How To Flip Character Animation In After Effects?
Discover the ability of the Pose-to-Pose method of character animation in Subsequently Furnishings.
Whoo boy, is graphic symbol animation difficult. And to make matters worse, nearly After Effects animators try to movement their characters the aforementioned fashion they move logos and type: Straight ahead. The clandestine to getting the hang of character animation is actually to use the same method Disney animators used in the heyday of cel animation: Pose-to-Pose.
In this tutorial, character blitheness encyclopedia Morgan Williams (who also teaches Character Animation Bootcamp) will teach you the magic of the pose-to-pose method and how to utilise information technology in After Effects.
This is some within baseball stuff, so pay attention.
Intro to Pose-to-Pose Animation in After Effects
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What are you going to learn in this tutorial?
Character blitheness is, to put it very mildly, a ridiculously deep topic. In this lesson Morgan will prove yous the basics of the Pose-to-Pose method which will literally crack your skull open if you've never tried it. Character animation becomes much easier when you learn to work this way.
WHY STRAIGHT AHEAD IS And then Difficult
Near Motility Pattern projects are blithe in a straight-ahead manner, which doesn't work very well for circuitous character rigs.
THE Power OF HOLD KEYFRAMES
The Pose-to-pose process begins past stacking groups of hold keyframes in your timeline, creating a serial of detached poses.
THE IMPORTANCE OF EXAGGERATION
Every animator knows (or should know) the importance of exaggeration... but in grapheme blitheness this principle is paramount. Exaggerate thy poses!
HOW TO FLIP BOOK YOUR ANIMATION
Luckily, we don't accept to hold sheets of tracing paper between our fingers anymore to flipbook animations. However, learning the Later on Effects equivalent of this technique is super helpful.
WHY YOU NEED A WELL-DESIGNED RIG
Character animation is hard enough without having to fight with a rig. Having built in controls for squash and stretch, heel-ringlet and other parameters is a huge reward.
HOW TO PLAY WITH TIMING
In one case you've established your poses, yous're set up to work on timing. Pose-to-pose is fabricated for this fun pace.
WHAT HAPPENS Next?
You create your poses and timing, yada yada yada, you're done! Actually, there'southward more than to information technology... but we'll get there.
Bend Characters to Your Will
If you had a blast learning the beginning stage of Pose-to-Pose animation, y'all are going to honey Character Animation Bootcamp. This 12-week interactive class is filled with astonishing rigs, tricks of the trade, and challenging scenarios for you lot to tackle with the assist of your teaching-assistant and classmates.
If you lot struggle to animate characters, or want to add together this amazing skill to your arsenal, check out the information folio and please permit usa know if y'all have whatsoever questions. Cheers for watching!
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Tutorial Full Transcript Below 👇:
:00): Morgan Williams here, character animator and animation fanatic. In this curt video, I'm going to teach y'all almost the power of the pose to pose character workflow. And later This workflow is something nosotros practice extensively and character blitheness bootcamp. So if you're interested in learning more, become cheque out that grade. As well y'all can download the squash grapheme rig and projection files I'yard using in this video to follow along or practice with after you lot're done, watching details are in the clarification.
Morgan Williams (00:38): If you lot're used to doing more motility graphics type of work than trying to execute a scene like this might be pretty daunting. And there'south a pretty good reason for that. And so to show y'all, allow's take a expect behind the scenes of what'south driving this animation. Then hither nosotros are in the pre-com for this character. And as yous can see, there's a few key frames in hither. There's a lot going on, not simply a lot of fundamental frames, but there's too overlapping blitheness, anticipations, overshoots, and all of these cardinal frames have been adjusted in the graph editor. So just looking at the graph editor for the rotation property on the head, you can see that there's a lot going on here. And if you try to brand an animation, like this happens straight ahead, or just going from frame one until the cease, you would probably go lost pretty quickly.
Morgan Williams (01:21): And so here'southward an animation. That'south quite a bit simpler than the previous i. This is squash, and y'all can come across that in his current course, he doesn't even accept artillery. He's just jumping off the ground, hanging in the air for a moment and and so landing. And even with the simplified graphic symbol shape with no arms and a lot less pieces, y'all can withal see that a lot went into making this animation feel as good as it does. And what I run into a lot of animators do when faced with an empty timeline like this is they retrieve, well, perhaps the character needs to start by crouching down to leap. And that is correct. So we're going to lower the centre of gravity, and and then we're going to get forward a few key frames, and and then we're going to have the character bound up in the air, which is going to require key framing, both the center of gravity and the feed. And and then you sort of accept to do this little trip the light fantastic like this, and then you end upwardly with something that doesn't work at all on whatever level. And then you realize, oh, I demand to get back. I need to prepare more than primal frames here. And you've got to try to effigy out how to slowly but surely go this character to jump well, I'1000 here to tell you lot there's a better mode.
Morgan Williams (02:24): What we're going to do is use something chosen pose to pose animation, and information technology works exactly how it sounds. We're going to recall of each step in this animation as a distinct pose. The first thing I'm going to want to practise is select all of the key frames on the initial pose and convert them to hold fundamental frames. You can do this past command, clicking on the selected key frames and saying toggle hold key frame, or use the keyboard shortcut command an pick on a Mac. What this does is tell after effects that these cardinal frames are not going to smoothly interpolate to the next set of key frames. I'll show y'all what I mean almost actions that you want a character to do are going to accept a serial of key poses that they demand to hit with a jump. The next fundamental pose is an anticipation pose, squatting down, gathering energy.
Morgan Williams (03:09): So to do this, allow's grab this controller, the center of gravity controller, the cog, and let'due south just bring squash down. Like so now one of the principles of grapheme animation is exaggeration. You really want to exaggerate these poses and posing is something we talk almost extensively in character blitheness bootcamp. So it make sure you check that form out. If you're interested, I'm going to hit w and catch my rotate tool. So I can likewise tip squash forward a trivial bit. Then I'thousand going to use the arrow keys to just nudge them downwards every bit low as I can get him trying to go a nice squashed pose. We also have a control for squashes eyes, so he can sort of blink every bit though he's getting ready and bracing for the jump. I'm likewise going to play with the center of gravity a trivial chip more. You'll observe that with an I K rig like this, where y'all place the controller makes a big difference, and I want squash to go every bit low as possible.
Morgan Williams (04:00): So I want you to notice how the timeline looks right now. All of these primal frames are hold key frames, and you'll meet that while I accept key frames on these properties here, I only accept a few key frames on the next pose. So I want to make sure I have key frames on everything. So I'grand going to get ahead and create more than key frames. So now what we accept are two vertical lines of key frames that are hold central frames. And each of these vertical lines are poses. If I use the J and K key to go dorsum and forth between them, I'm almost starting to flip volume my animation. Hopefully you're starting to see how pose to pose blitheness works. And so let'due south become forward a few more frames and do the next pose together. The next pose is squash pushing off the ground and nigh to go up in the air.
Morgan Williams (04:44): So the center of gravity controller will come up up similar this, but I besides want the viewer to feel that squash is releasing a lot of energy and pressing really hard against the ground. This rig has a heel roll control on both anxiety and by adjusting it, I tin actually have the heel come off the basis every bit if squash is pushing off the ground with his toes, I'm going to arrange the aforementioned control on the other foot. And so this is going to permit me to button the middle of gravity up even higher. At present this rig has stretching turned on, which ways I tin can even stretch the legs out past their normal point if I desire information technology to. And I think I'll do that a little bit. I want a piffling fleck of bend in the leg here. So I'm going to just nudge the center of gravity until I go exactly the pose I want.
Morgan Williams (05:27): I'm going to open his eyes to, so I'm going to use a controller. We oasis't used yet. The squash and stretch control on the eye of gravity controller. Squash and stretch is a principle that you may have learned about in blitheness bootcamp, but in character animation bootcamp, we use it extensively. As squash travels up, his trunk will actually stretch in that direction. Vice versa. If we get back to the previous pose, we tin can even squash downward toward the ground a trivial bit. And at present we've got three poses. I'm going to this pose past adding key frames to every other belongings. And now I can utilise J and K to flip book through these poses. Now, correct at present, each pose is just sort of arbitrarily spaced out timing wise. We're going to fix the timing in the next pace, but in pose to pose, the starting time thing you demand to do is just set up all of your poses. So I'm going to do the residuum of them at present.
Morgan Williams (06:20): So now nosotros accept several poses set upwardly. We have the initial pose crouching near to leap off the footing, off the ground, most to state back on the ground, absorbing the impact and returning to normal. And what's bully well-nigh having these poses set up actually hands in vertical stacks. Like this is that I tin use the J and K keys to flip book this, and I tin can fifty-fifty play with timing in real time. For example, I could try having something that's pretty even just tapping my finger similar this. I could also endeavor having squash hang in the air for a little bit longer, like VAT.
Morgan Williams (06:55): And you lot can play around with these things. And because these are hold key frames, there'south not much rendering happening. Then if we ran preview this, you lot can get a really expert sense of the timing of this animation. But let's say that you want to change something right now. When squash crouches downward, I don't really feel similar he's gathering that much energy. I desire him to hang out downwards there a petty bit longer. And so that's really like shooting fish in a barrel if I get to this pose and select all of these other key frames and just scoot them down a little flake more. Now that pose will concord for longer. And at present, since he's holding downwards there a little longer, when he hits this pose, nail, I want them to pop upwardly in the air a niggling chip quicker. So now I can move all these poses down and and then maybe have them hang in the air a trivial bit longer.
Morgan Williams (07:41): And in that location yous go. Now you tin can see the power of using poses. Information technology'southward really easy to experiment with timing, and it's really easy to arrange poses. If you see something you don't similar on this postal service, when squash is about to hitting the footing might exist kind of funny. If his optics were looking up almost like the inertia's pulling his eyeballs upward. And so why don't we simply go ahead and grab his eyes and scooch them upwardly a footling chip like this. They're looking downwardly on the previous pose. They're looking up hither and then they're back to normal. Let's come across what that looks like.
Morgan Williams (08:12): Information technology'southward a pretty quick movement. So you don't actually feel it all that much. We can see what happens if we add one more than frame to this pose, possibly you'll feel it a little bit more. And at that place you get. The whole point is that this makes it very, very piece of cake to experiment with timing, with different poses, add frames, take away frames. And it's really a lot of fun. Once you go the hang of it. Now, once you're happy with all of your key poses and you lot're happy with the timing y'all tin can move on to the next phase, which is to tween the primal frames and create overlapping movements, anticipations, and overshoots, and things like that. But that'southward a lesson for another time. Well, I hope you've learned something working this style volition salvage you a lot of headaches. If you're doing character animation, hitting subscribe. If you want more than tips similar this one and make certain to cheque out the description so you can download the character rig from this video. If yous want to learn and exercise the art of character blitheness and after effects with the help of manufacture pros, cheque out character blitheness bootcamp from school of move, have fun.
Source: https://www.schoolofmotion.com/blog/pose-to-pose-character-animation-after-effects
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