Transcripts
1. Introduction: Welcome character animator. One No one Getting your photo shop, We're talking. My name is Liz and I'm gonna go ahead and share with you my process for that in the class that's coming up now, but a background about myself. I went to school for visual effects in motion graphics. Then I later went back to school and in my thesis on 30 sculpting and printing. So I'm pretty much a two D and three D generalists. I love it all, and I'm looking forward to sharing a bit of what I learned along the way, with everyone in this class coming up. Now, I'm going to share with you my process and techniques for animating into the character. Photoshopped Royal, A shooter in Adobe Character animator You should leave the class knowing how to prepare your character in photo shop, where illustrated four character animator had animated characters talking in a few different ways to render it out as classes aimed at beginners in Adobe Character Animator with a moderate to experience skill level in photo shop or illustrator, plus a basic knowledge or understanding of WD encoder or after effects will be extremely beneficial in the rendering process. If you choose one of those programs as a rendering method, but it's not necessarily required. I still will go through how we go ahead and get that done in both of those programs. Now this class is great for students, freelancers, animation enthusiasts, people starting from the beginning who already know how to enemy. And they're just looking to expand and get information on new techniques and animation. This is definitely not the only way of animating. It's just the way that I really enjoy animating and getting her character talking when were animating into the character. So this is for anyone who is looking to do a branding video for themselves or anyone else. It's great for explainer videos. It is great for self branding and self promotion as well as for other people, which is a big thing with in the marketing world marketing industry. Everyone wants to be able to market themselves properly, and this allows you to design your character is the animation process and working with the client smoothly, going back and forth and making the updates essentially pretty quickly. Now in the class I'll go through the process. The next video gonna go ahead and share with you. What? The project this for this class and everybody. Thank you so much for your time. I really look forward to working with you and see you next video.
2. Class Project: Hey, everyone. So your project for this class will be Danny made a two D character reciting the alphabet. I'll go over character animator preparation in photo shop, illustrative for the program. You'll have the option to use your own to the character from either photo shop or illustrator or if you want to get straight to the animation. I provided a character for use in this class on Lee. This will be the character I will be using throughout the class videos. The lessons will walk you through my formula for getting our character singing the alphabet in character Animator, an introduction to Carrick generators interface and how to start a scene with your character. I'll share how toe we're gonna just the ring of the character for this particular animation . How to record using character animators, facial motion capture camera, sinking the characters, mouth and expressions to pre recorded audio. I will also be including an audio foul of someone most like us. Julie singing the alphabet in English. You can record the alphabet in any language that you like as well, and utilize that particular track for the project. We'll go over, had a tweak or adjust the animation once we recorded it also had export the final animation so that we have a video of a character singing or saying the alphabet in Adobe Media encoder. This class is about sharing another win animate. There's so many ways to go about doing this. I'm thankful to share mine with you, and I hope that this helps you produce the animation you're looking to. So let's go ahead and get started.
3. Labeling the Body: Hey everybody! And welcome to the first lesson in Adobe character animator. Wanna one getting their photo shop or illustrated Kate talking? Please keep in mind that this video won't be discussing the basics of photo shop or illustrator or how I created my character. The next few lessons are going to share how I label and grew Blair's of our character in Illustrator of Photo Shop. How you choose the label, your character and Adobe all the shooter. A photo shop is basically foundation preparing it for import into Adobe character animator Adobe character animator will know what to do with layers and groups is almost there labeled properly character Intimate will sink all that information and apply to the character upon import and allow us to intimate accordingly. Now you have the ability to edit the character from either application after import as well . As long as the foul you imported and value editing are the same. All you have to do is go back into the file and illustrator or Photoshop, make your changes hit save than it syncs up to character animator. The purpose of this video, please keep in mind is not the label your character exactly the way I do, but to share the importance of labelling grouping layers properly an illustrator and Photoshopped and to show, you know, the way I do it. So without further ado, let's go ahead and get into it So you don't have to hear me talk about Rim's up anymore. So right here we have a character Arman illustrator. Now I do want to let you guys know that the way I'm grouping labeling it is identical to the way that I would do it in photo shop. I just prefer to use Illustrator with character Animator because I prefer to use the vector Rise art Now here initial group we have one with glasses are character is grouped under this one group here now how I label it the name of it you know it's how I organize it But the most important thing here is this plus symbol plus sign in either the programs illustrator Photoshopped basically is a similar indicator that either all a part of this layer is going to be animated. It doesn't mean it's a requirement. It doesn't mean it automatically will. You can actually turn that animation property off in adobe character animator. What it does is gives us that option. So please keep that in mind that whenever you see that plus symbol in these layers, that's what it is doing, either for an entire group or an individual layer. Next, the next group under it is again this this group. It's grouping everything else, the entire character itself. Frontal. It's his frontal now. The reason why that's there is a reason why that group says Frontal is because Adobe character animator also gives you these options where you can create different views, your character in different positions, like a 3/4 view, a profile view, a back view or even different poses, and you create all of them each in their own groups and then once triggered, it'll appear and character animator. But for the sake of this particular video or class, we're just gonna we're just doing frontal because we're just gonna get her talking under that we have the head group, which is everything above the neck, and we have the body group, which is everything below the neck. They are grouped separately here, and at first we're just gonna go and this this particular video we're gonna go over how I label the body. Next video will get more in depth with the face. So here we have her neck. It's labeled neck. Very simple. Simple process. All the details in the neck. There's a couple of layers here, but all the details that I want to remain with the neck are grouped together, and it says next. Now there is a plus sign there. The reason why again, that's telling us that this particular group is going essentially intimate. Now, when you see here is his body, nothing says that is gonna There's no plus sign to the body. Overall isn't gonna move as a whole, however. There's a plus on with the neck, meaning that this group, which is labeled Neck, will potentially move individually but on Lee within the confines of the group, which will be the body. So it's not going to be bouncing around all over the place. Then we'll get into a bit more detail of you know how that animates and might move a bit, and it might not need to, but it's there. If we'd like to do so, the next is pretty cut and dry here we have the torso. That's basically her shirt, little design, my little tag here. Now that's not moving individually. We have in the next group, we have the arms now they're not moving as a group. However, here they're labeled right arm, left arm. There's a plus sign. What that is indicating is similar to the to the neck that the right on might move or the left arm might move. However, they are going to move on Lee in the confines of their group, which is arms, and this group is stationary so itself it will move then only with the overall air. But these may move individually within the confines again of their own group. Now they may not have to. We may not need to, but that plus on has given us the option. Not so just right arm, left arm and each group. I have all three body parts individually labelled hand right form right up wrong and left form left upper arm. None of these air animated separately because if we were to animate the body of the character and we want to move the arm, we wouldn't want each of these moving on her own accord. We want this arm moving and sink with with itself. And then it would be attached to this to the arms group, which is attached to the body so the arms themselves will only move within the confines of their own group again. Now also, I have right arm labelled right arm here, but when we look at it, it's OK. It's it's left arm. It's the left arm. It is labeled instance sort of mirror image like screen left screen, right. You don't have to do it that way. But I just noticed that when labelling it that way, character animator kind of responds a bit quicker with that. Some people don't agree, so you could You could label left arm left arm, this left arm then could be right arm. You can label that as you choose the side, but that's just how I do it now. The next day we have in the body is the legs. Legs are not moving at all, but the way that I do layer them. If you were Teoh, want to move them a bit and animate them moving? You would do the same thing that we did with the arms right leg and left leg would have a plus sign. But since we're not doing it that way, I'm just gonna keep them stationary. There's no symbol indicating any sort of animation in this group here, but I do have each body part labelled similar to the arms. Let right foot right thigh, right calf, left foot left, five die left calf. So all of these air labeled that way. Now that is a body for you. We're gonna get more into the head in the next video. But just to give you you know, that's just a quick review on this. The main group here we have lived with the plus sign. The plus sign remembers an animation indicator. It indicates that either all or part of a particular layer are going to be animated. Now we have this set this way because the entire group itself could be animated. But we're going to animate certain parts of it. We'll get more into that a bit later and see in the next lesson just a few things I remember before pushing through to the next lesson. Remember that the plus sign is an animation indicator to Adobe character animator for that layer or group that either that layer of group will potentially be animated when in character animator. But it is not a guarantee that it will be only an indicator that that is a possibility. Also, when labelling entitling each layer group, please keep in mind to try. Keep it simple and specific whenever possible, for example, wants to label mouth as mouth that his mouth, her mouth dog's mouth, Bob's mouth just simply mouth. Also, please keep in mind that the way layers are grouped in Adobe Illustrator matches the way I layer or group them in photo shop. I just prefer to use illustrator when creating a character for Adobe character animator. And finally, please keep in mind that you do have the ability to edit your character in Photoshop Illustrator once we've imported the character into the scene, so something needs change later on that isn't available option, and I will go through that more a few lessons ahead. Otherwise, thank you for your time and see in the next lesson. Yeah,
4. Labeling the Face: Hey, Ready? Welcome back. We are in the second lesson in discussing how to label our character in Adobe Illustrator Photoshopped the previous lesson We did discuss here how to label the body. We went over what the plus indicator means, which is an indicated to character animator, that all a part of the group's going to be animated. And in this video here, we're going to discuss I label the head. Now the head will be a combination of two videos or two lessons. I'm going to go over everything, a label in the head, and then we're gonna discuss how I label the mouth and why so first we have the head. Okay, we see here, which is everything above the neck. You have the face and in background in the head group. Now there's a plus sign for the background, but with the head that the background of the head, I should say and we have a group this face there's this to shape of the head. Then we have the ears. Now these aren't gonna be animated individually with a background layer. It's labeled as such because they're sometimes you can you put hair like if she had longer hair in front of the bangs and that some of the longer hair but that goes behind the neck or around the neck. However you choose to design a character, you will put that in this layer here because that would be the background. You want it behind the face, but you are able to animate parts of that. Now this. The reason why I have that plus sign there is because the head might tilt a bit on its own . But the face, the head, it's only gonna tote within the compounds of the parents and group, which is the head. So while the back the head might tilt, it might move a bit. It's only gonna move within the confines of the head group, which would essentially be with the face. My apologies that went in front. But here we're just gonna move. Talk about the face then and then we have the hair pretty simple, the hair itself. You can animate different strands when you get in character, random manner, but we're not going to get into that in this particular lesson. We just have the hair in one overall group, which is under the parent face group and under the Head Group, then connect to the frontal group. What's happening with this hair group? It's not animating individually, and it's not animating overall, but it will move with the rest of the character. Same thing goes with the glasses. The glasses aren't moving, but they are going to move within the group that they're in and with that group is attached to too. It's like a it's It's based on what it's linked toe and each group on each layer. A group will move with whatever group. It's parented, too, if it is not set to animate individually. Now the mouth, we're gonna go into the details of the mouth and how it's different. Expressions are labelled in the next lesson, but for the sake of this, what we're doing here is the group. Every expression is going to be grouped into one group under the mouth label. That mouth Dobie character animator knows that that is mouth. We have the nose when I animating that that is just sticking, staying within its own group and will only move with the entire character. Then we have what eyebrow and left eyebrow. There's an animating animation indicator. We have a plus sign there, but it's within the face group now. What that's telling us here is that this is going to animate, but only within the confines of the face group. So what will happen? Adobe character and emitter has an option for you to record the video capture where you can use video and audio together or individually to affect the behaviour of all a part of your character or puppet. Please keep in mind to going forward. You may hear me refer to her as a character or puppet character in a matter cause that the character that we have here a puppet So once we have that in there and we're moving our eyebrows up and down since we haven't labeled with the plus sign right eyebrow plus sign left eyebrow. Once we move our eyebrows, each of these will go up and down, but only within the confines of the group. So you won't see him going over here or over here. Then we have the I. Where'd I left eye within each I These are group the same except ones on the other side of the face. But worse is the left and the right as And I, of course, would essentially be placed and this labelled accordingly, left and right. If there's a body part that belongs in the left or the right of your particular character, you want to label it with that. So it'll be character animated knows that that's the side of the face or the body that each body part is on now in this particular layer here, the I layer, we have two groups. We have right blink and right. I neutral anytime you see neutral, that is the base pose or the base layer for any particular action repose. So here, this is what always shows. Now we have the right blink, which is exactly what is labelled as it is the right blink which is shows the way that that does. When we turn that layer off, it basically becomes an action will layer to a double character animator what'll happen is in character animated the same way as how the video captures your eyebrows moving up and down when you blink. Don't be character animated will turn this layer on for however long your blinking and said it too, and that'll turn it back off. So it would just be like you blink, boom, stop linking. There we go. Both layers work the same way. You want to keep that off in photo shop where illustrators, So that when we import it, the program knows what to do with it. And it also, you know, you can turn it off when you get back into a character animator. But sometimes when you don't do that and you have to go back in and turn all these layers off, that adds extra time that you don't have to to to your project. If you just keep it off now, the next layer is the right eye neutral. There's a few things I want to give you information on about that, and here I haven't labeled these ways right eye lids here, right? Pupil details those air labeled that way because to organize, they'll be character in a meter. It's good to label it that way if it does pick up on certain words. But there's not much really gonna do with that in this particular video here, though this I have is the right people guide, and then we have the right pupil, the right pupil. Here there's a plus side indicator. It's basically telling us that is gonna move the same thing with the blink. Same thing with the left or the right eyebrow. What's happening here is that the video capture option. We'll follow your pupil, and it will go left or right, or however you choose to go and or if you trigger it, with your mouths or anything to that effect, because you also have that option in the program. But either way, when that eyeball is moving or that pupil is moving, if we don't have a guide there, this is what's going to happen. You're going to see parts of it sticking out. Now, this is an extreme position for the pupil. We probably wouldn't have a going that way. But that is to just show you why the guide is there when the guide is there. That's what it looks like. So unless the people is moving out of the lines of the overall, the eyelids, the lines that we have here, you're not gonna even really notice why it's there. But that is why now we're gonna win and take this back here and we're back to normal. And then under that we have the eyeball, which is just the white. And of course, it's behind pupil. So and then the people have just all the parts that I'm using within the pupil, our group together. All right, So that is it for this particular video. The next video. We're gonna go ahead and just I'm going to share a few tidbits on how I label the mouth and the expressions. Now, remember, when you want a layer to every visible all the time, but just respond to a particular action like a blink, we want to label it accordingly, put it in the appropriate group and turn it off. That way, Adobe character animator will know what to do with it wants to get it in there because of the fact that it's labeled as a right blink. So it knows it's supposed to blink. It'll go into that area of the system in the program, and then when you ever you trigger it to blank, it'll blink ready. So that is it for this particular video here. The next lesson, we're gonna go on a bit more detail about how we label the mouth. All right. See, assume just a few things before he pushed through to the next lesson. Remember, the plus sign is an animation indicator in character. Animator. When you're layers, label with it. Please remember to be specific when labelling your character, an illustrator or photo shop, and make sure to include the location and the label. If applicability, for example, Left right top of bottom, make sure you group all layers together for a particular body part. For example, right link and right eye are in the group labeled Right I and with that being said, remember that only your neutral post should be visible. The layers that are not constantly visible will appear when sugar and character animator so within the right I layer right blink, for example, would be off an illustrator of Photoshopped or not visible and right. I will be visible when we get into character animator. When triggered, the blink will appear over the word I. That's all I have for you in this particular lesson. Look forward to see you guys in the next one have a good one
5. Labeling the Mouth: everybody Welcome back to the final video in Character, Labelling and Illustrator and Photoshopped again. Please keep in mind that how these air labeled and grouped is identical to Adobe Photoshopped. Again, I just use this because I prefer to use the vector as character when importing it into character. Animator None Last video we went over how I labeled face. We went over different poses different for actionable layers. Here the one layers off. It will not appear all the time. But if this label properly is here, the right blink character animated will know what to do with it. One that it is triggered. Same thing kind of goes for this here. So we have a mouth and then we have a whole bunch of other mouths that are actually turned off these air similar to that of the left eyebrow and the eye blink in that Here we have all these layers labeled a certain way. They're basically going to appear whenever triggered. So here we have the smile whenever you smile and let's they have that the video capture option on and you smile character in a murder will know that basically the based on how it's labeled here, smile in the fact that it's often on just regular posing. It will turn on and smile. Next layer. We have our mouth. We have, ah, you know, it's a you ace making like a sound. What that's gonna tell character animators that whenever you have the audio option selected in the capturing window, which will, of course, go over, uh, will happen. This mouth will appear when it's gone away window, which will, Oh ah, did you now? And this would be a frowny face, but you could also trigger that to appear with particular syllables or triggers. When you get into the program, they have to jot each mouth. You know, it's sometimes it works good to pose as you draw amount so that you can see what kind of sound that it makes. Some people might not think that it looks like it makes that sound. Some might. Ultimately, when you have several syllables coming together to make one sound, you can't completely tell what each one is doing by itself. That's why it's kind of important to label these or not kind of really important to label them this way. So you label the e mm Oh, I smile. When you get a character animator, you can kind of situate them as well. You can adjust what each mouth will respond to. There's the character. Animator has a couple of different options when it comes to the sounds of the making or syllables that the R sound with just sound. We have that here, but sometimes you have to basically apply it, so you have to select which expression is going to appear and will be character animated with whichever mouth that you might want to appear with. So we're going to a bit more detail of that. But just for the sake of this particular lesson, we have the mouth and it's labeled. They're all grouped together under the mouth, which is grouped with the face, which is the group with the head frontal. One with glasses. No, and every single one of them is off, except for a neutral. That is what we always will go back to whenever each expression is done being expressed. And again, there's either visual or audio cues that trigger these to appear. We can edit them, we can adjust them. We're gonna just which expression that they appear with When in the program. However, we want to keep them all off except for a neutral and makes you label in neutral character . Animated will know that that is unusual. Base post and you don't need all these mouths. You could have 20. You could have two. It's all completely up to you. This is just the basis for how I found it works best and that is it. The next video we or next lesson. We're gonna go over the interface of double character animator You guys soon. Just a few things to keep in mind before we go to the next lesson here. Make sure you go boy your mouths or mouth expressions together in one group, I find it's easiest to label it mouth. Make sure only the neutral mouth is visible, and make sure you label each month according to the action. It's doing such a smile or a frump or the sound. It's making like the gym with oh or anything to that effect. Otherwise, that is it, and I'll talk to you in a bit
6. Creating a Scene: everybody. Welcome back in this video, we're gonna go ahead and go over the character animator interface and how to create a scene . Now when you open up character animated, one of two screens will open up the start screen here, which has some, uh, some pretty cool videos. Adobe provides for you and some characters you can use instead of the one that was either provided or your own to mess around the plate. The program And it's pretty cool. We have a lot of different stuff here for you to mess around with whoever in this area. The main thing here that I normally use a new project or open a recent project or this screen will open up no adobe character and has a pretty cool feature were automatically saved your project all the time, the only time that it is not going to do that. The only time that you really want to go up and save is if you want to save it with a different name or something to that effect here. Otherwise, it will automatically save wherever the initial project is created to create an initial project. When you need to go to a new project here or found new project here. And when you do that, you're gonna select the folder you want the project to be in, and then you label it here and you'd save it. And it will become a photo like this and will automatically create the project. And then it will remain there now, Barks actually already done that here. And this is the main screen briefly here. This a project window. Whatever we import, whether it's audio, whether it's a puppet or anything to that effect, it will automatically go here. It's the history tab. Character animator has the option. You can look at all of your history. You can go back to any particular point if you remember what you specifically did and it will go back there, it will save all your history all the time. Even if you close the program opening back up, it will all be here, which is pretty pretty cool. Over here is the camera and microphone option. You turn the camera on. Hi, that's where it's that or you turn the microphone on here, the audio or both on high again. And now there's audio. That's where that's gonna be. And whenever we record it, that's one. The puppet will react when we have everything in there. But that's where you access that The properties panel for any particular puppet is seen. We're working on our time line, which is where we're gonna edit either the audio or any animation or anything to that effect and the scene window. This is what we actually see. Our character and the animation happen. They'll also be the record option, which will show you in a moment now to import or character go to import. And we locate our character. No, Here I have the character one with glasses. The character and the project photo will also be located. It'll say, women in glasses gonna importer. And there she goes. That is a puppet. That's that icon. Now, to create the scene, we got a woman and glasses between the Drag it down here. Or we can just hit this button here and it will create a new scene. Make sure the puppet that you want the scene to include it selected. It will create this for you will see. It appeared down here and we see our puppet now. Here is a few buttons. Stop button the play button and go forward backward here or back to the beginning. And over here is a pretty cool option with the black background, Web background, transparent background. Right now I'm going because she she's black hair. I want to use a white background so we can kind of see the lining of everything. And there you have it. We have our character, and soon we turn on this. Now I know she's swing kind of like a sausage worried now, but you can see visually how she is responding to my movement and we'll go ahead and get in and how to fix that in another lesson. Otherwise, that is how we get the character into program and I will see you in the next video. Hey, once again, if you look things, take with you before we go to the next lesson. Remember her character animator? Always auto saves the way you would import your character or puppet is you will go to file import and select the location in the foe for the popular character you wanted to import. Now the public file will be in the project window in the top left of the screen to create a scene. You want to select that puppet in the project window any the drag and drop it into the timeline, the bottom of the screen or with the character selected. Hit the little Q icon at the bottom left of the project panel in character Animator. That is what I have for you guys and I'll see you in the next lesson.
7. Editing your Character after Import: everyone welcome back. So in this video, I'm just gonna quickly show you how to edit your character and illustrator or the base program illustrator Photoshopped and hot updates and character animator. So let's go to our illustrator file. Now, please again, Keep in mind that the base or illustrative file that you're updating needs to be the same file that you imported into Adobe Character Animator or there won't be an update to the specific character. So I want my character to have some sunglasses will go back into the file. Let's turn these off, give a glass of sunglasses, let the sunglasses and I love my husky caffeine. So I want her to love her house key and caffeine. No, you have it. I added something to a shirt. You can anything you'd like now go up to safe, give it a sec, go back to kick their antimatter. See, it's updating. Get it ready. Give it a moment. Boom! It's updated and there you have it. And remember when you updated your character, make sure you're changing the particular project file that you imported. We're gonna have to go back in and make those changes to the actual file you imported or reimport the file. You just made changes to either way to alleviate that. Just make sure it's the same file and it will update. And sometimes if you animate a particular character or behavior and you import and it can affect the animation or recording, so when you're doing that, you may have to make some additional adjustments. But just for the sake of this video, I wanted to go ahead and just show you how that works. All right, see in that next video when we go ahead and start the reading process for a character here in try to fix my apologies, try to fix this floppy nous we have going on here. Just a quick reminder or something to remember going forward from this lesson. You want to remember that the file you're editing in Adobe Illustrator or Photoshopped it needs to be the same file in the same location, or the update won't occur in character animator as seamlessly as we wanted to be. Once you save that update in Adobe Illustrator or Photoshopped. Otherwise that's all I have for you and talk to you in the next lesson.
8. Character Animator Interface: everyone. Welcome back in this video, we're just gonna go over the interface of our rigging menu now to get here. What you want to dio is he to go to the rig menu or double click on your puppet that you want to make rigor adjustable. Before, if you were going to the rig menu and you wouldn't see anything or you wouldn't you have several puppets and you want to change the puppet. You would just go in double click on a puppet that you want to appear, and they would show up. Over here is our layer window. It shows air layer. You see the eyeballs just like it is a full of shop illustrating you. Turn that on and off. We're here, this little crown icon. This basically is replacing that plus icon. So when that's on, it's an inimitable property. Now there's a It does give you some information on it. The Plus Signs Layer group, it's independent of its parent group, Yellow Crown and name, indicate the route group that controls the selected layer. Layers on the same mesh have a yellow bar, so you notice here the yellow bar yellow bar, all on that same mush, Basically. So that's telling us that this is all together and it's gonna animate together. It is now. It's not here. We don't see that there have. We do see it down here in a couple of things. What I bro left eyebrow. And if there's not enough here, if you can't see it, you see in my mouth's icon turns into a little out of the left or the right. You can stretch that over, but to see the name of it you notice are blink here, remember, a blink is off. We have a right, I neutral. But then the pupil here there goes. It's independent, but it will still move with the entire group. Remember, it's gonna animate. It's gonna move, but it's going toe only move within the confines of the group that is parented with, but it was still animate independently or move side to side or this entire group will not move side to side. It will come outside of set up and down, but within the confines of the group, it is parented too. So what, You see how this is set up the layers of very similar to the neck here. And when you select it, if it is independent, it'll be outlined. If it's not, it will have a larger outline with the smaller outline so you can still see what you're selecting. And if you should like the group, when you see these dots, that means there's something in there most lucky. The port it's not selected is inimitable or independent. What we see here, how it's outlined. See your eyebrows outlined. It's the same thing. My apologies. You see that dangle there? We're gonna go ahead and I'm gonna tell you what that is in a moment. Okay, so I'm down here. You want to go down here now? You notice this and we'll just This this is is an outline just like this. Give it a moment to load. It's an entire match. Kind of like puppet warp and whatnot. And after effects. Here, this shows everything and how it all is affected in a mesh format. I am not a fan of using that, Really? So I like this. So I at least know what is selected this year goes over it. No matter what you selected, you can't really see your puppet unless you selected it, layer, That is independent. No one that would happen. You notice, though everything else isn't. There's an a mesh over, but it's over the selected layer so it could be beneficial in animate ings of the parts. But I'm not a fan when I select on that part and everything looks like this, but a lot of people do prefer I do not. So we're not gonna use this view. We're just gonna go ahead and use this for you here. Now we have the select this the arrow basically to select things you notice here. This is an origin point for this particular layer and okay, you can move it to the origin around with this The select. Now, this is the painting tool. You can also pan the same where we do our scene window behaving all middle mouse button. Gonna move that around as well. We have the magnifying glass which magnifies our character view. But you could just also hit all use the wheel in the middle mouse button and move back that I prefer that short cut. Now here. We're not really going to be using this over just so you know what it is. This is the handle tool. You had a puppet handle. So, for example, if we wanted to animate are armed in full what we do, we take a proper handle. We could put it here, here and here. Those will be with it. Would bend, or what was we could grab, Not necessarily where bends. My apologies will be able to grab each part. That's where Would we do that then? But we're not really going to get into that. That is a very brief overview of what that can dio was This We're not going to be in emitting different parts of the body in detail. We don't really need to use that. This will work. Similarly, when we put the Dragon tool here, this basically and it gives a really good description is the stick to it as lines to specify with a puppet mention it bend. So we've been ignore him, right? This doesn't want, wouldn't want that to bend and get a weekly. We don't want that to bend to get Wigley wouldn't want that. You will even area kind of where the joints would be. And that's what we're Ben. But the rest of this doesn't rest, but you want to keep straight or stuff now here of the Dragon Tool. When you add a handle that could be controlled by the mouse or touch, that's what that does and dangle tomb. This basically, and you will click to add to any any of these. Down here, you click. To add them, they handle the stick tool the pinto, which will tell you about in a moment the dragger tour the dangled. You would add that to the particular make sure you have certainly are selected and you would add them. This is a dangle to if I wanted to, let's say, have parts of the hair that would dangle, You know, go in, select the strand and you put that here to put a couple you could put more, and over here you'd be able. The problem's been used to make adjustments to how fast or far much it would angle of the dangle or bend again. That is a very brief overview of what that does, since we're not going to be using it in this particular lesson. However, we are going to use your pencil here. So what? That does is pin something to a particular location, so it doesn't go all over the place. So here, I'm gonna hit all move this character around and I don't want my character will look sausage anymore. So what I'm gonna do here, select their group, Put a pin right down here by the feet couple, too. You don't really need to, but it makes me feel better. Makes me feel a little balance when I see it on either side. Then we'll go over to the scene, double click and you know, to see here now she's kind of swishy still, you know, mushy. But she's a cartoon character, but the base is pinned down to the floor. So now she isn't swinging all over the place and quickly, just so you know, I'll probably I'll go over this again. But over here, in a camera microphone when you hit set, reset pose. You noticed the facial markers here, camera tracking attraction movements of your face. So it works a little bit better here and you see a smiling and you knows here. But there's no audio. It responds to my audio pretty well. Uh, you can go ahead and adjust that once you've recorded. But that is it for this video. Remember them to get to the rig menu. Just double click on your character Over here you have all of your layers And over here, just so you know, you can adjust your the size of your layer. So if I select this thing here Sorry, this layer here one with glasses here I can just the scale of er and a couple of the menus blending mode like you would do and Photoshopped Illustrator, We're not really going to do that mess shape. We're not really going to get into that either Tags when the tags are basically when you lay labeled your layer in Put a shovel Illustrator, You live with a head character in a murder knows this is the head When you labeled it frontal character Animator knows this is the frontal view So when you labeled your character you had right I in Noto Zoraida It knew it was a word I when I Browett based on that and you notice I labeled it right eyebrow character animator didn't put it on our review. They still put it the exact same place I did, and they didn't put it there because of how I had a positioned an illustrated. They put it there because of what I had it labeled. So it is screen right screen left in character animator, and that's why I label it and place it that way in the program. So it remains constant and I don't get confused. But that is it. For the initial interface of character animated rigging menu, you know we'll go ahead and get into rigging of the body and the face in the next few lessons. See, in a minute just a few things, Remember. Four. We kick start the next lesson toe open a rig menu. The quickest way I find is to double click on the puppet you want to rig in the properties panel, and the Rig menu will open with fewer puppet that was selected over to the left in the Layers panel of the Rig menu, the crown icon that's located next to some of the layers that those of the layers that had a plus sign on them in photo shop, where illustrated with labeling them they will intimate independently within the confines of the group that it is parented so, and the navigation tools. Such is the selection, the pain tool and the magnifying glass, and the other tools, such as the pin tool and so on are located at the bottom of the rig menu. And that's it. I will talk to you guys in the next lesson.
9. Rigging the Body: Welcome back in this video. I'm just gonna go over how I rigged the body for this particular animation. Now a pretty much one over that in a previous video. But just to go ahead and give you a quick review, the base. Remember, we added this year, that's basically it. However, you noticed one thing with the body. Let's go back to our seen DoubleClick. Seen women and glasses. Does it set? Re suppose it automatically turns the camera on Mr Arms. Going to do something funny, The shoulders here. I'm not really a big fan of that. So gonna go ahead here Right on. First of all, no. When you have her over this right here this year, this is a handle. It's also the origin. What I'm gonna do is, however over it, it turns to the selection tool and I'm gonna move it up that green highlighting basically means that this is what it's attached to is that area and it's within the limits. If you move it out here, it's outside of the limits of the group that it's in. So that means that there is a problem. Unless you wanted to do that same thing goes for the left arm. Let's put that here. And I'm going to take my pin tool and I'm gonna pin each one here. Let's go back in that reset post. Give it a second and updates and you notice the arms or counter his own where I wanted to go. Now you see, it kind of does something funny here like that. We would be able to adjust that. But in this video, we don't really need to because we are just going to focus on a character. You know, she looked eyebrows a Were you? What are you doing, E Ah, you see how it updates? But that's it for this particular video. I will see when the next video we'll will start a lesson on getting the face and mouth rigged properly. Seeing a bit
10. Rigging the Face I: Hey, everyone, welcome back. So in this lesson, I'm just gonna go ahead and go over. I read the face, and I'm actually gonna make an adjustment here just to show you how we can make a correction or an adjustment to a particular layer or movement. Someone hit, set, reset pose Here. 10 audio off. So you notice here. Remember when I said moving the body, everything, the arms kind of with it, it's a little rigid. And I don't like how the neck is doing that. There is a reason why it's moving with the body, but it's acting on its own because we made it independent from the rest of the body to animate it. Now we're not gonna animate the neck, right? We're not going to bend it by itself. So this is how we adjust it. There may be instances where you want to do that, but this is how we're gonna just it. We have the neck here. Remember what I said. You can have to animate a property where we're layer. So here this crown, we're gonna start elect it. Boom! Turn it off in the brig mania. Now it's one solid unit again, and it'll react with the rest of the layer in the body. Go back to our scene. Set, reset pose here. Boom. So her arms to move the net kind of moves and arm move a little bit dangling, but the entire upper body isn't so rigid. So there you go with that. Now that is still part of we're going to face. Let's get back into our wig here. A rig menu. So with the head, remember, we went over in the rig menu. The tags, the face tag and tag is telling you this is what character and me to seize it, as sees it as the head. Okay, in the face is in the head group. We don't need to worry about that. Hair, sunglasses, all of this stuff. It's pretty standard. You don't have to Rick this individually in this particular lesson here. Those, all of it. You noticing those here? Mouth here? Where'd eyebrow left eyebrow already? Kind of went over this where it I left I and you notice here we hit blink. I notice it online. There, that's us. That's character acknowledging Hey, this is the blink. If for some reason it wouldn't show you is a blank. Let's say it wouldn't be there. You could actually turn it on or turn it off. But we wanted to be. So if we will click on this and see over in our tags, many like Hey, it's not there. Just select that area My apology, not the I the blink they have it. We go to pupil shows us the pupil, the eyeball, meaning it keeps it here We have that labeled eyeball character, and I'm gonna recognize it. And that pupil will not go beyond the confines of that. No, because it recognized that it's it's doing all of this for us. When we do the animation, we go the left. I hear you notice it's there back when you don't have to worry about, you know, with the body, the body works the same way. I know we're bringing the face here, but the body was same way with the tags. If it doesn't show up, you go in and click on it. Now, since we have neck here, it automatically knows that's the neck. But for the torso, let's say, since we don't have the torso separated, the different parts it doesn't necessarily know what's the waste and and what not here. So we would essentially used that for the waste that's not animated, so it's not going affect it completely. But that's just where you would do it for everything, for all of it. Here now, we don't have toe rig that, and we don't have to tag it. We already it already knows that that's the particular that's what that is and that knows how to respond to it. Remember how I said character animator has the option for different views? You notice. Over here we have frontal, We have left quarter left profile and over here record a report file. We have looking downward and looking upwards, so if we would label it identically to that, it would target is such an Each behavior that is in each of those groups will be included appear you can adjust the size of your of any particular layer or your overall layer, the opacity, the blending mode, what it's attached to. We don't really need to get into that here because we're not attaching anything or moving anything independent of the particular body itself and you notice here the mouth. Now we're gonna go ahead and we're going to get into the mouth. You see the mouth here, there's mouth tags in the next video. I'm just going to show you here how all of that works and how we make the adjustments to that. If we choose to do so, see in a few minutes just a few things to remember before we get to that next lesson. Remember to remove the crown icon from a layer in the rig menu. You click on the crown icon next to the said layer, and then, once that crown layer or icon is no longer visible, that layer is no longer independent. Also, remember, certain actions or poses will be automatically tagged in the rig menu based on labelling. If items aren't tagged, you can always tag them in the properties menu according to each layer. Make sure you select the layer and then tag it. That's all I got
11. Rigging the Face II: Hey, welcome back in this video, we're gonna continue from part. Wanna bring the face, and I'm gonna show you how we bring them out. You notice here to recommend you have my selected. Remember, we have the tags over here. It shows us that it's That's the correct tag. If it wasn't selected, we select on mouth, even though it should be. But if for any reason a computer doesn't mess up, which, of course, no happens, you can manually go in and do that, you know, for any of the properties that are tackle. Now, we have a tag. When you notice now, I'm going to the neutral mouth. We scroll down and look down here. You know all the mount text. Neutral. Has it labeled that way. Smile. Here's how we labeled it. Automatically sunk it up. No, Uh uh. We have, uh oh, we have that. Sorry about that. And now there is no joke because there isn't a just sound. But I put that in there because there are certain sounds that it just makes and it's not included in the list here. And I didn't label it that way because I the sound is affable to a few syllables that we have are a few letters, so we have them selected now, I wanted to be for the day this and no. Okay, then here we have the okay, I'm gonna turn it on. And before we go back to the to the same, make sure you turn any layers that are originally off turning them back off or they become the new neutral if they're above whatever neutral pose you have. So I have the selected here now with the, uh, to not just be all right, so the at oh, that I made our little more surprised, right? Oh, that's not to, uh, looks like she's yelling. So I don't want to really use that for this particular recording. So I'm going to change the, uh it's gonna be uploaded the but it's also gonna be there, and this will no longer be dia that someone to turn it off while it's still there. It's not going to appear. And then we go. We already have that. No, there's no they're afraid for the f. Right. So what pose could we use for that or what? What mouth could we use for that would be this. Would it be the job B e? No. Wanna be that? So Wouldn't you do it? You can go ahead and make the what you record. So make the changes character animator. Then we'll adjust whatever sound was made, whatever mouth was making the sun initially and make that adjustment to it. So for the e, actually, I don't want that to be. I'm just gonna make the gym the f we can change it. You know, when we go through, we see it. If it doesn't look good, we don't like we can come back in here and we can change it. Make sure we turn this off and that's it. And then when we get back into the scene, ah, character, mouth and expressions will adjust accordingly. No, you have it. I'll see you on next video. Just a few things you want to remember before we get into the next lesson. Remember, you can have multiple tags or sounds for one mouth sounder expression. The tag label doesn't have to match the layers labeled her name. Remember, with the mouth and with changing the tags, you can always make changes and the animation will adjust accordingly. That is all I have for you in this lesson. It's OK, sir.
12. Live Recording: Hey, everybody, Welcome back. Good morning. Good evening. Afternoon. Wherever you might be whatever time you're watching it. So today we're gonna go ahead. I'm going to start with the recording and it'll be character animator. And it's pretty simple with the character here. So we have a character, you notice we She's responding to my movement, but not my audio, because I don't have the microphone on yet. So in order to be court, all you have to do is hit this button here. The red record circle hit to start recording. It'll do a countdown and not recording. And you noticed this. Stop it. Give it a second calibrated. Sometimes it takes a little bit longer. If you recording more, have more going on. And here we have it. We have our character moving her head. Now we hit play and that's it. It's pretty simple now, in order to you can hit. If you don't like the recording you whenever you do it had control. Z recording is no longer present, and there's nothing down there. Now you can record different movements in different sections. So what I mean by that is you can record the head moving and then you'll have that down here like we did. And I'm gonna go ahead and bring that back up here. It's a recording performance there. But then if you want to add something to that like her mouth moving, for example, let me turn that off and I'm turning the video off so it doesn't follow my movement. But I'm gonna turn the king, the William on here to see if it records me talking. So, for example, right now, I'm going to go record a B c d e f g h i j k l m n o p Q r S t u w x Why see we stop it, given a moment to calibrate And here we go. So while we still have our movements here, then we also have this. We have the new audio and here we have audio input and we have the vice. Seems this seems, however, you want to pronounce it down here, which is actually your mouth movements, character and major edits it too. Edit your mouth movements, their visibility based off of the sounds that we hear, hear. And that's one way to record your voicing baby sees there's another way, you know. Go ahead and I'll show you that in the next video. See you guys in a minute. Hey, just a few things to take with you before we carry on to that next video to record in Adobe Character Animator. You want to hit the red circle button at the bottom of the scene window There you will also find the play stop Will line or skip buttons. You can record several different layers of movement and or audio and edit in the timeline. Also one recording please try to pronounce clearly, especially one recording life. That's it. I will talk to you guys the next video.
13. Lip Sync: Hey, everybody, welcome back in this video. I'm going to show you how to sink your mouth movements to pre recorded audio. That's actually what I prefer in the program because it alleviates any feedback, any unexpected noise that will come into the program or coming to the audio itself and close distortion or random mouth movements. If there's background noise, you noticed like it's something small. I know I'm making the noises, but small background noises really affected. It's highly sensitive, especially if you are using your computer mike for it like I am right now. So if you have a really good microphone noise canceling or you know you're gonna have a quiet background and live according shouldn't be an issue. But a lot of unexpected things happen with me. So that's why I like to do the pre recorded audio, and that's why I think it's a good option. Plus, you could add different effects to it, sink into it, sink different parts of the mouth movement to it. A lot of different things go with it, but today we're just gonna sink our mouth here to the audio, gonna turn both of these things off here for now. All right, So this is from the last video, Remember? We sink with here. We sent with the video our physical movements and we sink with the audio. Me saying horrible rendition of baby sees. I know. I'm sorry if you had to listen to it and you actually did listen to it, I probably would have fast forwarded it. Uh, it's all good either way. And so in this scenario here, we're going to go ahead and delete this to delete it. Select on here like anything else. Highlight it. Hit. Delete. We're going on a moment. I don't want to delete our camera input. Actually, let's go ahead and delete that What we'll do. We'll dough Better movement with a B. C's in the pre recorded audio. So I just want to highlight like that. Don't highlight this. You're gonna delete your character like I just did. So I let it to here, delete It'll it again. There's the character. Also, you want to delete the audio that's playing just coarse. Me and we are back to normal. Appeared is a folder that list you recordings, and that's the audio recording that I just did here So even though I delete it down here, it still puts it up if you want to use it again. I, however, do not in this particular project here. Now we want to import some pre recorded audio. I'll have that included in your project file, and we just do the same thing We go to file. We gotta import, and it's taking me back to where imported the character. I just got back in the folder and there should be a way file labeled a B. C's recording. Gonna import that boom just comes in pretty easily. Yeah, and I say Bommel, Adam corny, but we have a B C's recording. We drag it down here. Our mouth is not moving. Nothing is moving at all. But here we have our audio. We see we can see here you can zoom in and you can kind of see where I'm pausing between each letter you want to be when you want to clearly enunciate the words so that the program know specifically what you're doing or what you're saying. Honestly, I talk fast and sometimes slurring my speech. Different slang. Different sounds come out. It can affect it. That's another reason why, like pre recorded audio for me, it keeps things organized, but it doesn't mean again you have to do it. This is just another option. So to sink these up, we want to select the audio selector character, go up through the timeline drop down menu and you go, you said, like compute lip sing from seeing audio. Give it a moment. This is preparing the scene that could take a bit. No, we haven't loaded. No, we didn't have to do record this because when we, the computer or the character animator basically sync it up for us. So let's go in here and play. - It is what you guys another listening to myself recite the alphabet like that is absolute torture, so you really don't have to use mine. You can record your own down another one. Do whatever you want my apology from the background clock there, but there you have it. Now, as you can tell here, it doesn't look like it's inked up very well, and that's the most likely cause of the way I recited the alphabet. Now we can make adjustments to that, though, and in the next video I will show you how to adjust these little little things down here and divide the seams, which is basically your mouth movements to be a little bit more productive and reciting the alphabet. So it should look a little bit better when we make the adjustments. Character animator allows you to adjust these and I'll see you in the next video. Remember, in this video, all we did is we imported the audio. I'm gonna put that in the recordings folder to keep himself organized and we dragged it down. We drug it down indoor scene When we selected both the recording and the character we wanted to sync it with and was compute lip sing from audio and it went ahead and it did the rest for us. And in the next video again, we're gonna go ahead and go over how we can edit thes so it looks a little bit better when sinking with the audio. So you guys in a bit a just a few quick things here to take with you before we head on to the next lesson to import your pre recorded audio love to file import in select wherever it may be the location of the file. Once imported, it will appear in the properties panel and similar to the puppet. You would drag it into the timeline to incorporate it into the scene. The Sync audio to the mouth You select your puppet and pre recorded audio in the timeline. Go to timeline, drop down menu on the top of your screen and select complete lip sync from seen audio. From there, the computer will sink it up accordingly. And that's all I have for you in this lesson, I said Talk to you soon.
14. Editing Visemes: Hey, everyone, welcome back in this lesson. We're gonna go over how to bet it. You're busy. Was here that we've had sink using this option in the previous lesson. Now, if you have it recorded with your live recording, you still change of it. Seems the exact same way that I'm doing them here. So we want to dio No, I did go in and I made a lot of updates to them for the sake of time. But there's still some that need correcting. So let's go ahead and play it out now. You noticed There the G goes back to neutral. Pretty quick reason why it does. That is because here we have all of the seems for the letter G. No, What helps sometimes with this, just like when you're creating those mouth expressions in illustrator, a photo shop put a mirror in front of your face and kind of say the word or syllable or letter or anything that you want that mouth to say in the program that will help you decide which was seem amount to use for a particular word. Expression, sentence, letter, anything like that. So nice to me. The G it has like a g G, you know, And that's but I want this to be eaten. So what I'm gonna do here, you can do this one of two ways, not a change of this scene. You select it, you were, click it and this menu will pop up. It has all of our all of the sounds that were in rigging panel to tag to each mouth. And it also provides you some suggestions of sounds that would make those similar expressions. So even though they don't have a particular expression for the end sounder than it sounds, they tell you what to use in lieu of that to simplify things a bit. And it's helping me out considerably. So here, I just want to go to the and look and change the T now. So we do that. You could also do it another way here if I select now because the preceding the seam is the is the same. This seem or sound. We weren't to a place this we don't really have to go in and make all these changes. Since we know that you could just drag it over like this does the same thing and one more way of making edits to these regimes. You can also wear click on the unwanted one hit silence. It will delete it completely. But then you have to drag this out if you want it to this toe, automatically place the e toe unregulated. Woo Visine. You can have the lead on the keyboard to this water medical will replace whatever is after it. So then we have that with the heat. Now I want to make changes here to the Q. Very slight change, but I still to make a change here. I just want to edit it here. Move that there. But let's try it out. Now that's a little bit too long here, and I'm comparing it down here is well, sometimes when these visions get sink there a little bit half a second off from the audio. But we know that makes a big difference. No, I don't like that. You noticed that. I don't. It kind of looks weird to me. I think the ours on a little bit. The end of it is on a bit too long, so and I don't think the this comes on fast enough missing a little bit longer. Now, there's something here on a warrant and I don't know why it's there. That's an E. So we know that eat the letter e can make it your s own. But the way I have that this seems set up. It's making the e sound, which I don't like. So what I'm gonna do isn't gonna select it. Delete it, then I'm gonna move this over it. I can only tell without hearing it that that looks better. In my opinion. Here, for example, Dizzy. You know, that's not a Z. We can see. It's not. So where? Click on there and you missed the s sound. They give you all of the you sound just that. Go ahead and make a particular sign you're looking for. So it has the check in the journals she is. So we're doing is sound and we have this now you don't have to do exactly the way I did it , but I wanted to show you how to update these regimes. And it may seem like it's a lot of work again. This program makes things is supposed to make things smoother when you're animating. So we go when we do all this work to link the audio, too, the mouth movement and we stuff going to make adjustments. You know, someone you might be wondering that which is a valid concern. Ever keep in mind again that this only took me a couple of minutes to update You just drag , move and play it. You can see where each letter is coming up in the audio. That's what's another good thing to pronounce words clearly and concise, because you can see where things pop up, and it makes it much faster for you to go in and make the adjustments. And once you get your get your flu, what you get it moving and going, it goes a lot quicker than you'd imagine my back when they did a lot of three D sculpting and modeling and painting. So when I got into this, this kind of frustrated me. But after learned how to use this program out of, you know, some other ones that I worked with, I loved it because you go in here, you sink it all up and it shows you it has it all. Place where you need it. It's edited they're properly, you can go on to make a few adjustments to Each was seen in each letter. But in my personal opinion and experience, this is a lot quicker than going in and animating frame by frame the mouth expression. Even if you're just doing when it pops up like this does appears and it goes away, you have to keep dragging, dropping doing any of that stuff. It automatically syncs it there, sinks it together. So I absolutely love it. So in this video, in this last just a quick recap here we went over how to edit device. Seems now we go to we can play it, stop it appear with space bar and we adjusted Assume we select it where I click it if you want to change the sound to completely remove it without anything replacing we go to silence to have a place that we drag it over move it, drag over, move over. Everything works pretty well when we going to make the adjustments to the this seems. And remember to zoom in here you had all and used the world wall in the middle to Zuman. Also keep him on that. If you have. If you're over your way, seems and you hit all this turns into a razor kind of like an premier Adobe premiere, and you can cut it and change it. You don't necessarily have to. I don't really use that that much, but it's an available option for you. So that's it. Here and the next lesson. I'm just going to go over some additional last minute properties. An adjustment store character before you get to the rendering process. Hope to see you guys soon talk to you a bit. A. Just a few things to take with, You know, getting editing biz seems before we go ahead to the next lesson. I do find it helpful to mouthy expressions I'm attempting to emulate in the mirror. I also find it helpful to listen and observe particular clips a couple of times. Sometimes the etiquette a bit better, and you get the small details also to change the seam. I want to select that particular vicinity, looking to change where I click it, select whatever you want it to be replaced within a small drop down menu, and then it will be replaced with the newly selected to delete a visiting without anything replacing it. You can right click on that particular visiting that window will appear again and just select silence that will remove it completely. And then you can also drag ever seen over the one after it to replace it or the one before it. Otherwise, that is it, and I'll talk to you guys in the next lesson.
15. Scene Properties I: Hey, welcome back in this video. I am going to just school a few things here that wouldn't would like it to discuss in detail these. We don't necessarily have to do forgetting her character to recite the A B. C's, but I just like to share with you over here. I went over this briefly Properties menu. There's a couple of things in here that we are not really gonna get into too much. We don't need to, but I just want to tell you what some of them are in, and we can use him a bit in this particular lesson. Now I want to start transforming the properties, and I haven't make sure you have your character selected. And this is similar to any other transform menu that you might have in most other computer programs. Just the size, scale, position, rotation, opacity and you grew capacity. We really won't get into that, though, So in here I just want to make her a bit larger, and I would just give me maybe more of a medium close up as opposed to the full body shots , since we're pretty much only focusing up here. So I want to just gonna get to scale, which is both X and y scale skill. Er up here and then I want to move it down someone in just the Y position. Now we don't have her eye moving, and we don't really have her face moving here, so I kind of wanna make some adjustments with that. So let's go ahead and do some live recording A. So you notice here how my eyes are moving so her eyes, like we talked about before head it's moving with it. So what I want to do here is just make some quick adjustments to that. So the eye gaze we can adjust that you can do it a couple of ways. You can turn that off where the camera would affect it. You don't have to look at yourself. You can do mouse touch input. You notice here. Does that work goes that way? Now you know. So it stays for a second, pops back. I want to turn that off because it's affecting wearing. My head is tilted. We can change that zero, so it automatically pops back after. But I'm clicking, holding, letting go. We're doing that. No, she know her eyeballs only going from side to side, even do in here. It gives you the strength that you basically have over that. So the ice strength if we go back to camera and my apologies, I do that no makes your camera and put a selective. You can have both of these elected to. But you notice when I turned it up, guys kind of going crazier it response time was pretty quick and pretty extravagant. So I want to go back down 200 there for that. The same thing goes from mouse touch strength. Pick that up. She had goes all the way out. It's still in the conference of the group itself, but it's going a bit too much. It's going outside of the eye guide that we had. We don't want to do that either, but those are available options that you have. And also, if you turn on snap, I gaze off. It doesn't snap back to his new proposal. Gets kind of weird, so I never really use that and I don't like it, but you notice how then the I the eyebrows going up and down well, like sushi, smiling doughnut so when I want to do here is I wanna add additional according with that, and with her being here like this. So let's go ahead and start it off. You know, make sure you do set, re suppose, even know what those official markers air there. Make sure staring. We want to be the default. So I stay straight if you want them straight. She she's blinking everything that we wanted to do she's doing so I'm gonna go ahead now, and I'm just gonna record myself moving around. Be careful with again is very sensitive, so don't move your mouth. If you don't want to smile showing up, you can either go into Reagan. Turn it off, which is a good idea. Or just make sure your mouth stays. Don't move it, but we cheeks a moving mouth if you with a smile showing up while she's reciting a B C's because that will interfere with your already record of it seems in there. So let's go ahead and get started. - All right. Recording has done give it a second, and over here it adds that someone or a time learn the eye gaze in the face. Those of the two parts that were intimating, No, I left to go a little bit longer. Drag it back here is better to have too much or not enough. And there you have it. When I had an adjusted that now the physics air for different properties that might be animated, which right now we're not really gonna get into too much of. But here's how you adjust the physics of it. A lot of people know I kind of had what that's for. If you don't, it's just basically, let's say we animated the hair and we could adjust the strength of the gravity of the direction, wind, strength and everything, how much it dangles host, if it is, how how flexible it is, the collision is basically how it reacts to everything around it. This animating and you make those adjustments with those animated layers were not going to get into that. I'll show you had to adjust that in a bonus lesson, but it's not really related to how we just get the character talking, so so you know where it's at the triggers as well. The trigger input. That's if we have triggers. We want that to be selected red. If not, we'll just keep that on because it's on by default, but we don't have to adjust it. The draggers also for animation when in certain partners air animated Remember, I showed you in the rigging menu. You have that tool that you add to different parts of the body or hair. You know what, an object, anything like that, and then it you would basically click on it, drag it when animating it, and those parts would move and things connected to those parts would move. And this is where you you couldn't make those adjustments as faras In this particular in the record screen, you can make additional adjustments to physics and whatnot in the rigging screen for a particular property as well. This just gives you kind of a quicker access to it, which I've done pretty useful. But there you have it. We have this recorded the next video. We're gonna go ahead and get into the exporting process of our character, seeing a bit just a few things here to take with you before good into that next lesson. Remember, you can adjust the over all sides of your character when you in the record screen by going to the properties menu with the character selected, and you can adjust the overall size scale in position. In addition to that, you can also control eye movement with the camera, the mouse or the keyboard. If you create a trigger, which we did not go over, however, it is an available option and you would choose that in the properties menu, among other things, including the physics and what not otherwise that is it for this particular lesson, talk to you guys in a bit.
16. Scene Properties II: everyone. Welcome back now, Before we start a render process I wanted to show you something quickly in this lesson Shouldn't take long, but this will allow us to adjust the duration machine. So you see, this year in our timeline this is the duration of our senior. What will play? No, this originally when we imported our character was out here so character intimate automatically this lighter gray area with this line down here This is the length of the duration of our scene that we're recording. This is what would be rendered out now This is the audio of this seems and then everything just stops here. You noticed nothing's moving We just have our character. So I want to take this layer here and I want to shorten it back down here. You notice now, but we still have all of this year. We will go to render it. All this would wonder out a bunch of white whether it's a PNG sequence, whether it's ah and P four file anything. A quick time file. This is what would happen. I would play it out and we'd see this year. So we want to adjust the duration the way to do that is single. Click on the scene. Appear just one click over here. The properties. This is where we change the duration. This is where our Kurt time cursor is. This is frames per 2nd 24 So I'm gonna take my this here about 30. 20 Then I'm gonna select single click, not double click on a single click that go back the duration And when I would just put in 31. So now record. And even when we play it, that's it. Stops. And we wanted to do that. We don't want to get to record unnecessary frames. You can also change the composition size. Here. It's 1920 but 10. 80. You can change your frame per second to 30 if you want. You can change its 60 if you want. We don't really need to increase that for this, but that's where you can actually change it. It is in the properties panel are properties panel changes depending on what you're clicking on, you notice Here I select the character. This is where the character is located. So we hit that there and we go way to the fire Words located so if you wanted to change it , you could change it here, long as everything would match up identically, the bridge should remain the same as far as how it's labeled in Photoshop Illustrator. I want to recommend doing that. If you haven't already read, then you have a lot of different things being animated because it can cause some confusion give to go back and re animate it. But if you have to, that's an available option. Now you can turn off auto suit with artwork, so if you update it under the program, you have the option to turn that off. I would not want to do that renders back to kind of groups everything together. I'm not a fan of it because normally I don't have a reason to use it. And it can change the way your puppet looks. So and it takes a second. I'm just showing you what this does. It groups a lot of stuff together, and I'm not a fan of how it makes my puppets look because of how my puppets are labeled and how you use them. But sometimes people do find that useful for them. I, however, do not use that. And there's different changes of behaviors in the mash here when we already went over those , and that's just it had to adjust the duration of your scene frames per second. Some additional information on properties, their properties menu in the next video, we're going to go ahead, and I'm gonna go over how we render. Okay, Europe seen a bit. So just want to go over a few quick things before we finish up. In order to address the duration of your overall scene. Remember, you single, click on the scene in the project window and then adjusted duration in the properties panel over to the right in order to senior characters location or edit the particular character you using. You want a single click on the character or puppet in the project window and then over to you right in the properties panel, you'll be able to see a blue link. That blue link is the link to where your character is located. You click on that, it will bring it up, and you can just view it. Or you can choose a different one. That is an instance where I stated before about updating a change in your character. If you would unintentionally update on the wrong version or is located in a different area , this is a pretty quick way to remedy that. And that's all I have for you guys. Talk to you soon.
17. Rendering I: I gave one. Welcome back in the next three lessons, I'm just gonna go over how to run to your character or you're seeing at a character animators a couple of ways to do it, and we'll just go ahead and get right into it. Now you would just go up the file, export pretty much all of the options as faras within the character and made a program to render. Gonna be over here. You can render video via doubled media and kotak you. If you select that, it'll send it over to Adobe Media Encoder Q. And that will be ways went directly out of. We have the render the PNG sequence in the wave or audio file out of character animator directly. And what happens for those of you who do not know what the PNG sequences, it's a series of images that basically complete your scene or make up that if you're seeing and you imported into another piece of editing software such as Premier, final cut or even after effects, and you're able to run a that sequence out in its entirety is that he's the best way to re render something from another program If you have to take it, render it at it to another scene. It actually is a really good way to do that. And then it also will render out the audio file the way file associated with the project. And then you'd have to take it like I said into another piece of software and render it out from there. An adobe it dynamic link with that is now, if you select this from character animator Export Menu is gonna take you to a page on the Web for Adobe telling you what that basically means or what to do with it. Adobe Dynamic Link Does it links projects within different software, such as we update bar, Adobe Illustrator character or Photoshopped character. And it was, Once we save it, it updates in the program that it's linked to, which is Adobe Dynamic link that goes for a lot of other pieces software under the adobe umbrella there, like illustrator or Photoshopped or aftereffects. So what we would do with this is we could actually import this scene here and after effects and then render it out from there, which is what I tend to prefer for either. This the pre Angie sequence or importing in after effects only because I there are some bugs with exporting the character. And amid a file from Median Kotak you on my computer? Some people have this issue. Some people do not. I will show you how to do it. However, most likely it will not work. But we'll go ahead here and get that started. It lets me start it up. So when we once we click on that, preparing the scene would have wanted you to do is basically kind of create a new folder for Median kotak you to render it out Throw. So we're just gonna keep seeing women and glasses Save it says return into media encoder and here we go. This is what we have here Now this is we could just runner directly out of here or as long as it would of course, work properly for your for you on your system and matches all the settings that we have in character. Animator, You hit the green button, you're progress will show down here and that failed. Now you may not have that problem. It may render out properly for you and if it does, then the fantastic. If it does not, though, there's a few other options, and I will go ahead and get into that in the next lesson. And so you guys, then Oh, right, so just a few quick things did with you before heading off to the next lesson while we discuss another way to render, even though my render was unsuccessful. If you was this, just remember to render out of character animator directly. Do you go to file export? Select the option either media and Kotak. Your PNG sequence will be my suggestion. If you select media encoder, a winner will pop up and you won't either. Select to create the folder where you want your file to be saved and sent to Once it's render rendered median Kotak you will open if it's not already open in the file, will populate Adobe Dynamic Link should send over all the settings, and as long as you don't want to change them, just hit the green triangle at the top right hand side of the media encoder window, and it should render. However, if you have an issue like me, there are definitely more ways to get it done, so we'll go over that in the next lesson. Have a good guy
18. Rendering II: everyone. Welcome back in this video, I'm gonna go over another way of rendering out you're seeing in character. Animator, if you have the issue like I did where Theodore Media encoder Cute doesn't really render it out. There's an issue that basically says Theo encoding felt it couldn't read from the source. Please check if it was moved or deleted and it wasn't. But it keeps doing that. And you know, we want to get this rendered out. So there's other ways, of course, to do it. And we're gonna go here into after effects. Now, you want to open up after effects here Now, we're not going to go over how to use after effects. Overall, this is the massively intense program. It has a lot going on in it. So you conduce similar way of rendering in premiere. But I prefer to use after fix. I tend to use it a lot more, So I just would rather do it in this fashion here. So But the way we do it now, this remember character animator auto saves so you don't have to save this. Excuse me, unless you want to change the name or location we don't have to do that. And so we really don't have to do anything in here. What I am going to do here is going to file import, gonna import of file, no women singing A B. C's a one. That's the name and that's the project. So we want to select the project file. Well, we're importing now. This is what Adobe dynamic Link is doing. It's connecting to the dynamic Ling server and normally will give you a list. If you have five different scenes with five different puppets or characters that's gonna show here and you select the scene that you want to use, So I'm gonna select that click. OK, there it is. It's up here. It's in our project window. Some letter. We have a project window and character animator, so it's pretty consistent in terms of the layouts. Now we're gonna go ahead and create a scene with this. Take you down here, you're gonna take it done there, or you can do the composition window, Camp one, send it down. We don't want to do that. I'm just gonna drag it down here. The composition is gonna have the same name. Women and glasses. Woman singing ABC za one. And here we have our character. It's baseball to play just like you wouldn't. Character animator. I'm gonna take the quality of this down. You see our character here Now everything is in here. The audio and video. You see the way form. So we know that it's there. And it took the quality of it down here just to kind of. But it's the same thing, the same character. Now, you can do this one of two ways you can either export directly from the program here. Goto file export at Adobe Media Encoder Que That would do then is bring that up here. Now just this is the previous one would highlight it. Remove it. We don't need it. This is the one that we just transferred from after effects. Now the program here you can This is the file type. We're gonna render it out as h 264 It could be target. Quick time tiff file PNG sequence. Xavi, I wave and compressed that. I mean, there's just there's so many different ways to render it. I'm gonna keep it. Is this This is the output, name and location which is gonna be here. Dopey character animator does see this here. The media encoder. My apologies will create a folder for the render. We want to do that. Now we have one already. Internet leveled a one. I would just label No. One one. We'd save it down here. You can make adjustments if you're using any of these. Ah, fixing here from a tree looks, Let's I mean anything to that effect. Name of a late time could overlay. We're not using any of that. Here's the basic video settings, the size, the frame rate aspect, ratio. We have the audio options. Everything is said here. I don't normally change the audio options. This which is the basic settings here. I don't believe that. Or this is the publisher option. If you select any of these that automatically publish it to your creative cloud, beings account stock, anything like that, or Facebook If you log in, you know, Twitter video YouTube a lot. I don't We don't use that because I like to render it out, make sure everything's good, then upload. If I choose to do that with a particular project over here, we can actually see the project. Now you notice with this file, though now we can see the movements. We can see what's going on. The mouth is moving, but that has not moving those movements that translated over from character animator to after effects. For whatever reason, for some things that are not translating over when we export to character animator or to ah , adobe media encoder que so you could essentially start If you're under it out from here, who would hit? This will start que we hit this and what happened is it will start rendering down here once that render will be done and completed will be able to go ahead and view that. But again, remember, it's not going to give us the movements like those head movements that head totes and one month you know the way to do that. When you're rendering out of here again, you do the exact same thing with rendering You were with important Report your scene from character animator into adobe after effects. You create the scene with it, you know, scrub through it, make sure it's all it's all up to your liking up to your standards and then we go ahead here. However, though we can export directly from aftereffects, add to render queue down here for understandings will output to wherever I wanted to go. So right now I'm just gonna explode just in my desktop so I can show you guys, um, they are put module is his lost list. I don't want it to be a V. I now median Kotak you gives us the option to the H 264 after fix doesn't give us that option anymore. That's why I kind of like to render at a median kotak you. However, in this instance, we're not gonna be able t o at least not to get all the movements. So for me, in my situation, it doesn't always happen this way. There's a lot of different ways to do it, and there's a lot of different hiccups that can happen. That's why I'm showing you these different ways to render it so. If rendering out of media encoder que for either character animator or after effects produces those similar issues you can render directly out of, but they'll be after effects. I'll wonder it as a quick time format are rendered as an animation and all this stuff there . I want RGB plus Alfa because basically, let's say I want to put this into put a background in it in another program. What will happen? Is it over under it Out with the transparency. If I don't do the RGB plus the Alfa, we're not going to get that. So I will Go ahead, hit. Okay, Best settings this dispersant for it. Normally you don't have to really change any of this if you know, you need to. You know, specifics to that, by all means. But in this particular video, we're not really going to get into that. So we just go ahead in here and we hit Render the other good thing about Adobe Media Encoder Q is that I could send this project file over the media kotak you to render it out and then come back in here like I just did and work on the project or do something else. When adobe in your rendering directly out of after effects, then you can do anything and aftereffects until that wonder is complete. And you see here while this is rendering in adobe media encoder que we have the status bar here Status bar here and in the progress is down here and we have this done. Let's go ahead. And here we have her the see if it'll load, have a lock on them running on my computer. So cross your fingers. Let's hope nothing crashes. Honest, is he Also, when I have something rendering an aftereffects any the program's going My computer doesn't really like when I do that E j Okay. You Oh, this t u. It's why See, when you see how that want everything. It did render it out, but it didn't render it out with the head movements. I want the head movements with it. So we're gonna go ahead and finish rendering this out here. I'm gonna pause the video here while this finishes up so we can take a look at our finished project. Just a few things to remember before we get into the last wondering video is that in order to render out of aftereffects utilizing the Adobe Dynamic Ling server option, we want to import the character animator seen into after effects, then create a composition with that character animator scene. Once that is done, we can either render directly from after effects to the adobe media encoder. If you run into issues or would rather not use that option, you can then render directly out of after effects. That's what I have for you regarding this particular render video, and I will see you in a bit.
19. Rendering III: everyone welcome back. So it would have finished the render. I opened up in quick time here. And this is what we see. A, uh J Okay. You? Yes, T U it. Why now? Of course, that's not perfect. There's some adjustments to be made Now. My quick time player is on my PC, and it's sometimes gets a little jumpy when I go to play it with other programs. So there's a bit of a delay there With that. I don't normally use quick time for that base render. Normally, I'll render it out. It's a PNG sequence and then taken into after effects and render it out from there. And I'll go ahead and show that to you in the next lesson. See you guys in a minute.
20. Rendering IV: So this will be the last lesson in the course and rendering. Now, in order to render out this way, you're gonna want to be somewhat familiar with after effects. And you want, of course of access, the character animator aftereffects and Adobe media encoder We're gonna need to utilize those three programs for this technique in rendering. So we're back in character animated. We have are seen everything set up, and we want to go up to file export PNG sequins and wave. Now, once we selected is gonna ask us where we want it to be saved. So I already have a folder creative for and I'm just gonna rename it Woman A B. C's. When you hit Enter is going to start rendering out prepares the scene. You'll be able to see the progress life progress. You have access Teoh doing anything in the program, of course, and what it's rendering out here. It's exporting a PNG sequence, and it is exporting an audio file. Once this is finished rendering, what we will do is proceed in after effects going to import the filing aftereffects, create a composition with it. We're going to match up the audio in the event that it wasn't paired properly. Which does happen sometimes when you render it out this way and then from there we're gonna go ahead and render through media and culture. I ultimately prefer to render out of media encoder, but because of some of the issues in the previous two videos on rendering, this is the way that I do it. So I'm gonna pause the video for right now and when this is then rendering will go ahead and continue. Oh, right. So the renderings done, I have after effects here opened for us, and what we want to do is import the sequence in the audio. So let's go here, toe have to go to file import and four file, give it a few seconds and I have the fall already located. And, of course, then, to import the sequence, you just select the one file one at the beginning. Make sure PNG sequence is selected in import, and I'm going to import the audio file here with me a moment here. My apologies for any background noise. My neighbors are talking all right, and the audio, after it's rendered out, is in the same files all the way at the bottom. All right, we are back in business, so I'm gonna create a composition with us. And here we have a girl talking, and then I'm gonna go ahead and in the audio. You noticed something over here? The audio file is longer than this. What happens depending on the frame rate that you render it out as is that this can go a little bit faster than your audio. So I hit control care. I'm gonna just settings here so that this is a bit longer. And let me find out exactly how long it ISS see. The audio file is a 32 29 but the vision PNG sequences only 26 11. So let's see here again. Sorry about that. 32. 29. I'm going to control, OK, and I'm gonna do 30 to 29. Okay, Now it's still too short, right? So what we're gonna dio is I'm gonna right click over the PNG sequence. Hit time appear enable time remapping. What this will do then, is it'll give us two key frames when I'm gonna do is stretch out the key frames to the end of the audio clip, and then we'll go ahead and through it here, I'm gonna hit space bar, see if we can hear it playing. Okay? One moment. All right. So this allows you, then you can play with it and pair it up in a matches. What we're gonna do then is go here to file export. Add to media encoder que and of course, as you see, I have other stuff rendering here. So what we're going to do then is just hit the play button to head it. If it's not the only thing, and then we will go ahead here and wait till that's rented out. Just rendered out. I will show you guys the final product. Just a few things here to take with you before we watch our final render video in Adobe Character Animator. In order to export as a panji sequence, you want to go to file export and select PNG sequence. Once you do that, the window will pop up, select where you want it to be rendered, and it will render accordingly. Should render fairly fast not to avoid the adjustments that we had to make in after effects with matching the timing of the audio file and RPG sequence before exporting it from character animator. Make sure the frame rate over in our properties panel under the duration matches that of our audio. So the PNG or the visual animation should match that of the audio when it comes to the frame rate. If that doesn't happen, it's OK. You make those adjustments that I showed you in after effects before rendering it out. When she get into after effects, you go to file import, select the PNG sequence. No one that would know pops up to select it. Just select the first image. Make sure the PNG check box at the bottom is selected before completing the import, and then you also want to import your audiophile, which should be in the same folder. And it should be a way file once in after effects, and you have all your adjustments there any additional things you want to add done. You go up to file export and select adobe media encoder. If it's not already open, it will open up. Make sure you have the appropriate location saved. You know what's being saved. You have the little green triangle button at the top, right hand side of the screen in Adobe Media Encoder before hitting that, make sure the appropriate project is selected. It will render out accordingly, and that should be it. So I will see you guys when we go ahead and take a look at that video.
21. Bonus Lesson: Basic Hair Rigging: Hey, everyone, welcome back. So this is someone of a bonus lesson for you guys here. We don't need it to get our character talking, but I just wanted to share it since we ever moving a bit here. So we're going to get some of the hairs bouncing around a little bit here. So let's go ahead. Here we have we're gonna select, are seen or in my apologies, when you select a puppet, our character double click and we'll bring her up here. No, remember, we have all of this information over here, Head frontal. Everything here so we want to do is going to the hair with a face and in the hair. We have the hair here. No, before, when labelling the character, I had two groups and we have bangs. And then I had hair bangs. So these green dots The reason whether there is because each strand is inimitable within its own group, no one in any animation properties to it, So it's not really moving or doing anything. It's just saying within the bangs group, which is within the hair within the face head in frontal. And you know, one with glasses. It goes as it's the hierarchy is set up. Now here we have. Let's still just show years. We have a one bang strand and it's outlined here with the other line. So we know the location of what selected on the screen. This is the origin point. So what? I do normally take the origin point. Stick it up here. Now, if we remove the order point out here, this would turn yellow. We'll keep it in here because it's what is a part of the puppet. So it's just kind of telling us where we were putting it and where it shouldn't shouldn't be. So put that there. The second thing we want to do with this is get to pin tool on a pennant. Make sure it stays the base of it. The origin stays penned. Then you come down here, select the dangle tool, and I'll add a dangle here. How long is short to Harris? You can add as many as you want, and I'm gonna go here and then do the same thing. Move the origin. Pin it, dangle Next one, Move the origin. Thanet, Dangle. Move the origin. A minute only pennant where the origin point is, especially with hair dangle. Move. Origin pin angle. No, you origin who? We'll put. Dangle there, Move the origin. You don't have to do it in that order either. You could select it. You could pin it, Dangle. Been through the origin you could dangle, move the origin. An impotent The order doesn't matter. It's just the fact that you put it up there so or as far as I go when I do this with the origin appear, put the fix one somewhere around there and put just click a dangle and we'll go here. Dangle. And I'm just gonna go ahead and do all of these here and on a fast forward through this So you guys can go ahead and see what it looks like at the end. No, these are the different points showing us in this group. And then I went ahead and applied with the The Origin point. Penned it at a dangle. Now you can I just that dangle behavior when we get over into the scene. Let's go into the scene here. Just give it a moment to update all the information that we all the changes that we've made you notice here. Now, of course, that those kind of crazy we would have to go in and you would be able to adjust the physics of it here. So when your public the gravity, the dangles now here to tell you how many dangles you have, we have 21 which is 21 strands. Collision, basically is the, you know, when that collision collides with something else. There's a lot of different properties here. I'm not gonna get into the exact details of what they do, but you can kind of play around with it and see, You know, uh, I don't want to be too stiff, you know? I don't I went there to be Don't want them to be is heavy. I don't want it to be so bouncy here. And then you have a lot of stuff. Your dynamic layers collide layers. We don't We don't really have any of that there. But we can go ahead and see kind of how that p and dog we hit play? No, we just something to play with and mess around with their But there you have it. We have her hair moving around with her no what I'm moving to inscribe in it. You notice that that's not what's recorded, that how far out that's going. That's just the computer reacting to the physics of it while you're moving it. But what's recorded is a little little more subtle. Now feel free to go ahead and play around with that in your projects. If you have a character with long hair or you want to play around with this characters here and I look forward to seeing all your projects, however, you don't have to get her, you know, hair bounce, and you don't really have to begin to exactly the way that I did it. I'm just sharing it with you, a way that I do it in a question going. You can play with different parts of your character, your puppet, and make it look a way better than the one that I've done to show you. And I'm really looking forward to seeing all your projects that they're so please post them . There's so cool when people see everybody's different characters and what not and I'm told they're looking forward to it now. Remember keeping a mind. You can always go back into your base program and update your character either Adobe Illustrator, A photo shop. Please keep in mind with that. Remember, if you make any changes in the base program and you've already animated the haired, let's say and then we bring in a complete different hairstyle with different names. We have to re brigade. If we wanted to animate a certain way, you know, you'd have to make those additional changes, but something that's more stationary, like the glasses. Or like okay, this Ah, little I love my husky and caffeine on a T shirt or, you know, something like that. Then you know this. We're not really going to make a big change when it comes to the bridge itself. But you just want to keep that in mind with that. And also remember, when you're in here changing the duration, click on the scene. One click. We could change the duration of the scene. We could make a longer we can make it shorter. You have that option as well. Remember all of our options with rendering and exporting. Remember, this is due directly to media encoder Que This is the PNG and wave sequence. And then the dining Adobe Adobe Dynamic Link option where we import the scene in the after effects and we either exported aftereffects to media encoder que or we just strictly render it directly out. We ended up for my final rendering directly out of aftereffects into a quick time file. So again, guys, I really, really would love to see your projects. And I look forward to seeing everything and good luck animating have a great time, have a ball and let me know if you have any questions, but
22. Conclusion: a e e f g h i j k l m n o p Q r S T u b w x Y z Congratulations and finishing up on the class and getting your character talking in photo shop or illustrator. I look forward to seeing your projects uploaded on the scale share page on a scale share site as well as commenting on the class. Please feel free to do so and please follow me on skill share. Elizabeth the Angelus and I really look forward to seeing everyone projects. Like I said, this wasn't but doing exactly the way that I do it. Please feel free to be as creative as you like. You don't have to do medium close up that I did of the character reciting the alphabet. You could do it any way you like to use the character. I provided your own character you can use to track that I provided through the alphabet. Recite your own record your own, get someone else to report it or anything to that effect in any language and music style, anything like that created as you want. I really, really enjoyed it this class and sharing things that I've learned along the way with you. And I hope you get again on my next class. Everybody take care. Bye.
Elizabeth DeAngelis, 2D + 3D ARTIST
