Add transcription for: frames/MDS_ScienceofCharacterAnimation_DownloadPirate.com_Part 1_mp4_frames.zip

transcriptions/frames/MDS_ScienceofCharacterAnimation_DownloadPirate.com_Part 1_mp4_frames_transcription.json

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+{
+  "text": " Welcome back fellow animators! In this lesson we'll take a look on secondary motion and details. So make sure you got your coffee ready cause this is gonna be a long one. Now, I'm sure you already have stumbled upon these two words before, but what do they actually mean? Well, the title more or less says it all, it's something that reacts to our main motion. Secondary motion is generally applied to anything soft, such as clothes, hair and skin, and should never distract us from the main motion, but rather enhance it in a subtle way. In case of our character we got a couple of soft things to play around with, so let's start adding some secondary motion to the hoodie. First thing we'll do is to select the body layer. Then go to this search field here and type in path. This will save us all that headache from clicking down to the path inside the layer itself. Now snap a frame at the anticipation mark, then start adjusting the path of the hoodie so it connects better with the body. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to use a little bit of a brush. Ok, here it finally gets interesting. As our character is on his way down, we'll make the bottom of the hoodie catch some wind and act almost like a parachute. So start dragging out the bottom like this. Keep the bottom expanded all the way to the end of the jump. Now go to somewhere between jump and recall middle and make the bottom width normal again, whilst stretching it a bit lengthwise. Yep, the impact from the landing makes the hoodie move downwards. Let's add a little bounce to the bottom of the hoodie so copy paste the anticipation frame to somewhere between recall middle and recall end and start moving the bottom part up a bit whilst bending it the opposite way. To finish the bounce off, just copy the anticipation frame to just off the recall end. Perfect. Let's also adjust the path a bit here on landing. Yep, that's better. Let's now make sure the hoodie connects with the body throughout the whole jump except for when it catches wind on the way down. Perfect. Okay, time to fix the back of the hoodie. So, copy the body layer by hitting Command D on Mac or Control D on PC. Place it just above the left arm and name it Body Back. Change the fill to a slightly darker shade of its original color. Then start bending the bottom of the hoodie the opposite way on all the frames where the The hoodie is expanded. And here's how it looks now. Not bad. Let's trim the layer to where the path itself is visible. Yep, I know. My way of trimming layers where I cut and delete is perhaps not the most optimal way of doing it. It's just that my previous mark didn't have those necessary brackets on the keyboard, which you need in the hotkey for trimming layers. So please don't mimic this behavior if you don't like it. Time to add a t-shirt. So duplicate the body layer once again, drag it below the original, name it t-shirt and Set the fill to white. Then start adjusting the path so it covers the legs. You I'm going to use a brush. Let's now take a look on what we got. just a tad too much bounce at end, so let's just fix that. Perfect. Let's move on and fix the top of the hoodie. So show the hoodie and inside hoodie layers. Then select the hoodie layer, put some position and rotation frames at the anticipation mark, and start fixing the position and rotation throughout the whole jump. Let's give it a little bounce, so push it down a bit at recall middle. Then copy the anticipation frames to recall end. Easy is the frames. And voila. Ok, let's kick the secondary motion up one notch. So select both the hoodie and inside hoodie and put a path frame at the anticipation mark. Then push it up when the character moves downwards and push it down when the character moves upwards. Remember, it reacts to the main character which means it's a couple of frames behind And time wise. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little... I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to add a little bit of water. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little Done. Let's just tighten up the timing and paths. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little Now we just need to fix the front of the hoodie and the only way to do this is frame by frame. Now now when you're done with this course you'll be a frame by frame master. No, but seriously, these extra details are absolutely worth it. So, So the We're going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little So So So the So Alright, let's fix the strings. We can go ahead and delete the second one as we only need to animate one string and then duplicate it once it's done. Now snap a rotation frame at the anticipation mark, then go to about three frames in and rotate it to minus 60 degrees. Make it 25 degrees around the mid airmark. And minus 100 between mid air and jump end. Perfect. Let's now add a little bounce at the end. So go to Recall Middle and set the rotation to 12 degrees. Make it around minus 4 between Recall Middle and Recall End. And finish it off by copy pasting the first frame to somewhere here. Let's just ease the frames before we hit that preview. As you can see, the string reacts to the main movement from our character. However, it still feels stiff, so let's animate that path as well. first. Let's polish this graph. Now, hit a frame in shape 1 and hide shape 2, as we only need to animate one path and then duplicate the frames to the other once it's done. Let's give the path some best year handles. Now bend it downwards in the beginning. Go to somewhere just before the middle of the jump and bend it the other way. This will make the string swing around in reaction to the jump. Let's keep the same direction on the bend until he lands. Now bend the string the other way just after he lands as the landing itself is a sudden movement which causes a big reaction to all our soft parts. Copy paste the first frame to here and here then bend the middle one slightly to the right before it finally settles. easy is those frames. Perfect. Now, copy paste the frames to shape 2 and make sure to turn the eye back on again. Then duplicate the string itself and move the new instance to the right. Boom! boom. Now we just need to adjust the position of these two strings throughout the whole You Now offset the whole string too with one frame so it's less synchronized and a bit more natural. Done. Now we just need to add some secondary motion to the hair before we start adding details. So show all the hair layers, put a path frame at the anticipation mark and start adjusting the path so the hair swings up when the character goes down and down when the character goes up. the You I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little Let's make it bounce down after impact. And make it settle at recoil end by copy pasting the frames from anticipation. Now ease ease the frames and hit that preview. bad but let's try offsetting them a bit at the end and see what that does. Perfect. Now, as you may have noticed, the hair doesn't go fully over the forehead as we would like it to. And the easiest way to fix this is to cut and move layers up and down. So let's start off by showing all hair and ear layers. Then select all the top hair layers. Go to the timing where they start disappearing behind the hair cover layer. Cut them and move them on top of the other layers light. So and there the top hair is now finally going over the forehead as it should. Let's now cut and move the top hair layers up and down so they are behind the hair cover when they are either normal or pushed upwards and in front when pushed downwards. Awesome! But the paths are a bit all over the place, so let's hit that frame by frame cam once again. So, the the the the So the 2 tablespoons of olive oil. 2 tablespoons of olive oil. 1 teaspoon of salt. 1 teaspoon of black pepper. 1 teaspoon of black pepper. 1 teaspoon of black pepper. 1 teaspoon of salt. 1 teaspoon of black pepper. 1 teaspoon of black pepper. 1 teaspoon of salt. 1 teaspoon of black pepper. 1 teaspoon of black pepper. 1 teaspoon of salt. 1 teaspoon of black pepper. So So So So So So Yeah. So I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little the the the the So So So And there we go, our secondary motions are now done.",
+  "segments": [
+    {
+      "text": " Welcome back fellow animators! In this lesson we'll take a look on secondary motion and details. So make sure you got your coffee ready cause this is gonna be a long one. Now, I'm sure you already have stumbled upon these two words before, but what do they actually mean? Well, the title more or less says it all, it's something that reacts to our main motion. Secondary motion is generally applied to anything soft, such as clothes, hair and skin, and should never distract us from the main motion, but rather enhance it in a subtle way. In case of our character we got a couple of soft things to play around with, so let's start adding some secondary motion to the hoodie. First thing we'll do is to select the body layer. Then go to this search field here and type in path. This will save us all that headache from clicking down to the path inside the layer itself. Now snap a frame at the anticipation mark, then start adjusting the path of the hoodie so it connects better with the body. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to use a little bit of a brush. Ok, here it finally gets interesting. As our character is on his way down, we'll make the bottom of the hoodie catch some wind and act almost like a parachute. So start dragging out the bottom like this. Keep the bottom expanded all the way to the end of the jump. Now go to somewhere between jump and recall middle and make the bottom width normal again, whilst stretching it a bit lengthwise. Yep, the impact from the landing makes the hoodie move downwards. Let's add a little bounce to the bottom of the hoodie so copy paste the anticipation frame to somewhere between recall middle and recall end and start moving the bottom part up a bit whilst bending it the opposite way. To finish the bounce off, just copy the anticipation frame to just off the recall end. Perfect. Let's also adjust the path a bit here on landing. Yep, that's better. Let's now make sure the hoodie connects with the body throughout the whole jump except for when it catches wind on the way down. Perfect. Okay, time to fix the back of the hoodie. So, copy the body layer by hitting Command D on Mac or Control D on PC. Place it just above the left arm and name it Body Back. Change the fill to a slightly darker shade of its original color. Then start bending the bottom of the hoodie the opposite way on all the frames where the The hoodie is expanded. And here's how it looks now. Not bad. Let's trim the layer to where the path itself is visible. Yep, I know. My way of trimming layers where I cut and delete is perhaps not the most optimal way of doing it. It's just that my previous mark didn't have those necessary brackets on the keyboard, which you need in the hotkey for trimming layers. So please don't mimic this behavior if you don't like it. Time to add a t-shirt. So duplicate the body layer once again, drag it below the original, name it t-shirt and Set the fill to white. Then start adjusting the path so it covers the legs. You I'm going to use a brush. Let's now take a look on what we got. just a tad too much bounce at end, so let's just fix that. Perfect. Let's move on and fix the top of the hoodie. So show the hoodie and inside hoodie layers. Then select the hoodie layer, put some position and rotation frames at the anticipation mark, and start fixing the position and rotation throughout the whole jump. Let's give it a little bounce, so push it down a bit at recall middle. Then copy the anticipation frames to recall end. Easy is the frames. And voila. Ok, let's kick the secondary motion up one notch. So select both the hoodie and inside hoodie and put a path frame at the anticipation mark. Then push it up when the character moves downwards and push it down when the character moves upwards. Remember, it reacts to the main character which means it's a couple of frames behind And time wise. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little... I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to add a little bit of water. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little Done. Let's just tighten up the timing and paths. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little Now we just need to fix the front of the hoodie and the only way to do this is frame by frame. Now now when you're done with this course you'll be a frame by frame master. No, but seriously, these extra details are absolutely worth it. So, So the We're going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little So So So the So Alright, let's fix the strings. We can go ahead and delete the second one as we only need to animate one string and then duplicate it once it's done. Now snap a rotation frame at the anticipation mark, then go to about three frames in and rotate it to minus 60 degrees. Make it 25 degrees around the mid airmark. And minus 100 between mid air and jump end. Perfect. Let's now add a little bounce at the end. So go to Recall Middle and set the rotation to 12 degrees. Make it around minus 4 between Recall Middle and Recall End. And finish it off by copy pasting the first frame to somewhere here. Let's just ease the frames before we hit that preview. As you can see, the string reacts to the main movement from our character. However, it still feels stiff, so let's animate that path as well. first. Let's polish this graph. Now, hit a frame in shape 1 and hide shape 2, as we only need to animate one path and then duplicate the frames to the other once it's done. Let's give the path some best year handles. Now bend it downwards in the beginning. Go to somewhere just before the middle of the jump and bend it the other way. This will make the string swing around in reaction to the jump. Let's keep the same direction on the bend until he lands. Now bend the string the other way just after he lands as the landing itself is a sudden movement which causes a big reaction to all our soft parts. Copy paste the first frame to here and here then bend the middle one slightly to the right before it finally settles. easy is those frames. Perfect. Now, copy paste the frames to shape 2 and make sure to turn the eye back on again. Then duplicate the string itself and move the new instance to the right. Boom! boom. Now we just need to adjust the position of these two strings throughout the whole You Now offset the whole string too with one frame so it's less synchronized and a bit more natural. Done. Now we just need to add some secondary motion to the hair before we start adding details. So show all the hair layers, put a path frame at the anticipation mark and start adjusting the path so the hair swings up when the character goes down and down when the character goes up. the You I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little Let's make it bounce down after impact. And make it settle at recoil end by copy pasting the frames from anticipation. Now ease ease the frames and hit that preview. bad but let's try offsetting them a bit at the end and see what that does. Perfect. Now, as you may have noticed, the hair doesn't go fully over the forehead as we would like it to. And the easiest way to fix this is to cut and move layers up and down. So let's start off by showing all hair and ear layers. Then select all the top hair layers. Go to the timing where they start disappearing behind the hair cover layer. Cut them and move them on top of the other layers light. So and there the top hair is now finally going over the forehead as it should. Let's now cut and move the top hair layers up and down so they are behind the hair cover when they are either normal or pushed upwards and in front when pushed downwards. Awesome! But the paths are a bit all over the place, so let's hit that frame by frame cam once again. So, the the the the So the 2 tablespoons of olive oil. 2 tablespoons of olive oil. 1 teaspoon of salt. 1 teaspoon of black pepper. 1 teaspoon of black pepper. 1 teaspoon of black pepper. 1 teaspoon of salt. 1 teaspoon of black pepper. 1 teaspoon of black pepper. 1 teaspoon of salt. 1 teaspoon of black pepper. 1 teaspoon of black pepper. 1 teaspoon of salt. 1 teaspoon of black pepper. So So So So So So Yeah. So I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little the the the the So So So And there we go, our secondary motions are now done."
+    }
+  ]
+}