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Hello, everyone.

Havtza here.

Last lesson, we learned about animation in perspective,

which gave us a lot of freedom and a lot of options

when wanting to make more cinematic animations.

Because right now we can make animation in a 3D environment, kind of.

And the next step to actually complete this effect

is to be able to move the camera in the environment as well

and match it to the movement

that we're animating in perspective.

A moving camera has a lot of uses.

It can be a way to make a static shot more dynamic.

It can create a certain atmosphere in the scene.

It can reveal information, enhance emotion.

And there are a lot of other

creative ways you can use it as well.

Today, I'll be teaching you

how to make some basic camera moves

and some tricks to creating the illusion of movement

in a 3D space using 2D illustrations.

I will be teaching you

how to do this with the FlipaClip

and Procreate animation softwares.

But this is not something that is usually done in the industry

because these softwares are not actually designed

to have a moving camera in them.

It's just tricks that I used to create my own animations.

And this is where creating animation

in a team becomes kind of difficult with this softwares.

So from this point on,

it's basically more for independent production.

Of course, the same camera moves are relevant

to other animation softwares,

but you will probably have other features

that will let you do them.

But if you don't have an automatic camera movement feature

in your animation software,

this is the way to do it.

In 2D animation, we are trying to sell the idea

that the character is actually part of the environment

while we're animating it,

meaning that you want to make it seem like it moves inside it.

We as animators don't actually have the time

to animate every single detail in the background

from sketch for every frame.

And if we are aiming for a realistic art style,

we might not even be possible

to animate everything from the beginning,

depending on the coloring and the brush texture that we're using.

And because we can only work with

2D illustrations for the background

which are static and cannot change

it might seem like we wouldn't

be able to create a movement in 3D space with just that.

And we might need to use a 3D CGI model of the environment

and the moving camera.

But, there's actually a bunch of tricks and smart compositing methods

that we can use to create the illusion of movement in 3D space.

I like to divide the camera movement into two different categories.

The first is stationary lens changes,

and the second is position changes in the environment.

The stationary lens changes are common movements

where the camera itself stays in the same place in the environment.

And the only thing that changes

is the direction to which the camera points to

and how zoomed in or out it is.

In this type of shots, you will experience

a lot of perspective changes.

Because the perspective point will shift

depending on the direction of the camera

relative to the object that we're trying to film.

In this category,

you will find that the zoom in and zoom out

and the panning camera movement.

The second category is

where the camera itself moves in the environment.

In this type of shots,

you might experience perspective changes

because the camera is free to look around.

But you can also follow different subjects

while keeping the same perspective.

In this category,

you will find the follow, shake, track in and track out

and the spinning shots as well as tracking pan.

Now, I haven't really addressed this yet,

but in animation, we don't actually have a camera

and an environment for it to move around in.

So what I'm saying with this type of vocabulary is

what we're actually trying to replicate

in real life filming techniques.

But we actually have even less restrictions

than what you find with real cameras

because we can switch focal points and distance from the camera

without actually changing the type of camera

that we working on, as we would have to do in real life

in different types of shots.

The only thing we need to be concerned about

is how we're drawing the background in which distance

and how we're going to move it.

Because we don't actually have a camera

to move around in animation,

what we are going to move is the background itself.

And by dividing the background into different parts

and moving them in relation to each other,

we can create the illusion of depth

and add our characters into the environment.

FlipaClip does not have an automatic camera feature.

You will have to move the background frame by frame

using the straight ahead method,

so the number of frames has to be final

and the character movement complete

before we are actually tackle the camera movement.

If you have your own software

that allows you to add camera movement using keyframes

such as video editing apps

or more professional animation softwares,

it might be easier to create camera movements,

but unless you have a software

that allows you to move the camera independently in every layer,

there are moves that you might not be able to replicate

using the features that is built in your software.

We need to understand how each move works

in order to recreate it.

So even if you do have an automatic feature,

it might be a good idea to stick around

and see how it is actually done.

And if you don't have an automatic feature,

this method can be replicated in any type of software

and you can even do it on paper.

As I said before,

to create a camera movement in animation,

we physically move the background

to the opposite direction of where we want the camera to move.

If you want the camera to move right,

you move your background left.

And if you want your camera to move up,

you move the background down, etc.

To actually move the background,

you need to select your image and enlarge it

so it's bigger than your frame in canvas.

By copying and pasting the selection between frames

without releasing the selection,

You can continuously change the position of the background

without changing its size

which allows you to create pretty smooth movements.

So let's see how to move the backgrounds in different patterns

can allow us to make different camera movements.

Starting with the follow camera movement,

this is one of the most common movement that you will see.

It's something that follows the character actions

and keeps them in frame

which can give more energy to the movement.

I'll just enhance it generally.

To make it, you have to make the background move

in the opposite direction from the action itself.

So first we need to analyze the trajectory of the character movement

and then mirror it to the other direction for the camera to follow.

To plan the background trajectory,

we need to choose an anchor point.

The background has many details in it,

but they all keep the same distance from each other.

So by choosing an anchor point and moving it correctly

according to the planned trajectory,

your entire background will move correctly.

In this example, I drew the background directly in FlipaClip

so you can see the detail in the onion frame feature,

but when using actual finished background,

it will be one drawing imported as an image.

So you wouldn't be able to see the individual details in it.

Because of this,

it's better to use the actual selection center dot as the anchor,

and plan the trajectory from its location.

With each new trajectory,

starting from the anchor point and position in the last trajectory.

When using the selection point for your background,

you need to be careful

not to change its position on the selected photo

since the selection itself will move differently

if you move this point.

Once you have enough practice

and develop good memory for positions of different things

on your screen,

you can go back to using points

in the background itself with your anchor.

This will allow you to have more complicated movements

because you will be mostly without

actually, planning the trajectories each time

and just putting the background in the correct position

in relation to your character.

This is how I myself do the animation.

I basically just remember the position of the details on the screen

and move them relative to the character between frames,

but this does take a lot of practice

so start with an anchor point.

Okay, so now that we have the trajectory of the character planned,

we just copy and paste the background between the frames

while changing its position.

Remember to not release the selection tool

when copying and pasting,

otherwise you will only copy the cropped part

that is showing on the screen

and you will have to start from the beginning again

because you wouldn't have the entire background.

As we've seen in the last video,

the closer an object is to the camera, the faster it moves

and the bigger the spacing is going to be between each frame.

Because usually the background is going to be further away

from the camera than the character,

we're going to animated more slowly.

By animating it more slowly,

I don't mean creating a delay in the actual timing

because the frame has to match the character movement.

To animated more slowly,

We're just going to make the entire trajectory smaller.

And because the spacing will be smaller,

it will seem like the background

is moving more slowly than the character.

This will also make sure

that your back movement will not distract

from your character movement itself.

A very nice thing about using this animation method

is that you have complete control on the camera movement.

So you can actually plan your trajectory with ease in and ease out,

which are completely dependent on your character animation

and can match it perfectly with both curves and timing.

You can also play around with your trajectory

to make some interesting effects with your camera.

For example,

by making it move more quickly or slowly than your character animation

or actively changing the spacing and timing of the trajectory

to create different drag and delay effects with the camera,

you can create more illusions of force and speed

with your character animation.

I myself use this technique quite a lot.

Because by making the camera 'lag' behind your character action,

you can create the impression that the movement is much quicker,

even too quick for the camera to follow.

And if you want to show force,

you can add camera shakes and delays with your camera movement

to show that the action is much quicker and stronger

than the camera can handle.

To create the camera shake effect,

you basically use the same technique as your track follow.

But instead of making your camera move

in relation to your character action with opposing trajectories,

you're just going to move everything in your layers

in the exact same random trajectory.

Because what we'll try to replicate

is the entire environment moving, which means that both the camera, the character

and everything else around it

are going to be moving in the same way.

You need to try and make the trajectory as exact as possible

between every layer that you have.

Otherwise, you might create some inconsistencies

and it will seem like your character, or parts of it, are sliding around.

Luckily, camera shakes usually have a lot of movement to them,

so if you're making small mistakes,

they wouldn't be very noticeable.

The track in and out movement is meant to replicate the effect

of your character and camera moving in the environment

while keeping the same distance between them.

This means that from the camera point of view,

the character size is not going to change.

So any type of movement that they're going to perform

is going to stay at the same distance.

The only thing that is going to change size in the shot

is going to be the background itself.

And the effect of the camera movement is created

by changing the relative size of the background

in relation to the character.

To create the track in effect,

you need to enlarge the image

and make it seem like the camera is getting closer

to each object in the environment.

To create the track out,

you just need to shrink it to make it look like it's getting further away.

So, to keep the change in size consistent

this time, we will choose an anchor point

in the details of the background itself.

Because we are not going to move

the middle point in the selection itself

and actually want it to stay constant

in order to keep the change correct.

Once we have an anchor point in the background detail themselves,

we're going to shrink it or enlarge it by using the grid feature.

Just match the size of the grid to the amount of change

that you want to create with your camera movement.

The larger the grid, the easier it's going to be to animate faster movement

and the smaller it is,

the easier it's going to be to animate slower movements.

You want to have a good view of your entire background at once,

so try and match your grid size

instead of making it very small and then being unable to see

where exactly your anchor point is.

And while you're matching your anchor point to the grid itself,

match it only to either the horizontal or vertical lines

and don't try and put it in a corner

because this is going to create inconsistent change in size.

Another important thing to remember

when creating a track in or track out chart

is that your initial background needs to be big enough

for the movement that you have in mind.

If your background is too small,

you wouldn't be able to enlarge it enough for the track in and out

without compromising its quality.

So it's better to draw a very big background

and then move it around a little bit,

then draw a smaller background

and then not be able to actually move it.

The same technique for the track in and out

is used for the zoom in and out.

The only thing is

that you need to change your character size in relation to the background

instead of keeping it at the same size.

This is pretty much similar to the shake effect

because we need to keep

the same trajectory as the background.

And to do this correctly,

I recommend simply making the animation at the same size

and then slowly shrinking or enlarging it

at the same rate as we did with the background.

You can also create variation by enlarging your character

in a different rate than your background

and thus basically showing it moving in 3D space

with your camera moving in 3D space as well,

but not exactly tracking the character.

The next type of movement is the tracking pan.

The camera keeps constant distance from the character

while it's moving to the side.

This is similar to the track in and out moves

because the character itself will stay

at the same position on the screen.

But unlike it,

we need to create a special background to make it work.

A size tracking shot is going to cover more distance

than what is actually seen in a single frame.

We don't have the time to animate

each detail between each frame,

and it will be extremely hard

to keep the correct distance of each detail

because we're moving them to the side.

And of course, similarly to regular backgrounds,

if you have too many details or textures,

it might not even be possible

to animate them correctly for each frame.

So in order to make a tracking shot,

what we actually do is create a very long background

and slowly move into the side to create the illusion of movement.

Basically, you're just going to draw

a whole bunch of different frames in the environment

in the correct proportions of your canvas,

and then just put them side by side

and connect them in a way

that lets you have one continuous background with the correct perspective.

This is good for pretty flat backgrounds

because we don't need to create a different perspective

for each part of the screen.

But as you can see,

just by having one long background and moving it to the side,

we can't create a 3D-looking movement

because the perspective at the edges does not change

and you can't really see the depth in the details in your background.

This also relates to the fact

that the farther the object is from the camera, the slower it moves

and the closer it is, the quicker it moves.

This is also true in the big distances that you see in your background.

And if each part of it is moving at the same speed,

it doesn't look like it has depth to it.

To make the background look like it has some depth,

we use something called the Parallax Effect.

I kind of mentioned it at the second background creation lesson.

For this camera movement,

you're going to need to separate your background into different layers,

depending on distance.

So we have the foreground, midground and background

as well as some overlays.

And by moving each layer

at a different speed in relation to each other

and the distance that we estimated them to have from the camera,

we can create the parallax effect

which gives us the illusion of depth.

You need to move them in relation to each other and the camera.

So if you know the two layers

are theoretically closer to each other than the camera,

you will need to make the speeds more close to each other

than any other type of details that you have in your background.

For this,

I recommend having both layers present on screen at the same time.

This can be quite confusing

if you have a lot of onion skin layers,

or the if you have a lot of details in your frame.

But I find that it's worth it

in order to have a realistic looking camera movement

with the relation of speed between each layer on your background.

Also, I recommend using multiple frames

in your onion skin feature.

This will help you make sure

that your layers are going in a constant trajectory

and are not jittering too much.

You can also use less frames

if the amount of detail in your background is confusing

and might be even too much to actually see clearly.

But in that case,

it might be better to actually play

with the onion skin settings themselves

and try and make something that is easier for you to see

instead of just turning them off.

Now, to create the track effect,

we are going to move each layer at the same direction,

but at different speeds.

Or even sometimes almost not moving them at all

if they're far enough from the camera.

But we can also use a similar technique

to create the camera spin effect.

But in this case,

instead of moving each layer at the same direction,

we will going to move the layer

behind and in front of the character in opposite directions

with the layer closer to the camera moving faster than the layer

which is further away.

And by matching the character animation to this camera spin,

we create the illusion of your camera actually being in 3D space

even with only using 2D illustration.

The next type of pan that we can make with 2D animation

is the perspective pan.

For this, we will again need a special background,

but this one is actually even more difficult to do.

Similarly to the tracking shot,

we don't have time or ability to animate the changes to perspective

between each frame.

But this doesn't mean that we can't have perspective changes

with 2D illustrations.

Basically,

you can break down the perspective shift in your frames

for each part of your shot.

And then you just need to take each different point of view

and connect them into a single long background.

You need to make sure

that the perspectives are not clashing with each other

so that you don't have a frame in the middle of your movement

which has incorrect perspective in it.

There are

basically two methods that you can use to create the perspective pan.

The first is actually sketching your background in the animation itself,

so you know for sure that the perspective matches your character.

Of course, if you are a beginner,

you can basically just add simple cubes in the correct perspective

and maybe add a little bit of grid.

But since here, we don't have one single perspective,

you don't need to make your grid correct

and the only thing that is important is

that your connections between each type of perspectives

are going to be good enough to pass when adding your character

as the movement itself is going to be pretty quick

with this type of technique.

Then, after you have your rough sketches of the background

within the animation itself,

you just take them and copy them to your illustration

and background creation software

and just add them together into a singular background

and make sure that the connection between them are smooth.

Once you have your rough layout

and placement of everything in your own background,

you can now start adding perspective points into some areas

that need more construction and try and make your grid correct.

But this stage is actually not necessary

and can make your entire drawing a little bit worse.

Because what is important is not that each individual frame

is going to be 100% correct perspective,

but that the entire impression

that is given to the camera movement looks good.

With this technique, you can't really add perspective points

since we're changing the perspective all the time.

In this case, you just need to make sure

that each one of your perspective

works together well with each other.

So you need to plan your elements

in a way that allows you to switch between them

without it looking too jarring

or with making too many incorrect perspective connections.

But you can even use this technique to create changes

with your horizon line

which basically lets you change the type of shots

that you're working with.

This usually means

that you're going to make your background a lot longer,

or that you have to make each part of your background

a lot more deformed.

This can be seen quite a lot in old cartoons,

but they don't let you have very realistic background.

So it's better to just make the entire background longer

and then just add more details

to the collections of perspectives.

For this, the second method can be quite useful.

Because what you're going to do

is take your base perspectives,

add them to a single long stripe,

and then use a smaller cutout

in the size of your actual canvas

and slowly fill it in between each different perspective.

This way, you know that

whatever every frame you're looking at

is going to have a perspective

which looks good enough.

This is why I think it is important

to be able to create lots of perspectives

which look correct without the use of a grid.

As we've discussed in the background creation lessons.

You wouldn't be able to have such an effect

without using incorrect perspective.

But you still want to make it seem like it is correct

and at least make it passable

when the camera is moving quickly.

You do need to be careful though,

because some details do need to have their own perspective point.

And you need to make sure to keep in mind

the relative sizes of the objects in your scene.

So for this,

I basically just recommend using both methods

and connecting a whole bunch of backgrounds

before you reach your final one

and actually edit into animation.

By combining different camera movement techniques

and using them in a smart way

with different elements and different layers,

you can actually create the illusion of movement

in 3D space quite well.

And if you match the movements of your character and camera well,

you can really make something that is very dynamic

and can replicate a 3D environment quite well.

I especially like to combine perspective and tracking pan

with parallax effect

to really create some dynamic and complicated movements.

The final type of backgrounds

that we can create in 2D animation

is the background loop.

We're going to use this type of background

in cases where the movement is too long

to create a tracking pan background for it

when it's just too time-consuming to create

a long enough background.

We might also use background loops

in cases where your camera movement

requires the perspective to shift

in different parts on the screen.

This is especially common with animation

where you have one perspective point

in the middle of the frame.

To create a loop,

first, you need to figure out the perspective in your frame

and how it is going to change

depending on the movement.

Here you can see that they actually built rough grid

to figure out where everything needs

to be on screen.

Here, I want to make sure

that the building that I'm trying to draw still looks correct

at every single frame.

You can make your own grid like I do here,

but you can also import a grid from Procreate

if you want to make something that is more exact.

You just need to edit as an image from the photo feature

and then use it as a reference.

But since we're going to later polish the entire background in Procreate,

I don't find it necessary most of the time

and just having the rough background is going to be enough for you

to figure out the camera movement.

Once you have your base perspective frames,

you just need to add the appropriate amount of in betweens

to create a loop and the length that you want.

This is quite obvious

but the more frames you have in your loop,

the longer and smoother it's going to be.

You also need to remember

that you will have to render and detail each frame in your loop

according to background style.

So you need to strike a good balance

between the look of the loop and the amount of work

that is going to take you.

Adding different objects in your shot,

some of which in loop and some of which are not

is going to give more variation

and more interesting look to the environment that you try to create.

Because not all elements in your environment

might require a looping animation.

Some of them can be done

by using the regular track or perspective change.

Actually adding more static elements to the scene

will make it seem more realistic

and will give you the opportunity to lengthen the shot

without it looking cheap and repetitive.

You can see here

that just by adding buildings in the background

which move in different speed,

I can create a better looking and more interesting shot.

Not to mention that this helps me keep the work in check

as I can just draw each building as its own separate element

and move them independently later on,

which is much easier than drawing

each one of them from sketch each time,

especially if I want to give them a lot of details

and use texture brushes.

When you're adding the different layers

of static images into your scene,

remember that in order to keep the perspective correct and interesting,

you want to use the parallax effect again.

If you have multiple elements on your screen

which can move without touching each other,

it's a good idea to put them on the same layer

in order to conceal the different layers

since we have a limit.

Just make sure

you give them the right speed

by changing the spacing of each individual object on the layer.

You don't need to have a different layer for each individual object

because the timing of it

is not related to it being on a different layer.

But if you have an overlapping object,

then you're going to have to use another layer.

Otherwise you will copy and paste it on top of the object below

and if you make a mistake, you wouldn't be able to change it

because it will affect the object

that you've covered with your pasting.

I also recommend giving your looping object a layer of its own

to make it easier to spot and fix mistakes

that you see in your individual frames.

This way, you can just copy and paste the entire frame

when you need to repeat it.

Instead of selecting the correct part of it

and replacing it in each individual frame,

which will take considerably longer to do.

Unlike the regular panned track parallax,

which has a set placement for each object in the scene

because of the way that we made the layers

with a repeating loop and individual objects

that you add to it,

you can play around with the timing

in which you introduce each individual object into the frame.

You don't have to place all of them in the frame right from the start.

By introducing

different objects of different sizes and speeds into your frame,

you can actually play around with the composition

and fit it to give more interesting timing, pacing and energy to your scene

as well as fit it to your character location on the screen,

in a way that makes the entire composition better.

The exercise in this lesson is to follow along

and create your own variations of the examples that I've given here.

You can either use your existing backgrounds

and the existing animations if they allow it,

or you can create your new backgrounds and animations

as a sketch format.

Try and include at least one perspective change background

and one parallax background

to test and practice your ability

to test and practice your ability

to create column movements to different shots.

Again, if you're making new layouts and animations,

make sure that your lines are as readable as possible.

An additional exercise is just to make different variations

of perspective change background

using both techniques that I've shown you.

You can either create a straightforward perspective change,

which is just a one long stripe

or you can combine multiple stripes together

to create a more complicated camera movement.

If you're an experienced animator,

then actually try and create a background

which fits the animation that we've made in the last exercise

with the many perspective changes.

To do this,

you can either combine multiple background layouts together,

or you can actually try and animate a background loop.

Again, make sure that you keep

your proportions, perspective and line quality consistent.

Today, we cover how to create different camera moves in animation

and the techniques that we are using

to create the illusion of movement in 3D space

using 2D Illustration.

We specifically looked on

how to plan our background layout

and the trajectory of its movement

using analog techniques

which can be replicated in every software.

And we've also seen some tips and techniques

that I personally use when creating my animation

using FlipaClip and Procreate.

Next time we're going to learn on

how to connect different shots together

and create your scene and animation

with the correct energy and a readable flow.

Thank you for watching

and see you next time.

Bye.