Live Action Animation in Opentoonz: Create Fun Lightsaber Battles | Paul Gieske | Skillshare

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Live Action Animation in Opentoonz: Create Fun Lightsaber Battles

teacher avatar Paul Gieske, Digital Art Enthusiast

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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

12 Lessons (1h 12m)
    • 1. Introduction

    • 2. Class Project

    • 3. Importing Video

    • 4. Animating the Lightsabre

    • 5. Finetuning the Animtion

    • 6. Fx Schematic

    • 7. Photo editing in Gimp

    • 8. Animating The Falling Arm

    • 9. Hiding Parts of the Original Footage with Transparency Mask

    • 10. Adding Audio

    • 11. Summary

    • 12. Appendix - Downloading and Linking Ffmpeg

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About This Class

In this course we will be creating a light-sabre scene like this. Creating project like is a fun way to learn more about open toonz, and it can also be a fun way to prank your friends and family.

  • We will start by setting up a new project and importing video.
  • Next we will get a lot of practice with the animation tool to animate the lightsaber.
  • We will learn to use the FX schematic to add some flare to the light sabre.
  • We will to do some simple photoediting in Gimp to cut off my arm.
  • After that we will use the function editor and function curves to animate the arm falling.
  • Finally we will learn how to add a soundtrack.

To successfully complete the course you will need to install some free and open source software.

  • Opentoonz
  • Ffmpeg (see appendix for instructions)
  • Gimp
  • Audacity

Also, it's recommended you have some experience in Opentoonz before you get started. IT's not a strict requirement though. Even if you are a complete beginner you should be able to follow along, but you will need to show some persistence when you get stuck.

Meet Your Teacher

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Paul Gieske

Digital Art Enthusiast


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1. Introduction: Hi there and welcome to my course about creating light saber battles in open tombs. My name is Paul, I'm a teacher, I'm an engineer and above all, I'm a guy who loves Open Source and digital art and animation. In this course, we will be creating a lightsaber scene like this one. Hey, what's this? Well, pretty cool. Creating a project like this is a fun way to learn more about open tunes. And it can also be a fun way to prank your friends and family. It was started by setting up a new project and importing the video. Next, we will get a lot of practice using the animation to animate the lightsaber. We will learn to use the FX schematic to add some flair to the lightsaber. And we will do some simple photo editing in Gimp to cut off my arm. After that, we will learn about the function editor and function curves to animate the arm falling. We will also use the effects schematic again to make my arm from the original footage look invisible. And finally, we will learn to add soundtrack using open tools. All the software we will be using for this course is completely free and open source. I recommend you make sure it isn't stored before getting started. It's also quite useful, but not strictly necessary to have at least some experience in open tubes. If you have 0 experience, you're probably be able to follow along. But I recommend that if you find yourself getting stuck, then you can always look up one of my beginner's classes on open tools. So does stuff that lightsaber you have stored in the attic and let's get started. See you soon. 2. Class Project: As a class project, we will be making this light saber battle. You can either copy me more or less exactly, or you can create your own project. I recommend creating your own project because it requires a much more active approach on your part. And you will learn much more. However, it depends on how much time you want to invest. If you choose to copy me, that's going to save you a lot of time, but you won't learn as much. Whatever you choose. Don't forget to upload the project. So I can give you some constructive feedback. If you do choose to make your own project though, you will need to have some footage. Make sure the footage you make is not shaky because that will be extremely tedious to animate each frame. So use a camera stand, opposition your phone on the table in a stable way, the footage should include at least one frame with only the background. We will later use this frame as the background. And finally, I recommend you hold a short steak or rod in your hand to help guide you as you animate the lightsaber. In order to successfully complete a project, you need to make sure that you have the following. Before you get started. You need to install some free and open source software. Make sure that you have opened tunes installed. If you are in Linux, make sure you have the experimental version installed and not the marina version because my Revenant version does not support FFmpeg. Secondly, to be able to import video, we need to add MPEG-2, open tunes. Ffmpeg is also free and open source. It's quite easy to install. There are some special instructions on how to do this in the appendix of this class. We will also need to do just a little bit of photo editing. Because gamma is free and open source, I will be teaching GIMP. So make sure you have GIMP installed if you prefer to use Photoshop, that's perfectly fine too. And finally, we will need something which can save the sound from the original footage in a separate file. There are many ways to do this, but I will be demonstrating it using another free and open source software named Audacity. When it comes to skills, it would be useful to have just a little bit of basic knowledge of open chairs. This is not a strict requirement. Even if you are a complete beginner, you could probably model Pro if you do find yourself getting stuck quite a lot. However, I recommend that you follow some of my beginner courses on open tunes just to get a handle on the basics. So that's it. Now it's time to get started animating. Good luck and have fun. 3. Importing Video: Hello everybody and welcome. In this video, we are going to import our footage and our light server to our project. And we're also going to do the basic setup. For example, we're going to set the camera resolution, and we're also going to put the lightsaber into its initial position. Before we get started though, first of all, make sure that you have FFmpeg installed and that you have linked FFmpeg and open tubes. This will allow us to import videos to open tunes and will also allow us to export to various video files later. So if you don't know how to do that, have a look at the video in the appendix which gives you clear step-by-step instructions to import to open tunes is super easy. All you have to do is click and drag the file to the AC sheet. Remember though that we need to have FFmpeg installed and link to open tunes. Before we can do that, we can click on Import or load. Pin port copies the file to the project folder. While load keeps a file where it is, I prefer to use a copy, so I'm going to click on import. In my case, I've In part of this video already. So open tunes is asking me if I wanted to override it or not. Okay, Now we've imported the video and we see that it's much smaller than a canvas. So in order to change that, we're going to change the camera settings. Let's look up the video resolution of the video using VSC. First. After that, we go to Render Output Settings. And over here, we can change the resolution. Be careful, because right now the aspect ratio is locked. We need to click on another one of these padlocks to unlock the aspect ratio. Okay, Now we see that the video of fits the Canvas. Let's also import the lightsaber I created. Just drag and drop it to the egg sheet in the same way. By the way, it was quite a simple matter to create this lightsaber in Inkscape. If you're interested in learning more about Inkscape, why not check out one of my courses on the topic? Okay, Next, let's make this column temporarily invisible. And let's scroll down in the timeline to somewhere where the lightsaber first appears. In my case, dataframe 287. And let's go back up to the friend, select it and press Control X. Go back to frame 287 and press Control V to paste it. We can use the selection tool to modify it. But be careful because if you select only a small part of it, you'll be carrying that P sub. Also, mind this white border which we see that shows the extent to which you can draw any pain within this column. So for example, if we rotate the lightsaber like this, it will cut off the edges. We can increase the size by right-click Edit Image Canvas Size. Let's make it as big as the camera view. And now as you can see, we can easily resize this lightsaber without worrying about any part of it being cut off. That's move it over here. We could rotate it two weeks, the selection tool, but that would change the default horizontal value. And later I'm going to use the animation tool to twin the horizontal scale. So let's rather sadly initial rotation using the animation tool. First, we use the animation tool to set the center, the center of rotation, that is. And then we set the rotation itself. Because we use the animation tool to set the rotation, it rotates the entire level. As you can see, the white border rotates two. So now when we use the animation to set the horizontal scale, we see that the lightsaber shrinks and grows, but only in the horizontal direction of the light saber, irrespective of which direction the lightsaber is pointing. Finally, let's duplicate this frame for all the remaining frames in the animation. Select the first empty frame. Scroll down, select the last empty frame. Right-click. Fill in empty cells. So thanks for watching. We've learned quite a lot. In the next video, we are going to learn to animate the lights were using the animation tool. See you there. Bye-bye. 4. Animating the Lightsabre: Hello everybody and welcome. In this video we are going to animate this lightsaber. So without further ado, let's get started. Okay, first of all, we want to freeze frame. We can do that by clicking on the frame and then dragging down on this tab here that will push all the subsequent frames down. So let's breeze it for about a quarter of a second. When we're done, we need to quickly readjust the last few frames and then scroll back up. Next, let's select the first frame where the lightsaber will be fully switched on. And let's click here to set a keyframe. This will freeze all the parameters of the frame in the current position and scale and rotation. Next, let's go back to the first frame containing the lightsaber, and we said the horizontal scale to 0. So as you can see, the scale gradually increases from 0 to 100%. Notice how the lightsaber shortens and lengthens and doesn't get thinner or wider. This is because when we use the animate tour to rotate a lightsaber, we're actually rotating the entire level or the entire drawing area. Remember how the white bars are shows the drawing area of the level we currently have selected. As you can see, it's not only the lightsaber that has been rotated by the animation tool, but in fact, the entire drawing area of the level and the widths of the level also decreases and increases as we change the horizontal scale. We preview that it looks like this. Got k. We've done all this with the animate tool in this chapter. I'm not gonna talk too much about the animate tool because I think it's pretty straightforward. Essentially all you have to do is use the animate tool to set properties like position, rotation, and scale at certain points in time. And then open tombs will interpolate between those points. Or in other words, open tombs will find all the positions in between the two points. If you do feel a little confused and you would prefer to have a bit more in-depth explanation and some practice. Then I refer you to the earlier chapters where we learn the basics. Okay, now we've got switching around of the lightsaber down. We're going to set an consecutive keyframes to scrubbing through the timeline, we see that lightsaber essentially stays stationary until approximately 347. So let's set another keyframe there. And after that, we need to occasionally adjust the rotation and the position of the lightsaber. We don't need to do it in every single frame because the twin will calculate the frames in between. Right now, no need to worry about being perfect. Just get a more or less the general motions. In this part of the motion, the lightsaber will face the camera for awhile. In this case, we have to take into account foreshortening. Foreshortening simply means that when an object like a cylinder, for example, faces the viewer, it appears to be shorter. So in other words, when the lightsaber is pointed directly at the camera, we need to decrease the horizontal scale of the lightsaber. This wave for those frames, it will look as though the lightsaber is pointed at the camera. In this particular case, I will go to the last frame of the motion and set the scale to negative 100%. This causes a slightly confusing situation because we haven't set a keyframe for the scale since the lightsaber was first switched on. So we need to go back to the first keyframe of the motion and set the scale back to 100%. Now, between these two keyframes, we see that the length of the lightsaber decreases as it points more towards the camera. Sometimes working with key frames like this can be quite confusing. So it's quite useful to get an overview of which keyframes we have and haven't set. We can get such an overview by right-clicking on the keyframe and selecting function editor, we get an overview of the parameters with the dark orange parameters as keyframes and the light orange parameters as values which were calculated as interpolation between keyframes. We can use this column on the right to select which parameters we would like to see. And we just continue like that until we have the lightsaber tween for the entire video. By the way, I've sped up the video a little bit because I'm sure you have got better things to do than watch me tweening this lightsaber. Sometimes it's quite tricky to figure out exactly where the lightsaber is pointing to. So that's why I use this tick I have in my hand as a guide to help me figure it out. We can decrease the opacity of the lightsaber up here To have a better view of the stick so we can more easily see where it's pointing to. Even though in most parts of the video, I don't need to set the lightsaber frame-by-frame in some parts where the motion is really fast. Like for example, when a product, a lightsaber up into the air. In that case, the tweening can't really handle it. And it's much better to do it frame by frame. And that's basically all there is to say about animating the lightsaber. I'm going to speed up the video a little bit more. And then the last part of the video we'll be talking about modifying the last frame of the scene. And we also have a look at the results so far. Okay, So now we're done animating the lightsaber for now, let's modify the last frames. First of all, let's remove these extra lifesaver frames. Select the first frame you want to remove, hold down Shift and then select the last frame you want to remove, and then press Delete. We see that this white triangle marks the end of the scene. We can move this right triangle to make the scene. And sooner. Now let's evaluate the results so far. More or less satisfied. But I'm thinking that the motion of lifesaver doesn't always work. And it's going to need a little fine tuning. We are going to do that in the next video. See you there. 5. Finetuning the Animtion: Hi everybody, Welcome back. In the previous video, we put in the rough animation of the lightsaber. And in this video we're going to fine tune the animation. To start off with, we first have a critical look at the animation so far. Let's put it in slow motion. We can change the frame rate down here. I'm going to set the frame rate to one quarter of what it usually is. I'm going to set it to six frames per second. We can skip the first part of the animation. So let's start here at frame 275 and see how it looks like. And whenever we see something that doesn't quite add up, we make some adjustments. For example, over here my hand starts moving already, but the lightsaber is still stationary. So let's modify it a little bit. Now, if you look closely at the rotation, the lightsaber looks a bit like it's floating around in like a decisive way. So I'm going to copy this keyframe and duplicated a bit lower by having the same key frame twice in a row, the lightsaber will be completely stationary. But watch out when we copy paste these keyframes. It moves all subsequent keyframes down by one. So to fix this, right-click on the first following key-frame and choose, select all following frames, or select all following frames in this column. And then you can easily drag and move them back. Click and drag to move them back. So let's continue modifying. Just scrub through the animation and every where, where it looks too, not quite make sense. Fine tune the animation. It takes some experimenting and playing around with it to get a good feel for it. So let your intuition guide you and try to think logically about what's going on with the light saver. It helps to have a good spatial inside. Don't worry if you don't get a ripping perfect first time. This is a pretty good exercise when it comes to using the animation tool as we practice getting the motion of the lightsaber, right? We're also developing an intuition about motions of cylinders and other forms in three-dimensions, as well as some general kind of islands, sword fighting, flowing motions. So we're learning a lot subconsciously to, as usual, let me just pick it up the video and tedious parts. When practicing, you can be as precise, as precise as you want depending on your final goal. Remember, sometimes it can be tempting to do a perfect job, but in this case, because one frame is really fast, you really don't need to get it perfect on a frame-by-frame level. Focus more on getting a good flow to the movement rather than getting each individual frame right. Most people who are watching your video will be quite forgiving and won't be watching the video with a magnifying glass to try to catch as many mistakes as possible. Finally, let's temporarily move the starting marker down to the parts which lightsaber start. A faster way to do this is just by right-clicking on the appropriate frame and selecting Set start marker. Anyway, I did it the slow way, but do yourself a favor and just do it the fast way, like right-click, Set start marker. Okay, let's see how it looks like now that we've done some fine tuning. Well, it's still not perfect, but it's definitely better than before. But in fact, I think I'm going to tweak on it a bit more, but I'm going to do that off camera. Overall, I think this is satisfactory. Remember that the people watching your video won't have been analyzing it frame by frame, so they won't notice the small mistakes in it. So you really don't need to be perfect. But I'm going to go against my own advice and I'm going to tweak a little bit more later. How perfect you want to be is completely up to you. Anyway, that's all from me for now. In the next video, we are going to add some special effects, and we will be doing this using the effect schematic. So I'll see you in the next video. Bye for now. 6. Fx Schematic: Hello everybody, welcome back. In the previous video, we have made a simple animation using a lightsaber. We have two columns, one with real feature of footage and one was the lightsaber. In this video, we are going to use the effects schematic to add a glow to the lightsaber. So let's start by opening the effects schematic. Just click on Window and choose schematic. We opened up the stage schematic. So click on this square down here to, toggle between stage schematic and affects schematic. Once we opened up the effect schematic weekend, see these little rectangles. And we see these little lines between them. We have the two columns. And they lead to the next sheet, and the sheet leads to the outputs. We can delete these lines by clicking on them and pressing Delete. Or we can even insert it affects by right-clicking and choosing insert effects and then selecting the effects you want. We have all sorts of effects. For example, for example, distortion effects, blur effects, and many more. Right now we are going to pick the glow effect, which you can find under the heading of light. As you can see, the glow effect has two inputs and one output. The inputs are called light and source. To see the effect, Let's scroll down to where we can see the lightsaber. And then click on this eye to get a preview of the effect. We can show or hide individual effects by clicking on this icon over here. Now let's add the second input 2. In this way, we have column 2 as the both inputs for the glow effect. It's quite fun and interesting to play around with these special effects. We can also use these buttons down here to change how zoomed-in view is. These effects also have some parameters which we can modify by double-clicking Honda rectangle. In the case of glow, we have parameters called Blurb, brightness, color, and fade. Unfortunately, there's not a lot of information out there on all the effects and their parameters. So it's best to experiment around with it to see what they do. We can also animate these parameters by setting keyframes, by clicking on these diamond shapes. In this case, I set two keyframes for the blur. As you can see. Now, the blur is going from very blurred, too little blurred by the end of the, by the time it reaches the second keyframe. Unfortunately, these effect keyframes don't show up in a timeline. So if you want to get an overview of the keyframes, It's best to open the function editor. And here at the bottom you see an overview of how the parameters of all your effects are twinned. So that provides a quick overview of the effects schematic. We have had a look at the glow special effect, but as you can see, there's a lot more special effects. So it's quite fun to play around with them and experiment with them. That's all for this video. In the next video we're going to take a short break from open tunes. And we're going to work a little bit on a photo editing software free and open source called GIMP. We are going to use gimp to cut off my arm. So see you in the next video. Bye for now. 7. Photo editing in Gimp: Hi everybody and welcome back. In this video, we are going to use gimp to cut off my arm. We're going to cut off my arm purely digitally, though, at least I hope so. So anyway, let's get started. First thing we need to do is export three of the most important frames from my footage. We need the first frame, which is basically an empty frame. It only has the background and it's going to serve as the background. I made a little bit of a mistake and you can still see my arm on the left-hand side of the picture. And you can also see the stick my bicycle pump, which serves as a lightsaber. But in my case is not going to cause any problem. So let's ignore those. We can use open tuned to export a frame. Just select the frame and go to Render Output Settings. Then we set the start frame and the frame to one. And we said the output file and the output folder down here. Once we're done, we click on Render. And this is a preview of what we're going to get or showing it to you in a file browser. This is what we have. Next, we want to export one of the frames where I'm going to cut off my arm. This frame just after the arm has been cut, is an appropriate frame. Again, Render Output Settings and now select the frame number 722, up into seven to two. And when I render it this time, I see that I made a small mistake because the lightsaber is still visible. Ideally, I only want to have a picture. We've only column one. So let me just delete this picture. And Haydn deactivate column 2. And I also forgot to change the name of the file to middle. And then I can click on Render. And this is the picture without the light saber. Finally, another picture I need is the picture where I'm suffering because my arm has been cut off. That's going to be the final frame. This one. That's 732. And I'm going to rename it to final because it's the last frame and click on Render. Okay, so now I have exported free params from my picture. And I'm going to open the final frame. In GIMP. Gimp is another awesome free and open source software, which is just like Photoshop, used mostly for photo editing. In this image, I'm mostly interested in showing my torso, excluding my arm. So what we do is we use the lasso tool to cut out my arm. Just use the Lasso tool to make a fine selection. The part close to my body on the side of my arm is most important on the other side, it's not that important. So you can do a very rough job there. And I'm going to press Control X to cut it, and then press Control V to paste it. And on the new layer I'm going to right-click and choose to new layer. And as you can see now we have two layers. One with more or less my body and the other one with everything else. Okay, that's good enough. Now let's import the initial layer next, which is going to serve as the background. Let's move the layer down to the bottom and rename it to background. As I mentioned, we still have a few items which shouldn't be in the background. Like for example, you can still see my arm and he can still see this bicycle pump. This is not ideal in general, but in this case I actually got lucky and it doesn't actually affect. The animation. So let's continue. We have three layers. We've got pasted layer, which we're going to use mostly for my torso. We've got background, which is going to be obviously for the background. And we've got another layer which we should actually delete because we're not going to need it. Just right-click on it and select Delete layer. So now we have only the background layer and pasted layer. And we see that where we cut out the pasted layer, we actually see the background. In other words, putting the pasted layer on top superimposes my torso, excluding the arm on top of the background. If we make the background layer invisible, we see this gray checkered pattern which denotes transparency. Next we're going to use the heal tool and the stamp tool to paint over the part of my arm which we can still see. To activate the here to click on this button and press H. We can change the size of the tool down here. Click on Control to select a source color. As we paint, we see two circles moving. The one circle which follows our mouse is the brush, and the other circle is the color of the brush. That's where the brush gets its color from. Right now, it's probably better to use the clone tool rather than the healing tool. So click up here and press C rather that we have to be careful when we reach the edge because we don't want to paint over the transparency. And the, we can fix that by selecting only the non-transparent part. Just right-click on the layer and choose alpha selection. Or alternatively, you can lock the Alpha by clicking on this icon here. Okay, Next we see that there's quite a clear seam between this torso layer and also the background layer. That's because my body is actually casting a shadow, which is why the background layers a bit lighter. So after all, and going to remove this part of the layer using the lessor to again, just make the selection and press the Delete button when you're done. Next, we import the middle image out of which we're going to cut out my arm. Once again, we use the Lasso tool to make the selection. And then press Control X and Control V to cut and paste the arm to a new layer. We delete this layer because we don't need it anymore and rename the new layer to arm. So now we have all three layers and we need to export them. Let's start by exporting the background. First, we hide the other layers. Select File, Export As, and we're going to export it to a file named Background dot PNG. Next, we're going to export the pasted layer and export it as a file named party. And then we're going to export the arm. But before we do that, we need to delete the other two layers temporarily so that we can easily adjust the canvas size to the layer by selecting image, fit canvas two layers on. Once we've done that, we can export it. That's exported as seven on that PNG. Now we press Control Z a few times to bring back the layers because maybe there'll be used for in the future. And we don't wanna do that work twice. And that brings us to the end of this video. Thanks for watching. In the next video we're going to take the pre-images which we just created. In other words, the background, the body, and the arm. And we're going to import it into open tunes. We're going to animate the arm. And then in the video after that, we're going to add the background and the body images in such a way to make it look like the arm has actually been cut off. So looking forward to it, See you in the next videos. Bye bye. 8. Animating The Falling Arm: Hi everybody and welcome to this video. In the previous video, we used to cut out one of my arms. In this video, we are going to import it to open tunes. We're going to animate it falling and give it a little bounce at the bottom. So let's do this hotkey. Let's import the severed arm into our open tunes project. And let's immediately move it down to the bottom of the animation by pressing Control X, Control P. Remember, the white rectangle shows a drawing area, and if we drag that arm out of the drawing area, it just disappears. So we have to either increase the drawing area or we have to stick to using the animation tool. I choose for the latter, I'm going to use the animation tool to set the position of the arm right over where the actual armies in the original footage. This is just as a lifesaver is about a cut of the arm. So we now we have the image of the severed arm floating above the original footage. Next, we're going to animate this severed arm falling. To do that, we go a few frames later. And let's move it all the way down to the floor using the animation tool. And we're also going to rotate it so that it lies flat. So let's see what we have. We just have the arm falling and hitting the floor. In fact, let's extend the animation just a little bit. And let's freeze the last frame of the original footage. That slowed down the playback to about half speed. And as we can see, the arm just forced down in a quite an answer cuneus way. We're going to tweak the fall of the arm now to make it look a bit more natural. A bit more like a real fall. Right now, the arm rotates instantaneously and pause down at a constant speed. That's not exactly realistic. So the first thing we're gonna do is create a little bounce after the arm hits the ground as an initial gas with say the bounce last six frames. So let's put a keyframe six frames later. And about halfway between the two keyframes to arm will be at its peak. I also think that they are won't just bounce in one position, but it's likely to move a bit to the left as it bounces. So let's set that up to k. So we have a very simple pounds now. So let's add a little rotation into the mix. Don't forget that the, the arm doesn't start rotated, but the original rotation is 0 degrees. Yeah, I think I over did the rotational bit, so I'm going to copy the rotation from this keyframe and paste it to this one. So let's see what we have. So it's getting a little confusing with all these keyframes. I think now is a good idea to switch to a graph. You to do that first open a function editor and on this little rectangle here, we can open a function curves. We can use the function editor to pick which variables we want to see. And Yuji right-click on the function curves and choose pit curve to get a good view of how the perimeter you are interested in is changing. Right now we're looking at the x coordinate, in other words, the horizontal position. We can move these points in an intuitive way and we can even delete data points using right-click, Delete. Better. Our case. So let's tweak the rotation a bit. By the way, I'm editing this video quite a lot to make it easier to follow. So it might look like I know exactly what I'm doing. But what's happening behind the scenes is that I'm experimenting a lot and it's not always going well. And then some it's a kind of trial and error approach. So I hope I'm not misleading you and picking you have to do it right. The first time is going to take some trial and error before you figure out what works and what doesn't work. So if you are messing around with this and getting a bit confused and feeling a bit frustrated. Don't worry, don't worry. That's perfectly normal. I also feel like that sometimes, don't worry, being confused actually means you're learning something. Anyway, back to the video. I just move the start marker so that I can more easily playback to focus only on the part where the arm is falling. And I can see what I need to tweak a bit more. Okay, so now that we have got a bounce more or less than, let's focus on the rate at which the arms falling. Right now the arm is falling at a constant speed. This is not realistic. Let's open the function curve for the y-coordinate or the vertical coordinate. We see that the arm moves downwards at a constant rate. In fact, we know from high school physics that Pauling objects usually fall according to a parabola. Well, who knew that high-school physics would actually come in handy. We can change the shape of this line by right-clicking on it and selecting speed and speed out. When we do that, we get a new curve. We can set the shape of the curve by clicking and dragging on these handles. In this way, we see that the rate at which arm drops starts very slowly and speeds up and speeds up and spits up and abruptly stops when it hits the ground. So let's see how it looks. Yeah, the fall looks a bit more natural than it did before. But k Let's do the same to modify the bounces. One good thing about the function curve is it's quite easy to play around with it and experimented, and we can even exaggerate. But we can easily see how things look like when we change them around. And there we have it. That's a pretty solid fall and bounce animation. I hope this video was useful for you. In the next video, we are going to use a special effect called local transparency to erase my arm from the original footage. So I'll see you in the next video. Bye for now. 9. Hiding Parts of the Original Footage with Transparency Mask: Hi everybody and welcome to the next video. In the previous video we animated my severed arm itself so morbid every time I say that. Anyway, in this video, we're going to use special effects in open tunes to delete the original arm from my footage. So let's go. What we're gonna do is we're going to use local transparency, special effects. But before we do that, we need to first draw transparency mask. So let's start by creating a new level and let's make it a vector level. We can name it transparency mask. I already created it once before, so I'm just to save time, I'm going to rename it to a new mass. And I'm going to start by drawing a rectangle covering the entire screen. Then let's use the fill tool. Create a new color, white, and fill it in. And just to demonstrate, I'm going to add a circle. I'm going to fill that circle in black. So now I've got a black circle on a white background. Next, let's open up the schematic and go to the fx schematic. Here we have our transparency mask. Let's delete the line and move it down here just so that it will be closer to the column one, which contains the original footage. And I'm going to add an effect called the local transparency. The local transparency has two inputs. A source in reference. The footage goes to the source and the reference goes to the transparency mask. And then I'm going to put it to the sheet. Now, what do we see here? We see that all the parts where the transparency mask was white has become transparent. And all the parts where the transparency mask was black. Show the original footage. Let's switch this around. Let's make the circle white and a rectangle black. Now we have the up, the parts of column one which correspond to the black region have become opaque and the part corresponding to the white region have become transparent. Next we import the background image which we created before. And let's move this background image all the way to the back behind all the other columns. And as you can see now, it looks like a part of my body has been made invisible. Okay, let's extend these layers down and also extend the transparency mask now. So what we want to do is adjust this transparency mask so that only my arm becomes invisible. First, let's deactivate the preview of the special effect and then make the column transparent so that we can see what's happening in the columns beneath. And then let's remove this circle. And let's use polyline instead. Let's also quickly hide the layer showing the severed arm. And let's plot out a shape roughly corresponding to my arm. We can use the control point editor to modify to fine tune the shape. And let's use the fill tool to fill it in white. And let's reactivate the special effects preview and make sure that columns 3 and 4 are probably hidden. Okay, So now as we scrub through the timeline, we see that we will need to adjust the transparency mask as I move around. So let me go down to a later frame and press on D to duplicate the drawing. And in the new drawing, I can modify the control points using the control point editor. And we repeated frame by frame until we get to the end of the animation. Okay, let's see what it looks like. Okay, it looks quite good. But as you can see at some parts, just some super obvious seams with the background. We can solve this by making the transparency mask a bit blurry so that the seams are not that obvious anymore. We can apply a blur to the transparency mask using a special effect. Just add a blur effect on this line. Looking at the shoulder, we see that the blur effect is a bit too strong noun, so double-click on the blur, rectangle and decrease the strength of the blur. After a little trial and error seems like two millimeters is an appropriate value. The same with the background is a lot less obvious. Now, next, we would like to patch up the torso. You will no doubt have noticed that at the parks where the arm moves in front of the torso, it seems like part of the torso becomes invisible. In order to take that, let's first import the picture which we edited before of the body. And let's move it to just before the background. And as you can see, it already does a lot to cover up the invisible parts of the torso. Next, let's unhide the lightsaber and the arm and see what the animation looks like as a whole. Or in high-speed. Looks good. We just need to make some adjustments here to the duration of these columns. And then finally, the last thing we need to do is copy the animation and look for blemishes like the. And we're going to fix them using another kind of level called a raster level. Rasters levels don't use shapes and vectors, but they use brushes like in the old-fashioned way. So first let's use the color picker to pick this blue color. And then let's hide the lightsaber because it's blocking my view. And let's go to the brush. And I'm going to set the hardness to 0. Hard, a very soft brush means that the edges will be very fuzzy. And I'm just going to click over these blemishes. And we need to extend this drawing to cover more than one frame, of course. And we need to make sure that this blue blob, essentially I'm just drawing a blue blob. We need to make sure that this blue blob, which I'm drawing, covers all the blemishes across all the frames in question. And we mustn't forget to move this blue blob column, actually behind the lightsaber column and behind the seven on column. Otherwise, the blob will block the view of the lightsaber and the falling arm. Okay, so that's it with this where essentially finished with all the animation. In the next video, we're going to add audio resources. So thanks for watching this video and I will see you in the next video. Bye. 10. Adding Audio: Hello everybody, welcome back. In this video, we are going to add some sound effects to our animation. Actually, it'd probably be a bit easier and a bit faster to first export the video and then use a simple video editor. For example, a video editor like Kaelyn live, which is also free and open source. However, because this is an open tunes tutorial and k1 live tutorial, and because it could be used for some times to be able to do a bit of basic audio editing within open tunes. I'm going to teach you how to do it in the open tunes way in this video. So let's get started. Okay, let's get started importing two audio files. I downloaded these audio files from where you can get a lot of cool sound effects to import them, just drag and drop the files into the AC she'd in open tubes. We can preview what they sound like within open tunes. Okay, let's start with the light saber sound. We're going to hide the other column. Let me just quickly reset, start marker first. And next, let's remove the empty frames. Just select them, hold Alt Shift to select multiple and press Delete to remove them. Okay, Next we move the sound bite down to the appropriate place. We can click and drag it as usual. Or we can use Control X and Control V to cut and paste. Okay, So next we want to copy and paste the same soundbite for every time I swing with the lightsaber and make this whoosh sound like here. Just find this bright spot and paste a duplicate of the soundbite. And then just repeat for every swing of the lifesaver. In my version of open tunings a bit confusing because the pasted soundbites end up being muted. But what seems to pixel is just to deactivate and reactivate the layer. Anyway, I'm sure you have better things to do than to sit and watch me mucking around with the audio. So I'm going to speed up the video again a bit. We can also play multiple sounds simultaneously, the way we just paste them into parallel columns. So for example, in this case, when I'm flipping up the lightsaber, It's interesting to have three sounds plane parallelly. Finally, we're going to move the screen down to the end of the animation to men. Unfortunately, we notice that when we cut out the screen from column nine, it actually moved all the other soundbites up a bit. So we have to fix that before we continue. And when we're done, we can test it. Anyway. We see that it is not quite right, so we need to make some adjustments. So just adjusted until you're satisfied. Okay, Finally, we want to add the original soundtrack from the original foot. The most straightforward way to do that is to open the original file in audacity, which is also a free and open source software. And then just export it as an MP3 file. Then we can import it into open tunes in the usual way. And we can change the relative volume of here. Unfortunately, the timing didn't sync up quite right. So it's best if we adjust this manually. And we can also get rid of the Hadley cells in the video. So like I already mentioned in the beginning of the video, it's probably better to do this using a video editor. But you never know it might sometimes come in handy to be able to do some basic sound editing in open tunes itself. So that's why I teach this rather than a video editor like k1 life. And finally, I think I'll pick the green from the original footage rather than the scream which I downloaded from because I like mine better. So that's it. That finally brings us to the end of the course. In the next video, we're going to have some final words and final advice. Thanks for watching. See you in the next video. Bye-bye. 11. Summary: You've made it to the end of this course. Good job. In this course we've learned quite a lot. We've learned about importing video and sound. We've got a lot of practice with the animation tool and we're animating saber, taking into account foreshortening and stuff like that. And we've learned all about using the effects schematic. And we've learned to use some simple photo editing and the function and return a function curves to make it our lives as animators easier. And finally, we also learned to add a soundtrack. I hope the course was useful to you and more importantly, I hope you enjoyed it. Remember to upload your class projects so that I can give you some feedback. And if you have any questions or comments or constructive feedback, don't be shy and let me know. So have fun animating and see you next time. Bye-bye. 12. Appendix - Downloading and Linking Ffmpeg: So let's talk about integrating FFM page into open tombs. I will demonstrate this for Windows because I'm assuming most of you will be on a Windows. But if you're on Mac, it can be done in more or less the same way. You can find instructions for this on the open tunes documentation page on specifically on this website, you can type over this link or you can just search for using FFmpeg with open tombs. Down here we can find instructions for Linux or Windows and for Mac. First we need to download FFmpeg. Let's get the one for Windows. In theory, you can pick either of these, but I'm going to pick this one be TBN. And then we have all different versions of FFmpeg. And I have absolutely no idea what the differences between. Actually, these are nightly builds, these are official releases. And then you've got differences in licences. Gpl and our GPL are two different types of licenses. In fact, for our purposes, it doesn't really matter which one we use, but I think your best bet would be to use just a regular GPL version. Then I'm going to put for one specific file in the bin folder, you should find FFmpeg dot EXE. That's an important file. That's the one we want. So I'm going to extract it. And I'm going to just delete this zip file because I don't need it anymore. And I'm going to copy this folder. Then go back to open tunes, file, preferences, import and export. And over here you can set the FFM peg path. That's where you paste the path which we just got. Then the final step is to restart open tombs. And let's just make a very quick test animation. Then I go to Output Settings, and I wanted to enter type of file. And let's just put it on the desktop. Here it is. Let's see if it works. Yep, it works. So that's an easy way to export into animated files.