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Crash Course On Independent Animation

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Crash Course On Independent Animation

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  1. Crash Course On Independent Animation With Dan Henrick

  2. Class Overview • Introduction • Step by Step Process in Flash and After Effects • Look at Different Examples of Technique • Working with Clients (if we have time) • Start on a Collaborative Project • Discussion and Q & A

  3. Dan’s Qualifiers for This Class • There are many ways to animate; this is just one way that makes it quick and easy. • There are lots of programs out there, but the principles are the same. • Anyone can animate, as long as they put a little time into it. • The booklet is supplement to the class so that you don’t need to take notes.

  4. Script and Dialogue • Let’s assume the script and dialogue already recorded • Ideally, you want your dialogue recorded previous to creating storyboards • Kyle’s short as an example Page 1 of Handout

  5. Storyboards • Important to planning out your short • Establishes pacing • Determines shot composition • Makes it easy for clients to give feedback • Important for editing audio Page 3 of Handout

  6. Editing Audio • Purpose: Makes our dialogue manageable • Allows us to add pauses between lines • Establishes an organizational system forour short • Easy to do with Audacity, GarageBand Page 4 of Handout

  7. Model Sheets • Establish sizing, consistent character look • Occasionally includes directions ondrawing characters • Sometimes establishes character expressions • Necessary if you are on a team of animators • If you’re a single animator, it’s very helpful but not always necessary Page 6 of Handout

  8. Starting Up Flash • Title Safe HDTV 720 dpi • 29.97 frame rate • Explain workspace • Import first 20 audio files • Naming convention, “part” and “version” Page 7 of Handout

  9. Setting up the Flash workspace • Explanation of Guide Layer • Rename content layer, create 10 graphic layers • Place sound in sound layer, add labels • Add frames, keyframes • Repeat the process for rest of audio files • Repeat the process for other Flash files (parts) • This will facilitate pauses for animation Page 9 of Handout

  10. Creating backgrounds • On bottom layer, start sketching • Convert to symbol, graphic clip • Name symbol a descriptive title, when it appears • Open up timeline, insert a layer • Create fleshed out version • Exit symbol Page 12 of Handout

  11. Creating character art • Similar to background art • Start with sketch, Convert to Symbol • Divide your character into layers to be animated • Extrapolate for all movable segments Page 14 of Handout

  12. Duplicate symbols • DO THIS BEFORE ANIMATING • Refer to storyboards for duplicate graphics • Go into library, duplicate symbols with new names from when they appear • Duplicate animated symbols will retain animation Page 16 of Handout

  13. Intro to animation • Two main kinds of 2D animation • Hand-drawn (drawn on a tablet counts) • Tween-based Page 17 of Handout

  14. Hand-drawn animation • Two main kinds of Hand-drawn animation • Straight-ahead action =Drawn chronologically, first frame to last frame • Pose-to-pose animation =Keyframes drawn first, every 5 to 30 frames or so Page 17 of Handout

  15. Straight-ahead action • Advantages • More fluid, expressive and dynamic motion • Effective for action scenes • Disadvantages • Hard to compose shots • Hard to maintain consistent proportions • Hard to plan Page 17 of Handout

  16. Pose-to-pose • Advantages • Easier to plan / compose shots • Better for working in teams (animation assistants) • Easier to generate an animatic • Disadvantages • Can look wooden or stiff Page 18 of Handout

  17. Keyframes • With in-betweens

  18. Pose-to-pose within Flash • Using Kyle’s head example, making him blink • Keyframe at last frame, lock other layers • Using the Onion Skin tool • Working our way back every 2 frames Page 19 of Handout

  19. Quick mention of Frame Rate • Our current frame rate is 29.97 frames per second (roughly 30 fps) • We are creating new drawings for every 2 frames (or “on the twos”) • For broadcast…15 drawings + 2 frames per drawing = 30 fps • For video games…15 drawings + 4 frames per drawing = 60 fps Page 21 of Handout

  20. Tween-based Animation • Allows Flash to create the in-betweens • 3 types of tweens in Flash • Motion • Shape • Classic Page 21 of Handout

  21. Tween-based Animation • Advantages • Saves time creating in-betweens • Maintains consistency of character’s look • When done well, barely noticeable • Disadvantages • Looks stiff • Can be limiting Page 21 of Handout

  22. Tweens in Flash • Using Kyle’s face again, lock all layers but irises • Hide eyelids with Show / Hide Layer tool • Make sure keyframe exists • Create Tween • Move irises Page 22 of Handout

  23. Properties and Tweens • Insert keyframe in middle of tween • Show alpha tween • Show color tween Page 22 of Handout

  24. Using combinations of techniques • More often than not, animated shorts are a combination of tweening and hand-drawn; straight-ahead and pose-to-pose Page 25 of Handout

  25. Quick notes on puppeting • Flash tool that allows you to make movable puppet characters • Fast, but look particularly stiff Page 25 of Handout

  26. Quick notes on walk cycles • One of the first exercises animators learn • Seems easy, but the nuances are not • Start by tracing if you aren’t confident • Preston Blair / Muybridge are good sources Page 25 of Handout

  27. Lip-syncing • 10 basic phonemes (12 if you work at Disney) • Generally done by hand • Software available, like SmartMouth, but it’s good to refine by hand Page 26 of Handout

  28. Publishing • Test Movie, Publish Settings, Publish • Only good for browser-based viewer • Need After Effects for Quicktime, Vimeo, YouTube • Flash’s Quicktime export function is useless Page 28 of Handout

  29. Post-production • After Effects • You need to import SWFS and audio • After Effects doesn’t recognize SWF audio • Media Encoder Page 29 of Handout

  30. Dealing with Clients • Attend conferences, meet-ups, join groups • Manage expectations • Learn to save time without detriment to your final product • Be realistic about deadlines • Don’t do spec work Page 33 of Handout

  31. Collaborative Project • “Exquisite Corpse” • Everyone gets 32 frames • Draw what you like • July 15th, ideally • You get a copy of the finished piece and credit • Experimental animation fest?