2D Animation Essentials in Anime Studio Pro

1. 01DownloadFree: Hi. This McCoy buck with two D animation 101 dot com. And in this lecture, we're going to download enemy studio. So for those of you who have an older version of animals studio or who don't have anime studio, go ahead and search enemy Studio Pro 11. The first result that's gonna come up is for Smith Micro that is the distributor of the software. There's different copies that you can buy of animals studio. You can buy the digital version, the box or physical version. You can upgrade from an existing version of anime studio or you can download the free trial were to go ahead and download the free trial, and you have a 30 day free trial, so you have two versions to choose from. You have your Mac trial or your Windows trial. So depending on whether you have the windows or a Mac, go ahead and download your respective version for your trial. Once you have everything downloaded in animation Studio open, I will see you in the next lecture. We're gonna go over the interface of enemy studio pro and let's get started 2. 02BriefOverview: now that you have enemies. Studio Open take in all its glorious nous. It's an awesome software, Believe me. I've been working with Animals Studio for a little over two years, and it's been awesome. This is my number one. Go to character animation software. I love this stuff. Everything you see here you'll get real familiar with. You'll know what all this down is down here. You'll know what's on this little character here. This character dragon, by the way, is, ah, animation that you might be seen. Or you might be seeing some other default animation that opens up with animals. CEO. This has been created an animated along with the other characters that you'll see on your screen by the animals studio team animator Big Door, part of this Ah, really talented animator. I actually know him personally, just awesome guy all around. So I'm gonna be showing you the interface of Enemies studio. I'll be walking you through all these different panels here that you see well, First begin with the tools, then we'll go to the timeline, and then we'll cover these style and layers panels. Now there is a lot to enemy studio. It has a built in physics engine. It has all these different things that it's capable of. It has frame by frame. There's a lot to cover, but there's only so much you can cover in a basics course. So I'm not gonna be covering everything I will actually covering Dream my experience using enemy studio. What tools I use what I use on the timeline, what I do for my layers and how I began using my styles. So I'll be covering these different panels as part of this course. So first off, we're going to start with our tools panel, and I will see you in the next lecture. 3. 03ProjectSettings: one thing before we learn the tools of enemy CEO, that is very important. It's to know this course isn't could be boring. I'm going to be using real time examples, and I will be showing you exactly how you'd be using the schools. That's actually not what I wanted to say. I wanted to say What's really important is going up to your file in project settings and changing your resolution first. Before we do that, we'll say good byes. Who are awesome Dragon here. Goodbye. Will hit file A new gone actually is right there. If you're using animus Edo Pro 11. You can actually switch between Tab Sport will close it and not save it. So we're gonna go to file in project settings, and here it's going to bring up your dimensions of your animation. So when you export it, these are the dimensions that you can export your animation in currently minus set up at 1920 by 10 80 which is your typical HD TV resolution there. Ah, you have options for 7 20 YouTube at 7 2010 80 iPhone. There's so many different options, but it's really important to know what your dimensions air set at. So when you're exporting your animation and it's either really small or really big and you're kind of losses So why it's being all weird, you actually is. Have a better idea because you have your dimensions set at a certain way. Now with this, let's go ahead and hit. OK, I'm going to select my HD TV because I've been working with clients a lot, and that's what they've demanded is toe have higher resolution. So in this case, I have mine said it 10. 80. So this right here is set at a 10 80 1920 by 10. 80 Resolution. This here What you see in white is what will be on screen or on scene or however you want. Imagine it. This is called your workspace. This whole space here, This blue part represents your seen. Anything that enters into this blue part is entering the scene. This right here is your origin point, but also is basically your camera. So your camera is going to be panning around the scene and you can do different shots and different angles and all sorts of cool stuff. But just know that this blue spot here is your scene. So now that you have your dimension set, go ahead and happens to the next lecture, we're gonna cover three tools are transformed points tool, add points tool and coverage of whole. They all go hand in hand, and these are the main drying tools that I'll be focusing on in the next lecture, so I'll see you there. 4. 04AddPoints: way before we begin learning the tools for drawing in and the studio real quick. I want to show you how to navigate. You'll see me doing this a lot, and this is it gets a certain points within the canvas. Here, within the workspace, you have your workspace tools right here you have pan, which, if you click that it brings up this little hand icon and you left click and drag left and right up down, and it'll drag your workspace around. However, you could do the same thing by right clicking on your mouse. If you're using a mouse and clicking and dragging around the next one, I'll be using a lot is my zoomed resuming in and are a lot that is the magnifying glass here on the workspace. You can zoom in by clicking and dragging to the right or dragging to the left to zoom out very easy. And then, if you ever get to zoomed in or something like that, you can come here to reset view and then reset your workspace. Same thing if you're way over here to the side reset view and it will reset your workspace . So the first tool that I'll be covering is the ad points tool. They had point souls located here at the top. As you can see as you hover over, it shows the ad point and this is a A is the keyboard shortcut to select this tool. And I want you to get real familiar with keyboard shortcuts because they're really going to come in handy and really speed up your workflow. So I'm going to right click and zoom in to this point right here. And basically, I'm gonna show you how we're going to make this shape right here with the ad points tool. The ad points tool gives you a couple options here at the top. It also gives you a little tool tips that will also be fall following as we go. So first, what you need to dio Teoh add a point is you click the mouse button, and as you can see there, there's a little red square that was placed. You can click again and that as another point. However, we're not going to necessarily just be adding points. We're going to be drawing outlines, so to draw a line from that point that you just created. You're just going to click that in that little square and drag out, and that's gonna draw outline. And at the end of that line there's another point. And to connect those two points together, you're going to click and you're gonna drag out again and you're gonna do the same. You're gonna click and you're going to drag, and that is how you're going to be connecting these points together one last time. I'm going to click and I'm going to drag, and that's going to drag that point out to there. Now, as you can see here, I'm trying to make a square, but I am trying to enclose the shape well by default. Animals Studio should have this option checks for you. It's called Auto Weld. So when you had gotten to this part right here, these two shapes should have closed and made it sound like this. Just like that, we hit control Z undo, so you have options toe have auto weld on. So any time these two points come with within the vicinity of each other, they're going to auto connect or auto weld. I, however, is a preference. Have that off because I don't like to have my auto weld on. So as you come over and you drag this right here, you can hit space bar on your keyboard. The world, those two together. It doesn't make a sound, but it is auto welded, and the way I can tell is I can come here to this point, transform points tool here, which I'll talk about in a little bit, and I can see that it's together now. I can also see there was another point that was made so I could go ahead and I can delete that and just bring up my points up together the delete points. Simply select the point and you'll hit delete tool on your keyboard. Now the next thing that we're going to look over is you have your auto fill your auto stroke in your sharp corners by default, your sharp corners might be turned off, and what sharp corners allow you to dio? I'll go ahead and draw this example out real quick. With that sharp corners checked off, you can essentially go into the workspace and do the exact same thing that we did and connect the points together and This is probably what you were seeing as you were drawing. Well, if that's the case, that is wholly fine. What it's doing is it's removing those sharp corners. But because there's something called the curvature tool, you can actually make this same effect later with the coverage or tool. So I usually keep my sharp corners and you'll see why in a bit. So there we go. We have that all together there. Now you have a couple options. Also, you have auto fill an auto stroke. Auto fill is going to do what you think it would with that check. It's going. Once this shape has connected and made a fool enclosed shape, it's going to fill with the color. In this case, it filled with the color white. So what I'm gonna do is I'm going to select this line right here. I mean, delete that. Don't worry how I did that right now, but I'm going to select my auto fill as a blue, and I'm also going to turn on my auto stroke and my auto stroke. You can see here is black. Fila's blue stroke is black. To change your stroke, I'm going to right. Click that color right there to change your fill. You would go to left. Click that color. Okay, so I'm gonna go back to my ad points tool and the Kate Key Ward. And I am going to drag out that line, connect those two together manually because I don't do auto well and hit space bar. And as you can see there in our little preview, it's hard to see because it's a white background. But there is a white stroke around that blue there. OK, so that is the ad points tool in a nutshell. And the next lecture will be covering the curvature tool. And we're gonna make this square a circle using that tool I'll see in the next lecture. 5. 05CurvatureTool: hi this McCoy with two D animation 101 dot com. And in this lecture, I'm going to go over the curvature tool for the drawing Tools and Animals Studio Pro also show you some examples of some drawings that I have drawn with these tools. The curvature tool is a very easy tool to navigate. To select the coverage to tool icon, simply click right here at this end icon right here. If you hover your mouse over it, you'll see that at sea on the keyboard and basically with the coverage of tool, what you'll be doing is you'll be clicking a point, selecting it and then curving it. So, like I said, we want to make this score diamond into a circle. So will basically be taking each point and dragging out left or right. So if you click and you drag left, it's going to tighten the curve. And if you drag right while still holding down your mouse button, it will round off that curve. As you can see here, there's a little told tip drag side to side for the curvature tool, and you can also drag rights and drag right, and that's basically what you would do to use the curb ritual. It's a very simple tool. Easy to use. Um, you can. This is basically how you're going to be doing curves for different shapes. So this isn't only used for shapes and circles. I'm gonna show you real quick what I've drawn with this simple tool, the line and coverage. A tool. So here are a few examples of characters that I had created an enemy studio using this exact technique that I'm showing you now simply by drawing out lines and curves, for example will go into this night right here, and we'll just look at his head and just see how his head is broken down. So if I go and I click on night, you can see how I have everything set here. So I have everything basically said These were all made out his lines. So I came here to like the head and you appointed your point and then a curve. Those outs, um, creating his head, shadows, everything. Everything was created. And to be honest, it looks a little tedious. It looks super overwhelming, but once you get the hang of it, you'll start drawing on the fly, and it's really cool. So that is the curvature tool. In a nutshell. All you have to do is click the location that you're trying to curve C on the keyboard and you just drag left to right to widen or narrow that curves. So in the next lecture will go over transform points and I'll see you there. 6. 06TransformTool: Now we're gonna talk about the transformed points tool. Transform points tool is located here at the top. If you hover over the icon with your mouths, you can see the little pop up. It shows that it's t on the keyboard will be your short keyboard shortcut. So now let's go ahead and look at this little image right here. This little example that I made and you can see it's all distorted and all skewed. So you know that your vector you're drawing is made up of lines and curves, and these lines and curves are all over the place. So how can we straighten this out well with the transfer point So you can basically click the point that you want to select and drag it to the location that you want it to be at. Same thing for down here for the mouth says you can see there The little creepy character thing that I drew here is coming together nicely. So you basically just click and drag where you want everything to G. O. Okay, this will be these All three of these tools, like I said, are gonna be your best friend. You're gonna be using these a lot. So if I wanted to go in, I want to make a few more changes. Aiken, select the point. Curve it out, curve it in. However, I want to do it. Um, however, that's kind of the look that I would be looking for there. So that is the transfer points tool, so you can use the transfer points to basically select the point that you want and move it to wherever you want it again. Let's go over the little bit of the tools that we all covered just now of add points tool. So with this image, as you can see, there's many points and you can add more points. So you wanted this guy tohave angry eyes. Well, I would put a point here, and I'd put a point here, and I do the same thing on the other side of his head. Now, when I go and I want to make him have an angry face, I'm going to be using a little bit of everything to be able to make this work. Um, I probably actually added a little bit soon, many points to start with. That's why this is being offset kind of weird. So I'm just going through it. I'm leaving some of those points, basically, just trying to keep this, have that circular I shape. There we go. It's got a little bit better. So that's how you would use your transform points tool, your curvature tool and your ad points tool. So now that we talked about her tools, let's move on to the next section, and that is going to be our fills. This is very important, so we'll go to the fill section next, and I'll see you the next lecture. 7. 07SelectShapeTool: Hi this McCoy, but with two D animation 101 dot com. And in this lecture, I'm gonna go over the fill tools and animals studio pro. So before we cover the fill tool, an anime studio, one last school of the drawing that I want to show you is the draw shape, tool or s on the keyboard. And as you can see here, when I clicked on that tool, it brings up my auto fill auto stroke option as before. And then I have the selections here of what shapes I want to make with this tool. Now the little tool tip right here says draw shape holds shift to constrain or alter its a center. Let's go ahead and draw that out simply by clicking and dragging. And look, we made a shape. We made a square toehold shift and click out allows you to make a perfect square. You can make really whatever shape you would want or if you want to do it from the center. You hold Ault and it will draw it from the center. Imagine the origin point was right there. It was drawing from the center there. Okay, So what I'm going to do with my transform points tool with your transform points. Something I want to mention is you can move around. You're shapes. You can not only just select a specific shape and move that around, but you can click in the shape and it will select all the points. And you get these little options here to expand widened, move around and rotate. And those are gonna be these little notes right here. So as you hover your mouse over, you'll see your cursor change to the respective positions it could make. So the next shape that we're going to create it is going to be a strangle, and we'll go ahead and will select a kind of brownish color here. Okay, and we'll go ahead and make a perfect triangle by holding down shift. It's the same thing. You can hold t on the keyboard for your keyboard shortcut or click on transform Points tool and move that back into its location. I'll say if I was making this a house and that was a way to point to you have a roof kind of all. We just went before just dragged that on down all right, Very good. So we made our shapes with their shape tool. Now let's go over the select shapes. Let's say with this tool right here, select shape, which is Q on the keyboard. I want to change the color of these two shapes. Well, you're gonna come here with selection tool and click on the respect of shape. As you can see here, as I'm clicking, my style palette is changing. And I could go into this style and I can click this brown and I could make it a reddish color. Same thing. I can click on this other with my select shaped tool selected, and it looks like the other shapes of the square. And I can also change that to a different color. So you want to change to a blue? Okay, Now, with that, you can also add your strokes will say I want to add this white so I would select the check mark and right click to get my white stroke. Say I wanted to do the same thing, and I right click to get my white stroke. Just make sure you check the stroke there. All right, so now I have a very simple way to select my shapes simply by clicking this tool here or key on the keyboard and selecting the shape. Now with this, let's go ahead and add one more shape. I'm going to add a circle. I'm gonna make this the color of the sun. Right now my shape is selected. I want to make sure that shape is unsuspected. Soto once elected, you're just gonna click off? Gonna go back to my shapes here, make sure my auto fill is on and I'm gonna change my auto fill color too. A yellowish color. So something like that and I'm gonna hold shift and I'm to drop with my circle a perfect circle there, and I'm going to put it right here. I will temporarily turn my points off with this check mark. Here, forces show curves. And as you can see, my son is above my house. So move shapes up and down in layer order. You're simply going to select the shape with Q on the keyboard and push down on your down arrow on your keyboard or up on your up arrow. If you have multiple shapes, let's go ahead and move this square above everything. Say, I want to move the triangle, which is on the very bottom. I'm going to select the triangle. I'm gonna hold shift and push up on the keyboard to move all the way up or shift and all the way down saying for all the respective shapes. So that is the select shaped tool. An enemy studio. That's how you would use it. And the next lecture, I'm gonna go over the create shaped tool and how that is used. I'll see you there. 8. 08CreateShapeTool: this lecture. We're gonna go over create shapes. Now I know you're thinking What the heck weren't we just creating shapes? Yes, technically, we were. And that's where enemy studio gets a little confusing, is with its names, but create shapes is actually going to be different. Create shapes is basically what you dio when you're using your ad points tool. Now let's say we didn't have our auto fill on nor our auto stroke. I'm actually, in this case going to take out the background because that's just going to make it harder to see. I'm gonna zoom in here into a blank space and let's say I want to create some sort of shape . I'll create a foot, so I'm gonna draw out my points. Okay, let's go ahead and close this shape so I can make a fill so I'll connect these two points together, hit space bar on the keyboard, and that connected those two points together. Now I created this foot, but it's not a shape. It's just vector lines and curves. So to create a shape, you're gonna click on this button here, create shape, keyboard shortcut. You. I'll go ahead and click that and right here. As you can see, it allows me to do a fill, a stroke or both. It's kind of like our other tools that we went through, except this one's just a little bit different. So we have the option to do it, Phil, a stroke or both. So right now this is going to be my fill. If it was selected on both, it would do both my fill and my stroke. If it was just stroke, it would just be the color white. So I'm gonna go ahead. I'm going to select a color before it fills with anything, and I'm just gonna make sure it's just the Phil. Now, in order to create a shape, you're basically going to select what shape you want to create. So in this case, let's say there was pants and everything connected and they were a different color. I don't want to make the color of the pants also the skin color. I just want the foot part to be that color. So what I'll do is our will take and I will click, and I will drag out to select that shape. Now I have a set in lasso mode. This is preferred for me, but you can also set it as default, which is just a square. Select the shape that you want to create. Now, in order to create the shape, you're simply just gonna hit, create shape or again space bar on the keyboard, and it created that shape. So as you can see, I have this little foot shape that I just created, so one more example that I'll show and it's kind of what I was just talking about is now The shape is created so I can take and I can select all the points because it selected as that one shape. I could move that down and let's go ahead and let's make some shorts real quick here. Now I'm gonna do the same thing. I'm gonna create the shape so I'm gonna hit you on the keyboard and something else that you can do it to select all the points rather than going through and manually selecting the points. It's simply click on the vector line, and it's going to select all the points as well. So in this case, I want to maybe smooth out a few little things here and there and I'll click on the shape and I'll give it a bluish color for his pants. And then I'll click create shape or space bar on the keyboard. And there it created my shape. So I was gonna see there. Now I have pants and I have my foot. Now let's say I wanted to make some sort of, like, pocket or something to do that. All I'm going to dio is I'm now I'm just going to create with my add points tool a stroke. So I'm gonna come here and I'm gonna drag out my points. Make sure that's on and I have my little pocket here. I'll take, you know, curve that out just a little bit like that. And then I'm gonna hit you on my keyboard and I'm gonna select the shape. As you can see, it's just the lines that are selected. So in this case, I just want my stroke. If I do my fill and I create the shape, it's not gonna make any difference. So I just want my stroke, and then I would come into my stroke color. I'm gonna grab the color of his pants. Currently and I just get a dark in that just a little bit. So when I create my stroke or when I create my shape, rather it's now going to make that stroke color. If I want to make it just a little bit bigger, I'm gonna go my wits and I'm going to crease that with size. And that is how you create shapes and Animals studio and the next lecture I'm gonna be covering how to delete shapes. And I'll be putting together all the things we learned together in one last example to show you how to create, delete and select the shape I'll see you the next lecture. 9. 09CombiningTools: Hi. This McCoy buck with two D animation 101 dot com. And in this lecture, I'm going to show you how to put together all the fill tools that we had used. Now, here I have drawn something. I don't really know what it is, Do you? Yeah, I don't either. It looks like a circle with maybe, like some bush things and some stuff in it. I don't know. I don't really even know what it is that I drew. Or do I So this is kind of going to be a painting course per se. So we are in our drying layer here, and we have our options to create shapes. As you can see, there's no option to select the shape because there's no shapes that had been created yet. So let's go ahead and create some shapes. And now, with our selection tool, which I now have as my last. So I'm going to select all of these things here in the center. I mean a looping back all the way around, and it's gonna connect and fill those shapes. While what color do I want to fill shapes with? Let's try some sort of yellowish color that works. So I have all those shapes selected. Now I'm gonna fill it with a yellow create shape. Okay, so now we have that created Let's go to our other shapes here. So now I have those ones selected. Let's give it kind of ah, bluish color. And I'm gonna create my shape now going to go through it. I'm going to select the rest of my colors. So it's like this one. So Aiken circle around. It's like this shape well holding shift. Aiken, modify my selection. I can add more to my selection and I'll take all those shapes and I'll make it a reddish pinkish color, and I will create the shape. So check it out. We made a whole bunch of different shapes here on I uninsulated my points and vector lying visibility by selecting this tool here. And as you can see, it shows me the shapes that I had created, kind of like pills. So what is it exactly? Now, let's go to this shape right here and fill that in, so I'm going to go to my create shaped tool. I'll select it, and I see that it has that fill option there. So I'm gonna take this, and I'm gonna fill it with a kind of grayish color, and I'm gonna go to my create shape and create that color. Now we have a problem. This shape now had covered all of the other shapes, as you can see is just the blob. So how do I get this shape to go below these shapes? So all these shapes are visible. Well, just like I showed you, You're going to select the shape that you had created and you're gonna push down on your keyboard now something that I want to show you is as I pushed down on my keyboard Let's go ahead and move the checker selection. See this better? It brought up one set of shapes as I hit down again. It brings another set of shapes And as I go down again, it brings another set of shapes. Now, if I go all the way back up and I hold shift and I'm press down arrow it goes all the way down. Bring them all up at once. Okay, so going back to our total shape here I am now going just like this shape with my create shaped tool. And let's pick some other color here. What would be a good color? Because you don't know what I'm making yet. I don't even know what I'm making. I'm being facetious now. Let's go ahead and fill that with that brown color. It's going to do the same thing. It's the one shape. Now I have to select that shape and I have to push down on my keyboard. Down, down and down. Can you guess what this is yet? It's a cookie. Or is it? Okay, so I've got this cookie looking thing here. One thing that I want to show you now is this tool, this awesome tool. This is called your delete shaped tool. Now why the heck would create all of this and delete my shape? Let's say I wanted to make this cookie have a hall of spot in the middle. Can you guess what that would be? Let's go ahead and delete the shape, and it's the lead that shape so great we're back to where we began. We're back to know fills well. That's OK, because now say I want to take this cookie and I'll say what it is that I was making. I'm making a doughnut because doughnuts are the best. Let me go back to my my shapes tool. Make sure my auto fill my auto stroke is not selected because I want to keep this as a hollow shape. And I'm gonna go back to my circle here, and I'm going to create a perfect circle there in the middle to finish off my perfect doughnut. Now, this is where things get a little bit different. Let's say I go back to the doughy part of my donut and I want to create that as a shape. Well, now I'm going to select this brown and let's see what happens. Okay, That's definitely not donate. That's just another solid shape. So how? Let's go ahead and to lead the shape. So how do you make a shape hollow? How do you make of the whole well, simple. You're going to select the shape that you want to create, and basically we haven't even made a shape yet, So you to select just a circle outline and then you're gonna hold shift. As it shows here to modify current selection, you hold shift and you're gonna click on the doughnut center as you can see there at Hollows out. So let's go ahead and create that donut shape now. So there we go. Now we have the dough to our doughnut. Now let's go back to this shape here. So let's click on this edge right here for the middle, holding down shift and click. And there it is, another perfect circle. Let's go ahead and create that frosting color again. Make it a little bit lighter and create the shape. All right, Very good. So there we go. We got our donut. Uh, where's our Sprinkles? Well, let's do some else now that you'd learned how to select a shape. Know that you can select multiple shapes, so that's pretty cool. Let's go ahead and doing the same method. We're gonna select the shape I'm gonna hold down shift, and I'm just like the frosting shape. As you can see, it's putting two rectangles around those. Now it's hold shift again and push the down arrow all the way. So hold shift and down arrow once. Now you're basically just gonna select that shape one more time and press down and the frostings back. So you just got remember, you have your shapes set stacked on top of one another. And you gotta figure out what that stacking order is, depending on the shape that you're creating. So in this case, I created a lovely doughnut, and that is what we made with the Phil and the Draw Tools and Animals studio. In the next lecture, I'm gonna go over the timeline. We're gonna go over a little bit of animation, but I won't go over too much because animations actually really complex. I'll have a separate course for that. So I'll briefly go over the timeline in enemy CEO. I'll see in the next lecture. 10. 10WorkingWithLayers: this McCoy back with two D animation. 101 dot com. Let's look at the layers. So this is very important. So we're not gonna cover all the layers. Let's go ahead and click this. These are all the layers that you can do. An enemy CEO. We're simply going to be covering the vector, the group, the image and see and the text. So we're recovering those four layers there. So right now we are on the doughnut layer, and as you can see, this image is very familiar. This is where we drew our donut. So this layer, this doughnut one labeled doughnut with this symbol here this is was not as your vector layer. So if we go here and click vector, this creates a new vector layer. So basically a vector layers were all the drawing takes place. This is where you would use the tools of enemies Studio to draw, make shapes, color your objects to get them ready for animation in enemy studio. Then you have your text layer, which I have here as my timeline. If I double click my timeline text here Ah, I can go ahead and I can edit that and change the colors and everything there for my text layer. Go ahead, OK, and then I have my background. As you can see, our background is blue. If I wanted to change that to, like a grain or something, I could do that as well. So those are your vector layers, those air what you'd use for drawing text layer. All that's four is for text, like an ADM or text, and then we'll talk about groups so you can use your group layer as well. In a group, layer, basically is a container. It holds other layers. So if you think about your computer when you click into a folder, it has files inside of it. That's the same thing with a group layer. As you see it kind of has that folder icon there. So let's go ahead and name this group. So inside this group, I can in store my doughnut, and if I wanted to, I can store my background, and I simply store those by clicking Big insurance highlighted blue in dragging into the folder and I said, I can see there I can collapse that and hide that and it's all hidden inside of this group , so that is useful if you want to keep everything. Organized anime studio group folders Air usually used to organize layers and anime studio. So now I'm gonna go back to my layer selection here, and I'm going to select image. So here is an image. This is actually something you can actually animate if you wanted to an anime studio. However, when it comes to using images or Photoshopped files or anything like that animist video, it's always recommended to break everything down into layers, which is what we're talking about right now. So you would have a layer image for the arm, for the stomach, for the head, for the different mouth shapes, for eyes, for blinking and closing so you can use Photoshopped images files in animation studio, but definitely recommended to split it up like we're doing now into layers. Now let's go back into our donut here real quick. Let's use this layer for an example. So our Dona, as we know, is made up of a couple different examples. Doesn't that's weird. It looks like our whole wasn't really a hole to begin with, so we'll go ahead and I'm going to separate these shapes into separate layers. So I'm gonna create a new layer, and I'm gonna call this frosting, and I'm gonna go back into the doughnut layer, cause now, look, though we labeled our new layer frosting is not in that specific layer. So we need to take that layer and put it into the frosting layer. So to do that, I gotta go back into the doughnut layer because that was the name I gave this layer, and that's where everything is stored. So let me go back into the doughnut layer, highlight everything on the frosting bit here, and I'm going to hit control X, and that is to cut your image and undergoing so frosting I'm gonna hit control the which is to paste your image. So as you can see, my frosting is now part of this new layer. I can do the same thing with my Sprinkles. I'm gonna create a new vector, and I would call this Sprinkles me to go back into the donut layer, and I'm going to select all these Sprinkles. Okay, so I have all those Sprinkles now selected. I'm going to the same thing. Hit control X, and I'm gonna go into the Sprinkles and I mean hit control V. So now I have the Sprinkles in the Sprinkle layer, and then I have my doughnut in the donut layer. So as you can see, I have my different shapes now separated into different layers. And now we're gonna talk about layer ordering just like we did with our shape ordering. We need to make sure everything is in order with our doughnut. Let's say the doughnut was on top and the Sprinkles were down below says You can see there is quite a few problems going on there. We have our doughnut that's over top, which we need to create a whole four. So let's go ahead and do that. I'm going to go to my delete shaped tool, and I'm going to go to my ad points tool. Make sure my points are on and click my circle there and create a circle. It also might be recommended to use the existing circle. Just copy and paste that circle, but I will use this circle for my new doughnut, and I'm going to go back and grab a brownish color for the doughnut. I'll create my shape. Okay, so now I have a circle as well. Ah, Hall of spot for my doughnut. Let's go ahead and bring our Sprinkles over. As you can see, our doughnut is kind of messed up. Now this. Now the frosting is on the bottom. The Sprinkles are also on the bottom. That donut is on top. So how would we reorganize this? Well, to show you how this would work. Let's go ahead and drag where we think the frosting should be. Let's say right there. Honestly, the same thing for the Sprinkles. Let's say it's right about there. Now. The doughnut part would be on the bottom. Let's go ahead and drag that to the bottom. I'm not gonna drag it to the very bottom, because now I have another solid shape that I'm using called background. If I drag my doughnut underneath of the background, the doughnut would now be behind my background. So I just want to have my doughnut right above my background. But below my frosting. Now I have the same issue. Now my Sprinkles are in between the frosting and the donuts, so there's somewhere squished in there. Well, let's go ahead and let's bring the Sprinkles up. And there you go. So now we have our donut back to where it was before. It is so important to know layers because you animate. You can animate each and every single layer. Say, I wanted to animate just the Sprinkle layer alone I can do that belongs by frosting or my doughnut, and it's going to record that information for each layer right here in your timeline. And that's why we needed to cover the layers before we go into the timeline and into animation in the next lecture were to cover this timeline. Now, now that we have our donut all set up, we'll cover the timeline in the next lecture and I'll see you there. 11. 11Animation: Hi. This is McCoy, Buck with two D animation 101 dot com. And in this lecture, we're going to be talking about animation. So we're going to animate our donut. Now. What I want to cover about animation is a couple of things. You have what are called frames right here. As you can see, there's numbers up here. 06 12 18 24. Those air marking how many frames the frames are these little individual parts right here. A frame is basically a still image. So let's go ahead and let's play this out. Okay, Right there. So on frame 56 we have a still image of this doughnut right here. This blue rectangles air seen. So let's go ahead and black that out real quick so we can see what's in our scene. So we see that our doughnut is appearing right here on frame 55. If I go to frame 78 that's the image. If I go to frames one or two, that's the image, and we can see that these images are slowly moving to the right. So one second, two seconds, three seconds, Four seconds in five seconds. It's moving to that certain location. That is what you would call an animation. A series of frame with movement is basically your animation, so let's go to frame zero frame. Zero is not part of animation. Frame. Zero is where all the design takes place. This is where you draw. This is where you color. This is where you create your characters to get them ready for animation. All right, so now let's get into the animation. So now, as you are seeing this going through frame by frame by frame, this is going through at a constant speed of 24 frames per second. So you can see there 24 48 72. That's 24 frames for each second. And that's kind of the rule of thumb for animation. Ah yuk unduly. If you're doing Anna Mae or anything like that, you can set your frame rate by going to file project settings. And if you want to change it for kind of an animus, I'll kind of the choppier less frames. You got 12 frames per second there, and it's kind of hard to see, but that's giving you a lot less frames in a seconds worth of time. So I said mine at 24 frames, it's kind of just the standard, and that's what I'm gonna be using for this animation. So right now it's just a doughnut slowly sliding across the screen. Nothing to ah exciting there. But let's go ahead and let's add water called key frames. So you have these right here. These little points, these are called key frames. This marks the start. So right here at this position in time at frame zero, let's actually create one right here. I'm gonna create a key frame right here simply by clicking as you can see my little cross hair right there simply by clicking that it's going to create a key frame. Now that's marking the start position of time. Now, when I go all the way over here to five, I basically what I did is I took my layer, my transform layer, and I dragged. I could even drag it further if I want to, and I'm gonna drag it to that space and time. So when I hit play, you see in five seconds that's how long it takes for its against that side of the screen. What that's creating in between is what's called in between all this in between the software is doing for you. All you're going to be doing is marking the start and stop of your animation. Now let's create a couple more key frames that are important, so we created a position key frame. Now let's create a scale key frame in scale. Basically, is this right here? Now? Our scale won't be changing in this animation, but let's create the key frame just for safekeeping. Someone to hit. Reset. These right here are called channels and the Channel, Basically, what shows you what is in this line of animation and what is in this line of animation? So I have my layer scale and I have my layer translation. Now, if I create my angle, which is basically your rotation, it's going to create another channel. So let's say we start off a rotation with this blue Sprinkle, points it up, and by the time we get to this rotation here, this blue Sprinkle will make a full 360 degree rotation, and you know exactly where it was before. So let's go ahead and rotate that now the software will now automatically go through and do that rotation for you. Traditional animation. You would do this frame by frame drawn by hand. You would draw that donut rotating slowly into that position. Now, as you can see there, the donut kind of slides out, and then it rotates and thats whats called an interpellation in circulation. That we have it set out is smooth. If I zoom in here real close, you can kind of get an idea of how this is working. Actually, it's kind of hard with this, But right here these little squares are marking each frame, so on each frame this is moving a certain distance. As you can see, I haven't marked so that it's sets off kind of slow. It speeds up, and then it slows down again. Well, I don't want that. I want this to start and stop at a consistent speed, so I'm going to set what's called my key frame interpolation, and I do this by highlighting all of my key frames. They're currently set to interpretation called Smooth. That's what creates that slow in slow out effect, and I'm gonna set it to linear and This is what you do for cars, vehicles, things like that, something that's going to be traveling at a consistent rate so that when it gets the frame five boom, it stops. Go ahead and let's add a few more frames to show. Holot stops answer and you'll see that it will stop right on five seconds just like that. Okay, so that's the animation that we want to create for this. So I'm gonna be going over in the projects, files mawr on the channels and on this to explain better how everything works. But just know that animation works with frames. A combination of frames is is basically an animation Animas studio will want you to create a key frame for a start in a stop point in time. So on frame one during this 1st 2nd all the way to five seconds, I created a stop and start frame for this animation here. If I wanted to, I could actually come here, and I know because I was rotating in a clockwise direction. If I want to make this rotation a little bit slower, I'm just going to take that Sprinkle that we use for reference and I'm gonna push that back , probably to be right about there, and that's gonna give me a slower moving rotation. And that works just a little bit better for what we're trying to achieve. So that is animation for our doughnut. And the next lecture. We're gonna go over the camera tools. We're gonna set up a really basic scene for this really basic animation. We'll add some sound and we'll have a couple buildings and stuff, so I'll see in the next lecture. 12. 12DepthofField: Hi this McCoy, but with two D animation 101 dot com. And in this lecture, we're gonna talk about how to set up your depth of field in anime studio. So right here we have our buildings that we created for our doughnut seen. So we have our building 123 and four. And as you can see, they're stacked in layer order with the buildings in the front being closest being on top of our layer stacking order. Now, what we want to do is we want to take thes buildings and put them on a three d plane that is on a Z access so that the buildings that are closest to you are closest to the camera will be moving quicker as the camera pans from the left to the right. Likewise for the buildings in the back buildings. Four so that when we pan back and forth, the buildings aren't moving at equal speed as the buildings up front, and I'll show you what I mean. So one of the tools that were going to be using is our layer transform tool that is m on the keyboard. We're also going to be using our camera tracking tool. That's number four on the keyboard. And also, we're gonna be using the orbit tool, which is number nine on the keyboard. So one of the first things that we need to dio is we need to split our view. So let's go down here to our side by side view. Click that now. I'm gonna hit nine on the keyboard to bring up my orbit tracking tool, and I'm gonna orbit this to the side. So as you can see, we have the exact same seen all the assets at a different angle. So right now you can see it's kind of on a three d plane. So right here we have this symbol right here. This is what's representing our camera. So when we track our camera backwards and forward, that is what this is right here. This arrow basically shows that it is pointing towards the scene. This helps you know exactly where you are at in your ST. So if you're rotating around, you can see that this purple icon right here representing your camera shows where it's being pointed. You can see as I track backwards and forwards as I pan. Or as I tracked through my scene here, you can see my camera also moving around. Awesome. So now what we're gonna do is we're gonna go ahead and we're gonna set up are seen. So our buildings are closest to the camera. Buildings 12 and building three and four are further away from the camera. This is called your depth of field. So one of the tools that you're going to need is your transform layer tool. So now we're gonna come over here. Two buildings, one layer more. Get us like that. We're with our transform tool. We're going to move this layer on the easy access closer to the camera. So I'm gonna take and I'm gonna click on this layer right here as I'm moving around, you can see I can move that around. But I'm gonna take me to click and hold shift and ALTs on the keyboard and I'm gonna take it. I'm gonna drag this scene towards me. Eso where I think it would be with the camera so you can see how close I can pull it towards the camera. Now when I let go of my mouth's, it's going to snap back into place there, just as you saw. Now, if we go over here and hit nine on my keyboard and I'm gonna rotate it, you could see that it pulls pulled it closer to the camera. However, I want to bring these buildings a little bit closer. So I'm gonna sex might transform layer tool and on the keyboard. And I'm gonna do the same thing shift and all told in both those down and dragged this more towards the camera. And as you can see, that building right there is a lot closer to the camera. Now, what we're gonna do is we're gonna do the same for buildings, too. So I'm gonna slick buildings two and on the keyboard. Hold down, shift and all to pull that building towards me, pull it down a little bit more. Okay. Somewhere right about there. Now the buildings three. I'm gonna leave that where that is, and I'm gonna like buildings four. Now, what I'm gonna do is this is my background. This is my foreground. I want to push my background really far back, but watch what happens here as I pushed my background further back so Now with my transform layer tool selected on the keyboard. I'm going to hit Shift and Ault and I'm gonna push this back away from me. And as you can see, I'm gonna push it to about that distance right there And then when I let go of my mouth, it's gonna pop that back up into place. Now let's go on. Let's rotate on this side here and you can see that in order for animals studio to compensate how far away that building is on a Z axis, it actually has to give it a larger scale. Same with our buildings up front. You can see, as we pulled it towards closer to the camera anime studio, in order to maintain this visual size, had to shrink down the size of those buildings. Pretty cool, huh? So that is your depth of field. So now I'm gonna go back to my single view here, and when I go to my camera tracking tool number four on the keyboard, I contract around my scene and I can see how that works. So let's say if you were setting up your scene here and you're basically just using your camera tool to track across your scene. You can see how that depth of field would work. So that's really cool. Way to set up your depth of field to give yourself a three d view. An enemy CDO. In the next lecture, we're gonna go over the camera tools and how to really use these effectively. We use the camera tracking a little bit just to show our depth of field. But we're gonna break these down a lot more I'll see in the next lecture. 13. 13 Camera Tools: this like, sure. We're gonna talk about the camera tools in anime studio. Okay, so we went over the animation of how we created this rolling doughnut. What I did here is I slow down the rotation and the speed of the donut a lot because I'm going to set up the scene here of this doughnut rolling through the city all nice and peacefully. Okay, So the city here are all going to be included in the downloadable file that I will be giving you. Ah, these air just made of simple shapes. I actually have them set up in a Z plane. Um, so on a Z access, we have your X, y and Z, so they are set up in a three d plane. So if I was to go to my camera tracking, for example, you could see that there's kind of a parallax layer effect there. Now, we're gonna create two key frames. We're gonna create a key frame for a camera tracking tool, which is basically what that is right there and allows you to track your camera, and we're going to want for our zoom tool. So if you click in, you zoom in an out that gives you the ability to zoom in with that tool as well. So now we have those key frames created. Now let's go ahead and let's zoom into or doughnut. Let's create a cool seen here of this donut going through the city. Um, I'm going to put it probably let's go ahead and zoom in. And so I'm on frame one. You zoom in and I'm gonna find a good spot for this doughnut. Probably about right there. Make sure these buildings air in the back there. So as it's playing through, Madonna is moving through the city. Okay, let's go ahead and let's track this front part. So right here, I want to keep this always in the center of the screen. So I'm gonna do the same by Dragon into the center of the screen there, thus using our parallax layer effect. So as we push play, the donut is moving through the city. They're all nice and peacefully. Okay, it's the next thing that we're gonna do is let's go ahead and let's add some nice, peaceful sound of this doughnut moving through the city. So I'm gonna go to my new layer. It's like my audio and the audio is my doughnut sound. So let's go ahead and let's hit play. Make sure my volumes not too loud. What the So much for a piece of sound. Yeah, that's right. We're not gonna be doing a peaceful sound. We're gonna make this into a pretty cool action scene of this doughnut going through positive destruction in the city. Oh, it's gonna be awesome. Let's go ahead and two might sound right here. You can see that the sound tracking by location, and I don't want it to do that. So the sound is gonna be in your right year. He had headphones on, and it's slowly as it moves through. The middle of the same will go to your left ear both both of years and into the left side. That's called spatial sound positioning. I don't want that. I want to turn that off, so I'm going to go ahead and click that simply by double clicking, going to my tab on my audio, making sure that that is off. Okay, let's go ahead and hit play again. Way just completely changed the scene. This donut is no longer happy donut. It's a mean donut that's going to the city and causing all sorts of destruction and making people scatter. Kind of like the Godzilla for doughnuts. And what I'm gonna do now is I'm gonna take this text layer off and what we're gonna do is ready to go to the background now. So we set up our scene. We have our camera tracking through our city there. But now let's go ahead and let's let's match the scene to the to the sound. So we're gonna work with what are called Grady Ins. So I'm gonna go to the background and I'm gonna hit Q on my keyboard. And as we know, the Q is a select shaped tool and I'm going to select the green there and let's go ahead and let's change this color upto something mawr of, ah, destructive color. So I'm gonna go to my effects and drop that down. I'm gonna go to dig radiant, and I'm going to create ingredient for radio. So my type, it will show me here what kind of type it is, and let's go ahead and let's set like an orange color for one for some sort of destruction type color there. So there is our color to set a new color to create more colors. You're going to click, double click, and that's gonna create a new color palettes. Go ahead. And let's set this one to, like a yellowish. I'm kind of working with it now. I don't really know what I'm gonna dio, um, and then I'm going to select my other color here, the black double click. And I'm just like that to a c Kind of like a grayish color. Okay, so now the colors don't look that great, because now I kind of got a mess around with it and see what will look good. Um, rather than orange. I'm going to do more of a white. There we go. Something like that. So I kind of just give it this eerie sort of color. You kind of gotta work with it. But that's what we'll Dio will use this with our select tool still selected, we're going to center this out a little bit, so there's my center, and I'm gonna kind of drag this out. So right about there, I'm actually gonna change that color to change it. You to click the ellipsis. And I don't like that green actually. Want to do a gray, dark gray, something like that. Make sure there's just the one color. Okay, there we go. So that's kind of get to give us Ah, newer tone to the scene. We'll set our sun up here a little bit. Okay, Very good. So right here we have this part right here where it just stops. Let's go ahead and let's take that camera and let's make it zoom out So we'll make it stop . And then right here, we're gonna create a new key frame for our camera, create a key frame. So what I'm gonna do is I'm just get a double click and well, that's gonna do. It's gonna create the same key frame that it has right now. But I mean to go in about five seconds if it changes the background to agree. And that's totally fine. Ah, however, wouldn't renders its gotta render in that color. So if it's changing colors on you as you're moving stuff around, don't worry about it. That's just anime CEO doing its thing. So now we're going to go and create a key frame for both of these on frame 1 32 You do one for my Zuma's. Well, uh, sorry for my tracking. I'm going to double click that, and I'm gonna bring this out to a position where I think will be good. So we'll bring it out to write about there. And what I'm gonna do is I'm gonna use my camera tracking a little bit to center it to a little bit more of where I want it. So something like that. So when it zooms out, it goes from this location and then goes Boom and then goes to there and we'll actually spread this out a little bit. About 500. So we're gonna make this animation just a little bit longer. So that's how you use the camera tools. Let's go ahead and hit play, Okay. And that is what we're gonna do right now. Just for this is just the camera tools. So now that we kind of got a scene going, I want to show you what it is that we're going to create. So this is a doughnut that we're creating. Um, I'm gonna go ahead and, like, Yes, I'm going to grab. See this file, Whoever destruction. So now and then we have this hero Mech warrior that's gonna come in and save the day. And that's the scene that we're gonna be building. We're gonna break down the rig for this character here. I will give you all the downloadable files as well, and I will see in the next lecture. 14. 14BuildingaMechCharacter: okay. And this lecture, we're going to put together our Mech character that you saw in the previous video in the scene with the doughnut. So here I have two layers. I have my group layer containing everything. By the way, the artwork was created by the CEO of Two D animation, 11 dot com marked the US I will be using it for this animation. So I have my image here to show me what my character should look like. And then I have my Met character, So I'm going to put together a few of the parts and then I'll speed up the video so you can see the whole process. It's very, very simple. Just again, remember, everything is going to be layered, so you'll be getting this exact same file. Let's go ahead and start putting everything together. So what I dio to put everything together is I don't do it with my transform layer. I do it with my transform points. The reason why is because when you put everything into, say another folder and you do it with your layer, you're transferring not only the shape but the origin, and if I offset this origin at all. When I go to put it into another folder, it's going toe just really mess things up. So just good rule of thumb. Just tradeoff. Always used transformed points whenever you're moving things around. So to do this, I'm gonna select my head and I am going to hit control A on the keyboard to select all those points and I'm gonna bring it down to the body. And I'm gonna use this as my reference there on the other side so I can see that I need to move the head a little bit further that way. Perfect. All right, let's do the same for the right shoulder. So you're probably wondering, OK, why do you have to shoulders? Well, because I use a part in the scene where he puts his arm in front of the body, and it's good to have a separate layer for different actions, and it will make sense when you see why. But right now, what I'm gonna dio is I'm going to place the arm right over top of the or the shoulder, right over top the other shoulder. But then I'm gonna turn that layer off because I currently won't be using it now when we go to my hips, actually in a white before the hips. Let's go to what's this? Right here? I'm gonna ault right click to do a keyboard shortcut. So bring me closer to my torso. I see that's called torso upper. Okay, so that's the lower torso. So that someone that I want to slide into place, okay? And Mark already has conveniently everything stacked, so you don't have to worry about stacking order. So it's just basically click and drag. So from here, I'll speed the video up, and we'll just see how everything looks together in the end way. Okay, so this is one part that I wanted to focus on right here. As you can see, there is Theo, right arm in the right arm group, and it's showing that it's over top of the shoulder right here. And that is because we have two parts of the shoulder. If I all right, click shoulders were that's located, as you can see there, this is part of the torso upper s. So what we're gonna do is we're going to all right, click again the arm as you can see I unchecked the eyeball there that makes it visible or invisible. And so, in this case, I'm gonna go ahead and put that back on. And, as you can see there, that arm is back to match the arm. I just need to move it over a little bit, and I'll speed up the video again and keep going with worlds out with last parts here, which is the feet way. And then we've got the other foot here. Make sure those much up pretty well there. Wait just a little more right about there. Okay, Very good. So we have our tube met character is now built. I would finish do any finishing touches to make sure everything does line up good so that it matches the original image. But that's just kind of a quick way of doing it. So in the next lecture really go over bones and animate studio to make this character movable, and I will see their 15. 15UsingBones: this McCoy Black with two D animation 101 dot com. And in this lecture, we're gonna talk about how to create bones for your mech character. Okay, so we create our met character in the last lecture. Now let's give him bones. So bones are essentially what enemies studio uses in order to make your character movable. So, as you can see here, there is this red bone right here for his arm. Forearm is hand, and this is what you would create to allow your character to move and rotate to basically make it come alive. So if I zoom in here, you can see that each of the points of the body has a bone. For example, his head. You can see right here at this point here, his head is rotating or pivoting on this position right here. That is how bones work, depending on where it is connected to start, that is where it will be rotating. And as you can see here, these bones are connected together. If I go over here to this arm, you can see that this arm is also connected with bones. If I move this backwards and forwards you can see all three of those bones move forward. But it's called forward Kinnah Matics. If I take and I rotate this arm this hand bone right here, you can see it is also affecting the rest of those bones. But it affects it in a snake like manner that is called inverse Kinnah Matics. So your bones are gonna be set up with forward and inverse Kida Matics. Here's another example of forward kingdom attics. Here's an example of inverse kiddo Matics. Okay, so one bone controlling the rests in an inverse manner and then forward is moving all bones at the same rate and in the same manner. Now, if I go to my what's called bone parenting, you can see there's these little arrows that connect to this character in some way. This is essentially known as your bone parenting. So, as you can see there I have my arrows starting from the hand, connecting back to the arm to the chest, then going back down to the torso bone, then going to the stomach bone, then going to this main bone right here. This main bone is called your route bone or your parent bone essentially for the entire rig . Now watch what happens when I take one of these parent bones and I unq lick it from the main chest bone. When I go on, I rotate my chest backwards and forwards you can see it is no longer connected. It is no longer parented to this bone here, the bone where you see the arrows coming from? In this case, you see the bone here connected to this bone. This is known as the parent bone. Then the parent would then this bone would then be the child bone. And this bone here would be the parent of this child bone to the parent of this child bone . So this is the child bone, and it is not apparent of anything because it doesn't control anything else underneath of it. So that's just a really good way to know how your bones or set up. Now, what I'm gonna do is I'm gonna go ahead and I'm gonna select my whole character here, all the bones, and I'm going to delete them now. In the last lecture, we had our group layer. And in this lecture, what we need to create is a bone group layer. You can add any bones, as you can see here on the left side of the menu without a group bone layer. So what I'm gonna do is I'm gonna click on this new layer icon here gonna go down here to Bone and I'm gonna call this Mech, as you just saw there before what I just deleted. And with this group layer here, I'm gonna drag that ensued. This bone group player and you can see it is now nested inside of this bone group layer. Now, the tool that I'm gonna be using, as you can see here, it changed this tool that we're gonna be using toe add bones is called the Well, the ad bone tool. So that is a on the keyboard, and I will be using keyboard shortcuts. So let's go here to this point here, and we're gonna create that main bone where everything is gonna connect Teoh. Okay. And then after that, we're gonna create another bone here for the stomach and another bone here and know where I'm putting these bones because that is where it will be rotating. Now, what I'm going to dio is in order to create that child apparent relationship that I was showing for the arms. I'm not gonna connect the arm directly to the head. I'm going to connect the arm to the chest. So in order to select your bone, you can either push be on the keyboard and click. Or you can push Ault on the keyboard and click. It basically does the same thing. And that will be using this tool right here. Your select bone tool. Now, with a on the keyboard, I'm going to add my new set of bones. I'm gonna do the Sam got ahold Ault on the keyboard, I'm gonna click, and I'm gonna add my new set of bones over here, thus continuing that parent child relationship. Now, when I get back to this point right here, I'm not going to connect my arms to my leg because I'm gonna work in my leg, bones. But I'm gonna connect it back to this main bone right here. Your route bone and I'm gonna drag out my legs of where I think the joints or the bending position would be. I'm again going to connect back to this main bone here. Add bone tool a on the keyboard, and I'm gonna connect back to these bones here. So if everything was done properly, it should look like this. Okay, so now to manipulate this in order to move everything around me, take out my background, make sure you are on your bone group layer and you're gonna click on this tool right here. We're gonna be using something that's called layer binding. And this right here is called your bone strength. You can see where these little green fills our that around each bone. This basically shows around this area or around this region is where the image or the vectors will be influenced as the bone moves around. But let's see something. As I move, you can see because it's stretched into his torso area and into his waist area, you can see that it's stretching in a very abnormal way. Using this particular method is called flexi binding. However, we're not gonna be doing flexi binding. We're gonna do something that's called layer binding. So never mind all of this right here. Where you to do is you gotta hit control a on the keyboard, and that's gonna select all those bones in order to come here to your select bone in your bone strength, which is these regions of influence here. And you're gonna put that at zero? Because we're not gonna be using that at all. What we're gonna be doing is we're going to use layer binding, so let's go back to our head right here. Hit. Enter on the keyboard to clear out that selection there and push be on the keyboard to use your select bone tool and click on this bone here making this bread. Now, with this bone red, we want to make this influence the head. We want to make this change the head so that it rotates back and forth and you can see that none of these bones do anything right now. So what work it is that we're gonna do layer binding. So a keyboard shortcuts a selector layer very quickly. Is Ault right? Click as you can see there, that brought up the head. If I alter right, click the torso, you can see it's gonna bring up the torso upper. So I'm gonna go back to alter right click the head and I'm gonna use that form of method for binding called layer binding. Right here. This is your bind layer tool. You're simply going with this layer already selected, Going to select the bone that you want this layer to be bound, Teoh just like that. And you're gonna do the same for the torso. All right, click. And you're just like that bone. All right, click. And you, just like that bone. The main bone right here. You're not gonna connect this to anything because the through the parent child relationship , this main bone will be controlling everything. And also right, click the arm, feminist like the arm. All right, click the forearm and it's like the forum. There's another piece right here that isn't part of this piece. So I'm gonna all right, click that and I'm just like the arm speed up this video, just showing you very quickly how to connect everything together there, and at the end, we'll see how everything moves. Okay, so that's all done. So layer binding is easily one of the quickest and fastest ways to rig your character. However, it's not the most ideal. Depending on how your character, how you want to set it up. There's many different ways. You combined an enemy CEO. You can do point binding that region binding that I was showing flexible, binding or layer binding. But we're gonna pick the easiest way to do this, and it still will look good. So if you did everything properly, if you go to your manipulate bone tool, we're gonna go back to our main bone layer here. I mean, hit Z on the keyboard, which is gonna bring my manipulate bone tool, which is this tool right here. And this is what I'm gonna use to rotate everything. So I'm going to see how everything looks. Head looks OK. Torso looks okay, as you can see there, I didn't find that bone there to that layer. So what? I'm gonna do something. All right. Click. Go back to my tool right here. Connect that, and that should be good now. So when I rotate that back and forth Good, that is good. Um, but that basically looks good. So that is how you do layer binding in anima studio. In this next lecture, we're gonna go into the action scene. We're gonna start working with our animation, setting up our character. He's already to go. He's all rigged. This is the most important part. It is important to have a well made rig. So if anything is messed up, be sure to go through Houston. Simply select of the bone that you're trying to change. For example, right here I could basically make this bone rotate down here a little bit more that make a little bit smoother. I can select this bone. Make sure I'm on my bone layer and I can hit T on the keyboard and see on the keyboard is basically going allowed me to transform that bone tool. Move that down a little bit and make the necessary adjustments that I need. Teoh. Same right here. I could bring that down. Bring that down. And it just depends on what changes you need to make you change your bones as well. For more on bones, definitely check out the enemy's Studio Pro 11 manual. It will explain a lot more in depth into this right now. We're just gonna show you quickly how to set up your rig and let's jump into the next lecture and let's put together an action scene. I'll see you guys there 16. 16PlanningSceneUsingMarkers: this'll lecture. We're going to create our action scene. We're gonna make this animation come alive. So one of the first things that we're gonna do is we're going to say this scene that we have already created our camera scene and we're going to go to file save as and we call this our action scene. So go ahead, entitled as your action scene and let's go ahead and get started on creating our action scene. So first off, one of the things I'm gonna dio is I'm going to remove the key frames for the camera. So I'm just like both of the camera channels and I'm gonna hit delete on the keyboard, go to the doughnut, and I'm also going to hide that from view. Now, with my buildings and background visible, I am going to do something that's really cool with the enemy CEO. You can go to file import and what we're gonna do is we're gonna important animals studio object. I'm going to select my Mac folder and inside of my Mech folder is thief older that we just created when we put our rig together and that when I call the MEC right here. So I'll go ahead and click that now, Bones, that's going to show you the different layers, bones, Mac, background, PNG. That's going to show you the different layers that was in that certain anime studio file. But in this case, I just want to import my mech character that we already rigged, and I'm gonna click that I mean it. Okay. Okay. So now we have our met character here in the animals studio project. I'm going to collapse. This this is just showing everything of the MEC folder, nested folder groups and stuff just gonna collapse that. And now what we need to do is we need to bring our sound back into this file here for our camera scene. So we renamed our camera seen action scene, and now we need to add some audio. So I'm gonna go up all the way to camera right here. I'm going to actually, I'm just gonna delete that layer. I don't need that one anymore. I'm going to create a new layer. You go down to audio and I'm gonna locate my audio. It's under sounds, and I called this doughnut sound and years would also be called donut sound as well. Now, when I hit play, I have my speaker separate from my audio computer, so it will be playing through my microphone, but I'll go ahead and hit play. Okay, so our whole animation is going to be about 11 seconds long, and that might seem like a lot, but let's go ahead and get started and let's start to break stuff down. Let's plan what it is that we want to dio. So I'm gonna go into first my sound right here, and I'm going to look at this, so I have my sound layer highlighted. I'm looking at my basically My sound waves is what this is here on the timeline. This is shown me kind of where all the sound is happening. So I hit play. If you watch the sound waves, you can see certain things that are happening goes louder and then it's gonna fade off. Okay, so I'm gonna use that. I'm gonna go back to about to 288 frames are going to make that my cut off point from animation. Go back to the beginning of the timeline and right here in this area, you could see, this is where there's little bits, a louder sound. And then there's, like, some sort of sound right here. Let's go ahead and let's see what that is as we scrub through this. So right here, there's this sound right here. And this is what I want to use for the MEC landing. So I'm gonna go ahead and I'm going to create what's called a marker. And this marker is going to mark on the timeline. All the different actions that are happening, let's go ahead and it's selector marker, and I'm going to name this landing and I'm gonna hit. Okay, okay. So now we just created a marker showing that at this point time, like right about here, there's this crunching noise and that's the sound of this Met character landing into the scene. Now let's go back to the beginning. There's kind of like an explosion right there. Okay? And then there's this noise here at the end. That is what are what we're gonna use for our Met character standing up. So let's go back to where that grinding started and stops and it stops right about here. And this is where he's going to be standing up. Soldiers put standing. What you can do for a short cut instead of having a click on marker all the time is if you follow this invisible line from these two markers here, you can double click, and that's gonna create new marker to delay your marker. You're just gonna hit delete on the keyboard, you select it and then hit, delete, And then you can also move your marker back and forth. So we got our landing, we got our standing and now let's go. And let's create our kind of like our crouching. So at one point, he's gonna be crouching. Let's see where that's gonna be at gonna select apart here in this timeline and I'm gonna hit play. So he hits and I'm gonna use right about Here is where he stands, so right were this wave right here kind of changes. So I'm going to take and I'm gonna hold Ault on my keyboard and I'm gonna drag this marker tip that's highlighted. Read out to the standing position and what I essentially did is I just created a part right here that shows Okay, this is this is his whole action of when he'll be standing. So I go ahead and I'll delete Tax. Actually, don't want that anymore. So this is where the end of the animation will happen. So I'm gonna hold Ault, drag that out a little bit further. That's where the end of that animation for the standing and image will happen. So all during this time, he's going to be standing, is going to be doing the standing action during this time after he's landed. I'm just going to use this right about here. I'm gonna create a new marker, DoubleClick gonna hold Ault, and I'm gonna drag. And right here this is where he will be crouching. So he lands any crouches. So I'm going to double click this. Gonna type in Crouching hit. Okay, Okay. So to keep these actions separate, I can also color code these if I right click on this little tab right here and I go down to label, I can change the label so I can make this color green. So it's at least a little bit different from the standing and then everything right here. So right here, too. Right here. I want a really quick action so I'm gonna selects frame 66. If he's landing, he's got to be landing from somewheres. Obviously, he was falling. So I'm gonna create this as my falling marker. And I'm just gonna mark this out just double click. And I mean, it's hype falling. Okay, so just from the sound, I had been able to plan out where everything is happening. Just gonna make this a different color real quick, just to separate it from the other. Make this blue. Okay, very good. So we got our landing are following are crouching in our standing. Now, let's take this character and let's animate him with the's sounds so all right, here, I'm gonna have the character off screen. And what I'm gonna do is I'm gonna create what are called key poses or key frames. I'm gonna create the key parts to this animation that we just planned out. And how we're going to do this is we're first gonna select the MEC layer, and I'm going to take and I'm gonna go back to frame one on my timeline, and I'm going to click on this bone. This bone right here that I created this is going Teoh be what's called the root bone. All of these bones connect back to this one bone. So if I take and I manipulate this one bone, it's going to connect everything besides his waist. Let's go ahead. Let's rigged that properly to his waist. So I'm gonna select that layer, go back to frame zero. So remember, the Red wreck single means you in your design mode, and I'm going to select that bone, and I'm gonna bind it to that main point. They're actually gonna bind it to his hip right there. And I will also by not alter right click and bind that. Okay, so all those should now be bound. I go back to frame one, and I close this and I go back to just the McClair and I hit Z on the keyboard to bring up the manipulate bones tool right there should. Now, there we go. Everything is now all together. Now what I'm gonna dio is I'm just gonna take and I'm gonna drag this character. So he's off screen. Okay? I'm also going to take and I'm going to go to the transform layer. I'm going to set what is called the origin point here on this character here. The origin point is somewhere there it is right there. I want the origin point to be at his feet. So when he rotates anything like that, it's being done at his feet. We're not gonna be doing any rotating or anything with this character. I'm gonna set the origin point right there by selecting the origin point tool and selecting it between his feet there. Um, I'm just going to use this to shrink down the whole character. So I'm just going to click the corner piece right here, and I'm just gonna drag it in and we'll work on it as we go, As far as how big or small we need it. Okay, so now I'm going to take and I'm gonna go back to my manipulate bones Z on the keyboard, and I'm gonna rotate this one part right here. Now it's a rotate a single bone if you try, and you try to move this like I just did by rotating it. It's not gonna roads that you're gonna have to hit Ault on your keyboard to rotate just that single bone, and I'm gonna rotate it see about a 30 degrees. Help there. Okay, so now So I have this character set, so he's out of the scene and he's gonna be falling into the scene. So that's all we're gonna cover right now for this lecture. We just planned out our whole timeline here until the 5th 2nd And in the next lecture, we're gonna go ahead and we're gonna start making the key poses for this animation so that you could see what everything is supposed to be doing. And later on in another lecture will go to the in betweens and will map out all of the different animations in between each action. So I will see you guys in the next lecture. 17. 17PosingtheCharacter: in this lecture were to cover the next part which is creating our key poses an enemy CEO for our animation action scene here. Okay, so we created all of the key frames needed for this rotation right here of this single bone Now getting into the channels right here the black channels represent in this case, this particular one represents the bone angle for all of the animations here on this character. So if there's multiple rotations, those air all going to be recorded with the single black channel. However, when you have a bone highlighted, it is also gonna bring up to other red channels. So this is our selected bone angle channel for the red bone that's highlighted. It's going to be a red channel as well. Also, when you go to your bone translation the bone translation is essentially what we did. This is called translating, and this is your rotating. So your bro translation will also be marked and red with that red bone mark. If I didn't have any bone marks, as you can see, let's go ahead and select the bone piece like the bones. And as you can see there, it shows the global key frames for this whole Mecca Character animation. Now let's go through and let's map everything out. I'm gonna remove my sound and I'm gonna go to right about here. So with key frames, the key thing to know about key frames as it marks the start in stop position of your animation right here we have our start position right here. I want this continued to be the start position. So what I'm gonna do is I'm going to select these two key friends right here. I'm gonna hit control C on my keyboard to copy, and I'm going to control V to Pace. Now. I know right here where it says falling, I'll move those over. But where it says falling, he's going to be falling into this scene here. So from here to here, somewhere around there, about second three or so he's going to be falling into the scene. But right here, all throughout this time he's not moving. So all we did is we took those exact position key frames, and we copy and paste it into frame 66. Okay, so now the next thing that we're gonna dio is we're going to create our pose right here Before he falls in the scene. We want him to fall into this certain pose that we're gonna give him. So let's go ahead and let's create some kind of pose. We can do his arms up, his leg straight out and his leg bent so he's falling into the scene like an awesome Met character would. Okay, so now we have our character falling into the scene. Now what we're gonna do is we're gonna go to Bone Frieze pose now what freeze pose is going to do. It's also control F on your keyboard is going to freeze this entire pose. So when he falls into the scene, he's still doing the exact same pose with these key frames. The only key frame that we just created, as you can see, is the translate key frame. Because, remember, this is your translate. This is how you move stuff around. So let's go back into our character right here, and let's go ahead and make him fall into the scene. And we're gonna pick a point that would work, see, probably right there. Let me use my other animation real quick for references to where he's gonna fall. So it looks like he's gonna fall somewhere between this third building right there. So use that as your aim point where he'll be falling and that that looks good right there. So now we're gonna do is we're also going to freeze this pose. So remember, it's bone and then freeze, pose or control f on the keyboard. So we'll hit control f on the keyboard, and that's gonna freeze all of the bones in this mech layer. So from here to here, nothing changed. But from here from or he felt where he landed, there's gonna be another action, and that's going to be him, like crunching down to the ground because he came down with such immense force. So it's actually taken. Highlight these frames right here by simply clicking and dragging. And let's click and drag those two second three. So I'll go ahead and I'll move that the 2nd 3 and I'll take this action for this layer here , and I'll move that over and then I'll make this landing a little bit longer because what we want to do is we want to give enough action here. Time to show that he landed. So from here to here, he's gonna fall. Let's see what that looks like. So is a little a little slow, but how we're gonna have the camera in our scene. It's not really going to make a difference. We're not gonna see how he fell. What we're gonna see is his head when it gets to this scene right there. So I kind of like right here we had, like, a fall. And then we do like a camera shake. But as you can see there, his head is only showing in the scene. So when we do our camera work and everything will make it so it works. Okay, so now he's gonna be falling into the scene. OK, so we're going to make him land now. So from here to here, we'll have to give him some time. But we just wanted to kind of mark out. We know that this landing part right here, this is where I want the crunching down to be. I want his head to be visible, so I'm actually gonna take this falling and just move it in a little bit more and then just take the marker and move that in a little bit more and the landing will stay the same. Okay, so we know that from here to here he falls. And then from here, he's gonna crunch down. So let's create our new position of him crunching down into the ground. Kind of like how he's being shown right here. His leg as he's coming down his leg is going to kind of collapse, and it's gonna come forward, and this leg is gonna go backward. And let's take this bone right here. Let's move that down. This is gonna come forward if we looking at that building again, we're gonna use this one is reference. So, you see, kind of crashes down on that one leg. His body is gonna come forward Teoh about here. I want his hand to smash down his body to be fordm or his head to be down. OK, so all I'm doing right now is I'm basically just creating the pose, a move that out of the way so you can kind of see what he looks like as he's falling down, his arms gonna be up in the air and he's just gonna be slamming down to the ground. So he comes and then he smashes into the ground. Just a really quick animation there. Not a lot going on in the next section will go over the in betweens. So this doesn't look as choppy because you kind of gotta work right there to see how that leg will be moving when he's falling into that position. But the good thing is about this whole scene that created I made it easier for you because I'm going to be using these buildings to be able to hide all these goofy leg movements. If you struggle with those, so he's gonna come down smashing to the scene, and we're going to basically keep him in this pose for quite some time. So he lands into this post, falls, lands and he continues crouching to about here. And what we're gonna do is we're to do the exact same thing. We're going to hit control F on the keyboard. This is going to freeze that frame. So this whole entire time, he's frozen and then he's going to stand up. So from here to here, we're going to make a standing position. We're actually going to take these key frames. Move these back About three. Hit also, Mikey Ward to switch my marker there. And I'm going to use the standing key frame now. So here he's going to stand up and let's go ahead and basically for his stand up position. I want him. Teoh, go ahead and copy this key frame from key frame 100 on two. Key frame 103 I basically copied that. So everything here is not moving because we're not doing anything with it yet. We're just setting up our key poses. So it comes down smashes and then we're gonna have him stand up fully at this second right here or at this frame. So 132 frames. So what I'm gonna do to get that original frame there of him standing is I'm going to hit control Ault on my keyboard. I'm gonna hit t on the keyboard. So now, to get the standing up position, I'm going to select the angle reset, and that's going to move him back to that position. Now, however, something is different and that's going to be his translate of where he should be standing . So let's go ahead and let's move that position back up to where we think he should be standing. So if his feet let's go ahead, let's use this is reference. So if his feet were right here on the ground and if he's standing, we want his feats be around that same position. So what, we're gonna uses what's called onion skin to show us where his feet were during this frame . 103 I'm going to click on this onion button right here. This is called onion skinning, and I'm going to scroll my red bar over to 1 32 and I'm going to click right here in this frame area in this gray area. Gonna click right here, and it's gonna create an onion skin. So in order to see this onion skin, I'm gonna remove all of the layers, including the building layer there. So now I see the onion skin of where his foot waas. So let's go ahead. Let's take that main bone and it's translated so that it's right where his one foot waas So essentially this is his back foot here. This is his front foot right here that you're seeing, so I want to do is I want to match this foot with this foot, so let's go ahead and do that. So when he stands up, he'll be standing up from that position because that makes sense. So from here, he's going to stand up so there, just like that. And as you can see, it's moving down, and that's because we've got a couple things going on. We have the bone that's going upwards, but we also have this bone that's rotating downwards. So as it's going up, this is going up at a constant speed. However, this bone right here is moving down in order to compensate the rotation that it's trying to make. So we'll work with that as well. So that's all in betweens. So right now we have all of our key frame set up. So we have our so we have where he falls where he lands and he gets back up. Okay. And that's all we're gonna do right now for this lecture. So just set your key frames up, set up your key poses just as I showed you remember to use control f on the keyboard and in the next lecture, I'm gonna go over the in betweens and let's really make this animation come alive. All right, So I'll see you guys in the next lecture. 18. 18 Animating the In Betweens: Hi, this McCoy Buck with two D animation, one on one dot com, And in this lecture, we're going to go over key poses and we're gonna set in between. So in between there, basically the animation that is happening in between each action, So right here, you can see he's standing up and his leg is moving through the ground and it just looks weird. So let's first go to the falling action and see if there's anything we can do here or that needs to be done. Okay, so here's a good example. So as he's falling, his leg is going through the ground and it's collapsing, and then it pulls back up. So technically, if you were to do this animation correctly, you would want his leg to be in this place at this frame. So if we were to do that, what we need to do first is turn on our onion skin because what we're gonna do is we're gonna use this as reference to show us where his leg is exactly. And this frame right here is wrong with a set that onion skin, and what I'm gonna do is I'm going to turn off all of my layers besides the Mecca character here and I'm going to take and I'm going to get that leg. Let's see, it's right here, you to go back to the frame that I want onion skin, which is this one. This is where I wanted to bring it up to, and I'm gonna go, and I'm just going to do some slight modifications on the bone itself. So what I need to create first before I do that is another key frame here, and that key frame is going to be for scale. So I have tea on the keyboard as I have all of my bones selected. So a t on the keyboard, I'm going to hit my scale, and that's gonna create a scale channel right here that you can see right now. You can see I don't have any scale. I have the bone selected up here, but basically what that's gonna do is it's gonna reset all of those channels for our scale . Okay, Now, the next thing that I'm gonna do is I'm going Teoh, get this leg so that it stays right there in that position as he's crashing down. So Let's go ahead and let's move this over into that position and after work with that a little bit as faras rotation and everything. Okay, so technically, I wanted his leg to still be straight down. So as he comes out on his leg, it's going to be coming from that position. Let me turn off my onion skin real quick here. So as he comes down, it comes down to that position and his leg is basically going to crumble. He's gonna fall onto the weight of his leg. His back leg will tuck underneath of his body to kind of hold the rest of his weight. However, right here, you see that? That is a little bit too far as faras his body right there. So what we're gonna do is we're going to also just lift that up. What I was going to do with that scale key frame that we just created that scaled channel for that whole bone set is I was going to see if I needed to do any sort of four shortening to the bone, which basically what you would do is you would hit t on the keyboard, select the bone you wanna foreshortened? And then once you hover over one of these two nodes here you have the one note right there and how's the double arrow? And that allows me to do any sort of four shortening. But in this case is actually looks pretty good. This is kind of surprised Manta moment. So it looks good as it is. So he's basically tucking his leg under. He's coming down the rest of his weight and smashing into the ground, so that's good. Everything is done right there. So now let's go to this other part. So right here we have it where he's crouching. Now we have all of this space here where he's not moving one bit. So what could we dio? Let's say right about here at Frame 90. Let's make a key frame for his head. So I'm gonna make a he frame for his head and right about here, I'm going to make his head move up. So his head's gonna be moving up, showing that he's looking at the doughnut now so he comes crashing down, head moves up, and, as you can see there, as I move past that key frame, his head moves back down. And that is because remember, on this bone, if you look on this channel, there are other key frames that were already made, and these key frames were made to be in that position. So what we need to do simply is go and copy this key frame. So we're to select the key frame hit control C. Make sure our red marker is on the key frames that we want to change and hit control V to paste that again right here. Control V. So now he looks up and then he stands up still looking at the doughnut in that position. Okay. All right. So, as you can probably tell, there are a few things in here. Let's go ahead and with clear out our bones, there are a few things in here that are overlapping. And I don't want you to worry about that yet, because we will get that solves, To be quite honest, you can add anything you want in this position right here. There's not a lot of time. This is just a seconds worth of time. You can have them breathing his arm moving. Say, for instance, we do like a fall through, so he hits down, so let's have his arm move all the way down. So let's do this. So right about here, his arm is gonna be moving all the way down. Just an example. And as you can see there, it's going to show me where that key frames created that next one that pops it back up. Well, I'm going to just take that key frame, and I'm going to drag it out about 45 frames there. So, as you can see here, there's a little bit of ah, a fall through. It doesn't look very natural. But then again, that is because this is a robot eso If we're to create another key frame, let's do the same thing with our other arm. Okay, so let's make it so we're at this key frame right here. This arm is bent in more. And so just to affect this arm on Lee, I'm gonna hit all time my keyboard just for the road station later should before and just rotate that in. So when he comes crashing down so he's up in the sky, comes crashing down, his arm comes down and then it goes back up. Okay, So kind of like your hero crashing down, move so comes down. Arm goes up, all right. And you can work on the timing with that. Let's say we want to work on the timing a little bit more. I'm gonna select both of these bones now with be on my keyboard. I mean, it's like both these bones. Make sure that one's highlighted, and then we hold on shift and highlight that one. And again it is showing where our key friends are. So if I want to stretch this out a little bit more, I could do that as well. So let's do that. See, that's a little bit slow. That's why I had the timing in a little bit quicker. Let's replay it still a little bit slow. It's probably good right where we had it. And that works right about there. And that's how we want it. So he hits down and then he looks up. Now we're done with everything. Where don't They're falling our landing or crouching. Now, the next thing they're gonna move on to for the next action is the standing position. So from here and here, One of the things that I want to bring up here is we have many multiple bones that are rotating. So one of the things that we need to see is what's being rotated. As we can see, there's multiple bones that are being rotated. There is his arm, his leg, everything. Because what we did is we set a key frame from this position in a key frame from the original standing position of our character that you'll see back on frame zero. So what we need to dio is we need to do the in between so that this flows a lot smoother. His leg doesn't go through the floor and just looks better. So we're gonna work on a principle of animation called arcs. Now, the architect we're gonna pay attention to is in his hip right here in this bone. So what I'm gonna do is I'm gonna select it with be on the keyboard and we make sure it's red, and then I'm gonna hit t on the keyboard. Remember, T is for your transformed bone tool and what we're gonna watch for is this right here. As you can see, it's a perfect straight line. Have you ever been able to get up off the ground and your hip stays and a perfect angle just like that I shares? Like have it? So what we need to dio is we need to create some sort of arc right here so that it's more realistic. So what we're gonna do is we're gonna create the arc right there. We're gonna take this shape right here, and we're gonna translate it up. I'm gonna hold shift on my keyboard and I'm gonna hit it. So it has that cross hair on the bone right there and I'm gonna click and I'm gonna hold it . I'm gonna pull that up to write about their I want there to be some sort of arc. So if we go through back through the animation, you can see that it looks a little bit better on his lift. Okay? Everything else still kind of looks fake, but the lift looks a little bit better in his hips. So the next thing that we're going to dio is we're going to focus on his foot. His foot's moving around a lot and we want to keep his foot in one place So one of the things that I wanted to do first is I wanted to, sir, in my onion skin back on. And I'm gonna unclip that particular frame and I'm gonna look for the most extreme positions outside of this position here. So let's set it Teoh way over here. That's pretty extreme, because we can see where his like what's supposed to be. So let's go ahead and let's rotate his bones so that his legs stay in that position. Okay, so let's just do this for an example. Let's see what this looks like. So as you can see, there he is rotating. He's kind of got this rotator. It's a robot. So he's got this rotation here on his leg that allows him to make that rotation. Physically, you wouldn't be able to do that, but with this rig, we're going to just take full advantage of it. Teoh be able to make all these different movements, so if we look right there, you could see his leg moves around just a little bit, but nothing too noticeable, especially when you got buildings in the way. That's a simple in between that we need to create for both of these rigs. Let's turn off those building layers one more time and let's see what else we need to dio. So what can we do? We have his leg. He's pushing himself up. Let's give his back a little bit more arc as he's standing up so kind of the same thing right about here. We'll just have his ark, his back, our king, not too much. And then his back will straighten out. So as you can see here, there's more of an art to his back and then his back straightens out his arm comes forward . Um, let's see here. What else can we dio? So with his arm right here, let's use that arm to be able to make it look like he's pushing up off of the ground. So we'll do this. I will take this arm and we're gonna keep it in that exact same position till about six frames. So let's go ahead and was highlight all the bones in the arm and we can see that we have them highlighted. Now I'm gonna hit control. I'm gonna select that key frame hit Control C goto 108 and hit control V. The arm is still out. However, his arm is now not touching the ground. We want to use arms, make it look like he's lifting himself from the ground. So another thing that weaken Dio is we can arc is back in. So I'm gonna select just this bone right here and I'm gonna hit. I'm gonna hit Ault and I'm going to rotate that in right there, and I'm looks like it's gonna have me straighten out his arm one more time there, and that's fine. So that kind of gives them the impression that he's kind of pushing up off of the arm. We can work on the arc of this leg right here. What? We can probably dio see this real quick. Let's go ahead and let's tilt this leg out a little bit more. Kind of like that again, this is just more for to help. You kind of get an idea. Remember, these are all gonna be covered by buildings to begin with, but this is just to give you an idea of what you can do in these in betweens. So right here, I'm gonna go ahead. I'm hit control C and I'm gonna copy it. So this key frame and to this key frame. So let's say when he lands his foot is get a land into that position and then it's going to move forward to the normal position. Because if I also copied it to this key frame, you could see that it's getting tilts his leg in that angles well, and we don't want that. Let's go ahead and play this out and let's try that one more time, See if there's anything that can be fix a little bit better for right now. That actually looks pretty good. That leg is putting a tremendous amount of weight. He's basically lifted himself up with that one leg, which is okay. If if I was using a different type of rig, I would kind of make this a little bit better for that arm, keeping them into position there to push himself up because I can't do a whole lot of bending with this rig because it's kind of limited as to what I can do with it, but that that works pretty good right there for that position. So in the next lecture, we're gonna clean up everything and we're gonna add in our camera movements. So we're gonna clean up all of this right here. We're gonna do what's called Layer ordering, and I'll just be sure to keep that in separate because this is all about the in betweens. This what? We just went over here so real quick. We'll just play it out. Everything that we just did. Well, at some sound back hit play. Okay? And that works pretty good. So I will see you guys in the next lecture where we will go over the camera movements and fine tuning our animation. 19. 19FinalTouches: and this, like, Sure, we're gonna do our clean up, and we're gonna set up our camera movements, and we're gonna finish this animation. So let's play through it real quick One last time. All right? Very good. So I like the movements overall. So the men come sound crashes to the ground. Looks at the doughnut stands up. OK, so I think that looks pretty good. The only thing that we need to work on now is the doughnuts movement, because they are overlapping each other a little bit right there. So we just need to work on the doughnuts movement. Just a little bit more. Something to go back to mind. Doughnut. And I'm going to make that final rotation, which is this one right here. I'm going to bring that back a little bit. So when he stands up, he's right next to the doughnut there. Okay, so play this out. Just make sure that don't roll. Looks OK again. I might need to slow down the rolling a little bit more, so that's not a big deal. So I'll just pull that back just a little bit. Okay? So it looks like a donut slowly rolling into the city there. And then what we're gonna dio is he's got a land. We're gonna wait for about a second close to two seconds. We'll wait about two seconds. So right here, I'll start my rotation key frame again. Pull that up. Cigna. See that channel? And I also do the translation. So let's go ahead and let's bring it out to probably about here of where the donut is leaving the scene. And so we'll have it play out like that, and something else that's important is to right. Click those key frames and make those linear, including the rotation. So everything stays consistent and say it's the same speed. And as it's rolling out, I probably want to rotate it. Maybe about half a turn there, and that looks pretty good. Okay, so very simple. Let's go ahead and let's play it through one more time again. Crashes down, doughnuts rolling, and then it rolls away. All right, very good. Okay, so now that we got that, let's go ahead and let set up our camera movement. So camera's gonna be very easy again. It's going to be your four and five keys that we're basically using on the keyboard. So for on the keyboard is to select their camera tracking. Let's go ahead and let set that key frame. It's all move this up a little bit so you can see that key frame was added and let's at our zoom. So we have both of those key frames added, Let's go ahead and let's set our first scene right here. So I'm gonna zoom into the scene and I'm gonna move words the doughnut block out my scene there so I can see exactly what I want to be looking at. Maybe you want to zoom in just a little bit more bringing my other buildings there. All right? Very good. So what? I'll be using it as I'll be using this edge of the donut in the middle of the scene to track my camera. So from here, So where the robot lands now, I will use that robot head to know exactly where I want to add my second part. My scene. So I'm gonna do it when the robot is landing. Essentially. Okay, so the camera is going to be pulling over to the left. There he lands. And then what we're gonna do is we're gonna take that scene there. We're gonna grab our zoom tool, and we're going to zoom and out probably about four frames later. We'll go ahead and we'll zoom that scene out. So when the robot stands up, we just want to make sure we don't cut him off, and we're kind of kind of are there. So let's go ahead and let's reset that a little bit more. Be sure and take off your worlds of key frame so it stands up. OK, so we have our seen pulled a little bit too far down to the bottom there. So I'm gonna take my tracking, and as I pull out, I'm going to set it up just like that so that everything is in the middle of the scene there, and it looks pretty good. All right, very good. And then when the doughnut rolls away, well, just basically leave the scene as is. We won't really do anything there. We could probably do like another animation for the robot, but we'll see what we what we end up doing here. Okay, so the next thing that we're gonna do is read added in our camera shake. So when the robot crashes down, we're gonna add in some camera shake. Now, let's go ahead and let's test something real quick. I know animals Studio has a interpellation called noisy, and what we can do is we can take this in circulation. Let's go ahead and turn our layers back on. I'm gonna take my donut. I'm going to use something just to reference, and I'm gonna hit em on the keyboard. And as you can see there, you can see the line that it's traveling in and everything when it gets to this point, you can see that's where the origin is showing. So, as you can see, that's moving along the origin there. Okay, as the cameras movement out everything. So what we're gonna do is we're gonna turn on our in circulation for noisy. That's what's basically on right now. Let's go ahead and let's bring back articulation. Noisy. Don't know what happened there and let's set up our amplitude. So, as you can see, there is, I'm just basically just scrolling across this number there. It's giving me some sort of numbers there to work with. And then I have you kind of see that donut, depending on how shaky that donor is, is how crazy our shaking state will be. So that's gonna be a little bit too much, too much amplitude. So you just kind of gotta work with it, Okay? But what I want to do, essentially is right here with the robot hits. I want to take my tracking so right about here. So I'm gonna take that key frame, and I'm gonna copy, and I'm gonna pace it. Copy and paste it. So when the robot heads down right here, I'm basically taking the amplitude that I just created, which you can see right here. And I'm gonna make it look like it's shaking the scene a little bit there. So he's got it hit, and it's gonna pull out. Now it's a little little quick. Maybe a little bit too quick, maybe as the cameras pulling out. There's still a little bit of screen shake going on because, as you can see there, that's basically the screen shake that we're dealing with. There's kind of a lot going on, so let's go ahead and let's pull that out a little bit, okay? What? We're gonna do is we're to set that back to smooth. So it's essentially going to keep on shaking until it gets that smooth key frame. That's probably again. That's a little bit too smooth. Something with that. A little bit more so I don't want It's a shake off the screen, as you can see there, in here in my video safe zone, everything's kind of coming apart There something to move back my smooth to right about there. Okay, So what I'm gonna do is I'm actually gonna take my key frame for my zoom, and I'm gonna push that back a little bit more. I don't like the way that looks right now, So he's gonna hit down, push this back a little bit further, and then he's gonna stand up. So the cameraman that's taken the film, he's like, Well, what the heck is going on? Probably put it out a little bit more. Okay, let's see what that looks like. Seen crashes down. Cameraman then zooms out. We can probably move that back just a little bit more. Zoom still little, little sudden, they're a little too soon. We basically just see this scene right here and We're like, Oh, a crushing doughnut. And then this guy comes along and he comes into the same camera, zooms out, he stands up looking awesome. But let's make sure we have our tracking set correctly again. Somehow are tracking got moved from this original spot because I think it is because of the camera shake their So what we're gonna dio it is we're actually gonna help that last camera shake just a little bit by taking the tool here, moving that up. So what I'm gonna do is I'm basically gonna set my scene, but I'm going to use that key frame that I just created. I'm gonna cut it control X. I'm gonna paste it here So cameras get a shake. It's going to set the scene where we need it. His head's gonna look up. Cameras get a pan out, he's gonna stand up. Okay. One less thing that I want to work with here was when he's standing up is I want to take this camera scene and I'm gonna move it over just a tiny bit. So it works so it don't it Starting camera scene. Oh, actually forgot to set what? I'm trying to do is I'm trying to move the whole scene over. So I forgot to set my roads of key frame on have all my key frames highlighted. Basically, just gonna pull that over just a little bit. So I'm gonna pull that to the middle of the scene, and that camera is moving just a little bit quick, so I'm not gonna put it on a smooth I'm gonna put on a linear, so it moves at a constant speed there. The robot crashes down and we'll go ahead and move that to there. Okay, So basically, what I did is from here, it's gonna want a pan back to the original spot. Well, that's the key friend that I really wanted to use, so I'm gonna move that back over there. All right? Now it looks pretty good. And then the donut is gonna skid. For some reason, it looks like because we've created a noisy key frame. So it's set that back to normal there, and I forgot we didn't have that normal. We had that at a linear rotation, so it rotates the same way. All right? And then what? We can dio if you wanted to. I mean, you can do whatever you want. You can go to your little animation here, your scene. You could probably like rollaway. Or as it's rolling away, the camera takes and we'll go ahead and kid, create a key frame for the painting and for the zoom. And we could do something like the camera zooms over to our hero now zooms in on him. I don't really like the way that cameras moving its little a little loopy there. That's OK. We'll just use that as a quick example. And then basically, our doughnut met are met character. What? We could have him dio is weaken set his We can freeze the post so we can set the whole key frame there and then I'm gonna bring out back that part there. What we can do is we can make him go make him do like, some sort of celebratory pose. So from here, we could probably have him go down. And I'm just using the bones now because I don't really need to do anything else with anything. So you can basically go down. I won't actually move his arm here. I'll leave his arm as it is. I'll bring. It's probably about there. So it goes down like he's gonna jump up and then go ahead and freeze that key frame again, that pose there, and then I'll basically make my next pose of what I want to dio, which will be that. And he'll It's actually having a hold that pose for probably about three, maybe six frames there, and then his arms gonna go up his chest and everything is gonna go up, and then we'll have his body go up. Not too high, though. We want to keep it. Keep it in the scene. Same for his arm. Okay. And you could basically do whatever you want with this, so you can shortly bring him down. Probably about level there. Originally. You want to just copy it where that ground level was before us? Faras the bone so right about there. And it could be just, like a little quick movement. Or you can have it actually drawn out a little bit further to so right here. I could take these key frames. I'm gonna highlight him, and I could stretch those out. So something like that. Okay, So what, we're gonna do afterwards in the next lecture is we're gonna take this whole scene that we just created, and we're gonna render it and I'll show you how to render an anime studio with enemy CEO Pro. So we'll go ahead and will play out or seen the whole scene plays out. Camera zooms out, don't get scared, runs away. And then it zooms in on this guy. And he does like a little action figure type of pose here. Nothing too fancy. If I had more time, I would work on that a little bit more, but definitely define it. Make it yours. Okay, so that's basically it for now. And I will see you guys in the next lecture. 20. 20RenderingYourAnimation: smooth with two D animation 11 dot com. And in this last lecture, we are going to render out our entire scene so we'll give it one last play through Were to go through and we're going to let that play through with sound and everything. Okay, so sure. Cheesy little posture there at the end. But overall, a pretty good little action scene to get you started with an anime studio. The last thing that we're gonna do is render it. So let's go up here to file and we're going to export our animation. So this is how you can get it onto YouTube on Facebook, share with friends, family or your co workers or whoever. So let's go ahead and let's export this. Okay, so now we have our export animation window right here. So right here, you have your start from your end frame. This is how long your animation is. Our animation is 288 frames long, which is I don't really know if I thought my head, but it's probably around 10 seconds or so. So in order to get how many frames I had originally recorded, I'm just gonna hit entire animation and this is a good grab all of my start and stop frames . And as you can see there, that didn't change because I already had it set. Now, the next thing we do is I'm gonna go to my format, depending on whether you're on a Windows or PC year to have a few options here, you can do an image sequence. This is really good for after effects. This is actually more so for P and G sequences, imports, aftereffects. If you want to add some backgrounds, its after effects or something like that, we can get Teoh Mawr of aftereffects, an enemy CEO and later courses, but that just keep that in mind for if you're doing anything with the aftereffects i o s m for V MP for a V I These are all different file four minutes you can use for video. The best one that I use currently is actually legacy. Quick time. So quick time you have when you download your enemies studio versions 32 64 bit on the PC. Um, I can't click on it right now, but let me go ahead. If you don't see your 32 bidder. If you don't see quick time, it's mostly because you uploaded your 64 bet and just make sure an installation the upload both the 30 to 64 when you want to go to the 32 just go down here right now. I'm in 32 but I can hit Relaunch in 64 bit and it's gonna reopen anime CEO in the 64 bit mode. So that's how you can get your quick time. And that's basically what I use. If not, if you just have your 64 bit, you can use just regular A V. I was probably gonna be the best one for you that's gonna export everything into your you can do un compress. You can do 7 20 before 80 but you also have the option. Do flash if you want to do it imported into flash F L V. Or you can do an animated GIF, which is pretty cool nowadays. Lots of gifts going around so you can take your animation. Make sure it's really simple animation, and you can export as a gift. Definitely check out the manual for more details on that so I'm gonna click on my click legacy Quick time here and it gives you your render. Options usually don't do anything. Anything with this. I leave all these checks and I just leave it basically as it is, choose a configuration to apply. Just leave that as it is, Aziz. Well, so let's go ahead and hit, OK? And it's gonna bring up our location of where you want to save this. I'll just bring it to my action scene is what I'll call this here and I'll go ahead and hit save, and it's going to save that now to an M. O. V right here in this last part, it says compression type. What kind of compression type you want? 8.264 which is also popular with you guys as well. Ah, or just animation. I'm gonna get mine animation frames per second. I'm gonna make it. Sure, it matches my friends per second with my original animation, which is 24 frames. And then it gives you the option of your depth as far as your compression right here. And you can do millions of colors. 1000 calories, couple of colors. That's gonna bring out your graze. As you can see, there doesn't look that great. That's more like for gifts and things like that. So let's go ahead and said it's a millions of color. Just grab all those colors in there. I'm gonna take it and I'm gonna put at the best quality. So I'm gonna put that at 100 and I'm gonna hit. Okay, Now what it's gonna do is it's gonna go through this whole animation that we just created, and it's going to render this out. So with the animation that we created, once this is done, you can open this up in quick time, uploaded to Facebook, uploaded to YouTube, and you're basically all set. That's how you render your animation. Now, what I would really like to see from the students of this course is I would really like the see your animation. I'd like to see what it is that you came up with. What you came up with learning this course. So if you have a Facebook link or YouTube channel or dropbox that you can link to me in the discussion on the group, that would be awesome. I also provided project files for you to complete in between the enemy CEO lessons. I would also like to see you as far as what you're able to come up with with those project files of what you were able to do to upload those up to animals studio. That would be awesome. So we'll go ahead and skip this till it loads. All right, so we got our scene now loaded up here. I have this open and quick timeto watch my M o V on my PC. If you're on a Mac, you can open this right up. But let's go ahead and hit play. All right. So very simple animation. Seen their 12 seconds long. And I hope you really enjoy this course. I know I did. This has been a lot of fun teaching you how to do all this stuff. Definitely leave comments in the discussion if you have any questions or anything like that , and be sure to upload what it is that you come up with the animus video. I'm really excited to see what my students are able to learn. So that is it for me. I'm McCoy Buck with two d animation 101 dot com and I will see you guys later.