Transcripts
1. Introduction: The bouncing ball is one of the first animations a
beginner should learn, and can also work as a starting point of way
more complex animation. Hey, my name is Gui Jorge, and I'm a Brazilian motion
designer and animator, and I work here at
MediaNerd in the UK. I have been working as a motion designer for at
least five years now. As a generalist, I have always used different softwares
and techniques to support my projects, but working with frame by frame gives me zero limits
on what I can do, and that's why I
love it so much. In this class we
are going to create the perfect bouncing
ball animation in Adobe After Effects and use it as a base to create
a character animation, frame by frame, we use Adobe Animate
and Adobe Photoshop. In Adobe After Effects, you'll learn how to
use the Graph Editor, which is the most
important tool to control your animation and create
a perfect bouncing ball. After that, I want to
show you my approach to create the design of the
characters we will animate, and you can create your
own using the same method. When we have the basic shape
of the character bouncing, we will go to Adobe Animate to create the run cycle
frame by frame. We'll do the clean-up
using Adobe Photoshop to give your animation a
hand-drawing final loop. So you'll also learn how to work with animation using
Adobe Photoshop. At the very end, we will go back to
After Effects to make the final composition and
export our final project. This class is perfect
for beginners or even more experienced motion
designers that want to start adding frame by
frame to their pipelines, especially to
animate characters. You'll understand the
process that uses many different softwares to
create a very cool animation. I'm super excited to
see what you guys are going to create, so let's go.
2. The Final Project: Welcome to my first
class in Skillshare. The final project of this class is interesting
because we will cover many skills and techniques a good
animator should have. Starting with the bouncing ball, that is the perfect
exercise to understand the two main fundamentals of animation, timing and spacing. Of course, as we are doing
it in Adobe After Effects, it's a very good opportunity to understand how the
graph editor works. If you don't know what
the graph editor is, don't worry, we will cover that. Bouncing balls are also very present in
character animation, even if you don't
notice at first. Actually, when we walk or run, for example some
parts of our body, for example our hips, they do move similar
to a bouncing ball. That's why we are using it as a base to animate character. Here's the plan.
First, we will learn what makes a convincing
bouncing ball. Then we will design
a character and animate it's basic
shapes bouncing. Using Adobe Animate, we
will do the run cycle frame-by-frame using the
bouncing ball as a reference. Adobe Photoshop, will be
used to do the cleanup, which is the process of finalizing the frames
of our animation. To do that, then you
need three softwares, Adobe After Effects, Adobe
Animate, and Adobe Photoshop. It is also important
to have a tablets, especially when we're doing the frame-by-frame
part of this course. That's it guys. There is so much to
cover, so let's start.
3. The Physics of a Bouncing Ball : Welcome to this class guys, and let's start talking
about some theories from our very good
friend, Isaac Newton. It's important to
understand physics. So when we see something
wrong in our animation, we can guess why. Check it out. This is
a basic bouncing ball. Now we are going to see every
frame of this animation. When the ball is falling, the gravity is
pulling it downwards. That makes the speed
increase when it's falling. As the ball is getting faster, the distance between the balls throughout the frames
is getting bigger. Of course when the ball is
going up, the opposite occurs. The frames are getting closer
and closer to each other. That happens because
the acceleration aka gravity is pulling the ball in the opposite way
of its movement. The bouncing ball
is so important in animation because it helps us understand very well the two
most fundamental concepts in animation which
are time and space. Basically, time is about how long the ball
takes to bounce. In this case, the ball
takes one second to go from the top bounce and to get
to its original position. Spacing is about the
distance between each drawing from one
frame to the next. No matter the technique you use, this is always the
role of an animator, to manage timing and spacing to create the
movement he needs. There are some
details you can add to make your bouncing
ball more convincing, and it gives us the
chance to talk about an important principle of
animation, squash and stretch. Squash and stretch are
these deformations of the ball that makes the
movement way cooler. When the ball gains
speed, it stretches. When the ball touches
the ground, it squashes. Is very important though
to keep the same mass. It is nice to notice that the most stretches moment is right before the ball
touches the ground, and when it does it goes straight to the
most squashed pose. This very fast
change of shape is what gives impact and
weight to this animation. Now that you understand what a bouncing ball
should look like, we are ready to animate it. We will do it using
Adobe After Effects.
4. Introducing the Adobe After Effects: The Adobe After
Effects can seem a bit scary when you open
it in the first time, but everything becomes easier when you understand the basics. Welcome to After Effects. This is what you see
when you open it. Just to make sure the layout
I see is the same you do. Let's come to Windows, Workspace and check if
you are in default mode. To make sure you can even click in Reset default
to saved layout. You will see the same
screen I'm seeing now. The first thing to do usually
is to create a composition. The composition is your Canvas, where the animation
will take place. You can create a new composition
in three different ways. Clicking here in
this big button, this is more one in here or
going to new composition. Are you clicking the
new composition? Here you can rename
your composition. I will write
composition Class 4. Here I can choose the
size of the composition. You have some presets here, but 1920 by 1080, is that the full HD size, which I use for most
of my animations. The frame rate is
very important. This is how many frames per second animation
is going to have. The most common frame
rates in animation is 24. Here you have the duration
of the composition. We will create a five
seconds composition. The background color could
remain as it is gray. Now let's hit Okay, now I'm going to show you how to navigate in your composition. You can zoom in and out, rolling your mouse wheel, or pressing Command or
Control and Plus or Minus. My favorite way to
navigate is holding space bar, clicking
and dragging. This way you can
move your art board. Let me show you now
some of the main tools. The first one, shortcut V, is the selection tool to
select and move the object. The hand and the
magnifying glass are alternative ways to move
and zoom in and out, but I always prefer the
shortcut I used before. Now, let's see how we can
draw and create shapes. If I click and hold
on buttons that have this small triangle at the bottom it will
reveal more options. Those are the shapes I
could draw rectangle, rounded edges to the rectangles, ellipses, polygons, and stars. Let's select ellipsis,
click and drag to draw. If you hold Shift, you draw a perfect circle. If you select Shift and command, you create the perfect
circle from the center. If you only select command
you create from this center, but without locking
the proportions. Let's create a
perfect circle then. Now with Selection Tool, I can select and
move the position. Here I can change the fill color and
here the stroke color. This is the width of
my stroke in points. Clicking and dragging
is a nice way to make it increase or decrease. Let's change my fill color
and the stroke color too. Clicking on the word fill I can remove any fill or
create a gradient. The same works for the stroke. Let's leave like it is for now. You should have
noticed that since I draw any shapes on my Canvas, a new layer here is created. The zero is my timeline. I can select my shape
by clicking here, by pressing Enter key, I can rename it. Let's write circle
01, click outside. Now my circle has a proper name. I can also change the color
of my layer, clicking here, this is very important
to organize my project, especially when we
had many layers. Here's my projects tab, every asset that I use are important to After
Effects will be here, videos, audios,
images, everything. We can also see our
composition here. The one we have just
created is already there. I can also create folders
clicking in here. I can rename Folder 1 and now I can click and drag
and organize the project. If I select something
and click on the trash, I will delete
whatever is selected. Now, let's focus
on the timeline. This is very important to understand how the
timeline works. If I click and drag this needle, I can navigate
through my animation. Of course there's no
animation here yet. We need to understand
this number here, which is the time
my needle is at the moment and the number displayed here is in this order; hour, minutes,
seconds, and frames. If I drag my needle slowly, I can see the numbers changing. When I get to the frame 24, I have one second as 24 is our chosen number
of frames per second. It is also important
to know how to navigate the timeline
to your keyboard, you can type Command
and arrow to the left or to the right
to go one frame each time, going forward and backward. If instead I hold Command
and Shift together, and then the arrows, I will move the needles
every 10 frames. Here in the right-hand side, we have some important
tabs to preview is where I can play my animation,
clicking play here. What I use the most here
is the Mute button. Sometimes I wanted to
play without sound and here I can say if I
want it to loop or not. I also have here
effects and presets. They are so many that
I don't know and I'd never know every single one, but you have to know that
you can find them here, even search by their names. Later in this course, we will have a look
at some effects. Now that you are familiar with the basics of Adobe
After Effects, it's time to learn how to
animate in it. Let's go.
5. Animating in Adobe After Effects: Guys, now we are ready to talk about animation
in After Effects. That's where the
fun really starts. I already have my
green circle here. I would like to show you those properties
here under my layer. Inside Contents, I have
my ellipsis properties, but we will talk about it later. Now I will see the options
we have under Transform. We have anchor point, which is that little target
in the middle of the circle. Properties like
scale and rotation modify the object
based on this point. You can see that if
I change my scale, the size will change using
the anchor point as a center. I have to use the move anchor
point tool to modify it. If I hold Command or Control, the anchor point snaps
to specific places. If I put the anchor
point in here, the way the scale
works is different. It now has the bottom as
the center of the scaling. When you animate the rotation, the anchor point is
even more important. How you press Command
Z to go back, let's centralize
my anchor point. I will hold Command for
it to snap at the center. We also have position
with x and y axis. You can move horizontally
or vertically. At last, we have opacity
that goes from 0-100%. It is nice to know the
shortcut to review each parameter so you can see only the ones
you want to animate. I will close everything, select my Layer and
press A to anchor point, P to position, S to scale, R to rotation, and T to opacity, which actually
means transparency. If I press P to reveal position, but I also want
to animate scale, I will press Shift plus the shortcut of the
property I want to see, which is S. Now I see
position and scale. Now I will duplicate this
shape pressing command D. We can see that now I
have this Circle 2 here. I click and drag Circle 2 down knowing that if I hold
Shift while I'm dragging, it keeps the same axis, x or y. I will select
both at the same time, click and drag them here. Now I want Circle 2 to
be a different color, so I will change
the few clicking here and select an orange color. I will also change my layer color to keep
everything organized. Now, let's animate the position. I will select both at the
same time and press "P". Then I can see my
positions properties. You might have noticed that all the properties have
this little icon here. That means it can be animated. With both selected, let's click on this icon and you can see
it's becoming blue. Now, we have this little
diamond shape in my timeline. This is a keyframe. Now I can go to the time
one second on my timeline. I'll select both again and
click and drag holding Shift, so I will move it
only horizontally. Now I would like to change
my composition settings. Are you clicking
composition settings? Change here from five seconds
to one-second-and-a-half. One seconds and 12 frames, I'll click "Okay", and now if I go to the beginning
and press the space bar, I see my animation. Remember that once you
create the first keyframes, you no longer need to click in the little watch to
create new keyframes. Whenever you move
your object now the keyframe will be
created automatically. You could also create a new keyframe by clicking
this little diamond here. Great. Now I would like to
select both keyframes of my circle tool and press "F9". Now we see that the little
diamond change of shape. If I hit "Play", I see that the
movement is different. To show you, I will select
both of them and I want you to see this line that
shows our ball trajectory. You see that there are small
dots through out the line. Each of the dots is the position my object anchor
point is going to be in at each frame
of the animation. You can see it if you navigate
through the timeline, pressing Command and
right or left arrow. Every time you press, the anchor point
is going to be in one of these dots position. In the green ball
without F9 pressed, all the dots have the same
distance between them. Different from the orange ball, you can see that
in the beginning the dots are closer
to each other, in the middle,
they are far away, and in the end, they are
close to each other again. What I just did, I added ease to my animation, is speeding up and slowing down. Now, the orange ball
will start as low, gain speed, and slow down again in the end until it stops. The green ball has a
linear movement which do not exist in nature
unless it's the robot, nothing else can move like that. It is nice to say that both animations have
the same timing. They both are one second long, but the spacing is different. The space is represented by the distance between
the little dots. In the next class, we will talk about
the graph editor. But for now, I'd like to show you how the graph
looks like right now. If I click in here, I will open my graph editor. You cannot see
anything because I haven't select my animation. If I select Position, I see the orange bar graph. If I select this one, you will see the
green bar graph, which is very linear. This is the speed graph. We also have the value graph, but this is something to talk
about in the next class. Guys, now we are
going to understand better how those graph works and how to manipulate
them to control the spacing of our animation.
6. The Graph Editor: We already saw how
to create keyframes, but using the graph editor is the actual job of an animator. You will almost always 99% of the time edit the graph
editor of your animations. Pressing F9 is almost
never good enough. Let me explain that. Let's talk about the graphs. As you saw, I have to click here to reveal the graph and then select the animation
I want to display. This is the speed graph of the position animation
of the orange circle. The speed graph shows the change of speed through all the time. In the y-axis, I see they speed in
pixels per second. The x-axis is the
time, of course. So it is possible to see
that in the beginning, my speed is zero, then its increases and goes
to zero again at the end. In the other hand, if I click on the green circle, the speed is linear,
never changes. So they both suddenly
starts to move and suddenly stops are very
unnatural movement. You can compare both. Now, let's focus on
the orange circle. If I select this first point, which is the first
key frame like this, those handles will
show up and they will help me modify the curve. So let's click and pull. Now we see that the
peak of my speed increases even more if I
pull the other side as well. Now, the ball starts
the movement is lower, it speeds up to a higher speed and then
it slowed down again, is smoothly coming to a halt. Look how the orange ball have a nicer movement now,
way more natural. Now, I will add the default easy to the green
ball pressing F9, so we can compare. Now you see the ball
moving with the fore F9 pressed and compare with the orange that I
add to the curve. I personally always
pull those handles in one way or another for
all my animations. The default easy for me
is this to a bit robotic. Now, let's select the
orange circle and I will show you the other graph
after effects has. I will click this button
and select the option. Added value graph. This is just a different
graph that displays the same movement the
other graph shows. But in this case, we can notice that we
have two different lines, a green and a red one. This is because this graph shows the dimensions x
and y separately. The red line is x, horizontal, and the
green is y, vertical. As this ball doesn't
move vertically, the green line is a straight. Only the red line changes value. But okay, what this
graph actually displays. If I press Command or Control R, I will review those rules
here in my art board. Here I can see the
values from zero on the top left corner to the last pixel of my composition
on the opposite side. The same happens on the y-axis. Those are the values
this graph refers to. That means each pixels of my art board has a
different value of x and y. That's what the value
graph displays. The variation of the
position of each axis. We can say that when
the line is horizontal, the value is not changing. The more inclined the line is, the faster the
values are changing. So the faster my
object is moving. So looking at this line, we can see that the
movement starts slowly, gains speed and it
stops smoothly. Just like we saw in
the other graph. The different comes now. If I try to select the keyframe like I did
on the speed graph, I don't see any
of those handles. To see then I either have to separate the dimensions
of my position. To do that, I come in position, right-click and go to
separate dimensions. Now I have two parameters, position x and position
y. I will turn off the y position as we are
not animating vertically. I just click in
the little watch. So now I select both
keyframes of x position, press F9 to have
the default ease. Now I see that the curve is now similar to how it was before, but now I can see
and edit my handles. I really recommend you
now to play around with the curve and watch what
happens in your animation. For example if I drag this handle down like
this, what's happens? The orange ball will stop suddenly like if it's
bumped into a wall. What if this handle goes down? So the ball goes back
before going forward. That's because the line
goes through values in the opposite direction
of the movement. So that's nice for you to see what's happens
in the animation. Trying to understand
why based on the graph. Just have fun, play around and you're
going to learn a lot. Knowing how to use
the graph editor well is what makes
a good animator. Overtime, we will
also understand which graph is better
for each situation. When it comes to bouncing balls, we will be using the value graph because we will
focus on the y-axis. Usually value graph
makes more sense to use when we have to
separate the dimensions. In the next class, we will finally animate
our bouncing ball.
7. Animating the bouncing ball: Now you already know
the tools we are going to use to animate
our bouncing ball. As you know that the
ball will gain speed when falling and
lose when going up, we will need to figure out what this graph will look like. The best graph to use for
that is the value graph, because we are going to
separate the dimensions as we will concentrate
only on the y-axis. I will create a new composition, we will name it
bouncing 1920 by 1080, 24 frames per second and
duration of 2 seconds. Gray background is all right. New composition created, now let's make a circle. I will select the color
before creating it, click and drag, hold the shift
to keep the proportions, I will centralize the ball using the aligned tab on
the right-hand side, we will name it ball 1 and change the
layer color to green. Now I will create
a black rectangle to be the floor of my animation. Now I have to lock
this rectangle to avoid clicking
on it by mistake. But first, let's name it, color the layer dark green and I will click in this
little padlock square, so I no longer can select
and move the floor. Let's drag my ball over
the floor and I will press "P" to reveal my
position parameter. Right-click,
separate dimensions. Now we will create a keyframe
only for the y-axis. Let's put the ball in
the initial position, hold the shift not
to decentralize it. Now I want this ball to take
12 frames to hit the floor, so on frame 12, I position my needle, I drag it like
this holding shift for it not to happen until
the ball touches the floor. Now when the ball goes up, it doesn't reach
that same position because it has lost
part of its energy. If I took 12 frames to fall, I want to take, let's see, 8 frames to go up so I
will go to the frame 20, click and drag, I think this high is good. Now the ball took
eight frames to go up, it will take the same
eight frames to go down. If you want, you can press
Command or control side arrow to write eight times frame 28. Then I drag my
ball to the floor, what I can do as
well is as I know, that this keyframe here is where the ball is
touching the ground. I can simply copy Command C and Command V and I will have the ball
in the same position. Now, I want the ball to
take six frames to go up, going a little lower than
before and six frames ahead, I would drag or
more efficiently, I will copy and paste the keyframe which the
ball is on the floor. Now I want to take only
three frames for is more or less bounce goes
up just a little bit. Three frames ahead, copy and paste the keyframes
of the floor. If I hit "Play" by
pressing space bar, the ball is moving. But it's still very robot
kit and unrealistic, let's have a look
at our value graph. We can see here
that the position is changing in a
very linear way, there is no acceleration. Let's click and drag like this to select all the keyframes in my graph and I will press
F9 to use the default is. Hitting play, I can see that the ball is moving
like a spring, not really what I want. Let's think, if we know the ball will be gaining
speed when falling and losing when going up and we already know that
in the value graph, they're more inclined
the line is, the faster the ball is moving. I want to start slow having the curve more horizontal
in the beginning but at this point I will being the highest speed so it have
to be very inclined here. Now the curve is
getting more and more steep from the beginning
until this point. From this point, the ball
doesn't, it slowed down. It changes directions very drastically because
of the impact. In this point here the curve is horizontal that means
the ball has stopped. If I hit "Play", I see now that the first
bounce looks really good. Following the same logic, I will add it to the curves
of the rest of the animation. Now I can hit "Play" and my bouncing ball
is working nicely. Now I'm happy with it, It's interesting that as I
separate the dimensions, I can now animate the x-axis without changing anything
in my vertical animation. If I create a keyframe here in the beginning of my x position, I can change the
number and at the end, I will move to the right. I will press F9,
the last keyframe, so here's my ball bouncing
and moving in the x position. I already have the
arcs of the movement. Now we are going to design the character and I
will prove to you that bouncing ball has everything to do with
character animation.
8. Character design: Character design is a big
topic, but in this class, I would like to propose a simple and fun approach
to creating characters. The idea is to combine simple shapes to create
something interesting. As we don't have any
brief in our clients, we can create the
character we want. We can even let the shape tell us what the
character should be. Let me show you what
I mean by that. Welcome to Adobe Photoshop. Let's name the file here
Character Sketches. The size will be
this, 1920 by 1080. I would like to make sure
artboard is activated, color has to be RGB, and let's hit "Create". Now, let's select
the brush tool. I can choose here which brush I want and the size up here. Size will be 12, hardness, 100. Let's change the color. I always like to sketch using a very light
blue like that. Now we are free to draw. We can also use the eraser, shortcut E. To delete this all, I will press Command or Ctrl A to select
the whole canvas, backspace to delete,
and Command, or Ctrl D to turn
off the selection. Now let's press B to
go back to the brush and I like to draw some
circles like this. I would draw a second one here. The idea is for it to be very
sketchy, no perfect lines. By looking at this first
combination of circles, we can already start to
imagine a character from it. Imagine if we had some
legs like this, arms. This could possibly be the
shape of our first character. We could later add details
in a very quick way. Now it's the boy wearing shorts. This is an example of what
I would like us to do. We will play around with
different scales of circles, combining them together
and lead the shape tell us who the characters
could possibly be. Have a look. How you'd
say that contrast is very important to create interesting silhouettes
for our characters, so it is nice to have this small and big
circles combined. For example, if I
draw a character with the two circles more or less
the same size like this, it is way less interesting
than when we have very contrasting
sizes like this one. This could be a dude
with cool hair. I would say that he is
way nicer than this one. In this one, I have some ellipses shapes which
can be used as well. In this one, I used three
circles instead of two. It could become a
very strong guy. No, we just need to play
and see what we find. Keeping the drawing very simple, we just need to
create variations in shape, contrast, and position. As my artboard is full, let me press Command or
Ctrl minus to zoom out. I'd like to have
another artboard. To do that, I select the
move tool, shortcut V, click in the artboard 1, and click at this
plus sign here. Now I can have a
second artboard. We see that here
in our layer tabs, I created a new
group artboard 2. But to draw anything, I need to create a new layer by clicking on this
little icon here. Now, with the layer selected, I can draw, I press
B for the brush, position the screen by
clicking and dragging holding Spacebar and
let's keep drawing. I could also use this Lasso tool to select
and head position my shapes. I select like this and I use my move tool to
move the selection. Command or Ctrl D, I deselect. I can select a
specific part as well. Selecting the move tool and pressing Command T
for transformation, I can change the positions. When I have many shapes, I can start looking at them and see what each one
could bring me. Let's then go to
the first artboard. Create a new layer on top. Change my brush to black, and you start drawing
over my favorite shapes. I have a strong guy. This could be an ET. Same thing, this other
side, new layer created. This one could be a nag. I'm actually just having fun. It feels good not to have a
client so I can do anything. This one, for example, is a country guy
with a big belly. Now I can hide the
blue layers and have a look. Here they are. Now, to make a proper
drawing of my favorite guy, I will create a new artboard, create a new layer here. I think this one here is
my favorite because he has this big belly and
I think going to look very funny
in the animation. Let me make sure this
layer is selected. Copy, Command C, and place on this
other layer Command V. Let's press Command T so I
can scale him a little bit. Now here's my main reference. Let's create one more layer. Select the light blue again and you draw him again,
very roughly. Now it's time to start
the finalization. Always creating new
layers for that. Now I will do a more
polished drawing. It is important to pay
attention to the amount of elements and details
the character has. Every element, we
will increase the time of the cleaning-up phase. Let's reduce the opacity
of the drawing here. Create a new layer. Here I have a person
of color library that I'm using to select the
colors for the character. I want to select
a different brush to give it a little
bit of texture. I really like those
dry media brushes. I will pick this one, change the size to 15. Let's make sure this
black line layer with low opacity is above the
layer I'm going to paint. Now I can paint and
still see the lines. I always like to put
different colors in different layers in case I
want to change some colors. So every time I use a new color, I add a new layer. Naming the layers is
also a good idea. Right-clicking, you can
easily change the size of the brush in case you want
to fill up bigger spaces. I really like to leave some
imperfections in my drawing. This is actually
the beauty of it. Now, I will create one
more layer to add details. Some good tip is also to
press R to rotate the canvas. It will give you a
better position to draw. Here is it, our final character. Now, let's save the images as a reference for
the animation. Let's change the opacity
of the black line drawing. Drag it here. This one, I will delete. This other one, blue, I want to keep because
it will allow me to see the basic shapes
of the character. This is the image
I will save now. I will go to File, Export, Export As, make sure I have selected only the artboard
I want to export. I don't need any transparency. Export, select the folder, and name it Character
Reference. That's it. Well, it looks like we already have a
character to play with. Now we are going to take their shapes and make the
bouncing ball with them. So let's go to Adobe
After Effects.
9. Bouncing ball reference Part 1: Now we are taking our
character design to After Effects and recreating
its main shapes there. Let's see how we do that. Here we are again
in After Effects. Let's create a new composition. Name it, live the
size 1,920 by 1,080. Make sure the frame rate is 24. The duration I would like to
be one second and one frame. One second will be the duration
of one cycle of the run. That's why this is the
duration of our composition. We will import the image
we created as reference. I can right-click "Import" file. I find the image
character reference. I can drag it to my art board. We will create some basic
shapes with his body. Let me centralize this
blue rough drawing here. I will block this layer
by clicking this padlock, so I don't move it by accident. Instead of ellipses
for the shape layer, I will select the
rounded rectangle tool. I can draw and while I'm
still holding the mouse, I can press up a couple of times and I will change the
corners of the rectangle. It's now rounded. That's what I wanted. Let's change the color now
to something like this. I will change the mode
here to multiply. I can see through my shape. Of course, it doesn't
need to be perfect. It is just a reference. Let's make sure we click
outside the shape, so I will deselect it. Let's draw ellipses. This time I will change
the color first. I will draw the belly,
hold the Shift, so it's going to be
a perfect circle. Finally, I will do the
same to draw the head. Those are the three
shapes we are animating here as referenced
for the run cycle. Let's create a reference for the floor which is
really important, so I will press Command R
to review those rules here. Then I can click and drag from the rules to bring
up a guideline. I can hide my reference image leaving only my shape
layers on the screen. I will also add a
background color. Let's select the rectangle, make it white and press "Okay". If I double-click the
rectangle tool here, I will create a rectangle exactly the size of my
composition automatically. Let's organizing name
all those layers. I would like to focus
first on my body, let's hide the two other layers. Press "P" to reveal my position and separate
the dimensions. Let's animate the Y position. Let's drag the body here. I think this is the
highest point to be. In the frame 6 it would
be in the lowest point. Always having the
floor as reference. I copy and paste the
position I want; every six frames up and down. At one second the
position needs to be the same of the frame 0, so the loopy will work. That's what we have for now. I will select everything
and press "F9". Go to my Graphs, make sure I'm using
the value graph and edit the curve as we
saw in the previous class. We have the first
shape animated, and we can already feel a little bit of the
roofing of the run cycle. Let's do the same with
all the other shapes. [inaudible], this
is what we have. One important tip. When a character moves, not every part of his
body moves together. In this case, we would
like the movement of the belly to be delayed
compared to the main body. In animation this is called follow-through when
secondary parts of the body like the hair or tail moves in a different
timing of the main body. To do that, I will select all the key-frames of the
body by clicking position and I will drag then
two frames ahead that create the sensation
that the bell is soft and is
following the body. I want to do the
same with the head, so it doesn't move exactly
at the same time of the body but instead of two I will drag the key-frames only
one frame ahead. We can watch and
see what we have. After watching it
I decided to have the head a little bit
higher at this point here, so it shape doesn't merge
completely with the body. After editing it, I can simply copy and paste this key-frame to the other part of the
animation when the head is in the same place. Brilliant
10. Bouncing ball reference Part 2: That's it, our basic
movement is done. Now I just want to add the less detail which
is also easier to do here in the after
effects then in the frame by frame
part of the project. Let me visualize
again my reference because I would like to
create a shape to be the hat. I will create a
rectangle like this. Let's change the color to blue. With the rectangle selected, I will draw another
rectangle like this. Here's the reference for my hat. Let's click on the layer and
press R to review rotation. I will rotate it a little bit and position it over
my reference head. Remember to name your layer
and make the layer yellow. Now I want to pair my hat to my head so when the head moves, the hat goes with it. I will click at this little
icon on their pairs and link and drag it to the
head layer. That's it. I will hide my reference again. When I hit play,
you can see that the hat follows the head. Now I need to add a little bit of movement in the hat itself. Let's press P for
position and add a keyframe where the head
is at the highest point. Now I press Shift R, so I can also see the rotation. At this point, I do like
the hat a little higher. Here at the lowest
point of the head, I would move the
hat like this and rotate it a little
bit like this. Now, let's copy and paste
all those keyframes. To complete the loop, I will go to this time here, copy and paste the
true initial keyframes and drag it one frame ahead. This is the animation
we have now. Now I press F9 with all
the hat keyframe selected, open my curves and
in the value graph, I would like the
rotation curve to be similar to that bouncing
ball curve we saw before. In the position curve, as we didn't separate
the dimensions, I will choose to use
the speed graph instead of the value graph and
do something like this. Now I want to do the
same thing I did before, the laying one frame of the
parameters I have animated. Let's select all the
rotation keyframes and drag them one frame ahead. That makes the animation
a little bit more fluid. As this blue guideline
will not be rendered, I need to draw a
reference to be my floor. This time, I will
select the pen tool, shortcut g. I can change
here the stroke width. We will make it three pixels. Stroke color can be black. Here, clicking on Fill, I can remove any fill. Now I click here, hold shift and click here. In the other side, I will select both
points of the line and position it like
this over my guide. Now we have the timing of the animation dawn and
it looks very good. The only issue here
is that we did everything in 24
frames per second. But as we will do things frame
by frame in the next step, it is very advisable for us to make the animation on twos, which means a drawing
every two frames. In this case, we will have
12 frames per second. It will make more sense when
we go to Adobe Animate. But for now, I will just need you to know that
having 12 frames per second instead of 24 means cutting half the amount of
work we are going to have. As I need this animation to be actually 12 frames per second, I will add an effect to change the frame rate to
my whole animation. To do that, let's
right click somewhere here and select New
Adjustment Layer. Adjustment layer doesn't
have any shape but any effect you add to it will affect all the
layers below it. Now, I will add an effect
called posterize time. To do that, I will go to my
effects and presets tab, type of posterize time. I can find it here and drag
it to my adjustment layer. This effect allows me to change
the animation frame rate. Here where I have 24, I will change now to 12. Now, when you hit Play, you can see that the animation moves a little differently. That's because now we have
less frames per second. Now it's time to
export the video. Let's go to File, export, add to Adobe
Media Encoder Queue. It will open the
Adobe Media Encoder. Let's click here to
see my settings. Make sure you select H264 which will
generate an MP4 video. All the rest should be fine. Here, I choose where I want
the video to be saved. Press Play and done.
11. Introducing Adobe Animate: It's time for a
Adobe Animate guys. Let's click in create new
to create a new project. Here I have the size of
my Canvas 1920 by 1080, frame rate 24. Click create. I will give you a super
quick overview of this software before we
animate. Here we are. First command or control plus and minus to
zoom in and out. Holding space bar,
I can click and drag and move the
art board like this. Here we have the brush to draw. Remember that
everything we draw here in the Adobe Animate
will be a vector. Here I can change the
size of the brush. The smoothing is also important. What's affects the lines you
draw making it is moved for. Of course, I can change
the brush color like this. It's interesting to notice the difference between
the brush which I just used and the pencil to
the one below the brush. When we draw with the pencil, you see that it has the
color of the stroke, not the fill color. Obviously, I could click in here and change the
color if I want. Here as well, I can change
the size of the stroke. Let me delete everything to show the difference between
the brush and the pencil. Here, I draw with the pencil, here I draw with the brush. If I select the white
selection tool by clicking, holding this black one here, and selecting the white
sub selection too, discourse or selects the
point of the drawing, not the whole shape. If I click on the line
created by the pencil tool, I can control every
point individually. The brush is different as it
draws a shape, not a stroke, it adds so many
points and need to be possible to have some
control over the drawing. That's why I never
use the brush when I'm sketching my
frame-by-frame animations, I only use the pencil. I also have the eraser to erase. I can also draw shapes like
I do in after effects. Just clicking and holding and select what shape
I want to draw. When I create it, I can click on a specific stroke like this to change its color. I can change the fill color. If I select
everything like this, I change all strokes at once. Let's select and click delete or backspace
to delete it all. Now we will talk about
the animate timeline. This little square I'm seeing here is one frame
of my animation. As you can see now, that I deleted everything
I drew before, this little circle
is empty and gray. If I draw anything, a little circle becomes black. Now, you will learn the
three most important keys to work in Adobe
Animate timeline, F5, F6 & F7. F5 extends the frame
you have selected. If I press it many times, this is what happens. I extend the drawing I did
throughout the timeline, making it less longer
in my animation. If I have my needle at
this point and press F6, I will create a new key frame, but the drawing will
remain the same. Now, if I modify my drawing
by editing the curves, I can do that by
pressing V to activate my selecting to clicking and
moving the lines like this. I can see that from the
previous frame to the next, the drawing changes as
if it were animated. At last the F7 that also
creates a new key frame, but a fresh and M2,1. I like to use the
shortcut dot and comma to navigate forward and
backward through the timeline. It is very handy when we are
animating frame by frame. To delete the frame I created, I can select them
by clicking and dragging and pressing shift F5. I only kept the
two first frames. Now, I will click the frame. What's makes me select the whole drawing and I
press backspace or delete. Now I have an empty
canvas again. That's the basics
of Adobe Animate. Now let's import the
videos and reference we have and installed the
frame-by-frame animation.
12. Animating frame by frame: Now we will import the reference video and
talk about run cycles. Now we will become seven meters. First, let's import
our references. Go to File, Import, import the video, choose this third option here, click Browser, select my
animation reference video, next, next, finish. Here it is. I will right-click
on my layer properties. Here I can rename the
layer, video reference. Remember not to use any space because animate
doesn't support that. I will reduce the opacity to 25. Let's block the layer. I don't click and move it. Now, I will click here to create a new layer to import
the design reference. Let's go to file, import, important to stage, and let's find and select
our lovely reference. I will drag it to the side. Now, I also want to
reduce the opacity the same way I did
before and name it. I'd like to align his
feet to the floor. Now, I will also draw
a floor over this one. Let's create a new layer, double-click to name it, and with this line here, selecting the black
color for the stroke, I simply click and drag to draw. If I hold Shift, it will be a straight line. Then I will press V to
activate my selection tool. Click and drag to reposition
it the way I want. I want to block all those
shapes so I don't move them. Now, let's see how the run
cycle traditionally is. Remember that our
animation will be very cartoony and exaggerated. Well, here we have to think at the lowest and highest
pose of the character. We have the lowest pose, which is when the
character hits the ground, and the highest pose
is when he's in the air without his
feet on the ground. Other important pose are right before the character
hits the ground, and when he stretches
to get impulse. Let's start drawing the
body of the character because we already have a
clear reference for that. I will create a layer
and name it, body. Now, I want to create
my blank frame here in my timeline as we are
animating on twos. I want to have a drawing for each two of those spaces here, 1, 2, and here. Pressing F6, I would like
to create my new keyframe. Let's do that until the
end of the timeline. This very last
keyframe here will have the same drawing
of the first frame. This way we complete
the looping. Let's go to the first keyframe, select my pencil, choose green as
the stroke color, and the stroke size, two points. Now let's draw the body
over the reference. Keep an eye on my
design reference here. I will leave the
beard for later. That's basically what
my body is like. Now, I will do the same for
all the frames I created. Pressing Comma and Dot is
very useful because I can quickly flick
through my drawings and see how consistent they are. You don't need to
worry about stretching some parts of the body
like in the neck here, this will make the
animation even nicer. Because in the run cycle, the body bounces twice. At this point here, we can simply copy the same frames we draw
before and paste them ahead. Check it out, I can
select all those frames, hold out and drag them
forward like this. If I activate this
looping button here, I will see this blue area
here that determines what part we are going to watch when we play
the animation. I can see that the
looping works. If I hide my reference, this is what I have. Now, let's think about the legs. I will create a new layer
for that called legs. We'll create the keyframes
as I did before. Now, I want to draw the position that I find
the most important. The position where
the character is in the highest point right before touching the ground and the lowest point
of the movement. This is how the leg
would be like at the highest point of
the body trajectory. Here, when it is in
the lowest point, the leg will be
crossing each other. To help me, I will
turn on my onion skin. Onion skin is this tool
here that allows us to see a couple of frames before and after the frame we
are drawing on. This helps a lot when
you are animating to determine how many frames ahead and behind me want to see. Use those blue and
green lines here. We need to pay attention
to which leg is behind. To identify that, I will make
a shadow in this leg here. In this movement, this
leg will be here, and this other leg, like this. Now, I will draw the
frame before this one, right before the leg
touches the ground. It is good to have a
very stretched leg. Now that I have two frames
between this empty one, the onion skin will help me a lot to draw the
leg between them. I always like to have
my knee as a reference. I don't want the knees
to be in the middle. In this case, I would draw
it slightly closer to the previous one as the
movement is gaining speed. I can use the same principle
for the other leg. In this case, I
can even draw over the previous one and just
move and rotate like this. If I watch just this
part of the animation, I can see that the leg's
movement is working fine. Now in this frame, the background leg
is crossing the other so let's
draw it like this. The belly is hiding part of
the leg, but that's fine. Here's the moment when the body stretches so I want
a stretched leg. Remember to pay attention which
leg is in the foreground. From this moment on, the video reference is no
longer very important. Now, as I know this is the highest point of
the trajectory again, I know that my leg will
be in a similar position to the one I had
before but inverted. The leg in front
is not the leg in the background and vice versa. Something like this. Here again, I will have
pretty much the same pose, but we've inverted
legs like this. In the frame right
before this one, as we saw before, I will have a very stretched leg before hitting the ground. Again here, I can
take advantage after having those two frames to
draw the one in the middle, always making sure it is a bit closer to the
previous frame. Now here I have the legs
crossing each other again. The background leg
is being covered. To draw the only frame
that is missing, I want to copy the
very first frame, Control or Command C, and paste it in
the very last one, Control or Command Shift V to paste it in the same
position we had before. Now I can see it using the onion skin and use it as a reference to draw
the missing frame. I can even imagine the arc trajectory of the leg to draw the
leg between them. Now, hit Play and see. This is looking good. I can now fix some details
I would like to fix. The hardest part is gone. Now it's time for the arms. You need to know
that the arm swing in opposite direction
to the legs. Right leg is in the back, right arm is in the
front, and vice versa. Creating a new
layer, name it arms. This is the first position. I will press F7 here, pressing F6 every two frames. Now, I will draw the key
positions of the arms when it's crossing the body and
when it's in the extremes. Now I will fill the gaps using the onion
skin to assist me. The drawings that are
getting to the end of the trajectory have to be very close to each other
for us to have a smooth movement
when the arms stop. Hitting Play, this is
our arms movement. Now, we are only missing the
hat and some other details. Let's create again a new layer, name it details, and create
the keys every two frames. Remember I can rotate my canvas by clicking
this button here. As the shape of the
head will not change, instead of drawing
it many times, I will just press F6 to
create new frames but keeping the drawing I have so I can just reposition and rotate
it in every frame. It's ready. We have
our animation. Some people would want to
draw a more refined line over those drawings before taking it to Photoshop for the cleanup. But I prefer to go straight to Photoshop to save some times. There, we'll be able to use any brush or texture we want. That's it guys. The animation is ready, but it's a sketch for now. Now we have to redraw each
frame in Adobe Photoshop. Let's export our video. Now, let's render
this animation. I would delete all
those last frames. They are not part
of the main loop. I will select them all
and press Shift F5. Now, I have to select
my reference layer, the video, and the
design reference. Right-click and select Guide so they will not be rendered. Now let's click on File, Export, Export Video Media, here I select where I want
the animation to be saved. Make sure this box is ticked. Hit Export and it's ready
13. Animating in Adobe Photoshop: Finally, we will talk about
animating Adobe Photoshop. Photoshop is a nice tool
because it allows us to use any brush or
texture in our animation, different from Adobe Animate
that only does vector. Let's make a quick
overview of how it is like to animate
using Photoshop. I will create a document here
called Animation Clean Up. 1920 by 1080 is the size, but this time make sure
artboard is not activated. We need the color mode to
be RGB and hit "Create". First, I will go to Windows
to open my timeline. Now I will have my
timeline down here. All I have to do is clicking
"Create Video Timeline". Now you can see that
I have my layer zero here and my layer zero
is in the timeline too. Here is the zoom of my
timeline and here I can see my seconds in frames very similar to what I
see after effects. But before I do anything, I have to set up the frame
rate I'd like to use, so I will click in this menu here and click "Set
Timeline Frame Rate", and here I can choose the frame rate I want
to use which is 24. Now I will position my
needles at some point of my timeline and we'll
create a new layer, so you can see what happens. Click down here to
create a layer. Now I have a new layer that was created at the point
my needle was. That's something important
for you to know. Now I can click and drag it to the beginning
of the timeline. I want to show you now how
the scissor tool here works. If I click, I will crop the selected layer at
the point my needle is. In the layer panel, as you can see, I have
now a Layer 1 copy, so this one here is the Layer 1 and this one is
the Layer 1 copy. Now, I want to
create more layers by cutting them
with this scissor. I just need to select the layer, position my needle and
click on this scissor. This way I keep creating new
layers as you can see here. The cool part now is
that if I click and drag this layer downwards to be on the same line
of the other one, I automatically
create a video group here in my layer panel. That means that when I have the layers in the same
line of my timeline, they are grouping
together in here. If I do the same
with the other one, it joins the group. This make the work here in
Photoshop more organized. To draw one of the layers, I need to select it either in the timeline or
in the layer tab, it doesn't matter, and also make sure my
needle is over it, otherwise, I won't be
able to draw anything. For example, if this
layer is selected, but my needle is here, I cannot draw as you can see. Dragging my needle here, now I can draw normally
and of course, if I draw in this frame and drag the needle
to the other, the drawing disappears because
the next frame is empty. If I want to draw here, I need to select the layer. Now I have a drawing each frame and that's how we
create animations. Bear in mind that you can easily adjust the
layers' duration, clicking and dragging the edges or cutting them
as we saw before, and of course, every time I cut, I create a new layer. I can cut as many times to have as many layers as I
want and of course, they will all be
here in this group. That being said, you
can already see that by changing the order of my
layers in my layer tab, I also changed the order in
my timeline and vice versa. Now, let's increase the zoom. I would like every
layer to occupy two frames in my timeline as
our animation is on choose, so I will make sure I
adjust it properly. Every two frames, a new layer. Now I could come and draw something different
on each frame. Position the needle and
select the frame and draw. Now I can hit "Play". Oops, the problem is
that my animation is doing five seconds
which is the default. Let's reduce the size
of the layer zero. This layer zero by the way
is my white background. If I delete it, you can see that my background
is now transparent. Control or command
Z to bring it back. Now hitting "Play", you can watch this crazy and
random animation I created. This bar up here also allows
me to control the duration I am playing in case
I just want to watch a specific part
of the animation. That's the basic of
Photoshop timeline guys. Now we are more than ready
to clean up our drawings.
14. Clean up: Now it's time to finalize
every frame of our animation. Let's start. It's time
for the clean up. First, let's import
the rough animation, File, Place Linked, and select the video. Let's press here to confirm, and now I can already
press space bar to play. Now, I also need my
designer reference here, the same way I will go to File, Place Linked, and
select the reference. It was placed a little bit
later in the timeline, because it is where
my needle was. So let's grab it
to the beginning, and here you cut it and
delete this other part. I would like all my reference to have multiply as blending mode. I can select both here
and choose multiply. Let's move my design reference. I will press V to select my move to click
and drag it here. This one will be the
final look of my drawing. Now, it would be helpful to
reduce my video opacity, so I will just come
here to do that. Now, let's lock them. Click on this little padlock. Now, I cannot move them. My preferred way to work is creating all the
empty frames first, so then I would only
concentrate in my drawings. All I need to do is to bring
my needle to the beginning, create a new layer,
click in here. I will go two frames ahead, and click this scissor, so I will cut it. Drag it down to being the
same line as the other frame, what makes me create automatically a new
video group here. Let's name it to body. I will draw my body here. Now, I want to cut the layer every two frames
to make it easier. I want to click here on
this drop-down menu, and make sure I activate
enable timeline shortcut keys. This way, if I press
the arrow keys, I can navigate
through the timeline. That means I can
select my layer, cut, walk two frames to the side
with the arrow and cut again. I will do it until
the end of the video. The left over I
can simply delete. Now, I already have all my
frames created for the body. Now, I have already created all my empty frames for the
body to make our life easier. I also want to duplicate
that a couple of times to draw the other
parts of the character. To do that, I will
select my group, hold alt, click in and drag it. Now, I have the body copy, which I can rename to Leg1. I will do the same to create the frames for the
whole character. Leg2, Arm1, and Arm2. Head, beard, hat. Finally, a layer for
the details on top. Now, I have all my layers created that means
I can simply draw. I just need to be careful, because I need always to draw the right parts of the
characters in the right frame. It is also good to have my reference video on
top of everything, so I can still see it
lines when I'm drawing. Now, all I need to
do is to select the right frame
and paint my body. If I press the key I, I will select my color pick two, and I can pick the
color for my reference, b for the brush. This is the brush I want to use, but you can use your favorite. Size 50 for me is good. Now let's paint. Pressing r. I can
rotate the canvas, which is also helpful. When I finish one frame, I click on the next and
continue the process. The same way we did when we were sketching the animation, I would like to repeat the six first frames
of my body animation, as we know that they loop. What I will do is selecting
my six last frames. I can click in the first one, hold shift and
click in the last. Delete them by clicking
this little bin, click "Yes", then I will
select those ones here. Hold Alt and click and
drag them like this. Now, I already
have the body done with a little bit of time saved. I forgot one of the frames. No problems, I will paint it, and replace the one that
is later in the timeline. Now, let's animate the head. Same process of before. Sometimes I like to flick
through my animations, press the arrows keys to
see how it is looking. This way I can identify
and fix some details here. If I hide my reference video, I can see how the final
drawing is looking. As we did with the body, the six first frames of the
head can also be duplicated. Let's go to the
head, same logic. Then the beard. Finally, we will draw the legs. As I have Leg1 and Leg2
in different layers, I need to make sure the right one is in
front of the other. In this case, I want the Leg1
to be my foreground leg, so Leg2 should be
behind the body. Be careful because it's easy to drag it inside the body group. What is not what you want. Let's draw all the legs now. Now to make my background leg, I would like to use a
darker tone of this purple, or even this black here, so I will differentiate
the legs. Let's select the Leg2
layers and start painting. You may notice that sometimes, in this cleanup phase, identify and fix some
issues that I didn't see before like the position of the leg when it's
crossing the other. I changed the pose a little
bit disobeying my reference. This is not the most
recommended approach, but it usually works for me. Legs are done. Let's
draw the arms. Knowing that one of them
has to be behind the body, I will drag the Arm2
down behind everything. Now, I will select the
Arm1 layer and draw. Now finally, the final details. As the eyes are small elements, it's easy to be inconsistent with their size and position, so I always like to flick
through using the arrows. Alternatively, I could also
rely on the onion skin, which Photoshop also has. I can click here and
enable onion skin. I could hide my reference and choose this onion skin
skin transparent, to see where the
previous drawing is, and draw the next eye
in the right position. Now, it's all done. Let's shrink all the folders, hide my reference layers, and hit space bar to play. Look how cool this is looking. The very last thing
I would like to do here is to draw a floor. I will create a new layer, cut the end to have it
the right duration. Delete this part, and now in any point
of my timeline, I can simply draw my floor. I will turn on my
reference again. I will click and
drag holding Shift, so I will have a straight line. Name it Floor, and drag it below
all my drawings. Now it's ready. Guys, that's it. The animation is done. Now, we need to take it to after effects to make our
final composition. Especially because, this animation here
is one second long, we need to make it longer
in order to publish it. Of course, we can even
add some effects there, to change the background color, so I going to show you how.
15. Final composition: Now, the very final step, let's make the final composition
in Adobe After Effects. We are finally here, creating the final
composition for our project. Let's import our PNG sequence, so you can see how it works. Let's right-click Import file. Now, I have to find my images sequence here in this
folder Clean up. Here they are. All I
have to do is click in one of them and make sure the
PNG sequence box is ticked. Click, "Open." Now, we have this PNG sequence here but the after
effect is still doesn't know in which frame rate we want for those
images to play, so let's right-click
separate footage and main. Now, we have this 30, which is the default frame rate. We want it to be 24, so let's drag this sequence here to create a
new composition. This new composition
has the exact size and duration of the animation,
one second long. If I press the space bar, I can play and watch
now how it's looking. I'd like to reposition the
animation a little bit like that and I will create a shape layer with
the background color I want, my libraries here. Let's click on the
rectangle to remove the stroke and make sure
the few is activated. Let's choose the few color, maybe this green here. Now, double-click in the rectangle tool and now
I have this shape created. Drag it below and now we
have a colorful background. I will rename it, change color to dark
green, and lock it. Now, let's add some
texture to my background. To do that, I would
create an ellipsis. I will hold Control or
Command to create it from the center and choose a slightly
brighter greener color. Now, I want to apply an
effect to the ellipsis. Let's go to the
Effects and presets. Search for Gaussian blur. Click and drag the
effect to my ellipsis. Here, together with
my Project tab, I can see the properties
of the effect. I will increase the blurriness. Click and drag the
number to the right. To avoid these weird lines here, let's deselect the
repeat edge pixels. Now, we will change the
blending mode of the texture. Let's choose Dissolve. Now, we have a cool texture here. Let's name the layer, change the layer color to green, and put it behind the character. Now, I want to create
another rectangle in the same color of my
original background. I will draw the
rectangle like this, it'll hide the bottom of
my texture like this. We will name it Floor. Feel free to align this
floor to the line we have. You can reposition the texture, increasing, reduce
the blurriness. Whatever you want. That's how it looks. You can even select
Dancing Dissolve, instead of just dissolve, so the texture you
move a little bit. The only problem we have now is that this video is
only one second long. This is too short for
anyone to watch it. That's why I will increase
the composition duration. Let's go to Composition, Composition settings and I
want it to be 10 second long. Click, "Okay." Now, I have a way longer composition. All I need to do is to
unlock the lock layers, so I can stretch
the background and textures until the end
of my composition, the animation, I can
simply duplicate it, press Control or Command D, drag it to the right. You can zoom in to
certify that you don't have a gap
between those layers. Now, I can duplicate again, both at the same time, and do the same until the
end of my composition. Now, we have a 10
second long composition with our animation. As I want to publish
it on Instagram. I always like to have
the square animations, so I can go to my
composition settings and set the size
to 1080 by 1080. Now, it's more suitable
for my Instagram account. Now, we can hinder the video. To do that, let's
go to the File, Export, add to Adobe
Media Encoder Queue. Here we open Adobe
Media Encoder. He's the animation. I can click here to
see the settings. I always choose H264 for
social media animations. Here we can change the name and the location where the
view will be saved. I always press Use
maximum render quality. Now, we just need to
hit Play and cheer on, we have our animation. Congratulations.
16. Thank You!: Guys, this was an
exciting journey, we covered so much. Thank you so much for getting
to the end of this class. I hope you realize that first, animation has no
rules, no limit, you can use all the softwares and techniques
available to you at once and take advantage of the best each software can offer us. I really want to see what you
guys are going to create. Please, upload
your product here, and I will be seeing comment
on every single one. To get inspiration,
have a look at those other characters I
created using the same process. I hope you found it fun and I will see you in the next one.
Gui Jorge Porto, Designer and Animator
