Simple Character Lip Sync

1. Trailer: Hey, animation fans. Do your characters talk like extras in a Kung Fu movie? Prepare to die, puny coward. Well then, you need the simple character lip-sync class on SkillShare. Let's talk about this mother***. Hello. So you know it's good shit. You'll learn how to illustrate a head like mine, work up the main mouth positions, and get that b***h animating like a f******g pro. Ain't that right? Yeah, but probably with less swearing. F**k yeah! So, sign up today. It's only 20 f*****g bucks. It's 19, actually, all included in the tenth of per month membership. Shit, that's good value, son. SkillShare. 2. Design in Illustrator - Part 1: Hi guys, and welcome to my second course: Simple Character Lip Sync. In this course, we're going to create a simple character and make him talk. In this first section, we are going to be designing our character in Illustrator, we are then going to separate him into layers, we are going to illustrate all 14 of the mouth positions, and finally, we are going to layer and label the mouth positions. So the first thing we're going to do is create a character in Illustrator. So, if you open up a new file, with regards to going forward, you don't need to copy this character. There's nothing specific really in this character that is going to affect your lip sync. Once you've got the idea of it, it should be quite simple to use this technique on anything, any character, any style that you want to create. The only thing that's going to be important in this case is that we leave plenty of room for the mouth. So, I'm going to create this character a bit like our character from the intro video very quickly. A couple of eyes and nose, again, leaving the nose and eyes. Smooth them up a little bit further. So we've got a nice big expense for the mouth and I'm going to troll his torso. Again, very, very simple. I'm going to give this character, same as the other one, a shirt and bow tie. Now these are the two main elements, the head and torso, but we're going to create a couple of extra little bits that we can animate later on, so our character will be gesticulating. We're going to color these first though. Let's give him a blue suit, a jumper. I'm going to give him a white shirt, and perhaps give him a red tie. I'm going to have his hair the same color as the tie and create face color. Here we go. A little bit lighter it with hair. I'm going to make his hair a little bit darker, so it looks like it's in the shadow of his fringe. I'm going to have his eyes somewhat match the torso color. I'm just going to fix these little errors as well. Now, what I'm going to do with his nose and far ear is just make them slightly, again, slightly darker versions of our face color, and that's going to help us when we come to animate our lips. Now, I'm going to use a couple of strokes here. If you've done the previous course, you'll understand why, but I'll be explaining it anyway. We want his arms to animate easily, and we're going to create them using just the pen tool for reasons that will become obvious when we're in After Effects. What we're going to do is flip out the solid color. I'm going to increase the weight of the line there. Now, underneath that, I'm going to create his hand color. So again, just using the pen tool a little bit narrower than the line we've got for his arm. Let's pull that in and send that. If you can arrange that, send it to the back. There we go. II'm going to copy these and paste them. We're going to reflect it and place the other arm on the other side of his body. Finally, we're going to make one more stroke here, and it's going to be for his eyebrows. That's going to add a great deal of expression to your face later on. I'm just going to use a single unibrow here. Again, reverse it out, increase the thickness of it. Making this as a strokes is just going to mean that we got a bit more room to play with, with regards to the animation. Here we go. So, there is our character. That's that section done. We're going to just save him. I've saved him, calling him character here. We can save them as. I've created an illustration file, place my character inside that, there you go, and save him. So in our next section, we're going to separate our character up for After Effects. What you're going to do is grab his head and edit, cut. I'm going to create a new layer there and we're going to edit, paste in front. There we go. So we've got two layers now, one with his head, and one with his torso and arms. We're going to select his torso and arms, paste them into a new layer as well, and finally, the last thing we're gonna do, select both eyes and eyebrows. These are going to go into a new layer. So we should have four layers now. I'm going to label them all, just so that we can tell which is which in After Effects on the timeline. We're going to call this layer, "Torso," next layer, "Arms," "Head," and finally, let's call these "Eyes." There we go. 3. Design in Illustrator - Part 2: So, the next thing we're going to do is create our mouth. Before we do that, we're going to look all our layers into place so that none of them move. I'm going to create a new layer and call that mouth. So, our first mouth position is going to be our resting mouth position and this is the position character's mouth is going to take when he's not speaking. So again, I'm going to use my intro video and give this character the same shit-eating grin. You can position this, move it around, and even after you've animated it, we're going to make it so that you can come back to it. If it's not quite right, you can tweak each of the mouth individually. So, here we go. I'm going to give him some big, grinning teeth, a bit of underbite. You don't need to be too precious with this. I'm just going to do this whole freehand using the Pen Tool and tweak it afterwards. Here we go. To change the color of the layer, I can't see this. There we go. There's our character with his big, goofy grin. So, now that we've got our resting mouth shape, we're going to create all of the other mouth shapes next to it. We're going to label them so that we know what they are when we're illustrating them. I'm going to draw, I'm going to label all the mouth shapes first in the grid. So, our first shape is the A, E, I shape or A,E,I. A better way to think of it, here we go. The next shape is U or uh. We've got ooh and O. Finally, Ee. The next shapes are the more common consonants. One mouth shape in particular controls almost all the consonants and that's C, D, G, K, N, S, T, X, K, Y, and Z. All forms, we'll use the same mouth shape. Then we're going to do B, M, P when the mouth shuts. L has it's own mouth shape using the tongue for L. We've got Q and W. Spread this a little bit. Then, there's the slightly less frequently used mouth shapes and we've got F and V. The teeth are set on the bottom lip. We've got a hard R sound, so ruh. We've got Ch, J and Sh. Finally, Th sound. So, we're going to start with each of these by drawing the shape of the mouth itself. It can sometimes help to create the shape of your mouth while you're doing this, certainly to get the distinctions between each. So, here we've got Ah. In Ah, we're going to add the top teeth and a bit of the tongue there. We're going to color these. So, teeth are going to be white. I'm going to choose your own pink for the tongue. Here we go. We've got Ah. If you like, Ah is like the Uh sound, but slightly narrower mouth. So, here we go. We're going to have the tongue again. Slightly wider mouth, so the teeth will be a little bit higher. Here we go. I'm just going to stretch that. Now, next we've got the Oo sound. This is going to be a narrow hole. For the mouth, we're going to see no teeth or tongue. It's essentially created just by the lips. Now, difference between oh, sorry, oo and uh or oh is the mouth is going to be a little bit wider, quite so the tongue, their lips are not quite so pursed and which is put a little bit of the tongue there. Now, Ee sound, mouth much wider. So, it's almost like a smile and for ee we're going to have the top set of teeth, almost gritted just a slight gap between them and we'll draw in the bottom a set and then leave a little gap there. Next, we've got the main Cuh, Duh, Guh, K, N, S, T, X, Y, Z mouth shapes. This is essentially like ee. The teeth are gritted with the mouth just held slightly open. So, the way we're going to show that is, again, see the top teeth. There's going to be no gap between them and the bottom teeth there, maybe just a tiny gap. So, this is the shape you'll be using mostly. Obviously, it's used for many of the consonants. Now, the next one is slightly different. This B, M, and P sound. We're going to just take. Mouth's going to be essentially shut. So, we're going to use the shadow that we've got on the color of nose and the ear here. They're slightly darker color so that this shows up against the skin on the face, but it's effectively going to represent our lip. Now, the L sound, La. Again, mouth not open too wide. We're just going to create an alphabet like ee sound but obviously with La, with the use of the tongue. So, we're going to draw the top teeth. Again, what you can do is quite roughly really freestyle with the pen. Then if you don't feel like it's working quite as you want it to, you can go and fix it afterwards. So here we go. I'm just going to draw the tongue touching the back of the top teeth, so, la, la, la, la. Finally, the Q and W sound, Qwa. I'm going to copy and paste the Oo there. It's very similar, I'm just going to make it a little bit narrower. When it comes to placing it on the face, we'll probably move that down slightly lower than the Oo sound so it sits low on the face. Now, we've got F and V or the Fa and Va sounds. For that, we're going to have just the top teeth showing. They're going to be biting the bottom lip. Again, for the lip we're just going to show that's been pursed very slightly by including a little bit of lip coloring. I'm just going to color underneath the teeth. Now, the R sound or Ra. Again, you can now slightly open. Here we're going to see is the shape of the word. We're going to see more of the bottom teeth. Maybe just a sliver of the top teeth. Get that err sound. Here's a good one Ch, J, Sh. Top lips going to lift it up and the bottom lips extended down. This is all about the teeth. So, just here can have our teeth nearly touching but our lips wide open. Again, I'm going to leave only a slight gap. Again, a little bit of an underbite. So, there's your Ch sound. Finally, the third sound. This is a good one. Top lip up, I'm putting it down and that's because we've got the front teeth again. Here with the Th, we're going to have the tongue resting over the top of the front teeth. Perhaps see just extending a little bit below the lips and the tongue's sticking out the mouth there. There we go. At this point, we've got all our major mouth positions. Now, you can adjust them depending on your character type and the style of the piece. But these are the ones that I use and these should work for the character model that we're making now. Okay, so now, that we've got all our mouth positions, we're going to need to place them on top of the face to make sure they're all in the right alignment. But first, what we're gonna do is I'm going to group one of these, so that each mouth shape is grouped and they're not going to slide around when we have them sat atop each other. We're going to edit, cut, create a new layer and then paste in front or command F, control F, with your Mac or PC. We're just going to label each of these, so I'm going to call them mouth. Actually, tell you what, we'll just call them AEI. The next one, U. At this point, I'm probably going to play some sped up music. There we go. Finally, all of those in their own layer, you can see them all here. If I extend this, the layer console, you should have layers that look exactly the same as this. The layer that we originally called mouth, I'm actually going to call rest. That's going to be our resting position mouth. Then now, that we've got these labeled, I'm going to delete all the mouth shapes there. So now, we're going to overlay each of these mouths so that we've got the mouth shape in the right place with regard to the face. So again, it's just lock all other layers and we turn these on one at a time. So, we've got rest in one hour shape. So, I'm going to make this a little bit smaller, feels a bit big. I'm just going to go through each of these as ah shape. Again, a little bit, a bit small. Now, this is our ooh shape, and that's as if the lips have pushed right forward, so we want to push that forward on the face. Ooh, a little bit further forward but not quite as far forward as ooh. You're going to want to play around with these and make sure that they sit within the face where they feel comfortable for the sounds. So, here we go, here's E. This is very wide, and when you say E, you pull your lips in, so it feels like this should sit a little bit further back. So, you've got lips pushed out, lips set in. I'm going to grab our main consonant. That's going to sit right in the middle of the face, quite neutral mouth position. This is B and M. Again, the lips are pulled back a bit, so I'm going to position it a little bit further towards the back of the face. L, same thing, La. Here's a Q and W. This is going to be a little bit lower than ooh, so ooh is a little bit higher than ooh and quo. You're going to push your lips down a little bit for this sound, Fa. This is F and V, so the Fa and Va sound. This is quite central on the face. When you do that, you pull your upper lip in. So, I'm going to push it up a little bit, and ur. This is where you push your chin out when you ur. So, a bit of an underbite, so I'm going to push this forward a little bit. Here we've got Ch, J, and Sh and again, we're pushing our lips forward, so it's just going to sit a little bit further forward than some of the other sounds. A bit like ooh, it's going to sit quite high I think because you purse your top lip. Here we go with th, quite neutral, I shrink this down a little bit again. So, it's going to sit in the middle of the face and there's our rest. If you cannot turn them all on, hopefully, you've got a sense of where each of these sits within the face. It should all sit around about the same area, but again, we want to have particular letters in particular places. There we go. At this point, you've got all the layers that you're going to need to animate this mouth. 4. Build in After Effects: Okay. Welcome to section two called Build In After Effects. In this section, we're going to import our illustrate character and adjust it's composition and project settings. We're going to create a separate mouth composition. We're going to create animated eyes. We're going to create arms and eyebrows using the stroke tool and we're finally going to parent our layers for animation. Okay. So, we're going to open After Effects and the very first thing we're going to do is go to our project settings and just check that we've got a timecode base rather than the frame base. It's just a little bit easier in this instance to use seconds rather than frames. Then, we're going to go file, import file. We're going to go to our illustration folder and we're going to bring our character in as a composition. So now what you have are some layers. These are your illustrator layers and you double click on that, it'll bring up your character composition and here he is, as he should be, in his illustrator file. Now, this file is going to be a little bit small, we want a high definition video when we're finished. So what we're going to do is go to composition, and composition settings, and we're going to make this 1920 by 1080, that's full HD. Now, the duration, it's just going to be a little build in a little extra time and we're going to use 20 seconds. What might happen is you might need to stretch out your frames to fill the entirety of the timeline there and then we're going to save that. I'm going to create a folder called After Effects and I'm going to call it Character. Now, we're good. Okay. So now that we've got our character imported and our composition expanded, we're just going to fill the composition a little bit better and we can do that by selecting all of our layers. We're going to turn on this checkbooks here, which is going to constantly update the resolution of our character, referring back to the illustrator file. It's called constant rasterization. We're going to open up our layer here and we're just going to scale him up a little bit. I'm going to put him down. Here we go and we just come off the bottom. As we filled the front of the frame. And now what are you going to do, we're going to select all our mouth pieces and put them in their own composition. So we're going to select from AEI all the way down to the rest mouth position, and what we're going to do now is going to layer and we're going to pre-compose this. And this is just means it's going to create a new composition for these layers. But that composition is going to lie where the layers used to be. We're going to call this Mouth. There we go, so you see now you have a single composition that contains all the mouth shapes and you'll find up here in the projects books. If we double click that, so there we go, we got the second composition open now and for simplicity's sake what we're going to do is turn off everything but the resting mouth which means that when we returned to our character there we go, he's as he was before. Now in the next two steps we're going to be recreating some of the elements using after effect strokes for animation. So I'm going to turn off all the layers here and for the moment I'm just going to turn on the torso and the head. Now the first thing we're going to be creating are these eyes. So what I'm going to do, turn on the eyes layer and I'm going to select the pen tool and I'm just going to mask around the eyes. So at the moment what we're going to have are just the eyes remaining, we are going to lose the eyebrows for a short period of time. Now what we're going to do is, we're going to use this tool here which is the pen behind tool. But what that also does is allow you to move the center point of a layer. We're going to put that just between the eyes. Now, when we open up the eyes layer and get to scale, we're going to create a key frame just slightly from zero, between one and zero and the next frame along, we're going to uncheck this little chain here which ties our scale. Our X and Y scale so if you increase or decrease the size of the eyes, you'll notice that they scale with each other and we're just going to have to change the Y axis so we are going to have these eyes become very squint as if they're closed. Scroll along a little bit and we're going to have them. We're going to copy and paste the original key frame. Now what you have are sets of blinking eyes. So, I'm going to set, I'm going to copy these key frames and just paste them throughout our timeline for the moment. You can obviously edit them afterwards if he's blinking too much or too little. I'm going to copy and paste these again. There we go, you can see our character blinking away. All right. So the next thing we're going to do is recreate those eyebrows again and we're going to do that using the pen tool. Make sure none of our layers are selected otherwise we're going to be drawing a mask, we want nothing selected. And all we're going to do, is just draw back in our eyebrows. I'm going to put a tangent at the end of the eyebrow there, so that we can animate his expression. Now, if we open up the shape here, shape layer, we can see the path, the stroke and the fill. We're going to rename this layer, eyebrow and if we go into the stroke, we can change the color of it to match his hair. And if you look down here we've got a stroke width and we're going to just expand that a little bit, call that 14 and then we go, now we've got his eyebrows back. So, the next thing we're going to create are both of the arms, and we're going to do that in the same way we created the eyebrows. Make sure nothing is selected and we're going to just draw these in. You can use the tangents, get a nice curve. I'm going to call this arm left. Again, when we open this up, seeing the contents, the path that we've created and in the stroke, we can make this color the same as our sleeve, so here we go, it's quite big. If we select the path and we can just adjust these, so they are touching the right places, and then we're going to create the same arm on the other side. What we can actually do here is copy and paste this arm left, call it arm right. Now if we open it up, go into this shape and go into the path layer, we can just move this to the other side, here we go. Now we have two arms. What we're going to want to do with both of them, is give him hands. So, if he does raise his arms, okay let's do that. Let's have this arm raised, and we're going to be able to see his hand. So, when we will do this, again, we duplicate this, I'll copy and paste it. I'm going to call this hand. Right. We want this to be slightly different, what we can do here is, in this trick, we want to make this the same color as his face, and we're going to change the butt cap to a round cap. We're going to need to put this underneath our right arm, and you'll notice that we get a little bit of the path cropping sticking out by the shoulder, and the way we get rid of that is to add a trim path, and we're going to see if we start the start, and increase that number to about 20, then we loose that little bit that clips onto our shoulder. If we make it just a little bit narrower, that we get them we just got a little hand there. So, if we could add 75. We're going to do exactly the same on the other arm. Let me call this, hand left, we can open it up and make it skin colored. We get around cap, have it be 75 wide pop it behind the arm left there, and we're going to add our trim path function, and just get rid of that little nubbin. There we go. Your character is now created. It created in after-effects using the strokes. So, now that we've got that, we can delete our arms layer and what we're going to want to do here, is make sure that when we move the masking arm, right arm, the hand follows it. So, what we're going to do, we're going to open up both of these layers here. So, let's increase the timeline for a second and we're going to make sure we can see the path of the arm right which is the blue section of the arm and the hand on the right. We're going to select this key, we'll put a key frame on both. Now we went and put a key-frame on the top. What we are going to do is, hit Alt and left click. That's going to bring up our expression tool. With that, we just use the pick clip to select the path that we want the layer to follow. Now, if you go into this path and adjust it, then you'll see the hand follows. I am going to want to do exactly the same thing on the other arm. So, I'll do that a bit quicker. Bring up the path for both, and we want this hand on the left to open the expression here, holding Alt, left click. Grab the pick whip, and attach it to the path of the arm. Once again, when we play with the arm, the hand follows. Now, because we don't need the hands, we're not going be animating the hands at all, what you can do is select both of those and check this little icon here which is the shy layer, and when you turn the Shy layers off, the layer is still left on the screen, but it's no longer cluttering up your display now. If we turn the mouth back on, there's our character ready to be rigged. So, now we nearly set to animate our character, but first, you'll notice if we move any one part of them, the rest doesn't follow. What we're going to do and what we want to happen, is to have our head follow our torso, and have our eyes, mouth, and eyebrows follow the head and have both the arms follow the torso as well. So, the first thing we need to do, is adjust our anchor points for everything, and this is the point around which the layer pivots. So, if you select the pen behind tool or hit Y, you can drag this point on the torso down to where this guy's hips would be, and you'll notice now that when we rotate the layer, it rotates around that point. We want to do the same with the head, we want him to pivot around the neck. So, we place that point on the neck there, I'm going to select the eyes. We've already done that, we've got them blinking, and they scale around this center point here. This can do the same with the mouth. The eyebrows, so that these might not move around this pivot point, but we just got to do it to be tidy. Now, this arm on the left, and the arm on the right are going to pivot around their respective shoulders. Just quickly, you're going to need to uncheck the hide layer and select the hand on the right. And we're going to want to use this parent tool to attach that layer to the arm on the right. The hand on the left, we want to attach to the arm on the left, and that just as well as the path data is going to now follow it using the positional data. So, you can see if I move the whole layer there, everything moves together, and then we can check that back off and forget about it. Now, to complete our rig, we're going to use the same function to attach our head here to our torso. Now, you see, when I move the torso, the head moves with it. We're going to do the same, attaching the arms to the torso, and then we are going to attach the eyebrows, the mouth, and the eyes to the head. So you see, when the head rotates everything goes with it. 5. Rigging the Mouth: Okay, this is the third section, Rigging the Mouth. In this layer, we're going to split up our mouth layers, and label them. We're going to create a slider control, and finally we're going to add control expressions to that slider. Okay, so the last thing we need to do before we can animate the guy is rig our mouth. We do that, starting off in the mouth composition, we're going to turn all our layers back on. We're going to make them, going to drag this all the way back to the beginning, we're going to make them a single frame in length. So you can see the frames marked here if you zoom in. We're going to make them just one frame in length. Now, what we're going to do, is split each layer up temporarily, so that we have a 14 frame composition that includes a single frame of each mouth position. Now if you scrub through that, you should start to see the mouth, almost look like it's moving. But what we need to do here, is adjust our composition settings, so that the composition is only as long as the layers within it, so at zero seconds, and 14 frames in length. There we go. Now, what we're gonna do here is going to make our composition look a little bit odd but it's going to help us out while we're animating. We're going to create, type next to our mouth, by selecting the type tool. We're going to create a single frame for each mouth position, showing what that mouth position is going to be illustrating. So, I'm going to pop them out here to the right and make them the same length as the layer they are next to. So here we are, here's our A, E, I layer. We're then going to create our U layer. Under that, we're going to create our Oo layer. And finally, and in our last mouth position, Rest. There we go. So again, if we scrub through, you should be able to see next to the mouth there, or their respective sounds. If we go back into our character, we'll see that these will show up, so that while we're animating, should be very straightforward. We will be able to see exactly what sounds we're looking for. Okay, so you'll notice that the mouth comp is too short and we need to extend it throughout the rest of our composition. The way we're going to do this is by time remapping it. We are going to select our mouth layer, layer, time, enable timely mapping. This just extends the layer throughout the composition. What we can do now is scroll forwards and backwards, through time here, to change our mouth positions. What you will find, is that at the end of the 14 frames, we lose the resting mouth. The way we get around that, is going back into our mouth position, selecting this very last frame, and just extending it off the end of the comp. When you go back into your main composition now, you'll find that it stays on the rest position after the 14th frame. Now, we're nearly ready for animation. 6. Animate the Lip Sync - Part 1: Hi, welcome to section four, Animate the Lip Sync. In this section, we're going to import our audio. We're going to understand toggle hold keyframes. We're going to animate the mouth to the audio. We're going to ram preview and check our lip sync. Finally, we're going to animate some character gesticulation. Okay. So, we're going to open up our After Effects file, and we're going to go File, Import. Now, you can import any audio you like. You can take it from films, record it yourself, anything you want to do. For the purposes of the instructional video, I've created a piece for you that uses a short piece that uses all the mouth positions, and you should be able to find it in your course guide. It's called Lip Sync Audio wav, and if you import that in, you'll be able to drag it into a new composition. If we open up our consoles, we'll see the waveform, and we can listen to this track by ram previewing it and over here. This week, Friza's Skillshare class blew me away, and you should quite literally purchase the course immediately. So, there we go, just a collection of random sounds. Now, we're going to drag our lip sync audio composition into our character composition. Again, what you can do, open up your consoles. I want to be able to see the waveform. There we go. Now, we're ready to animate. Okay. So, if we zoom in on the first part of our animation and just grab along the timeline, you'll see that between these two keyframes which represent the time within the previous comp that we're viewing, you'll see each of the mouth positions in each of the frames. What you can do is grab forward and backward through these here. What you'll notice is that After Effects interpolates between the keyframes so that as you scrub between any two points, it's going to play. As you scrub between here, for instance, 14 and nine frames, it's going to play backwards through the five frames in between those two. When we're animating, we don't want to do that. We want to jump seamlessly from frame to frame without any of these interpolation. To do that, we're going to use Toggle Hold keyframing. So, what we're gonna do is select all of our time remapping keyframes. I'm going to right click and click on Toggle Hold keyframe. You'll notice that the keyframes change shape. I got this square flattens them now. What that does is, if you scrub through, you'll notice that nothing, there's no interpolation until we get to the final keyframe that we change, and we now have our rest position and you can play about with this. We can scrub back through to the F and the V. If we forward back to A, E, I, and then to Q and W. You'll see that our mouth position only changes on the Toggle Hold keyframes, and that's what we're going to need when we animate. So, I'm just going to delete this. 7. Animate the Lip Sync - Part 2: So now, we're going to animate this small section of speech. At the beginning, we're going to scrub forward to our rest position. I'm going to delete this the key frame. So before our character talks, he's going to be saying nothing. Now, you'll notice that we've got a problem in that. We want to be able to hear what our character is saying at any given time without having to ram preview the whole section. This week, Fraser's Skillshare class blew me away. Now, we don't want to hear it in real time. We're going to need to hear it very slowly, vowel and mouth position at a time. And the way we do that is by grabbing the current time indicator. If you hold down command or control on a PC, you should be able to scrub very slowly or very quickly back along your timeline. So, you can find exactly at any given time, the sounds that the character is going to be making. So, if we listen for that F for Fraser, we can pinpoint it to this frame here. So, the very first sound, we scrub holding down our controller command button, we've got this. So we want the T-H of this and by again holding down the command button and scrubbing, you're going to have a little bit more control as it slows down the rate at which the keyframes are adjusted. So, here's our T-H. About here, we're going to want a sound. So again, we scrub back through into our vowels in the beginning and it should be our very first one. Here we go on zero. At this point, we're on to our S sound. Now, this is one of our constants that fits within this very general mouth position. So, our next sound is going to be the W Week. Let's skip forward to that. Very quickly, we're into the E. Pushing back in the vowels, as well E. The K again is one of our consonants. So we can check it as we go along scrubbing through. Here we go. We're going to get to the F of Fraser. I'm going to use the R sound. Now, you'll notice that it is going to be important that you aren't really spelling this, you're listening for the phonetic sounds. So occasionally, A's and I's are going to sound more like U's and it's important to make that distinction, so again here, we're going to be using an A sound. And here, we're into the S. Now, at this point, we've got a kind of an it's an E-R, but we kind of listening for just a sort of the R sound really. So I'm going to use this R here. It's very, very quick before we back onto that S. So maybe even just a frame. You can adjust these key frames as you go along every time you check it. You'll notice that this section here uses all the same mouth position and if you kind of sound it out while you're animating, you'll get a better sense of where of what mouth position you're going to be needing. So here, we're on an another I sound. So we want to catch that L. Then, we're using our Ch, J, and Sh sound. We're going to be back onto kind of our airy vowels. So the A's, A, E, I sound. In this instance, although there's an R at the end of the word, you don't really hear it. It's more when you're kind of using if before a vowel, so like in Fraser. So we're going to be using that R consonant again. Very quickly into an L. This is kind of A again. And you're just going to want to scrub along and wait until you hear the consonant preempt. We're onto our B, M, P sound with a mouth effectively shut. So here we are. That's very quick sound and we're back into the L that might just be a frame there. You really kind of have to just try it out. Well, I might do actually is move the B further down, the L a little later. Now again, as I said earlier, it's important to sound these out phonetically although we've got B, L and in your mind, you kind of think U. It's very much the double O sound. I'm going to move into the M, which is like the B. So we're going to scrub back through to the M sound and the E sound. This away, it doesn't really start with an A sound. It's more of an "uh" than an "Ah" way, so I'm going to use the U this time. Before we purse his lips back into this W. I'm going to get back to the A, and what I might do here on the end of the A to extend this vowel is just give him a little bit of a double E sound. It's kind of in a way. Because we've got this gap, I'm going to scrub to the end and have a bit of a rest before we go into our next sentence, and then here. Again, this is a bit of a strange instance in where we've got a U sound and if you phonetically sound it out, the U almost starts with that double E sound again, and it just brings a little bit more into that word. Nudge it forward. So, we've got that double E before we get to the double O sound. I missed one actually, he has the hint of an end and U. So, before this E, we're going to slide that there. Just going to have a little frame maybe of our multifarious consonant sound. Here, we've got a hard Sh sound. It's a U rather than a double O. Again, back into our queue sound. So, it's quite a while before it gets into the actual vowel of that, and that's going to be an I. There's going to be a hint of this T before he has the L of literally. It's important to listen for the very start of the word. Consonants often aren't as obvious as the vowels. So, we might be on the L before you hear his mouth but we are making the shape of the L before you hear the vowel. So, we'll just use our preview to scrub through it. Looks about right. We see In the waveform the I. So, there's our T, and here, I think really the T goes straight into an R. The the end of literally is almost all this guttural R sound. So again, we're going to phonetically. We're going to pay attention to the phonetics rather than the spelling of the word. Maybe a little bit slow then I'm going move that forwards. Again, we want to hear the beginning of the L not when we're making the vowel sound with the L. Here we are into the E. Again, here's the P sound. But we only hear the "p" of the P once the mouth is open. So, we want to get onto that P sound a bit before we hear the rest of the word. The more you do this, the more experience you get, the more you understand how where the letters start and end and how to phonetically get these sounds correct and looking right, and it's all about trial and error and adjusting as you go along. So, we want that U sound. I want to get into a little bit earlier that. I think I'm going to use the R a little bit here, and you'll get quicker and quicker. The more you do this when you learn where the letters are, and then with a CH. It doesn't really have much of a vowel sound in there at all. You go straight from the CH to the S. So, I'm going to miss out that guttural U sound there and go straight to our consonant. Here we are, I'm going to hit R. I'm going to hit the TH of "the". Little bit earlier again just before we hear the following vowel. We're going to have the U sound. It's not an E sound. It's much more of a the double U. Back into our general consonants. Here, we're going to use an O which we haven't really used yet. It's not really, you didn't really hear an R in course. You just hear the O sound and an S. So, we're going to go straight from there into our S, and then into an I of immediately. Again, remembering that you don't really hear the M sound because the mouth is closed. So, we're going to just preempt it, scrub through and check it. He started the E about here. There's the D. You can hear the hard D, and again, it's an E sound. We're going back into our consonant for the T, and we're going to hit that L before we hear the E vowel. Then, once we hear the end of the breath, we're going to finish on our rest position. You can just scrub back through that, and just check it as you go along. 8. Animate the Lip Sync - Part 3: When you're happy scrubbing through the comp and checking your workings, we can preview the whole thing using the RAM Preview function. This week, Frienzas skillshare class blew me away. You should quite literally purchase the course immediately. This week. Here we go. Now, I noticed in here, and what you might notice is that you missed slightly some of the consonants like your Ls and Ms and Ps. They often feel like they didn't quite last long enough, than I thought. I'm going to have this L just last a little bit longer there. Blew me away. Here we go. This week, Frienzas skillshare class blew me away. You should quite literally purchase the course immediately. Then we go. Finally, once you're happy with all the mouth positions, we go back into our mouth comp, and select all the text layers, and turn them off. Then we code, and our character is just left with his mouth there. Finally, we're going to have our character look a little bit more animated by giving him some gesticulation that kind of goes with the audio that we've got here. So, we'll listen to it again. This week, Frienzas skillshare class blew me away. So, I'm going to have him raise his arms, and he describes how the course blew him away. I'm just going to, what we're going to do here is just give our character a couple of very simple poses. So, we're going to select our position, our rotation of our head and torso, and remember that we've connected these together using our parent layer. So, when we say blew me away. Skillshare class blew me. I'm going to move these to the beginning of that, I'm going to have a, add a 30-second throw here, add a 20-frame gap between this. When he's fully gesticulating, I'm going to move his head back on his shoulders, I'm going to lift his body up a little bit, and have that rotate. We're going to select the paths in our arm layers, there we go. You can see them on their own. He's going to raise his arms. Blew me away. Blew me away. So, he's on, just press shift, and you can edit the path. He's going to raise his arms. I'm going to do the same with the other. So, it will be fairly familiar territory if you did my other class. Now, so, we're going to feel a little bit robotic here. So, what we're going to do, we're going to add some keyframe easing. I'm going to select all of these keyframes. I'm going to go to Easy ease, and then again, this will be familiar territory if you've done my previous class. We have to select these all individually. So, your path, the path layers here for our arms, we can do them together. I'm going to go into keyframe velocity. I'm going to choose an influence of 66. That's just going to give us a bit more of a natural motion as our character speeds up and slows down into each pose. We're going to select both of our position keyframes, and do the same there in the keyframe velocity. I'll show you the long way around. If you can go to animation Keyframe Assistant, sorry Keyframe Velocity, and you can change it there. So, now our character has. Class blew me away. There we go, it's a little bit more animated. Class blew me away. We're going to do something similar with his eyebrows there. So, perhaps I go in, and will grab his eyebrow path, and I'm going to have him talk a little bit more deadpan initially, and then on blew me away, I'm going to raise the eyebrows, so that he genuinely looks surprised. There we go, and again, right-click Keyframe Velocity, 66. Blew me away. After blew me away, I'm going to have him return to his previous position. You can either copy and paste the keyframes or you can select them again here. That'll duplicate the last set of key frames. I'm going to have, as he's telling us that you should do the course, I'm going to have him rotate the other way. Let's see, Okay. Position his head, position his body again. For this one, he's going to look a little bit more serious. I'm just going to bring this arm down. This arm is going to be almost pointing at the camera. Not quite, because it is a bit of a flat character. So, let's see how this looks. Class blew me away. You should quite literally, purchase. I don't purchase it immediately. Again, I'm going to duplicate all my keyframes' position. I'm going to have him return to his original pose, and I'm going to do that by copying and pasting each of these original keyframes. I've missed this out again, so let's copy that last keyframe there. Purchased the course. What you may find you need to do is again, just go into your Keyframe Assistant, and let your Keyframe Velocity as it tends to rid him after effects, tends to lose the keyframe velocities if you're animating with them. It's always worth going back afterwards, and readjusting these. Again, you have to do them separately, I'm not quite sure why they say this, it's just a quirk of after effects. Finally, the position. For some reason, they've stayed the same. Now, let's run preview our character. This week, Frienzas skillshare class blew me away. You should quite literally purchase the course immediately. There we go. There's your animated character. 9. Render and Share your Talking Character: Welcome to the final section: Render and Share your Talking Character. In this section, we'll be selecting our render area, adjusting our settings and rendering the animation, and finally, posting it to Vimeo, YouTube, and sharing it on Skillshare. So, to render our character, we're going to go into the Comp and we're going to go seven second piece of audio here. So, we're going to drag our bounds, here we are, because art work area ends to the length of the audio. Let's save that. Just for fun, I'm going to change my character's background colors. It's a bit drab. We're going to make it something like the color of his hair. We're going to go in the Comp. We're just gonna go Composition and Make Movie or Control+M, Apple+M. Here's our character render. So, I'm going to save this, make sure it's going to render to the desktop and in my output module. Here are my settings. We want to make sure that the audio output is checked for this one because we want to hear our character talk. I'm going to save that and hit Render. This will render out as a full-HD video to our desktop. If we double-click on it, here we go, full-HD. This week, freezes Skillshare class blew me away. You should quite literally purchase the course immediately. There are much satellite, dozens of videos expanding the benefits of my course up online. I'd much rather see your characters and your audio clips. It'll be great to see them posted on the class wall on Skillshare. Thanks very much.