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These are the user uploaded subtitles that are being translated: 1 00:00:00,333 --> 00:00:04,337 If you want to turn off the subtitles, click [setting]-[tooltips]-[‘on’ for PC, ‘close’ for mobile] 2 00:00:05,572 --> 00:00:06,439 Hello, everyone. 3 00:00:06,439 --> 00:00:07,640 Havtza here. 4 00:00:08,074 --> 00:00:10,343 Last lesson we've seen multiple ways 5 00:00:10,343 --> 00:00:14,781 to creating storyboard and basically starting our project. 6 00:00:14,781 --> 00:00:17,851 And planning it and deciding on which shots 7 00:00:17,851 --> 00:00:20,053 and which timing we're going to use. 8 00:00:20,754 --> 00:00:23,923 And in the last section, we've learned all the techniques 9 00:00:23,923 --> 00:00:27,994 that help us to achieve the animations that we're trying to do, 10 00:00:27,994 --> 00:00:31,531 at both the technical parts and the more cinematic parts 11 00:00:31,531 --> 00:00:33,700 with the perspective and camera. 12 00:00:34,267 --> 00:00:35,602 And in this lesson, 13 00:00:35,602 --> 00:00:38,405 we're going to learn how to combine these two 14 00:00:38,405 --> 00:00:39,906 and basically transform 15 00:00:39,906 --> 00:00:43,009 our storyboard into rough animation. 16 00:00:45,645 --> 00:00:47,347 When it comes to animation, 17 00:00:47,347 --> 00:00:50,650 there are two main approaches on how to animate as we've 18 00:00:50,650 --> 00:00:52,852 discussed in multiple lessons. 19 00:00:52,852 --> 00:00:56,890 These are the straight ahead and pose to pose approaches. 20 00:00:57,590 --> 00:01:02,062 The straight ahead lets you be free and get interesting results 21 00:01:02,062 --> 00:01:03,496 in your animation. 22 00:01:03,863 --> 00:01:08,101 While pose to pose lets you be efficient and keep consistency. 23 00:01:09,502 --> 00:01:13,006 Most commercial animation studios or really any projects 24 00:01:13,006 --> 00:01:17,277 made by multiple people which uses storyboards 25 00:01:17,277 --> 00:01:20,113 will work with the pose to pose approach, 26 00:01:20,113 --> 00:01:22,549 since by default having the main poses 27 00:01:22,549 --> 00:01:25,285 and timing already decided by the storyboard 28 00:01:25,285 --> 00:01:28,121 limits the freedom you can have with your movement. 29 00:01:28,988 --> 00:01:32,792 That being said, some elements in a character design, 30 00:01:32,792 --> 00:01:37,997 such as hair and clothing work better with the straight ahead approach, 31 00:01:37,997 --> 00:01:41,768 and many nuances of the movement as well as its pacing 32 00:01:41,768 --> 00:01:44,104 within the storyboard confinements 33 00:01:44,104 --> 00:01:47,440 are up to the animator making the rough animation stage. 34 00:01:49,209 --> 00:01:52,245 There are multiple tricks and approaches that you can employ 35 00:01:52,245 --> 00:01:55,482 to make your animation smoother while being efficient, 36 00:01:55,482 --> 00:01:57,984 and we're going to let them in this lesson. 37 00:02:04,424 --> 00:02:09,028 Being an independent animator which is in charge of the entire artistic look 38 00:02:09,028 --> 00:02:11,431 and direction of the project 39 00:02:11,431 --> 00:02:14,968 gives you a high degree of freedom in your project, 40 00:02:14,968 --> 00:02:18,838 as you are the person that determines the overall timing and poses 41 00:02:18,838 --> 00:02:22,142 within the storyboard and you will probably be able 42 00:02:22,142 --> 00:02:26,312 to make changes to the storyboard and not stick to it as tightly 43 00:02:26,312 --> 00:02:28,681 as in a more commercial setting, 44 00:02:28,681 --> 00:02:33,653 in which teamwork and clarity are important for the process to work smoothly 45 00:02:33,653 --> 00:02:36,656 because you depend on the works of other people. 46 00:02:37,690 --> 00:02:40,860 This gives you as an independent animator the opportunity 47 00:02:40,860 --> 00:02:43,396 to make large chunks of your animation 48 00:02:43,396 --> 00:02:45,331 with the straight ahead method, 49 00:02:45,331 --> 00:02:49,502 which gives it additional smoothness and makes the animation more interesting. 50 00:02:50,203 --> 00:02:54,174 And actually I on my own personal project, 51 00:02:54,174 --> 00:02:58,745 usually go with an almost straight ahead approach 52 00:02:58,745 --> 00:03:05,985 where I add most of my rough animation as animation in low frame rate 53 00:03:05,985 --> 00:03:10,123 and then just add additional in-betweens as necessary. 54 00:03:10,123 --> 00:03:13,927 But in general, the amount of keyframes 55 00:03:13,927 --> 00:03:17,063 as you can call it is pretty high 56 00:03:17,063 --> 00:03:20,300 because it's almost a straight ahead approach. 57 00:03:21,367 --> 00:03:26,172 But of course, when they have actual clients where they have a storyboard 58 00:03:26,172 --> 00:03:29,242 and limitations with the entire length of the video 59 00:03:29,242 --> 00:03:32,278 and the timing of each individual movement, 60 00:03:32,278 --> 00:03:36,282 then I go with the more traditional pose to pose approach. 61 00:03:37,750 --> 00:03:41,120 But even so, there are somethings that you can do 62 00:03:41,120 --> 00:03:44,290 within the animation itself to make it more appealing 63 00:03:44,290 --> 00:03:46,593 and make the entire process easier. 64 00:03:47,694 --> 00:03:53,700 So if you're here for independent animation and being a single creator, 65 00:03:54,267 --> 00:03:57,770 I generally just create the thumbnails 66 00:03:57,770 --> 00:04:03,509 of my storyboard in the actual format that we've seen last lesson, 67 00:04:03,509 --> 00:04:09,682 and then I animate my ideas straight ahead and basically just change around 68 00:04:09,682 --> 00:04:12,051 the timing of each individual shots 69 00:04:12,051 --> 00:04:14,320 to make it fit with the movement 70 00:04:14,320 --> 00:04:16,189 instead of going the other way around 71 00:04:16,189 --> 00:04:19,492 and fitting the movements to the length of the animation. 72 00:04:20,426 --> 00:04:24,364 This approach will give you the most natural looking movement, 73 00:04:24,364 --> 00:04:28,801 but you also need to be able to estimate your abilities 74 00:04:28,801 --> 00:04:30,203 and the amount of effort 75 00:04:30,203 --> 00:04:32,305 that you want to dedicate to your project. 76 00:04:33,106 --> 00:04:36,276 And create something that balances your vision 77 00:04:36,276 --> 00:04:38,578 with the amount of work that it requires. 78 00:04:38,845 --> 00:04:42,415 Otherwise, you might not be able to actually finish your project 79 00:04:42,415 --> 00:04:44,951 and get frustrated and just abandon it. 80 00:04:46,252 --> 00:04:50,890 Now this, same as when making projects for a client, 81 00:04:50,890 --> 00:04:54,060 might limit the actual time and amount of frames 82 00:04:54,060 --> 00:04:56,796 that you can dedicate for each individual shot. 83 00:04:57,163 --> 00:05:00,733 So you would need to limit yourself to the confinement 84 00:05:00,733 --> 00:05:03,169 of the timing in the actual storyboard. 85 00:05:04,003 --> 00:05:08,808 So in this cases, you will actually need to plan your movement in advance 86 00:05:08,808 --> 00:05:12,578 to fit the length of the shot and not the other way around. 87 00:05:13,079 --> 00:05:16,949 Ideally, you want that within the time of your shot, 88 00:05:16,949 --> 00:05:20,253 the movement in the animation will be clear to the viewer 89 00:05:20,253 --> 00:05:22,455 and that you will be able to complete it. 90 00:05:23,056 --> 00:05:25,325 So you might need to change it, 91 00:05:25,325 --> 00:05:28,828 tweak it, or simplify it to make sure that you 92 00:05:28,828 --> 00:05:30,930 get both of these conditions, 93 00:05:30,930 --> 00:05:33,933 while planning your animation in each shot. 94 00:05:34,500 --> 00:05:38,805 And if you're working with an animatic or with a studio, 95 00:05:39,806 --> 00:05:43,609 the length of some shots might not even be decided by timing, 96 00:05:43,609 --> 00:05:47,213 but by the amount of frames, so you really have to plan 97 00:05:47,213 --> 00:05:49,115 each individual frame. 98 00:05:50,316 --> 00:05:54,754 So the first step to actually planning your animation in advance 99 00:05:54,754 --> 00:05:57,924 and transforming your storyboard to animation 100 00:05:58,391 --> 00:06:01,094 is importing your storyboard 101 00:06:01,094 --> 00:06:03,129 into your animation software. 102 00:06:03,830 --> 00:06:06,165 So as we've done in the last lesson, 103 00:06:06,165 --> 00:06:08,000 we basically created either 104 00:06:08,000 --> 00:06:13,005 a still storyboard or an animatic in Procreate. 105 00:06:14,073 --> 00:06:15,441 There is no real way 106 00:06:15,441 --> 00:06:18,945 to transform the still storyboard, 107 00:06:18,945 --> 00:06:20,913 so we first have to make 108 00:06:20,913 --> 00:06:23,249 the still storyboard into animatic, 109 00:06:23,249 --> 00:06:25,385 and then we're going to import it 110 00:06:25,385 --> 00:06:28,454 into FlipaClip as a video file. 111 00:06:29,489 --> 00:06:33,993 To do this, we simply save the Procreate file as an MP4 112 00:06:33,993 --> 00:06:36,496 and then again save the MP4 113 00:06:36,496 --> 00:06:38,965 to our actual files application. 114 00:06:39,465 --> 00:06:42,668 We do this because importing it as a file 115 00:06:42,668 --> 00:06:44,103 instead of as a video 116 00:06:44,103 --> 00:06:46,873 from our photo album will make it, 117 00:06:46,873 --> 00:06:48,875 so it's in better quality. 118 00:06:50,443 --> 00:06:52,979 Then we go to Filpaclip 119 00:06:52,979 --> 00:06:57,350 and open the toolbar at the top right corner 120 00:06:57,350 --> 00:06:59,986 and then choose the import video option 121 00:07:00,420 --> 00:07:02,555 and add the file option within that 122 00:07:02,555 --> 00:07:04,624 and just import our video. 123 00:07:06,526 --> 00:07:10,730 FlipaClip translates the video to the frame rate of your project. 124 00:07:10,730 --> 00:07:16,035 So in instances where each frame is planned or in cases 125 00:07:16,035 --> 00:07:18,771 where you're working with professional clients, 126 00:07:20,039 --> 00:07:23,943 make sure to match your frame rate to the frame rate of your actual 127 00:07:23,943 --> 00:07:29,115 final production to get the exact timing of your storyboard. 128 00:07:30,149 --> 00:07:35,421 Again, the industry standard is currently 24 frames per second, 129 00:07:36,255 --> 00:07:39,792 but in cases where you know the timing, 130 00:07:39,792 --> 00:07:42,028 it doesn't have to be frame perfect, 131 00:07:42,295 --> 00:07:45,164 or when you're making your own personal project 132 00:07:45,164 --> 00:07:49,268 which doesn't have to be on 24 frames per second, 133 00:07:49,268 --> 00:07:52,605 you can just import this to Procreate 134 00:07:52,605 --> 00:07:55,675 in any frame rate which is convenient for you. 135 00:07:56,676 --> 00:08:00,012 I personally import in eight frames per second, 136 00:08:00,012 --> 00:08:01,981 when making my own personal projects 137 00:08:02,415 --> 00:08:05,384 because my main frame rate is eight 138 00:08:05,384 --> 00:08:08,521 and then I later duplicate certain frames 139 00:08:08,521 --> 00:08:13,326 to adjust the timing to the 24 frames per second standard frame rate. 140 00:08:25,838 --> 00:08:29,041 Once you've imported your storyboard into FlipaClip 141 00:08:29,041 --> 00:08:31,244 and you know your exact timing 142 00:08:31,244 --> 00:08:34,714 for each individual shot and each keyframe. 143 00:08:34,714 --> 00:08:37,850 Now you can start planning your actual rough animation. 144 00:08:39,118 --> 00:08:44,624 Again, there two approaches to actually creating your animation, 145 00:08:44,624 --> 00:08:47,627 even if your overall timing is dictated 146 00:08:47,627 --> 00:08:50,162 by the keyframes in the storyboard. 147 00:08:51,764 --> 00:08:54,600 And we're going to choose them 148 00:08:54,600 --> 00:08:59,705 depending on the actual trajectory of the movement itself. 149 00:09:00,773 --> 00:09:03,543 If you have a very clear trajectory 150 00:09:03,543 --> 00:09:04,610 where you can basically 151 00:09:04,610 --> 00:09:07,980 just plan your entire movement in one go, 152 00:09:08,514 --> 00:09:11,417 Even if your movement is complicated, 153 00:09:11,417 --> 00:09:14,453 then it is better to use keyframes 154 00:09:15,087 --> 00:09:16,756 because you will make sure 155 00:09:16,756 --> 00:09:21,360 that your spacing is consistent, your character is consistent, 156 00:09:21,360 --> 00:09:26,198 and that each ease in and ease out, works well together. 157 00:09:27,266 --> 00:09:32,738 But if you have a shot which has a lot of camera movement, 158 00:09:32,738 --> 00:09:34,140 the character basically 159 00:09:34,140 --> 00:09:38,244 stays in place for the entire scene and just each individual part 160 00:09:38,244 --> 00:09:40,513 is seen from multiple angles, 161 00:09:40,513 --> 00:09:44,850 or if your character movement is going back and forth and repeating 162 00:09:44,850 --> 00:09:48,821 and it's getting really complicated to understand 163 00:09:48,821 --> 00:09:51,090 which direction is which, 164 00:09:51,090 --> 00:09:53,225 it might be better to actually go 165 00:09:53,225 --> 00:09:55,661 with the straight ahead method. 166 00:09:56,862 --> 00:10:00,166 And again, certain object and character 167 00:10:00,166 --> 00:10:02,969 design details are better 168 00:10:02,969 --> 00:10:06,372 to do in straight ahead as well 169 00:10:06,372 --> 00:10:07,974 because they do depend 170 00:10:07,974 --> 00:10:10,610 on the main action of your animation. 171 00:10:12,278 --> 00:10:15,548 So starting with the pose to pose method, 172 00:10:16,449 --> 00:10:19,785 first, you just go into your storyboard 173 00:10:19,785 --> 00:10:22,221 and plan your trajectory. 174 00:10:22,221 --> 00:10:26,392 Put a marker on each keyframe in your storyboard 175 00:10:26,392 --> 00:10:29,428 and have your trajectory completely 176 00:10:29,428 --> 00:10:34,133 mapped out between each frame on each scene 177 00:10:34,133 --> 00:10:37,370 so you can see it and have a clear view for 178 00:10:37,370 --> 00:10:38,604 where you're going to put 179 00:10:38,604 --> 00:10:40,706 your ease in and ease out. 180 00:10:41,674 --> 00:10:45,678 This will also help you understand the overall number of frames 181 00:10:45,678 --> 00:10:48,014 that you have for each individual shot. 182 00:10:48,014 --> 00:10:50,116 So, you know if you have enough frames 183 00:10:50,116 --> 00:10:52,852 to complete each part of your movement. 184 00:10:54,620 --> 00:10:58,624 The next step is to actually draw your keyframes. 185 00:11:00,192 --> 00:11:02,528 The entire pose to pose method 186 00:11:02,528 --> 00:11:06,298 works by how important they are to the overall movement. 187 00:11:07,500 --> 00:11:12,938 And then just filling in the blanks between each individual keyframe 188 00:11:12,938 --> 00:11:15,408 or breakdown pose. 189 00:11:15,408 --> 00:11:19,612 Basically, you have three or four main passes 190 00:11:19,612 --> 00:11:21,981 in your entire animation process, 191 00:11:21,981 --> 00:11:25,785 which are the keyframes which dictates the overall movement 192 00:11:25,785 --> 00:11:27,720 and the correct timing, 193 00:11:27,720 --> 00:11:30,389 and they are the most important poses. 194 00:11:31,123 --> 00:11:32,792 Then you have the breakdowns 195 00:11:32,792 --> 00:11:36,162 which are just in the middle of the action 196 00:11:36,162 --> 00:11:38,230 or closer to the edges. 197 00:11:38,497 --> 00:11:41,000 Where you have your indication of 198 00:11:41,000 --> 00:11:42,902 ease in and ease out 199 00:11:42,902 --> 00:11:47,606 as well as any major direction changes in your movement, 200 00:11:47,606 --> 00:11:50,009 which are not affecting the timing, 201 00:11:51,043 --> 00:11:53,179 and then you have your in-betweens 202 00:11:53,179 --> 00:11:55,314 which are just additional frames 203 00:11:55,314 --> 00:11:56,982 which help you smooth 204 00:11:56,982 --> 00:11:59,318 the ease in and ease out 205 00:11:59,318 --> 00:12:02,254 between each part of your trajectory 206 00:12:02,254 --> 00:12:05,357 as well as raise up your frame rate, 207 00:12:05,357 --> 00:12:07,827 if you want to increase it later on. 208 00:12:08,661 --> 00:12:10,429 Just remember that if you 209 00:12:10,429 --> 00:12:12,231 are increasing your frame rate, 210 00:12:12,231 --> 00:12:13,466 you still need to make sure 211 00:12:13,466 --> 00:12:15,634 that your timing is being kept. 212 00:12:15,634 --> 00:12:17,269 So you need to add 213 00:12:17,269 --> 00:12:19,338 your additional in-betweens 214 00:12:19,338 --> 00:12:21,741 with the concept of 215 00:12:21,741 --> 00:12:24,376 ease in and ease out in mind. 216 00:12:27,813 --> 00:12:31,484 So basically, if we're going with the pose to pose method, 217 00:12:32,318 --> 00:12:36,822 we have full clear passes with each one 218 00:12:36,822 --> 00:12:39,225 serving a slightly different purpose. 219 00:12:41,360 --> 00:12:44,296 First, we have the storyboard poses, 220 00:12:44,296 --> 00:12:45,865 which are the base poses 221 00:12:45,865 --> 00:12:48,601 and can also be classified as key frames. 222 00:12:49,034 --> 00:12:50,903 These are the crucial poses 223 00:12:50,903 --> 00:12:53,672 needed to understand the perspective, positioning 224 00:12:53,672 --> 00:12:56,242 and timing of your character in the shot. 225 00:12:58,010 --> 00:13:00,346 Next, we have the actual key frames. 226 00:13:00,713 --> 00:13:02,982 These include the storyboard frames 227 00:13:02,982 --> 00:13:05,017 but add the additional frames, 228 00:13:05,017 --> 00:13:07,787 which help better define the pacing 229 00:13:07,787 --> 00:13:10,156 between each of the storyboard poses. 230 00:13:10,689 --> 00:13:13,225 These frames are the most essential poses 231 00:13:13,225 --> 00:13:15,828 that help you understand the complete movement 232 00:13:15,828 --> 00:13:18,330 with the correct timing and nuance 233 00:13:18,330 --> 00:13:20,399 with the smallest amount of frames. 234 00:13:21,233 --> 00:13:23,869 After that, we have the breakdown poses. 235 00:13:24,403 --> 00:13:26,605 These are poses that are important 236 00:13:26,605 --> 00:13:28,974 to determining the pacing 237 00:13:28,974 --> 00:13:31,076 of the overall animation 238 00:13:31,076 --> 00:13:33,078 and help you plan the location 239 00:13:33,078 --> 00:13:35,247 between each key frame. 240 00:13:35,247 --> 00:13:38,150 You will often find them in the middle of the movement 241 00:13:38,150 --> 00:13:41,921 and close to the key frames, as they are important to indicate 242 00:13:41,921 --> 00:13:45,024 the slow in and slow out in your trajectory. 243 00:13:46,392 --> 00:13:49,261 The final stage is the in-betweens, 244 00:13:49,261 --> 00:13:52,097 which are the lowest priority connecting frames. 245 00:13:52,097 --> 00:13:54,266 So if you are using a low frame rate, 246 00:13:54,266 --> 00:13:56,569 you can just omit them, 247 00:13:56,569 --> 00:13:59,038 and they are there to support the movement 248 00:13:59,038 --> 00:14:00,906 and make it smoother 249 00:14:00,906 --> 00:14:04,777 as well as helps you raise the frame rate if needed. 250 00:14:06,979 --> 00:14:08,647 The higher your frame rate, 251 00:14:08,647 --> 00:14:11,150 the more in-betweens you will have, 252 00:14:11,150 --> 00:14:14,820 they will usually increase in a much higher rate than your 253 00:14:14,820 --> 00:14:16,989 key frames and breakdowns frames 254 00:14:17,990 --> 00:14:22,795 because your frame rate is not going to change your actual timing. 255 00:14:22,795 --> 00:14:27,099 So there is no reason to add additional key frames or breakdown frames 256 00:14:27,099 --> 00:14:29,835 which are just for the timing and nuance. 257 00:14:31,103 --> 00:14:33,405 The spacing between your frames 258 00:14:33,405 --> 00:14:37,142 also needs to follow a clear and complete arc. 259 00:14:37,142 --> 00:14:39,245 You have to make sure that your frames 260 00:14:39,245 --> 00:14:41,480 are not accidentally being bunched 261 00:14:41,480 --> 00:14:45,584 together in a way that obstructs your movement. 262 00:14:45,951 --> 00:14:47,353 As you can see, 263 00:14:47,353 --> 00:14:49,221 here I first had the timing 264 00:14:49,221 --> 00:14:51,924 dictated by the storyboard frames 265 00:14:51,924 --> 00:14:55,094 and then planned the actual movement of the character 266 00:14:55,094 --> 00:14:58,564 between each major change in the storyboard. 267 00:14:58,564 --> 00:15:02,668 And since my animation is at a pretty low frame rate 268 00:15:02,668 --> 00:15:06,005 and the movements themselves are pretty low energy 269 00:15:06,005 --> 00:15:09,708 and quite straightforward between each pose, 270 00:15:09,708 --> 00:15:11,243 I did not need to consider 271 00:15:11,243 --> 00:15:13,512 that the breakdown and the in-between 272 00:15:13,512 --> 00:15:15,147 the same way I would in higher 273 00:15:15,147 --> 00:15:16,615 frame rate production. 274 00:15:17,750 --> 00:15:22,121 That being said, this technique is also applicable as a base 275 00:15:22,121 --> 00:15:24,857 when later increasing the frame rate. 276 00:15:24,857 --> 00:15:27,760 Basically what I talked about before, 277 00:15:27,760 --> 00:15:30,829 where I basically create a lot of keyframes 278 00:15:30,829 --> 00:15:33,732 in low frame rate animation 279 00:15:33,732 --> 00:15:36,368 in the straight ahead method. 280 00:15:37,403 --> 00:15:39,104 You can almost say that 281 00:15:39,104 --> 00:15:43,242 by choosing to use a low frame rate, you'll actively choosing 282 00:15:43,242 --> 00:15:47,379 to only use your keyframes and breakdown frames 283 00:15:47,379 --> 00:15:49,348 and to increase the frame rate, 284 00:15:49,348 --> 00:15:52,284 you will just need to add additional in-between 285 00:15:52,284 --> 00:15:54,053 in the appropriate number 286 00:15:54,053 --> 00:15:56,889 that will allow you to achieve a smooth movement, 287 00:15:56,889 --> 00:16:00,592 with increased frame rate while still keeping the timing. 288 00:16:01,327 --> 00:16:02,361 As you can see 289 00:16:02,361 --> 00:16:04,730 in my initial trajectory plan, 290 00:16:04,730 --> 00:16:06,031 I do not include 291 00:16:06,031 --> 00:16:08,467 the overlapping movements and details 292 00:16:08,467 --> 00:16:10,669 in the breakdowns and key framing. 293 00:16:11,403 --> 00:16:14,139 I will only be adding them later on 294 00:16:14,139 --> 00:16:16,675 on the multiple separate layers, 295 00:16:17,710 --> 00:16:20,212 while using the straight ahead method 296 00:16:20,212 --> 00:16:22,414 in order to preserve the natural 297 00:16:22,414 --> 00:16:24,450 look of the drag effect, 298 00:16:24,450 --> 00:16:26,318 which can be easier to understand 299 00:16:26,318 --> 00:16:29,121 once you have your full movement of your character 300 00:16:29,121 --> 00:16:31,256 with the correct momentum. 301 00:16:31,890 --> 00:16:34,793 And once you have all of your frames 302 00:16:34,793 --> 00:16:39,098 and the animation is basically all done, 303 00:16:39,098 --> 00:16:42,167 then can change your actual frame rate 304 00:16:42,167 --> 00:16:46,338 by increasing your frames per second to 24 305 00:16:46,338 --> 00:16:50,509 and then duplicating each individual frame the appropriate amount 306 00:16:50,509 --> 00:16:53,679 depending on the nuance and timing that you want. 307 00:16:53,679 --> 00:16:56,815 So if you have (slow movement), you will duplicate it 308 00:16:56,815 --> 00:16:59,785 three times to have 8 frame per second 309 00:17:00,319 --> 00:17:02,187 And if you have fast movement, 310 00:17:02,187 --> 00:17:05,958 you might want to duplicate it once to make it 12 frame per second, 311 00:17:06,358 --> 00:17:08,527 or you might want to leave it at once 312 00:17:08,527 --> 00:17:10,796 for 24 frame per second. 313 00:17:10,796 --> 00:17:13,165 It all depends on the effect that you want 314 00:17:13,165 --> 00:17:15,367 to have with your timing. 315 00:17:15,801 --> 00:17:17,636 This technique can really 316 00:17:17,636 --> 00:17:20,773 help you with your independent animation 317 00:17:20,773 --> 00:17:23,475 because it allows you to save energy 318 00:17:23,475 --> 00:17:25,611 by lowering the amount of actual frames 319 00:17:25,611 --> 00:17:27,079 that you have to draw 320 00:17:27,079 --> 00:17:30,315 and making the overall workload lower. 321 00:17:30,315 --> 00:17:32,284 This might not be possible to do 322 00:17:32,284 --> 00:17:34,319 if you're working with clients 323 00:17:34,319 --> 00:17:36,088 because they might need consistent 324 00:17:36,088 --> 00:17:39,658 frame rate or they will specifically choose 325 00:17:39,658 --> 00:17:45,030 frame rate for individual shots or parts of your movement. 326 00:18:08,854 --> 00:18:10,889 If your character movement 327 00:18:10,889 --> 00:18:14,226 does not have a very clear trajectory 328 00:18:14,226 --> 00:18:17,896 then it's better to use the straight ahead method. 329 00:18:18,697 --> 00:18:22,468 By this, I don't mean completely going off the rails 330 00:18:22,468 --> 00:18:26,071 and basically changing your entire scene, 331 00:18:26,071 --> 00:18:29,675 both short lengths and character movement 332 00:18:29,675 --> 00:18:31,276 because you've used 333 00:18:31,276 --> 00:18:33,712 the straight ahead method. 334 00:18:33,712 --> 00:18:35,614 What I mean by using 335 00:18:35,614 --> 00:18:37,583 the straight ahead method 336 00:18:37,583 --> 00:18:40,352 is that between each individual 337 00:18:40,352 --> 00:18:42,721 keyframe on the storyboard, 338 00:18:42,721 --> 00:18:44,022 you're going to fill them 339 00:18:44,022 --> 00:18:46,892 in using the straight ahead method. 340 00:18:48,527 --> 00:18:55,167 The first step to do this is basically analyze the environment your character is in 341 00:18:55,167 --> 00:18:57,169 because your character perspective 342 00:18:57,169 --> 00:18:59,938 will depend on that environment. 343 00:18:59,938 --> 00:19:01,573 This is especially important 344 00:19:01,573 --> 00:19:05,277 if you have moving camera or 3D spaces. 345 00:19:07,279 --> 00:19:11,850 The next stage is to actually mark your keyframes. 346 00:19:11,850 --> 00:19:14,686 You want to be sure that your movement 347 00:19:14,686 --> 00:19:17,389 is following your actual storyboard 348 00:19:17,389 --> 00:19:19,391 and that you're not going 349 00:19:19,391 --> 00:19:21,894 to just randomly go off the rails 350 00:19:21,894 --> 00:19:26,331 and just completely ditch the original movement and idea, 351 00:19:26,331 --> 00:19:30,502 especially because you already have the perspective setting. 352 00:19:33,038 --> 00:19:35,440 Once you do have your 353 00:19:35,440 --> 00:19:39,178 keyframes and the overall perspective 354 00:19:39,178 --> 00:19:41,380 of each individual frame, 355 00:19:41,380 --> 00:19:43,949 then you just go back and forth 356 00:19:43,949 --> 00:19:48,620 and fill in the blank frames between each individual keyframe. 357 00:19:48,620 --> 00:19:50,822 To do this, I usually reference 358 00:19:50,822 --> 00:19:53,392 both the background and the perspective 359 00:19:53,392 --> 00:19:56,228 as well as the Onion Skin. 360 00:19:56,228 --> 00:19:59,565 Now the Onion Skin feature has the possibility 361 00:19:59,565 --> 00:20:02,401 to show less or more frames 362 00:20:02,401 --> 00:20:04,803 by changing the settings. 363 00:20:04,803 --> 00:20:06,872 So to be efficient 364 00:20:06,872 --> 00:20:09,408 when I have a large gap 365 00:20:09,408 --> 00:20:13,712 in the number of frame between each individual keyframe, 366 00:20:13,712 --> 00:20:17,049 what I do is that I just go to the middle 367 00:20:17,049 --> 00:20:19,685 between the keyframes 368 00:20:19,685 --> 00:20:23,989 and then increase the Onion Skin feature 369 00:20:23,989 --> 00:20:25,991 the appropriate amount of frames 370 00:20:25,991 --> 00:20:27,693 so I can see 371 00:20:27,693 --> 00:20:30,329 which poses I need to connect 372 00:20:30,329 --> 00:20:32,531 and connect it naturally 373 00:20:32,531 --> 00:20:35,267 like I would in a regular straight ahead. 374 00:20:35,934 --> 00:20:38,136 Now, the reason I call this 375 00:20:38,136 --> 00:20:41,540 straight ahead instead of pose to pose 376 00:20:41,540 --> 00:20:43,809 even though we are filling in blanks 377 00:20:43,809 --> 00:20:46,078 between individual keyframes 378 00:20:46,078 --> 00:20:49,615 is because we don't actually know 379 00:20:49,615 --> 00:20:52,317 which pose is going to be correct. 380 00:20:52,317 --> 00:20:54,586 We have uneven spacing 381 00:20:54,586 --> 00:20:57,656 in the amount of frames in each gap, 382 00:20:57,656 --> 00:21:00,792 and we're basically just making guess work 383 00:21:00,792 --> 00:21:03,095 to the placement of your character 384 00:21:03,095 --> 00:21:04,896 within the trajectory. 385 00:21:06,131 --> 00:21:07,899 I have a loose guideline 386 00:21:07,899 --> 00:21:11,637 where if I know that the spacing is uneven 387 00:21:11,637 --> 00:21:14,806 and that I increased the Onion Skin 388 00:21:14,806 --> 00:21:16,608 more in one side, 389 00:21:16,608 --> 00:21:18,176 I will try and shift 390 00:21:18,176 --> 00:21:20,846 and draw the character's position 391 00:21:20,846 --> 00:21:23,615 closer to that side of the trajectory, 392 00:21:23,615 --> 00:21:24,883 especially if I know 393 00:21:24,883 --> 00:21:27,853 that I'm going to use ease in and ease out. 394 00:21:27,853 --> 00:21:29,988 But if it doesn't work out 395 00:21:29,988 --> 00:21:33,392 well, I will just delete and redraw it or 396 00:21:33,392 --> 00:21:37,162 I’ll adjusted to fit the overall trajectory of the movement. 397 00:21:38,397 --> 00:21:42,868 And basically I will just go back and forth between each frame 398 00:21:42,868 --> 00:21:45,337 and fill it in as necessary. 399 00:21:48,640 --> 00:21:51,243 Really, this method is just 400 00:21:51,243 --> 00:21:53,412 basically a combination 401 00:21:53,412 --> 00:21:57,049 between straight ahead and pose to pose and works 402 00:21:57,049 --> 00:22:00,952 best where you have a lot of keyframes 403 00:22:00,952 --> 00:22:04,389 like I do when they actually create my animatics. 404 00:22:06,258 --> 00:22:08,060 This is important 405 00:22:08,060 --> 00:22:11,697 because we still want to keep our timing 406 00:22:11,697 --> 00:22:13,932 like it was in the storyboard 407 00:22:13,932 --> 00:22:17,302 and the consistency of our character model. 408 00:22:19,671 --> 00:22:22,307 In general, I wouldn't recommend going 409 00:22:22,307 --> 00:22:24,776 completely straight ahead and adjust 410 00:22:24,776 --> 00:22:29,247 and never adjusting your trajectory or your timing 411 00:22:29,247 --> 00:22:32,250 because it can get very frustrating 412 00:22:32,250 --> 00:22:34,019 and also really hard 413 00:22:34,019 --> 00:22:35,987 to adjust your trajectories 414 00:22:35,987 --> 00:22:38,156 with slow in and slow out 415 00:22:38,156 --> 00:22:39,624 if you don't know 416 00:22:39,624 --> 00:22:41,560 your overall timing 417 00:22:41,560 --> 00:22:43,962 and range of movement. 418 00:22:59,611 --> 00:23:04,483 Now that we've reached the rough animation stage in the production, 419 00:23:04,483 --> 00:23:08,587 we've actually arrived at the first big barrier 420 00:23:08,587 --> 00:23:10,255 and the motivator 421 00:23:10,255 --> 00:23:13,859 when it comes to independent animation production. 422 00:23:17,329 --> 00:23:22,367 Up until now, we've put a lot of effort into many different things 423 00:23:22,367 --> 00:23:25,170 in the animation production. 424 00:23:25,170 --> 00:23:26,972 Even though each one of them 425 00:23:26,972 --> 00:23:29,341 was very time consuming, 426 00:23:29,341 --> 00:23:32,611 it was still pretty thoughtful work 427 00:23:32,611 --> 00:23:34,579 and you had a lot of variation 428 00:23:34,579 --> 00:23:37,282 in the process itself. 429 00:23:37,282 --> 00:23:39,851 Even if a certain character design 430 00:23:39,851 --> 00:23:43,355 or background took a long time to complete 431 00:23:43,355 --> 00:23:46,525 at least you were working on different parts of it 432 00:23:46,525 --> 00:23:51,630 with different techniques and different brushes and different colors. 433 00:23:51,630 --> 00:23:53,131 Even if your animation 434 00:23:53,131 --> 00:23:56,201 took you a long time to figure it out, 435 00:23:56,201 --> 00:23:58,970 you are still thinking constantly 436 00:23:58,970 --> 00:24:01,840 and trying new things and variations 437 00:24:01,840 --> 00:24:04,142 within the process itself. 438 00:24:06,144 --> 00:24:09,948 But now that we've reached the rough animation stage, 439 00:24:09,948 --> 00:24:14,586 this is where the work starts to become automatic. 440 00:24:14,586 --> 00:24:17,389 You've already figured out the base of your movement 441 00:24:17,389 --> 00:24:21,293 using the pose to pose or straight ahead methods. 442 00:24:21,293 --> 00:24:24,963 You've already had your understanding of your animation 443 00:24:24,963 --> 00:24:27,132 and your camera movement. 444 00:24:27,132 --> 00:24:30,402 You already know how your scene is going to be designed 445 00:24:30,402 --> 00:24:32,737 and you figured out the perspective 446 00:24:32,737 --> 00:24:35,173 and you have your character designs 447 00:24:35,173 --> 00:24:37,409 and your background already made. 448 00:24:38,777 --> 00:24:41,746 You don't need to think about anything anymore. 449 00:24:41,746 --> 00:24:43,615 You just need to mechanically 450 00:24:43,615 --> 00:24:46,151 add the frames in between. 451 00:24:47,052 --> 00:24:49,754 This is the in-betweener's job 452 00:24:50,422 --> 00:24:56,061 and this is the most technical aspect in actual animation. 453 00:24:57,395 --> 00:25:01,299 This is where you just look at the joints of your character, 454 00:25:01,299 --> 00:25:04,269 the positioning in your timing, 455 00:25:04,269 --> 00:25:07,272 and just add them completely mechanically 456 00:25:08,073 --> 00:25:10,041 and completely automatically 457 00:25:10,041 --> 00:25:12,911 because there's basically only one correct answer 458 00:25:12,911 --> 00:25:15,547 between two individual poses, 459 00:25:15,547 --> 00:25:18,216 if they are close to each other 460 00:25:18,216 --> 00:25:21,319 and if you're having a slightly bigger movement 461 00:25:21,319 --> 00:25:23,889 which lets you have more wiggle room, 462 00:25:23,889 --> 00:25:26,992 it's still not enough to create completely new poses 463 00:25:26,992 --> 00:25:29,427 or think of completely new ideas 464 00:25:29,928 --> 00:25:31,429 because you still need to work 465 00:25:31,429 --> 00:25:34,733 within the limitations of your keyframes. 466 00:25:38,036 --> 00:25:41,740 The reason I find this part to be the biggest barrier 467 00:25:41,740 --> 00:25:43,441 when it comes to animation 468 00:25:43,441 --> 00:25:48,647 is because even though this step is extremely simple, 469 00:25:48,647 --> 00:25:51,449 it's very very time consuming. 470 00:25:52,350 --> 00:25:54,853 You can see here with this example 471 00:25:54,853 --> 00:25:55,720 that even though 472 00:25:55,720 --> 00:25:58,690 this part of the video is edited 473 00:25:58,690 --> 00:26:01,326 and run in high speed, 474 00:26:01,326 --> 00:26:04,229 this section is still way longer 475 00:26:04,229 --> 00:26:05,664 than any other sections 476 00:26:05,664 --> 00:26:07,165 that we had before. 477 00:26:08,366 --> 00:26:10,569 And the type of work that I'm making 478 00:26:10,569 --> 00:26:12,871 is very very repetitive, 479 00:26:12,871 --> 00:26:16,942 especially in frames that look very similar to each other. 480 00:26:17,809 --> 00:26:20,278 I want to give you some advice 481 00:26:20,278 --> 00:26:23,214 on how to keep yourself motivated 482 00:26:23,214 --> 00:26:24,950 because the rough animation stage 483 00:26:24,950 --> 00:26:28,253 is only one of three barriers 484 00:26:28,253 --> 00:26:29,487 that you're going to have 485 00:26:29,487 --> 00:26:31,523 as an independent animator. 486 00:26:32,524 --> 00:26:35,126 The reason this one is special 487 00:26:35,126 --> 00:26:37,729 is because you have to have it 488 00:26:37,729 --> 00:26:40,665 in order to have animation at all. 489 00:26:41,399 --> 00:26:43,635 With the clean up and coloring, 490 00:26:43,635 --> 00:26:46,438 you're just not going to have a complete product. 491 00:26:46,438 --> 00:26:48,573 But without the rough animation stage, 492 00:26:48,573 --> 00:26:51,409 you're not going to have an animation at all, 493 00:26:52,877 --> 00:26:55,547 unless you're working as part of a studio 494 00:26:55,547 --> 00:26:58,316 where you have dedicated in-betweeners, 495 00:26:58,316 --> 00:27:01,119 you're going to have to complete this stage 496 00:27:01,119 --> 00:27:04,756 in order to create any type of smooth movement. 497 00:27:06,725 --> 00:27:10,095 And of course, if you are an independent animator, 498 00:27:10,095 --> 00:27:12,330 the other two stage of cleanup 499 00:27:12,330 --> 00:27:15,400 and coloring are even more mechanical 500 00:27:15,400 --> 00:27:17,669 and even more time consuming. 501 00:27:21,239 --> 00:27:23,908 But I find that once you get over 502 00:27:23,908 --> 00:27:25,710 the initial barrier 503 00:27:25,710 --> 00:27:28,079 of the rough animation stage, 504 00:27:28,980 --> 00:27:33,251 it's much easier to get into the mind frame that allows you 505 00:27:33,251 --> 00:27:38,056 to create the other time consuming stages of independent production. 506 00:27:42,260 --> 00:27:46,665 So here are my tips on how I keep myself motivated 507 00:27:46,665 --> 00:27:49,067 while creating this very long and time 508 00:27:49,067 --> 00:27:50,635 consuming steps. 509 00:27:51,836 --> 00:27:54,139 Of course, these are only my methods 510 00:27:54,139 --> 00:27:56,374 and they might not work for you. 511 00:27:57,075 --> 00:27:59,911 So you really need to sit with yourself 512 00:27:59,911 --> 00:28:01,379 and see which things 513 00:28:01,379 --> 00:28:02,881 can give you motivation 514 00:28:02,881 --> 00:28:04,916 to complete your project. 515 00:28:06,351 --> 00:28:10,288 Once you start making this exercise by yourself 516 00:28:10,288 --> 00:28:12,624 that this last section in the course 517 00:28:12,624 --> 00:28:17,195 is basically just a whole bunch of manual labor. 518 00:28:17,195 --> 00:28:20,765 So it's important that you figure out your motivation now, 519 00:28:21,299 --> 00:28:24,602 or you might not be able to actually complete it. 520 00:28:28,540 --> 00:28:31,242 So the first thing that keeps up 521 00:28:31,242 --> 00:28:34,079 my motivation when I'm working 522 00:28:34,079 --> 00:28:37,482 is that I give myself a very clear goal 523 00:28:37,482 --> 00:28:39,751 when it comes to my personal works 524 00:28:39,751 --> 00:28:42,020 and my professional works. 525 00:28:43,588 --> 00:28:45,590 On my personal project 526 00:28:45,590 --> 00:28:48,226 I decide straight from the beginning 527 00:28:48,226 --> 00:28:49,461 the length of the video 528 00:28:49,461 --> 00:28:51,362 that I'm going to work on, 529 00:28:51,362 --> 00:28:53,898 and I calculate the number of frames 530 00:28:53,898 --> 00:28:55,366 that I have to draw, 531 00:28:56,367 --> 00:28:57,469 and I give myself a 532 00:28:57,469 --> 00:28:59,571 limit of the amount of frames 533 00:28:59,571 --> 00:29:02,474 that I'm going to dedicate to each project. 534 00:29:03,942 --> 00:29:10,315 For me, the limit is around 120 frames for personal projects per week, 535 00:29:10,315 --> 00:29:13,518 because I know that I'm going to work on 536 00:29:13,518 --> 00:29:16,221 professional projects as well. 537 00:29:16,221 --> 00:29:18,423 With these types of limitation, 538 00:29:18,423 --> 00:29:20,625 I know how to divide my work 539 00:29:20,625 --> 00:29:22,227 per the amount of time 540 00:29:22,227 --> 00:29:25,029 that I'm willing to give my project. 541 00:29:25,029 --> 00:29:30,535 I know, for example, that I need to make around ten frames per hour 542 00:29:30,535 --> 00:29:33,171 and so I give myself a quota 543 00:29:33,171 --> 00:29:35,740 which I need to complete, 544 00:29:35,740 --> 00:29:38,376 and it's very easy to keep track of. 545 00:29:39,944 --> 00:29:44,315 Of course, you will need to adjust your frames 546 00:29:44,315 --> 00:29:47,385 quotas according to your own ability. 547 00:29:47,852 --> 00:29:51,089 So think about one of the first lessons 548 00:29:51,089 --> 00:29:53,124 where I talked about 549 00:29:53,124 --> 00:29:54,492 adjusting the workload 550 00:29:54,492 --> 00:29:57,495 to your physical and mental condition 551 00:29:57,495 --> 00:30:00,565 in order to not burn yourself out. 552 00:30:06,404 --> 00:30:08,006 Even within the quota, 553 00:30:08,006 --> 00:30:10,708 you can give yourself smaller goals, 554 00:30:10,708 --> 00:30:13,878 which helps you divide the work even further 555 00:30:13,878 --> 00:30:16,181 and help you keep track on it. 556 00:30:16,681 --> 00:30:20,485 So it doesn't feel quite as endless and repetitive. 557 00:30:23,188 --> 00:30:25,290 For example, 558 00:30:25,290 --> 00:30:26,457 if you are dividing 559 00:30:26,457 --> 00:30:27,926 your character details 560 00:30:27,926 --> 00:30:29,727 into separate layers, 561 00:30:29,727 --> 00:30:31,162 you can decide on 562 00:30:31,162 --> 00:30:33,865 only completing one detail 563 00:30:33,865 --> 00:30:37,068 within your dedicated number of frames. 564 00:30:37,068 --> 00:30:39,571 So, for example, in this case 565 00:30:39,571 --> 00:30:42,307 you could decide to only animate the hair 566 00:30:42,307 --> 00:30:45,210 or the clothing or the eyes 567 00:30:45,210 --> 00:30:47,946 for a single day quota. 568 00:30:51,749 --> 00:30:54,953 Using this method is actually very useful 569 00:30:54,953 --> 00:30:57,722 to get your quality up as well, 570 00:30:59,023 --> 00:31:02,660 because you can give yourself time to focus 571 00:31:02,660 --> 00:31:05,630 on the smaller details of your animation. 572 00:31:06,164 --> 00:31:09,367 You can make sure that you have the right 573 00:31:09,367 --> 00:31:13,805 effect and animation exactly like you want them, 574 00:31:15,006 --> 00:31:16,975 which also keeps your mind 575 00:31:16,975 --> 00:31:18,443 a little bit more engaged 576 00:31:18,443 --> 00:31:20,245 and makes the entire process 577 00:31:20,245 --> 00:31:22,513 a little bit less stifling. 578 00:31:26,784 --> 00:31:29,287 Another thing that you can focus on 579 00:31:29,287 --> 00:31:32,857 is trying and keep your line quality consistent. 580 00:31:33,758 --> 00:31:37,128 Right now we are still not making our final lines, 581 00:31:37,128 --> 00:31:39,464 so you don't have to make sure 582 00:31:39,464 --> 00:31:42,834 that the line itself is at final quality. 583 00:31:42,834 --> 00:31:45,503 But you do want to make your sketches as 584 00:31:45,503 --> 00:31:47,205 readable as possible, 585 00:31:48,940 --> 00:31:53,177 even if the line itself is not completely stable 586 00:31:53,711 --> 00:31:56,748 and doesn't connect at exactly the right spot. 587 00:31:57,849 --> 00:31:59,317 You still want to find 588 00:31:59,317 --> 00:32:01,519 the one perfect line 589 00:32:01,519 --> 00:32:05,123 which completely captures the volume 590 00:32:05,123 --> 00:32:07,992 and model of your character design. 591 00:32:11,930 --> 00:32:15,199 And of course, the final thing you can focus on 592 00:32:15,199 --> 00:32:18,569 when it comes to making your rough animation 593 00:32:18,569 --> 00:32:20,104 at a higher quality 594 00:32:20,104 --> 00:32:23,408 is actually paying attention to the variations 595 00:32:23,408 --> 00:32:25,610 between the location of the poses 596 00:32:25,610 --> 00:32:28,012 in your ease in and ease out 597 00:32:28,012 --> 00:32:30,882 sections of your rough animation. 598 00:32:34,218 --> 00:32:37,088 Like we've seen with the timing example, 599 00:32:37,088 --> 00:32:39,524 way back at the first animation lesson, 600 00:32:41,059 --> 00:32:45,363 you can create a completely new nuance in your motion 601 00:32:45,363 --> 00:32:49,567 by small changes to the position of your object 602 00:32:49,567 --> 00:32:51,135 within the trajectory. 603 00:32:53,771 --> 00:32:56,074 In your rough animation stage is where 604 00:32:56,074 --> 00:32:58,509 you're going to have your final timing 605 00:32:58,509 --> 00:33:00,745 and nuance in the motion. 606 00:33:02,380 --> 00:33:06,184 So focusing on getting it exactly right 607 00:33:06,184 --> 00:33:10,088 is a good way to make the entire process 608 00:33:10,088 --> 00:33:13,524 more thoughtful and enjoyable. 609 00:33:18,863 --> 00:33:23,901 If any of these fail and don't entice you enough to complete 610 00:33:23,901 --> 00:33:26,270 the entire process, 611 00:33:26,270 --> 00:33:29,907 you can also use outside methods 612 00:33:29,907 --> 00:33:33,244 to keep up your motivation 613 00:33:33,244 --> 00:33:37,548 because this type of work is so repetitive, 614 00:33:37,548 --> 00:33:39,817 you can take this time to complete 615 00:33:39,817 --> 00:33:43,354 any other tasks or interest that you have 616 00:33:43,354 --> 00:33:45,656 that only require audio. 617 00:33:46,524 --> 00:33:49,994 A lot of the time when I'm animating, 618 00:33:49,994 --> 00:33:53,031 I'm not listening to music 619 00:33:53,031 --> 00:33:56,200 because my music selection is not big enough 620 00:33:56,200 --> 00:33:59,303 to the amount of animation that they're making. 621 00:33:59,303 --> 00:34:05,543 Instead, having something like podcasts or audiobook is very helpful 622 00:34:05,543 --> 00:34:07,845 to keep up your concentration 623 00:34:07,845 --> 00:34:10,448 and keeping the world interesting 624 00:34:10,448 --> 00:34:12,350 because you can really focus 625 00:34:12,350 --> 00:34:14,152 on what you're hearing 626 00:34:14,152 --> 00:34:17,121 since the process is very automatic. 627 00:34:20,691 --> 00:34:21,893 Using this time 628 00:34:21,893 --> 00:34:24,162 for other listening activities 629 00:34:24,162 --> 00:34:27,532 such as lectures, phone calls 630 00:34:27,532 --> 00:34:29,634 or language lessons 631 00:34:29,634 --> 00:34:32,670 is also very nice in my experience. 632 00:34:35,073 --> 00:34:36,040 When making this 633 00:34:36,040 --> 00:34:38,176 part of the animation process, 634 00:34:38,176 --> 00:34:40,044 you can actually communicate 635 00:34:40,044 --> 00:34:42,146 and meet up with other people, 636 00:34:42,146 --> 00:34:44,882 and I find this to be a pretty pleasant 637 00:34:44,882 --> 00:34:46,751 part of the work 638 00:34:46,751 --> 00:34:48,052 when combining 639 00:34:48,052 --> 00:34:50,721 all of the outside things that you 640 00:34:50,721 --> 00:34:52,256 can make doing it. 641 00:34:53,424 --> 00:34:54,792 There aren't many other 642 00:34:54,792 --> 00:34:56,994 jobs where you get to do 643 00:34:56,994 --> 00:34:58,796 manual activities 644 00:34:58,796 --> 00:35:02,200 which allow you to continue listening 645 00:35:02,200 --> 00:35:06,604 and seeing other media while working. 646 00:35:08,573 --> 00:35:10,842 Honestly, the main limitation 647 00:35:10,842 --> 00:35:13,177 with making this part of the process 648 00:35:13,177 --> 00:35:14,946 is that you have to continuously 649 00:35:14,946 --> 00:35:16,347 use your hands. 650 00:35:16,347 --> 00:35:18,483 Other than that, you can basically do 651 00:35:18,483 --> 00:35:19,917 whatever you want. 652 00:35:25,022 --> 00:35:28,192 But even after hearing all of this, 653 00:35:28,192 --> 00:35:30,661 you might be struggling with this stage, 654 00:35:30,661 --> 00:35:32,430 if you're just a beginner, 655 00:35:32,430 --> 00:35:34,866 or even if you are an experienced animator 656 00:35:34,866 --> 00:35:37,034 who just dislikes doing it. 657 00:35:38,503 --> 00:35:39,504 I want you to know 658 00:35:39,504 --> 00:35:42,240 that these manual stages of the animation 659 00:35:42,240 --> 00:35:45,443 are still the parts that they really don't like 660 00:35:45,443 --> 00:35:47,812 about my animation process. 661 00:35:49,680 --> 00:35:52,583 No matter how you try to sugarcoat it, 662 00:35:52,583 --> 00:35:56,654 this is a very time consuming and repetitive process. 663 00:35:59,390 --> 00:36:01,225 So if you are still struggling 664 00:36:01,225 --> 00:36:03,194 with this part of the process, 665 00:36:03,194 --> 00:36:05,062 know that it's completely 666 00:36:05,062 --> 00:36:06,364 okay and natural. 667 00:36:09,534 --> 00:36:14,438 Same as with every other thing that we've covered up until now, 668 00:36:14,972 --> 00:36:18,309 it takes work, time and practice 669 00:36:18,309 --> 00:36:20,344 to build up your patience 670 00:36:20,344 --> 00:36:21,946 for you to be able 671 00:36:21,946 --> 00:36:24,649 to sit for long stretches of time, 672 00:36:24,649 --> 00:36:27,285 just doing this part of the process. 673 00:36:28,986 --> 00:36:31,222 But same as with any other thing 674 00:36:31,222 --> 00:36:33,524 that we've done up until now, 675 00:36:33,524 --> 00:36:36,360 the fact that you have to work so much 676 00:36:36,360 --> 00:36:39,030 to complete this part of the animation. 677 00:36:39,263 --> 00:36:42,233 makes it that you're going to improve in it 678 00:36:42,233 --> 00:36:45,436 so much quicker than any other part. 679 00:36:47,271 --> 00:36:49,607 The more animation you're making, 680 00:36:49,607 --> 00:36:52,810 the quicker you're going to get at making them. 681 00:36:53,911 --> 00:36:57,882 You can probably already guess by my output 682 00:36:57,882 --> 00:36:59,717 that they managed to shrink down 683 00:36:59,717 --> 00:37:02,019 this process quite considerably, 684 00:37:02,920 --> 00:37:04,889 and it reaches up to a point 685 00:37:04,889 --> 00:37:07,625 where I make a completely new frame 686 00:37:07,625 --> 00:37:09,193 in less than a minute. 687 00:37:10,194 --> 00:37:12,463 So the overall process doesn't 688 00:37:12,463 --> 00:37:15,166 really take that much time at all. 689 00:37:16,867 --> 00:37:19,036 It's just a process to getting there, 690 00:37:19,036 --> 00:37:20,771 that takes a lot of time, 691 00:37:20,771 --> 00:37:23,107 patience and determination. 692 00:37:26,410 --> 00:37:28,446 So really the best advice 693 00:37:28,446 --> 00:37:31,949 I can give you about keeping up your motivation 694 00:37:32,717 --> 00:37:37,655 is the same is my advice on starting your project. 695 00:37:37,655 --> 00:37:39,557 You need to think about 696 00:37:39,557 --> 00:37:42,193 the actual skills you're acquiring 697 00:37:42,193 --> 00:37:44,128 and the practice itself 698 00:37:44,128 --> 00:37:45,463 and not the product 699 00:37:45,463 --> 00:37:47,465 that you're trying to create. 700 00:37:49,000 --> 00:37:53,204 And you need to keep in mind your capabilities 701 00:37:53,204 --> 00:37:54,872 and physical condition 702 00:37:54,872 --> 00:37:57,508 in order to not burn yourself out. 703 00:37:58,175 --> 00:38:01,078 Once you've completed all the rough stages, 704 00:38:01,078 --> 00:38:02,613 including finalizing 705 00:38:02,613 --> 00:38:03,881 your overall movement 706 00:38:03,881 --> 00:38:06,117 and adding the overlapping elements 707 00:38:06,117 --> 00:38:08,052 with the correct pacing, 708 00:38:08,052 --> 00:38:09,854 using both in between 709 00:38:09,854 --> 00:38:12,757 and frame multiplication 710 00:38:12,757 --> 00:38:15,726 to create nuance with your timing, 711 00:38:17,862 --> 00:38:19,163 you need to make sure 712 00:38:19,163 --> 00:38:20,331 that your characters 713 00:38:20,331 --> 00:38:22,833 are actually easy to understand, 714 00:38:22,833 --> 00:38:25,836 with the correct volumes, proportions 715 00:38:25,836 --> 00:38:28,139 and details in the character design. 716 00:38:29,307 --> 00:38:34,111 Especially if you have multiple layers in different colors 717 00:38:34,111 --> 00:38:36,847 that are hard to understand 718 00:38:36,847 --> 00:38:38,783 and differentiate. 719 00:38:39,884 --> 00:38:43,487 And overall create a pretty messy drawing 720 00:38:43,487 --> 00:38:44,689 that will make it 721 00:38:44,689 --> 00:38:46,557 so that the your cleanup artist 722 00:38:46,557 --> 00:38:48,059 would not know 723 00:38:48,059 --> 00:38:50,661 where to place the clean line. 724 00:38:50,661 --> 00:38:54,565 In order to complete your rough animation stage, 725 00:38:54,565 --> 00:38:56,834 you need to add an additional layer 726 00:38:56,834 --> 00:38:59,770 which goes over the different layers 727 00:38:59,770 --> 00:39:02,306 and combines them in a way 728 00:39:02,306 --> 00:39:04,408 that allows you to have clear vision 729 00:39:04,408 --> 00:39:05,776 of your character. 730 00:39:06,377 --> 00:39:09,647 In this stage your lines do not have to be pretty 731 00:39:09,647 --> 00:39:12,750 and can still retain some imperfections 732 00:39:12,750 --> 00:39:14,952 for the cleanup artist to fix later, 733 00:39:15,453 --> 00:39:17,455 of course, the less imperfections, 734 00:39:17,455 --> 00:39:19,623 the easier jobs they will have, 735 00:39:19,623 --> 00:39:21,826 and if you are an independent animator, 736 00:39:21,826 --> 00:39:23,694 you would want to make this stage easier 737 00:39:23,694 --> 00:39:25,262 for yourself as well. 738 00:39:25,763 --> 00:39:27,531 What's really important 739 00:39:27,531 --> 00:39:28,799 is to make sure 740 00:39:28,799 --> 00:39:30,368 that you keep your character 741 00:39:30,368 --> 00:39:33,371 model consistent and make it 742 00:39:33,371 --> 00:39:34,705 so that it's kept 743 00:39:34,705 --> 00:39:38,642 with the correct proportions, size and volume at all time. 744 00:39:39,210 --> 00:39:42,880 The cleanup artist's job is to make the lines clean. 745 00:39:42,880 --> 00:39:44,548 They need to have a good base 746 00:39:44,548 --> 00:39:46,250 to work effectively. 747 00:39:46,250 --> 00:39:48,419 They don't actually have the time 748 00:39:48,419 --> 00:39:50,287 to clean your volumes 749 00:39:50,287 --> 00:39:52,390 and correct your details. 750 00:39:54,825 --> 00:39:57,328 If you are an independent animator, 751 00:39:57,328 --> 00:40:00,197 you might put less effort in this stage 752 00:40:00,197 --> 00:40:01,699 because you already know 753 00:40:01,699 --> 00:40:04,301 how to fix this volume imperfection 754 00:40:04,301 --> 00:40:06,103 in the cleanup stage. 755 00:40:06,103 --> 00:40:08,672 Because as both the animator 756 00:40:08,672 --> 00:40:10,808 and the character designer, 757 00:40:10,808 --> 00:40:13,711 you already know where you have 758 00:40:13,711 --> 00:40:16,480 incorrect details. 759 00:40:16,480 --> 00:40:19,984 In my personal project, I sometimes leave the animation 760 00:40:19,984 --> 00:40:22,887 line art in this rough stage 761 00:40:22,887 --> 00:40:26,524 because it is clear enough for my viewers to see, 762 00:40:28,392 --> 00:40:31,061 while taking much less time and effort 763 00:40:31,061 --> 00:40:32,863 to create the final product. 764 00:40:33,531 --> 00:40:35,499 I also quite like the aesthetic 765 00:40:35,499 --> 00:40:36,901 and the extra energy 766 00:40:36,901 --> 00:40:38,269 that these squiggly lines 767 00:40:38,269 --> 00:40:40,104 bring to the animation. 768 00:40:42,840 --> 00:40:45,743 But even if the lines are squiggly, 769 00:40:45,743 --> 00:40:47,144 you need to make sure 770 00:40:47,144 --> 00:40:50,347 that you only use one line 771 00:40:50,347 --> 00:40:51,816 and that you're not making 772 00:40:51,816 --> 00:40:55,186 too much of a mess of your sketch. 773 00:40:55,186 --> 00:40:58,155 Because if you're adding too many lines 774 00:40:58,155 --> 00:41:01,992 and affecting the thickness of your sketch, 775 00:41:01,992 --> 00:41:07,131 it's still going to be very difficult for your clean up artist 776 00:41:07,131 --> 00:41:10,434 to place the line in the correct way. 777 00:41:12,536 --> 00:41:15,072 If you are an independent animator, 778 00:41:15,072 --> 00:41:18,275 you can kind of get away with simplifying 779 00:41:18,275 --> 00:41:20,611 some details in your character 780 00:41:21,011 --> 00:41:22,213 because you know that 781 00:41:22,213 --> 00:41:23,547 you're going to add them later 782 00:41:23,547 --> 00:41:25,783 on in the cleanup stage. 783 00:41:26,650 --> 00:41:28,552 This is what I usually do 784 00:41:28,552 --> 00:41:33,257 when I add hair or certain eye details 785 00:41:33,257 --> 00:41:34,725 because I know they are 786 00:41:34,725 --> 00:41:37,361 going to be edited in the cleanup 787 00:41:37,361 --> 00:41:40,264 or in the actual coloring stage. 788 00:41:42,032 --> 00:41:47,638 Still it's worth keeping them, at least in a rough version 789 00:41:47,638 --> 00:41:49,807 if you know that you're going 790 00:41:49,807 --> 00:41:51,075 add them later on 791 00:41:51,075 --> 00:41:52,743 just so you can make sure 792 00:41:52,743 --> 00:41:55,446 that you keep your model consistent 793 00:41:55,446 --> 00:41:59,049 and that you don't have any flickering on these details. 794 00:42:00,384 --> 00:42:04,088 The exercise for this lesson is pretty straightforward. 795 00:42:04,088 --> 00:42:07,091 Basically, just create rough animations 796 00:42:07,091 --> 00:42:08,325 from the storyboards 797 00:42:08,325 --> 00:42:10,694 that we've made the last lesson 798 00:42:11,795 --> 00:42:14,765 try and create the rough animation 799 00:42:14,765 --> 00:42:17,234 using the two different approaches 800 00:42:17,234 --> 00:42:19,970 so you can test both of them. 801 00:42:19,970 --> 00:42:22,873 Again, make sure that your line quality is correct 802 00:42:22,873 --> 00:42:25,109 and that you're keeping the proportions 803 00:42:25,109 --> 00:42:27,978 and volumes of your characters 804 00:42:27,978 --> 00:42:30,247 as well as the correct perspective 805 00:42:30,247 --> 00:42:31,815 with the environment. 806 00:42:32,516 --> 00:42:34,018 To recap 807 00:42:34,018 --> 00:42:38,956 today, we've learned how to import your storyboard to FlipaClip 808 00:42:38,956 --> 00:42:42,059 and how to animate within its timing 809 00:42:42,059 --> 00:42:44,428 limitation in two different methods. 810 00:42:45,729 --> 00:42:48,399 We especially expanded 811 00:42:48,399 --> 00:42:52,403 upon the pose to pose animation method and seen several tricks 812 00:42:52,403 --> 00:42:54,538 that can be done with the layers 813 00:42:54,538 --> 00:42:57,408 and duplication features of FlipaClip 814 00:42:57,408 --> 00:43:00,244 to make the animation process more efficient. 815 00:43:01,712 --> 00:43:04,615 Next lesson we learn how to effectively 816 00:43:04,615 --> 00:43:06,550 polish your animation 817 00:43:06,550 --> 00:43:09,353 and make preparations for your coloring 818 00:43:09,353 --> 00:43:11,622 and compositing stage. 819 00:43:12,890 --> 00:43:15,426 Thank you for watching and see you next time. 820 00:43:15,659 --> 00:43:16,560 Bye. 62875

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