Transcripts
1. Introduction: Hi, I'm Nick. Can I make animations for fun? And occasionally I'd get commissioned to make even more funny animations. And I use old pictures to animate them. They use After Effects and that's like procreate. So I'm really curious to know what Adobe Fresco and its new motion tools alike. So W fresco has been around for a little while now and they keep introducing new features. And one of the new features that they introduced into their v-max a few weeks ago was the motion which essentially is animation. And it's really powerful. So I'm going to show you what I've already created just to see how you can actually create something like this very easily. And this will be the end result. But you might want to try and do it yourself because it uses 70 different elements of the new features. And you've got things like a different animation styles he got frame by frame will pass. And I'll explain that owning Jew calls. But just for the moment, let's just see what's happening with this. So on the right-hand side, I've now got three little dots with an arrow, and that indicates that that's the motion tool. And you can save that on the layers on the right-hand side where it's called three little circles and an arrow that indicates that it's got some animation. And you can say he had a my rocket for instance. Let's just assume that out. I've got a few little frames that have the file on it. And then a full set, something called a path. And if I share that, an appropriate effects, which can change it, you can see now that it's a path. And what that means is that the rocket is following a predefined path that I've drawn, which is really, really powerful, is that means you can do animations really smoothly. And whereas before you had to sort of frame by frame for everything in a lot of animation programs do that. You don't have this sort of in-between in having a path like this is really powerful. And this is just made up of lots of different layers. You've got groups, you've got different planets, which are different hues of the same drawing. And essentially, I'm not having to draw too much I'm using are ready-made shapes and using ready-made textures and blend and all that kinda stuff. So we'll dive into this to see how it's actually put together.
2. Your Project: So if your project or orange juice criteria of animation a bit like this, you could create the rocket animation, but just something around about six to ten seconds summing of that, you enjoy doing it couldn't be the rocket, it could be in the garden, it could be a flying bird. But just enjoy, just to use an illustrate how you're using the tools such as the frame-by-frame and the path to sort of make a really fun and interesting animation yet, so it should be good. And I'm looking forward to seeing them all.
3. Adobe Fresco's Motion Tools (Updated!): I'm just going to create
some really quick sketches not based on a box, can illustrate like a call.
And then a new layer. I'm just going to
create some wheels and I'm just going
to put some music. It's like a DIY things and
they're not regulatory, but it's just to illustrate. I'm sorry, That's just do
anything particularly special, but it's just to
illustrate the point about the animation
that you can do. What I'm now gonna do is I'm
just going to group this. If I drag the wheels onto
the other layer like this, you can see that
it's not grep and I can manipulate the
whole group together. What's interesting about
fresco is I've noticed that if I click on the three little
dots on the right-hand side, which gives me the
ability to animate it. I put a choice of
doing frames or path, but when it's a group, I've only got the
choice of a path, as you can see, he nine,
if I tap on this and here, I can't actually
duplicate the French, a new working copy the framework,
hard-driving elsewhere. But if I do the past, I've got the ability to draw
a path across the screen. And what this means
is that it actually animates your car
wherever the path is. If I draw the left-hand slide, my gave little curvy
thing like this. You'll notice that
it actually starts from where I actually
started the path and now it's following
that path will alone. But what I really
want to be able to do is into the car and helps a lot the wheels moving
so that they look as if they're actually
it's a moving car. But I can't do this
on the groups. Want to candy. So I can do this if I
click on the path here, I can copy the past, but I wanted to
delete that passed now so that we've got no
animation in this group. And all I'm gonna do now is I'm just going to duplicate
this layer group. I'm gonna turn off the one underneath and I'm just
gonna flattening emissions. Now we're going to go to
Merge Layers and agree. Now you'll see here at the bottom where I've got
this sort of timeline. I can actually
press on the layer. And it gives me In
duplicate the frame, which is really powerful. So let's go back and
watch and just look at these animation
tools in detail. Player, which obviously
plays everything. But remember there's
nothing happening. A little timeline here. I've got the path which we sort of vaguely introduced
earlier on. I got settings, amaze, get the ability to change
the motion settings. So that's the frames per second. I'm gonna just bring
it down to ten. I can leave it. And
what that means is it will leave pit
backwards and forwards. It was keep going. If we do some things like drawing a
path and doing some frames, I can change some of
the other features as well as we're doing it. So if I now go to
duplicate frame, it's exactly the same frame, but I just want to change
the wheels into bits. So let's just put
the settings on it, onion skin on the trophic down to warn them that
maybe can't see anything. But as I start
moving these wheels, you'll see that
there's a slight, faint outline of
the frame before, which is what I mean skin is it gives you the ability to see
what you've drawn before, during and after, just because
you're lucky little guide. So if I now use the
selection tool, which looks like
a little marquee, and I just select
one of those wheels. I click on the transform tool. I'm just gonna run a little
bit and already now you can see little shadow underneath. Let's just de-select that and
do the other we'll select. Then I'm gonna kick off with the transform tool and
just move back a brand. If I de-select that
now if I play that, you can see that the
wheels are going mad, but you couldn't no idea
that you can save it. You can do individual frames
like this and it's just showing you some
motion in effect because you can get different elements of the same drawing, animating frame by frame. And then you can also use a pasture animate
the whole thing. So again, if I draw a
path from left to right, so let's draw it curly Olmec. But then if you play all, you can see now that it is
sort of following the path. And the wheels are also
animating at the same time. You can see that then moving. And at the moment you've
only got one of these calls. But if I look at the effects, pause it, look at the effects. I can change the
speeds at the moment. At the bottom you can
see things like ease in, ease out or regular
speed at the moment, I could change that
if I wanted or I can speed up the path like this. Informatica. Love them such as lower than
number of frames apart. So it looks like
it's growing faster. And I can do things like this. I can add multiples, can see no, but lots of calls. And I can sketch them like this so that they're in
slightly different positions. Although the place which
will be really good for when we're doing the
rocket animation because I can use this installs but kinda get the idea that
if you do lots of things, good thing you notice
is at the moment I've just drew a path, the one slide from
left to right. If I take off those multiples, I can just draw
another path that is saved from across like that. Again, I'm going to have
now to cause grandmothers. What you'll notice though, is that the car is
kind of bouncing down the screen as if it's
going down in one fashion. It's not following that path. It doesn't matter so
much for the warning in the middle because it's
going from left to right, but the woman on the right is going down and we looked at odd, but I can orient
it to the path of, I think it's going
to orient both. You can do the sync
with a line to pass. It looks like that
does a bit weird. I'm recording this
update because Adobe Fresco is just
introduced a very new, powerful tool into the
motion set of features. It's great because I found if you've got the
car facing this way, it doesn't go the right way when you've aligned
it to the path. We don't want to be able
to do is to turn the car vertically so that it
looks up essentially. And before what I'd have
to do is if I go into the, let's just turn this off for a minute and go into this tool. I would have to do it
on individual frames. So this is the orientation
transformation tool, but now they've
introduced his new things so I can do it as
a selected frame. That will just change that one. Or if I just did done
and I just go back to it and I do it against his current that I can now do
it for the entire layer. Now, for instance, on forests, not too bad because I could have gotten into individual frames, have done them quite quickly. But if I've got an
animation that say 40 frames and I had to change
each one for that car. That won't be a real pain and
quite a slow work process. So basically what I can do now is after I do
the entire layer, I can just use my tool here,
the transformation tool, and I can select it so
that it's now looking vertically done as I go through the frames
from there just to all of them have changed
in the same direction. So now when I play it, I'm going to put the paths
on and it's aligned to pass. You can see that it's
actually moving in the direction of the
past and following it. Rawlsian just going from left
to right on top to bottom. It's actually moving in the direction of the
path that I've drawn, which is a very powerful
tool and bring new features that motion has been
introduced with Fresco, I've done a really good job at because that makes
life so much easier. That was just using a
very simple drawing to illustrate some of the
motion tools in action. In the next few lessons, we're going to show
you how we can build a rocket and put it altogether.
4. Drawing your Rocket: Whenever I start creating our rocket, and I find that even if you can't draw a festival, it's got so many tools to help you that you can actually do it without having to draw. And what I mean by this is you've got on the right-hand side, underneath the animation tool, you've got what looks like a ruler. And when you press on that, you can see very faintly at the moment, It's like a ruler on the screen. If I hold and press on that, I've got the option to show other different squares or circles or polygons. And with the polygon that can actually increase the size of it, or just put it down to a basic triangle. So I'm going to use the circle at the moment. And I've just got a basic brush, sort of sketching brush at the moment. And I can manipulate this guide if you like here and you can see it's got like a faint outline. And at the moment it's got the box. And if I press this little tool underneath, I can just trace around this now. This okay, and now if I press on the circle on the right hand side, it takes that guide off and I've got myself a circle that's going to be the basis of the rocket shape. And then if I want say littles or cabin hole in the middle, Let's just get that circle. And again, let's bring it down to more like a circle so you just manipulate. It's really simple to do. Great new tab there. My level, aliens going to sit. And then we'll just do this. And again, take off the guide. And I've got two circles now. One that is looking a little bit like a rocket, and one that's like the area where the alien might sit. Okay, so now I'm going to scratch another layer here, and I'm going to do the same thing, but this time I'm going to do the polygon and I set it so it's only got three slide, so I can actually change that for one to five or four, or 23. Let's leave it at three. And I just want it to be a triangle. So let's make it a little bit narrower like this. And again, I'm just going to click on this to bottom, trace, rounded like this. And then I'm going to turn off that. And I can just manipulate. Then say what I wanted to do is just to bring it down a bit. And these convened by side fins like this. And then on top of that, I'm just going to draw something that's like little comb rocket thing. And I'll just choose that. They're doing that. Let's see what that looks like. Yeah, so that's quite good. So let's just move a little bit better. Okay, so I've got a little Fen a rocket like that and then Sure, Just give it a little bit of color for the moment too so they can see because at the moment I've got this little checkered background, transparent background. So let's pick up some parameter anytime color. So large, brand like that. Hello For instance, they just gonna use the fill tool to color the rocket. That didn't saying that to try and go about that rocket looks a little bit odd at the moment because we're missing the top of it on here. So let's go back to here and more just get a triangle shape like that. I'm going to move that back to black. And you can see I'm not 100 to do much, not even known to draw it, right, because I'm just using the guides that Fresco gives you that. And again, we're just turn them off and I'm just going to draw troops on the film. Sorry, let's go back to the present. So let's just draw there. And I've got that off, and let's color that red. So that's KO mice right here. And we do that. And again, on this side, friend or color the top bit bread as well. Once you recolor inside would just do inside the cabin Hall, which is why some point that colors for pinky brown is make it a little bit more. So we've got, we've got a similar basic rocket check looks pretty large, but we need to just color red is relatively smooth bass. So let's go to the base of the rocket. So I'm going to count this and I'm gonna do this little thing called lock transparency. And effectively that means I can only paint on the areas of the sharpening color. So I can alpha tool in Procreate. So if I do the red, but don't know what the color is or I haven't got it listed in my color palette and I can just tap on the color itself and it shows it back in the colors on the palette then immediately. So that's just turn off the little finger, the top sequencer and drawing. And that one you can see now that this one sort of got like a checkered flag, which means it's got a lock transparency on. And then if I draw with just this. This natural fat, I'm not going to do that. I'm going to double-tap I'm going to tap on sorry, on hand with two fingers and that undoes things. And we're gonna go to my shape tools again, I'm going to use a circle. And I'm just gonna do it using all these shapes because I did say you don't need to necessarily go to draw to do this. And now, rather than drawing the whole circle, I'm just going to draw the mat. So I've got an area there. And then I'm just going to color the bottom of it. And we get read. And know the current is looking a bit off, but doesn't matter. It's giving me our database to be for sort of rocket, I'm going to go to black again. And this tunnel will draw decile thick underneath the base from the flames to come out of. Those got locked transparency and so yeah, just bear in mind when he did that. I can't then draw outside anywhere where there's an color. So again, I'm just going to turn them off. So now I've released it so I can draw underneath just like the tools of fuel thing and we'll just make that around that k. Just going to color it like that. And I've just put a few lines greatly lines on it just to indicate it's a kind of looks great reformatting, but it's sort of giving me ideas, put these fins again to share. And what am I do now is just create another layer. I'm just going to write a little alien type figure and security basics. I'm just going to create specific things and full to sort of start to go in and make it look little story man or green phase. And let's have a look. Okay, but two black eyes and it, because it's not him do anything. It's just gonna sit here. And this is going to be in this CAPM about that. Okay, So starting to take shape now considered the rocket starting to take shape. And I think what we'll do is we'll literally just, just give it a little bit of texture. And so I'm just going to create, just create another layer and then I'll make a clipping mask object. Clipping mask does, it means it will only reference the shape underneath. So when I'm doing some texts as a where it went color outside of that. And the Bt gene is rather than lock transparency is I can blend it and I can manipulate it or change it. If I lock transparency and then just paint it straight on the rocket, you wouldn't be able to say, well, you will get to see what's happening, but you wouldn't have to change because it's merging into the same layer, whereas this is on a separate layer. So I can change it at a later stage. So let's just shipped area or just to lie to make some darker shade it. This and that will just abuse approach will crush reuse. I think I'm going to use a mixer brush and escapes us. We wanted to mix. Then I'm just going to paint this sort of extra rough and ready texture. I'm not being particularly precise about this. User owner number. Do that too, which means it's going to go and eight. And then I can do the same for the red, just making maybe don't count. We can pretty mucky, so I might just do a little bit. So we've got gauche. Just want to give you that sort of rusty type failed to screen kind of George Washington and maybe those being a suitable site with. And you can die off and play around with TAESE quite a lot just to see what it looks like. Maybe the reason that's coming up. So I accidentally double tapping my pan. And when you do that, the color, color palette comes up. Series something good for maybe the screen actually, because that gives it a sort of slightly rust looking fail to it. And let's go back to the other layer here and do the same thing with this one. And let's just turn on to curb that brown again, sets have a comment Yes, of color in my palette history. And again, we'll do the clipping mask, which is this little square unary here. And again, it's just going to reference any area where there's color on the picture underneath. Just do them. Again. It looks On to the red, the darker red again from the top. The app, I'm going to think again, we want to have maybe the screen blending just to give you an extra line here. And then what I've noticed is that the wing on the side, it's sort of sitting on looks like an ice-cream kind of the right side. Let's see if we can move the rocket, the tap on that layer. And then we want to select multiple there, because what I want to do is to select these to go to my three little dots on the right-hand side, duplicate the layers. And then I'm going to go to my transform tool. And from the top I've got the vertical and horizontal change tools. Basically they just swap it over. I'm just going to do the horizontal ones. And then I'll just move it across. I could snap it to him. I'm just keeping it loose. The mm, so there I've got my rocket and it's ready to go. And then all I wanted to be able to put this in a group, Americas, all individual layers to the bottom. Sorry, sometimes you make a mistake. Tap one. So let's put that in the group and were rewritten the function. So in that group, I've done a group within a group interests in amine because I've got the rocket with the texture and actually I want to stay underneath the alien that. So I've got various groups here. So you can see here, I've got the group there and the rocket is now ready to animate. But we want to build up the other scenes first. So let's just do that in the next lesson.
5. Making the Background Scene: Discretion of the layer because I want a background now for the rocket to sit on, and I want to be able to create some planets as well. So let's just do the fill tool. And I really just want to kind of below darker blue for the background. Let's make it how you like to fill this layer. Let's make it a pixel layer because I don't need to make it. It can scale up or down. It's just basic blue at the moment. So let's just create slightly lighter tiring. And I did like that Manet mixer before. So let's create another layer. Zoom up a bit and just brush with this Monet mix just to give it a little bit of texture. What I might do is just see what the blending is like on that surge with dark. Let's just lighten it, I think so. Let's try it with the screen. Sure that, I mean, I think it's again, experimentation quite like that. And it's quite nice to just gives it a sort of almost like a mystic film. What toe tap Michigan space, but you get the idea. Then let's just create another layer. I'm just going to put some, maybe a yellow or orange, doesn't really matter. You can experiment. And this time I'm going to look for the effects brush. And I know that there's this style scape. So I want to create a background with little stars. And this is really nice. Could look like little stars are just in the background. So if I put my rocket on again, Let's put it like this. Oh yeah, sorry, I need to move it up because although these are going to do and O stars to them. And now we've got a rocket and a sort of background scene. But I want to have some planets and things like that. So let's just do that. We'll create another layer. And I'm just going to use that tool again that we had before. And I'm just gonna create an endless, just have a purply type color circle like that. And I just want to be out like that. It's really good to make mistakes actually because you learn by mistakes. And I'm just going to turn off the guide like that. Give it a little film that. So now I've got all sort of planets. Just looks like a circle at the moment. So think what I might do is just lock the transparency because all I wanted to just to have a little bit of texture on here. I'm just going to be dark and a little bit. And then I quite like that Manet. Wherever was it? It was in the mix of brushes and it was a Monday mix. I'm just going to literally lightly paint on there. Oops. I just want it on one slide early. And I've taught us a little planet showing there. And let's just resize that, pull it over there. What I might do is I might cheat now an all I'm gonna do is I'm going to click on that layer, tap on that layer, duplicate it, and then go to my transform tool. And then I just want to color it differently so I can do things like hue and saturation. And yes, make it a kind of orange. But at the moment you can see that it's anything under the saturation layer is being affected. It's like an adjustment layer in After Effects and it just affects everything. So let's just turn off minute band. I'm going to tap on that, just merge it down to that planet. And then spin up a bigger and not just turn it around like that. And a couple of other planets, let's just make more and more pink one. I'll just duplicate that layer again. Cucumber transform, naming and smaller. And again, we'll do the same things as well. I'll just create an adjustment layer here, which is the three interlocking, three interlocking circles to hue, saturation and country. It's really just Greene's sort of green is quite okay. But again, at the moment it's just affecting everything underneath. So we're going to do is just tap on it and merge it down. I've got three little planets straight away now, so yeah, it was created the planets and the background scene. In the next lesson, we're just going to create some twinkling stars, which will animate separately from the rocket.
6. Animating the Stars: So now I've got my saying I've got the background sort of Twinkie stars, but legis can remain static, as is the background blue and the source smoking misty field planets will stay the same. But I want to have some twinkling stars at sort of twinkling in and out as the rocket's moving in-between the planets. So first I'm going to change the color to, let's change it to almost white. Maybe you just slightly off white. Now. Always struggle with drawing stars. So what I've done is I've cheated a little bit. The baby's got this feature that you can bring in your library, shapes if you like. And then just SVGs, which you can bring them in from stock libraries. Or you get to the Adobe Capture app and just record a shape on that, which is what I've done here. So in my library, you can see here it's got a circle and a triangle on left-hand side. And the constant it very well because it's on the bullae. Let's just grab the blue layer and turn off a minute. And the same with that one. That's pretty on a different layer. Now I can fill it and we'll list it a vector on this term because I do, when I do that and just actually tend to guide off and fill it like that. Slightly off-white. Let's just put the layers back on again. Like this. What I want to do is just to have this star scaling up and down. And you can do that because you can animate on each layer, which can remain separate from other layers and you can have separate timings as well. And that's the power of fresco that you've got these tools that just gives the ability to give it some extra dynamics. So now if I get done on Next, I've moved it. If I press, I'm on that layer. The style of oppressed or three little circles with the error. I get the animation tool up here. Let's just check. I want to, on ten, that I want it to go too fast. And the moment I'm not going to have the path, Let's put onion skin on because it probably won't need that. And I don't want the star to sort of zip in and out. Sort of go small, large, small, large, really fast. I want it to go a little bit slower. So I'm just going to create three frames of each size and interests. Hapless. Duplicating, just duplicated, timeliness, duplicates. Now, click on the transform tool. I'm just going to make it smaller and you can just see a very faint outline of where the other one was before, which is your onion skin. But then I'm going to tap on this, duplicate it, duplicate it. And when I play, you can say here it's just literally moving up and down, up and down like this. That's a little bit boring, isn't it? But what I can do now is if I click on the path and the effects, I can do all sorts of wonderful and weird things there. So let's just stop that minute. And I've got the path set. So if I get my pen and just draw a little circle, and the reason I just want some movement is because then it's not that I really wanted to go around the path, but just having a path means I can do this now, if I go to the Effects is not necessary on by default, but if I click that, it'll show lots of effects on the right-hand side, if I use that technique we use with the car earlier on, you just add MOOC booms and you can sort of do it on the fly as well. I mean, I can do it when it's actually animating like that. And again, they're a little bit close to each other, so that's maybe too many, too many there. So let's go down to 6. I'm going to scatter them so they appear a little bit more apt to sync with each other. So they're not just all going in the same way. Okay, So it got some stars over on the left. But the other thing I can do now is I can draw paths in other parts of the screen. So if I just draw the star to pay there, and they appear there. And you might think there's too many, too many stars in each one, so you can just move it down and you can have a play with this and it just maybe four stars. I'm going to keep it around about six. I'm going to make maybe the scatter little bit more random. So they sort of move away from each other. At the moment they are taking center stage in the sense that that white is quite dramatic. And it's, you know, if you didn't see anything moving inside the planet, so you're not going to be able to see the star very well. So let's see what it looks like. Blend too much. Maybe put it on overlay or soft light, and then maybe just reduce the opacity. That's right, looks blue, twinkling. I mean, again, you can change it if you want, but it's just to show you the power of fresco gives you the ability to do all this kind of stuff, which is really nice. So in the next lesson we're going to actually get the rocket and animate that using a path and frame-by-frame to get some fire effects on the bottom of the engine.
7. Animating the Rocket: But we want to be able to animate the rocket now. So what I've done is I've gone ahead and duplicate this group. I want to show you something I illustrated earlier with the car. So if I just tap on the top one, turn it off for a minute and I've got the group here. But when I put the little animation tool on here using this, using the three circles and the arrow on the right-hand side. You'll see here I've got all the timeline features. I've got the play all the past the settings and the setting should be 10 still, like a setup for the stars before. But if I tap on the, if I double tap on the first frame, you'll see here that all the duplicate, delete and paste a great app icon actually do anything with that because it's a group. I can manipulate the group like this so I can move it and resize and everything like this. I can also do this thing. So if I just pinch England my two fingers so I can see more if I go into the path of the members, no path. But if I draw a path from the bottom, so it's basically going through the planets like this. There we go. You can see here I've got a pass. It's 67 frames. And I did say that if you want to change the speed of it, I can slow it down or speed it up by just moving the amount of frames. So if I make less of frames here, so if I turn it down to 28, for instance, it's going really fast. And if I want to slow it down, That's good. Unlike a 100. But this, and that's nice because I can do on the fly this one, I only want one pass, but you can see there's an incident problem with it because it's just literally going up and round as if it's in one position all the time. So I want to be able to do this aligned to path. And I can see here that it's just doing its business like this. But I can't do the rocket fuel at the bottom. I can't do individual frames. So let's just pause that for a minute. And I'm just going to tap on the path and copy the path. And then I'm going to delete it from there. I just want to keep this as an original copy. This one here, which is the rocket above the layer above. I'm just going to either tap on it or tap the three dots on the right-hand side. And now I've got the option to Let's have a look again. Sorry, I've got the option to merge layers in a group which kind of flattens at all. So now when I go back to the animation tool at the bottom, I've got the play all paths settings. And if I tap on here, tap on the first frame, I've got the option to duplicate the frame. Again at the moment, I still think that it's a little bit big for the size of the screen, so I can just manipulate a little bit. So let's just make a bit smaller. Okay. And again, you compare him with that. And I know the past is that I want to use because I did it on the one underneath, which is the one that's now the group that snow grayed out because I've turned off the visibility. But one of the things I did is I copied the past, didn't mind. So I can now click on the three dots and go paste motion paths there. And immediately I've got that same path that I setup before that I drew before suddenly just draw it again because I know that it worked before. Then think what it does is that it defaults to frames and 67. And I did slow down the original ones so, or to a 100. And of course it's not aligned into the path, so I'm going to align it to the path. So now we've got a nice looking rocket going in and out of a planet's clicks about nothing takes around about 10 seconds to do that, which is perfect for say like an Instagram post or maybe a little animated looping GIF. And let the moment on screen, I can see it continually looping. And that's because of my settings. That's because I want it set to loop. But if I go boomerang, it will do this and kind of go backwards and forwards. That's just 10 such and so, so you can see it think it goes up round like that. And I think, yes, it then comes back round. So the Boomerang is just doing it backwards and forwards to see what the difference is on this particular warm. And then you've got to play once, which is probably what I use when I export it because I just wanted to play once. And you can see what I did there. I had just the path which was showing me the animated path for just a rocket. If I play all, I can see everything coming together, inherits all mixing together. And because I've only got it play once, it's stopping when it finishes. So that's quite nice, which is probably what I'll do when it actually export. So let's put it onto loop again so I can just see it running. Okay, so now let's just turn the settings off. Basically on each frame, I want to be able to have some rocket fuel. So it just looks as if it's igniting some fuel every now and then. I could do this using a frame-by-frame, just differences in the amount of rocket fuel that's showing, that will just repeatedly go through the frames as the rocket's going along the path. And I'll illustrate this now. So I picked a yellow color here. I'm going to get a brush, which is the ink spread in the effects because I've tried that before and it's really nice little effect. I might just move the rocket off of it because it won't affect the past because the path will start from where I drew it. And then, no, I've got about four frames I want to go to use for the rocket fuel. Might, in a, might want more or less, but I'm just going to try it on full frames rather than just drawing the rocket fuel now and then repeating it. I'm just going to do again to rocket at the moment, duplicated four times like that. And at the moment there's nothing happening in between each frame. Just going to check, got the onion skin on which I have. Then I'm going to pinch in with my finger and thumb, can see it a bit better and literally just start drawing on the first frame, some rocket fuel there. And because about the onion skin, I can see a vague shadow. It's line, just give it a bit more and you can see what this is. And then a bit more. And finally, just a blast. And now you can play it like this. And you can see the rocket fuel. And you've got yourself a nice little animation. So in the next lesson, we'll just see how we can export as an mp4 or a GIF. Fantastic.
8. Exporting Your Animation: It's ready to export. So at the top here you've got this little box with an arrow which has come sharing icon in order to send it out as an animated GIF or an MP4, go to the top option which was published in export. And you'll see at the bottom here's some are called motion. And at the moment it's set to mp4, 10 frames per second. So I can just generate frames for bat. And it does its thing. And then if I play that, just review it. Just going to go along and do its thing. Okay? But that they find x equal to that. Now press Export button, I can say the video and it saved into my camera roll. If I want a animated GIF, I can just go to the exact same thing. Generate the frames. A few seconds, longer than a few seconds. If it takes longer for the gifts and it does fold the animated MP4. Okay, maybe there now. And again, I can review it like this. Nice little animation of the rocket going around the planets in and out, zipping in. And then again, I'll export this in this time. So say videos, we'll save image such as that goes into a camera and all done then. So if I go to my camera roll, I can see the video. And then it's just doing its thing. Stops. One company it does, although these days when it's an instrumental straight to store 20 loops but animated GIF here. The rocket doing is actually the same thing. Really nice. And they again, it's just looping like an animated GIF does. So yeah, you've created a really nice series of animation. Say you can have it Instagram for the MP4 and say like an animated GIF for modern literature or something else if you want. We'll just put it on a website really good, and it was pretty easy to do. So let's go back to fresco and it's automatically saved. It saves my documents as well. And these haven't named. These will work across many different Adobe applications like Photoshop and you can do try to shop from the other party if you've got the premium version and more. So again, in the next lesson we'll just review what we've done.
9. Bonus: Create a Floating Heads Animation Using Selfies!: So you can also use Fresco to animate some photos that you might have. So I've got some snapshot filters that are used on myself late at night. And I've got about six different pictures which I am going to import into fresco just using the photo tools and bringing him for my photo library. And then you can do a clever little thing in Fresco because I don't want the background of the image is showing that just want the head. So I can use the marquee tool, which is on the left-hand side, trace around my image. And once I've done that and I'm happy with it, There's a mass toward the bottom. I press that. And hey presto, I've got just a head sharing. Now I'm going to speed up the process a little bit and just do it for each of the heads until I'm happy that I've got six different heads on six different layers. And you can see in each of the layers that I can turn it on and off. I've got a mass showing and I can just slide it across to show me the mask. And then when I'm happy with it, I'll stop selecting. And then we're going to the next bit. Now in order to animate them, I need them all to be on one layer. So first of all, I'm gonna do one thing just to make it easier. I'm just going to move them into different positions because eventually I want to use each head on separate frames in the timeline when I'm animating. So there's just move each one out of the way. I want to be able to cut round each one once I've turned it into one layer because at the moment along several layers, but I can't animate on several layers if I want all the heads to show. So then I'm going to select all layers by tapping on one of them. And they're going to be option to merge all of them if I want. So basically merge them into one layer now which means like an animate on that layer. And to do this, I've used in motion toward the right-hand toolset. And you'll see I've got the option to change the frame rate and I'm just going to duplicate the frame six times. Because then I can have different heads appearing on different frames. But each one at the moment it's got old headstones. I'm just going to use the selection tool and each one to cut out just all overheads. So I've only gotten worn remaining. And you'll see here it can go through and do this on each one and then just line up in the middle and just use the onion skin which also turned on so I can see a faint shadow of the one before. And then it makes it very easy just the line to Martin to resize. And so eventually I'm going to have six frames of these heads. And I've animated it on a frame rate of about 10 frames per second. And once I've done this, you can see I'm just going through and I'm using the SKU or the selection tool rather than marquee tool just to go around it into erase it. And the venture, when I'm happy with it, I've got the last one doing here. I can just then use the play. And you can see here it's going through all the heads. So what are we really wanted to do is to create a floating heads animation. And at the moment I've got the head's moving six frames and then just moving through the head, sort of scrolling through them. But if I draw a pass to using the past tool, I can then set the settings so that the heads are animating on the path. And you can see when I haven't set them correctly meaning or hummed aligned and path, it just goes up and down. So let's align them to path. Let's add a few multiples, and let's change the scatter rate a little bit more. So you can see now I've got lots of different heads or five heads and I can change the rate until I'm happy with it. And you can see here it's got a funded animation. Now, if I play all, I can see all of them going at once. And it's going to be a nice little floating heads animation, which I can then share or save as an MP4 video file or a GIF or an animated GIF. And I've even got the option to generate the frames here, review it before. I'm happy with it and I can export it into my camera roll. And it makes it a really nice fun looking animation.
10. November 2022 Update: New Grow, Shrink and Sway Motion Tools: So just opened up
my rocket animation to show you some of the
new motion tools that adobe introduced for
Adobe Fresco backup max in October 2010 to two. And they're really
good and really nice features that
you can explore. So I mentioned about the
fact that you can now transform the whole layer
or frames individually, but the interface is
likely different. So not only can you
transform frame, all frames, but you can do all frames and motion
paths, which is fantastic. So do you want to
change the path of your particular rocket or a
fish or a call for instance, you can just do this using
this new window that comes up. Also one of the major things that you'll see on
the right-hand side is it's got this grow
and shrink features. So the moment if I play my path, my rocket is just going at a uniform speed
through the planets. But if I now put the grow and shrink and put the
percentage down, I can get it almost like
going off into the distance. It goes smaller and smaller
or if I go the other way, getting bigger and bigger as it gets to the
end of the path. And if I do it once more
again, I can do it. So it happens a number of
different times really. So you don't have to just
restrict it to one time. I can have it going
bigger and smaller, which might be useful for the flames at the
back for instance. But I'm just going to do this and I can also make it
sway a bit as well. So it looks as if it's
moving from left to right. I don't want this
for the rocket, but it will be handled for say, maybe attract Carlson like that. So you can see that it's got a number of new features
and these are really good. And I'm really
pleased that Fresco keeps updating its
animation tools because it's making life so much easier and so
much more interesting. Say, well, yeah, just
a quick update to show you what Fresco
has gone off for now.
11. August 2023 Update: New Paint Inside and Path Animation Tools: It's August 2023 and I just
thought I'd update you on some significant new
updates that frescoes introduce reason need to make your workflow and
animation easier to make. You see here on
this page I've got the rocket shapes basically
set up on different layers. And the reason I'm showing
you this is because if I select say like
a texture, brush, say like fruits charcoal, pencil variant, and
then I choose a color. Let's say like a
brownie, rusty color. Just to create steam punk look. Instead of having to create
a mask and a sort of texture over it. To fill it. I've got this option now
on the left-hand side, when I choose a paint tool, it's like a circle
and the squiggly bit inside and I can
toggle it on and off. So if I press this here, it goes blue like that. And you'll see it as a sign
that says painting inside on. Which is really helpful because now on this main rocket ship, wherever I paint
inside like that, it just fills it like that. And I could just do
it so that it's not quite filling it totally just
to give it a textured look. And the same with the bottom
half of the rocket ship. So if I may change it to, let's make it slightly
darker red maybe. Again, it just go like that and it gives it that immediate
field of texture. And I don't have to
create a texture mask or anything. I can just do this. If I go to the slide here, use the same red
here for the fins. And again on the
top here, the nose. And then I'm going
to create my alien. I think I'll just do a
straightforward fill. So I'll just do a green like this if I just pinching so I can see my little alien character and maybe just give him a
bit of a strong and look, I'm just going to go back to that dark color and
fill it like that. But you can see here
that the rest of the ship is textured. And again, I'm just
going to make that dark here for the bottom
bit and fill it there, my check circle highlighted. So that means I can on this
layer just painting sign. And then I basically
want to duplicate this. So I've got two fins. I need to have the
fins underneath. So let's move the rocket right to the top of
the stack like this. And then I can
just imagine this. Okay, so now I've
got my rocket there. So I can start
playing around with this great fire for it, move it around, animate
this as we did before. But what I wanted to show
you is another feature. So we want to start background
and maybe some planets. And so let's catch
it on the layer. And let's put that
and nice the rocket. And this time I'm just
going to choose this brush, which is a, it's an effects. And if I scroll down, I can see style scape and I can start increasing the size
and things like that. So if I just literally
do a few swipes there, maybe that's too big. Drop at database. That'll do. Now. You'll see here on
the right-hand side, I've got my animation tool here. If I bring that up, it shows me play all paths
and all that kind of stuff. But whereas before
draw a star or set of styles and animate
them on a path if I click on the
past now you can now literally add
multiples like that. Moment that are on
the same position. But I can scatter them like that and it automatically gives it a much brighter star field. And then if I do this, if I do the growing
sway, growing shrink, sorry, and just change it to how familiar want and then maybe even just rotate
them a little bit. I've now got this amazing
sort of star field. In fact, maybe
make those looser. And also I can do things like maybe slow
down a little bit. So I got this amazing kind of
star field and the beaches. This is that I haven't had to animate it or put it
on a motion path, it's just doing it in
situ, if you like. And then I can just
build a scene like this. And then you'll see immediately, I thought that might be a
bit too bright, like here. Maybe blend mode, maybe just put it on the overlay or something like that to fight. But you get the idea.
Just play around with these interests.
Dropped the opacity. Let me get another
matrix because that's tough to do any
kind of animation, but I've just
literally animating, sit here and added them
in different positions. And it's all automatically
create this style effect. So you got to think you said
to take away from this, we've got the painting side, which makes painting your
rocket with the texture is much easier than you've
got the animation without having to actually
create a motion path. So these are really
good addition to the fresco toolset
because it will certainly speed up your workflow as can be seen in this demo,
which I've done earlier. And I've used the
same techniques, planets and the
stars and the fire. So it's really good, brilliant
12. March 2024 Update: New Spin Motion Path Tool: Fresco has introduced another
motion tool, the spin tool, which is really good fun to use to illustrate this
motion in action. I've just chosen a buggy
drawing because you can see here of animated fans
and wheels independently. You can do it clockwise,
anti clockwise. You just have to choose from the simple options in
the effects panel. Now in the rotate
option, you've got spin. You can do counterclockwise
a number of times and more. Plus, in this example drawing, I've got the wheels spinning, but they're also moving from left to right
independently as well. You can see here that my
buggy goes across the screen, the fans are spinning, but also the wheels are
spinning and moving. But you still can't
animate groups where they've got
motion on them already. So what I've had to do
is copy the path of the main buggy and then
paste it onto my content. In this case, it's
going to be the wheels. Each wheel has
independent frame by frame animations on to
give it that squidginess, but it's also
spinning and moving. I've literally just copied the layer content
and motion paths and start experimenting
with it so that I can position it in
different places. It matches up when it's
moving with the car. Now when I play all the layers, I've got wheels
spinning independently, but they're following
the path of the car. And I've also got fans spinning both clockwise and
anti clockwise, to give it a fun little scene and a looping gift animation. Here's a spin motion in action. On the rocket example, I've
got the planets moving some in different directions
and different speeds and different numbers of times.
13. Reviewing What You've Learnt: I didn't really nice rocket animation. And it's not to be a rocket. You could do a bee buzzing around the garden, for instance, but the principles are the same. And if you ever get stuck, he can just go back to the home screen and the Learn tab of Adobe Fresco app. And you can do things like click on how to use motion in Fresco. And it's got a nice little summary of what we've just done. And it does it by step by step. And you can see how different parts of the application tool are put together. So frame by frame and paths just to train on data. But I think by using some of these features, you get the really powerful animation really quickly. And that path tool and the frame by frame is just really powerful and I'm looking forward to seeing what you're producing. So let's do it for now. And good luck.
Nick Cave, Experimenting with creativity!
