Add transcription for: Motion Design School-9.wav

transcriptions/Motion Design School-9_transcription.json

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+{
+  "text": " Hello everyone, this is Motion Design School. On this lesson we will analyze the animation of double bounce. First of all, we will simplify the markers of fast contact and passing. The step will be to take 18 frames, why not the usual 16 or 20, because we will have double jump on 16 frames, it will look too sharp. On 20, on the contrary, slow. Therefore, we will take the average. The character is fully prepared for the animation and we will start with the knock, they are made using the script of the rubber host. Select the controller layer legs and put the key on the parameters position in the 18th frame. On this frame we will have a position character the same as in the original image. Relatively this pose we will work with shapes. We will go to the zero frame and stop the controller legs places. Copy the keys from the zero frame to 36th frame to be full circle. We will bring the keys to the Toggle Hall and set the Passing Phase. Then we will return the keys in a linear state and adjust the trajectory of the foot movement with additional keys. Try to set as few as possible additional keys as possible to adjust the trajectory with your hands. and the We will move on to the foot animation. We animate rotation controller of the leg and step. Add a little bit of a gap in the step before the contact phase. We will make a duplicate of the step-knee, which is behind at the moment, change its color and detract from the controllers. To do this, we will chase the path of the group at the time of the contact phase. Next, bend in the opposite direction and before the next phase of contact, make a bend Nosecaf to the top to strengthen the collar. The In the contact phase, we leave the corner of the foot. At the end of the cycle, we will need to make a little more key animation for the foot. The main thing is that the first and last frames are matched. We make a bend from the bottom, we tie it to another leg and fix the key animation. the the Now let's do the body animation. As we remember, when walking, the body moves up and down. In the walking with double balance, for one step, the body should rise up twice. But first we will make the body movement as usual for the new walk. We will put the keys on the contact phases and passing. Between them will be the up and down phases. After that, we will use Expression Loupout and adjust the easing. Next, we will animate the rotation of the body and hand. This will be the animation of the pass. On the 18th frame, we set the keys in the parameters of the pass. For the body we add the animation of the rotation. Let's take a zero frame and set the body as if it was turned the other way. the And add the keys at the end of the cycle. I'm going to show you how to do it. We will do the same with the other side. Let's move on to the hand animation. We need to make an illusion of the hand turn. We will select all the points of the pass, click CTRL T and edit the pass. the and the and you Now we need to make a head animation character. rotation and position. We will apply two effects of the band for the animation of the neck and nose, then we will apply the expression to conf value, so that the effect is tied to the shape. We will build the position of the effect dot and animate it. the you the Let's make a parameter animation from minus 60 to 60 by the contact phase. And we will apply lupald. For rotation, we will use loop in. We will set offsets, position keys, we will speed up. Add the staff's glas to the animation. In the head layer we find the eyes and animate them in the Y-axis. I Now turn on the opposition's body, we got a double bounce. In the body layer, we will adjust the shape of the body for the walk. We will put additional keys, then we will return to the animation of the hand and also adjust my trip. the and Add the shadows texture. Draw a shape with the gradient of transparency. Add the effect of the scatter on it and animate the position and transparency of the layer. and the The shadow should move behind the leg and when it comes off the ground, the shadow disappears. the you the you and you Let's enhance the animation of the wolf's tuflet. At the moment of the cut, we will make the stretching of the strings, animation of the pass. Then add texture on legs. We draw a shape. We apply the scatter and setmate and tie it to the leg. Open the hand layer, turn on the visibility layer, shade and animate the paste. the I'm going to do a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit the and the After that, we draw shadows for the legs in a new layer. We will use the effect setMate and animate the parameter PAS. This will take some time. and you the the the you you I'm going to do a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit The result was a funny double bounce battle. Experiment with the battles of the characters, be sure to share the results, and that's how our lesson comes to an end. Thank you all, bye!",
+  "segments": [
+    {
+      "text": " Hello everyone, this is Motion Design School. On this lesson we will analyze the animation of double bounce. First of all, we will simplify the markers of fast contact and passing. The step will be to take 18 frames, why not the usual 16 or 20, because we will have double jump on 16 frames, it will look too sharp. On 20, on the contrary, slow. Therefore, we will take the average. The character is fully prepared for the animation and we will start with the knock, they are made using the script of the rubber host. Select the controller layer legs and put the key on the parameters position in the 18th frame. On this frame we will have a position character the same as in the original image. Relatively this pose we will work with shapes. We will go to the zero frame and stop the controller legs places. Copy the keys from the zero frame to 36th frame to be full circle. We will bring the keys to the Toggle Hall and set the Passing Phase. Then we will return the keys in a linear state and adjust the trajectory of the foot movement with additional keys. Try to set as few as possible additional keys as possible to adjust the trajectory with your hands. and the We will move on to the foot animation. We animate rotation controller of the leg and step. Add a little bit of a gap in the step before the contact phase. We will make a duplicate of the step-knee, which is behind at the moment, change its color and detract from the controllers. To do this, we will chase the path of the group at the time of the contact phase. Next, bend in the opposite direction and before the next phase of contact, make a bend Nosecaf to the top to strengthen the collar. The In the contact phase, we leave the corner of the foot. At the end of the cycle, we will need to make a little more key animation for the foot. The main thing is that the first and last frames are matched. We make a bend from the bottom, we tie it to another leg and fix the key animation. the the Now let's do the body animation. As we remember, when walking, the body moves up and down. In the walking with double balance, for one step, the body should rise up twice. But first we will make the body movement as usual for the new walk. We will put the keys on the contact phases and passing. Between them will be the up and down phases. After that, we will use Expression Loupout and adjust the easing. Next, we will animate the rotation of the body and hand. This will be the animation of the pass. On the 18th frame, we set the keys in the parameters of the pass. For the body we add the animation of the rotation. Let's take a zero frame and set the body as if it was turned the other way. the And add the keys at the end of the cycle. I'm going to show you how to do it. We will do the same with the other side. Let's move on to the hand animation. We need to make an illusion of the hand turn. We will select all the points of the pass, click CTRL T and edit the pass. the and the and you Now we need to make a head animation character. rotation and position. We will apply two effects of the band for the animation of the neck and nose, then we will apply the expression to conf value, so that the effect is tied to the shape. We will build the position of the effect dot and animate it. the you the Let's make a parameter animation from minus 60 to 60 by the contact phase. And we will apply lupald. For rotation, we will use loop in. We will set offsets, position keys, we will speed up. Add the staff's glas to the animation. In the head layer we find the eyes and animate them in the Y-axis. I Now turn on the opposition's body, we got a double bounce. In the body layer, we will adjust the shape of the body for the walk. We will put additional keys, then we will return to the animation of the hand and also adjust my trip. the and Add the shadows texture. Draw a shape with the gradient of transparency. Add the effect of the scatter on it and animate the position and transparency of the layer. and the The shadow should move behind the leg and when it comes off the ground, the shadow disappears. the you the you and you Let's enhance the animation of the wolf's tuflet. At the moment of the cut, we will make the stretching of the strings, animation of the pass. Then add texture on legs. We draw a shape. We apply the scatter and setmate and tie it to the leg. Open the hand layer, turn on the visibility layer, shade and animate the paste. the I'm going to do a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit the and the After that, we draw shadows for the legs in a new layer. We will use the effect setMate and animate the parameter PAS. This will take some time. and you the the the you you I'm going to do a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit The result was a funny double bounce battle. Experiment with the battles of the characters, be sure to share the results, and that's how our lesson comes to an end. Thank you all, bye!"
+    }
+  ]
+}