Add transcription for: frames/MDS_ScienceofCharacterAnimation_DownloadPirate.com_Part 2_mp4_frames.zip

transcriptions/frames/MDS_ScienceofCharacterAnimation_DownloadPirate.com_Part 2_mp4_frames_transcription.json

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+{
+  "text": " Now, I won't lie. We are gonna hit that frame by frame camp quite a bit in this chapter. But don't worry. I got a couple of tricks up my sleeve that will make your animations go from good to masterful. By the way, don't let these frame by frame sessions discourage you. If you have little patience for this type of work, then just keep your characters more simple and less detailed. Just making your character flat as supposed to outlined can save you a couple of hours easily. I'm just showing you some of the more extreme cases so you know what to expect. Ok, first thing we'll do is to fix the details on the legs. So hide everything else except the right leg, sock and shoe. Let's move the shoe layers just behind the leg limp. Now set the indicator to where the shoe lifts from the ground. Then import a pre-designed shoe with the right perspective. Yep, I mentioned this little trick in lesson number 7 and it really is the secret behind those sweet perspectives. Wait until we start with our walk cycles. Then we need to make a bunch of this. As for the shoe itself It's separated into layers. One with the shoe Which should be placed on top of the leg and one with the back of the shoe Which should be placed behind the leg. However, make sure that back shoe is is parented to the shoe before you start moving stuff around. Oh, stupid. Something extra, something special. Why do so much for you guys? Did you know that you can adjust multiple points from multiple paths together at the same time? Yep, just click drag over the points and voila. You can now move, rotate and scale them all together as one. Now, show the sock limp. Trim the original shoe layers. Pair in the top shoe to the right shoe. Move it on top of the sock, but make sure that back shoe is still behind it. Trim the top shoe layers. By the way, I call it top shoe because you see the top of the shoe, but perhaps it makes more sense for you to call it something else. Ok, let's adjust the position and rotation. Let's put the regular shoe back into place for one frame by dragging the right shoe layers here, cutting them, adjusting the layer structure and dragging their original layers back into place. Let's also trim the top shoe layers and move this back shoe back behind the sock where it belongs. Now this shoe will act as a transition for our next perspective. Which we'll add now. So let's go back into this shoe perspectives comp and copy this bottom shoe layers. Place them on top of the other shoes. Trim them. Fix the position. Whoops, it obviously needs to go over the leg itself, so drag the shoe over the leg and the back shoe behind the sock. the position a bit, parent it to the right shoe. Let's just adjust the position and rotation of this shoe, so snap some frames in the beginning of the layer. Then go to where the shoe touches the ground and make sure it doesn't cut through the shadow like so. Trim the layers and drag the original shoe back into play once more. Now delete all these keyframes and parent this shoe to the original right shoe. Thus we only need to move the original shoe when animating. Make sure it sits well on the shadow. Let's also make all the shoe layers except the original right shoe, orange. Whoops, forgot to trim the shoes in the back, so let's just fix that. Now, if you recall our posting lesson, we talked a lot about placements, and bends. Well, as you can see the sock shouldn't be placed in the back here, so let's move it to the front. There's only one catch. We can't cut these limb layers because that will break the script and make them non-functional. Instead we'll make a copy of the sock limb via the character tool panel. Name it right right sock top. Place them between the bottom shoe and bottom leg layers. them. Adjust the length of the sock. Boom. Time to fine tune the timing. Now if you ever wondered about why I added that little weird mask at the bottom of the legs, well it's because that's the only way we can manipulate the bottom of that shape. And why do we want to do that? Well as I showed you guys in the posting lesson, the way you bend stuff affects the perception of the depth. Which means that this is actually a very important layer. Also a bit annoying as we have to fix everything frame by frame. the Yeah. the the the Yeah. So Yeah. the I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little the Yeah. So the Yeah. So So So So So That now looks awesome! Alright, time to fix the lower cuff of the pants. So drag the layer just below the leg limp and start frame by framing that path. So Yeah. the So So the the the the I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit 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 Yeah. So the Yeah. So, So Now we just need to tighten up the paths of the shoes but before we do any of that let me as preface this by saying that once we are in frame by frame cam it can seem that keyframes sometimes appear out of nowhere. Well they don't. It's just me copying frames from one place to another. So if you are a bit unsure where some particular frames are coming from then just look which keyframes I selected before pasting them. So, So So So Yeah. So So So So the So Yeah. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little the So Perfect. Let's also squash the shoe on landing so copy the frames from the shoe in the beginning to the shoe at the end and adjust the timing and the order of the layers so it fits. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to add a little bit of the white color. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little Done. Now whilst you just blinked I went back in time and did the exact same thing as we did on the right leg to the left. And here's what it looks like now. Bye.",
+  "segments": [
+    {
+      "text": " Now, I won't lie. We are gonna hit that frame by frame camp quite a bit in this chapter. But don't worry. I got a couple of tricks up my sleeve that will make your animations go from good to masterful. By the way, don't let these frame by frame sessions discourage you. If you have little patience for this type of work, then just keep your characters more simple and less detailed. Just making your character flat as supposed to outlined can save you a couple of hours easily. I'm just showing you some of the more extreme cases so you know what to expect. Ok, first thing we'll do is to fix the details on the legs. So hide everything else except the right leg, sock and shoe. Let's move the shoe layers just behind the leg limp. Now set the indicator to where the shoe lifts from the ground. Then import a pre-designed shoe with the right perspective. Yep, I mentioned this little trick in lesson number 7 and it really is the secret behind those sweet perspectives. Wait until we start with our walk cycles. Then we need to make a bunch of this. As for the shoe itself It's separated into layers. One with the shoe Which should be placed on top of the leg and one with the back of the shoe Which should be placed behind the leg. However, make sure that back shoe is is parented to the shoe before you start moving stuff around. Oh, stupid. Something extra, something special. Why do so much for you guys? Did you know that you can adjust multiple points from multiple paths together at the same time? Yep, just click drag over the points and voila. You can now move, rotate and scale them all together as one. Now, show the sock limp. Trim the original shoe layers. Pair in the top shoe to the right shoe. Move it on top of the sock, but make sure that back shoe is still behind it. Trim the top shoe layers. By the way, I call it top shoe because you see the top of the shoe, but perhaps it makes more sense for you to call it something else. Ok, let's adjust the position and rotation. Let's put the regular shoe back into place for one frame by dragging the right shoe layers here, cutting them, adjusting the layer structure and dragging their original layers back into place. Let's also trim the top shoe layers and move this back shoe back behind the sock where it belongs. Now this shoe will act as a transition for our next perspective. Which we'll add now. So let's go back into this shoe perspectives comp and copy this bottom shoe layers. Place them on top of the other shoes. Trim them. Fix the position. Whoops, it obviously needs to go over the leg itself, so drag the shoe over the leg and the back shoe behind the sock. the position a bit, parent it to the right shoe. Let's just adjust the position and rotation of this shoe, so snap some frames in the beginning of the layer. Then go to where the shoe touches the ground and make sure it doesn't cut through the shadow like so. Trim the layers and drag the original shoe back into play once more. Now delete all these keyframes and parent this shoe to the original right shoe. Thus we only need to move the original shoe when animating. Make sure it sits well on the shadow. Let's also make all the shoe layers except the original right shoe, orange. Whoops, forgot to trim the shoes in the back, so let's just fix that. Now, if you recall our posting lesson, we talked a lot about placements, and bends. Well, as you can see the sock shouldn't be placed in the back here, so let's move it to the front. There's only one catch. We can't cut these limb layers because that will break the script and make them non-functional. Instead we'll make a copy of the sock limb via the character tool panel. Name it right right sock top. Place them between the bottom shoe and bottom leg layers. them. Adjust the length of the sock. Boom. Time to fine tune the timing. Now if you ever wondered about why I added that little weird mask at the bottom of the legs, well it's because that's the only way we can manipulate the bottom of that shape. And why do we want to do that? Well as I showed you guys in the posting lesson, the way you bend stuff affects the perception of the depth. Which means that this is actually a very important layer. Also a bit annoying as we have to fix everything frame by frame. the Yeah. the the the Yeah. So Yeah. the I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little the Yeah. So the Yeah. So So So So So That now looks awesome! Alright, time to fix the lower cuff of the pants. So drag the layer just below the leg limp and start frame by framing that path. So Yeah. the So So the the the the I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit 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 Yeah. So the Yeah. So, So Now we just need to tighten up the paths of the shoes but before we do any of that let me as preface this by saying that once we are in frame by frame cam it can seem that keyframes sometimes appear out of nowhere. Well they don't. It's just me copying frames from one place to another. So if you are a bit unsure where some particular frames are coming from then just look which keyframes I selected before pasting them. So, So So So Yeah. So So So So the So Yeah. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little the So Perfect. Let's also squash the shoe on landing so copy the frames from the shoe in the beginning to the shoe at the end and adjust the timing and the order of the layers so it fits. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to add a little bit of the white color. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little Done. Now whilst you just blinked I went back in time and did the exact same thing as we did on the right leg to the left. And here's what it looks like now. Bye."
+    }
+  ]
+}