Motion Graphics with Kurzgesagt – Part 3 | Kurzgesagt - In a Nutshell | Skillshare

Motion Graphics with Kurzgesagt – Part 3

Kurzgesagt - In a Nutshell, Motion Graphics Videos

Motion Graphics with Kurzgesagt – Part 3

Kurzgesagt - In a Nutshell, Motion Graphics Videos

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10 Lessons (1h 5m)
    • 1. Intro

      1:01
    • 2. Setting up your Project

      9:25
    • 3. Introducing Rubberhose

      10:57
    • 4. Bringing Character to Life

      6:36
    • 5. Cross-Composition Linking

      3:16
    • 6. Character Key Poses

      11:10
    • 7. Fake 3D Depth + Secondary Action

      2:05
    • 8. Timing + Exaggerating Movement

      10:54
    • 9. Overlapping Action

      9:30
    • 10. Outro

      0:22
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About This Class

Here comes the third and final part of our tutorial series. We will focus on Character Animation using Rubberhose. You can purchase Rubberhose here: https://www.battleaxe.co/rubberhose

This class is for advanced learners. Have fun!

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Kurzgesagt - In a Nutshell

Motion Graphics Videos

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Kurzgesagt (German for ,,in a nutshell") is a Munich based youtube channel and design studio with a distinctive perspective on design, color and story telling.

 

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Transcripts

1. Intro: In this class, we are going to focus on animation within After Effects in 60 frames per second. Throughout the class, we will learn how to do a rigging using RubberHose, more complex character animation covering some basic principles of animation, and cross composition linking. You will need the RubberHose 2.0 plugging from Battle Axe for this class. You can download RubberHose at battleaxe.co/rubberhose. This class is perfect for animators who want to get a grasp of the tool and more into the nitty-gritty of character animation. To benefit most from this class, you should know how to set up an Illustrator file for animation. We covered some of that in part 1 of this course, how to set keyframes and generally have a basic understanding of After Effects. Some knowledge of rigging and basic character animation may come in handy. This tutorial is specifically meant for animators who want to learn the Kurzgesagt style of animation. Go ahead and download the Illustrator assets for your animation from Skillshare. Let's get started. 2. Setting up your Project: Just as a note, this class is not for complete beginners. We will be building on the knowledge from part 1 and 2 of this course. Just a few notes on illustrator, we will be focusing on animation within after effects. I just wanted to give you a few notes over here. You can download all of the assets from Skill Share. This includes the Illustrator file and the after-effects file for animation. As I mentioned before, naming is crucial and especially when we have a lot of layers with a character, we want to use group naming. This can help with keeping track of layers and character parts. Like here we have breast left and a shadow that goes with that. Now we'll jump over to after-effects and this is the scene we'll be animating today. You can download all of the assets from Skill Share. I would like to point out again that a clean folder structure is quite important here. We have our assets over here, and our animation comes over here. The downloadable assets also include the project file with the Finnish animation, which you can use to create your animation or check anything that wasn't clear before. As you can see, we have a main scene and separate character comps. It's not always necessary to separate your characters into separate, pre-comps or even files. Sometimes this is not advisable as characters need to interact and the layers have to interlace. However, I would like to show you some cross-linking you can do between comps and after-effects when you want to apply an effects to multiple layers or multiple comps. So this is why we have separated the comps for each character here. Of course, you could also have all the layers in one Illustrator file and pre-comp in after-effects later. But this way we already have the comps and the comp names prepped. So we have all of our characters in separate Illustrator files, which we then import into after-effects and have separate comps. We are never animating in our original comp. We want to keep that as a fail-safe in case we accidentally delete a layer or we want to set the position or rotation properties back to how they were in the original. So we'll create duplicates of those comps and we'll be animating in those. We've already discussed in putting assets into after effects in part one of this course. So I will skip this part. We'll be animating in the main comp over here. We want to set a start mark at zero, and we'll check our comp settings. As mentioned in my previous classes, our start time code is 59 minutes with a duration of 11 minutes. This gives us one minute leeway before the start of our animation. In case you want to add some key frames or a pause beforehand. This saves us having to shift layers and key frames forward when making these edits. You can shorten the duration of the comp if this is too long for you, I just like round numbers. We'll be animating in 60 frames per second, and we'll drag our main comp in here. We will add a comp trim marker, and trim the comp. This is a visual aid in case any mistakes happen, we drag the comp and then the beginning doesn't line up with where we trimmed the comp. We have start marker at one hour or our theoretical point zero. We will set our end marker once we have finished our animation. This will help us set our workspace for rendering. Inside our comp we have our layers trimmed. It will set a start marker here also, and we'll drag in our character comps. I have already set some markers here. You can ignore those for now. It will become clear later why I've set these. Now we want to reposition our characters according to our reference layers over here that I've already said to guide layer and turned gray. We can ignore these later. We don't want them to render, so that's why we set them to guide layers. Now we'll move our patient and position this character where our guide layer is, and our doc as well. We will jump into a patient comp. We've already discussed parenting characters in part two of this course. I will skip this part. I will note a few things regarding some specifics of this character, and then I will jump right into creating our rubber hoses. I've already colored in all of our layers and parented everything that belongs together. For now, you don't need to parent the feet, the legs, or the arms as we'll be treating hoses for those. Let's just jump back for a second. You want to make sure that your scene is aligned and continuously rasterize is turned on. If this is not checked, you might get a transparent frame around the edge of your layer. This can happen sometimes and when you have overlapping scenes, the scenes can shine through. You want to avoid this. We want these dots to be on the entire gown, but because we have separate paths to the body, like the belly, the breasts, and the gown itself, we need to duplicate these dots, and we'll be using the layers that the dots will appear on as masks themselves. So we'll duplicate these shifted over here. We can even change the naming to make it clear that this is a mask. We can also change the color. I like to use brown, and then we'll change the track mattes to Alpha mattes. Then as you can see, the dots only appear on that gown. Now we'll duplicate the dots and we'll duplicate the belly and since the dots are already set to Alpha, this now applies to the belly. We can't see it because the eye is still on, so we'll turn that off and then it appears on the belly as well. I have already parented all of the layers that need to be parented to each other. So what you want to do is do the same and you want to parent from the outside in. So you want the head to be parented to the neck, the neck to be parented to the body, and so on. As I said, the arms and legs don't need to be parented just now as we'll be creating houses and we'll be parenting them later. You want to make sure that the shadow of each corresponding part is parented to its part. So the breast left shadow is parented to the breast, the breast right shadow is parented to the breast right, the belly shadow is parented to the belly, and so on. For this character, we want the anchors to be positioned at the very top most of the layer because of the resizing we'll be doing in this animation. This goes for the gown. The breasts will be re-sizing from the center of the body outwards. So we want the right breasts anchor to be at the top left, and the left breast anchor to be at the top right of the layer. We kept the next anchor at the center of the layer. The sleeve anchors are at a natural rotation point of the sleeves, so towards the center of the body and in a similar position as the breast anchors right around there. I've also created null controllers for the face and the body. It doesn't really matter where the control sit, but you might want to position them in a place where it makes sense. The face controller is in the center of the face, the body controller is at the top of the body. You could even put it where you put your gown anchor that would work also. You want to make sure that your gown dots a parented to your body controller, not to the gown because we'll be resizing the gown and we want the dots to stay the same. So don't parent them to the gown. Now we'll jump into the doc character for a second. We also have a phase controller here. We have a body controller, and the body controller is in the same position as the body anchor, and the body anchor is where you would have the hip, will be adding a rotation key frame in this animation. So we want the body to rotate from a hip position. Again, no need to parent the legs or the arms. We'll be creating houses for those. We can now turn off these guide layers. We don't need them anymore. As you can see, I've already sets the doc layers to guide layers. That's why we can't see them in the scene, but they're still there. Don't worry about that. Right. Now we'll jump into creating our houses. 3. Introducing Rubberhose: I have solo the layers that we need for this step. I've turned on the shy button on all the layers that we don't want to see right now. So we can focus on just the layers that we need. I've also copy-pasted the reference layer from the scene for each character. So open up your RubberHose plugin, which is in Window, and RubberHose once you have installed it in the correct place on your computer. We're now going to copy the name of the leg layer. Of course, you can just type this in in the RubberHose plugin, but since we've already named it, we can just copy it, add any kind of letter or symbol after it. It's very important that you have no other layer named the same way as your hose or there might be issues. This is why we add an x or any other symbol after the name. We'll now paste this into our RubberHose naming field. We want to create hip ankle for the leg. We'll hit this button over here, and this is our hose. We don't want to delete the original layer just yet because we'll be modeling our hosts according to this layer. What you want to do is set it to guide layer and turn it gray. So this particular character, the leg is designed for the final stage of the animation. So we're actually going to turn on the reference layer, and model our hose according to that. So we'll turn off the leg layer for this one. We will trim the layers, and add a color to them. Let's make them aqua. We'll now want to position the ankle and the hip in the correct position. So be somewhere around here. You can even turn off the layer, just go by looking at the foot over here. So as you can see, I've put the ankle of the foot at the bottom here, so not at the rotation point where you would normally put it. This will become clear during the animation why have done that. We'll now want to make the hose shorter, and as this knee would be bending this way, we want to turn the bent direction the other way, so minus 100. We also want to change the color, but actually we'll change the width first. So adjust the width. If you want to get the stroke-width exactly the same way it was designed in Illustrator, you can hop over that and check the stroke-width. We'll just do it by rule of thumb. Slow the too long as well we don't want it to be bending just now. The hip controller is blue at the moment. That means the hose is overstretched. So we might want to push this down a little bit, or we can adjust the length over here until it's no longer blue. But of course we don't want it to bend, so we just need to hit that sweet spot. So somewhere around here. Now we can color in our hose. We'll just use this eyedropper tool color it in this character's skin color. Now we have the left leg finished. What we can do now is duplicate this leg. We don't need to redo this hose. So we'll just click on "Manage", and then duplicate selected hose group. It will duplicate this. Then you can rename your hose. So this is Hose-right. As you can see, it now added the two because we already have a layer named the same way. So we'll add an x, we'll rename this again. So we don't have this annoying too, and now it's all good. You also want to set this to guide. What you can also do with your naming is add an underscore before your L or your R, and then when you duplicate your hose, it will actually recognize it and change it to an R. If you plan this in your Illustrator setup, and in your naming from the beginning, then you can save yourself some time renaming your hoses. Later on, we'll add idle animation to the body. If we were now to parent the feet to the ankles, the feet would automatically rotate by this checkbox being ticked. But we want our feet to stay still. So for the ankles, untick this checkbox. This will be useful for that idle animation I mentioned. It will stop the feet from rotating while our characters legs bend. If you leave this ticked on, your controllers will rotate automatically in the direction of your wrist and ankle movements. This is handy for walk cycles. You might want to decide which way you want to animate your limbs, and tick the checkboxes before you parent your artwork. Otherwise, it might adjust the rotation of your artwork. We also want to move the right leg in the right position, of course. So we'll hide the leg layers, and position the hose. If you wanted to parent the foot to the ankle, and you want to continue rotating this, this is what would happen. So your artwork was rotated here. This is why you want to decide the rotation of this before you parent your artwork. So in this case, we don't want the ends to rotate. So this is fine we can leave this unchecked, and we can parent our feet. We want to do the same thing for the arms. You want to choose shoulder and wrist. Of course, you don't want to parent your hand before you've positioned your hose because then this will happen. You can hold "Shift" while shifting these controls over. You can also hold "Shift" while you dragging this, it will snap right to the end. You want the shoulders and wrist controllers to be parented to the body control. As you can see, the wrist has the auto rotate and ticked because we want the hands to rotate with the wrists in this case. We also want the hips to be parented to the body controller. The ankles don't need to be parented to anything. You can now either delete these layers or just leave them there as a reference. Sometimes I leave them, sometimes I delete them. It completely depends. Now we have our first character setup, and we'll do the same for our second character. I've already shied and soloed everything, and set our leg and arm artwork to guide layers. So now we just need to create our hoses. We actually want this controller to be more in the center of this layer. You can see the hose ending here. So we may want to move the ankle down a little bit, but be careful we've already parented it. So anytime you want to make changes, make sure you unparent your hose before you make any adjustments. What you can also do is change the bend radius to make the elbows a little bit pointier, and the realism. Unfortunately, you can't make double bends like this with RubberHose, but that doesn't matter. We can just leave our hose with one bend. They also want the wrists, shoulders and the hip to be parented to our body. 4. Bringing Character to Life: Now we're going to create some idle animation. We'll start with our dark character and we'll add some breathing to the body controller. We'll create a position keyframe, we'll move 50 frames forward, move the body down a little bit, add a ping pong loop, and set it to easy ease. Now we'll add some dynamics to the mouth as well. We'll create shapes from vector layer, we'll remove the original layer, you can also just set it to guide layer and hide it, we'll toggle down the path, we'll toggle down the transform properties of the path group, and we'll animate the scale down here. So not the main scale property, we'll be using that one for another piece of animation later on. We don't want to use this scale, we want to use the scale inside of the contents group. We'll set a keyframe, we'll move forward 50 frames, and turn the size down to 90 percent. We'll add a ping pong loop, we can copy the one from above, and we'll add easy ease. We'll do the same with the patient, but for this, we'll actually duplicate the layer, change this to breathing and parent the body controller to that. We want to add some animation to the body controller later on, so we want the idle animation to be on a separate controller. We'll jump back 10 frames and then set our position keyframe. We're shifting these keyframes so they don't move at the same time as the other character and looks a little bit more dynamic. We'll now move forward 50 frames and move the controller down a little bit. We'll easy ease that, and add a ping pong loop. We should still have that and our clipboards, I'll just paste this over here. We can check by pressing EE and the ping pong loop is where we want it to be. Now, we'll also add a mouth scale. We wanted to start at a 100 percent and then scale down to 90 percent. We'll add an easy ease and the ping pong loop from before. You can also shift these keyframes back if you like, but I'll just leave them here for now. We're not going to add any additional animation to the scale of this layer, so we don't have to convert it to shape layers. Now, what we want to do with the eye is something special. To avoid animating a repeated action multiple times, like the blinking of an eye, we will create a template comp that will be used multiple times on both characters. We'll also call it differently than the other scenes in our animation to make it extra clear that this comp cannot be changed individually for each scene. We want to pre-comp this layer and we want to leave all attributes ticked. We'll rename the layer, and we remove the patient pot and call it T for template. If you pre-comp a single layer, the new pre-comp is the exact size of its layer as you can see, and it stays in its original position in the parent comp. You can only do this on single layers, not multiple layers unfortunately. We'll add a marker, and we'll also move this in its own folder. Now we know that this eye is not part of any specific pre-composition or scene, but it is in multiple places. That way, if you pre-comp anything else, if you create any other templates, you know that you can't add individual animations to this composition because then you might be disrupting other scenes that this composition might be using. We'll also change the name here so we don't get confused. You might also want to change the color so that all the templates comps have the same color, even though in this case we'll only have one, but in the future, you might want to pick a color that you'll always know will be used for a template. I want to check the composition because as you can see, this jump back to zero, we always want this start time code to be at 59 minutes, and we'll also cut this layer, and add a start marker. Now we want to add a scale keyframe. We'll move five frames forward. We want to unlink the constraint proportion and scale the y property to 10. We'll move ten frames forward and scale this back up to a 100. We'll add a market here, we'll move forward 90 frames, we'll add a market here, and we will Ctrl click this keyframe and easy ease these other two. Now we'll highlight them and copy paste them over here. We want this one to be around one also. We'll add a marker over here. Now we'll move forward 150 frames. We'll add a marker here, and we'll copy paste the very last keyframe. You want the eye blink lived to be a little bit irregular to make the animation less predictable. We are also not scaling the eye all the way to zero because it would then disappear for a frame and that would look like a mistake. This is why we don't just loop this one little set of keyframes, but we've added a few more in erratic distances. Now we want to add a cycle loop to this. Now we want to position this eye. To get all of those markers that we just set, we can just drag this comp back inside. We'll trim this and we'll grab the position of this one and add it to our new eye layer. Of course first we need to parent it to the same controller, otherwise the position doesn't match, then we can remove this eye. Now we have all of our markers on the outside of our comp as well as on the inside. Now we want to duplicate this layer. We want to shift it back 10 frames. We are shifting the second eye layer back to get some dynamic displacement. We now have a blinking eye loop that we can use on the other character and we can resize the eye as needed for animation independently from the loop. We'll copy the eyes, well parent them to the face controller, and we'll shift this back 40 frames. 5. Cross-Composition Linking: Now, we'll do some cross composition linking. We'll create a null object in our scene. We'll trim it, color it, and name it, CTRL_shine. What we'll be doing here is adding a little bit of animation to the shines of these characters here. We'll add three slider controls. You'll have to open Window Effects and Presets, and we can duplicate these twice with three of these. You can then close the panel again. We won't need it, and we'll rename this trimPath_start, trim_Path_end, and trimPath_offset. We can also lock the Effect Controls now, and we'll add an animation to the offset slider. We'll start with a minus three, move forward 30 frames, and add plus three. We'll add easy ease and a ping-pong loop. Now, we'll move to our doc, and will create shapes from that layer. We can close that. I will delete the originals. We'll add trim paths to this, and we'll link these properties to our controller. If you hold ALT while linking these controllers, you'll then remove the naming Slider. This is handy if you're using different language software of After Effects. So if you are in a team with multi-language team members, one is working in the English version, the other one is working in another language version, these slider names might create problems. You might want to use universal expressions by hitting ALT when you pick within something. In our case, that doesn't matter as we're animating in English. Now, this is set to zero. Of course we don't want that. We don't want it to disappear completely. We want our trim path to be around 96 and four. You can switch these around, of course. We'll do the same with our pony tail. Now, you can see the shine is wiggling just a little bit to give the animation a little bit of dynamic. Now, we'll do the same with the patient. This one only has a head shine. So again, we'll create shapes from vector layer, remove that layer, trim paths and link the property is. So next time you are using the wiggle control I showed you in part two of this course, you could set it up this way and have one controller for all you wiggle expressions. 6. Character Key Poses: First thing we'll animate is the doc poking the patient. To build anticipation for the main action, we'll fast animate the left arm. We'll move 30 frames in to give the viewer some time to focus on the start of the animation, instead of putting the key frame right at the first moment. We'll add a position key frame and move 50 frames forward. We'll add another position key frame here, and we'll go back and animate this arm down. We'll add 75 percent velocity, and we want to curve the motion path. Most natural action tends to follow an arc by curving the motion path of our animation, it allows for greater realism. Now three frames after the start of the arm movement, we want to animate the hand, we'll add a rotation key frame, move 50 frames forward and rotate this towards the body a little bit. Maybe we can rotate it away at our first key frame, we can even put it down to zero. We'll add a velocity of 75 percent. Now this is the action that will create anticipation for the main action, the poking. So what we'll do, we'll go to this marker that I've created, which is at one second 20 frames, and it also lines up with the last key frame of the arm left movement. We'll add a position key frame to the right arm. We'll move 50 frames forward, and we'll move this arm forward. We'll busier the motion path. We don't actually have to do this from both sides. It's enough to do just from one side to create this curve. We'll add a 75 percent velocity. Three frames after the beginning of the arm movement, we'll add a head rotation, 50 frames and we'll rotate this around eight degrees. We'll add a 20 frame hold. So we'll just add the same key frame, then 50 frames forward, and then we'll copy paste the very first key frame, we'll add 75 percent. What we want to do with the arm, we want to move this one back as well. So we'll move forward 20 frames at a hold frame, 50 frames later, we'll copy paste the very first frame. Now what you can see here is that the motion path is curved the other way. So we want to fix that. We want it to move the same way back. Now, go back to the head. After the last frame, we want to add a 20 frame hold. Then we'll move 20 frames forward, rotate to seven, and we'll repeat those two key frames twice. We'll actually remove this last key frame. So after the doc has done the poking, she'll nod at the patient like everything's okay. We just want the doc to nod twice. Now we want to add some fake 3D depth to the face. So as the head is rotating down, we want the face to follow just a little bit. So we'll add a position keyframe to the face controller. Move 50 friends forward, and we'll move the face down just a little bit. We don't want it to be too extreme. Hold frame and backup to its original position. We don't need the face to move during the nodding phase, so we'll just end the key frames for the face here. Now, as the head is moving, we want to animate the pony tail as well to add some overlapping actions. Not everything is happening at the same time, and as some parts of the body are moving, other parts are following and adding a little bit more realism to the movements. So as the head is bobbing, the pony tail bounces along. We'll start with three frames after the head rotation and add a rotation key frame. You want this one to be 75 percent velocity, and the rest of them to be easy ease. We'll move 30 frames forward. Rotate the ponytail to 10 degrees, 30 frames minus 10, 40 frames, 10 degrees and easy ease. Then we'll add 20 more frames, turn this down to minus 10. Now we get to the nodding reaction 20 frames again. Here we'll add a hold frame, so we won't change the numbers. Then 20 frames, but up to 10, 20 frames minus 10, 20 frames, back to 10, another 20, and back to zero. Now we'll add the body rotation. So the characters actually bending forward as they are poking the patient. We'll move forward four frames and add a rotation key frame, 50 frames forward. We will rotate the character, let's say 15 degrees. We'll add at 20 frame hold, 50 frames forward, rotate it to minus three. We will easy ease just as one key frame. Move 50 frames forward and set this back to zero. We'll add 75 percent to the rest of the key frames. We'll also add some position key frames, three frames after the rotation, 50 frames move the character forward a little bit, maybe something like this, 20 frames hold, 50 frames and we'll copy paste the first key frame, 75 percent. Now, because this character is reaching outside of our comp, we might want to check that this isn't being cut-off as our comp is only this large. But what you can do is turn on continuously rasterized, and then it doesn't matter that inside our Comp the characters are reaching out of its bounds. We'll jump back in. Because this looks a little bit unnaturally, we'll add a little bit of animation to that leg as well as this character moves forward. We'll go to the first keyframe of our body rotation. We'll animate the left leg, we'll set the first key frame, three frames after the body rotation, 50 frames, and we'll move the leg up. Because we have set the end not to rotate, we now have to manually rotate the foot as well, but we'll finish the leg animation first. We want to add 75 percent velocity, and we want to busier this motion path. So it doesn't move up completely straight, but it has a little bit of an arc. Now three frames after the leg position, we want to rotate the foot, 50 frames maybe something like this. You can play around with this, whatever you think looks the best, 75 percent. Now we want to rotate the foot back, and we want to set it when the body moves back. So the body is moving back here, this is the first rotation key frame, we'll move three frames after this, and this is when we'll set the next fit rotation key frame back. We'll copy paste these and we will reverse them. Now three frames after this key frame will move our leg backs. Copy paste this, and reverse. Now we want to move this arm back also. We'll start over here when the body is moving back. Move three frames forward, add a position key frame, 50 frames forward and we'll copy paste the first key frame. You can see we have to adjust the motion path. You also don't want this to be happening, otherwise your arm will be moving past its key frame to make that curve. We want to move this away. We'll zoom in a little bit. Actually, we want to move this arm behind the doctor' s back. So we won't be using the same key frame, but it will move it back behind his back or her back. But for that, it looks awkward doing this. It doesn't look natural that the elbow should bend that way. So what we want to do, we want to find the bend direction, which is right here. As the hand is moving back, we want to snap the bend direction in the other way. So we need to move this arm in a little bit further, something like this, 75 percent, and we want to rotate the hand. So start three frames after the arms starts moving, add rotation key frame, 50 frames, we'll rotate it to about minus 15 degrees. We'll check if the key frame velocity is still correct sometimes this changes. So sometimes you need to apply these multiple times to check the other ones as well. Its all good. Now we have our first part of the animation done. The reason why we are setting our key frames in a sect order so the three frames later, four frames later after a previous action, is to create overlapping action and make the movements look more natural. Watch yourself in the mirror doing these movements, you will notice that certain parts of the body are driven by other parts and don't move at the same time. 7. Fake 3D Depth + Secondary Action: We'll animate the patient's reaction of being poked. This is the secondary action supporting our docs main action. You want to start with a position keyframe for the body at around two seconds, you can move these keyframes to where they look good as a reaction to the docs animation. We'll move 12 frames forward, we'll move the body up a little bit. We'll easy ease these keyframes, we'll move 30 frames forward we'll copy paste the first keyframe and add 75 percent velocity to this. Now we want the patient to look at the doc, like, what was that all about? We'll add a position keyframe to the face we'll move forward 50 frames and move the face to the left, 75 percent velocity, and to create a fake 3D depth we'll also move the back hair in the opposite direction. Add a position keyframe and we'll move the head to the right, 75 percent, and now we have something like this going on. Now we also want to add some resizing to the eyes, a little bit of shock. We go to the first keyframe of the body position, we'll add a scale keyframe to the eyes, move forward to the next keyframe of the body, we'll increase the size by 20 percent and we'll want to take continuously rasterized so it doesn't pixelate our graphic. Then we'll move to the next keyframe and we'll copy paste the first, and add 75 percent. We'll actually change the middle one to easy ease like we've done with the body keyframe. Great. Now that's done. 8. Timing + Exaggerating Movement: After our Docker style nodding, which is around five seconds, six frames, we will bloat our patient. After that, we will animate the reaction of the doc2.event. We'll start with the topmost layer, the hands. We will turn the sizes down to 80 percent, set a scale keyframe, move 50 frames forward, and scale the hands up to a 100 percent. Velocity is 75 percent, wel'l also move the face back. We'll start 10 frames after the first hand key frame, we'll grab the first position key frame of the face and copy paste it. We'll move 30 frames forward, move the face. Left down, move 30 frames forward, move the face a right-down 50 frames forward and back to the original position. Seventy five percent, which is already the case, and we want to move the back hair in the opposite direction. We'll do the same thing, we'll grab the first key frame, we'll go to the next key frame of the face, move the hair right and up. We'll also want to make sure that there is no gap created with the face key frames. If this happens, we'll need to adjust a little bit, not go quite so low and the same with the next key frame and the hair. To check if the velocity is so correct, yeah this is what we want. Now we want to scale the neck, we'll set it to 52 percent. The reason why we are animating backwards is that it's always better if you don't have to scale your outward past 100 percent. If you're working with Illustrator files, then of course you can't do that and you can take continuously rasterized, but that means your animation, your render, your aftereffects, they all have to work a little bit harder to read the Illustrator file to resize them correctly past 100 percent. So continuously rasterize means for every frame it reads the Illustrator file to get the correct pixels to correct vector size. If you're working below 100 percent, you don't need to tick the continuously rasterized button, and therefore, your rendering is a little bit faster and less heavy on your machine. This is why we set everything to the largest size the animation will be and we'll animating it back down. Set this key frame, we'll move forward 50 frames and set it back to 100. Seventy five percent we'll do the same for the breasts, we will start at 80 percent after 50 frames, back up to 100, same velocity as for the other animations. We also want to move them out a little bit. Add a position key frame. Probably want them to be a little bit higher in the beginning as we are going to be missing the big neck that will have later on, 75 percent we'll scale the belly. We will start at 55 percent and we'll scale the gown, before the gown we want to unlock the constrained proportions as we only want to scale it in the width, we will scale this down to about here. Feel free to make the patient as skinny as the like. Of course, you can always add the keyframe at its final position and then move backwards. We want to scale the sleeves down to 60, and we want to add a rotation as well. We want to rotate them out a little bit. As you can see, we've made our hoses a little bit too short, that something that can happen. We can adjust that later on. Now we want to move the wrist out a little bit, or rather has an animating in reverse order move the wrists in a little bit. You can even rotate the shoulder is a little bit further and perhaps adjust the shoulder of the hose a little bit, 75 percent. Now this hand is sitting a little bit funny. But let's just adjust that a little bit. What we also want to do is animate the stroke of the arms and we want to toggle down contents style, base hose, stroke and stroke width. We'll set the stroke width here, we'll actually animate it up, that seems about right. We'll do the same for the other arm. Now we want to scale the feet and as I mentioned, I put the anchor at the bottom of the feet rather at a natural rotation points because you want to scale them and we want the feet standing on the ground staying in the same position. At a scale we can move this forward, scale these down to 70 percent or whatever looks good, this one here a little bit too small and we will scale them up just a tad. That looks okay, 75 percent. Now we want to animate these shadows over here to exaggerate the bloating a little bit more subtle. Shadow will trim the layer because we won't see it from here as we'll be turning down the capacity to zero and then turning it up to 100 percent. We'll use an easy way for this, so as the value grows, we can see the shadow coming in. We want the same thing to happen to the breath shadow, so we'll just copy these frames, highlight the layers, paste, trim, and now they are there also. But now our patient looks pretty flat, so perhaps we won't do that for the breasts, we'll undo that. I'll keep the breast shadows the way they are will just animate the belly shadow. Now we want to add a bit of an expression to the face. So five times after our marker will add a rotation and a position to our brows would be 50 frames forward and we want to turn them diagonally. You've actually have the final keyframe here, so we'll just move backwards and we'll rotate them, and we want them to come down a little bit, maybe in a little bit as well, 75, same for the rotation. We'll jump back to our Marker and we have these lids, I'm going to trim that these lids emphasize the cheeks growing and becoming larger. Final positions, we'll start with our first keyframes and we'll move them away from the eyes, so diagonally down. Now, for the staging part of the animation, we want to add a little bit more attention to the bloating face. We'll animate these motion lines. The motion path is here, but at the moment it's inside of the comp, so it would be on top of the doc comp, so we'll cut this out of this comp, we'll put it inside our scene, we'll trim the comp we'll create shapes from vector layer and we'll add a trim paths. We want to set the start and the end to zero at a key frame to the end. Move 30 frames forward, turn this up to 100. Now we'll keyframe, the start 30 frames and move this to 100. We'll trim the path here and because we've taken it out of a composition that's not the same size as that was seen with reposition these lines, and that's our animation so far. Of course, you can add a lot more detail to the reaction, move the eyebrows, re-scale the mouth, anything you like. 9. Overlapping Action: As our secondary action to the patient's animation, we will now animate the dogs reaction. We will be adding some exaggeration to the movements to avoid our animation looking to static. We will be applying the same overlapping principles we did for the first set of key frames for the doc. We'll add a new key frame to the head, rotation 22 frames after our last keyframe. We'll move 50 frames forward, turn the head minus 7 degrees, 30 frames forward, minus 5 degrees. We will easy, ease these keyframes. We'll move forward 50 frames and put it back to minus 7, and this one will be 75 percent velocity. Now we'll add the same bounce to the ponytail as we did before. We'll start a three frames after the head keyframe. Add a rotation keyframe, move forward to the next head keyframe, and move one keyframe after for the ponytail and change the rotation to minus ten, 30 frames forward. Up to ten will easy, ease these 50 frames forward and zero and we want this one to be 25 percent velocity. Now we'll animate the mouth will start ten frames after the marker, and we'll add a mouth path keyframe 50 frames forward, and now we want to make this mouth look sad because our doc is scared of what is happening to the patient. Will move this one up 75 percent, we'll also add some position to this. Move the mouth down a little bit. 75 percent and as this is happening, we also want to add a scale. We'll bump this us up to a 120 percent and 75 percent velocity. Now, we'll animate the left arm will also start ten frames after the market, and we'll add a position keyframe 50 frames for it, and we'll animate the arm up, will switch the bend direction back, copy paste those keyframes, and reverse. Of course we want to curve the motion path, want the arm to be raised instead of a shock motion, so maybe out here somewhere. Will easy, ease these two key frames. This one should be at 75 percent. That's great. We'll move 30 frames forward, will move the arm a little bit towards the body, not too far actually fix this busier. We want this key frame to also be easy, ease 50 frames forward. We'll move the arm back, fix that curve, and we want this one to be 75 percent again. Now of course we want to add the hand rotation. We'll start three frames after the first arm movement, 50 frames forward and will rotate it to somewhere around here 75 percent. We'll also move the right arm, and we'll start ten frames after the left arm. 50 frames we'll move the arm up. We'll move forward 30 frames, we'll move the arm towards the body, slightly. We'll easy, ease these keyframes, and we'll move forward 50 frames. We'll copy paste the second key frame of the set, and we'll fix the curves. Also rotate the body, we'll start with the same key frame as the hand. We'll add a rotation keyframe move for a 50 frames, rotate minus 13 degrees. For 30 frames minus 10. Easy, ease those two 50 frames minus 13, and 75 percent of the first and last of the sets. Now, this foot is now looking a little bit odd, so add a little bit of exaggeration to that one as well. Start at the same frame as the body, we could even start three frames later, but we'll just do it on the same frame. We'll add a position keyframe will move forward 50 frames, and we'll move it up a little bit. We'll move forward 30 frames, move it towards the body slightly. Easy, ease those two 50 frames, and we'll move it back to the second keyframe. We will set the first and last to 75 percent we'll check the curve. It's fine, and we want to rotate the foot a little bit as well, will move forward three frames from the first key frame of the leg add a rotation and will rotated down slightly. Lets say ten degrees. Move it up again five, 50 frames. Copy and paste the second keyframe. Easy, ease the ones in the center and 75 percent for the ones on the edges of the set. Now we'll add resize to the eyes a little bit of a shock factor. 50 frames we'll make them 10 percent larger, turn continuously pasteurized on, and we'll give it 75 percent. We'll also move the eyebrows and little bit. Three frames after the eyes will add rotation and position 50 frames out. We'll move them up and rotate them out. Minus 10 for the left, ten for the right, and you can even make this more extreme if you like, 75 percent, and that's it. We will set an end marker at the very last key frame of this animation, which is then simultaneously the end of our entire animation, so we'll set an end marker in our scene. We'll trim our work area, and we'll set an end marker in our main and trim that work area also. The reason, again, why we are animating and our main comp instead of having our scene as our top calm is perhaps you want to add some music, you want to add narration. If you're working with a main scene, you have one animation layer where all your animation and calms and everything else is sitting inside. Then you only have one additional layer for music or narration or anything you want. It's very, very clean, you know exactly what's in here. You don't have your animation layers mixed up with your audio layers. Now I have given you quite a methodical way of constructing your character animation. When you are animating, of course, you would play the animation back and see what works and adjust the timing. However, I have found for myself that in general, three to five frames shift for keyframes between parent and child layers works well to create a natural movement. You always have to think about what's driving the movement. For example, if the body moves, the arms move. When the arms move, the hands move, it all happens slightly delayed. Usually you would start with the main animation, like the body. Then you add all of the secondary overlapping animations that go with that. Now, we are ready to render our animation. If you don't remember how to render your scene or what the most suitable render settings are, check part one of this course. I'm covering how to best render your scene there. 10. Outro: This concludes our class. Today, we learned how to break and animate a more complex character using rubber hose, a few animation basics, and how to link effects cross composition. I hope this was useful to you and the scene didn't shock you too much. If you have any questions or feedback, please leave a comment. I really appreciate your input. Thank you for taking this class.