Introduction To Clay Animation For Beginners | Rachel Beaney | Skillshare

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Introduction To Clay Animation For Beginners

teacher avatar Rachel Beaney, Social and Digital

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

Watch this class and thousands more

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

Lessons in This Class

13 Lessons (50m)
    • 1. What is clay animation?

    • 2. How do I write a script and storyboard?

    • 3. How do I design a clay character?

    • 4. How do I build a set?

    • 5. What do I need to keep in mind with sound?

    • 6. How does the mouth move?

    • 7. What's an exposure sheet?

    • 8. How do add movement to an exposure sheet?

    • 9. Select your monster sound!

    • 10. What do I need for filming?

    • 11. How do I film clay animation?

    • 12. How do I edit my clay animation?

    • 13. What you've learned

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About This Class


Do you want to learn to create clay animation?

Have you always wondered how clay animation works, but didn't know where to start?

Are you looking for a new fun, creative hobby to jazz up your week?

This course teaches you how to create stop frame clay animation at home, using your smartphone.

You will learn the end-to-end steps for creating stop motion animation, from writing a script, to building characters and sets, to adding audio and lip syncing sound, and filming and editing.

This course is a hands-on course, which you can follow step-by-step to create your own clay animation short film, using a class project as an example. The camera you will be using is the one you've already got - the one on your smartphone!

Meet Your Teacher

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Rachel Beaney

Social and Digital


Rachel Beaney is a freelance digital media specialist, with a wide variety of experience in creating multimedia projects, social media and online content.

She has worked as an editor, a social strategist, on social media execution, community management and real-time social media integration. She is fluent in creating engaging content, with a solid technical understanding of the web.

She’s worked on social media campaigns for big names like Microsoft, Aussie Home Loans, Network Ten, MasterChef Australia and more.

Rachel is passionate about teaching in a friendly and accessible way and helping people get the most out of digital and social media for their businesses.

Rachel lives in Sydney, Australia and in her spare time, creates clay animation.

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1. What is clay animation?: welcome to the course. This is how to create clay animation for begins. My name is Rachel and I create clay animation as a whole be, and I put it up on YouTube. In this course, I will run through how to create clay animation from end to end, including how to lip sync your character's voices. We look at how to create scripting and story bullets, how to create your characters and you're set. We look a recording audio and transcribing that to an exposure she and filming and editing . If this is your first time creating clay animation, I've got a short film that you can help contribute a small segment to so that you can experience the process of creating clay animation. End to end. There are two main things that you'll need to follow along with this course. The first thing is Clay to build your character, and the second thing is a smartphone out to record your film. If you're gonna follow along with the film example, there are a few other resources you're needed to build the set, but they should all be things that you already have around the house, so I would recommend checking out the resources section and see the shopping list to see what's needed. Throughout the rest of this course, let's start up with the basics of animation in case you're not familiar with it. The way the animation works is there's a Siri's off images one by one. When then moved rapidly, the human eye perceives them to be animated. In order for the human eye to see it is animated, it needs to be at least 12 frames per second. Most modern movies are in fact, double this in the 24 frames a second. It's all really just a pretty fancy visual illusion. Most modern films use at least 24 frames a second, and that's to create a smoother look to the film. However, using 12 frames a second is perfectly acceptable for animation, especially for stop motion animation. In fact, the use off 12 rounds per second started out when early animators had to hand draw out all of the animations and to create just a couple of minutes of footage. It would take thousands and thousands of images that had to hand draw, so they cut the images down to 12 frames per second, it's still animated to the human eye, but it half the workload. That is the exact same reason that we'll be using 12 frames per second today. So when we animate will be taking 12 photos, which equals one second of animation. If you've come along to this course to learn the basics of stop motion animation, great, I run through the entire process. End to end, however, if you would like to get some practice creating stop motion animation, never in a project that you can sink your teeth into because stop motion animation is an art form that requires practice. I've got a short film called High Record, and it is about a entrepreneurial vampire who is out of cash, and he needs to hire out his monsters in order to pay the rent. What I need you to do is create a monster that could be inserted into the film so that you can practice with stop motion animation. If you follow alone, you'll learn how to build a set, how to create a monster, how to add sound, how to film it and how to edit it. So let's take a sneak peek at the final product come to hire Hunt. They have a selection of expert monsters you can hire for all you're scaring needs scary ones. Graham Piven's Scary warns Syria top quality monsters here. Well, they have 60% off all fire breathing monsters for a limited time. Only hyo haunt your expert scammers. And now here is the part that I want you to add. Wow, that's right. I wouldn't need to create a monster to have a think about what kind of monster you would like to create. But before we jump into creating out characters, we need to learn about scripting and storyboards. 2. How do I write a script and storyboard?: The first thing you need to do when you're creating a film is to create this script and turn that script into a storyboard. Let's pull up the example from High Report. We can see this script here is really straightforward. We've got descending each character and the things that they say. In turn. It doesn't need to be more complicated for what we're doing. You are interested in creating a more complicated script. You can check out the resources section where I've got more information about how to write in longer script. Storyboard is essential to creating a film. Storyboards outlined the key events that happened in a film. A storyboard does not convey what happens in every single frame of a film. What it does do as it outlines the key moments that happen in a film. This might be looking at different camera angles or when a character enters or could be details of what happens when there's an emotional shift. So your story board could be really broad in terms of things like here. Is there a single scene that happens? Or it could be quite specific where you point out what happens to a character if they're going through an emotional shift. So storyboards quite flexible in terms of what you can put in there. But keep in mind, the purpose off them is to convey an overview off the feeling of the film representative in a visual format. Let's pull up the higher a horned storyboard. You can see that this story board is quite simple, and the main thing that shows you is the key camera angles that'll happen in this film. But what you can seize overall feeling of the film based on the story board Storyboards are really useful for getting a visual idea of half things and laid out in your film thistles. Particularly important include information, because we need to make sure that those angles can actually physically exist within us it. If we're having an over shoulder shot off one character and then back the other way of the other one, we need to make sure that we've got a set built. Either sides to those angles can actually be shot. It's also a really great idea at this point in time to make a checklist of the key props that you need in your film because you quit the storyboard or visually laid out. You can see what happens when who's holding what so that you don't accidentally forget to build in a background or a prop. There was nothing more embarrassing than a character walking up to pay for something, and then you realize that you've forgotten to build them. Ah, wallet. And so it is kind of needs to appear out of thin air, So it is really useful in the story boarding phase to highlight any props you might need to make a list so that you can create them before you start filming in the results of section . I've got plenty of other things you can use to help you out. I've got a blank storyboard that you can download to use for your creation process, but it was good. A couple of other links to other resources online. I've got an outline for how you can create a script if you're gonna be doing more scripting in the future. And there's a great YouTube video looking at advanced filming techniques so you can learn about camera angles and have aching convey mood to progress. Your story, and that is really useful for your story board. Check out the results Is that hates of really interesting stuff in there, and I'll see you in the next lecture. 3. How do I design a clay character?: character creation is one of the most fun parts of clay animation. Whether you're creating a character that you've sketched up already, or when he was playing with Clay and seeing what happens either way, it is always a really fun, creative process. But there are a couple of things need to keep in mind when you're working with clay specifically, that is, of course, they're a physical object, and that means they're impacted by gravity. If you make your character too big or the center of gravity isn't even, they can easily fall over during a shoot. So keep that in mind. When you're designing your characters, I would have seen what tips for you can do. Designed your clay characters. You don't need to have a complex character to make it. Well designed and expressive, simple characters can show just as much emotion In order to create expression for your characters, consider cutting out mouths drawn paper and stick them onto your claim model. It's a great way to get a consistent look and size to create eyeballs. Put some black enamel paint on a plastic bead and put those in the eye sockets. Move the eyes around with a toothpick to get them to look around. When you create in your character, think about the shape of your character. Round characters look cute and friendly and angular characters look a bit more DDS. While big square characters look strong. Think about how big your character is. If you've got a large character, think about how heavy there you don't have a character that is so heavy that their arms fall off meat. Shoot one of things you might want to consider if you're creating a large character, is to build a Y skeleton for your character, the skeletons of cold an armature and they help your character stand up. You can even use magnets in the feet of your characters to hold them up. All use bolts drilled into the set to keep your characters standing upright. You could also use rigs which hidden supports to help keep your character standing up. When you're designing your character, don't forget about color. Characters wearing dark colors are often evil guys. What characters wearing light colors are usually good guys. Think about colors like blues and reds and how they usually do not heroes. And finally, don't forget to accessorize. If your characters evil, maybe they're gonna be black cape If they're rich, maybe they've got a pill. Nicolas, think about what accessories? Your character has to reflect the personality. Now it is your turn. If you were fooling along with the higher a haunt activity, now is the time to crank up some music, grab some clay and create your monster. Don't forget to check out the resources section because I've got more information on all of these topics, including a Spotify playlist off monster themed songs to inspire you while you create your monster. So spend some time creating your monster and I'll see you in the next lecture. 4. How do I build a set?: set designs is one of the really exciting parts of clan Novation. You can create the entire world that your characters live in, but set design doesn't need to be as challenging as you would think. Let's have a look at one of a set that I've built in the past and break down the components that make up this it. This set is really quite simply designed. I have a backdrop printed on a bit of paper, stuffed it in cardboard. I create crates using cardboard and brown paper. I have adult house just to create Samore items in the backdrop, and I've created sacks of flour just by holding up some bits of paper. So this said when it's filmed, actually has a lot off debt, but it's old using really simple materials. If you are following along with the higher ah haunt activity, we're gonna be building a sit. There are a couple of tools you need before we get started. The first thing you need is cardboard. I'd recommend some thick cardboard to build it, your set background and some thinner cardboard to build your props. A pizza box or a cereal box is fine for both of these. The next thing that you need is a pair of scissors and glue for the glue. I would recommend P V a glue or glued. It definitely can stick cardboard together so regular school glue is not going to cut it, and then finally out, keep beside a heavy book. This is useful for smoothing out the glue, so you've got an even stick and also as a white to put pressure on the glue so it dries more easily. The first thing you need is to cut out a backboard. I would use one entire side of a pizza books, so make it nice and large with the other side of the pizza books. You need to cut out too long triangles, which is nearly the length off the pizza books and these to be used as stands when you are creating your sit. As you can see from this example, when you fold the ages off the triangles, you can then lay them directly against the back of the pizza box and they'll become stands toe, Hold up your sit, so we just need to glue those down and use a book to hold it down the next trick. Our keep in mind is also cutting up some small pieces of paper and glowing those to either side off the stand support. This just gives it another layer to help support the stand. Don't forget to use your trusty book toe. Weight it down, so now you can see the basics of how it works. The pizza folks will stand up on its own. Wonder things I would recommend is ensuring that the ages off the triangle to the bottom aren't longer than the back off the baseboard. I would recommend going and trimming along the edge to make sure that the triangles are shorter than the backboard to. This means that when your set is standing up, it leans backwards ever so slightly about 11 on two degrees so that it's not gonna fall forward. It's better to have your stand leaning ever so slightly backwards rather than four falling forwards on your characters. Once that's trimmed, your set should be quite sturdy and amber stand on its own. Finally, grab your background image in this might be wallpaper that you've printed off from the resources section or could be something you've made yourself. It might be a drawing or a watercolor. Whatever you've got, feel free to glue that onto the front off your six. He's a book to smooth out the glue, and now that will stand up on its own. Tonight I can see how this looks. Together with the floor, you put the all paper and the floor. The next thing you want to create Isam props to love and up your set in the results of section I've got a couch and evolves that you can download and these images that all creative Commons so they're free to use. I would start off by cutting out your couch just loosely and gluing it down onto your kind board again used the book to flatten out the glue, so it is a nice, smooth finish. I would recommend to leave that to dry for a few minutes. Once your count she's dried. I would then go back and cut it in final detail right around the ages off the couch. Now it's time to create the stand. So in the exact same way we created the stand for the set, just cut out some small triangles, which you can use to support the weight off the couch. In this case, I actually use three stands because it's a bit of a longer object with the volunteer. Probably only need one stand, but again glue that down, put a book down toe, white it and then trim the edges just like we did with dissect. And now your account should be ready to go will be ever stand on its own and decorate your set. One of the other things I would recommend when you were decorating your set is that you can put a little bit of blue tack in the stand off your island to make sure that they stay standing up and they're not going to accidentally fall over when you're filming. Now, when we look through the viewfinder of our camera, we can see that these items all let out together look great. So it's very simple to build set that can look really effective. So don't forget to check out the Resources section. You can get a print out of the wall paper, the floor, the couch and the vials, which you can then use to create the exact same sit. Oh, if you'd like to create your own set, feel free to find your own images. I would recommend finding images that are Creative Commons, which means they don't bridge copyright. I've got a link in the results of Section two, where you can find other Creative Commons images so you can decorate your sets some really high quality shops, so I'll let you build your set and I'll see you in the next lecture. 5. What do I need to keep in mind with sound?: we're here with an early election to talk about. You guessed it audio before filming or editing your animation, you need to start with audio, and this is because you need to sink your animation with yourselves. The equipment you need is a microphone and some audio editing software for a microphone. You could use the microphone from your rock band said, or you could even use an audio specific recording app on your phone. If you're using an app, just make sure you can get the file from your phone to some audio editing software on your computer. The best audio editing software our recommend is audacity. It is a free open source software for both PC and Mac. I've got a link over the resources Section two This program, which you can download for free. When you're recording your audio, you need to start off recording your dialogue. I suggest roping in your friends and family to read your scripts and do your voices. You'd actually be surprised how often people want to get involved because it is heaps of fun. You also need to edit in your sounds. This could be thunder footsteps. Oh glass breaking some of this sound coming at it in in the editing process. At the end, however, if your characters react to a sound, you need to add it to the original Warrior timeline. For example, if there's some thunder cracking on your characters, jump in the air. You need to know when those characters jump in the air when you're animating, so this needs to be in your original order your timeline So you can transcribe that moment to your exposure sheet. You can record these background sounds yourself from around the house, or get samples from free creative Commons websites like free sounds. That or on new grounds dot com, you can also get wonderful background music from these science, too. I popped links to these over the resources section for your reference. If you're joining along with a higher a haunt video, I've already got a selection of monster noises created for you, so you're welcome to use those. If it's your first time animating next up, we look at strange mouth shapes and what to do with them 6. How does the mouth move?: we need to create a document cold and exposure sheet. That's kind of like a scriptural sheet music. What it does is it. It tells us that when we're animating, when certain sounds the curve on which photos. So it means that we can sink our math shapes and our actions exactly toe when they happen in the audio. So before we jump into that, we need to understand how mouth shapes work. Every time someone speaks, they make a certain mouth shape. Associate ID with that word. Let's look at the world welcome. For example, when we look at the word, we can see that it's divided into multiple shapes. Welcome, Welcome. So what we can see here is that each syllable in the word has a separate mouth shape. And in fact, every sound has an associate ID math shape. Let's pull up the chart and see what the most common in mouth shapes are. You can also download this chart in the resources section, so what you can see here is that every sound has an associate ID mouth shape. It's what we now need to do is come up with a code so that every sound has an associate ID code. What you can see here is the code that I have created, and this is the one that I use. When I animate, it kills me that when a certain sound happens in the script, but I know to use that particular math shape. So let's pull up the word Welcome again. What we can see here is that every sound associated with World Welcome has a particular math shape, and those mouth shapes have a particular code. So when I'm animating with my exposure sheet, what I can see is that when I see their work shape, it means that I need to use the what math shape. So it means that my animation will always be in sync with the sounds that occur next up. How do we match the sounds with the exposure sheet? Let's find out 7. What's an exposure sheet?: What we're looking at in this lecture is how to turn your recorded audio sounds into something that is transcribed on the exposure at sheet. If you're following along with the higher haunt example, I've already transcribed this information for you, so you don't need to learn how to transcribe this, but it is important to know how it works, so you can read the exposure sheet later on. If you're creating your own sounds, is important to pay attention to this section. Let's have a look at that three items we've got on the screen. The 1st 1 is the mouth shapes chart. From earlier we can see the different sounds that people make with the mouth shape drawing and the code associated with that mouth shape. We've got out audiophile about vampire speaking, and I'll just play that now so you can hear it. Come on. And I've also got the exposure sheet, and this is probably the most unfamiliar document on this screen, and so elders quickly run through how it works. In the first column, you can see this seconds marked off. You can see that to create one second. It either takes 12 photos at 12 frames per second or 24 photos at 24 friends for a second. Everyone has their own way of making exposure sheets, so this is the way that I do it. In the first call, I write the words the characters are saying. In the second, I write the breakdown of those individual vowels, and then I write down the shape that that makes so that when I'm creating my animation, I know the exact moment those mouth shapes made. The final two columns have left as free columns, which you can put in things like movement, so you might want to put a blink or on our movement in those columns. So let's have a look at audacity and get to know way forms a bit more. What we can see here is that each of these weigh forms represent a different sound. So if we just play that now, we can see the way these way forms work. So you can see that when we play that there's a different sound for each white film. So we're gonna play this section. It's just the opening off the welcome sound, so let's have a look at each of these areas and see how they sound separately. Go so you can see that each of those way forms are very unique in the way they look on the timeline, and they'd represent a different sound. Come, and that's something that's quite important for what will need to do later on. So at its simplest, just have a look at the wave forms, and you can highlight each section to represent a different portion or didn't syllable of what the character is saying. When you highlight a portion off audio in audacity, what you'll see is that this selection area, But you know how much have highlighted. For example, we can see that we've highlighted from one second in until two seconds in what we have got a bit more. It's four seconds in, and you can see how that moves it, based on what we put that highlighted. So the trick that I would encourage you to use is to switch your settings to film frames to 24 frames a second. What that means is that when you highlight something, you know the exact film framed that relates to, and as I said earlier, film frames a default to 24 frames, its second in most film studios. So this is 24 frame to second, and that is why we need to keep our 24 frames a second for reference in our exposure sheet . So what we can see here is that we can see that from Frame 35 to frame 60 is the word welcome. Let's have a quick look at our exposure at sheet, so we're gonna be working of 24 frames a second. So if the moment I'm just going to hide the 12 frames a second so we know what we're working with. So we can see here that on frame 35 different 60 is the world. Welcome, Welcome. So let's head to frame 35 our exposure sheet and write the word welcome. But let's go into a bit more detail and see those individual syllables, and we can zoom in a little bit. Not Tom Mom, which helps us. We can see the first sound desert, the sound. I will say the and that is from for a frame. It says he 36. But a single frame is usually not gonna make too much difference. So let's say 36 to 40. It's all the the sound. Probably the closest mouth shape we've got is probably gonna be this w mouth shape, cause he's saying welcome. So I'd say That's the closest sound. So what I'll do here is all right in the timeline, my little associated code with that for that particular area. So I know that from Frames 35 to 40 it's the word of mouth shape. So let's keep going. Gonna highlight the next section, and that's in a sound welcome. I'm gonna mark that down. It is frames 40 to 47 according toa audacity. So let's have a look and and I'm gonna mark that as the sound. The next portion of sound is the sound, because you can see the distinctive way form. So it's from frame 48 to 52. Let's have a look at our mouth chart sheet, and the sound looks like it's this one here, and the final sound goes from 52 which we could put there by 15. 53 is fine 2 59 and that shape we can see quite easily. There's that room right here, so we can just copy that there. So you can see here that when we look at the word welcome well, come we can see the exact moments in our exposure sheet and the exact frames where that sounds needs to happen. If you're not sure what sounds your character is making, you can always film yourself and look at the shapes that your lips are making. And that's called rotoscoping. That's a little more common and things like three D animation. And it's one of the more modern techniques for doing this. So now you can see we got the word welcome transcribed I'm not gonna do the rest because I think that should give you enough of an understanding of how it works. So when we head back up to the top, we can see there's a whole bunch off blank space here. And that's because when a character first comes off the screen, they ease blank space. So he's He's standing blinking for a few seconds, and so that is represented by this blank space here. So it's totally normal that you won't have speaking throughout your entire exposure sheet. What I'm gonna do now is I'm going to switch this from 24 frames a second back to 12 frames a second, because that's what we're going to be recording in. What you can see here is that Frame 18 have now got to markings for welcome. What we'll do is we'll just delete every 2nd 1 so that it's not confusing. When we're recording, we wrote down 24 frames a second, which is 24 foot photos ever having that, so we're in the need. 12. So let's get rid of every 2nd 1 So now you can see for each frame there is just one movement we've got associated with that. 8. How do add movement to an exposure sheet?: The final thing to keep in mind with your exposure sheets is that you also want to add your life to it. You want to add your movements. One of things I would recommend is penciling in all the things that your character will be doing. Movement wise. I always like to add in things like blinks, and I like to calculate these and put these into the exact right sport. Humans blink every three or four seconds, which means that's roughly every 48 frames. So that means that when we're riding down on next blink, we go all the way down to frame 48. To mark that in. It's really important to mark in your blinks, because when you're recording, it might feel like you haven't had your character blinking a while. But because you're recording with so many hours, it might only be a few seconds that's passed in the film footage. So if you're a bit more regimented about when your characters blinking, you'll be less likely to have your character looking a bit silly, blinking every few seconds. Instead of blinking at a rate that is natural for humans, the other thing will want to add to our exposure sheet is the movements the characters make . Now you can have a look at your script or your storyboard, especially if there are particular movements that happen at certain times alongside any words. In this case, we can say that when our vampire is saying welcome, he spreading his arms out wide in a welcoming gesture so we can add that into a script. When we have a look at our exposure sheet, we can see that we've got it set at 12 friends per second. We're going to see we've got a blink at frame. Seven. I've got some arms out just before the character speaking, and we can see here the exact mouth movements that happen in every single frame. And that's how you create the exposure sheet, as I mentioned earlier. If you are falling along with higher hold, I've already created the exposure sheets that match each of your monster sounds. So all you need to do is follow along with the next lectures and print off your selected sound if you're creating your own sound. I've also got a dem or exposure sheet in the resources section, so feel free to download that and give it a go for yourself 9. Select your monster sound!: remember how you're creating a monster for the higher haunt. Phil, you created your set. You created your character. Now you need to do is match the order. I've already created some monster sounds and matching exposure sheets. All we need to do is hit to resources section selected, um, wants to sound that you'd like to use and the matching exposure sheet to select a monster sound. All you need to do is head to the monster Sounds Page and have a look through the monster sounds that I've already created. What you can do is listen to each sound and then download a package, which has the audio file and the exposure sheet. So let's this into the first sound. If that's the sound that we want to use for a monster, what we need to do is select download zip file. As you can see when you hit that, it then downloads that file to your computer. You just need to unzip that file in your folder, your lands it. You'll get a copy off the monster sound and the exposure sheet, which has already been filled out with the sounds that your monster makes. Let's have a listen to all the different monster sounds. Yeah. No, no. Wow. So have a think about which sounds you would like your monster to create and then download the zip file associated with that sound. If you're up for a challenge, feel free to create your own sound. You just need to record your sound using a microphone, edited using audacity and transcribed the sounds onto an exposure sheet. I won't blank exposure sheets in the resources section so you can download that and make your own monster sound, whether you're creating your own sound or you're using one of the ones that I've created earlier. Before you move onto the next lecture, you need to have an exposure sheet filled out with sounds so that you were ready for filming, so I'll see you in the next lecture. 10. What do I need for filming?: There are two things you need to begin filming your stop motion animation. The first thing is the camera, and the second thing is a fraud board for camera. You can quite easily use your smartphone today. And if you're following along with the higher horn example, I recommend downloading an app to film your stop motion animation. If you are using an iPhone download, I'm motion. And if you're using an android download motion, there are plenty of other APS out there. But these are a great starting point as an introduction as the tribals. There are plenty of options. You can buy a little mini trifle for your smartphone. You've got a traditional camera tripod. You can also get a smartphone attachment for that all you can D I y get a block of clay covered in cling wrap and then put your phone in there so it's nice and secure. There are plenty of trifled options, so see which one works best for you. However, it is one of the most important parts of stop motion animation having a sturdy tripod. If you bump your tripod, it means that your hours of work might be lost so you need to make sure you have a secure tripod for filming. You might even want to use to blue type to help secure your tripod. If you're using a small tribe board, however you do it, you need to make sure that your tripod is sturdy. If you're following along with the high Rojo workshop, now is the time to download your stop motion. I put links to these in the sidebar so you can download the abs for your device. I've also created a handy guide. So you know, I had a film with your app, So check that out in the sidebar, download your up and get ready for the next step, which is filming. 11. How do I film clay animation?: we are finally ready to begin filming, and this is where all of our hard work comes together. We've got our set created with a backdrop of props and our floor floors firmly stuck down so it can't be lived. We got a character on our set. I've set up out three point lodging, the essentials. You need a camera and a trifle and, of course, print out your exposure sheet and have a pen handy so you can mark off each section. There are a few other things you'll need is well. To begin filming, you need to cut out each of your mouths. What's your name? And I like to use a little stamp pad to help speak them. They need a little bit of moisture on them in order to stick to the clay. I also keep clay tools handy. Wanted to clean up my characters between shots. I like to keep a toothpick handy because this is to move the characters eyes and is also some plain clay, which is the same color as the character's skin, which can be used for blinks. So people of this handy because this is what you need when you feel the exposure sheet is set to 12 frames per second, so this means that every one second is 12 photos, and each of these squares represent a photo that you need to take. So every time you take a photo mark off one of the squares, you'll see in this example the 1st 19 frames. There's no speaking at all, and that's because the character doesn't begin speaking immediately when we're filming. That means to put their mouth closed and they're waiting to speak. I've got a few other actions penciled in here. I would have blink marked in early, and I've got on arms out movement from Frame 16. So while the character isn't speaking from the upset, we do have other things to keep in mind. Before you begin filming, I'd recommend you check out the resources section. I point to a great video called The 12 Principles of Animation, and it talks about how you can add life at your character. It is a really useful guide before you begin filming, so you can get an idea of what you can do to bring your character to life. So when you're recording, have to think about what your character is feeling at all times so you can add that extra bit of life to your character. And remember, it does take practice, so you may not get it right the first time, but keep at it and all the time you get better and Bell. So let's get started with everything ready to go. My first frame, I can see on my exposure shape. He's blank. So I'm gonna take a single filled done. I'm gonna have my characters. I start around nervously a little bit, first left, then to the right to the first frame. I'm gonna movies, eyeballs. I would recommend holding your characters still while you support his body. But so next on my exposure shape, I've got a blink, and this has created just by getting a little ball of clay and sticking it over eyeballs. It looks a little bit silly, but it's how you create the blink if it so create one more shot and we're very carefully peel it off. So bliss most effective, just one frame. I would also suggest printing off the mouth shape sheet so that when you begin talking, you have easy reference to it. so I can see My first shape is the shape. Talk about it right here. Stick it in my little spongy thing. Just stick it right on there. Stun Andi, take the shot. Show up the next shape. Oh, so as you can see, fooling easy really easy. All we need to do is follow along with the mouth shapes that you've got marked off in your exposure sheet and movements. Don't forget to keep into the character's mind and try and recreate how they're feeling with your character with their expressions and movements. That's what we need to do. So now it's your turn. Feel free to begin filming took out the resources section where quote links to the APS that you can use, as well as instructions for how to use each. 12. How do I edit my clay animation?: and the first thing you need when you're editing is to ensure that you have some editing software. If you're on a PC after just using mark soft movie makeup and if you are Mac, you can use I'm movie. Both of these should already be on your computers, but if they're not, you can download them from the resources section. The four things you'll need in order to edit is a copy of the monster video that you created had suggestions emailing that to yourself to get that from your mobile device to your computer. I need a copy of your monster raw audio, so you can also get that from the resources section if that's something you didn't keep a copy off. And then, of course, there is the Higher A haunt vampire introduction, and the closer we're going to have a look at how to edit your hire a horned movie that you have just filmed. Now you can either edit on a PC or a Mac, and for each of those air recommended different software. If you're using a PC and recommend editing with Microsoft moviemaker and if you're using a Mac, I'd consider using I'm movie. I'll show you how to use both of these to import the things you've just created and turn it into a movie. First up I showed me how to use I'm maybe so head your applications and open I'm movie you've agreed about and you scream and I'd suggest you create a new movie, Select no fame. Want to created your empty movie? You no need to import your media. So once you've selected does all you need to do is drag them into the important media section. Now we've imported these items. We just need to highlight them and put them in the timeline in the order that they go in. So the first section is the opening with the castle, which we can see when we hover over. We can see this is the film clip with the castle. So you actually need to highlight that entire section to make sure it's all included. Make sure you've got both ends highlighted. There we go. All you need to do is drag that in. You also need to drag in your monster sound and you actually just a line that below your monster sound. So see how it connects, and it lines up with the beginning of the clip. That's so your audio in your video will be in sync, and if we play that, you can see that now so you can see that it already sinks. I've already included the audio. The other portions would the vampire If you've recorded a favorite of the background like I have done with this, what you can do is you can crop this in my movie. So if you head up to the crop section in the very top and you select crop, select crop to fill and just drag this bounding box to be where you want to feel your screen, so that should be done. So when we click away from that, it already resize. Is that perfect size? So it's all come together. What we can do now is export that video and save it to your desktop. So in the top corner you can see the export button, and there were the options to export it. I usually select file and that'll download that to my desktop. If you hit next, that'll export that double check where it's exporting to hit, save and wait for that to export. I've got a little notification saying that it's successful, and now I can see that it's all done so ready for the world to see if you are on a PC. Open up Microsoft movie Mayko. It should already be in your PC, but if it's not, you can check it out in the resources section and download it. You can see that marks off Movie making is divided into two pain to left in the right hand side, you need to click on the right hand side and select your video files. You should have the two halves off the vampire film that I've recorded and your monster film. They should pull into the timeline, and you can drag those into a different order if they're not already in the right order on the pain on the left hand side, you can play that movie and see if it's in order. In orderto add your monster sound, you need to select the clip that has your monster from there in the main menu, select the add music button and in the drop down, select your monster sound that you've already saved your desktop. This will automatically sync that monster sound with your video click. So you should see your monster sound having a small audio file attached to it from the bottom. The vampire clips already have sound attached to it, so they should already have sound on them. So that should be everything you need to edit your clips, hit the save or export button in the top right hand corner and export your video. This may take a few minutes to export. From there. You can put it online, share it with your friends or do whatever you like. 13. What you've learned: you have now created a stop motion animation incredible, and you now have the skills to be able to make many, many more. You have now learned about how to write a script and a storyboard, how to design your characters in clay and how to build a set. You know how you can record sound or fine sounds and edit them in audacity. You also know how to transcribe thes sounds onto an exposure sheet. You've also filmed your monster and edited your film. So congratulations you've now gone through the entire process of how to create a stop motion clay animation film. Don't figure to check out the sidebar because there are plenty more resources to help you on the way, including some great books to read to find out more. If you created your film, feel free to pop it up on YouTube. I would love to see what kind of creation to come up with throughout the course, so that's it for me, and I hope to see you in the future course by