Studio 2

Journal Week 9

What I did and learnt:

Adjusted the timing of my frog animation, tried using the morpher tool to this but it didn’t work. Also tried doing cel animation for the splash.

link to frog animation: https://drive.google.com/drive/folders/1GEyrOZ8kYxYF-fbg30G0OUBFENACiMQP

I tried doing cel animation in Duik but it was really slow and glitchy, it was very time consuming and since I was using multiple colours I wanted to adjust the onion skin a bit so I could see the colours, and then re-adjust so I don’t confuse what I’m drawing with what I already drew. But After Effects started to want to crash when I adjusted the onion skin opacity. The ended up losing my 4 splash frames, due to them disappearing for some reason after I tried seeing where they were in the scene. In the scene, the splash was rotated basically upside down.

Capture

Morpher tool doesn’t work for me, it did for a little bit, it sped up the animation but it wasn’t acting how videos showed it to act. Any changes I was able to make were through me winging it, ended up just highlighting keyframes in sections and moving them by hand.

https://vimeo.com/225599368

Watched to try and figure out why morpher isn’t working the way I thought it was meant to work. But through this tutorial, it seems to work a different way.

https://www.youtube.com/watch?v=7GPMoCSBJBc

This video, I skipped through to see what this guy said the morpher tool was, he uses it the same way the Lynda tutorial does.

https://forums.creativecow.net/docs/forums/post.php?forumid=2&postid=1123237&univpostid=1123237&pview=t

This seems like the way I will have to do it as the morpher tool isn’t working.

I then started to make the splash in adobe animate.

splash

Learnt how to create masking layers in photoshop, which enabled me to create shadows on Anna’s bed for my cross-discipline project. My friend Chiara taught me how to do this. The second image I used a hard lighting layer mask to produce some highlights. The quality isn’t the best.

ana bedana bed.coloured.2

Adjustments to model sheets, stil not the best quality:

tomas2anna_modelsheet draft.2

Started making Tomas’s bed.

tomas bed

Swan Ballerina animation thumbnails/storyboard, the legs won’t be seen but without them, it was hard for me to imagine where the skirt would sit. In the first round of drawings I didn’t draw her bowing enough. It was a bit confusing to figure out how the legs bent , especially the front leg.

IMG_0437IMG_0438

Notes from this tutorial https://drive.google.com/drive/folders/1GEyrOZ8kYxYF-fbg30G0OUBFENACiMQP :

Unlike the Lynda tutorial he does the body rigging in different sections and renames things differently. I think I prefer the way the Lynda tutorial renamed things, it seems more logical to rename them like auto rig, cause some of his like with the hips overlap and I think that would confuse me a bit. He also moves the bone layers down to where the layers art layers are. He locks his art layers, which I should do.

He also precomposed the face, which I know you can animate within which I will be interesting to see how that works in a video.

He created IK in the leg manually, like how we were shown in class. He made 3 bones in the leg and another 3 in the foot. He then parented the bones starting at the toe and working his way up. As the last bone (around the ankle) in the leg leads the leg in bending and movement you select that bone and make a controller. Then select 3rd leg bone and select the leg bones in chronological order up from the ankle and then the controller you just made and create IK from that. This works perfectly, the foot still follows but doesn’t bend when the leg does. I’ve always wondered how to have a foot with puppet pins would work when manually rigging.

Renaming as you go is very important, with expressions they rely on names, if you don’t and then decide to rename it can break it.

To ensure nice rotation on hands (the same could go with feet) you line up your pivot points using the ruler tool (go to view, show rulers to set them up. Pull from edges to get the lines.) And then use where the lines cross over to place the puppet pins of the last one of the arm and the first of the hand.

He uses vector layers that i assume are from his artwork layers, i understand how they are useful for placing the puppet pins but they aren’t necessary.

He doesn’t rig the hands with any puppet pins, so all they can do is rotate and basic movement. This may be because of the style of the hand. The process of rigging the hands is basically the same as rigging the legs, with the creation of controllers, linking things it’s just more emphasis on placing of pivot points so hand movement is smooth.

I think that he doesn’t really talk about the importance of anchor points enough.

I like the way he colour codes everything, it would be interesting to see if changing the colour of the layer would change the colour of the controller.

Having a shoulder puppet pin makes me think would you have one separate to the spine so you can make the shoulder shrugs and drops.

Adobe Animate Research

lynda.com/Animate-tutorials/Learn-Adobe-Animate-CC-Basics/482046-2.html

More of a general tutorial, not animation-specific, some of it wasn’t that helpful as it wasn’t related to animation like I’m doing for my Swan Ballerina.

Top right-hand corner of the screen, allows you to change your workspace, has different windows open. You can reset the workspace, which I would find useful if I accidentally closed a window, cause I’m clumsy as hell. Can create a custom workspace

Control tab-test or control-enter to create a test.

The grey area around the stage is called the pasteboard. Stuff can exist here they cant be seen when exported.

New layer button in the bottom left hand corner.

Folder button is next to it, this will be useful when animating the ballerina and the swan, to keep everything organised and manageable.

Whatever you have selected its individual properties will appear in the properties window, that includes tools, not the scene properties.

Shapes don’t exist in the library.

Selection tool shortcut V

The subselection tool, shortcut a, the white arrow “allows you to manipulate paths and anchor points.”

Free transform tool, shortcut-Q the white arrow and the dotted line box allows you to manipulate objects, which also changes through the drop down to the gradient transform tool, shortcut F, which allows you to manipulate the gradient.

Lasso tool, looks like a lasso, shortcut L. The polygon tool and magic wand tool also come under this tool as they are all used for selecting things.

Pen tool, shortcut p, creates strokes.

Text tool, shortcut t, creates text.

Line tool, shortcut n, created lines.

There are more options for some tools, down the bottom of the toolbar regarding size, shape etc.

Pencil tool, shortcut shift-Y

Brush tool, shortcut B

F5 adds in frames

https://www.lynda.com/Animate-tutorials/Environments/475937/512107-4.html?srchtrk=index%3a7%0alinktypeid%3a2%0aq%3aAdobe+animate%0apage%3a1%0as%3arelevance%0asa%3atrue%0aproducttypeid%3a2

This tutorial was more relatable to my project and was much more helpful and refreshed my memory on a few projects.

Like in the other tutorial stretching out the toolbox, seems to be recommended so you can see all the tools.

Tabs- edit- preferences,

Change undo to object level undo, it allows you to undo based on the object rather than everything.

Right click on stage and you can put a grid on it

If you select a keyframe on one layer and press Alt and then drag it onto another layer then it copies it onto the other layer.

Modify tab, convert to symbol.

Registration moves the pivot point.

To open symbols you can double click on the symbol title with the listing of the library or by double-clicking it on the stage.

One way of inserting keyframes (it may just be for with symbols is under the insert tab, timeline then frame.

Movie clip symbols are only reviewable in tests, not when scrubbing through animation. Graphic symbols aren’t like that cause they are linked to the timeline. You can change the looping settings for a graphic symbol. If you animate within a symbol it will automatically loop. With the symbol selected, in the properties panel under looping.  You can change it so the animation within the symbol only plays once. Or choose a single frame and then either select a number or go through the frame picker with pictures and select the image you want.

Where the library and properties tabs are in the right side there is a menu button which has a lot of useful actions,  including to create a new symbol.

Select object and press f8 will turn it into a symbol.

Pivot point

If you double click when you have it selected then its position will reset.

If you are trying to adjust the pivot of an object that is made of nested symbols it is best to do it within the symbol. Go into the symbol where all the symbols are, select all of the symbol layers. Then using shift and the arrow buttons adjust the pivot point in one direction (up or down) take note of how many times you go up, down or side to side. Then exit the symbol and move the object back to where it was (using shift and the arrow buttons). Then repeat this until the pivot is in the right Place.

There are 2 tools within the hand tool, if you select the rotation hand tool, by clicking on the stage it allows you to place the pivot point wherever you like, then it allows you to rotate the stage, this is helpful for drawing. Then to reset it to normal click the center stage button, that looks kinda like a compass in the tab above/surrounding the stage and is next to where you can change how big the stage appears on the screen.

Nested symbols- In this tutorial, the alien character is all made within one symbol, then each piece of the alien, the eye, the mouth, the body is made in the symbol but is also made into its own separate symbol. This means you can move around the character through moving one symbol, and keyframe that. Like master control.

To make a mask, based off another layer copy the layer, have it selected control c

Then new layer, control shift v and copies it into place on the new layer. Then right-click on the new layer and make it a mask. It automatically masks the layer beneath it.

Free transform tool is the easiest way to move the pivot point

If you select a frame on the timeline and then press f5 it will create frames from where the last keyframe was to the frame you selected on the timeline.

F6 adds a keyframe.

Ctrl+shift c and ctrl+shift v to copy and paste.

Right click for motion tweening

In tweening properties, the tiny microphone tool brings up a curve editor that allows you to customize the ease in and out.

Use classic tween

To make a guide for something, a path for an object to follow when animated like a curved line. Draw a line and position it how you want it, make sure it starts where you want the animation to occur. Then right-click on the layer, make it a guide and drag the object that you want to follow it underneath it, this should cause the guide layers appearance on the left side of the timeline to change. Make the lines alpha 0 and you won’t see it any adjustments to the line made after making it a guide will still change the path of the object.

If shape tweening isn’t working then you can use the shape hint tool. Modify tab- shape- add shape hint or ctrl shift and h.make sure snap is on. Then it allows you to add points that guide the shape into the other. You can add more points by pressing ctrl shift and h.

With the free transform tool, there are sub tools, they allow you to modify shape in more complex ways using the distort tool and the envelope tool. The distort tool can flip the shape in weird ways if it’s pushed too far. The envelope allows for more points of editing.

Scale and rotating through the modify tab can help with masking issues.

Save constantly.

You can toggle between having the guide layer active or not by right-clicking on the guide layer and selecting and or deselecting guide.  

The paintbrush tool allows you to paint with different brushes, by going to the window and selecting brush library.

To create camera moves within animate, you need to have all the objects and the background within one symbol (nested symbols) and then using the transform tools and by moving everything around you can zoom in and out, and pan across the scene and stuff. Use ease in and out and tweening to make smooth camera movements.

Can add sounds to the library, then add them to the timeline, if you right click on layer and bring up properties then make the view 200% you can see the audio. On the properties panel for the sound make the sync setting stream. Then click on the tiny pencil tool that looks like a microphone, and by adjusting the black line and add new points you can adjust the audio, ease it in, ease it out, start it in a different part of the audio. If you want to chop up the audio, select the keyframe where you want the chop to be. Then right-click and select split audio. This will separate/cut the audio where you had it selected, this allows you to shrink, cut and paste the audio and get rid of parts you don’t want. If you ease out a large piece of audio that you use several pieces of it, make sure that if you ease out parts of the audio that you add a point after where you want to ease out, before you ease it out so you dont cut out the rest of your audio.

To recolour objects, make their colour a tagged colour before painting them, then whatever changes are made to the tagged colour will change all instances of the colour.

Publish settings allows you to change audio quality, make it high kbps and its quality the best

Export video=swift file

Export movie= swift movie or png sequence, jpeg sequence or gif.

Dragging swift files into chrome gets them to play.

 

 

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