Animation 101 - The Bouncing Ball with Tail Attached!

1. Welcome to Animation 101: Hello and welcome to animation 11 My name is Meghan Mouna and I'm a freelance two D, and later I worked on a lot of different projects like music videos, shorts, pilots, commercials. Andi, I'm really excited to be able to share my knowledge with you guys that you can make those kind of things too. So for this class would be going over the basics, which will be essential and very important for anything that you work on in the future. Um, so for this class, you will be needing a computer, a drawing tablet and the animation program to harmony. If you already have a different animation program that you're comfortable with, like TV paint or Don t and me, then you could totally use those programs. But I'll be teaching with two former me. Some of the things will be going over in this class will be getting acquainted with Tomb Boom, going over frame rate and animating on ones twos, threes and so on will be going over the 12 principles of animation moving stills, and I'll personally be doing a demo of the class project. So by the end of this class, you should have a strong understanding of the basics, and I encourage you to implement what you learned into the class project So forth. Class project. I will be asking you guys to animate a bouncing ball animation, but with a twist. I'm going to ask you to add a tale to the bouncing ball and with what you learned in the class, figure out how to animate that tail along with the bouncing ball. Now you might be thinking bouncing ball that's so boring. I wanted to animate a fight sane. Who will hold on Tiger Before you can animate anything, you must first mess through the bouncing bow. And just to make it a little more challenging, I added the little tip for you guys. I highly encourage you to share your project with the rest of the class so that I can critique your work and advise you to make it stronger and so that your fellow classmates can also see you know how you tackled the project. So that being said, let's finish up the introduction and go on to the class 2. Introducing the Class Project: all right. So before I teach you guys anything, I'm just gonna quick over the class project. So for the class project, I will be asking you guys to animate a bouncing ball with tail attached. So for this animation, your ball is going to start off still on one end of the frame. Then it's going to launch itself into the air as if it has a mind of its own that it's gonna go along bouncing and stop on the other side of the frame. So rules for this animation, the ball cannot believe the frame it all. So you know, your ball can't start off outside of the frame and bounce in, and it cannot bounce out of the frame. Your ball cannot bounce so high that it leaves the brain. So, you know, just keep within the box. You guys have to attach the tail and tail could be designed. How everyone like three project has to be set to 1920 10 80 at 24 frames per second. And you're only allowed to enemy on twos. And also you should apply as many, uh, of the 12 principles of animation as you can. So if any of that that I just said sounds like new to you. Do not worry. I will be going over all of that in our future videos. 3. Getting Acquainted with Toon Boom: All right, so let's get acquainted with tomb boo. This is the set up screen for your class project. You're going to want to name your work file something like your name, UNDERSCORE Class project and four location. You're going to want to put it somewhere where you'll remember it. I suggest making a folder inside your documents called Skill Share and then making a folder inside your skill share folder called Animation one A One. It's important that once you create your work file that you do not rename it or else you run the risk of corrupting your file. All right over here at camera size, make sure for your class project that you haven't set to HD TV 10 80 p 24 10 80 p for 1920 by 10 80 is the standard size for animation. This is HD and is used for things like TV. Anything lower like 7 20 is used for viewing on computers and phones, and anything higher, like four K is used for theaters. 24 is four frame rate, and I'll actually be making a separate video explaining that. All right, so once you have all that together, you can click, create scene and tomb boom should pop up. So this is Tim Boom. First, let's go over the camera view in the middle. This is where you'll be doing all of your drawing, and you'll notice this rectangle here in the center. Everything in that rectangle is what will be exported, so make sure that when you animate your class project that you don't accidentally draw outside of it. If you don't see a rectangle, it's probably because you have drawing instead of camera selected in the upper right hand corner to switch it over. All you have to do is click on the camera. But now let's go over the timeline view and playback toolbar down below. This is where all your frames are stored, and there's a play button so you can see how your animation is turning out in real time. There's also a loop button to loop your animation if you want. If I want to fill in one of these frames with a drawing, I have to click on this space and then draw up above in the camera view and you'll see down below. In the timeline that that frame has been filled. Now I'm going to draw a few other frames. If I want to move a frame, all I have to do is click on it and drag over, or I can cut and paste it. I can also use shift to select the whole group of frames and drag them around, too. If you select a frame and click delete, it will delete that frame. I can also make each of these frames last twice as long by clicking on the space next to them and dragging my cursor over. Or I can select the frames. I want to extend right click hit exposure, then click set exposure to two, and it will extend those frames for me. Now I'm going to play this animation if you don't want to see all that blank space when you play your animation, you can click on this little anchor and drag it all the way to the end of your frames. Now, when you fit play, it will only play that section. If you want to create another layer to animate on, all you have to do is click on this plus button. Select drawing, name your layer, whatever you want. Cuba, all set to vector and hit. Add an close. Let's add something to this layer. I can also create a background by hitting the plus button and selecting color card. Make sure no layers are selected when you create a color card or else it will attach your animation to the color card. If you want to undo any actions, you can click command Z toe. Undo it. Now let's make another color card. If I want to unseal, they're All I have to do is click on these little eyes and it will hide that layer. Now let's move on to our toolbar and tool properties. The tool I've been using the draw with is the brush tool. You can adjust the size of the brush on the right hand side in the Tool Properties column. You can also adjust the smoothness of your brush. If you put the smoothness up to Moon, will try to straighten up your lines. If you keep this movement down, however, your lines will look the way you drew them. There's three erase tool, which can adjust size as well, but if you want to get rid of a lot of stuff, The best way to do that is to use the select tool and select whatever you want. Then hit delete. You can create lines with the line tool. If you hold down shift. This will allow you to draw a perfectly vertical or horizontal line, and down over here is something called to the camera mask. It blocks off the outer edges of your canvas. Up over here are some markers that you can use if you want. All you have to do is select the frame than hit one of these marker buttons, and it will mark your frame with that color. The red one is for key frames, and the blue one is for breakdowns. Key frames are key movements, and breakdowns are the key movements between the key frames. An example of key frames would be if someone was waving their arms at the beginning and the end of the motion would be the key frames, and the breakdown would be the movement in the middle, and all the space in between is filled with frames literally called in betweens. To make animating easier. There's a tool called show onion skin and, just like onions, have layers this tool allows you to see the other layers for frames around it. You can adjust the range of what you see by dragging these little anchors. And as you can see, it helps me figure out where I should draw my next frame. If I want this wave toe loop perfectly, I can actually cheat at this and copy the frames before, right Click and select Paste rivers. Now our guy can wait forever. Now I'm going to go over a few more tools. The select tool again reposition all drawings tool and translate tool. If you ever want to move something, you can use the select tool to select it and move it. If you hold down shipped, it will allow you to move the selected object in a straight line. If you hold down your mouse on the select tool, it will give you the option to choose the reposition all drawings tool. If you ever want to move the whole layers worth of drawings, you can do this by using this tool. Now I can't move two layers with the reposition all drawings tool, so instead I'm going to use the translate tool. If I hold down, shipped and select these two layers, then click on the translate tool. The translate tool will affect both of these layers, but be warned. The translate tool will set key frames, as you can see with the little red marker. So make sure that while you're moving your drawings that the same frame is selected. If you accidentally make another edit while on a different frame, this is what will happen to fix it. Click on this plus button and delete the key frames you don't want. All right, now he's back to normal. All right, let's start exporting. If you don't want a bunch of blank space being animated, you're going to want to pull those anchors in. Make sure you've got a color card in the background so that your animation doesn't come out transparent. Now we're going to go to file export movie. When you click, Browse, it will give you an option to name your movie file and where to put it. Make sure all frames is selected. Keep two same as seen. Resolution and hit. OK, now it should export. Once your file has been exported, you are going to find it and click on it. And there you go. That's your animation. Uh, if you click uh, ex out of it, you'll see that it has converted your file. This just means that it has opened it up. It's made it easier for your computer to read it. It's a little lighter, so you can, you know, you can rename it if you want, place it in a different place, but I would keep it all in the same place. And there you go. It's easier for the computer read, and you actually get to see a little thumbnail of it. Um, to make this file even easier to read, you can actually click on it again. And if you're in quick time or whatever video editing program that you have, you can go to file export 10 80 p, and that will actually make an even easier version for your computer to read. And it's the same size. It's the same animation, but, um, yeah, it's just a little lighter on the computer. All right, so those are our tools. Now, you might be wondering why I didn't go over coloring. And the reason for that is because I feel like when you first start out learning how to animate that. You should focus less on making a really cool drawing and more on really getting the movement down and really understanding the movement. So this, you know, this animation right here it looks rough, and it literally is called rough animation or a pencil test. And that is what you will be handing in for your class project. 4. Frame Rate: frame rate. So what is a frame? A frame is a single image and frame rate are the amount of images that go past your eye in one second. The more frames that go past your eye in a second, the smoother and more tangible the movement appears. That's because your eyes are being fed. More information for animation. The standard frame rate is 24 frames per second. Now you might be thinking we live, the higher the frame rate, the smoother. The animation then, would be better if we animated on high frame rate. And the answer is no. Well, not always. Yes. Ah, higher frame rate ISS smoother. But keep in mind the higher the frame rate, the more drawings you'll have to make per second and 24 frames per second is already very fluid. Also, a super high frame rate can weird out your audience. Yes, the movement is more fluid, intangible, but most people don't like feeling right there with the media. Most people like a bit of a barrier between them and the screen. There are cases where I can see a ridiculously high frame rate being good, though, like if you were recording a live sporting's event, and you wanted the viewers at home to feel like they were there in the bleachers. Or if you were making a horror film and he wanted the audience to feel like they were really there in the midst of the horror. Those would be good reasons to use a high frame rate, but for our class, we will be sticking with the standard 24 frames per second. Now I'm going to quick over animating on ones twos, threes, fours. So what is that? Well, remember were working on 24 frames per second. If we're animating on one's on 24 frames per second, then that means each of those 24 frames is filled with its own image. If we were to animate on twos on 24 throws per second, those images would extend twice as long. That's only filling in the space of the 24 frames per second with 12 different images. This same logic is applied for animating on threes, fours and so on. The lower the frame rate and the higher the exposure of each brain, the more jagged your animation will look for 24 frames per second ones is the smoothest twos is what most people use, and threes and up aren't used is often, unless you're super short on time or under budget. Working on threes and up can give your animation a cheap look. But if you know what kind of style to use, it can give your animation a dreamy look instead. All right, so that's it for frame rate and working on ones, twos and so on. It's very important that you have a strong grasp of frame rate and working with different exposures. When you're animating for our class project, I will be asking you to animate only on twos at 24 frames per second. 5. The 12 Principles of Animation: So in this video we will be going over the 12 principles of animation. These principles were put together by Disney animators Frank Thomas and Ollie Johnson to help guide other animators in their animation process, you will have to utilize some of these principles when you go to animate your class project , so the first principle will be going over is squash and stretch squash and Stretch is used to help viewers get a sense of what the object is made of, how much it weighs, how flexible it is, an overall. It just adds extra visual interest to your animation. The most common example of squash and stretch is the bounce involved. When the ball comes into contact with the ground, it splits and squishes out. When the ball is at its fastest, it's stretches. This gives the viewers the sense that this ball is springing on elastic. If you were to lessen the squash and stretch effect, the ball would seem more firm. You can also use squash and stretch in other things besides objects, for example, people, if you have a character suddenly spring into frame instead of just animating them up, you can add a bit of a bounce to them to make the whole movement all the more enjoyable to watch. It's important to note that when you squash and stretch an object, it should never lose volume or else we'll look way off next up. An Tissa patient All right, anticipation is very important for visually preparing your audience for the next action. For example, if you were to punch someone, you wouldn't just bam punch them. You would really your arm back and then punch them. Not only does this look more natural, but also your action comes off a lot stronger. This could be applied to practically anything. Before you jump, you squat down a little before you swing your bat, you pull your bat back before you cast your fishing line, you need to real the line back and then cast it. You get the picture all right, staging. So staging is all about where the characters and objects are placed in your seat. Pretty straightforward, right? But the placement of things is very important. Different types of shots can give a different effect. For example, I can have these two guys talking and stage them straight ahead like this But what would be much more effective would be if I used in over the shoulder shot like this. Notice how you can feel the uneasiness of the guy on the right Much better Now that he's been pushed down into the corner, mood of this scene comes off a lot stronger being staged like this. Another example. Let's look at this sad girl I drew. If we pusher all the way into the corner, we get a sense of the loneliness that she feels just like being shoved into the corner suggests. But if you go into a super close up shot of her face instead of seeing her loneliness, we get to focus on her extreme sadness that's expressed for her face. They're both good shots, but they both express a different part of her story. There's all sorts of ways to stage your shots. Wide shots, medium shots, close ups, extreme close up Dutch angles over the shoulder shots you pick, the one that you feel expresses the most important thing in that scene. The best way to study staging is just to watch more movies watch movies that are claimed for their cinematography and editing and take notes on what you feel, works and doesn't work. All right, Next up. Straight ahead vs posed by pose. There are two ways you can tackle. Animating. One is to plan out each key frame and then fill in the gaps in between. And the other is just a girl for no planning, no fear, no planning. One is called straight ahead animation, and it's better for animating things that are unpredictable, like fire or lightning. It's unpredictability can yield interesting results that you might not have gotten if you plant off your animation. But for most things, you're going to want to plan them out, which is called Post by Post follow through an overlapping action. I absolutely love this principle. Follow through is when an object that is connected to the moving object is pulled along for the ride. For example, the ponytail and skirt attached to this running girl now overlapping action is when that movement suddenly stops and the objects that were following the main object overlapping ease in and ease out for the deceleration and acceleration of an object. By adding he's and he's out to your animation, you make the movement feel much more natural. For example, look at this pendulum. There are more frames at the beginning and the end of the movement, as opposed to the middle, because in the middle the ball speeds up due to gravity. If we were to evenly space, the frames, the movement would look unnatural, though this unnatural, even spacing can benefit you if you're animating something, mechanical arcs arcs are everywhere, and the more you can find, the better when you are animating something. If you can find an arc in the movement, it will greatly help you out. When you go to plan out the timing of your frames. It also helps you stay in line with motion of what you want to and secondary action. Secondary action is any added action to embellish the main action, but it should never overshadow the main action. For example, this stock is just being called by its owner in this animation way. Understand that the dog is happy to be called on. But look what happens when I add these extra movements that years perked up the panting, the tail wagging instead of just understanding that the dog is happy, we can actually feel this dog's excitement. The first animation was just enough to get the message across, but you can see how the extra bit of work really enhance the experience. Timing timing is very important. It is not only which parts of the movement you choose to show, but also when they are seen in the timeline. So this animation, for example, notice that I chose to represent more of the movement at the beginning and the end of the action there certainly ease in and ease out represented there. But I don't feel entirely convinced of this action. Let's try something else, all right in this one, we still have the ease in frames at the beginning, but the entire middle was taken up swiftly, bringing us to the ease out frames. At the end. This movement comes off a lot more convincing, but let's see what happens when we push it even further. Now that immediate snap is really funny. Definitely play around with timing. You choose what parts of the movement you want to represent, and when you want to show them, each combination will yield a different result. Exaggeration. Exaggeration is pushing the emotions imposes of your characters to the next level. Exaggeration can help your audience connect more with the characters, but it isn't necessary. If you purposely want to put some distance between the subject and the viewer for whatever reason, then using a tone down style will help solid drawing Saleh drawing means that your viewers should be able to gauge what you're drawing would look like in three D. You can do this by shading or getting creative with the liner to show volume. Basic knowledge of anatomy will help. If you can. I suggest you attend a figure drawing class. If you don't have access to a figure drawing class, you can ask your friends to pose for you. You can sketch people in public or you can look up reference photos online. I highly recommend that you learn how to draw from life rather than learning from cartoons . It's important that you have your own understanding of anatomy so that no matter what style you drawn, it will look the best it can appeal. Appeals simply means that your style should be easy to look at, but honestly, not every style is going to appeal to the same person, so you shouldn't get hung up on this. And since style can be used as a storytelling tool, someone might be using a style to give off a certain vibe. Style is a tool. Use it wisely. All right, so those are the 12 principles of animation. When you go to animate your class project, you will be asked to apply as many of these principles as you see fit. 6. Moving Stills: moving stills. Sometimes, when the finger animating comes to a natural pause, you might find it awkward to look at the same still image for several seconds. To make the pause look more natural, you can use what is called a moving still or a boiling line. A moving still is when you re draw the same image over and over again to give the still moment in your animation. Some life you don't always have to use moving stills, but it's a nice thing to keep in mind when you're drawing the frames of your moving. Still, you can either choose to keep the liner of each frame nearly the same. Or you can vary up the line art, which gives a messy look, which is great for displaying things like nervousness. You can also mess around with animating. You're moving still on ones, twos, threes to give it a different look. I'd suggest when you make a moving still that you redraw, the image may be at least four times and then copy and paste those images as much as you need. That way, there's enough variety, but you're not burning yourself out by redrawing the same thing a 1,000,000 times. When you go to animate your bouncing ball, there's going to be points where your ball is standing still at the beginning, and at the end, if you'd like, you can utilize a moving still during these moments. 7. The Bouncing Ball with Tail Pt.1: All right. So I'm going to do a quick demo off the class project from beginning to end so that you guys don't feel like I'm just pushing you out of the nest on this. Personally, I feel like it's much easier to learn something when you've seen someone else do it. So let's get into it. All right? So first things first, you want to name your file? I suggest you name your file Your name underscore class project just so that it's easy to find in case you misplace it and for where you should place it. Um, you should, in your documents section, create a folder called Skill Share and your Skill share folder. Create a folder called Animation One A one. And then in your animation, wanna one folder create a folder called Class Project. And it is in that folder, the Class project folder that you are going. Teoh, put this file, uh, camera size should be HD TV 10 80 p 24 which is 1920 10 80 with the frame rate azi 24 frames per second. So once you have all of that together, you are going to go ahead and click on Create scene and then two boom should pop up, All right, so one of the things that I like to do when I'm animating is create what I like to call a guideline. This is basically a sketch that I keep in the background to make sure that my animation remains uniform. So first I'm going to create a line representing the floor. For that, I'll use the line tool, which you can find on the left hand side. And as you can see, it allows me to draw straight lines. You can click Command Z to undo your work if you want, and if I hold down shift, it will allow me to draw the line perfectly vertical or horizontal. So let's do that. All right, So now I'm going to go ahead and draw the ball, and then I'm going to take the select tool and copy and paste the ball and place the copy where I want the ball. Tend up if you hold down shipped. This will allow you to drag the ball in a perfect line so that these key frames line up on the ground perfectly. All right, so now I'm going to decide how many bounces I want to make and then draw the arcs representing those bounces. Then I'm going to continue to copy and paste the same ball at the top of these arcs. Then I will draw the squash balls that are making contact with the ground. You'll notice that as the ball goes along, I'm drawing it less and less squished out when it makes contact. That's because I want to represent the ball losing momentum in my animation right now. What you see before you are the key frames. Now let's draw some breakdowns. The stretched out balls between the key frames are my breakdowns, but it also decided to go ahead and draw some ease in and ease out frames between the key frames. And there's our guideline. Now I'm going to go down to the timeline and hold onto this frame, drag it to the end of the timeline and then dragged back, and what this does is extend the frame so that it's always with us in the background. All right, now we're going to start our actual bouncing ball animation. For this, we're going to need a new drawing layer, so we're going to go down to the timeline, hit this plus button and select drawing. Then you're gonna name your layer waken. Just name it bouncing ball and make sure it's all set to vector and then hit ad and close. All right now, let's start drawing in our key frames to make things visually easier for me. I'm going to mark each of my key frames with the red key frame marker. Now let's just start drawing in the rest of our key frames. All right, so those are key frames now for in between. So first I'm going to make space for some extra frames. You can move a selection of frames by clicking, afraid, holding down shift and clicking where you want your selection toe end. Then you can drag that whole selection of frames over. Since we're working on twos, we're going to have to extend these frames. The way to do that is to select the empty space to the right of the frame and drag your cursor over. Now we can start in between ng for this first section. I'm going to turn on onion skinning to help me out with this, you'll notice in the timeline that as I go along, I'm making more space for more in betweens and then drawing those in betweens and all right , let's stop and check our animation. So far, I'm going to go over to the end of this timeline. Click on this little anchor and drag it to the selection of frames. All right, so far, so good. Let's continue animating. All right, let's check this out again. Okay, that's cute. But I wonder if it would look better with more frames up in the air. Let's test that. You know what? I like that a lot better. I like that. It hangs in the air a little longer, as opposed to when it's coming down fast due to, like gravity. All right, so let's just start animating the rest of it. - All right? Now, let's test this out. Oh, yeah, I really like that. Yeah, for for doing out on the first try. Um, you know what? I'm actually going Teoh. Add some moving stills at the beginning and the end of this, So I'm just gonna do that real quick. All right, let's check that out. Beautiful. All right, so now that we're done, with the bouncing ball part, we can move on to the next part, which is animating the tail attached, which we will go over in the next video. 8. The Bouncing Ball with Tail Pt.2: all right, now that we're done animating are bouncing ball weaken. Start animating our tail to make animating the tail easier. I'm going to visualize the ball as a head and the tail as a ponytail, and I'm going to constantly draw the tail in the upper left hand corner off the ball for the tail. I'm actually going to draw on a separate layer. Animating on different layers is good practice because it helps you stay organized, and it can save you a lot of time with more complicated projects. To add a new layer, you click this plus button hit drawing and then name it tail, make sure everything sent to Vector and then press ad in close. All right, so let's do this. I think I'll actually animate this straight ahead instead of posed by pose and see how that ends up. As you can see, I'm keeping tail in the upper left hand corner. Also remember, the frames in the beginning are moving stills, so I'm just tracing the same frame over and over again. I'm using the sketch I made in the back to help me see when the tail will hit the floor so that I can draw the tail scrunched up. Do you know what? It's really distracting for me to see all those bouncing ball sketches in the background, but I still want to see my floor. So what I'm going to do is create a new layer for my floor, used the select tool to select the floor from the sketch layer and copy and paste it into the new layer. Then I'm going to take that frame and extend it all the way to the beginning of the timeline so that I can constantly see my floor in the background. Then I'm going to go over to this sketch layer click on the I icon so that I can hide that layer. All right, so let's continue animating. The reason why I wanted you guys to add a tail is so that you guys can practice follow through an overlapping action. When the ball is speeding through the air, the ponytail is following the motion of the ball. But when the ball gets to its low points, like when it's hanging in the air or when it hits the ground, the tail has an opportunity to overlap. - Yeah , as the ball loses momentum, you'll see that I'm toning down the follow through and overlapping action. All right, let's check that out. I'm going to take this anchor and close it in on the animation. Make sure to set it toe loop and then play. I don't feel entirely sold on this. Maybe the frames up here needs a changing. Let's do that. Yeah, I like that much more. You know what I feel like? I need to add a little more squish at the end for my bounce involved, so I'm just gonna quick do that. All right, let's check it. My ball actually goes out of frame. If this ever happens to you where you need to shift your entire animation, you can hold down the select tool, and it will show you several other tools underneath it. So click on reposition all drawings and we should be able to shift our animation down. All right, so I'm going to hold down the shift button and select both of these animation layers, and I'm going to continue to hold down shift and see if I could drag these layers together . Huh? You know what? It's not letting me move two layers of animation at once. So you know what? I'm going to show you guys how I like to cheat at this. Now, we could merge these layers together, but I don't want to do that. So we're going to create a new layer, Name it something like all and drag these two layers of animation into it. Now they're group together, and whatever edits I make to the all layer will affect everything inside. All right, now I'm going to show you guys something fancy up. Over here is something called the translate tool. We're going to click on that, make sure we're working on our all layer and drag those two arrows over to our ball. Now, you can drag your animation wherever you'd like. Use the onion skin tool to help you figure out where you should move everything. Make sure that when you're moving your animation with translate tool that the same frame is selected all throughout, or else the translate tool will start to add key frames for every adjustment you make. All right, so now that everything is good, we can prepare our animation to be exported First, I'm going to create a color card. If you don't do this, your animation will come out with a transparent background. I'm going to make sure this anchor is hugging the end of my animation. If you don't do this to boom will export all those empty frames next to it. Now we're going to go to file export movie Click Browse to choose where you want this movie file to end up. I suggest in your animation Wanna one folder Name your file something appropriate, like your name class project. Make sure all frames is selected and for resolution, you can either keep it to the same resolution of the project. But if your computer is having a hard time exporting something that big, you can do half the size or less. Now you can click OK, and it should export your project. Go find your project and open it. When you ex out of it. It will ask you if you want to keep this converted version, you do so save that converted version to your folder as well converted files take up less space and open up quicker. I like these lighter files because they're easier to upload to the Internet when you goto upload your class projects, upload the converted versions 9. Assigning the Class Project: All right. So now that you've gone through all the videos, you can now start your class. Project the bouncing ball with tail attached. The project should be set to 1920 by 10. 80 at 24 frames per second. The length of your video should only be a few seconds long. Remember, you can only animate on twos and the ball is not allowed to leave the frame for the animation. First, have your balls start off still on the ground, then haven't launched itself into the air as if it has a mind of its own. Then let it go along bouncing until it gets to the end of the frame and then have it stop. Once you've finished animating the bouncing ball, you can start animating the tail attached. You're allowed to design the tail however you want. You can use as many bounces as you want. You can mess with the elasticity of the ball. You could make abounds high or low. It's all up to you. I'd love to see what each of you comes up with. Once you've done, I encourage you to upload your projects to the your project section. So I can critique your work. I also encourage you to reach out in post work in progress. If you find yourself struggling, I'd be more than happy to help. Lastly, I encourage all of you to comment on each other's work and practice critiquing using your newfound knowledge. All right with that being said, Happy class project making. 10. Congrats and Thank You!: our congratulations. You completed the class project. I hope you enjoyed my class. I certainly enjoyed making it. And, you know, thank you so much for checking it out. So we've been over a lot of things in this class. We got acquainted with tomb boom. We went over 12 principles of animation. We went over frame rate working, I waas two stories moving stills. And, you know, of course, the class project. Um, So I hope that what you learn in this class and it really sticks in your mind no matter what you go to animate in the future, if you understand how to apply the 12 principles of animation, If you understand how frame rate and working on ones twos and threes can affect your work, it looks make your animation all better. Um, if you haven't yet uploaded your class project, please do so that I could take your work. And if you are struggling at all or have questions, please feel free to upload work in progress and, you know, comment on. I'll certainly help you out. And, uh, yeah, So if you like to my class, you know, Please leave a review. You recommended to somebody. And if you want to follow any of my future classes, follow my profile. I'm still share s Oh, you know what that being said again, thank you so much and you know, until next time