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Hello, everyone.
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Havtza here.
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Last lesson we've seen multiple ways
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to creating storyboard and basically starting our project.
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And planning it and deciding on which shots
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and which timing we're going to use.
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And in the last section, we've learned all the techniques
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that help us to achieve the animations that we're trying to do,
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at both the technical parts and the more cinematic parts
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with the perspective and camera.
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And in this lesson,
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we're going to learn how to combine these two
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and basically transform
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our storyboard into rough animation.
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When it comes to animation,
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there are two main approaches on how to animate as we've
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discussed in multiple lessons.
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These are the straight ahead and pose to pose approaches.
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The straight ahead lets you be free and get interesting results
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in your animation.
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While pose to pose lets you be efficient and keep consistency.
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Most commercial animation studios or really any projects
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made by multiple people which uses storyboards
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will work with the pose to pose approach,
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since by default having the main poses
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and timing already decided by the storyboard
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limits the freedom you can have with your movement.
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That being said, some elements in a character design,
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such as hair and clothing work better with the straight ahead approach,
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and many nuances of the movement as well as its pacing
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within the storyboard confinements
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are up to the animator making the rough animation stage.
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There are multiple tricks and approaches that you can employ
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to make your animation smoother while being efficient,
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and we're going to let them in this lesson.
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Being an independent animator which is in charge of the entire artistic look
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and direction of the project
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gives you a high degree of freedom in your project,
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as you are the person that determines the overall timing and poses
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within the storyboard and you will probably be able
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to make changes to the storyboard and not stick to it as tightly
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as in a more commercial setting,
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in which teamwork and clarity are important for the process to work smoothly
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because you depend on the works of other people.
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This gives you as an independent animator the opportunity
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to make large chunks of your animation
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with the straight ahead method,
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which gives it additional smoothness and makes the animation more interesting.
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And actually I on my own personal project,
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usually go with an almost straight ahead approach
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where I add most of my rough animation as animation in low frame rate
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and then just add additional in-betweens as necessary.
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But in general, the amount of keyframes
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as you can call it is pretty high
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because it's almost a straight ahead approach.
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But of course, when they have actual clients where they have a storyboard
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and limitations with the entire length of the video
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and the timing of each individual movement,
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then I go with the more traditional pose to pose approach.
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But even so, there are somethings that you can do
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within the animation itself to make it more appealing
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and make the entire process easier.
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So if you're here for independent animation and being a single creator,
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I generally just create the thumbnails
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of my storyboard in the actual format that we've seen last lesson,
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and then I animate my ideas straight ahead and basically just change around
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the timing of each individual shots
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to make it fit with the movement
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instead of going the other way around
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and fitting the movements to the length of the animation.
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This approach will give you the most natural looking movement,
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but you also need to be able to estimate your abilities
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and the amount of effort
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that you want to dedicate to your project.
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And create something that balances your vision
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with the amount of work that it requires.
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Otherwise, you might not be able to actually finish your project
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and get frustrated and just abandon it.
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Now this, same as when making projects for a client,
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might limit the actual time and amount of frames
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that you can dedicate for each individual shot.
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So you would need to limit yourself to the confinement
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of the timing in the actual storyboard.
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So in this cases, you will actually need to plan your movement in advance
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to fit the length of the shot and not the other way around.
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Ideally, you want that within the time of your shot,
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the movement in the animation will be clear to the viewer
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and that you will be able to complete it.
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So you might need to change it,
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tweak it, or simplify it to make sure that you
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get both of these conditions,
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while planning your animation in each shot.
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And if you're working with an animatic or with a studio,
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the length of some shots might not even be decided by timing,
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but by the amount of frames, so you really have to plan
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each individual frame.
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So the first step to actually planning your animation in advance
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and transforming your storyboard to animation
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is importing your storyboard
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into your animation software.
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So as we've done in the last lesson,
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we basically created either
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a still storyboard or an animatic in Procreate.
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There is no real way
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to transform the still storyboard,
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so we first have to make
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the still storyboard into animatic,
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and then we're going to import it
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into FlipaClip as a video file.
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To do this, we simply save the Procreate file as an MP4
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and then again save the MP4
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to our actual files application.
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We do this because importing it as a file
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instead of as a video
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from our photo album will make it,
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so it's in better quality.
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Then we go to Filpaclip
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and open the toolbar at the top right corner
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and then choose the import video option
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and add the file option within that
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and just import our video.
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FlipaClip translates the video to the frame rate of your project.
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So in instances where each frame is planned or in cases
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where you're working with professional clients,
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make sure to match your frame rate to the frame rate of your actual
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final production to get the exact timing of your storyboard.
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Again, the industry standard is currently 24 frames per second,
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but in cases where you know the timing,
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it doesn't have to be frame perfect,
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or when you're making your own personal project
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which doesn't have to be on 24 frames per second,
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you can just import this to Procreate
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in any frame rate which is convenient for you.
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I personally import in eight frames per second,
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when making my own personal projects
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because my main frame rate is eight
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and then I later duplicate certain frames
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to adjust the timing to the 24 frames per second standard frame rate.
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Once you've imported your storyboard into FlipaClip
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and you know your exact timing
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for each individual shot and each keyframe.
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Now you can start planning your actual rough animation.
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Again, there two approaches to actually creating your animation,
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even if your overall timing is dictated
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by the keyframes in the storyboard.
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And we're going to choose them
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depending on the actual trajectory of the movement itself.
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If you have a very clear trajectory
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where you can basically
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just plan your entire movement in one go,
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Even if your movement is complicated,
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then it is better to use keyframes
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because you will make sure
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that your spacing is consistent, your character is consistent,
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and that each ease in and ease out, works well together.
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But if you have a shot which has a lot of camera movement,
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the character basically
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stays in place for the entire scene and just each individual part
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is seen from multiple angles,
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or if your character movement is going back and forth and repeating
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and it's getting really complicated to understand
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which direction is which,
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it might be better to actually go
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with the straight ahead method.
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And again, certain object and character
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design details are better
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to do in straight ahead as well
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because they do depend
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on the main action of your animation.
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So starting with the pose to pose method,
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first, you just go into your storyboard
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and plan your trajectory.
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Put a marker on each keyframe in your storyboard
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and have your trajectory completely
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mapped out between each frame on each scene
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so you can see it and have a clear view for
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where you're going to put
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your ease in and ease out.
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This will also help you understand the overall number of frames
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that you have for each individual shot.
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So, you know if you have enough frames
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to complete each part of your movement.
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The next step is to actually draw your keyframes.
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The entire pose to pose method
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works by how important they are to the overall movement.
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And then just filling in the blanks between each individual keyframe
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or breakdown pose.
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Basically, you have three or four main passes
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in your entire animation process,
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which are the keyframes which dictates the overall movement
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and the correct timing,
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and they are the most important poses.
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Then you have the breakdowns
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which are just in the middle of the action
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or closer to the edges.
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Where you have your indication of
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ease in and ease out
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as well as any major direction changes in your movement,
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which are not affecting the timing,
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and then you have your in-betweens
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which are just additional frames
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which help you smooth
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the ease in and ease out
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between each part of your trajectory
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as well as raise up your frame rate,
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if you want to increase it later on.
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Just remember that if you
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are increasing your frame rate,
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you still need to make sure
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that your timing is being kept.
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So you need to add
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your additional in-betweens
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with the concept of
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ease in and ease out in mind.
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So basically, if we're going with the pose to pose method,
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we have full clear passes with each one
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serving a slightly different purpose.
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First, we have the storyboard poses,
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which are the base poses
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and can also be classified as key frames.
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These are the crucial poses
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needed to understand the perspective, positioning
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and timing of your character in the shot.
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Next, we have the actual key frames.
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These include the storyboard frames
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but add the additional frames,
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which help better define the pacing
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between each of the storyboard poses.
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These frames are the most essential poses
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that help you understand the complete movement
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with the correct timing and nuance
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with the smallest amount of frames.
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After that, we have the breakdown poses.
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These are poses that are important
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to determining the pacing
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of the overall animation
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and help you plan the location
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between each key frame.
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You will often find them in the middle of the movement
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and close to the key frames, as they are important to indicate
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the slow in and slow out in your trajectory.
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The final stage is the in-betweens,
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which are the lowest priority connecting frames.
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So if you are using a low frame rate,
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you can just omit them,
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and they are there to support the movement
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and make it smoother
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as well as helps you raise the frame rate if needed.
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The higher your frame rate,
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the more in-betweens you will have,
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they will usually increase in a much higher rate than your
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key frames and breakdowns frames
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because your frame rate is not going to change your actual timing.
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So there is no reason to add additional key frames or breakdown frames
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which are just for the timing and nuance.
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The spacing between your frames
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also needs to follow a clear and complete arc.
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You have to make sure that your frames
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are not accidentally being bunched
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together in a way that obstructs your movement.
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As you can see,
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here I first had the timing
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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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