Procreate Dreams: Create Fun Animations on Your iPad

1. Class Intro: Do you want to learn how to animate and procreate dreams? Yes, perfect. That's exactly what this class covers. Animation is fun. It attracts attention. It conveys what words and static images cannot and procreate dreams makes creating advanced animations on your ipad super fun and super easy. I kick this class off by showing you how to navigate procreate dreams and how to create basic animations. Then we jump into the class project. This is where you'll follow along and learn a ton about procreate dreams and about animation in general. We'll be creating a spaceship movie complete with aliens and voice. The class will cover animation theory, planning and storyboarding, how to animate different parts of your movie, adding sound, creating scenes, holding viewers attention how to use procreate together with procreate dreams, and a whole bunch of tips and tricks. My name is Rich Armstrong, AKA Tap Boom. Over 30,000 students have taken my procreate animation class. And I've been animating since 2006. So you're in good hands. I made this class for beginners, but you know how to animate. And you want to learn how procreate dreams works by taking this class. You'll pick it up super quickly. So are you ready to have fun do to learn how to animate and procreate dreams? And do you want to make an alien spaceship movie? Yes. Then come take this class. 2. Animation Theory: Now before we start playing around and procreate dreams, let's cover a little bit of animation theory. I know it's boring, but it's important. I'll keep it short. We'll start with what an animation actually is. Animation is an illusion of motion. It's a bunch of static images passing by your eyes super fast and this tricks your brain. It thinks there's a movement and movement grabs our attention and keeps us engaged. An example of this trickery is a flip book animation. You've probably tried this out at some point in your life. The next thing we need to chat about are frames and frame rates. In the digital world, the pages in a flip book animation are called frames. This brings us to frame rate. Now we're used to watching videos where around 25 to 60 frames pass before our eyes every second. The animation term for this is frames per second, or FPS. And this is the video's frame rate. It's how many frames we see in a second of animation. You can calculate the number of frames in an animation by multiplying the frame rate by the duration. And you can calculate the duration of an animation by dividing the amount of frames by the frame rate. If you've got a 25 frame animation, and the frame rate is 25 frames per second, the animation will take 1 second. If the frame rate is five frames per second, the animation will take 5 seconds. Now the lower the frame rate, the more handmade and jerky and animation will feel. The higher the frame rate, the smoother the animation will feel. I like animations to feel more handmade. I often lower the frame rate to somewhere 10-15 frames per second. Luckily for you, procreate dreams makes all of this really simple and easy. Now, of course, there's more theory you can learn. This is not it. But that's all for right now. In the next lesson, we'll jump into an orientation of procreate dreams. I'll see you there. 3. Let's Get Animating: Okay, before we start animating and procreate dreams, I need to do two things. First thing, cap backwards so that you can actually see what's happening in the overhead camera. Next, procreate dreams, Which version am I using? 1.0 0.9 You may be on a different version, which means some things may look different and some things may work differently. That's okay. What I suggest is always being on the latest and greatest version of Procreate Dreams, because bugs get fixed, new features get added, It gets more and more awesome. Let's get started. This is your theater, it's where all of your movie files are kept. Fantastic. Pretty easy to understand. Now let's create a new movie. What I like to think of these things as, as you swipe up and down are starter files. You can change the width and height. You can change the frame rate inside of these, but these are very common dimensions and frame rates that you can use tap on this little HD. Perhaps you see it as four K, but I'm going to go for HD. There are a couple of options inside there. I'm using HD because I don't need to use four K. I'm using widescreen because it fits this class perfectly. Then these three dots, you can change your frame rates or your frames per second. I'm going to go for 24 frames per second. It's really nice that they have names next to these, not just like random odd numbers. And then the duration, I'm going to go for 5 seconds. If that doesn't update, it does actually update, It just doesn't visualize it. Okay. You can either start with a drawing by starting by drawing, or with an empty project. I'm going to go for an empty project because I'd like to show you how everything fits together. Let's go for an empty project. Here we have our stage, our backstage, our timeline. A couple of tools, and this ruler which measures our time. Okay, you want to go back to the theater. You press on those little rectangles and then you open up your file like that. If you tap on this name of your movie, it opens a bunch of properties settings. And you can also share from here, I'll get to these in just a moment. But for right now, you can change your width and height frames per second, and duration right here. You can add your name and you can put a profile picture in there. Okay, now let's start drawing. Let's start animating. We need a track, so let's add, and we can add a track. It's quite nice that there's quite a few things that we can add, and we'll get to some of these in the rest of the class. Let's go for track. There's a really dark gray bar here. You may not be able to see it in this video on your ipad, you should see it. And then tap on this drawing and paint mode. This brings up a really nice canvas. You've got recognizable tools here, if you're used to procreate. You've got your brush tool, smudge, erase your layers panel, and your color panel. I'm going to go for drawing blackbure on the left. You see all your brush sets. These are pretty default. Blackburne is just one of my favorite brushes. Then for a color I'm going to go for black. You've got disc, classic harmony value. And even a place to store your colors in a color palette. If you're used to procreate. This all looks very familiar. Now what I must say about this particular version of procreate dreams is that you can't edit the properties of a brush. You can export a brush or a brush set from procreate and import it into procreate dreams. And all of those properties will exist in that brush or brush set. But you can't change them once they're in procreate dreams. I hope this changes in the future. So we're going to create a simple animation, 12345 and then tweak it as this lesson goes on. Number one, if you can't draw because you don't have a pencil tap on your movie title. Let's go to Preferences. Gestures enable paint with finger. There we go. Here you can do some painting. All you can also undo by tapping two fingers on your screen like that, or redo by tapping three fingers. There's also a redo and undo button here. If you don't see them, you can tap over here. And under history, you've got undo and redo button. Those should disappear and then you can make them reappear. Okay, here you can also do some raising, much like you can in procreate one. Fantastic. Now we have one piece of content on our first frame of our movie. Now how do we add a next piece of content? How do we add number two? Well, here's our timeline. We've got this little sliver of content here on frame one. I want to zoom into that. There's a few ways to do this. One is with three fingers, it's called the time scale adjustment. There we go. You can see these numbers at the top are getting zoomed in. And you can see my piece of content getting a little bit bigger. Fantastic. You can pan with one finger or with two fingers. You can also zoom in and out, much like you can on your stage. Just whip that, it goes back to this really nice default view. Another way to do this is if you're zoomed out is just to double tap on that. Zooms in straight away Here you can see 0 seconds frame one, frame two, et cetera. If you don't see 0 seconds frame one or two like that, you just need to double tap again. Sometimes I need to double tap twice or thrice to get into this super zoomed up mode. You'll know that you're in the super zoomed up mode because it says 0 seconds frame one. And if you're on drawing and paint mode, you'll see this little plus button. This little plus button adds a new piece of content on the next frame. This is an onion skin, and I'll tell you what it is in just a second. Number three, here you can actually see our two which is black. And you can see this purple number one and this yellow or orange number three. This is onion skins, and if you tap on your time code, you can turn them off and on. You can also edit your onion skins. The ones in the past are purple, the ones in the future are this orange color. What onion skins are, is it shows frames in the past and frames in the future, which can be really handy. I'm going to leave that on. You can also change your background color. I'll get to onion skins and how to use them more in future lessons. Okay, let's zoom out now we've got 123. There's also another way of adding new frames here. If you just pull this down, it turns into this flip book. You can move this wherever you want. But if you tap on the next frame, it'll add a piece of content in the next frame. So number four, tap here. And number five, you might be like, are you being stupid? Why did you draw that so big? Well, I want to show you something. Let's pull this down. There we go. All what you can do is tap that little x. Now I want to make this smaller. In procreate, you might be able to select something and then make it smaller with one of your select tools up here. Not the case in procreate dreams at the moment anyway, So I'm going to get out of drawing and paint mode. So I can either tap that or press done up here. Now I can either tap here or tap on the contents on my timeline. And let's zoom out a little bit. You now see a bounding box. If you don't see the bounding box more, just tap there that comes back here, you can scale. If you tap on one of the corners, you get this little noodle that you can rotate with, which is pretty cool. You can also change your anchor so that it will rotate from that point or scale from that point. There we go, like that. And here you can reposition it at the moment, you can't reposition a layer like there's no way of actually repositioning this thing. There's no move tool. Okay, we can make that smaller. Again, tap on this. Let's make it smaller. Okay, 1,234.5 Fantastic. Using this playhead, we can scrub between our frames really easily, at any speed that we so desire. If we press play, it plays our animation, which is at this time very, very quick. Let's pause that. There are a few ways to change this, and I'll actually go through a few options in this lesson. The first one is by going to your properties. Changing the frame rate to a custom frame rate, which is one frame per second. There we go. And now when we press Play, it's a really nice visualization of what's happening. Time is taking that long and we're seeing one frame per second. Pretty cool, right? Yeah, I think it's pretty cool. Okay, now I want to add some more content, but I don't want to do it on these particular pieces of content. I'm going to create a new track which brings about another little gray bar here. And then I'm going to go to frame number one and I'm going to do some drawing. And I'm going to add a blue background over here. If you want to change your size of your brush, you can over here. And the pacity of your brush can be useful. Right now, I'm not too concerned about that. This is on top of my numbers. I want it to be behind, hold down on the track, and just move that down. Now, if I press Play, my blue background disappears. Where did it go? Well, it's only on the first frame. How do I make it go all the way to the end? Well, you can just hold down on the very edge. If that doesn't work, you might need to zoom in a bit. Or use your three finger scrub and just pull it to the right. Press play. It's on every single frame. This is really cool because it means that we can just draw once and procreate Dreams makes it appear on every single frame. You don't need to draw it on every frame, and we don't need to copy and paste it from frame to frame to frame. Wow, this is cool. Now what we can do is we can also animate this particular single piece of content without needing to redraw it frame by frame on this playhead. Tap it, and it brings up the action menu. Let's go move. I'll cover these key frame animations in greater detail in the next lesson. Let's go for move and scale first. Here it goes out of draw and paint mode. Here I can tap here and just adjust the scale, the position and the rotation. Let's go for, maybe let's do it that way. Then we go to the frame over here. I tap there, or I can just simply move it and will create a key frame for me. And we will rotate this way and scale it down even more over the course of these five frames. It's going to do some moving scaling. Rotating, but it's not really looking like much of an animation because it's only going at one frame per second, Which is pretty good for storyboards, but not great for an animation. But I do want my 12345 to happen at one frame per second, but I want this layer to change at not one frame per second. I want to go back to 24 frames per second. How do we do this? Let's go to our properties. Let's change the frame rate to 24 frames per second. Again, let's play this, and, well, it just happens super, super quickly. Let's zoom out a little bit. Zoom in a little bit. Again, select the edge. We could drag this all the way to the end. Or we hold down on this piece of content and we say full duration and it goes all the way to the end. Really handy now our contents here. But our key frames are still there on their key frame track. I'm going to hold down on this keyframe, drag it all the way to the end. There we go. Okay, that works really well. And you'll see here that it's only playing what is visible on our timeline. If we zoom out a little bit, it should play everything. And if we zoom in a little bit, it's just going to play this crop version of our timeline. Yeah, let's pause that. Go back to the beginning where it's going one to 345. I want to extend this over the course of 5 seconds. Number five, we could take the edge of number five and then increase it in size and then drag it to the end of our animation. But man, this will take a long time, especially if we're doing it for every single piece of content I'm going to undo here. And then I'm going to go for this little tool which is called your timeline edit tool. And it reminds me of a light saber or like a little glow worm. It's very fun. You might even just use procreate dreams for this alone. I'm kidding. This actually selects multiple pieces of content. You can say clear or you can. I want to select multiple tracks or multiple content. Now let's select those five frames or those five pieces of content. And hold down, we can group them, we can change their blend mode, or we can even duplicate them. Okay? But what I want to do is I want to increase the duration of all of them at the same time. Hold down on this last one, and you want to drag it to the right. But you want to hold down this finger as well. It drags all of them to the right or all of them a little bit longer. Just keep on doing this until we get to 5 seconds. All right, there we go. Now we've got this combination of 24 frames per second and one frame per second animation happening. And we're kind of tricking procreate dreams here, right? Because every single frame, let's zoom in here. Every single frame is actually still the same piece of content. We didn't have to redraw this 524 times, we just did it once. This is really powerful now. I actually don't want it to be 5 seconds, I want it to be maybe 2.5 Let's change this again. There we go. But I do want to continue over here. What we can do is we can group these then with this group selected, tap on or hold down and say duplicate. Now we've got 123-451-2345 It happens twice. And like this, we can actually get quite a bit of animation done, or looping animation done by grouping selected pieces of animated content. Now, this is exciting, this is awesome. What we're going to do next is animate our group. We've still got this time line button enabled. We're going to group these two pieces of 12345. It's now going to be one group. We can rename this, maybe if we don't have this time edit button enabled. Rename it to be Numbers. There we go. And we can rename this one to be back ground. We can also give it a highlight of blue if you wanted to stand out. And we can give this a highlight of red. There we go. Things look really cool and official. Now, now we can also animate the group. Tap on this playhead. Let's go for move and scale. What's really three fingers undo If at like 1 second and you tap on this and you go for moving scale, it should automatically add a key frame at the very start, the key frame track. If that's not the case, let's go to timeline and add keyframe at start. I like to keep that on just in case I do a bunch of animating not on frame one. And then I'm like, oh, I've lost all of that information from frame one. You can always delete this one if you want to. Let's go to the very end. We zoom in here, Let's move you over here. Let's rotate a little bit. Here we go, Zoom out, let's move over here. Let's scale you down. Perhaps we can change the anchor position to there. And then we'll rotate so it doesn't match the square, but that's okay. Okay, that's pretty cool, right? Like it's animating both of those groups of 123 numbers that are in there. We've got these pieces of content that we've grouped, duplicated, and then regrouped, and then animated. Which is just crazy, right? I must say. When you've got this time line edit selected, you may not be able to move around with one finger. That's because under preferences you've got this enabled time line edit with finger enabled here. You could actually select things with your finger, but you can't move around. It's selecting, you can either move around with two fingers or just get out of that. And then you can move around with one finger. But because I have a pencil, I'm just going to turn that off. I don't want to paint your finger either now. I can move around with one finger and then do my selecting with my apple pencil. The last thing that I want to do here is I want to add a new layer inside of this group called numbers. Not a new layer, a new track. Let's add a new track. Let's go to the very start. There we go. Do some drawing here. Let's go for a yellow. Let's do a little bit of drawing like that here. You've got a sliver of a content again, Maybe let's double tap on that hold down in the middle. And then full duration. I don't want to change this that much, actually. I don't want to change it at all. That's why I'm going to fill the duration. I'll get out of this here, I'll hold down on this particular piece of content and I will go for mask and flipping mask. This will just show what's visible in the layer beneath it, or in this case, the group beneath it. I've got number one there. It's only going to show where number one is visible. When it gets to number two, just where number two is visible and three and so on. Okay, that's really cool that you can do clipping masks with different tracks. What's really cool is that it's moving along with all the other content in that group. The group is being animated and the stuff that we're putting inside of the group is being animated with the group. We don't have to add extra key frames. We don't have to do anything extra special. Okay, that looks really good. Now what's going on behind the scenes here is really crazy. It's powerful. Let's just zoom in here. Each single frame, we're either doing the frames by ourselves. In the case of 1234, in the beginning, we were doing each frame ourselves, or we're creating key frames. And Procreate Dreams is filling in the spaces between two key frames. It's creating the frames for us. We've got our content over here, and we're animating it with key frames. Procreate Dreams is doing the rest for us. Yeah, it's pretty epic. This is all happening on your ipad that you can go sit on the couch and use, or take on a train or a plane. It's crazy. Okay, now it's your turn to animate. If you haven't been following along, create a 12345 animation using frame by frame hand drawn technique and then start playing around with key frames. Start playing around with groups. I think it's a lot of fun when you practice things will be cemented in your mind. And if you need to come rewatch this lesson to figure out how I did things. Now in the next lesson I'm going to be going a little bit deeper into key framing and all the things that you can do with keyframing, all right? I'll see there. 4. Keyframe Animation: All right, in this lesson we're going to cover a key frame animation in a little bit more detail. So what I've got here is a really fun, friendly, happy sun animation. It's frame by frame and it lasts 10 seconds. Now you might be thinking, whoa, that's a lot of frame by frame animating. Well, check this out. I've basically got three groups. I've got a face group, I've got an outline group, and I've got a background group. Fantastic. Now, inside of each of these groups is a number of subgroups, and each of these groups is exactly the same as one another. They're all a duplicate of this very first group. Inside of this group, there are five pieces of content, and each piece of content takes up two frames. Let's check this out. Boom, it's the same piece of content. What this is effectively doing is it's setting this as a 12 frames per second piece of content, whereas the whole animation or movie is set at 24 frames per second. So what I'm going to do is I'm going to keep this as 12 frames per second effectively and animated with key frames at 24 frames per second. That means it has this like, wiggly, handmade feel. But it moves at 24 frames per second, which is a little bit more normal. Each of these five pieces of content takes up two frames. The same for the outline, the same for the background group. Okay, that's how everything is set up. What I want to do is I want to make my happy sun rise. Chill here for a little bit, then move across to the right hand side of the screen. Chill there for a little bit and then set when it rises, I want to go from red up to yellow, and then from yellow to maybe a faded yellow because he gets a bit tired and then back down to a dark red because he's setting all the while. I want the outline to rotate. Always be rotating. The first thing I'm going to do is I'm going to animate the outline. Let's go to frame number one. I'm going to tap on the playhead, Tap on move. And I'm going to add a move and scale key frame, which is great. Scroll out a bit, zoom out a bit. Let's go all the way to frame number 204924 and add another key frame. Now I want to rotate this, I'm going to tap on this little guy here, do some rotating and be like, whoa, that's going to be way weird. Let's edit the anchor. I'm going to edit the anchor and put it about there now. Let's try that again, that looks pretty cool, but I want to make this exactly 360 degrees. It's pretty hard to do this just with a pencil. You could try snapping like that. But even here I'm like, I don't quite know where 360 degrees is. Is it there or there? Is that Right now it could be, right. Let's check this out. If we tap on this key frame, it's at negative 540. Not quite what I want. This little pop up is really helpful. If you want to be exact, what we're going to do here is go, let's try that again, 360, and I'm going to say negative 360. And let's see how this looks. All right, so it rotates really nicely. Okay. And luckily, my background feels like I'm coloring in outside of the line, so things don't need to line up perfectly here. But this looks really, really cool, right? Yeah. Okay. Now that that's done, I've got this keyframe track here. I want to make sure that it's on linear easing and I'll cover easing in a little bit more detail in the next video. But I'm going to say set all easing linear, that should not change too much. Okay, now that I've done the animation for the outline, I'm going to go for my timeline edit, select all of these layers and group them. You'll see that I have a number of tracks here. I'm just going to delete all of these tracks. Delete. Delete. Delete. I just have my one sun track to deal with here. Go to the very start. I want to move you from around here up. What I can do is put on a key frame over here at around 2 seconds. I want you to move up here. Again, if you just want to move on the Y axis, you want to snap, just hold your finger down here. And as you move it, it will just move on the Y axis, on the X axis, or be in the middle. Okay, let's move up there. In the course of that animation, you're going to move there. Fantastic. I want you to chill there for about 2 seconds. I'm going to add another key frame here. Then after another 2 seconds, let's move you across. Chill. Therefore bits after 2 seconds, I want you to stay there and move down. Yeah. Okay. Let's have a look at what that looks like, okay? Yeah, that looks really cool. Now what I want to do is change these from linear easings to ease in and ease out again, I'll cover easing in more detail in the next video. But right now I'm going to hold down on my key frame track, set all easings and go for ease out. This changes it a little bit to be a little bit more spring like when I'm moving. There's a little bit more energy. Okay, that looks good. Now what I want to do is I want to add a color change. There's always going to be multiple ways to do this, but for this example, I can actually just do it on the group itself. I can't add a keyframe right here. If I want to change the color, I need to move my playhead up to the piece of content that I want to add the key frame onto that. Go for filter here, I'm going to change the HSB value. There we go. You'll see that it created a new key frame at the start. I really like this because it means if I do a bunch of changes, I always have the original at the very start handy. If you don't have this tap on your properties or your movies title, then go to timeline and go for add key frame at the start. You can turn this off if you want to. Okay, up here, this is actually the color that I want to go. I want to change the color here, but I can't really see it that well. So I'm going to turn on drawing and paint mode and then I'll adjust the color. Let's go for like a pink, a little bit darker, something like that. Yeah, here I want to change this to a linear easing mode just so that it doesn't like you'll get there in the next video, but I think linear for color changes is probably better. Okay, that looks good. I'm going to change this key frame to 2 seconds. At 4 seconds, it's going to still be the same. And then animate to 6 seconds where I want. I think the hue can be the same saturation and the brightness can go a little bit higher. He changes a little bit more faded out yellow like he's been working the whole day. Then over here I'll add another key frame. And then a 204924. That's 22. I can add another one, just the brightness maybe there as well. Okay, so let's have a look at what that looks like. Tap four fingers on the screen. Hello little, happy son. Okay, that looks really cool, right? This is really powerful. I'm adding multiple key frames, or types of key frames to a group. Inside of this group, we scroll down. As we scroll down a bit, the outline is also being animated. You can do animations on a group or on a piece of content group. And then do animations or keyframe animations on that group, and then group that and so on. There is a limit to the amount of groups that you can group and have with inside groups, but this just makes it really powerful. Now at any stage within this group, I could add a new piece of content. If I add a track and perhaps go all the way to the start. There we go, on frame number one, If I wanted to add perhaps like a little cloud, a blue cloud that just chills with the sky. You'll see here that's not blue. Remember this is because this whole group has its hue saturation brightness being adjusted. Really interesting, what we could do is we could move all of these hue saturation brightness key frames on outline onto our background group in future versions of procreate dreams. I hope this is the case that you can then like hold down a keyframe track and just cut it and paste it to a new group or piece of content. But you can't, okay, so I'm not going to do that right now. I'm just going to do, there we go, Let's get out of here. What I want to show you in a little bit more detail here is under these particular key frames, if I hold down and I expand the move and scale, you can actually adjust all different kinds of things under here. You've got your rotate, You've got your horizontal and vertical scale. You've got your X and Y positions. You can actually change your Y position and your X position at different times. The Y is changing up here, maybe we can change that. Let's have a look at what this looks like. There's some advanced effects that you can use when changing things at different times under HSB. You can also see hue saturation and brightness values, or key frames. Some of these don't have multiple values that you can expand like opacity. But a lot of them do. I haven't covered all of the things that you can keyframe and animate. But if you tap on a piece of content, tap on the playhead and go and play with Warp and distort. You can't use them together, unfortunately. Or if you go for filter and use Gorge and blur or opacity adding noise. You can have a lot of fun with these. There we go. That was a little bit more about animating with key frames and procreate dreams. In the next lesson, we're going to cover easing and a couple of the different options that are in procreate dreams. I'll see there. 5. Easing: All right, let's cover easing. In this lesson, I find the best way to understand easing is to just create a few animations and change the easing to see what they do. I'm going to draw a little ball or a circle on the left hand side of the stage. I'm then going to fill the duration. Zoom out. I don't want all 10 seconds of this animation at around 4 seconds. I will cut this. Let's just make it 4 seconds exactly. Okay, then what I'll do is I'll put a moving scale key frame from the left all the way to the right. And if I want to be exact on the x axis, I'll just hold down my finger. There we go. So it snaps. What we've got here is a really nice ease in and ease out animation. What this does is as it starts, it slowly starts to speed up, and as it ends, it slows down. This is much like a car accelerating and breaking. How I like to think about this easing thing is there are these two key frames and there's the space in between. The easing defines the space in between the two key frames. In this case, you're to the animation and then you're easing out of the animation. Now to set the easing, you hold down on this space between two key frames. And you can say set all easings which you don't always want to do, but in this case that's great. And we can set this to linear. Now'll have a look at the difference here. It's very static, consistent constant. It just starts and it just stops. It doesn't come to a gradual stop. If we change the easing to ease in, you'll see that it starts off really slow and gets quicker. It stops suddenly at the end. If we change the easing to ease out, let's play this. It starts really quickly and it eases out. Okay? There are some of the differences between ease in, ease out, linear, ease in, and ease out. Now if we expand the move and scale, we've got all of these different properties here. I don't really care about these. I'm going to delete the translate of the y. Delete the scale, both sets of scales and the rotation. Now we're just dealing with x. This is all pretty normal. Interesting. What I'm going to do here is I'm going to change this. And you can see here it says set easing and not set all easings. I'm just setting the easing for this space between these two key frames. Set easing, I'm going to go for linear and I'm going to add a keyframe here. This shouldn't do anything because this is a four second animation and 2 seconds is right in the middle. If I did change this to something like 3 seconds, you can see that it would be pretty slow until it got to 3 seconds and then would speed up to get to 4 seconds. Same thing can be said, if I put that key frame over there, it changes things, right? I'm going to do to get that back at 2 seconds. Now what I'm going to do is set the easing for this space between these two key frames. Set easing, I'm going to say ease into this one over here. It should be going full speed, let's have a look. Then it gets to linear again, full speed, back to linear. That looks weird, right? You can also change this easing to ease out, then it looks pretty good, which is interesting right here. You can start to see that you can set the easings for particular pieces of animation between key frames. And at different times for different things, different kinds of easings make sense. Sometimes linear is perfect. Sometimes you really want an ease, ease out. Or just an ease in here. And just an ease out there, okay? So that is easing and with it you can begin to create some more interesting kinds of animation. In the next lesson, we're going to be covering performing mold, which is super awesome and super fun. I'll see there. 6. Performing Mode: Okay, this lesson is all about performing and procreate dreams. And it's super, super fun. So this is what we got, our little happy sun animation. The rays or the outline is rotating 360 degrees over the course of 10 seconds. What I want to do on sunrise number two, is to make this guy come up. Say hello to some people on the left. Say hello to some people on the right. Go back to the center and pop back down and like dance while he's doing it. Just make it fun. The performing mode in Procreate Dreams will help us do this really quickly and it's super, super fun. Like have I mentioned that it's super, super fun yet? Okay, I'm going to select all of these layers with my time line edit and group them. I will then rename them. Rename to Happy Sun. Fantastic. What I can do is delete these tracks because we don't need those tracks. Then on the very first key frame or the first frame, I want to change my anchor instead of animating from the middle. I actually want him to dance like from here, it's a little bit more like buoyant rather than just rotating. Okay, You can see what happens here. That is the rotation I want. Fantastic. I'm going to drag him to the bottom. And then press this little circle which brings us into performing mode. You'll see that it says ready up here with this flashing red dirt. Now, this does not mean it's recording right now. It's just ready for you. As soon as you do your thing, it's going to record. As soon as you stop your thing, it's going to stop recording. What I want to do now is move him up and then side to side, back to the center and then down. Let's try it out. Let's go up. Hello. And then move to the side. Hello. Move to the side, Hello. Oh, actually it got to the end. Let's have a look at what that looks like. Okay, that's pretty good. When we've got this performing mode selected, you'll see this modified button. What this does for motion filtering is if we bring that all the way up, you'll see that it's like really slow and there's just not much motion actually. Yeah, this like dampens the amount of motion and movement that you've done. If you bring this all the way down, it's going to feel really wiggly because it's matching your pencil. Exactly. It depends what you want, but 20-30 is pretty good in my opinion. Okay. But now, actually I messed this up. You could undo this, or what you could do is go back to the beginning. Just record over these key frames. It's still in this listening mode. Let's move it up over 2 seconds. And the hello, hello. Let's go back here and let's see what this looks like. Hello, hello, and then down, then he's back there. Well, what happened is that we were overwriting these key frames. We can actually delete all of these ones here. Delete, delete, delete. Are there any other key frames here that I need to know about? There's actually quite a few. Let's delete these. To delete, Delete, Delete, delete, delete. Okay, see what that looks like. Okay, what's really nice is that you don't need to re record every time you make a mistake. It puts the key frames here for you. You can change these. Let's get out of performing mode. And drop our sun a little bit in here. There we go. Now let's watch hello, hello, goes back to the middle and then drops. It feels really nice. This was a lot quicker than doing this by adding key frames manually. Now what I want to do is do the rotation. If I zoom in here and I expand, move, and scale, you'll see only X and Y key frames. There's no other key frames that have been added. Let's do performing mode again, but now we're just going to focus on the rotation. Just tap over here. Then we'll do some rotating. Almost like he's dancing. Okay, let's watch that. Hello. And that just feels like really fun, right? Yeah. So this is what, in my opinion, makes it really cool to use is that you can build a lot of character into your key framing, okay? So we've done that. I think that looks good. We could make this better and better and better. But what I want to do inside of here is the background as it comes up. I wanted to change from red to yellow. I'm going to not just duplicate this content, which would then duplicate it to the right. I'm going to go for Track options and duplicate the track. Then let's put our playhead over here. I'm going to add a filter key frame. Change the HSB value, but make sure I'm not recording here. Let's change it to a red, something like that. Okay, Now what I want to do is as he comes up, I want to reduce the redness. Let's go to the start. Let's tap on performing. I will add opacity and the amount is at 100% Now I'll just start. And then he yellow. And then as he gets to the end, here, there we go. Let's get out of performing. Let's here. Perhaps this was a little bit premature. So we can adjust these slightly. Okay? And he's going down. There we go. Now I can set all easings on changes to linear and see what this looks like. We, hello, hello. Okay, so we can start to use this performing mode for all kinds of things. Maybe the next thing is the face. Don't need to open that up. Actually, let's do a little bit. Maybe once he's here, what I want to do is goes from there, I'll move the eyes to the left, maybe not. Sometimes performing is not the best thing to use to create your key frames. Let's try to add some manual key frames. Here we go, move that slightly to the left, let me go slightly to the right. And then back here, have you in the middle again. And then maybe when he goes down, you'll be like, oh bye. Oh bye. Okay. Hello, Hello. Okay. All right. So have fun with performing. Remember, you can overwrite your key frames. You can perform multiple different kind of keyframes, Almost like a band or like someone who's a solo band person. They like do the drums first, then they do the piano, then the vocals. They're not doing everything at the same time. Okay, and the next lesson we're going to cover Flip Book Animation. 7. Flipbook Animation: In this lesson, we're going to spend more time looking at frame by frame animation. Let's create a new, moving HD widescreen is great, frames per second. Let's use 12 frames per second. Or if you want, we could even go for ten frames per second. But yeah, 12 frames per second is pretty good duration. Let's go for five frames per second. Double check that, that is working. Yeah, because we're going to be drawing frame by frame. Let's start with the draw option selected here. What I want to do is just create like a very simple, like flip book animation. We're not going to use any key frames. We're going to animate something coming in and going out from white to something, and then from something back to white. Let's draw a reference layer to start with. I think that something, a little flower could be cool. Something like that. Okay, I'm going to reduce the opacity of this flower. This is almost like an onion skin, but it's more like a reference layer. Because if we just use onion skins, we could potentially, based on the previous frames, end up with our flower over here when it's meant to still be in the middle. I'm going to fill the duration. And I'm going to rename it Reference. There we go. I can also highlight it, Gray, how barring. Let's create a new track. On this track, we're going to start animating. Let's pop this down. Let's start off with a bit of ground here, then let's have a look at our onion skins. Backwards is purple. Forwards is orange. As we create more frames, you'll begin to see this more clearly. Okay, next frame, let's go a little bit wider, a little bit higher. A little bit wider and higher. Wider, Higher, wider. I keep forgetting the higher. Yeah, there we go. Almost there. Okay, so we have this stem animation. And you can see at points, I can now see yellow and maybe a little bit of purple. Okay, so if you want to change your onion skins, you can set the amount of frames that you can see in the past. So to eight or maybe zero or one. I like keeping mine at about four. And the opacity, especially when we're working with black, we can turn that high. Then forwards orange, we can also turn that pretty high. So now you can begin to see where you have and, and where you have animated in the past. Where it's come from and where it's going. Okay, we've got this stem animating up. There we go. Here, perhaps we can begin to create a little sunflower. If you do sometimes double tap on your pencil, it will change tools. If you're like really frustrated, you keep ending up on your razor when you don't want to just double tap. Really handy when you know this. But when you don't, we can get irritating here. We can start to let these petals grow. It's a little bit, a little bit wonky is fine, especially in this, an animation. Go to about medium size here. These ones will be small ones, then it's going to be big, medium ones, Small ones. There's my eraser tool again, perhaps here, this is getting a little bit crazy. I'll reduce the opacity almost fully. There we go, two big ones on either side, Medium, medium, and a small one. We got our stem. And then this completes in this frame, Medium, small one and a small one, and then probably just one more, just making a little bit of space there. Okay? We can do our stem stem in the ground again. Medium, small, medium, big, okay? And then this one should also be big by now, medium. The rest of these are big. And then one more to complete it. There we go. All the petals are big now. Okay, let's have a look at what that looks like. Yeah, let's maybe zoom in a bit. Turn off the reference. Yeah, that looks really nice. Let's see if we can do that. Perhaps we can check our timeline. Let's go for ping pong and see what this does back and forth. Yeah, that looks really nice, right? Okay, if you wanted to actually make this into a looping animation, what you would have to do at the moment is duplicate or copy this frame. Paste it there, copy this frame, paste it there basically work back to front. Hopefully in the future of procreate dreams, there will be a lot more powerful, like ability to reverse a whole bunch of frames or reorder them in some way or another. But now have fun with this. Like you can create really long animations, you can create really short ones. You can combine it with key frame animations. Maybe for me the next couple of frames, what I can do is just keep on drawing this flower so it doesn't just stop, let me go into here and just draw this flower. That means that I can duplicate five frames or so of this completed flower, and then it can carry on for eternity, or as long as I wanted to. That looks a bit weird for me, like five frames of frame by frame animation. Especially if it's looping is enough. Unless it looks really weird, unless the last and the first frame are disjointed. That's why I used a reference layer or a reference track, or I use the track as a reference layer or a reference track that I wouldn't get that broken down. Telephone look okay, 12345. It actually looks really nice with like orange and purple in it, I think. Anyway, let's go to the time line edit 12345. Let me group these. I'll just get out of time line edit here. I'll duplicate. Duplicate. Duplicate. Let's have a look at what this looks like now. Yeah, it sticks around for a nice bit of time. All right, that looks really good. Perhaps what we can do is move all of these guys just like a one frame to the right. So there's a little bit of white space in the beginning. Just gives it some space to come back or bounce back. Okay, I'm going to group, there we go. Maybe at this stage I could create a different kind of animation for how it ends or how it fades out. Or I could just reverse everything that I've done. Let me try not reverse it, but get it out in some other way. Animated out in some other way. Okay, let's go over here. Let's speed this part up. All of these can animate in at the same speed. Like a bit of a shock or like breathing in or something, just like a little bit of explosion at the end. Okay, let's have a look at what that looks like. Maybe let's change this to loop instead of ping pong. Yeah, it animates out really nicely. Animates in really nicely. So you could come up with a bunch of different ways to animate this out. But yeah, it very much feels like something that I would have done in my geography or mathematics book when I was a kid, when I was super bored. And just drawing on the page edge after page edge and flicking it, it's like a really fun animation. Now with this, you can combine this with key frames, with colors, with clipping masks. You can move this little flower from side to side and make it bend. Like you could have so much fun with this, have fun with it. Experiment, play, explore. Yeah, the tools here are amazing, they're powerful, and they're all on your ipad. In the next few lessons, I'm going to cover gestures. I'm going to cover exporting and importing. And I'm also going to go over your class project. After that, we're going to actually create a really cool, complicated, complex, but awesome movie slash animation. So I'll see in the next lesson. 8. Gestures: All right, let's talk about gestures. So while I'm doing stuff in the class, you'll see me do all kinds of things with my fingers, from four taps on the screen to like scrubbing things smaller, to making things zoomed in like whoa. So this video kind of compiles all of those cool gestures into one lesson. So that you can reference this and be like, oh, wow, that's awesome. Or how do I do that? Or what was that exact thing that he did in this lesson? I go through all of that. A very basic gesture, once you have your movie open, is to pan around your timeline and your stage. On the stage, you need two fingers, this just helps you go left, right. You can also zoom in and out. You can do the same thing, zoom in and out, and move things around. Two fingers. You can also just move around with one finger on the stage. If you're really zoomed in and you want to go back to like a nice normal view, you can pinch this quickly and reset your stage for you. The next thing we're going to talk about is undoing and redoing. Very simply, if you do two finger tap on the screen, it undoes. If you do three finger tap on the screen, it redoes. You may also see these undo and redo buttons on the stage here. If you go to your settings or preferences, you'll see undo and redo button over here. You can turn that on and off. You can also enable the undo and redo gestures. That's with the two fingers and the three finger taps. This next thing, this rapid undue delay. This is pretty cool. If you've done a whole bunch of stuff and you need to go quite far back, you can hold down two fingers so that you don't have to go to tap, tap. The same thing applies with three fingers on the stage. It's rapid redo. What this rapid undue delay means is how long in seconds do you need to keep your fingers on the stage before it starts doing a rapid undo or rapid redo? Then your stored undo steps, that just means how many undo steps it's going to store. You can store up to infinite, which means it's going to keep your whole projects history inside of this file. But that means that your file can get really, really big. I've honestly never needed more than 50. If I really need to, I can just scrap things and start again. And sometimes I do create duplicates or files at certain key points. The next thing we're going to cover is some things for the timeline. If you're over here somewhere and you're zoomed in and you want to go back all the way to the beginning, you just F this playhead back. It goes all the way to the beginning, zooms everything out and plays it from the beginning, it's pretty handy. Now, a really cool gesture and procreate dreams is for three fingers. And it's on the timeline. If you use it to go in or out, it scales your timeline. In or out. Remember, you can only play what's visible of your timeline. You can scrub out a little bit and it'll play the entire thing. And if you want to zoom in a bit, it'll just play this crop section of your timeline. Related to that is your content scale. If you use three fingers again to go up or down, your content is going to get bigger or smaller. Now if you are zoomed all the way out and you want to go focus and zoom in a little bit easier than going like this or using your time line scale. You just double tap, it zoos in a little bit more and more. Double tap and it zooms into that particular frame. Sometimes it will just zoom into that particular frame right away. Sometimes you need to go two or three taps. I really like this view. Now if you want to preview your animation in full screen mode, you can attack with four fingers on the stage like that and then press play if it doesn't play automatically, then with one finger, you can scrub left and right. When it's over, you can press this back button or four fingers on the screen. Again, if you have a piece of content that you want to make longer, hold down on the right hand side and then drag or on the left hand side and drag here, you can make it shorter or longer If you're in the middle. Let's say you can tap on the playhead on edit and then split it. If you wanted to split it, that's one way of doing things Then if you want to increase the length of this particular piece of content, which is in the middle of other pieces of content, what you can do is tap on the right and then hold down a finger on the timeline and then slide to the right. It will adjust the other pieces of content to the right, which is really handy if you're in timeline edit mode and you've got a whole bunch of content selected. You can do the same thing by holding down one of the right hand sides, holding down the finger on the stage, and then moving it to the right will increase the duration or the length of all the selected pieces of content, which is super handy. Now when you're moving things around, how do you make sure that something stays on its x axis or its Y axis? We've got this number five here. If I start moving it and I hold my finger down on the stage or the backstage, it's just going to move up along the Y axis, not really along the X axis. If I let that go and I start moving along the X axis and I hold down my finger on the stage, it's just going to remain on that X axis. If I want to get it in the middle of the stage, I can put my finger on the stage. And there we go, it will position it exactly in the center. Again, super handy. 9. Importing & Exporting: Once you've made your amazing animation, your amazing movie, how do you export that? How do you share it with the world? Well, if you're inside of your movie project, tap on your title, then go down to share. And here you can do a quick export. So you can quickly export as a video. And you now have this share dialogue. If you do save the video, you may need to give Procreate Dreams permission to save it to your photo Sp. Here you can air drop it, add it to Cloud platforms, save it to your files, et cetera, frames as images. This is pretty cool. It means that every single image, I mean every single frame gets saved as an image. If you pair this with tapping on your time code and turning off your background, it will save them as PNG's with transparent backgrounds. Which means you can take them into procreate or other apps for post procreate dreams, editing and workflow options. Really powerful. Okay, let's go back to share here. You can share your current frame, so this will be this exact frame. And then procreate Dreams, you can actually save it or export this as an procreate dreams file, which is really cool. But if you do it from here, you're not going to be able to import it with all of your history in that file. It's going to export it as like a reduced file size. Procreate Dreams file. How do we get around that? If you go to your theater and you hold down, you can rename it, duplicate it, whatever, but you could also share it. And then Procreate Dreams, you could export it with a full undue history or as reduced file size, which is really cool. It means that when you import it again, you can still go backwards or forwards in this undue history. If we go into our file, yeah, we go down to preferences. This history section is where you can set how many undue steps it's storing, really, really powerful. I think 50 is pretty good, but if you want to, you could store the entire history of your project inside of one file. It can get really big. Okay, let's go back to share. There are some custom advanced settings here. Format video frames as images. The video codec, sometimes an H 20064, which is like an MP four is a better format. Pros is like super high quality. I actually don't understand all of these things but if you do and it makes a big difference. There we go. Then you'll re scale. If you had a four K document size, you could export it as a lower quality version or a custom version. And then your file container, is it P four or MOV? Both of these should work different apps or platforms, especially if you're uploading to Youtube or something like that. Audio linear, PCM and AAC. I don't know the difference. I just know AAC is pretty good quality. There's a bunch of stuff here, I don't know. But this is advanced export. Most of us are not going to need this. Okay, let's cancel that. Now, when you import and export things, some things get interesting. Let's go for Procreate Dreams. And I'm going to save it to files in icloud drive is fantastic. Boom. Let's go to my files. Icloud drive. I've got Sunrise number one, DRM. Before I open that, let's go, let's rename this one. Rename original. There we go. Then we can open Sunrise number one. It opens. Wow. Really cool. But now, when you go to your theater, sunrise one is not there. How do we get it there? This is icloud drive. I can just drag this into the Dreams folder. Then inside of appropriate Dreams, tap on the sidebar, go to Cloud drive, and there it is. Pretty cool. Also, if we go back to files with any kind of DRM file or Dream file, we can then move it, go to on my ipad, go into Procreate Dreams, go into theater and copy it there. Then when we go back to Dreams, it will then be there sunrise number one. There we go. If something is here like sunrise two, we can then copy to icloud and it will appear in icloud drive, but it will also appear in icloud drive over here. So you can see how they begin to link the file system with procreate dreams. Which means it's really flexible, means you can share your documents a lot easier, you can move them around a lot easier, synchronize them across devices, you can store them on your Mac. Man, it's really, really powerful. So there we go. That is a little bit about how to share, how to export, how to import, how to think about your files coming in and out of procreate dreams. Okay, so in the next lesson, I'm going to cover importing assets from Procreate into Procreate Dreams and from your files app into Procreate Dreams. This is pretty cool, I'll see there. 10. Importing From Procreate: Okay, so if you've got some procreate assets like brushes, color palettes, animations, illustrations, how do you get them from procreate into procreate Dreams? Or maybe they're in your files app. How do you get them from your files up into procreate dreams? Well, that's what I'm going to cover in this lesson. I've got a couple of examples. The first example is a static illustration, and it has 123 layers, face outline and background. I want to import it into procreate dreams, so I'm going to go back to my gallery, swipe out from the bottom and open up Procreate Dreams on the right hand side inside a movie project of mine. I'll just create a blank one for now. I'm going to drag in my asset. There we go. I have no imported, my happy son. If I go to draw and paint, you'll see that the layers came through face outline and background. Fantastic. Now this is a piece of content. If I want to change this piece of content from layers into tracks, I say convert layers to tracks, then groups it, and inside that group is a face outline and background layer, which is amazing. Now next example, let's go into this animation file. I'm going to press play here. You'll be like, wow, this is happening inside of Brocreateh. Pretty cool. Yeah, so what I've got here are five layers, but you'll see that some of them are named Frame. And that's because I created these layers using this animation assist panel. And if I go here under Canvas, under Animation Assist, I don't have that on, it's just a clump of layers. If I do have it on, it turns my file into an animation file and each of the layers become a frame 12345. Okay, I'm going to go back to my gallery. Let's, let's put Procreate Dreams on the right hand side. Again, I'm going to create a new project here. I'm going to drag this in legs. This is slightly different this time, so I'm going to zoom in a little bit. It's already grouped it for me, and inside the group it's put each layer or each frame as a frame or a piece of content. When I press plan. Uh huh. So you can see how this is really, really powerful. And the only difference is, is that inside of this file, I had my animation assist turned on, which I love. It means that you can bring in animations that you do in procreate as assets in a group into a procreate dreams file. Now next example brushes. If I've got this really cool brush set called Big Happy, I'm just going to drag in Big Happy Lexto. If I go to draw and paint, you'll see I've got at the bottom here, Big Happy worth three brushes in, Pretty cool, right? Big happy has three brushes in. Now, what happens if I only want one brush to come through? We'll check this out. I got a crazy, let's close down that brush panel and I'll go for crazy spray paint. Pull that in the imported imported brush set. I then got the crazy spray paint brush. Pretty cool now. Next color pallets. Right now I don't have any color pallets. I actually deleted all of the original ones. So how do I get a color pallet wells Pretty easy, right? Doodle verse color pallets. I'm just going to go poop and poop. I'm just going to boop it over here. I've now got my doodle verse color palette. This is so epically simple. Now, what happens if you don't actually have procreate or you don't have your assets inside of procreate? Well, we can do the same thing with our files app. Here, I've got a couple of assets, much of them are the same. Okay, don't want to open layers. Let's go and create a new one. There we go, drag in this file like so, it does the exact same thing. Let's undo here, drag this one in. It does the exact same thing because our animation assist was turned on when I exported this file. Really cool, right? Crazy brush set. Let's check it out. If you want to go down and hold this down, you can then delete it. Same thing here. Delete it, then crazy brushet, let's just drag it in. Really struggling to drag today. There we go. We now have a crazy brush set. There we go. Let's go to our colors and delete that one. Goodbye. And then we'll drag in our color palette. There we go. So that's how you import assets from procreate into procreate dreams. And honestly this is a game changer. It means that you can use procreate for, it's like big, strong features like drawing layers. Selecting all kinds of stuff even for animating. And then when you're done, bring them into procreate dreams as an asset. Amazing. Now, in the next lesson we're going to talk about our class projects. Whoa. Yeah. 11. Class Project: All right, we've covered the basics of animating in Procreate Dreams. And now we'll spend the rest of the class creating an animated spaceship drama movie. It's going to have monsters or aliens, voice overs, different scenes and sound effects are. You can do all of that in procreate dreams. Here's what we created during the rest of the class. It was go time in 54321 lift. They traveled through space in search of alien life. They found it. All right. A monster with a huge mouth and sharp teeth with screaming scene, seeking refuge. They landed on a dwarf planet. Caught many Mars the air. You'll see it has five scenes, Spaceship countdown and lift off. Number two is spaceship flying through space. Number three is an alien or monster sighting. Number four is fleeing the aliens and number five is safe landing on the dwarf planet. With this project, you're going to get hands on experienced with all kinds of animation practices. Some practices will be for procreate dreams only like drawing in the app and using gestures to move around and do things and performing mode of course, other practices will be for animation in general. You'll learn how to plan and create story boards, You'll learn how to use timing, make use of easing work with onion skins and use scenes to your advantage. Now there's a bunch we're going to cover while going through this together. It's going to be fun and I'm really hoping you'll feel like I do when I create animations, which is just like a kid maybe like a kid in a candy store. If you don't want to create all the assets yourself, no problem. I've included all you'll need to complete the class project. You just get to do the animating, the editing, the cutting, that kind of stuff. And I'll show you how to import all of those assets too. But, but creating your own assets, writing your own scripts, doing your own voice over all that kind of stuff is far more fun. I mean, I'd love to see your creativity shine here. This is what I find really fun. It's just doing it all. Now when you're done and at any point before that, please share your movies, your animations, or your planning in the class gallery. Upload your movies to Youtube or Vimeo and then embed them into your project gallery. I'd love to give you feedback on your project, on your movies, and I'd love to share some of my favorites on social media. Also, have a look at what other students are creating. Give them feedback, celebrate their wins, and ask questions. And seriously ask questions of each other and ask me questions. Now, are you ready to dive in? Are you ready to make a movie? Let's get cracking. 12. Plan Your Animation: Okay, so before we just jump into our class project, or jump into animating, any kind of animation or movie that we're making. We need to plan. Because if you don't plan, you'll probably be animating for a lot longer than you should. An animation already takes so long, so we want to animate for as little or as short as possible. And we do this by planning and by creating test animations. So what I like doing is planning on paper or on a whiteboard, or on a journal. Sometimes, man, I'm even on a train and I'm like, oh, I have an idea for an animation or part of an animation and I quickly sketch it. You can use like little rectangles or frames. You can just, you know, use arrows to kind of help you figure out where things are going, how things are moving. Just start playing with things. Nothing needs to be final. You don't want to put anything final in there, because changing things that are final takes a lot longer. Sometimes I even have like ten to 20 different animations just for like one particular file. I'm just testing things, experimenting. And once I've started experimenting with animation inside to procreate dreams or procreate, then I go back to my book or paper and I try some more things out. Sometimes I let it rest for a few days and while I'm sleeping I'm like, oh, I have an idea. Or, you know, while I'm walking and I quickly just sketch something down and then I tried a bit later. So in this instance, some things that I tried to get right, and I tried a couple of times, was when this rocket was fleeing this monster, how would it flee, like in a straight line? Like would it ding around or would it go in this like funny little like loopy, loopy thing. And the fire, like how did the fire from the rocket boosters look? And how would this thing slowly launch up, and how would this thing slowly come down onto a planet? I tested all of that out with these little sketchy animations. That kind of stuff is actually really fun. It's where I find a lot of the joy. It's like figuring this stuff out and then, oh, this scene is like really short. I want to make this longer. So I change the story and the text a little bit to make each scene fit and be more interesting and not too short. Now, two more things. The first thing is that when you're thinking about animation, you want to make sure that you're not trying to make things realistic. Because it's really hard to make things realistic. Especially like a procreate kind of app and procreate dreams I guess. But you want to think of like a stage production where the waves, you know, they're just these cardboard things rolling or the sun that comes across the sky on a stick or a rope or something. Or people flying like with ropes on their back. They don't look real. So when you're thinking about ideas for animating things, you don't have to be literal. You can be figurative. You can think about different ways expressing yourself, your idea, the story. Have some fun with that. Now the thing that summarizes this all up is something that my father in law always says to us. He's like measure twice, cut once. What this means is that you want to spend way more time in the planning stages so that you can spend way less time in the animation stages. Sure, you're probably going to be animating for far longer than you were when you were planning. But if you don't plan, you're going to be like exponentially more time in animating than you are when you're planning. Plan more, animate, less. It's going to feel better this way, I promise. Now the next lesson we're going to be talking about sound, voice overs, sound effects, that kind of stuff. But you don't need to have things sounding amazing to start figuring out your animations. To start testing and experimenting things. Do some voice recordings while you're doing your storyboarding, while you're creating your test animations. See how they all fit together. See how the timing works. All right, I'll see you in the next lesson, we'll be talking more about sound and voice overs and sound effects there. 13. Add Sound: In this lesson, we're going to go into the sound side of things. And sound is really important in movies and animation. It just adds so much to an animation, to a movie. And if you think about, you know, like a really good movie, but with bad sound or something that you've seen online and it looks interesting, but when you have the sound, it's like, oh, I just can't take this anymore. Or when you suddenly like pop on the sound on a video on Instagram or Tiktok, it just makes the whole thing feel so much better or maybe worse. And so this is really important in my opinion, if you're going to be creating interesting animations like when you add sound, it just adds so much more to it. So what we're going to do here is we're going to add voice over, we're going to add sound effects. We're going to add a score which is like the music in the background of a movie. Now I'm no script writer, I'm also no Hunt Zimmer. These things are quite basic, but the general idea for a story is that there needs to be a point and then something happens which prevents them from getting to the point or doing that thing. Or there's something happens that they're like, oh now what, A little bit of blacker climax. And then oh, there's disappointment. Now they're working towards something again and then oh no, something happens. What I've done is in Apple notes or whatever text app that you like to use, just write a script. And then as you're writing that script, go back to your planning and see if it matches with that, go back to your animations. Maybe tweak your animations as you're writing your script. Sometimes the timing needs to be longer, sometimes the animation needs to be shorter or longer. Sometimes the amount of words in that scene or that line need to be longer or shorter or different because you struggle to say it. And then just speak it and play your animation at the same time. Or record yourself just a few lines and put it into your test animations to see if the timing works. It's all still kind of part of the planning process. Like we're still not into animation mode just yet. We're still getting all the ingredients together. So what I've got here is a spaceship script. You can use this exact script. You can use all of my voice overs, sound effects, and score. You can do as much as you like or as little as you like of your own stuff. And I'll show you how to do all of your own stuff and how to import all of this. But what I've got here is Scene 12345 and it just says the end. I'll show you how to record this. I have already recorded this. But if we open up recordings here, well, maybe I should go back to files and just pop recordings on the right chair. Your ipad actually has a really good voice recorder. You could do this on your phone as well. Or if you have a better microphone somewhere, it would make sense to do that too. Now, the best thing to do when doing any kind of voice recording is you want a quiet room and you want a well insulated room. Not hard angles, not echoy if there are carpets, if there are books, if there are lots of things in it. Fantastic curtains, blankets, that kind of stuff make a big difference. Sometimes I've even recorded with like a whole blanket over me. I remember making one of my first classes and having the computer here blanket over doing my stuff, just so that I could get that sound right. All you need to do when you've got your voice recording app open is tap on this record button and just start speaking. It was goal time in 54321. Lift off. I'm not going to record everything here because I've already got it. But you could if you wanted to record all of the sound effects in the same file, or you could use a different sound file for that. I prefer having my sound effects separate, just that I can have the flow of everything I'm trying to say in the voice over file and then all the sound effects in their own file. Once you've got your recording press down and then hold down on this, or maybe scroll there and then safety files. Fantastic, that looks great. I'm going to say safety files, I'm just going to save a straight in icloud drive safe. Then when you go into Procreate Dreams here, let's create a new file. Hd wide screen. Fantastic. What is that? 24. Let's change this to like 30 or something. Let's go for empty. Here you go. Plus instead of a track, you're going to go for files, procreate, Dreams, Cloud Drive. Then I say mine is Nicolas Mastrat. That's where I currently am. Let's go for that one and open. There we go. You've now got your audio and just start speaking. It was go time in 543, So there we go. You can see it's quite easy to import that sometimes you will actually see the wave form like the actual data of the audio. Perhaps if I go out and come back in, we'll be able to see it. You can see it like a little bit here and there. There we go. It's more visible when I show you what I've done. Now, what's really cool about this, if you don't want the audio to come through, you just uncheck that and then you can play it. But we want to hear the audio, right? I just shouldn't speak while I'm playing the audio. Start speaking here. I can edit this, pull it there. I don't want that first bit of the audio and then here we go. It was go time in 54321, lift off. It's pretty much the same thing as editing a track piece of content. If you want to, if you want to split it, tap on the playhead, go for edit and split. If you want to change the audio level and change the volume here, this actually says like a bit of a key frame. If you zoom in, you can see the audio dips and you can increase the volume or decrease the volume, and it will increase and decrease. You can fade your sounds in and out, which is really cool. You can also then rename it to be lift off, et cetera. If you've downloaded the class attachments, just turn that off. What you can do is go to files and then icloud drive. I've got class attachments here, I've got all the sound files here. Spaceship score, which is the music, the sound effects, and the voice over. If we go for sound effects for example, I'll open that, it imports it, and you'll see all the wave forms here. And you press Play, it's got all of the sound effects in one file. You would need to cut it up and organize it. Or if you wanted to go to files here, let's move this across and press done here in Dream Files. Got all of these as actual procreate dream files. If let's go for sound effects, hold this down. And I'm going to move, go to icloud drive or on my ipad. Procreate Dreams Theater copy. There we go. I now have my sound effects dream file here. I've grouped it all, so I've got Rocket 1.2 Monster. If you zoom in a little bit, you'll see screams and more screams. And more screams. Okay, whew at the end. There's actually more than you need here to put into your project. What we can do now is start to import all of these files, put them into the same movie file. And begin to create our scenes in audio with the sound effects, with the voice over with the score. And then start to animate. On top of that, we can add storyboards to this and see how the timing works and we're getting closer. And to the final animation here, that's what I'm going to do. I'm going to go to Files. I'm going to select Score and Voice over two. I'm then going to move, there it is, on my ipad. Let's go to Procreate Dreams and Theater Copy. All right. The reason why I didn't put all of these into one file is because it's actually too big for skillshare. So I had to split it up. We've got score sound effects, voice over. Perhaps what we can do is create a new one for empty. For now, let's go out of it and hold down and rename it. I will call this one Mummy. We'll call it moving. Done. Then inside a voice over, I'll hold this down and copy. Let's go into moving and I will maybe create a track, then paste. Just move it along here. Let's go back into sound effects. Well let's copy that. It's going to movie and create a new track. And based, there we go. And then we've got our score which we can copy and based it's quite long. Okay, so this is really, really long. I don't think that will actually use the whole thing, but we can start to fade it out and fade in like that. You can see our voiceover is just over 30 seconds long. So I'm going to change this too. Let's go for 40 seconds. 24 frames per second is perfect, and 1920 by one oh eight is also fantastic. If you want to change your dimensions or the length or anything, be my guest. If you want to make a really long movie, fantastic. Let's have a listen it was go time in 54321. They travel space in search of alien life and they found it. All right. Still huge sharp teeth Green Terri landed on a dwarf planet called Mini Mars. So you can hear how like the music adds to it. Sure, none of this is really in order. All of those sound effects need to be put in particular places. But yeah, from here we can start to build our animation. Build the scenes, you know, move things around as we start to animate, as we start to do the storyboards, as we get into the final animation process. So yeah, this is really, really exciting. So I have fun with this. It's a big part of a movie or an animation, the sound makes or breaks it. So spend some time here, have some fun. And if you want, you can definitely use what I've provided for you. What I'm going to do now is I'm going to change the position of the sound effects. I'm going to put them in places that makes sense, but this is not final, like we can change it later on when we start adding storyboard and animations. Just so that I can have a rough understanding of where things are and if I need to change anything and basically how everything sounds right now. All right, let's do this voice over countdown. Let's make this a little bit smaller. Okay, it was go time in 54321. Okay, let's track options. Hide all here. I'm going to add a new track, a lift. I'll sometimes what I'll do is I'll create multiple tracks, I'll group things, just makes it a lot easier to move things around when you can layer different sound effects on top of each other on they travel through space. Okay, so I actually want to move this over a little bit. I think that, that sound is pretty cool, the travel, so can I do this? I don't think so. They traveled through space in search of alien life. They found search of alien life and they found it. All right. A monster with a huge mouth ch sharp teeth, right? A monster with a huge mouth fench. A monster with a huge mouth and sharp teeth. Teeth with screams. They fall with scream. They fled terrifying, sharp teeth with scream. They fled terrified. I rel, screleterfye see seeking refuge. The land with screw, fine with scree, seeking refuge. They landed on a dwarf planet. Caught many fine seen seeking refuge. They landed on a dwarf planet, caught many marks, fine scene, seek ref. They landed on a dwarf planets called Mars. Mars. Okay, so I think I'm pretty happy with what I've got here. I haven't used all of the sound effects, which is to be understood, there's a whole bunch of screams there and a bunch of fuse. Let's have a listen at what this sounds like. It was go time in 54321. They traveled through space in search of alien life. They found it. All right. A monster with a huge mouth and sharp teeth with scream seated refuge. They landed on a dwarf planet called many Mars. All right, so it sounds really nice. I chose to use three screams. I don't really know how many little characters are going to be in there, but maybe there's like an engineer and a pilot, and a casual observer. Maybe we only see one, but there's actually a bunch of them in there. And then at the end here, I actually want to like, there's a really nice little part of the song A. That sounds pretty cool. So I want to just cut it there. Hey, you split you there and then delete. Play it. Okay, that sounds good. Let's adjust that around zero now, let's adjust that a little bit. Okay, there's like a little, I'll see if that comes out when we export it. Okay, that is fantastic. We now have the structure on top of which we're going to do our storyboard and our animation. And this can change. What I'm going to do now is I'm going to put all of the sounds into one group. That means that when I need to see them or I want to adjust where they are or anything like that, I can just toggle the group open and move them about. Okay, That looks like everything. We're just going to group it? Yeah, please. I would like to group it. Maybe it can't group hidden things. A group, maybe group that. Let's group it. There we go. So I couldn't group the group and its contents, which may be a little bit weird. Okay, let's rename this to Sound and give it a highlight of pink. There we go. There's a bunch of tracks here. I'm going to keep them there because when we start adding storyboards and animation elements, well, there's going to be a bunch of tracks that we need to add. Okay, now we are ready to create a storyboard, which we're going to do in the next lesson. I'll see there. 14. Create a Storyboard: Okay, it's time to do our storyboard. And a storyboard is like the final animation, but just in sketch format, everything's static. You could do some kind of animation if you wanted to, but it's really just to feel how everything fits together. And it's especially helpful when you have some kind of sound because then you're like visualizing with the sound, with the static images on screen. Okay, So I'm going to go into my movie file. Let's zoom in here. I've got my sound file, remember it was go time. I'm going to expand that. Got our score up here. We've got all of our sound effects over here and voice over here. Maybe what I can do is ungroup this that we've just got countdown over here. I can probably delete this track, which gives us a little bit more space. Yeah, all of these. I can turn these off because I don't need them right now. Okay, so we've got the score. We've got all of the, the sound effects, and then we've got the voice over. Okay, countdown time five. Maybe I can do, let's do some drawing. What I'm going to choose is sketching. You can use any pencil, but I quite like the six pencil here. We're just going to create a very simple storyboard. It doesn't have to be award winning drawing, but just so that you get the idea of what's happening, to zoom in here and I'll go for full duration. Let's play, it was go time in 55 and then I'm going to tap on the playhead split. And I'll just add five here in five, I don't think I need to do 4321. You get the idea. 4321. As soon as the rocket boosters come in, I think we can add another split there. Maybe here, let's go for a split. The rocket boosters, perhaps they're not visible right now, but they will be. Then we'll do a lift off. Well, I think I ended there. Then rub that out. Let's split that again, and then we'll say lift. Okay, split that. Okay. We can rub out a bunch of stuff here for now. Okay, can we draw that? We'll move this and then up a bit more. Have a look at that. They travel through space here, we can split it again. Now it's like a different scene. We can bring this back down. Do some drawing here, put some stars, okay, they traveled through space of alien life. Maybe what we can do is zoom this in a bit. I'm just going to split this. We'll do a little bit of moving scale line and then make this big to show how it in something like that, they traveled through space of alien life, they found it all here. What we can do is clear this. And then we can put in our big monster found it, all right. A monster with a huge mouth and sharp teeth. I'm going to do another move there, I think. So let's move, I will move you to there. And this is almost like the test animations, but not quite as detailed. And they found it. All right. A monster with a huge mouth. Change this to linear. Sharp teeth with screen. Okay, let's go and change this one. Let's clear here. Here we go. This happen with scree. Okay. Then we can split it here again, split and then we can clear this. Okay. And then we've got this planet with our rocket coming down with screen. Maybe we can also put an arrow here just to show the direction with screen seeking refuge. They landed on a dwarf planet. We may is we can split and put our rocket onto the planet. There we go, landed on a dwarf plants, then the end. Okay, what we can do is do a little bit of a rolling edit. I did that by pressing down my finger while dragging one of the edges dwarfs. I think we can put the end a little bit to the right. Does end nicely with the music there. Hmm, I like it there. Okay. Okay, split and then let's clear that and then we'll say the end. Okay. So what I've done is a bunch of editing. I've just used one track and kept on splitting it and erasing it or adjusting the contents. It's nothing fancy. And let's have a look at what it looks like now. It was go time in 54321. They traveled through space in search of alien life and they found it. All right. A monster with a huge mouth and sharp teeth with screaming, seeking refuge. They landed on a dwarf planet and caught many Mars. Okay, sir. It was go time. I really like that. I think there's one thing that we could that I could change over here. I could probably add another two or three, or one or two different positions of the rocket. I'll do that quickly split here and just one more, just that it makes it quite clear because when you're storyboarding, if you're working by yourself, it helps. But if you're working in a team, you want to convey as much information as possible without actually having to do so much work. And just adding a few more frames in does actually help. Let's play just a little bit again to screen seated refuge. The landed on a dwarf planet called Peny Mars. Okay, that looks pretty good over here. What I can do is add a few eyes. Yeah, this one, it's going to be a little guy. Okay, so I think that the timing really works well. You can start to have a really good sense of how each scene works and how much time you have to animate. Sometimes you might need to adjust by making it longer or by making it shorter. But this gives you a really nice sense of how everything fits together. And it's just another tool in your planning tool belt. Now in the next lesson, we're not actually going to get into animation. We're going to talk about assets. Because to animate you need. So we're going to chat about that, I'll say, in that lesson. 15. Create Your Assets: Okay, So let's talk about the things that we still need to create our assets and how do we actually create them? So what we need are a bunch of things like Munsters and spaceships and little characters, and ground and rocket stuff and the planets. What else do we need? So what I like to do is I like to go through my storyboard and just check out all the things that we need. Then I create them inside of procreate mostly. And then I bring them into procreate dreams. Now I've pre, created a bunch for you and you can download them. Let's go and check them out inside of procreate. The reason why I've created them in procreate is because the drawing features are so much better in procreate than in procreate dreams. One because procreate is a drawing app and procreate Dreams is an animation app. But also procreate dreams, very new. Check it out. I've got a spaceship. And all of these are 5,000 5,000 pixels, which are really, really big. The assets in them aren't actually that big. What I've got here is my spaceship. You can draw or illustrate your spaceship however you want. Of course, you can use what I've provided to. What we've got here is a spaceship. We've got the window, the window has a frame and it has a window hole and a bunch of things that use clipping masks to be inside the window hole. We've got the window, we've got a badge that just says TTK, which means Tap. Tap Caboom 500, the name of the rockets. The body, which is just like a whole bunch of layers that I've merged into one layer. If you don't need to have separate layers, just ditch it and put it into one layer. But procrate dreams does support layers really well. Then the fire is this yellow color, with orange and blue. And then a little bit of shadow to go beyond these little turrets or rocket booster things. Then we've got stars, spaceship and stars, fantastic. Then the ground, and I've also put in the sky gradient and this is particularly for the first scene where we're still on Earth. Then I've got the ground. It might be like, yeah, whoa, what is that? Well, it's probably going to take up like that much space. It's not actually like a pancake planets or anything. Okay, then we've got speech bubbles here. Here, I've made it as an animation, just 54321 lift off. Each one of these just has a background and text. The reason why I've created this as an animation with animation assist is that when I import it into procreate dreams, it's going to be animation with all of these pieces of content as separate pieces of content. Next I've got monster static for animation. The reason for this is that I can't actually do the same thing in procreate and procreate Dreams. Monster static. Let's have a look at what's going on here. Whoa, there's a lot of stuff going on here. Yeah, it's all inside one folder or a group and I've got an three eyes actually that are all exactly the same. Then got spots, then texture on the top of this, texture at the bottom, texture on the tail. I'm splitting this monster up into three parts. For this file, everything is just monster whole, whereas in the animation file I've got three parts, but I'll show you that in a minute. Then I've got the teeth, But this by itself looks weird. It really needs to go behind the monster. And then teeth bottom, and then the spikes at the top. And the spikes on the tail. I've split that up so that they can move along with the head and with the tail. Okay, then monster for animation, you can see it doesn't quite look the same. And that's because I've got these three body parts on the bottom, on the top, and one's the tail. Okay, I'm going to be using clipping masks on an entire group inside of procreate dreams, but we'll get to this later in the class. These are just assets right now what I recommend doing is if you don't need to have layers, like just merge a bunch of layers into a particular layer. You can always have groups. And groups are supported inside of procreate dreams. But when you're animating, you want to make things as simple as possible. You don't want to have lots of groups or lots of tracks. Just make it as simple as you can. Okay, what else have we got? We've got mini Mars, which is just a very simple planet. Okay, fantastic. Now I've already shown you how to get things from procreate into procreate dreams. But let's just recap this quickly because we're actually doing this as part of our project. Open this up on the right hand side. I'm going to start off with our first scene. Let's go over here. Maybe for now I can just turn my sound off. Luke here will create a new pop our spaceship into here. Okay? And you can see that it's really big compared to my HD sized canvas or stage. If you don't have procreate can just undo here. Let's open files over here, we can open the procreate files folder. You'll see all of these inside of your class assets within the class. Bring this in here. Pretty much the same thing. The other things that you might want to add are the spaceship brush set. Let's go back to procreate. Let's open this. Right at the top, I've got a spaceship brush set. It's just got a couple of different brushes that I used to create this particular piece of artwork. These two are for drawing lines, the rest are texture. Then I've got the spaceship color palette. How do we get that into procreate dreams? Let's go back here to spaceship swatches and spaceship dot brush set. Just pop that into there and pop that into there. Now under palettes, you'll see I've got spaceship under brushes, go to the bottom. I've also got spaceship. You don't need to have these in here. You can use whatever colors you like. For the large parts, we shouldn't need to do too much drawing inside of procreate dreams. But these aren't animated, for example. We could animate them in procreate or procreate dreams. I'm going to opt to do as much animating in procreate dreams as I can, since it's a procreate Dreams class. And so I'll need a couple of the tools that I used to create this illustration to actually create the animation. Okay, so that is a little bit about assets at this stage. It's a really good idea to start making these assets or to import the ones that I've given you. You can have made the assets earlier while you've been doing some planning and experimenting. But sometimes you create things and you realize, oh, actually I didn't need that. So that's why we do a bunch of planning first. And then once we've done the storyboard, once we've done the sound, once we've done the voice over and you make sure that everything fits and works together, then you begin to bring in these final assets. And sure, there's always tweaking that we can do as we go, but yeah, these things are pretty final. Okay, in the next lesson, we're going to start our animation by working on scene number one. I'll see there. 16. Scene 1: Lift Off!: Okay, this is scene number one. Before we get started, let's clean up our file a little bit. Zoom. Ouch. I'm going to go for my time line edit. Go for tracks instead of content, and select these top few tracks. Maybe you have them, maybe you don't. I'm going to delete them. We have all of these storyboard pieces of content. I'm going to select them instead of tracks. I'm going to go for Content, Group it, and then rename it. Let's go for renamed board. There we go. And we'll give it a highlight of blue. There we go. Now I'm going to open up my files on the left. If you haven't done so already, let's drag in spaceship. All right, let's drag in the speech bubbles. Fantastic, those are all procreate files right now. I'm just going to hide those speech bubbles. I'm going to put this drawing right onto frame number one. This drawing onto frame number 12. Okay, first of all, let's have a look at the set of layers, the ground and the sky gradient. I want to convert those layers to tracks and the ungroup them. Okay, I think the sky come underneath the spaceship spaceship has the window, the badge, the body and the fire, plus some stars. All right, I'm going to convert those layers to tracks and I'm going to ungroup that. My spaceship, I'm going to give this a highlight of red stars are over here. Let's bring them beneath the sky gradient. There we go. I don't need that track. I don't need that track. Okay, my storyboard is at the bottom. I can just highlight. I think if I do need to bring it back, I can and I will. Ok, let's go for the sky gradient first. I don't think it needs to be this big. You might be like, okay, what's happening? Where are the stars? Well, let's change our background color to a black. I'll just double tap there, you'll see some stars. Fantastic. Then we will reduce the size of the blue gradient or the sky gradient. Yeah, that looks pretty good. Then the ground will reduce the scale of that. I want to do all the scales. Come on, I don't want to rotate it. Something like that. Yeah, that looks good. And then my rocket or my spaceship, let's make that a little bit smaller too. Maybe still a little bit smaller. Okay. And I want to make sure that I can't see any of the fire. Okay, So we have the start of our spaceship of the first scene. Now I can make my sound disappear and I can bring it up. Sometimes I might get a fright because it's really loud that you guys can hear it. Sometimes you might get a little bit irritating. I'm sorry about that, but this is how you edit to, so it's really important. Okay, inside of our spaceship, we've got the window with a little character in it. We've got the badge, we've got the body. Then we've got the fire, which you can't see at the moment, but this is something that I think that we should work on. First fire because it's going to be part of the spaceship. And the spaceship is going to be part of pretty much every single scene except for the monster scene. If we get the fire right here, we can re, use it across our movie project. Let's zoom out a little bit. Let's go to the top and remove the ground layer. Ready? Feels like we're in space now. Great. Maybe before we do that, let's just redo the stars here. Maybe scale them in. I probably want to rotate them. I'm not going to scale them into like 100% of the width, but something like that should be good. Okay. That looks get now, fire. Man, make fire. We've got our shadow. Zoom in here. Shadow, which just is a bit of a shadow from the little turrets. All those red rocket booster things, I don't know what they're called. Then we've got blue, orange, and yellow. I think each one of these has some clipping mask. That one has none mask clipping mask. I'm going to change it to none because it does not need to be inside the yellow and then mask also None. Let's take that off. Mask None. There we go. Let's undo that. I think everything is back to having a clipping mask. Clipping mask. Okay, we do need those. Fantastic. Now let's go to frame number one. Now I want to do some drawing on the orange layer or actually on the yellow layer. First I'm going to go to frame number two. Tap on the playhead, split it. I'll do the same thing for each one of these split. Then I will delete the content. Delete the content, and delete the content. Okay, now, frame number two. Let's do some drawing. Let's go down here. This is going to be our yellow layer. I'm going to go and choose my yellow one of the yellows, like the middle one, this one is orange, this one is really yellow. I'm going to go for my doodle, Spaceship brush. These colors are part of my spaceship color palette, which you can import if you want to. Now I'm going to make my brush size a little bit smaller. Zoom in here, and let's erase. But let's do some drawing. These flames, I want them to be similar on each frame, but not the exact same thing. Because they're flames, they're going all the time, but they're still the same shape to do the outlines first, because my brush size is primed for outlines, something like that looks good. And about five frames is good, but I won't keep it at 24 frames per second. I'll basically 12 frames per second for these flames, just to make it feel like handmade and flip book animation like, okay, there we go. I've got five, It looks good. I'll increase the brush size maybe a little bit to start off with. These little spiky bits, may be wondering why I don't just fill this like, you see if I zoom in like really close, there's these weird jaggedy edges haven't quite fixed that in procreate dreams at the moment, but I'm hoping they will in the future. Might be wondering like, yeah, but why don't you just increase the threshold? It's the same thing. I tell you it's the same thing. Watch, you still got those little jaggety edges. That's why I am painstakingly coloring things in here. It's a labor of love. Then the big brush comes out. Okay, we've got a couple of frames here. Five to be exact. Now this one has like a nice little gradient to it, a gritty grainy gradient. So I'm going to create a new layer and make it a clipping mask. And go to the orange one, maybe to this bright yellow one, maybe I need both. And then change it to bonobo, probably need both. I actually need to do it on this layer, this frame. There we go, There we go. And then if I change it to a darker orange, yeah, that looks good. You'll see that this one has this black shadow and this one does not. We will remedy that in just a minute. Okay. Now, don't want to here, you need to remember to create a new layer and make it a clipping mask. I always forget that. All right, that looks good. I'll just close you for a second. Here I'll go. Mask clipping mask. Sorry, not true. Once I've sorted all of these out, then the shadow will come through. Let's get there in just a minute. Okay, right now, if I preview this, I'm going to turn my sound down so you can have a look. Yeah, sure it flickers around a little bit, but I think it's really quick. That's why I think that I should go for 12 frames per second. 12 frames per second. Let's make these two frames long, each. That feels a lot better. Okay, next, let's go for this orange layer. For orange, let's go for our doodle. That might be a little bit strange, it's a little bit hard to see. Let's add the onion skin forward maybe. Let's go for blue. Maybe it's because there is this yellow one underneath. Let's, let's hide the yellow ones. All right, hide. Let's get back to drawing. I'm done. I got 1,234.5 Fantastic. Okay, let's create a new layer, make it a clipping mask, change to a little bit of red maybe. There we go. And then at the top here, I'm going to reduce the capacity. And instead of the doodle brush, I'm going to go for the Bonobo chalk that looks good. Do the same thing here. Okay? And there is nothing here. Let's see what's happening here. It's because I need a yellow one to be there. Okay. Turn those ones back on, then. All of these, we will do that. For each one, I'll set it as a clipping mask. Okay, things are looking good. It looks a little bit different from, I would say the first frame is the second frame with these orange ones. I'm going to do a little bit of editing there. Let's pop this up, Clipping mask. Change that a little bit. Okay, let's have a look at what that looks like. Yeah, looks pretty good. Okay, next blue, I don't think this one needs to have any gradients or anything like that. So let's get into drawing. Double tap. Let's go for our blue color. Let's go for our doodle. Well, let's increase the brush opacity. Maybe that would help, okay? 23.4 Pretty epic. Okay, let's close that. Go away. Come on. It's only four, so let's create one more. Yes. Okay, select all of these and then just make them one frame, a longer each. Okay, Then I will Clipping mask. All of them. Clipping mask, mask, mask and clipping mask. Let's have a look at what this looks like. Yeah, that feels really cool, right? Yeah, I like it. Okay. Quite a long time to do that. Just a little fire thing. Yeah. But we can reuse this throughout our project, which is really cool. Now what I'm going to do is I'm going to take those three track, maybe this track two, I'm going to edit it here and split it and delete the content. Okay, what we could do instead of using many different clipping masks is do then instead of using clipping masks on each of the layers, use it as a group. I'm going to select all the contents on these three tracks. I'm then going to group it. Then I'll delete. Delete this track. Does this still work? It does, indeed, because this shadow. Now, let's go for mask. None. It's got some weird stuff happening there. I just wanted to be visible where this group is visible. We'll go for mask and clipping Mask, there we go. That works really well too. Now we've got the shadow as a separate track and a separate piece of content. And this group, which I will rename, like I could rename it Ring of Fire, but that wouldn't make any sense. Fire Loop. Okay, Fire loop, I'm going to duplicate a couple of times. Duplicate. Duplicate. Duplicate basically, is like an infinite loop. I got about five there. Great. Select those and then I'll group them. And then I will duplicate these to save us some time. Okay, maybe one more. Now we a whole bunch of time with this thing looping. Okay, So let's turn on ground again. Now we need to make this rocket launch into the sky. So we need to turn our sound back on. Happens around here, I think. Okay, lift off maybe when it starts going on around here. Okay, Spaceship 714-71-1714 Okay, Move, move and scale. And then from there they t to about here somewhere they travel. Let's go around here. That's pretty good. And then we'll move you up and I'll hold my finger down on the screen so that it snaps, snap, Let me go. I think that's good. Let's have a look. Okay, so that looks pretty cool. Let's have a look. But it went pretty quickly. So what I'm going to do is set all the easings to ease in. Have a look that starts out really nicely and then it goes quicker and quicker, much like a rocket would do. Okay, that looks really cool. I think what we can do here is give it a little bit of a wiggle. It matches like the childlike illustration or children's book illustration. The children's book illustration style. I'm going to go and do some performing. And then let's, okay, let's see what that looks like. Maybe I'm going to undo that, try again. Okay, they travel, so that's quite nice. It gives it a real like children's illustration style of launching a rocket. I like it. Okay, while this is happening, I want the stars to always be moving. Because if there is a movement, people still keep attention on what's going on. Even if it's just some subtle movement, it shouldn't feel like a static illustration with a voice over. It needs to be an animation. Let's go to the stars here, let's go for our playhead. Let's zoom in for moving scale. Hello, scale. I don't know where you went. Let's take it off performing mode. There we go. There we go, move on scale. There we go, can't be on performing mode. And then 8 seconds the traveled, okay, so here I'm going to add a little bit of rotation scale rotation, something like that. Maybe not too much. Doesn't want to feel like, you know, the whole world's spinning super fast while we're doing a very short countdown. But it is still like a children's book illustration animation style thing. So let's have look, it was go time in 54. You know what this should be, a linear easing, okay, 321. They travel through space. Yeah, I like that. Okay, now we've got these little words up here. I want them to be visible again. There we go. I'm going to move them along to where they're started was go time. There we go. I will ungroup them here and then take all of these. Make them a bit longer. Okay. By I think we can make them a bit longer. Still 43. Okay. Three, two to one. Lift off. Okay, let's move this over here. Let's move this one over here. Okay, you can do it, Rich. 4321. It was go time 5432154. Okay, that works really well, I think now the only thing that if I had more time that I would do is animate this guy's face. In the next lesson on scene two, I'm actually going to show you how to do this. It's going to be pretty fun, but you can apply it to the face. And the same rocket here in scene one if you want to. Now pretty much scene one, I'm very happy with it. There are always more things that you can add, more things that you can do. I mean, this ground is looking pretty bland, our character is not moving. There's a whole bunch of things that we could put in the sky like maybe some rockets or maybe an alien or a monster like shooting by. So have some fun. If you want to introduce your own style of animation of illustration of artwork, please be my guest. If you want to do some more sound effects or anything like that, added it in the next lesson, we're going to cover C number two. I'll see you there. 17. Scene 2: The Search: Okay, so now it's time for se number two. What we've got here is I'll see number one, but we've still got a whole bunch of tracks that extend into the rest of the movie. We could cut them all, or what we could do is create a new track over here. Go into drawing and paint mode. Or draw and paint mode, go for black. And just into here, it's basically just a big square. Then perhaps all we can do is zoom in here. Let's make this a little bit bigger, a little bit bigger more, where is it? And fulguration get out of draw and paint mode and then just make it bigger. Then we can put all of our new layers on top of this layer or all of our new tracks on top of this new track. Okay, what we want to do here is grab the stars. So I'm going to go to Track Options and Duplicate, then move this up, so we've now got this track. What I'm going to do is delete all the easing, delete and move and scale. Fantastic, I'll just edit this and split it and then delete this content. Actually, is this the right place to do it? Let's see, Maybe 12 seconds, that's the right place. Let's move things to 12 seconds. Okay, we've got our stars. We need a rocket or a spaceship. I will go to track options on our spaceship. Duplicate that. Pull that up here. The delete all of the move and scale key frames. We can move this along here and above the stars there. We got that track. We don't need it. Okay. This is pretty much all I need in this scene. And you can see here, it's a really easy way to create scenes. You just have a background, perhaps we can rename this background. Then on top of that, you've got your layers, your groups that you need, your tracks, okay? They traveled through space in search of alien life they found. And maybe over here we can then chop it and that makes working on our new scene a whole bunch easier. What's that? 17 seconds. Let's split this here. Split, we can delete that. We can edit and split. Delete 1702, edit and split. Okay? And then you can see that the content from scene one, Again, what we need to do here is make it feel like this rocket is actually moving, travel through space. I'm going to turn off the sound for now. Right now, it doesn't feel like this is moving at all. Which is like how do we get it to move? What I'm going to do is I'm going to make the stars move ever so slightly. We can rotate them, we can make them move down. So it feels like the rockets moving up. Let's do that at a moving scale key frame. And then another one here. And this way maybe at the start. Depends how fast you want the rocket to be moving. I think that's pretty good. If you wanted to move faster, what we could do is move all the way to the bottom. I think that's a little bit too quick. What we had there was great. Too quick. Okay, let's go back. Yeah, I think that's a little bit too slow. So we'll move that down again. Yeah, so it feels like a gentle spaceship kind of travel, which is great. And then we can rotate it ever so slightly down. Still rotating like that. Yeah, that's a really nice movement. I like it. Okay. Then I'll spaceship itself. What I want to do is I want to zoom in and I want this little guy to like wink or say, hey, or something like that. Or maybe go, oh, okay, don't It's the song can cruise along until here. Maybe in the space of a second we can zoom the sky in. Or just set the scale and scale some more. Maybe we can change the position too. Something like that. Might be pretty cool. Look cool. Okay, then yeah, he can stay there. This easing, what are we going to make? This easing, let's expand the movement scale. This is scale. So what we can do is set the easing to ease in and out, I reckon. Okay, rocket the rotation. We could play the rotation, but yeah, let's try that, I reckon we can set the easing here to ease in and ease out. I can probably set ease in and ease out to all of the easings. When that zooms in, perhaps we can zoom in a little bit on the stars too. Okay, dude, let's expand that then. Around here, which is 13.18 frames, what we can do is then this one is at 14:15 We go okay scale. Let's move this up, go for 0.6 Let's see what happens there. That looks good. 0.6 They will set this to ease in and ease out two, okay? Then I just want to make sure that the x and the y is at linear. I think it is. Okay. Let's see what this looks like. Okay, So we want to delete these key frames. We don't want to scale back out. Okay, I like it, It's looking good. Now once we get in, we can do a little bit of frame by frame animation. So let's open up the spaceship. Let's open up a window. And we've got this character's face. We could be like high and then you could duck down or something. That could be pretty cool. Maybe we take these two, we group them. I'm going to delete this track. Delete this track. You may like, what's happened? Where is this Wal? Let's get off of timeline edit. Go to clipping mask. I'm going to take off the clipping mask from there. And the clipping mask from there. Also none. Now, instead of having a clipping mask on the character body and the character face, I'm going to have it on the group. I can rename this character or Charge. There we go. Then as this goes down, you can be like, oh, hello. So I'll edit this and split it. Let's go in here, do some drawing. Okay, what did that do? Let's close this. I'll just delete this one. Just creating more frames on top of that. Instead of having a whole bunch of content, I've just got these little frames of content. Okay, let's go back into this drawing brush. Do we have the doodle brush size? Could be increased a little bit. Okay. He's going to be like, oh, hey, we zoomed in on him now, maybe a little bit bigger. What brush size are we at? 25. Maybe 23. Okay. That can be pretty good. Maybe a little bit bigger, 25, 26. You can do it. Just keep on changing it. Okay? There we go. 25. Okay. That's great. And there's some kind of mark over here somewhere. It's probably when I tapped off of it. So what I'll do is I'll just clear I'll just do that again. Okay. Okay. Let's see how that looks. Let's close our flip book and then I'll full duration here, so. Okay. And then what can happen with the group? The character is that he can move down a little bit. That and then I'll set the easings to ease. Ease out. He's like, cheers gone. Okay. Maybe he actually sees something. Maybe it's not that he's seeing us. Maybe it's like, oh there's something. Let's turn the sound back on. Let's hear what the sound is like. Alien life. And they found it. All right? Okay. And they found it. All right. Maybe he could then duck down there. Okay, so I'm going to move this guy over here, alien life. And perhaps I can move all of these slightly to the right. Okay, let's select these guys and group them. There we go. And then move along, okay, in search of alien life. And they f okay, and they found it. All right. If you've got a whole bunch of things that are now a certain length, you can select the group, make it a bit longer. Seth is okay. They found it. All right. Okay. That's great. But inside of this group, you need to make sure that all the pieces of content also go all the way to the end. That I think the rest is good. Stars need to go all the way, as does this one. There we go. So let's play that. They found it. All right. Okay. Space in search of alien life and they found it. All right. Okay, the stars are still stopped. Yes, we can delete the X, then travel through space in search of alien life and they found it. All right. A monster. Yeah. That's like a nice little touch. You could do a couple more facial expressions with our little character if you wanted to. That is pretty much seen number two. Let's zoom in here. And four finger play. They traveled through space in search of alien life and they found it. All right. A monster with a huge mouth and sharp teeth. Okay, so that's looking really good. The next scene we're going to do the monster. Let's have a look at what this all looks like. It was go time in 54321. There's no 54321. Where is the 54321 gun do? Sky gradient spaceship. Did I delete it by mistake? Maybe I did. In this case, what might be quite helpful to get that back is to go to our gallery and then duplicate this. That's movie one. And then we're going to go into movie one. And all of our history should be here. I'm going to hold down to undo really quickly. There it is. If I redo it, looks like I did delete it. Okay. This is at 2 seconds and five frames. What I'll do here is I'll group this, then I can copy it. Let's go back to movie. Was 2.5 I think. Here we go. Hold down and paste it. There we go, 2.5 I think that works out pretty well. I can actually put that on a new track just to make it quite clear and then we can move this track down. Okay, like that. Let's have a look. It was go time in 54321. Start. They travel through space in search of alien life. It was okay. That looks really good. What you can do if you want is do the same kind of face editing for this character in scene one. Then in scene two, let's turn that down again. Is here. Let's put a little bit of rotation onto this guy. I'll start recording here just a little bit. Okay, let's have a look at that. Okay, They traveled through space in search of alien life and they found it. All right. A monster with the Earth. Okay, that's good. Alien life. Let's reduce the sound again at the end. Here Can probably increase just by one frame. I think. There we go. Okay. So we've done a little bit of restoration. Deleting layers is never fun, but if you then need to go back, luckily there's such a generous undo history here and you can see how I duplicated the files and then went back into one and got the assets that I needed and brought it into the one that we're currently working on then. Yeah, if you want to change the characters, facial expression in scene one too, how we did it in scene two. All right, in the next video. In the next lesson, we're going to be doing a monster, which is going to be cool. All right, I'll see there. 18. Scene 3: Alien Sighting!: Okay, this is C number three where we make a monster come across the screen. It's probably going to be our most complicated scene of the movie, but stick with me. It's going to be a lot of fun. Okay, so we're at the end of scene number two and now I want to add my monster acid. Let's go open up files on the left hand side here. And I want to import monster for animation. Not monster static. If you want to have a look inside of procreate what monster static looks like. It's far more accurate inside of procreate than monster for animation. So there's quite a bit of set up that we need to do here, so let's drag them in. Okay, it's really big. Just great. Okay, where are you, little monster? You're up here. Let's zoom in here a little bit and we'll put you on the next frame. There we go, big monster. And what I'm going to do with the background here is I'm going to full duration. Now it's taking up all the space again. We'll then duplicate the stars and put it underneath the Munster. But let's get the monster right for now. I'm going to hold down and convert layers to tracks and inside monster maybe we can create a highlight for monster's Go for purple. It's not really a purple monster but if you wanted to make a purple monster, you could. Okay, what we've got here is several eyes. Three eyes to be exact. We've then got some spots, which is down here. Some textures, maybe we can actually make this all bit smaller like, well, it's pretty messy. Yeah, it is textures. There's quite a lot of textures there and then body parts. What we've got here is Monster bottom. There we go months to, but I just keep double tapping months to top and then monster tail. Okay. We've got our top teeth bottom spikes top and spikes tail. That's it. Okay. Okay. Okay. Months to bottom, Months to top and monster tail. All inside of body parts and our textures, Inside of textures, there's texture, top, texture bottom, and texture tail. What I'm going to do is I'm going to set a mask on textures. Says I cannot do that for some reason. Why not? Let's try ungroup it then let's use our Timeline edit to then select all the textures and then group it again. We can delete these tracks. Let's get a little bit then. We can use mask here. I'm not quite sure why I need to regroup it, but I do clipping mask, all of a sudden it all just makes sense. I can rename this one to be fixtures. Okay, it's using body parts as its mask. If we're to move this one, you see that the texture is only visible where the body parts are. That means if we move the body parts, the texture is going to be visible where the body parts move. Pretty cool. Okay, so what I want to do here is I want to set up anchor points for all of these body parts for the same place. And then start moving things around. Basically create a bit of a like the monster's opening up his mouth as he moves across the screen. So it's not going to be too much movement, but just enough to be like, oh yeah, he's opening up his mouth. Okay, so how much time do we have for this? Let's put our sound on. Let's zoom out a bit. Okay, a monster with a huge mouth, then sharp teeth with su. Okay, maybe 23 seconds we can cut it to. All right, let's zoom out a little bit. 23 seconds textures, 23 second spot goes to there, to all of the eyes. It might be like why you just do it with the monster? That's a really good question. I should just do it with a monster, let's just do it with the monster. The monster group 220, 3 seconds is. It would screw up started. Yeah, it looks great. Okay, we've got a couple of extra tracks here that we don't need to delete that track. Delete that track. Okay, I think I like undid some stuff as well. So let's mask that again. Clipping mask. Okay, let's rename that again to textures. Okay, now body parts. Let's go for Monster Bottom. I'm going to edit the anchor to be round about there. Monster top. I will then do the same thing round about there. Then the monster tail. Not too important but I'll make it about the same place. And then press done. This means that when I rotate, it's going to rotate from that point rather than from the middle. Okay, let me, let's turn the sound off again. As this goes from the right hand side to the left hand side of the screen, I want him to open his mouth really slowly. So let's do that. Maybe I'll start the animation here. I've got about 5 seconds worth of time to do this animation. Let's go for moving scale and rotate it. So something like from there to there. Okay. Maybe it's a little bit helpful if I do it from here. More helpful. Okay. And then for the monsters bottom, what are we have? 18.19 Let's zoom in a little bit. Moving scale and then what's this? 21.19 frames. I'll do the same thing here, so I don't want to scale that. Okay, come on a little noodle. Okay, so something like that. If this is not already, let's say set all easings to be ease out and the same thing here. And ease out. And I might be like, what about all the rest of the stuff like his teeth and the spots? That's what we need to do now. Okay, we've got the body parts, the textures we can do as well, or we could just leave them as is. Maybe if we move them down, I would feel a little bit more realistic. Match it a little bit more Okay spots. Let's do spots first. What we'll do is it the anchor to be around here. And then 18 19. Let's go to 18 19. Let's put a moving scale key frame there. And then the next one is at 21:19 is that really helpful? 181-92-0119 okay? 18.21 21, 19, moving scale. Great. Let's have a look at that and we'll set the easing to ease out. Okay, that looks really cool, but it does look a little bit weird with the texture not moving. Let's go into textures, Texture top, obscene. Let's set the anchor to the texture bottom. Set the anchor to around there. Texture tail will do the same thing. Okay. Texture top 18, 19, moving scale then 2019 or was it 221-92-0119, okay. And then I'll do a little bit of rotating up. Okay, so the textional moves along with the mouth or the top of the head. That's great. So it means we can do the same thing for the texture, bottom 18, 19. Let's add a moving scale key frame. Go to 21 19 to the same thing. You can see the way I've set it up, everything's moving along with its respective body part, but then it's all being clipping, masked to the whole body part group. Or body parts group, which is down here. A little bit complex, but it works out really nicely. Okay, that looks great. The eyes also need to come along with that. Let's do the teeth first and then we can do the eyes, Where are the teeth? Okay, 18, 19. Maybe we need to sit there. The anchor first, the teeth bottom there, done. Okay? 19, Let's add a moving scale. And then 21, 19. Let's add another one and then put it there, okay, 21, 19 moving scale. 18, 19 moving scale, great. Okay, some of that texture that you see here is part of the eye. Okay, let's have a look at what this looks like. I think if it miss align slightly, it's okay because there is teeth and gums and stuff involved. Okay, so that looks pretty cool. Okay, now eyes, and perhaps even the spikes. Let's do the eyes first. Where are the textures have been done? Great body parts we can hide for now. Spots have been done. There are three eyes that are exactly the same. We can probably them. Let's see if we can group them and move them up at the same time. Okay, let's delete. Delete. Delete, and we will rename this one to be. Okay. 18, 19. Let's go on to Is moving scale. And then at 21:19 there we go. And we can set the anchor point over here, great. Then we can rotate it. Okay. Okay, that works really nicely. The last thing that we need to do is probably the spikes. Spikes top. Let me go. Okay, and then let's set the anchor to be over here, and then we will rotate. Okay. I think that looks good. Okay. So it kind of feels like a Jurassic par, kind of a thing. We're trying to get like dinosaurs to mechanically move when they're actually like full of flesh and blood and all kinds of complicated stuff. But it's looking good. Okay, next thing I think you've got these guys doing its thing is to maybe move the eyes a little bit. Let's go up here to the eyes group inside. We've got the pupil and the white of the eye here. Let's move and scale. Let's move back a little bit. Put another key frame there and move you back. What does that look like? That's pretty cool. You could duplicate that and just have them do all the same thing, but I want them to be doing slightly different things here. Let's have the pupil do something different, even scale. Let's have you do something like that and then back. Okay, then the third eye, which is this one. There we go. Let's open you up. It's going to go along here. Play it. Maybe it starts out move and then comes down here. Maybe he has a quick look at us. Stays there and then maybe here and then goes back to looking forward. Yeah, that looks pretty good. All of these easing should be in is out and it looks like they're in out which is great. Okay, we've done the eyes, we've all of the different layers and groups and clipping masks and everything all rotating, which makes it look really nice. Okay, we've got this Munster all inside of there. Now we can add some key frames here. This one move, move, and scale. Let's start you over here. Maybe we start you a little bit smaller like that. And then over the course of 5 seconds or so, I'll move you to around there and make you a little bit bigger like so. But let's go for a linear easing. Okay, let's turn the music back on. A monster with a huge mouth and sharp teeth with scream. Okay. All right. There's a little bit of a jump here. Let's just turn this off now. Yeah, I just think that little shimmer disappears. So let's go find it inside the window. Yeah, I think the character disappears. Okay, we got it. Let's go back here. Looks like a weird jump here. Maybe it's because zoomed right in here. Let's do what's happened here. We've actually got a key frame that starts over here, and then it switches automatically, or very quickly to another key frame. I'll delete that keyframe and move this key frame, and we'll see if there's a jump there. No jump. Okay, that looks pretty cool. I think with our monster, what we can do is we can do a little bit of rotating rotation. Let's try it out. There we go, as eyes disappear at the end. Let's check that out. Okay, let's move you there. Okay, that looks good. Maybe at the end, there's a little bit too many rotations. He's no longer moving here. Let's actually see if there is the end of the scene or not. Screw 23 seconds, we can actually shut that all screw up. Okay, so we go to the next scene at 23 seconds. That's looking good. Now we need some stars here. Let's go to Track Options. Duplicate that. Stars, Track, move it above. Okay, there we go. Stars, monster, it's great. Let's delete moving scale now. Reduce the sound. Okay, we can do, I don't know, maybe we just undo that. Put that back. Okay. But instead of that zoom in, maybe we can do a slow zoom over time. So let's expand the moving scale. Maybe just delete this one. Delete this one. Delete this one. Delete this one. It's moving. It's rotating. Then on the last frame here, we can then increase the scale. Let's go for 0.5 What is this? 0.5 Okay, let's see what that looks like. Yeah, I think that looks pretty cool. Let's put our sound back on. Found it. All right. A monster with a huge mouth and sharp teeth with screen. Okay. So let's see what everything looks like now. Let's go back to the beginning. Fingers plays Go Time in 54321. They traveled through space in search of alien life. They found it. All right. A monster with a huge mouth and sharp teeth with screams. Okay, there we go. That is scene number three. And it works really well with scene number 1.2 Our movie is coming along nicely. In the next lesson, we'll cover scene number four. I'll see there. 19. Scene 4: Escape: Okay, we're onto number four in which I'll spaceship flees the N star. So let's get to it. What have we got you? Urge mouth and sharp teeth with scream, breath. So we got about 23 to 27 seconds. 4 seconds. Yeah. So it's a 27, it gets onto C number five. Okay, so I'm going to duplicate the stars. There we go. Si, I think that should be good with our spaceship flowing that way. Maybe we can adjust them a little bit. So I will delete moving scale and reduce the sound. Zoom in here a little bit, okay? Something like that. Let's add a key frame, okay? And then something like that. Oop, and rotate it a little bit. Scale, Rotate, okay? And then set this thing tool linear. Okay? That should be good. Now we need a rocket. I've got a rocket over here or a spaceship. I'm going to duplicate that and move it up here. It's actually quite an easy scene to create. I just want this face, face because he's screaming. If you want to animate it, you can. Doing the frame by frame animation. So look here, what we got. So he's got a smiley face there. Okay, From here, that's where I want it. Maybe I'll just delete all of these keyframes. Okay? And then we can pop this like that. 27 seconds, that's where it should end. Adjust this, want to 27 seconds to the fact that the key frame is over there. It doesn't make too much of a difference in this case. But if you do start cropping your groups or your layers, just be aware that there could be a keyframe that you can't see anymore. He actually goes down. I don't want to go down. So let's open up spaceship, open up window, our character. Let's move that like so then I will delete this moving scale key frame track inside of character. Let's increase the length of the face. Okay, everything lasts for 4 seconds, which is great. You can close up spaceship and then let's position it over here. Let's rotate a little bit, maybe reduce the size, okay? And then from here I want them to go woo and do some rotating. So this is the performing mode de Lax kind of scene. It's going to be a lot of fun to use. Let's do it. Okay. Ready? Well, not recording, it's ready. Let's move you so wow. Okay, that all fits in with 27 seconds. Let's have a look. Okay, that feels nice. Maybe at the end here we can do another As it shoots out, then we can record our rotation. Set a look. Yeah, I think that looks pretty cool. Let's pull up the sound again screen that looks great. I'm going to the moving scale key frames. And maybe at the end here could happen a little bit differently. Maybe not feel like I want to pause it there and then for him to shoot. So maybe you can pause him there. Just these keyframes, I'll turn off recording or performing for now, okay? Keep you here. It kind of goes backwards. Okay, let's drop the sound. Okay, so he gets about there. Let's move here. Okay, I'll move you over here. It still goes backwards a little bit. Okay, I'll delete this one. So this has to do with X, I guess not Y. Okay? So maybe I've been doing things a little bit incorrectly, so let's pull you back here. Maybe we can swap these x positions, okay? So look at that, okay? And that looks pretty good. And at this part here, maybe I can rotate it a little bit differently. So let's rotate you. Just like that. And then, okay, let's go look for some sounds. Can scroll out, out. And then in open up sound scores. The monster, these rocket sounds. So I'm going to copy that here. Let's paste that there, like that. Sounds good. Maybe I'll adjust this or add a key frame for levels. Let's go for around 50% I can start it at 50% to 51, that should be fine. Then I'll drop it down to zero. Refuge fades out quite nicely, but I'll fade it in a little bit sooner. We'll fade it out a little bit sooner. Refuge. Okay, that's great. Just crop that a bit. Okay, we now have four scenes. Let's have a look at what that all looks like. Landed on at, it was goal time in 54321. They traveled space in search of alien life. They found it. All right. A monster with a huge mouth and sharp teeth with screaming, seeking refuge. They landed on a dwarf planet. Okay, so we've done C number four. Let's go all the way to the top here. We can collapse, moving scale, we've lined everything up really nicely for C number five. I'll see you in the next lesson for number five. 20. Scene 5: Safe Landing: Okay, it's scene number five. It's the final scene. We've got maybe a little bit extra to do the end, so let's hear what we have seeking refuge. They landed on a dwarf planet called many Mars. Yeah, that sounds pretty good, Mars. So 32.6 frames. Maybe five frames. Okay, let's do it. What we need is a planet, stars, and a spaceship. Okay, let's duplicate this one here. Duplicate the stars, make it here. I will delete all of these key frames. Let's zoom in a bit. Well, let's zoom in a bit so we don't have to delete all of them. I've got like longer nails at the moment, hence why sometimes I can't do my three finger scrub. Okay, there we go. And then I need a mini planet. So I'm going to open up our file app. Okay, Pop you on the left hand side here, and drag in mini Mars, this nice little planet. Okay, pop you over there, and we'll just split you over here and delete you. And then make sure that you are exactly the same as the spaceship and the stars. Let's take down the audio. It's not quite the same, is it? There we go. Okay, spaceship. This little guy doesn't last the whole time. Let's go into window, increase the character's length, and increase the drawing length. Okay, that looks good. Then stars. Perhaps we can change this again. Let's delete moving scale. Let's go here, add a moving scale key frame. Let's change the position of things a little bit and go to the end. Maybe we can make it go up a little bit, rotate a little bit this way. Okay, planets, let's changed its position. And maybe the scale, scale it down a little bit. Something like that. Okay, that looks good in our spaceship. Let's rotate, and you'll go from here and land over there. That scale looks pretty good. We'll just adjust the rotation a little bit. Okay, here again, I think this is great for performing. We'll start you up here and then move down, okay? We can put a moving scale key frame there if we want, although when we do performing it does it for us. Okay, let's move you down. Okay, let's play that at sea. Kind of do my own easing, that looks great and I can do some rotating. Okay, that looks great. At this point, I don't actually want that face anymore. I want the smiling face from the beginning. When I say face, I'm just saying face with a minuti. Diminutive of face, A face. I don't think I've ever said diminuti. Let's go get this face inside of spaceship, inside of window. This character face, is that the right place? Great, I will just copy this and scroll to the top. Yeah, let's pop you in here. Let's scroll in inside of window. We've got the character and the drawing. I'll delete this and paste. Okay, that looks good. I want to not slick the character anymore, Go away. Okay, close the spaceship. Slick the planet instead. Yeah, that looks good. So he comes down and then as he touches down here, we can actually remove the fire. Okay, that looks pretty good. What I want to do now is in quite slowly. That means that this guy will scale up quite slowly. Let's group planet and spaceship with our timeline. Edit maximum number of subgroups selected or something exceeded. Okay, it's definitely not our planet that has subgroups. It's our rocket. Let's check inside our spaceship. Or our rocket inside of window could frame and shine. And character character could be the problem. Are we moving character at all? No, we aren't. Let's see if I can ungroup that. Does that change anything? It does a little bit. Let's undo that. See if we can get away with keeping that, the badge on the body. Sure, Fire. Let's see if we can ungroup Fire and group. Doesn't change anything, I don't think. Okay, let's see if that helps at all. Group. All right, there we go. We now have our spaceship and our planet. So I'll rename that as space shop. Space space ship. Yeah, planet. Okay, and then I go for a move scale key frame. And a moving scale key frame at the end, scale up like okay, that looks good. And then our stars, we can probably increase the scale a little bit to 0.5 because it's also scaling in or zooming in. Let's have a look. And here, or look and listen, what this feels like. Seated refuge. They landed on a dwarf planet. Caught many marks. Okay, what I've noticed is that our spaceship fire goes all the way to the end again. Okay, let's pop that there and delete this group. Okay? Sounds good. Looks good. Perhaps it could be a little bit further down. Let's adjust that spaceship. Let's expand, moving scale the y position. I'll just move that down slightly, and then I'll delete this one. Okay, move that. Exposition. Dwarf planet caught many Mars seeking refuge. They landed on a dwarf planet and caught many Mars. Okay, that looks pretty good. Maybe this Y can move over there and the X can move over there. Just so that it feels like it comes down a bit slower. Warf plant and caught many Mars. Yeah, that looks good. Okay, let's have a look at what this all looks like now. Three fingers, not four. Let's go for four. It was go time in 54321. They traveled through space in search of alien life. They found it. All right. A monster with a huge mouth and sharp teeth with screaming, seeking refuge. They landed on a dwarf planet and caught many Mars. Okay, so we need the end. And there's a little clip in the audio. I'll see if I can change that, but let's do the end. At the end, Okay, let's zoom in right here. We'll go and draw something. Our brush is on doodle, that's great, white. How big is it? That looks a little bit small. Okay, let's go into the big drawing mode then. Let's close this flip book and get out of that, and then we can reposition it. A little bit. The end cool. I'll go back into drawing and let's add a clipping mask layer. I'll go for perhaps this stucco brush and give this a little bit of texture. I'll raise with the same brush to raise with the same brush, you just hold down on that arrays and then it selects the same brush to rays. We can turn off onion skins. Just to have a look at what that looks like. The, maybe we can rotate a little bit and go all the way until 34 seconds. Let's hold down and full duration. Okay, 34 seconds, okay, maybe a little bit longer. 35 seconds, do a little bit of opacity. We'll reduce the opacity to 0.34 we'll set the opacity to 100, then fades out. Maybe at 35 seconds, we can cap the movie. Let's go for our properties. And 36 seconds done, or 35 seconds, 35. Okay, then we can do a little bit of rotation here. Let's drop the sound and scale. Then the end here, I want to scale that. I want to rotate it. What does that look like? The end. Maybe a bit of scaling would work too. Let's go for this one. Something like that and add the anchor over there. There might be something else over there that I've drawn or maybe it's because I used the texture. Let's have a look. Goes back out with the scale, expand, move, and scale. And I'll delete these ones. At the end. I'll to the end. Okay, it looks like it's Linea. What I'll do is I'll set all the easing to linea. Have a look. Okay. That I think finishes off our movie, which is really cool. It was goal time in 54321. They traveled through in search of alien life and they found it. All right. A monster with a huge mouth and sharp teeth with screaming scene, seeking refuge. They landed on a dwarf planet. Caught many Mars. It was okay. It all looks really good. All right, so there is our movie, five scenes completed. In the next lesson, we're going to cover some adjustments that we could do. Some advice for making this even better. I'll see there. 21. Finishing Touches: Okay, so we've created our five scene movie, but there's always more things that we can do to make our animation look more amazing. You might be like, what do you mean? Well, if you've got like four weeks to create this animation, there's tons more that you could do. You could make it even more amazing. But sure, if you've got like 4 hours to create something like this for an Instagram post that people are going to scroll by and it's just an experiment. Well, maybe you don't want to put in that much more effort to make it that much more amazing. So what I'm going to do now is I'm going to go through the movie and tell you what I would do to make this even better. You can take my suggestions and implement them if you want, and if you want to do your own thing, make it your own movie, add more scenes, add more characters, add more assets and elements. Please go for it. I want you to have a lot of creative freedom here. I want you to play and experiment. So let's go through it. Four finger tablets, play was goal time in five. So here already what I would do is I would start to zoom in or scale these elements because it adds a little bit of movement and motion. You're wanting to keep your viewers attention. And we did that in the last scene and it worked really well. So you know how to do it. 43. I would also maybe move this guy around a little bit, maybe introduce a second character. Maybe his facial expressions could change, like really excited, nervous, something like that. To one on lift is great, they traveled. This is almost like watching a movie with a director's commentary on in this scene. I would probably also do some more facial animation or facial expression animation space in search of alien life. I really like this and maybe a bit of a sound effect there because he didn't realize he was actually doing that. He thought he was just going to space to have fun. They found it. All right. A monster with a huge, I really like the scene. I think the movement feels very like stage like, you know, like at a stage production, I think fire coming out of his mouth could be really cool mouth and sharp teeth with scream, seeking, Th, so this one I think is really good too. Maybe some of that movement could be redone. But yeah, I think it's looking really good. Seeing Red landed on a dwarf planet called Nim. Maybe when he says phew, we could add a speech bubble. And again, maybe some more facial expression animation. Okay, I think that's it. Maybe at the end here we could add some titles or credits. So if you press on this plus button, add some text. You could animate your text going up the screen or just flash the director, the illustrator, things like that. I think that could be pretty fun at the end of a movie because this is such an epic movie. And I guess the final thing that you could do if you wanted to is to create a movie poster. Especially if you've created the assets for your movie, if you've drawn them in procreate or somewhere else, that could be really fun to create a movie and a title for your movie. At the movie, at the moment, it's just called movie, but maybe we could call it an alien drama at the end of the world. Or the monster, or an unexpected monster. You could brainstorm this. All right, so that is it. What I'm going to do now is tap on my movie title and export my movie. It's got to share and go for video. Then comes up with this share dialogue. And you can share it with Air Drop, use Cloud services. You could send it to people. I'm just going to save the video to my ipad and I'll just open up my photos up and it will appear at the bottom. This ladies and gentlemen is the premier. Hold on, hold on, Let's put the sound on. Let's go back to the start. Let's go. It was go time in 5321 on. They travel through space, search of alien life and they found it. All right. A monster with a huge mouth and sharp teeth with screaming, seeking refuge. They landed on a dwarf planet. Caught many Mars. All right, ladies and gentlemen, you have just seen the premiere for a spaceship drama at the end of the world. All right, so I hope you've learned a lot during this process. In the next lesson or the next video, we're just going to conclude the class. I'll see there. 22. Conclusion: All right, we've covered a lot here in this class. From the basics, all the way to making a movie. Well, a short movie, let's call it a short film, shall we? It sounds a little bit more artistic. So I hope you've learned a lot about procreate dreams and animation in general. Now if you haven't already, it's time for you to create your own spaceship drama movie. And if you have made it, please share it with us. Upload it to your project gallery. I want to see it. I want to give you feedback and then go and make more animations and movies. The more you practice and experiment, the more you learn and the better you get and procreate Dreams is just going to keep on getting better and better. Keep on updating to the latest version of the app. Now, I would love you to leave a review of this class. It means a lot to me and it helps other students decide whether to take this or not. And if you have any questions, please ask in the class discussion area or reach out to me on social media. All right. That is it for this class to stay in touch with me and the classes I'm making follow me on social media. I'm at Taptapkaboom and then sign up to my newsletter on my website, which is Taptapkaboom.com All right, I'll see you in the next class. Bye.