Add transcription for: Motion Beast 2 Lesson 10.wav

transcriptions/Motion Beast 2 Lesson 10_transcription.json

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+{
+  "text": " Hello everyone! Today we're gonna animate the character's manner of walking. To begin with, let's create a new project in Full HD and set the frame rates to 24 frames per second. Before starting our work, let's consider the tools we'll use. For drawing, I'm gonna use the Graphic Tablet Waycom. The graphic functionality of Adobe Animate is quite limited. Because such tablets' characteristics like the pressure on the pen are not that significant, that's why you can use any tablet. When working on the animation, we'll use three main tools. The first one is the brush tool. We'll use it for drawing. The only parameter of special interest for us is the thickness of the brush. You can change it in the menu on the right. Here you can also select the color for drawing. To edit the drawn pieces, we'll use the eraser tool. The principle of working with it is identical to working with the brush tool. To fill the drawn figures with one color, we'll use the paint bucket tool. This tool enables us to fill the shapes with closed outlines with one color. To make the filling process easier and faster, we can allow this tool to fill with color or the shapes with borders that aren't completely closed. To enable this function, in the right hand side pane in the drop down menu, select the option Close Large Gaps. So we can proceed with animating. Now we need to import the illustration of the character who will animate to the scene. To do this, just drag the corresponding file and drop it in the already existing layer in the composition. Also for animating, we need the scheme with walking cycles. This scheme demonstrates the main poses which we'll use for animating the walking. new layer and import the scheme into it. The manner in which a character moves is an excellent means for conveying the character's personality, mood, and physical peculiarities. There are many types of walking manners. That's why there are numerous manners of walking and different schemes to use. You can endlessly experiment with them to ensure that you show the unique character of your character the best. Since the character we're gonna animate today is already complex enough, we will use one of the basic walking cycles. The scheme includes four main poses. The pose where the front leg is on the floor, the pose where one leg is partially hidden behind the second one, and two poses where the character descends to the minimal height and lifts to the maximal height above the floor. To create the full walking cycle, we need to duplicate each of these poses for each of the legs, so as the result we get 8 poses. At the same time, to animate the body without any limbs, 4 poses would be enough. So let's start with the body. Create a new layer and draw the waist of our character. Use the illustration as a reference. Firstly we'll animate the draft. It means that each pose will last 4 frames. When the animation is ready and we are completely content with it, we will add some transitional frames so that each pose lasts 2 frames. The whole animation will last 32 frames. To create the new key poses, select the waste using the Free Transform tool and with the arrows move it to the necessary position. To switch between the frames, use the square brackets. Done. Now we can add the tail. Create a new layer and to add some empty frames to it, select it and right click the mouse on it and select convert to frame by frame animation. Then keyframe every fourth frame. At first, draw the tail when it's maximally close to the floor. Further, in every next frame, the end of the tail will move away from the previous position by the distance by which the waist elevates. Now let's add the speeds on the tail. Let's start with the topmost spade. In the first frame, draw it slightly higher than the waist is. At the moment when the waist elevates after descending, keep the spade late by one frame, so it's lower than it should have been. In this way, it will seem that the spade follows the waste. This animation principle is called Follow Through. It's ready. Now following the very same principle, animate all other spades. I speed up the video here. The animation of the lower body part is ready. Now all we need to do is to duplicate all the frames to create the full loop. Now we can proceed with animating the legs. The first thing we need to do is to pay attention to the perspective to ensure that the character is in a 3D space. The leg that is closer to us will touch the ground slightly lower than the leg that is further from us. To ensure that we display such movements correctly, let's draw two indicative lines to be used as a reference for moving the feet. In the first draft animation of the legs, we won't pay too much attention to the accuracy of the drawings. The most important thing for us is to depict the moves accurately. When we are content with the moves, we will adjust the drawings themselves. To create a perfect loop, copy the first frame of the animation and paste it in the end. Using onion skin, draw the last frame. Done. Now let's animate the second leg. you Now, when we are more or less content with the animation of the legs, we can reproduce it in a more neat version. To do this, change the opacity of the layers and animate once again with another color over the existing draft. As you see, the upper part of the right leg will look the same in all frames. That's why to save us some time, we draw it only once and in other frames we'll simply move it to the necessary position using free transform tool. you you It's also important to make sure that the length and width of the limbs is the same in all frames. They should be the same throughout the whole animation. animation of the legs as well as the animation of the lower body part is ready. Now we can proceed with the upper body part. Let's start animating the body of the robot. Its rotation and squeezing when the waist lifts upwards. First five images will show its rotation, while the next three will show its returning to the initial position. Given that we can reuse some images from the first part for animating the second part. We'll need to place them in the reverse order. you you you When we are satisfied with the animation of the robot's rotation, we can animate the squeezing in more detail. At the moment when the body touches the waist, it will be affected both by the gravitation and the objects that are located on it. That's why after being squeezed, the robot's body will jump upwards, where it will again hit the objects that are situated above it. Thus, it will slightly slow down. It's ready, now we can start to add some details. The robot's eyes will rotate in the same way the body does, so we can reuse our images again. It's ready. Now we need to add the clock faces. Now, let's add the robot's arm to make the work easier for me. Firstly, I add a point where the hand will be attached to the body. After that, I add the arm to it. Now I add the animation of the indicative line. When I'm satisfied with it, I will use it as a reference for animating the arm. You shouldn't forget that the limbs that are on the body side move in the opposite directions when the character walks. I mean that when the leg moves forward, the arm should go backwards, and vice versa. It's ready. Now we can redraw the arm from the original illustration and using the free transform tool, place it in the necessary positions in the relevant frames. When the arm is rotating along its axis, the places where we see its thickness will change. That's why we need to edit them using the brush tool. We are done with it. We can proceed with animating the tiny round head. First of all, let's draw it when it's in the initial position. Next, we'll change its shape using the free transform tool. The animation of the tiny head reminds us of the animation of the robot's body, but without the rotation. you you you you However, it will be affected by the same forces, like the gravitation. The last thing to animate is the Godzilla's head. Like in the case with the animation of the lower body parts, at first we need to animate only four frames. Firstly, let's animate the head and the mouth. We'll add all other details later. At the moment when the head is squeezed, the animation of the mouth will in a way remind us of the animation of the spades we did previously. It will hold up at the bottom position for a little bits and then it will jump upwards. Now let's add the eyes. At the moment when the head is squeezed, they will close. Also let's add the spades. Their animation is identical to the animation of the spades on the tail. duplicate the frames to create a loop. Now when all objects are animated, you may notice that it's necessary to squeeze some objects even more, or vice versa to speed up the object jumping away. The final touch is the fire coming from Godzilla's mouth. It should emerge in the first frame, get bigger quickly, and fade away equally as quickly. Done. The draft animation is ready. Now to smooth the animation, let's add transitional frames between those we have already created. The most important thing to remember is that you should try to reuse the ready frames by moving and modifying them with the free transform tool. In this way you can effectively save your time. In all other cases, you need to draw a lot. It's quite a mundane process. That's why I speed up the video here. you you you We are done with it. Now the animation is way smoother and we can move on to the colors. Let's proceed with coloring the animation. First of all, we need to change the opacity of the reference and we'll use it for picking up the colors. Also let's add a layer with the black background. In general, the coloring reminds us of the process of adding transitional frames. You can adjust and color any outline elements that are rather clear. You can color the static elements once and then just move and transform them. That's the way we color the waste. Use the Paint Bucket tool for filling the elements. The tail is a perfect example of how you can start coloring the animation after some minor adjustments. To ensure the ability to edit the tail in all frames at the same time, use the option Edit Multiple Frames. To do this, select it in the menu above the timeline and then prolong its application to the length of the whole animation. Now we can simply select all the frames using the free transform tool and change their color. After that, we need to close the boundaries of the tail in each frame using the brush tool and fill after that. Next, use the brush tool to fix any flaws. The other animation parts should be colored in the very same way. We tried to reuse the ready frames and edit multiple frames at the same time. Here I will apply the same principles. That's why I won't explain them once again, so I speed up the video. you you you you you you you you you you you The animation is ready, but to make it even more fascinating, let's add an effect using After Effects. Firstly, merge all animation layers in one, to do this select them, right mouse click on them and select the option merge layers. Now save the file and open After Effects. Here firstly create a composition with the same parameters you set in Adobe Animate. Next double click on the project pane, select the file. To ensure an impression that this animation was drawn manually, apply the effect Turbulent Displace. Drag and drop the effect to the layer with the animation and change the settings. To ensure that the counters move continuously to the evolution parameter, add the expression and pasteurize time. It's ready. If you want, you can spend more time on polishing the effect. But it's a topic for another lesson. That's it for today. Good luck.",
+  "segments": [
+    {
+      "text": " Hello everyone! Today we're gonna animate the character's manner of walking. To begin with, let's create a new project in Full HD and set the frame rates to 24 frames per second. Before starting our work, let's consider the tools we'll use. For drawing, I'm gonna use the Graphic Tablet Waycom. The graphic functionality of Adobe Animate is quite limited. Because such tablets' characteristics like the pressure on the pen are not that significant, that's why you can use any tablet. When working on the animation, we'll use three main tools. The first one is the brush tool. We'll use it for drawing. The only parameter of special interest for us is the thickness of the brush. You can change it in the menu on the right. Here you can also select the color for drawing. To edit the drawn pieces, we'll use the eraser tool. The principle of working with it is identical to working with the brush tool. To fill the drawn figures with one color, we'll use the paint bucket tool. This tool enables us to fill the shapes with closed outlines with one color. To make the filling process easier and faster, we can allow this tool to fill with color or the shapes with borders that aren't completely closed. To enable this function, in the right hand side pane in the drop down menu, select the option Close Large Gaps. So we can proceed with animating. Now we need to import the illustration of the character who will animate to the scene. To do this, just drag the corresponding file and drop it in the already existing layer in the composition. Also for animating, we need the scheme with walking cycles. This scheme demonstrates the main poses which we'll use for animating the walking. new layer and import the scheme into it. The manner in which a character moves is an excellent means for conveying the character's personality, mood, and physical peculiarities. There are many types of walking manners. That's why there are numerous manners of walking and different schemes to use. You can endlessly experiment with them to ensure that you show the unique character of your character the best. Since the character we're gonna animate today is already complex enough, we will use one of the basic walking cycles. The scheme includes four main poses. The pose where the front leg is on the floor, the pose where one leg is partially hidden behind the second one, and two poses where the character descends to the minimal height and lifts to the maximal height above the floor. To create the full walking cycle, we need to duplicate each of these poses for each of the legs, so as the result we get 8 poses. At the same time, to animate the body without any limbs, 4 poses would be enough. So let's start with the body. Create a new layer and draw the waist of our character. Use the illustration as a reference. Firstly we'll animate the draft. It means that each pose will last 4 frames. When the animation is ready and we are completely content with it, we will add some transitional frames so that each pose lasts 2 frames. The whole animation will last 32 frames. To create the new key poses, select the waste using the Free Transform tool and with the arrows move it to the necessary position. To switch between the frames, use the square brackets. Done. Now we can add the tail. Create a new layer and to add some empty frames to it, select it and right click the mouse on it and select convert to frame by frame animation. Then keyframe every fourth frame. At first, draw the tail when it's maximally close to the floor. Further, in every next frame, the end of the tail will move away from the previous position by the distance by which the waist elevates. Now let's add the speeds on the tail. Let's start with the topmost spade. In the first frame, draw it slightly higher than the waist is. At the moment when the waist elevates after descending, keep the spade late by one frame, so it's lower than it should have been. In this way, it will seem that the spade follows the waste. This animation principle is called Follow Through. It's ready. Now following the very same principle, animate all other spades. I speed up the video here. The animation of the lower body part is ready. Now all we need to do is to duplicate all the frames to create the full loop. Now we can proceed with animating the legs. The first thing we need to do is to pay attention to the perspective to ensure that the character is in a 3D space. The leg that is closer to us will touch the ground slightly lower than the leg that is further from us. To ensure that we display such movements correctly, let's draw two indicative lines to be used as a reference for moving the feet. In the first draft animation of the legs, we won't pay too much attention to the accuracy of the drawings. The most important thing for us is to depict the moves accurately. When we are content with the moves, we will adjust the drawings themselves. To create a perfect loop, copy the first frame of the animation and paste it in the end. Using onion skin, draw the last frame. Done. Now let's animate the second leg. you Now, when we are more or less content with the animation of the legs, we can reproduce it in a more neat version. To do this, change the opacity of the layers and animate once again with another color over the existing draft. As you see, the upper part of the right leg will look the same in all frames. That's why to save us some time, we draw it only once and in other frames we'll simply move it to the necessary position using free transform tool. you you It's also important to make sure that the length and width of the limbs is the same in all frames. They should be the same throughout the whole animation. animation of the legs as well as the animation of the lower body part is ready. Now we can proceed with the upper body part. Let's start animating the body of the robot. Its rotation and squeezing when the waist lifts upwards. First five images will show its rotation, while the next three will show its returning to the initial position. Given that we can reuse some images from the first part for animating the second part. We'll need to place them in the reverse order. you you you When we are satisfied with the animation of the robot's rotation, we can animate the squeezing in more detail. At the moment when the body touches the waist, it will be affected both by the gravitation and the objects that are located on it. That's why after being squeezed, the robot's body will jump upwards, where it will again hit the objects that are situated above it. Thus, it will slightly slow down. It's ready, now we can start to add some details. The robot's eyes will rotate in the same way the body does, so we can reuse our images again. It's ready. Now we need to add the clock faces. Now, let's add the robot's arm to make the work easier for me. Firstly, I add a point where the hand will be attached to the body. After that, I add the arm to it. Now I add the animation of the indicative line. When I'm satisfied with it, I will use it as a reference for animating the arm. You shouldn't forget that the limbs that are on the body side move in the opposite directions when the character walks. I mean that when the leg moves forward, the arm should go backwards, and vice versa. It's ready. Now we can redraw the arm from the original illustration and using the free transform tool, place it in the necessary positions in the relevant frames. When the arm is rotating along its axis, the places where we see its thickness will change. That's why we need to edit them using the brush tool. We are done with it. We can proceed with animating the tiny round head. First of all, let's draw it when it's in the initial position. Next, we'll change its shape using the free transform tool. The animation of the tiny head reminds us of the animation of the robot's body, but without the rotation. you you you you However, it will be affected by the same forces, like the gravitation. The last thing to animate is the Godzilla's head. Like in the case with the animation of the lower body parts, at first we need to animate only four frames. Firstly, let's animate the head and the mouth. We'll add all other details later. At the moment when the head is squeezed, the animation of the mouth will in a way remind us of the animation of the spades we did previously. It will hold up at the bottom position for a little bits and then it will jump upwards. Now let's add the eyes. At the moment when the head is squeezed, they will close. Also let's add the spades. Their animation is identical to the animation of the spades on the tail. duplicate the frames to create a loop. Now when all objects are animated, you may notice that it's necessary to squeeze some objects even more, or vice versa to speed up the object jumping away. The final touch is the fire coming from Godzilla's mouth. It should emerge in the first frame, get bigger quickly, and fade away equally as quickly. Done. The draft animation is ready. Now to smooth the animation, let's add transitional frames between those we have already created. The most important thing to remember is that you should try to reuse the ready frames by moving and modifying them with the free transform tool. In this way you can effectively save your time. In all other cases, you need to draw a lot. It's quite a mundane process. That's why I speed up the video here. you you you We are done with it. Now the animation is way smoother and we can move on to the colors. Let's proceed with coloring the animation. First of all, we need to change the opacity of the reference and we'll use it for picking up the colors. Also let's add a layer with the black background. In general, the coloring reminds us of the process of adding transitional frames. You can adjust and color any outline elements that are rather clear. You can color the static elements once and then just move and transform them. That's the way we color the waste. Use the Paint Bucket tool for filling the elements. The tail is a perfect example of how you can start coloring the animation after some minor adjustments. To ensure the ability to edit the tail in all frames at the same time, use the option Edit Multiple Frames. To do this, select it in the menu above the timeline and then prolong its application to the length of the whole animation. Now we can simply select all the frames using the free transform tool and change their color. After that, we need to close the boundaries of the tail in each frame using the brush tool and fill after that. Next, use the brush tool to fix any flaws. The other animation parts should be colored in the very same way. We tried to reuse the ready frames and edit multiple frames at the same time. Here I will apply the same principles. That's why I won't explain them once again, so I speed up the video. you you you you you you you you you you you The animation is ready, but to make it even more fascinating, let's add an effect using After Effects. Firstly, merge all animation layers in one, to do this select them, right mouse click on them and select the option merge layers. Now save the file and open After Effects. Here firstly create a composition with the same parameters you set in Adobe Animate. Next double click on the project pane, select the file. To ensure an impression that this animation was drawn manually, apply the effect Turbulent Displace. Drag and drop the effect to the layer with the animation and change the settings. To ensure that the counters move continuously to the evolution parameter, add the expression and pasteurize time. It's ready. If you want, you can spend more time on polishing the effect. But it's a topic for another lesson. That's it for today. Good luck."
+    }
+  ]
+}