okay, now that we have our he's said, we want to go through and get some breakdowns. Um, So I'm gonna go ahead and start adding right here. I'm going to rename these so that I don't get confused t three to and King one. So what I need to do now go through here and start in between each of these different frames, So I'm gonna to promote passing down on this one, and I don't need to worry about my third because I'm just drawing in between these two keys . So now I really want to think about how I am going to be wanting the character to feel, um So he is going to be taking a step up with his right leg, which is the leg towards the camera, cause he's walking this, um, So I need t o get him to put a whole lot of weight on this one. He needs to drag this foot out, so I'm going. Teoh, get this right here. Make it feel like there is Ah, a lot more weight over here on this foot. And please excuse the barking. See? Well, so he's gonna kind of fold in half well, and lean far that way. So when I get, get him dragging this, but over. Remember, if I need a reference to this tryingto dry draw the seem over on this side over here. K's leaning out far that way. Got to get him dragging. Okay, That'll be him. Sort of coming out of it. I want to leave them wanting to a little bit more than that right there. And also, he doesn't feel like he has much mass up on top as he did right before that. Someone make this little bit whiter and not back just a little bit. I was leaning trying to pull himself up this way on. Let's make one more turn your passing down right here. She I'm gonna draw his up position right here to my arm and turn off the first king because I don't need that one right now, So I still feel some drag coming through here. Remember, you're animating a mass. You're animating masses. So you want to think in terms of masses, not in terms of Well, this looks good. So I'm gonna try that sometimes that's how you get the feel of it. But you want to think more how the actual mass is moving? Yeah, get that through here again. Need to make it a little bit fatter. Get him pulling over that way. So to get this full right here makes it feel like there's more weight on it. Starting to kind of turn is wait a little bit, bring a little bit more weight forward. But there. Most of these classes are like case studies, so it's much easier to learn by seeing what someone else is doing. And it is for me, toe. It's easier for me to show you that it is to tell you, cause I mean, just like anybody else, there's a whole lot of playing around in the medium figuring it out, figuring out wait, figuring out, um, how to get the feel of something and, well, oh, trying to get the idea of what is actually wanna have this come. This records feels like he's doing something else. It's there, my anger, that that way. So he's trying to pull himself forward. We can use this seem to help us tell that little bit more. So you've got those two right there. So one. Let's do one more and that this in between the other guys so I could turn off Mikey one frame. So he's swinging his leg up and over, up and over this way needs to come down with some force. So we're gonna have him this leg here, his little foot going upward and just like the ball bounce, You slow up at the top and then comes down fast. So I need Teoh. Make it feel like there's some weight on his foot right here. He's coming forward down into that position. He's not yet there, and you can see his wait. His leg is leading him in. That has got some hang time up here, ma'am. Right there. That's you even start pulling his other side forward. Now, let's see. I'm going to move this hand up. No, but it So it feels like he's still teetering over on his other foot. You still I got most of his mass over on this side most of his weight over on that side, because otherwise it feels with this leg her this hand, I guess up calling ear, hand, whatever with it hanging on up in the air. Um, it makes it feel like his weight is evenly balanced and we don't want to feel like that. Conceived feels like he's off kilter off center a little bit. So he's going. Teoh. Keep his weight over on his left leg, left side while he's bringing his weight down. You got to keep that consistent throughout the whole character. All right, so let's see if we can turn these off throughout. We'll get key one right here. Then too three for and then coming down. Let's turn eventually upon that right there. Okay, let's see how that feels and then change these two hte to be on twos. A 0.8 seconds will be two frames, so the motion looks good. We just need to work on the timing. So timing is going to be, um, getting more drawings in there that are closer together so that we can ease out of the contact, then get some impact on the second key Seminary first hits and takes a step. Probably need to round out this right here. It looks a little too sharp right there. Doesn't look like there's wait hanging down from in between his feet. So you get him lean forward a little bit. We can make that a whole lot smoother and get that in there. So go ahead, work through that. Get some in betweens in there. Some breakdowns. So get his up position. Go and stop this right here. Get his up position. Which is this position right here. He's balanced. Uh, he's unbalanced over on his left leg. So I'm probably to make this come down just a little bit further, get the feel that he was leaning over. It could be something as easy as that. That little change right there makes it feel like he's tilted further over. And then, yeah, he's kind of coming up a little bit, switching his weight over and then his contact right here. Let's see. Actually change that a little bit. Let's make it so that he's tilted a little bit more. Two simple change in the position of something changes the feel of it entirely. There we go. Let's play to that woman. Yeah, So you get a real feel for how so you don't have to necessarily redraw the whole thing. If you don't like the way it feels, change a little portion and get the rotation of his body and the switch of weight over onto his other side. Yep. I like the way that feels to go ahead. Jump in work on getting your You should already have your contacts where your keys said work on the up position breakdown. And then whenever he's this is the down position. This is on the way down. So, uh, contact down, up, falling position, He's gonna kind of lean back just a little bit. Wait, is gonna be going will be more centered. And on these two there is going to drop his weight and rotate down a bit, so I'll flatten this out. Work on how some of this stuff looks right here. Um, do that for both sides. His left step in his right step. I guess that was his right step. And then go through work on it for in between these two frames, these two keys right here, and get your walk cycle breakdowns in, and then we'll go through and put in some others for timing so that we can really get the feel of the weight. Um, in this character. All right. Happy animating 13. The Flour Sack!: Walk - Part Three: All right, Now, we really want to get into, um, really doing the in betweens. And, um, since we have art breakdown said this should really help us. So this is what my animation looks like so far, with both steps filled in, Um, we'll see if it will go. Okay. All right. So already it's not looking too bad, but it doesn't have the sense of weight that I want with it. It's got a little bit, um because I planned out the animation. It feels like I wanted to feel, um at this point, Uh, not it doesn't have the full wait feeling that that I want, but that's gonna be achieved a lot more whenever I set my in betweens in between each of these drawings and really get down to the sense of weight that I wanted to have So each drawing could have one in between could have tuned betweens. It could even have three in betweens. Um, who knows? Even more. It just depends on how much time I want each step to take and how I wanted to feel. So I'm gonna go ahead and jump into it and get started, So I've got my key one and my key to drawing set up right here. I know for a fact that I don't want these to be as they are. I need more drawings in between each of these. So I've gotta have my next frame and doing it like this really helps me keep it in order. Even though the frames or the layers aren't ordered the way that they would be in a normal animation program. This works for me. Because I know that if this is the first drawing, this is the second drawing 3rd 4th because of the way that I break it out. So this really helps me to be able to keep track of how things are going, Um, and to do it well, so let's get to it. So I'm gonna go ahead, and this is probably gonna be a pretty even drawing in between these two. Um, I've done the hard work of getting them, um, getting them drawn and spaced out the way that I want them to be. So now I can pretty much just going and set the drawings in between the way that I want them to feel you don't have to do this, do nearly as much work thinking about how they should look or where they should go, because I've got the rest of this stuff going on so I could do an in between in between each of one of these and get that to break down even more. She turned it off right there. You know, those turned them back on. So even right there. So he's moving slower whenever he's pulling up his wait, so he's gotta lean into it and pull it up. So I want that one to be a stretch. So I'm gonna do I'm gonna work on that one right there and I want that to feel like he's stretching to get that leg pulled up, go ahead and make a new layer there they were in here. All right, so he's going to be pulling up right here. So this is where the stretch and squash principles from the first class getting in the animation with the ball bounce really, really, really comes in handy. That helps me think about how I should be getting this whole together. All right? So he throws his body forward. It's a pretty even breakdowns in betweens. I mean, and get those in here. All right, let's see how that looks. All right. So he's gonna stretch, it's gonna pop up. Boom wolf. All right, I like that. It's already feeling so much better. So there's a big jump right here. You need to slow up at the top, get some feeling of weight in there. So let's in between this one too much of a pop right there. You can see how gradual of a process is is. It doesn't happen. Super quickly doesn't happen. Um, Collins Oh. Puts. Ah, that's what I did. We'll put that in the wrong place. I didn't want in between that one. I wanted it to use Dio one in between right there. I just had the wrong way or turned on. So just like in the ball bounce, we're gonna slow up its top. I mean, come down, slow up, come down with each step. So let's do this one like this. So be a pretty even in between. Get a lot of weight appear on the front. Okay, work on. You know that stuff up over I can animate volume animate the mass that's moving not just making a bunch of drawings look good. And I mean, you can see these Do not look good. They don't look, smooths. They don't Look, it's really don't look good. So we get into it. Let's see how that feels. All right? Getting there. Looks like he has to take a lot of effort to pull his leg up and over, so I need to slow up just a little bit. So needed another in between. Right here. Let's make a new frame in between these layers down about 40% or so. All right. Can gonna go with Syria. Yeah, I made all this stuff, and we don't want our lines to be perfectly even on those. Give me some parts that I'm tracing that that's just the parts that are, um, staying even with where they should be. So a planted foot is going to stay planted. I want that moving too much. Can you be mean? Over pretty far. This way. Start seeing you're coming up. All right, these two off. Let's see Outfields. Alright. He's pulling his leg through dropping it down. So I mean, uh, kid pop feeling. And there you know what I might have one more frame in here. Where? His leg, Where? He's pulling really hard. Get some stretch one there. Really make it feel like he's pulling hard on his leg, so it's gonna be closer in between. All right, here we go. Now, this is gonna make it just not much more appealing in between there care of this lines that makes it look just that much more like he's pulling his leg. Uh, collect, streamlined. Turn off on my new frames. Okay, lets see. Ah, there it is. Stretch. Cool. All right, let's see. He's got his down. Read their pulls up, stretches a little bit more kind of snaps back in, snaps back in, pull through, bringing up. He's going slow. E do one more in between right there. See if I can make that just that much more appealing. All right. In between these two frames, turn down my rapacity. All right? Okay. Here we go. Get on this. Under control. It's trying to gather back his control of his feet. That doesn't come easily, So let's have this dragged back a little bit. So he's trying real hard to focus me and make sure that he's got everything back under control before he steps back down, cause if he doesn't, he's gonna fall. Trip over himself. Not gonna be good. All right, let's see how that feels. Oh, for stretching and get it over and see that has a little bit more of a feel. I'm not sure why, but whenever might menus pulled down, it runs smoother, so he's gotta do that. You can see the difference whenever that happens. Okay, so here we go. So it pulls it up over, pulls through. Let's do one where he stretches down. Okay, Have this trying. No, not that one. Next key turned on capacity turned down. Same with this one. It's on. Turned down. Let's make a new frame in between and let's see. I want him to have some impact on the way down. So his top he's gonna come down instead of following. It's gonna lead so the top is going to come down first. And then his leg was a little bit of Lang. Let's see how that feels. So you got all this flowers sexiness down, is gonna fall forward and then come into a step. Let's see how that feels they may not work. I want to see if it does. All right. You got this one here. Okay, lets see. Ah, that's running a list movie, huh? Do you? Okay, so you can see he's got a little bit of effort that he has to pull his leg up and then drawing down so I could probably put in one more in between right there. I have time for it before his video has to end. All right, because it happened just a little bit too quick. So I might go through and get that adjusted and see if I can finish up this walk cycle. Um, with what I have, Okay, You're gonna be pulling through just a little bit more. All right, Let's see how that works. Can't see it. What? All right, there it is. Okay, go through. Set. You're in betweens. Get that all moving and see in the next video. 14. The Flour Sack!: Walk - Part Four: All right. So what I wanted Teoh do first before finishing up my cycle. Um, Waas think about the transition from one step to the other. So showing as much weight as I am, um, I wanted him to between steps, take a rest, like get prepared for the next step and then move on through it. So what I need to do is I need to do several in betweens between, um this drawing and him getting ready for his next. So he's going to settle and then take a step something. When he gets to the last one, he's gonna settle and then get ready for his next step. So there's this whole process and this is how you can really make your characters come alive is by getting enough of a process down like this thing is heavy. He's tired. He's already taken one step. He needs to get ready to take another. He's got to prepare and then launched through it so we can see that it takes a lot of effort for him to step through. Take one step. It's gonna take him a lot of effort to do another, so he's gonna stop and think about it, get ready, and then go. So I'm gonna go ahead and work on getting some keys, Uh, some drawings in between these two. So let's work through it and to rapacity down. All right? So I want him to ease into this. Isn't going Teoh Settle right here. Pretty much completely on the floor, Mama. Shit. Years back, Okay, Pretty much shuttles. So he's going to ease into that pose right there, and then he's gonna ease out of it. So come in. Same thing right here. Turn the university down, making you keep framing between these two. So our knees for me, pretty sure I'm just gonna make him straight in betweens balanced. Perfect. In betweens here. Yeah, he's got to Canada come up a little bit. I didn't get that seem help and feel like it's twisting. And me, I cannot get these pretty quickly, so no need to get another in between in here, so draw in between these drawings. This is probably a reason that animation isn't a spectator sport King easing into that, sir views well, there, huh? This one off? What's that I hear is yeah, not one you're going to see how that feels, all right? And I want him to hold for a little bit before he his back into it. So he's gonna rest right here. Then he's gonna take his next up. So and do the animation. You can cheat a little bit with the timing, so step, boom, rest. And then he can go into his next step. So I'm gonna go ahead and in between him going into his next step so that I can work on that a little bit more men. Let's see. Oh, when we go in between here, so got Teoh. So he's going Teoh, He's into this next. Okay. Yep. Here we go. Remember, I kind of want him leading this his upper half. So his bottom half isn't going to a justus much as the top half will. So I get my in between and there. Yeah, my dough. It's got a drop down right there. They're perfect. All right, let's see here. Finish written on these in betweens. Want to ease him into his next position. So whenever you hear terms like ease in and ease out in betweens, hopefully this will help you understand more fully. What those terms mean and get into it pretty easily. Can you see in the top of this scene right there. Turnovers. Dreams off hopes accidentally trying to fame on we go and see how that feels. No, I still have those on half seconds. Change. Back to two frames. Okay, I'm in chains that to a whole second. That way, I'm really didn't feel like him waiting. Okay? And then it shoots through the rest looks. That's fine. Okay. Hey, leans down, okay? And then he's going to really work on stretching through that one. Ah, that was the drawing that I was missing. Okay, let's see. There. Do. Perfect. Okay, so now that I have those all together, then I can start working through the rest of the animation and getting it into where it looks like a full walk cycle and going through all those he and finish the loop. Whenever I get there, John, he may just take two steps. I may not leap it just so that I can, um, get the feel for the animation. Get a feel for the action. So just like our other one, he's going to leaned down ropes, knowing that layer and the name Get on the right side. Get into no mention it here where he's pulling up. You got to get some weight down on this front leg where he's leaning with his top half first. So you're not gonna be changing as much? Taranto, Barham, That's what you want. Okay, go through. Finish that up and, um, make it look good. Give it some weight. Happy animating. 15. A Weighty Thank You!: animator Thank you so much for animating with weight challenge but it's so rewarding Bring so much life to even just such a simple thing But what I hope they learned help to work with. So take your animation, share everything spread Tell your friends about this class sharing rest world maybe tm whatever it is to bring back spotlight don't forget seem like share and posted Project wants to project needs Wait to see what all of done working again Just thank you so much.