Animate Frame by Frame with Ben Marriott

[Music] [Music] [Music] [Applause] [Music] test test hey guys how you doing welcome to Adobe live let us know if you can hear us I just want to double check that the audio is coming through okay let's assume that it is Ben how are you doing I'm doing very well Flynn how are you today it's good to be a bride with bright and early and a different time slot so hopefully we've got some you know Americans and other folk in in the chat watching along yeah absolutely so hi everyone again let us know in chat if the audio is coming through all good in the hood I love your new background now so since we had you on last time you've got your decked out with some illustrations behind you thank you very much yes the drive I've got you know the window facing this way this is where my computer used to be yeah I'm just looking at all this stuff but I thought why not have it on camera good lots of you know great artwork from from my friends and peers they're awesome awesome stuff thanks everybody thanks in chat for letting us know always always want to make sure that everything's working straight out of the gate so yeah Julia and Sam hey sticking around how good was Paul streaming session I think I need to take some more Paul classes just to make sure that I've got everything working really well on this side he's amazing and thanks for sticking around those of you that were in the u.s. stream so as you can probably tell by our accent we're from Sydney Australia it's 8:30 in the morning here and we thought we'd put some of our streams at the end of the u.s. stream so maybe we can wake up early with you and maybe you can start settling down for the day over there with us which is super course or festus in the chat as well Daniel will thanks for sticking around Jeremy Lords in the chat this is awesome so for those of you who who might not know Ben Ben maybe you can give us a bit of a bit of a rundown on who then married is and what you are up to at the moment cuz it's super interesting stuff okay well he's me that's who he is and I'm a motion designer a 2d animator and designer illustrator you know design animate things and then I animate them and I've been doing that about five six years in freelance at the last couple of years and then beginning of the last year I started a YouTube channel where I teach motion design animation mainly After Effects 2d stuff on YouTube and over the last year that's become you know my full-time job now so I'm you know all in on online online training and education for you know motion design that's that's awesome and we've had you on Adobe live I'm hearing here in asia-pacific quite a long time system people over there some people probably from your YouTube channel that are jumping in here so hi everyone thanks for jumping across yeah hey I recognize quite a few names we've got Luke dent in there as well I recognize him and you know a bunch of bunch of other folks so thank you all for joining awesome so let's have a look at some of your stuff cuz I thought it might be cool just to quickly take a check at your YouTube channel cuz there's some there's some amazing stuff on there and as the Simpsons and Rick and Morty fan I'm really happy that those two it like very high at the top in the rankings then yeah yeah it's my my channel page yes and the The Simpsons and the Rick and Morty ones those I'm number one and number three most viewed videos I wonder why people seem to love when I do messed up stuff with AI using them they're more of an outlier of what I do on the channel U is like you know use you know the latest you know AI and interesting technology to see how we can apply it animation and normally you know get some interesting results save least and yeah and then it's mainly based more I suppose maybe intermediate level not fair you know total total beginners but a lot of the stuff is but I like to just you know get to the point and say hey you know most of the people watching this 40 you know have opened up After Effects and can open a composition instead we get in and do you know get to the the meat and and the detail mmm that's super awesome Julie was saying in the chat you have your Google Maps on Australian accent that's amazing I don't know if Australians that have their Google Maps on an Australian accent no I have every every single thing one a British man a butler if I go to Butler in your pocket that's amazing super cool well why don't we why don't we jump across and have a little bit of a chat and even even sort of get stuck into it what do you have in store for us today because we're we're jumping into animated Dobby animate which is which is difficult yes we're jumping into Adobe animate which is something that I'm not really covered on my youtube channel at all so we're gonna focus on animating frame by frame which is something that I'm really interested and passionate about something that I've been getting into the last few years that I've really enjoyed and let's have a quick look at kind of what we're gonna be making so we're gonna be making something a bit like this so we've got a really fluid motion of you know a little ball moving around kinda like a comment with a fiery trail and I'm gonna go over a few techniques and how to get really smooth like fluid animation frame by frame some mistakes to avoid and a bit of how you know how it's different than animating in After Effects because although you know the results might look can look pretty similar like the processes you know lead a friend because we're drawing every frame and I think this is something that maybe designers and illustrators people that are really used to drawing might be more comfortable with and yes we're going to be covering this like a little bit of the basics you know this should cover a lot of everything you need to get started and then we're going to go into animating some like huh then we got to get into cleaning it up this is a cleaned up version of this we've got three different colors and then we're gonna work on on creating a an animation really really using squash and stretch which is one of the principles of animation and let me pull up that in After Effects so here is one of the animations got a lovely really squishy bouncy heart and let's open up that hander as well and another Panda and is it just the reason I like frame by frame animation mainly is it it's so fun it's really he brings out that sort of more organic kind of look well I just sort of the process is a little mods like drawing they need to sit down and you draw and somehow an animation comes out of it and I think that's you know a loose woman feels like a bit more magic than sometimes going into a you know opening up the computer and typing in values this is you know I'm drawn every frame somehow a film comes out right I love I love this pant I think this pen is my favorite thank you yeah this is really fun like this is surprisingly like the main motion of the you know the bounciness is you know really easy to animate so we'll definitely get stuck with that one first time talk about squash and stretch awesome super cool um well I'm just gonna bring up a schedule for everyone just because we do have heaps of more content just before we jump into everything so that so this week on Adobe live here in Australia obviously these are these are Australian times but today here we are frame by frame animation with bear Mariette tomorrow morning you're potentially your afternoon if you're in the u.s. we're doing some Photoshop illustration with Jeremy Lord and then we're gonna finish that off with some custom typography in Illustrator and then on Friday we've got some tips in Premiere Pro so if you guys are interested in that sort of thing we've got lots of content coming basically it's at the end of the u.s. stream work sort of jumping in and all of these sessions are going for about two hours so we have plenty of time for Q&A in fact we've got a little bit of Q&A time set aside today and for all future screen streams as well so feel free to ask questions in the chat as we're going through Steve and grace in the chat yeah that's right in Hague he's coming in on Friday which is awesome and so yeah if you do have any questions the way that we're going to do it is we're actually going to jump in with Ben now I'm sure you can have lots of questions feel free to ask in the chat and we'll try to get to them as we go but for any of those sort of more in-depth questions like if you asked Ben the meaning of life then we we might set some time aside and we'll have a bit of a break in the middle and do some Q&A and that's what the time is going to be for so we're trying some new things today so then I'm gonna hand over to you I'm gonna start that timer and and let's learn some stuff excellent let's learn some stuff first long shot Steven allegiant in the chat good friend of mine awesome animation director from down in Melbourne Oh expert thanks adjoining mister doing the Chatham let's yeah let's get started so I think the best way to go about this is I'm gonna start start the process of animating something a bit like this and then we're gonna encounter a lot of things that might need explaining and I'm gonna assume very little frame-by-frame knowledge and animate knowledge because there are some things about maybe a bit specific for Adobe animate the first thing I want to clarify is Adobe animate is Adobe Flash essentially what people still refer to it as Wesley yeah yeah exactly but I know you know I get that question a lot you know and some yet some people animated still refer to it as flash out of habit and so yeah I think Adobe acquired for Macromedia in 2006 and then called the Adobe Flash Professional until 2016 and it's essentially it's the same thing I hope you animate because if you know it's used less for these things now so it's more animation and Flash's you know it's free ambiguous thing to name a software that doesn't involve lighting in any way so when in Adobe animate and I'd highly recommend I'm working in CC 2020 the latest version and it is a huge update from CC 2019 like they really pulled it a lot more in line with the rest of the they don't be Creative Suite like you'll see of the toolbars on the left pretty identical to that in Photoshop in Illustrator and the UI's you know just been tightened up so much more I used to be really fits the scared of animating in Adobe animate I used to prefer to animate frame by frame in Photoshop but now animate is you know it's really gonna come an awful long way in the u.s. yep really good a lot more instinctive so how about if you for that refinement yeah actually we've got a question which I'm sure it's gonna come up so what tablet are you using today yes that's right so I'm on a yes so I'm going on my tablet today I'm working on a Wacom Cintiq and it is a 22 inch HD desktop one this is 80 years old at least so it's an old workhorse but it still works so it works like no it's big on the desk and any tablet is really I'd say fine like I don't you know the wacom ones at once I've had most experience with and their great quality but I know now they've got a lot more competitors out of the market which are you know pushing prices down and there's you have a lot more options than when I was buying this but I'd highly recommend to work on this one was pretty expensive this one cost like three grand but you can get a walk on with a screen I think the Wacom one it's like 500 rollers so like the barrier of entry of getting a tablet with the screen is way away lower so that would be definitely something I'd buy if I was you know if I was looking to buy to buy a new one in the market and yeah definitely and I might prefer animating with one on a screen because you know more like drawing on paper you can more see what you're doing that's not the disconnect of drawing and like thrown while you're looking down looking forward and then drawing downwards and you do get used to that and that you know screens just a bit more intuitive so highly recommend that but you know you can get a I think an welcome there like a bamboo or other tablets for like 50 to 100 bucks like just the regular graphics tablets as well so highly recommend either either of those if you want to get to frame by frame because you could do it with a mouse but it's not it's not gonna be a good time for anyone right okay so let's get stuck in let's open up a let's just create a new file so we're gonna go over to file new and we get some nice options here and the default all the preset that I've got open here is pretty much exactly what we want we want 1920 by 1080 and the framerate at 24 frames per second it's probably best to work in 24 frames per second unless someone says otherwise mainly because that's a lot easier to divide into 4 & 6 & 2 & 3 rather than you know 29.97 24 for 24 frames per second is is a good frame rate to stick with so let's create a new file and you'll notice we've got a nice backing track here welcome now we've got our timeline down at the bottom so this is pretty much like After Effects you know this is the start of our animation right is the end but here it's more frame based so we've got a whole bunch of numbers and individual little you know not just little little buckets and dividers down here so that's what and each frame is and there nicely you know divided up we can see every five frames we've got a bit of a lighter gray here and it tells us you know up here we're on frame one so on the first layer I'm just gonna extend out this blank frame usually let's assume out here and why are you doing now I've Scott question from Chris for frame by frame for frame by frame animation which would you know which which Chris wants to do what would you recommend learning animate or after effects or even Photoshop animate frame by frame animation the animates the way to go you can't really animate frame by frame in after-effects like in a traditional way with a pen you can do you know you can animate shape layers frame by frame and in Photoshop Photoshop not really built for that you can get an awesome plugin called annum DES into which helps and give some of these sort of features like a timeline and onion skins and new frame buttons but that can be a bit tricky to install install lets Adam Devon am I am des sin2 and it does go up to finish up 2020 although the website says what ended in 2016 it still works in Adobe 2020 it's just harder to install but you'll find instructors out there but yet starting animate that that's what it's built for and you know I only didn't use that made because I was you know scared of the interface and a lot it's not so much getting the interface just way more comfortable in Photoshop because I've been using Photoshop for 10 years so I know where the brushes were and you know there is advantages like the brushes in Photoshop are a lot more advanced you can have texture and a lot more great and you can get a lot more drawing a lot more like painterly feel whereas in animate it is vector based which is great too means you're consuming infinitely and there's no you know lost in any you know of quality there but you know it you know you can't get texture very easily right look yeah hope that answered your question startin animate alright so let's get started we've got a layer down here and I'm gonna press f5 to just drag out this frame so f5 it just had I'd say adds a blank frame to this for this frame so each of these dots is a frame if I want to add a new blank keyframe its f7 if I want to add a keyframe f6 and they're all between blank at the moment because I don't have any drawings but let's just go and draw a I'm just going to show the basics of how it works let's draw a circle here I'm just using the basic brush tool I really stick to the basics in Adobe animate I know there's a lot more you could get into them what I do it I mainly just use the brush tool and for drawing that's about it I don't really go into anything else this you know brush an eraser and maybe the transform tool if you want to scale things up like and sugar for a razor is a you know brushes B and the transform is Q I believe Q and then we get you know transform properties or we can scale things up and move things around nice but I like to stick the brush because what I really liked about frame by frame is have sort of simplified it is like how basic it is it's just like drawing with a pencil on paper you don't there's no need to complicate it I can get a fix this so many properties everything as individual properties and effects that can be applied to work and if you do more amount of that in an animate but I I think what it's best at they're just you know reducing your and your options down so you're only focusing on the core animation principles so here we can see we've got this circle drawn for our foot maybe in like 17 frames and then for our next frame it is blank and we can see this one has a darker circle because it has content in that frame on the bottom left down here and on the bottom right I would like just a new frame on frame 18 we've got R in here so I want to start continuing like to animate that circle but I can't really see it so an excellent feature and you know pretty much an essential feature in all frame by frame software is seeing onion skins so the option to turn those on is down here so we turn that on we can see a little ghostly view of that previous frame so that helps us track well where is where is it going to move so then I could draw a circle coming down here on the right and then we stick it to our next room over here we have a view of that last frame and down here we have these sort of little little lion spied the slide of our playhead so on the Left we've got a blue one and on the right we've got a green one and at the moment they're two frames i decided i play ahead so we can drag these back and that's gonna make the frames before it visible so now i've dragged this one the left side all the way back to get in frame twelve frame thirteen we can see the frame before it this one and then the frame the first frame we do back here so this just helps you keep you know the track of where your animation is coming from so here I can see well if I want to move in a downward motion like this I need to animate the next frame somewhere here and then let's create a new frame hundra press f7 to get a new blank keyframe and we can see where the animation is going and then we can do a nice maybe long movement as it's maybe accelerating towards the ground and then the new frame could hit the ground and we can have a little splash coming up like this and then the new frame maybe just some things leaving that and at the moment which is kind of how I like to start is I'm not really worrying too much about and how long each of these frames are you can see this this first one is unit like 16 frames long and the next one's 5 frames and then 3 and then 2 then 2 and and this one's last one 6 let's see how that how that looks first there us we see there's a bit of movement there you know the length of the frames is really staggered it so I can reduce the amount of frames - so they're all - so they're all even so I can either with shift f5 that removes one frame one frame length of the frame you're drawing so let's remove them all until they're just two frames each last one and then let's create a new empty frame at the end so now we've got a nice little animation happening nice lil animation while we go I know you like questions as we go so I'll try and do my best to jump them in beer yeah who follows your channel on YouTube so nice thanks for coming over beer was asking they would like to learn how how much time did you spend learning animation before starting to work in the field she's a great question that's a great great basin and they kind of happened in parallel so I was I was working as a freelance illustrator and straight out of uni and I started to do a tiny bit of animation like kind of like frame by frame stuff and feta job like really simple basic stuff not nothing that nothing that looks good if there's in Chile and and I just said I had a lot of fun doing it and I work for an illustration like I was represented by an illustration agency in Sydney called a drawing book and whenever they to get jobs do with animation like the clients wanted to an animated gif because I do the most animation of anyone on their roster I tend to get those drugs and I found that you know they were like those jobs paid a lot more because there's you know it's not just a still you've got you know something the plays that keeps people's attention on a website for longer that are still so I found that was more in demand and I really enjoyed it I still I didn't want like being an animator emotions on it didn't come until later so I got a full-time job and just have drawing like I'm feels trading and designing for a video production company mainly designing assets to for animation and then because I knew a tiny bit of After Effects and I'm just slowly learning I kind of took on its looks sort of bigger and bigger projects so sad it was just like well I've animated this there's a small project that you know it's in the very high stakes it isn't an important client could you know I animate the end tag where the logo comes up and then over three years I just took on slightly bigger and bigger jobs so I was you know in the industry being paid for it even when I was starting and I think you know I'm fortunate to be able to have that position but I don't think you know as soon as you know how to animate you know a basic logo you advertise that shove it off you don't need to wait and build up all these skills right because you're never gonna be ready there's look there's always gonna be more to learn and there's always someone you know that once you know there's work you know basic animation for logos some that doesn't have a lot of budget they've got you know 100 bucks and then when you don't animate you know a logo on that thing you know obviously I think you should do you know demand you know what your time is worth but if you if you are a beginner you know it might be good to you know get practice you know we have the you know working with a client and get used to that sort of and that's whatever flow in that system and before you you know demanding high price it's like I definitely would I'm you know trying a new skill like I'd you know I charge a little less for the client as hey I'm gonna charge you a little less but I'll need a bit more time so that you know less stakes because you know if I bear you know I was just starting let's say doing 3d 3d animation or so I didn't call it 3d animation I'm not going to charge my first client you know ten thousand dollars for you know a thirty second animation because like you know I don't know whether I could meet the standard of before they provide for that and that's just gonna put more pressure on me where if I say you know hey I'm gonna animate you know a logo and I'll animate it to 50 bucks you know cuz lower than you would that way you know they can't complain if it's him right not that you get a lot more leverage then and that might be more important to you when you start it then you know a big paycheck yeah and and then you know slowly you know the next month you charge you know in thousand dollars for a logo and we creep that up as you get more and more confident absolutely yeah okay nice fine very good thanks for the questions guys yeah thanks PA all right so we're little animation here it's you know it's not great but body and miracle it works it looks like there's motion you know we just drawn you know well for circles and you know a little explosion but it looks like there's you know there's a story there something's happening a you know an object his you've entered the world and you know meets its demise and also down here I'm going to click this Lewton here which is also alt shift l is the shortcut and I'm gonna drag this here and this is on that timeline so within this blue area it's gonna leave their animations so you know we don't have to continue pressing enter and enter is how you play in animate not space by not spacebar as it did not as it is in After Effects you might be able to change that a lot at rant wow I know so this VN like that was another thing to keep me away from animation for a while isn't the keyboard shortcuts aren't as like intuitive like the magnet ships drawer countries are f5 f6 f7 and like you know I never used like the F like the one s cool that the function all the function keys you know oh yeah at all any other software so so this is you know that's the basics that's how we start in animation but this method of animation is called animating straight ahead where I'm not thinking about I don't have an end goal really in mind you might be in the back of my head but it's not defined on screen I'm just following you know where the last drawing led me and you know following where that takes me and that's weird the more and more sort of intuitive fluid way to animate we can get a lot more of you know spontaneity but it you know they it kind of cause some problems such as you know the size changing of what you're animating and so you can see here like you know it's not too bad here because we're exaggerating how it's falling and stretching but you know my my my little spheroid changes from from frame to frame a fair bit and you know things can get off model which is where you know things aren't I identical to how they should be how they're defined in the beginning so that's why I ain't any shoe with straight-ahead animation you can also animate them pose to pose which is the other strategy so let me hide this layer and create a new one and I'm gonna fill this up with keyframes but any way to do it is just select all of them and right-click and select convert to frame by frame animation anomaly to keyframe every other frame and it just adds all these frames here so in a post opposed animation what I might do is you know draw a first excuse me problem while you're saying that I just mentioned there's a couple of questions coming through we do have a timer in up here as well for kind of a little bit a little bit more time set aside for some of those some of those longer longer answers I guess so we can really get stuck into it so just something you know if we don't get to your question now we will want that time it gets down to zero excellent yeah thank you so I'm gonna draw the first frame here I said let's get rid of background line and I'm gonna try to draw this one poster pose so here is that first pose and at the end of our animation we want it to be let's say indisposed got a triangle over here so we could go straight ahead where would be weird the next frame we draw on something like this and then maybe something like that and then we'll maybe it's a square and then a triangle and then at the end it becomes this but that leaves room there's some room for error there where by the time I get to the frame before the triangle and my thing looks like this well I didn't have time together looking back into this triangle it won't it won't fit right so we've proposed here essentially you know what the beginning what the end is and you have to you know know you're given you have to provide the part in between so the moment I'm gonna extend an onion skin from the last frame and are in the middle where we have an even number of frames in the middle so let's extend that out and add another one so we've got you know five frames in the middle so at the very middle and these I might put a break down so here when we go from a circle to a triangle in the middle I want it to be you know maybe this shape where it's pointy on the right and then round on the left and then I know I've got two frames on the left here that I need to get from the circle to this shape here so the one on the far left I want to draw one pretty close to this circle yeah even now this is getting bigger than this circle so we're gonna have to resolve that then on this next frame it has to be in between here so let's go it's going to be pretty round and then a tiny point here and then on this side of our animation where we're going from this you know cone ice cream cone shape like a pizza slice shape to the triangle we know it's going to be gonna get you know mainly we're thinking about this round edge it's going to become straight so we need to get there in two drawings so I'm on the frame right before the lights triangle so I want to draw it pretty close to this triangle and just have a slight a very slight curb there much more like a pizza and then here I'm gonna draw in between those and I can be pretty loose there we are so now we can see we've approached that in a different way sort of breaking down each of the poses and let's see let's see how that one looks there we are so so we get we get the job done it gets you know from a circle to our triangle let's hold on this last triangle for a bit and the circle then their frames out and that just didn't way to approach it so if you hear anyone talking about animating straight back the straight ahead or posed by poets or poster pose that's kind of what they mean right and you know normally you don't have to do one or the other you can do a bit of a blending so you could you know draw your first pose and your last pose and sort of say you know well I have you know six frames to get there let's draw the first four you know this isn't what I do I'll draw the first unit four poses how I think they would naturally just coming out this first pose and then at the end I think well now I know I've got two frames to get to this triangle can't can I meant that from where I am and if I can't maybe I'll go back and delete the previous frame I think okay when I've got three frames three frames to do it here's how it can work so that's a bit of a difference there and you will notice that my key frames down here oh excuse me it's it's early here in straigh so that's early to get you on isn't it animators up before before 9:00 a.m. unheard of and it's easy just to stay awake yeah exactly I know we have fest that's in the chat he's been up since 2:30 a.m. in New Zealand watching some of the other streets so good dedicated to the three hardcore here's so you'll notice that each of these are two frames long I don't have any that are one frame long and that is because I am doing what's called animating on twos I have a little example come over here which shows the difference so animating onto it means animating every other frame so in here in this dog in so in this stage in this composition window animation I've got 26 frames in this animation but I have two examples here I've got you see down here come our text title on twos and then on one so on Tuesday at half as many drawings so each drawing takes up two frames but on the ones every single frame has a new drawing so if I guess my don't use the less than and greater than symbols on my keyboard to just you know flick between the next frame of the previous frame so that's the ELA the full stop and the comma on the keyboard if you see the start at first frame it's you know like this both circles on the left and then on the next frame on frame number two the animation on one's the circle has moved further but circle on top is still the static but then on the next frame they're in the same position so there's just you know an extra frame in between all of the frames on twos then there is on ones and when we play that back we can see that the one on one looks a lot smoother I'm sure other yet the refresh rate is a good enough and for the stream so we can see the difference here looks a little it's a little bit like bb-8 rolling along with your head oh yes it does a little so so that students aren't animating on twos and ones so there are different advantages like and ones you can get smoother motion for something like this but a big disadvantage is it's twice as many drawings for a circle here it's not too bad because I'm just you know copying and pasting the circle and if we open up like we give you our onion skins we can see how the frames look here and we can also open up edit multiple frames down here so now you can see all of the drawings here went into this so typically frame-by-frame innovation is more often animated on Tues that's how it was done you know back in the in the the heyday of the of the Disney you know animating all the shorts and future films mainly because you know it you know doesn't necessarily cut your costs in half but it cuts cuts them significantly and and you know these days pretty much all of my animations are animated on twos now there might be counterintuitive you think well the ones looks the ones looks smooth that surely you want the best result well not all the time like even looking at this example here animation um once looks way more digital and clean and precise and the example the one on twos like it does look a bit like a bit choppier and a bit stickier like it's on the lower frame rate especially I know I get a lot of comments from people that like the gamers saying you know your frame rates too low because you know they used to play cables like 60 frames per second over height and you know only a you use for that but ending at 12 frames per second seems like under unquestionably low for any animation but I think it works well so it's a probably the worst example the show of you know how good twos can look so let's hire these down here and I'm gonna open up an animation with some easing so I'm gonna show here's the animation just on ones so this is a.m. and oceans meeting if we turn on our edit multiple keyframes we can see wait these drawings are so how we affect speed drawing frame by frame is by drawing the frames closer together so it starts much slower at the beginning gets fast in the middle and then slow at the end so we've turned that off we can see in the last few frames it's barely moving at all between the frames then once we get to the middle between the frames it's making huge jumps across the screen so on once this looks great it looks really smooth and if we look at the one on two it's just in isolation it also looks really smooth in the middle you can see you know a slight you know low frame rate kind of but when you get to the end where it's really slow like if we look at you know all of our frames both of them you can see there's not that much difference you can tell it's more frames down here but you know practically in the animation you don't you know really tell and people talk about admitting on to having an extra sparkle like that sort of low framerate adds just a bit of you know like extras lot of tactility it's like having some texture in your framerate in a way and you know everyone notes I love texture so I look like animating on twos it really cuts out you know it saves time but even in objects I put an adjustment layer with a post-race hive effect set to twelve frames per second just to make it look a bit more like traditional animation and really it's an aesthetic choice so it makes it look like it was animated more traditionally it just feels a bit more organic and this sort of super clean and digital but there's definitely plays for high frame rates like sports video games it's great you know I wouldn't want to play a fighting game or watch you know like much tennis at a friend's pretend you know anything except racket swinging and then in the next range of bullets and on the other side so that's a bit of it that's a bit of a hedge like what that that's the difference there and you want to animate on ones maybe you've got a particularly fast motion so you know Daffy Duck and he's moving his arms like that it can be hard to communicate but a lower frame late like one frame and look like this and then the next trend looks like this in action but on ones you can do pretty much this and then this and then this so you can put more detail and very quick you know quick movements the need to communicate a lot of things most of the time you don't need to and meeting on Tuesdays fine and that's the reason why I animate 24 frames per second rather than 12 frames per second because I could animate this animated at 12 frames per second just doing one frame for each drawing but because 24 frames per second I could go into this animation on twos down here and say well in the middle of this movement it is a bit you know - you know - too jumpy so I can just go in add a new blank keyframe unless you have onion skins and and I can say you know add an extra frame in between here and he's gonna be a lot rougher than our other ones but I can just add a little section on once in the middle gear mmm excuse me now if we play that back we can see you know I've drawn it a different line wait but we've got a section in once in the middle and you know it just gives you more options to animate at 24 all right so let's go and start doing our little um I won't be infinite looping character here well it'll live infinitely being shape so I'm in a new file I'm gonna start drawing a guide so I'm just going to draw an my infinity sort of shape here or that doesn't really lets you know let's tell you this edge up here and that isn't this one looking too good area that's fine and you'll notice a lot of my drugs here a really rough with a frame-by-frame animation you'd normally I make in at least two passes you know really roughly what I don't care what the drawings look like and you know all I'm caring about is the timing and the overall shape it doesn't matter about the detail because we're gonna fix that up later in the clean pass and that just helps to you know make sure the only focus on one thing at a time because it's too much to focus on you know drawing Daffy Duck accurately whilst also trying to figure out how its movements gotta look say so a little bit like the oily lines in traditional illustration like you just want to get it down get it get it quickly get that first pass done and then and then you're refining bit later that is exactly how it works so normal animate really roughly and then you know you turn the transparency down an animate cleanly on top of the back so here I'm drawing sort of our part of our animation is going to go let's actually I want to bring up Q and just drag this into the center a bit more and let's get rid of this straight line over here and so one animation to sort of follow this line and move around here swing back around so I'm doing a bit of a guide it's a base here so I can see the path every time I do a frame and in animation you'll often see guides draw them with little notches in them so the little notches are guides for where to draw each frame so in this animation I want at the top box of each of these sort of areas animation to slow down a bit because that's where you know um the gravity will be resistant against you know our you know a little ball so say if we were coming it's going to get up here so if it was moving fast down here it's going to move pretty slowly as it made some resistance to gravity which means we're going to drop more frames closer together to communicate that it's going slower and then once it comes down here it's gonna get a lot faster like it's you know going down a slide it's gonna pick up speed until it gets meet some resistance up here by gravity and then slow back down at the top here and then go fast like this so I know my frames are roughly gonna look something like this so let's undo all of that and make them not just as guides so I'm going to do so it's gonna stand it's going to start here and I want one maybe another frame pretty close to this one here and then one a bit further away then one down here and then maybe one over here maybe the same distance and then it's a little bit shorter as it comes up to this to the top of this part here and then if it clicks together and then a bit further away and go somewhere like that now I'm not putting these exactly halfway if you're doing a straight line you can do things like put a line halfway and then halfway in between these lines during your frame and then in between them and then just cut keep cutting them in half and you're gonna get a nice smooth ease between that and that's pretty much what I did on these it's easing down here or just cutting you know the distance between each frame in half but for this sort of them circle shape it's kind of a bit harder to cut you know the distance between here and here in half and you know eyeballing it it's fine and because we're gonna be animating this so roughly and so quickly you know making adjustments won't be an issue so here's that guide layer let's call it guide because we always label our lanes and let's create a new frame and try a new layer and I'm gonna lock this guide layer and then on this new layer select will see it's late and right-click and commit the frame-by-frame animation every other frame and I'm gonna change the color of my brush to red so I'm going to start by well let's try brush tool let's do mini touched there we are so I only got the first frame here and I'm going to draw it just touching the left of this circle here and you could you know drill but it wouldn't really matter in the end and I think it just helps to keep it you know more accurately if you've got you know the not on the edge here that's just in case you know you have a lot of frames close together and you know it's fine to draw one here and then one here but when you get to drawing one in the middle here it can get you know a little trickier to align yourself you can add some you know a hard edge to draw against so that's something that you know I tend to do but it really doesn't make that much of a difference that's our first circle here and then to give you our next frame we're gonna put our onion skins back on so we can see how a little faded ghost view of our previous frame then draw another one next to this knotch next one here and I'm gonna actually start stretching these out of it so as it's picking up speed this is kind of acting a bit like a motion blur but also a bit like stretching out the movement as well let's go a bit more here and on the next frame we've won our line down here and I'm gonna stretch this out a lot yeah then on the next one really extend it out and then one over here and we can let's turn a looping area back on and we didn't see how this animations looking what I do want to do is turn down the transparency of its guide a little bit and you do that by double clicking in opacity let's turn this down to 20 now let's see how animation is looking it's not looking too bad I do think though our moment the gap between this frame here and the next frame down here might be a bit too severe because you can't really see that this sort of arc of their motion it kind of looks like right yeah so you want to avoid that and help do you know that I've got this tale of bits of this frame here play if I didn't have that back-end tale of either of these frames and they were just sort of spheres or even less it's it's a lot harder to see you can see it just looks like it's jumping in sort of zigzagging around the screen so that tells me that well probably want to have another frame in between here so I'm going to press f5 twice and then f7 you create a little blank frame in between here and draw a little shape in between that maybe there that's go a bit further upwards here now on this next frame a little bit more connected and then this next way we can go really fast here and then on this next frame keep this closer together so now now we're looking a little a little bit closer that's what we want and now I'm going to just quickly go and draw the rest of these frames up here we're slowing down so trail is getting shorter and how drawings are getting closer together and then over here they're gonna start getting faster again okay we've run out of guide so let's extend our guide by holding at 5 and we want to add some more blankie frames as well so I'm gonna send out these friend three frames and convert these ones few frames every other frame so the next frame we want to be zooming out like this then like that a little bit shorter and now that comes brings us back to the start here so let's see how that looks that's not looking too bad and how quickly did we yeah me that that's probably a few minutes and because we were you know we had little we spend you know a minute making you guide and we were doing it really roughly now we can see you know hey what works what doesn't I can see at the right here have written this moment it looks like you know we could do with maybe another frame here so and that's you know kind of because we added another frame here on the left so maybe we should have the right and I feel as though that's let's turn on edit multiple keyframes and view all of them so when we view them more like this we can kind of see where the timings are different and there are already some changes I think we can make see up here on the left we can see that this second frame there's a little closer here and maybe if we spread these out that's gonna you know look a little bit more even and fluid here on the right it's framed yeah let's move him over to the right and this you know and it multiple keyframes view is exactly for this purpose we can edit multiple keyframes at the same time we wanted to move two of them we could do that but I find it really useful to this you know have an overview of where your frame bra and kind of place them slightly differently yeah let's break this one a bit and move it down a touch and I'm just trying to make room to add another frame pin here so if we have beats once closer together at the top there'll be a bit slower and we could kind of make it a bit more room down here and you know I should probably just leave that frame I don't need to adjusting it probably takes more trend enjoying it again so let's then frames back off and get back to our okay so now we've got one frame here and to get in between these two shapes we need another frame so let's extend this out and a blank frame there but here let's draw one getting a bit faster as it comes out of this top arc and then down here one getting a little bit faster still alright let's extend out Lewton by another two frames because it's a data frame let's see how that looks alright that is looking much better and you know we can just see like really how quickly we can get a good looking animation it's a little bit of planning and you know like I do this pretty quickly but I have a lot of experience animating blobs what was a really easy anime I can kind of you know instinctively say well you know and think but we only need a few frames up here and then it longer so I've done this a lot don't you know if your first time animating like this doesn't isn't this quick don't don't worry like frame by frame animation takes a lot of time not only to create and it takes more time to clean up and it takes a lot of time to practice as well but that's why I really like practicing and starting with an example like this so you can get you know a pretty good looking animation even like we're just real really rough basic drawing skills you don't need to be a great artist or great at drawing to animate frame by frame unless you're animating really detailed artistic characters but most of the time admission design I'm animating you know blobs and shapes or little effects and bursts not not detailed portrait and characters so let's make our little trails as well we've got an animation here so one thing that I want to animate with the trails is I want to get rid of these sort of long you know long tails on these animations here because instead of having one long stretched out circle I wanted to look like sort of a comet we've got a hard Center and then we've got flames coming out in the back so to do that a really easy way is I'm just gonna create a new blank blank layer and I'm going to convert these all to keyframes every other frame and I'm kind of set on the length here so I can delete the rest of these keyframes at the end by selecting them and pressing shift f5 and then press shift f5 and reduce the length this one down a bit and now I've got a layer with all these blank key frames and I know I'm going to be making a lot more layers like this so I'm just going to duplicate this layer duplicate layer a few because I know I'm gonna need some blank layers with keyframes in this position and that just saves me converting it to keyframes every single time so now what I'm going to do is I'm going to recreate this animation that with a a circle in the middle instead of these from long elongated shapes and I'm going to do that really quickly and just by grabbing a brush tool let's let's get a darker color maybe like a dark blue for these ones and increase my brush size and just you know need to get a bit bigger so it matches that size yeah and it's on a new layer so I'm just gonna skip every frame and just pop one of these at its very end so this you know it means that it's gonna be a consistent circle shape throughout all of them now we will run into that you know issue of it not looking like it's travelling along the arcing path because we didn't have that detail from the trails but we're gonna solve that anyway there we are so that like took two minutes if that now let's have a look at how that looks so we can still you know tell because of the timing and the motion that doesn't move along this arc yeah actually that's mainly because we've got that guide there so remove the guide we can find it we can we know the shape that it's moving across it does look a bit like it's you know moving in a more triangular shape at the bottom here but we're gonna fix that by adding those little motion trails so let's turn out go ahead back on and let's turn down our brush size I'm using the square bracket tools it's the same in Photoshop almost Adobe software you know increase in pH decrease your brush size I mainly work it like four four points and it you know how brush size works you know if you go fine I could be more detail and let's choose and she's a red color here and normally when I'm animating I'm just using really bright colors like blue and red you know black as well just colors that I can see obviously because when I clean because I'm not worrying about cleaning it up yet getting to clean up I'm I color it differently and like I want it to appear finally but normally I'd clean up in after fix I'm like you know even if I clean up in Adobe animate I'll bring it into our perfects to composite maybe add texture and some elements there and you know it's easy there to just add a field effect and change the color so I'm gonna draw some trails on this new layout let's call this trail 1 everyone let's copy that can't have spaces in in a in anime layer names so let's go that trail the score to your underscore not - oh I am but I know the dashes better with something it's like and let's go is you know the industry standard but an advantage of - that I didn't realize first is you know you can - separate it as a separate word so you can you know double click on a on a word you know yeah on a fireman dashes and it's like things like that's you know I'm you know that's the only advantage that like there's no disadvantage of doing that but you know so you know we should we should all be doing dashes but I'm all about that - yeah so let's go and add some trails to this so I'm just going to draw city what I'm drawing is drawing a little you know a bubble around this so I'm just imagining like you know a little X height of you know coverage around this circle with an flames and then when it's moving fast like so down here there's always going to be the circle around around our middle object but the back end is going to be stretched out depending on how fast it's moving so at the very top and it's not moving very fast also I'm just gonna have a little trail bind here on the next frame the same thing so I'm just gonna keep roughly imagining you know the same sort of width on the outside of here if you wanted you could draw guides they go across the whole thing to get that really accurate but that's not necessary here it's like a ball of fire energy so there's gonna be some difference in between each of the frames anyway as it sort of pulsates so that might end up so at the moment here maybe around the same sort of table at the end here we can go a little bit faster we are getting Q&A I'm just letting you know it's it's all good it's the school bell it's it's just for us you know we don't have to run out of the classroom straight away but we we've got some questions for you as well so up to you when you want to answer them Oh perfect well give me one more minute to explain this and then while I'm cleaning up the rest of this that's perfect time for me to think awesome so here let's extend this tale a bit more and down here we're gonna go even further and let's and sometimes I kind of create little rules for myself so here I go well I want the tail to touch where that last frame ended so that way you know it's one less thing that I have to think about this little system in place in my head I didn't do this in the last frame but I could do that here so that would keep it addict sort of consistent speed so there's like an internal little rule book in my head here and actually this one I'm gonna redraw this because it doesn't quite follow the arc it's a bit too straight here and I can't have one of these trails to embellish it's arcing motion so I'm gonna try to follow this a bit more of it in an arc and then on this next one and we didn't get a bit further actually for this first flame I'm not gonna get as far let's take that let's take everything back to what I said well everything I said was good the truth but let's you know save that for the second flame cause we're gonna run out of room on this animation so I'm gonna keep this one fairly tight to our shape and I'm gonna do that for the rest of these frames well you hit me with some questions I'm gonna hit you with the questions thanks everyone few patience it's quite nice to kind of gather all the questions up and then we'll put some of these kind of kind of bigger questions in in kind of a big chunk so thanks thanks for your patience and thanks for the great questions as well I think the the question that resonated with the chat the most was a question that he have asked which is what do you think is a good learning path for motion design where to start and what to focus on and a lot of people in chat would like to know the would like to know your thoughts on that - and I don't really start in after-effects mainly because you can affect it's really good at getting you something that looks great very quickly oh I may have lost you just then Ben that's not what we want getting a logo you max teen client I lost I'm sorry did I yes lost you for a moment so you might need to you might need to start again from suggesting after-effects we had if he had a big freeze there so alright we lost you it after-effects alright no not your problem not your yeah in after-effects and mainly because it's a lot quicker to get something looking pretty good in adobe animate with very much brain it takes a lot of time to get sort of your skills together to create something that you know that's where it's valuable to sell to a client like you know you can start animating blobs and get good-looking blobs pretty easily but you know something that you can sell is that you know emotional and skill it's a bit harder I kind of see this stuff is maybe an accessory to animating in after-effects so and I think artifacts has the benefit of you know you can have a lot more to sort of design tools in there I know a lot of people come from design and illustration background so you might already have some of those skills but even if you don't you know just getting a logo from a client or you know design from someone else you can you know break those pieces apart and you can just start animating and just with position and patient like and scale I think the transform properties you know that's what I did ninety percent of my animations in like ninety percent of my time in art effects I'm animating the position scale rotation and maybe take path and I started getting it look good it's fine it's working out next time he's getting a little it's all good we've got my pretty signet we're all working from a hot we're all working from home it's it's that good excellent now it's not even a good connections unstable and I think we fixed awesome so I don't know I don't know how we did but it looks like we did it yes so those are the fundamentals working in the transform properties in After Effects so like I'd recommend like ideally you could find a course that'll show you a linear progression of like here here are the things that you're gonna be using most often here at these skills for learn which I think of the transform properties and then here's how you build on that because after effects can be really intimidating this so many things to really handle there's so many effects and panels and I don't use offer them because you know it's just service greater you know like industries there's people using it for advanced video editing transitions for VFX compositing all of those things so I'd really suggest maybe starting some project based like having a project you know having say animating this illustration I made on this design block up and then animating good foods process of animating that and through either process you're gonna learn you know hey well I spend a lot of time doing this so mostly I'm moving things around in position I'm not using you know defects like CC hair and CC you know mr. mercury that we explained in one of the previous write like really effects that you know wouldn't really help you in your in your you know in your in your journey as much so I think you know once you do a few projects you'll learn okay well what are the things I'm only using so some people's styles might have a lot more sort of distortion effects than I do so it might be useful to them to focus more on that but I definitely think you know find if you can and find a course that helps you with that I know motion Design School has a free art effects fundamentals course which you know it's exactly a project based thing I think you know like it's free I think it's just over 40 minutes so you can follow that and build something in after effect and let's focus more on illustration as well so that I think it's a good place to start but really like get stuck in and make something and there you're gonna learn you know then you're gonna learn what you need to learn right in a core oh great I hope that helps everybody a lot of people interested in that I'm sorry gone I forgot to continue animating I'm going to continue animation while I was talking there's cool I've got interruptions we're cool we got time we got time Angeline was asking just animate offer at all similar to blend tool in Illustrator where it would create those transitional shapes for you um it does there is some tweet like tweening features right in animate and flash I'm gonna be honest I haven't used them because they tend not to like I know I just don't like these things they give it does look too smooth for me and I kind of the reason why I'm in frame by frame in the reason why I go into frame by frame animation is so I can have control of every single frame and how it load and you know like when you're letting that up to the computer like it can do it's not as predictable and After Effects where you know it's restricted to just the rotation like I know you know hey it's not zero degrees here and 180 degrees here I'm pretty sure it's going to be 90 degrees in the middle it's not going to move all over the screen but if you you know tell animate you know transfer on that circle to that triangle right and it it's gonna it's going to have all sorts of ideas of how to do them so you know people use it a lot but you know that's kind of part of this sort of flash aesthetic that I'm not really that into and I'm trying to you know what I mean II am try to make it look more like you know hand-drawn and less about you know you know in-betweening like yeah but they are those rules it's called the between tweening you research you know animate between you know you know you'll find a tutorial there on how to do that some Olimpia asked what is one thing you wish you knew when you first entered the freelance world I came I did a lot preparation before I went into the freelance world because I'm very you know I'm very risk-averse so I run a and was pretty sure that my alright I've got enough to you know survive on before you know okay you know I'm gonna be gonna be homeless and destitute so like I prepared I definitely get the book freelance manifesto by Joey Coromant who runs the school of motion and there's a really awesome book that's what motivated me to go freelance in the first place I think I heard him discuss it on the animal latest podcast and like like hearing that podcast and really motivated me like that book really shows you how to go about attracting new clients and that was the thing you know that was like the biggest missing piece that I needed that's why I you know really like the comfort of a full-time job doing that this is where work you know it's not my job to go and get the work that's the part I struggle with the most I don't like I think a lot of animators and artists don't like selling themselves like that's they wanted to focus on making the work right not going and trying to convince people that you're worth value which can be kind of awkward and you feel you know like you know how am I gonna come across as narcissism hey my work deserve some money and you deserve to pay me for it when like there's a big industry and that's what it you know that's what it's for and you shouldn't feel like that but we all do and you know that book really helped me you know just knowing the process of how to have been how to attract clients how that works so like don't leave that's something that if you not familiar with that book and definitely get that it's like it's pretty cheap it's a short read I read it in two days and but it's not things I've learnt like like I think proper like time management when I first started because I like I was really sort of thrown into the deep end because I like left my full-time job at the same time my wife started a new job and we got a puppy so I was like waiting for him puppy but why all right how do we deal with all of this I felt like I was getting three outs of work done everyday like just because you know you needed attention it's faulty he's doing the best he can now it's great it's great he runs around and amuse himself he's he's five but yet like learning how to you know set sort of boundaries for yourself especially if you're working from home like I am this sim which which many of us are I think when they want to or not we're all working from home right yes I'm working in the studio at the moment which is you know a room with a computer yeah like we get the second bedroom and you know I tend to you know I only use this computer for work you know really there's nothing else like you know I don't play games on it I don't really watch you know YouTube videos you know I go on the iPad or on TV and in the land room do that so having a little bandage like that helps a lot to keep keep you sane and having personal projects lined up because you know we'll be dry periods so having your plants like where you don't have work so having something to keep you occupied and the goal to get back to can be really helpful as well because let I'd find that when I slander the most is when I'm like I have nothing to do like what I do like there's nothing to do that's when I you know I can I could dwell on the fact that maybe that link that we're going to colonize for an existential dread so as long as safety nets were like well no boats coming in but I should work on that perch or okay keeps me occupied yeah I think that's great advice probably time for one or two more that's coming here yeah what we got chat yeah I'm just let's see so so Chris was asking I think it's leads to a video that you did recently that we can we can plug and we can point to what are some tips that you have starting starting in the motion graphics industry in terms of building a portfolio finding projects and getting work we talked about what kind of personal projects but you recently did a video on your channel that was all about portfolio and tips and things like that so I think we can point people there as well if they want more that's point people there look I can pull it off so I did a video on my latest video 20 tips for an amazing show reel so yeah you show really organize an animatic good biggest sort of thing you sell it sell yourself with you know I'll let people watching this video to get all specific tips with that don't know you know I mean somebody's gonna keep it keep it short only put your best work in and you know put started represent to you in there and like I found you know it's been relatively easy for me because I've just gotten myself in the habit of always always doing personal work almost as a priority over client work like definitely not when you know I need to be working on client work I don't do that but to me Clym work is there to to fund my personal work in a sense just like I'm going to be animating you know you know between these hours every day regardless and making new stuff right obviously with breaks take take brakes but I'm gonna be doing that anyway that's what I enjoy that's what I'm passionate about like but I need to go over to I need to go to the studio to do climb work or freelance remotely in order to you know get money that I can do that for a longer period of time I think that stems back from when I was freelance illustrator like if you don't have the personal work to show you're capable of no one's gonna hire you for it because they can't that they don't know that that you know it's very hard to say you know I'll animate you you know a three-minute 3d animation and where's your example of 3d animations like I don't have any but trust me I can try it I could do it if you paid me yeah don't wait for me to pay you you have to do it first in order for someone to believe it like you know like yeah you wouldn't hire you know a mechanic the unit said I swear I can run cars I mean normally I you know I I'm a vet but that's where I'm really good at being a taking and I'm sure that's you know some similarities between the inner workings of you know and he's in the car but you know right you'd want that evidence evidence that first it's true so yeah right my habit is like I mean I've kind of you know sort of ended my career with making the YouTube stuff and to enable me to do more personal projects essentially what each each tutorial is occurs the projects like hey I made this fun animation he's how you can make it yeah totally um so there you go yeah no no I would say just yes oh my no I try to you know just fill any gap I can with making em yeah I think that's I think that's great advice and in works for animation and lots of other things I think it's a freelance a very important freelance thing to do not just sort of sit around and wait for the work to come through but to have all those projects to work on do that thing learn that skill and have those hours set plan those hours in your day particular at the moment when we're all working from home we have those distractions like little chihuahuas and Netflix and all that stuff and it's important to sort of set fun time and family time and friend time aside with with work time there was what was the podcast you mentioned some people are interested in the podcast that you mentioned which sounded about some motion designers on it yes it's called animal laters so it's like animal animators a portmanteau of those words it's awesome podcast it's I think the last episode came out maybe every year ago so I'm not sure if it's as updated as possible it's the credit vector of IV and also patient last few here unns that that podcast it's great it's good you know all if you think of the big names emotional design from the last five years they're all guests on there and it's just them talking packing up their journeys and motion design it's great for you it's awesome podcast I've just dropped it in chat I hope that's the right one but um yeah so check it out there's lots of things are always great to me yeah those sorts of things are always great because then you can discover some of those names and hear about studios that you might not have heard about and where they've worked and who they look up to and everything and you slowly start building that encyclopedic kind of knowledge of the industry which is super valuable exactly I think your podcasts are a great thing for that to you know just like sort of passively acquire you know there's knowledge uh true people talking about the interesting experience because you don't really you know because of like I was you know I'm you know I'm in the industry now and you know have you know have clients and local studios but like five years ago I didn't I didn't know anyone I didn't know anything about motions on industry but you you just acquire that through exposure and I think yet podcast or a great way to do that yep totally agree you have a handful more questions but I think we should we should probably flick back to your screen maybe I'll get one more in let's get one more we didn't see three words I heard heads that okay I'll ask you a really hard question then yeah how would you explore and this might come up but how did how would you export the project in animate to after-effects so you can preserve layers etc export SWF archive the three were down Wow it's very impressive okay so normally you go to file publish and it's already public that's certified so okay let's so for more settings you get a publish settings here and it brings up this menu so normally it'll export as an SWF and a HTML wrapper now my thing the thing I like least about Adobe animate is that by default include hidden layers is ticked on in the export format so I was beating my head against the wall the first time I exported something out of here and I was like but my all the layers are visible why is this happening so make sure I'm tick and include hidden layers so if I was to export this under big settings I'd get um I'd get you know one file Swift file two vector format market scale infinitely would have a transparent background and but all of these layers that a visible would be on there and so to separate us you want to click SW archive so what that does is exports it as a zip folder with each layer separated as its own Swift file so if I right click let's do a test of that let's go to render I've done one here test here so that's our three let's save that and then we click publish it's gonna publish that file let me open up hey okay after work some dual monitor magic to get a new Finder window open all right here we are now in my renders folder renders work whips is where I saved this to and the file I just saved is this once cell 3 live AR 1 and if we extract that we just extract all and then that opens up a little file here and we can see we've got a swift for all of these layers so every layer here we've got separated you know poor naming conventions here ideally you want to know you want to always label your layers label we have the layout so you have a low police after you last we did they've been gone they've been you know they haven't got the funding this month so they're struggling bien so get these fish dragons into After Effects and they're like it's a separate movie file for each layer so that's how you do that be a very good question that's you know very very handy to know all right let me say now that is ok we're back to mine and I prefer to setup all right so we've got our one little trail animating behind our little little ball here now although it it does take pretty tight and get a bit bigger here maybe in these faster scenes I'm gonna add a bit more of a of a tail to it that's just a bit more obvious it's a little more there's a layer place all the it public right on cue oh that's amazing okay so now let's let's do this back it's we've got a bit of a tail happening here but I will go in and erase some of these points here because that just affects a bit how we see the timing there we are now I'm gonna start a new layer on trail to which our layout labelled nicely select a new new color let's go for a nice orange here our kidneys reasonably dark the kids yeah run a white stage so it's gonna be a bit tricky to see so here I'm just gonna do the same process like create a bit of a larger distance between here say this is you know X this is gonna be like 2x I'm gonna distance here right and and this fire like that's just a little rule I had like that's in my head so I know to keep consistent so when I'm animating over here even though I don't have this frame to reference I can kind of say hobbits should be two times its distance around here huh just another little place to put little logic and and this one's gonna be a lot more sort of less viscous the valent object around it it's gonna be a lot more malleable this one's gonna stretch and be a bit more rubbery so this one's gonna extend a bit further out and then so we can turn our onion skins on well that's too many too many frames to see that is fine so here I'm going to go around and here is where I'm going to start using that rule where the end of this tail is going to by the end of this tale is gonna fit just let's say back here around the back end of the the ball on the previous frame so let's see when I'm drink this one at the front it's gonna be two times the distance from the previous flame and then its tail is gonna end up right at the end here so that should be able to keep the speed and its length consistent and with the timing here so here we get pretty it's pretty big and then here even bigger so and I'm just jumping between you know different areas kind of you know it doesn't really matter here I'm like well I know I know this front shape is gonna be like you know a hemisphere around the front end of the ball and then I know the point is going to be here and then I'm just gonna line them up here and that looks a bit I need a corner in there we should do something to avoid that corner I drowned that out and let's bulge this side out a bit more and here get the same the point is gonna be here little hemisphere at the front and I'm just gonna be really sort of loose this doesn't have to be a straight line or anything it's comet's tail a bit of fire who knows then here it gets shorter that's really bit too severe on the side and maybe I did you can ask another question while I'm filling these out if it's a cool thing that's great optimism there was a question and I missed and yeah which was someone from your channel as well saying they love you channel which is no surprise I would love to ask oh no Sarah it's the no question question where is it are you here this actually says phones from Sarah so I'm totally new to After Effects what would you suggest to pay attention to when buying a new laptop so presumably a laptop or device regarding RAM for rendering and screen size like what what are the you know what are the variables that you want to be focusing on yeah Ram is like the main important thing for the speed while running after fix it's gonna be CPU speed you want to like it's not and like writing to a fast drive like it if you're writing an SSD you'll be fine like pretty much most laptops have SSDs these days I'm pretty sure so that shouldn't be too much of an issue but you know I'm especially if you're buying one you know you gotta leave you know unless you're buying like a basic $300 netbook or something it'll have a decent I'll drive so that shouldn't be too much of an issue we focused on CPU only doing 2d artifacts like a smaller core count is preferable because I don't think artifacts currently doesn't take too much advantage of multi-core processing and you can use stuff as well which 3d stuff really does so GPU doesn't really matter kind of good enough is you know good enough after-effects I didn't have a fancy one that's been layered GPUs can be can be really expensive these days I mean I bought my I build my PC back when it likely paid a Bitcoin mining so like a third of my cost was bread and I'd like not the half of the rest was the GPU I did the same I had to do the same thing and I really wanted to get 1080 20/80 or whatever TI and ya could not justify the car it was almost as much as the rest of the cast of the computer put together right yeah so it's definitely add like there's much RAM is you can afford Rams expensive you know at least 16 I've got 60 I was 64 in my machine that's probably too much I don't really need that like that's not gonna help you render faster it's just gonna help you have more RAM preview to preview and be handy so I really want to take the speed but cool affect how much you can you know have you know already pre-rendered and you know like in your playback timeline but yeah that's kind of thing I've got a decent ish like at least 15 inch screen like I I'd struggle on a 15 inch screen on a laptop because there's so many windows in After Effects so you composition window ends up being so small so I'd get 450 in a 17 inch if you're going for a laptop but I I think I would - 27 inch monitors to work with than even that seems like - she's small sometimes via those things I'd worry about but really like don't don't worry too much about it like like if you look at great animation from you know eight years ago by all that was done on laptops worse than you have now like that should like the technology shouldn't be the stuff hold holding me back I think you know can there certainly you know technology and hardware something you should invest on business you know what people you know work on and that's a good thing to invest in but you know don't let it hold me back i animated most of the stuff like plc am i real on a MacBook from 2012 right it just it just takes a bit longer and yeah it's been trading so I mean if you can alleviate that great but if you can't afford it you know that's that's fine too there's you know limit you know we will have to draw the line somewhere of you know how much do you know Randy that were willing to buy yeah so just figure out where that is for you and buy the best you can but that focus on round like so much on GPU nice it's a good advice hello JB in chat good to see you there JB thank you for joining us Olivia was asking do you recommend any tricks for rotoscoping in after-effects she's got 32 gigs of ram and it freezes it's a very specific question I don't know I don't know if you can answer that rotoscoping is like a like a technique like an animating style is it yeah it's essentially sort of tracing over live-action footage it can be used that you know like Snow White was animated by that like so they had really they filmed reference of an actress and like drew over her as she stands on a cake them except this is not all the themes for some of them but that's a technique you'll see it a lot in you know music videos it's very technique I think made famous by like rough mostly north and directed where like someone will be you know rapping in the highlight or lines like both like moving up and down their body and like heavy frame then which convert look really cool and don't be used for VFX as well like if you have someone walk in front of a character but you know if you have someone walking in front of a background and you want to remove the background and you don't have a green screen you're gonna have to every frame outlined them and separate them from the background that way well so that's what have rotoscoping is news and it's no it's a very tedious process I didn't I haven't done an opal lot of it I there's the radio brush and offer effects which can help with that but I don't know why my computer is facing up yeah that it doesn't my British scoping to me doesn't seem like a very intensive process it's just gonna might be so I heard something else switching that yeah sorry can't help you that that's out that's a length of texas tech support remotely I think but yeah Kemp yeah can't be very frustrating to to get gigs is sounds like a lot like you know you you get it would be pretty pretty safe with most things so there might be something else that you need to dig deep on there yeah okay so we've back I've finished off this second trailers character and this one we've made a little more sort of limber that can stretch out a bit more see on each frame really stretched out let's hide a guide bit more so you can sort of feel that and you know a bit more of a bounce there but I kind of very bit of a you know stretch here I kind of think and so we could do with a bit more though so I might just go and you know just add more to the end of this here I'm not going to delete and draw some new frames I kind of wanted to really feel like this is you know in these motions it's a lot of you know energy being you know left behind or you know expelled motion okay let's see how that looks there we are better sooner you can feel that a little bit more has a bit more weight to it and we're still just doing graphs here like that was really quick for me to animate and you know we weren't really focused at all like look at the lines here that doesn't really know it looks like absolute garbage so that's okay if your animations you know should look really rough yeah there's no it's not it's not like there's you know hundreds of people watching you live while you're animating and kind of judging you on your dress so yeah you know like yeah they should be rough don't be don't be Precious about these things because it's just mainly so it's quicker to make changes like here don't like this drawing alright let's leave this and add something else something else like that it's really quick to change you you know how to spend minutes drawing that you know flame I'd be like it's kind of gonna have to be that you know I don't want to change it it's gonna have to you know stay like that right and that you know it's gonna hinder the animation get like a little bit too precious with the animation yeah and I think separating them into passes at least having a rough Senate clean pass and it's good if it's a more complicated animation and you need to start really rough like instead of making your roughs more precise by that you should add an extra pass normally called a tie down ah so you animate really roughly and then you have a tie down which kind of the rough is just in issuing the movement like we're doing here but the tie down would be like showing say if I wanted this to help me really detailed in the tie down pass but maybe on a new layer let's say with a new color let's zoom in here and you know I'd go in I've used the information from the draft and then I'd go in and maybe draw some really sort of specific you know details right large blob shapes you know just so I know when I do my clean pass and which is on you know layer above that I can do that you know I'm not thinking about where things go and just sort of making sure that the lines are clean and just making slight you know adjustments to that Debbie regice so that brings us to clean up so on this next layer I'm gonna call this clean one clean under put a dash here clean one okay special characters are not permitted than like names all right animate wouldn't think you do dashes sorry flame nah Wow okay my animating career is over before I begin yeah and I'm going to call this the center and on a drag that on to the top oh yes to make that as well there we are and that's so when I clean up the fart gonna be behind so let's lock that and fat Trel let's um let's turn the transparency down maybe 250 percent should be fine for our trails and then of its clean lair I'm gonna clean up well actually I'm not very hard clean up this long back tail here so we'll grab mistake it is pink colour a bit bit darker so I'm gonna increase that brush size and the cleanup process is I just want to make let's actually let's skip forward to a a-frame it's a bit more interesting yeah so I don't make sure that the edges are clean I'm because I'm gonna draw the outline like the strokes first and then I'm gonna fill it in later so I'm gonna just draw roughly like this like I want this to be a bit Lobby so we're not gonna bit plummy like that yeah you can see I've gone a little bit off here so I erased rule fix that and maybe gonna draw over that a little bit and I'm not worried about the inside how that looks good you know all these lights here that's fine because we're gonna go and fill it in and on a separate pass no it's really quick to do that mate you know that you're gonna make us all the shape out of it in the end so just need to make it close is evenly okay that's exactly right and yeah like that's why the reason why I made these rough like so roughly because these blobs are gonna be pretty bloody anyway it's not it's not really gonna matter here if you were animating like a character moving their face slowly you want to be pretty accurate because you can't really make too many mistakes otherwise it's gonna be pretty like it's gonna be very noticeable you know you know flickering flames that's really easy you can change the size you know and it's no one's gonna know the difference so this next one I'm gonna just roughly follow the outside orange line should a bit wobbly now here we can see I don't want that edge to be too duck in like that and I want to keep this edge looking pretty filled out as well and I think the end tale is a bit thick here so I can go in and erase that and for that again maybe just I'm here now you can go and be as precise as you won here I make it didn't need to be you know that specific there managed depends on what yeah what your needs up your innovation I might do it this one last frame and then can jump ahead to you know one one I've done earlier okay so now you know that's Hyder let's say we've done and done all of these frames let's hide ruffs so yeah you've got few frames you know half cleaned up so filling up is really easy we're going to fill bucket tool here okay we're gonna click in the middle in the neck trained click in the middle from the frames click in the middle three cleaned up frames that's what you're the filling is just really easy to do you know all at the end you could do it while you're out lot me them it's not that much more work but it's very fun at the end to you know if you spend you know 20 minutes cleaning up a sequence excuse me and then you're just gonna skip back every frame and just fill them all in it feels very you know very satisfying haha it's the little things it is so here is a cleaned up version that I did in your previous example so I've just you know now I've got three layers here so I've got them clean I've called them clean one two and three and I've colored these black like black in shades of gray because then we're gonna you know because we're gonna open these up in after-effects so I might jump into our fix and show how how you know the process of importing them for working with them at life effects nice so I would have exported these and I exported they have a swift archive and now if we go into artifacts I think I've got them imported here so I'm just gonna let's make a new folder in order and put them again so you press ctrl I will go to file import and here and my whimpers folder and you just select all of them and import and it will it's giving me a menu hardened by other monitors yeah yeah it's asking me to create a new composition from this selection so I could I can click I can choose multiple composition so we create a composition for each of the layers but I could cancel it and you know do too many things but here I think I just yeah I want a single composition and it's gonna be two seconds long perfect so that just gives me a new After Effects composition and we have you know three layers down here we've got a transparent background and here late for this tale the small one and then the one in the middle and I covered these great because I don't you know I'm gonna give the coloring each of the nuffin artifacts so over here and type in Phil and then we get my little eyedropper tool and I should it's putting all my oh my screen on the monitor so yeah and then here you can just choose your colors from here let's go for this so I am this one the one in the middle let's get a bit brighter and a bit greener no let's go that's gonna pass castle yellow and the very center we can choose white or maybe it may be nice you love your pastel colors it's like you know pedal pop okay yes that's kind of how I know I don't focus too much on coloring you know in animate if excuse me losing my voice these two our streams Flint I know it's quite an I'll do it I'll do it for the for the viewers doing for the night yeah there's something most the time I'm animating in you know in animate I'm animating something relatively small it's only a few layers so I can do this but if it was you know the character you know I I would just go and draw them the right colors to begin with right so it's less work so I don't have to do this with 20 layers in here so that's what I'm pretty much the process of importing it into After Effects and here you can have you know some you know pretty much this just works like an important movie file some imported footage I believe these are yeah these are all vector layers let me parent them to one another and click continually rasterize on them as well let's move the anchor point over here just like I'm gonna scale them up and hopefully where you can see we get a nice clean edge on all of them so you know you could you know that's that's too big at 3,000 percent scale you know you could you know I've animated that and it still looks you know pretty decent up here you will see you know some of the you know you know any mistakes look clear in here like you know this little what corner here I would have liked to have that not a corner and you can see that pretty clearly here 100% you don't but know that you we can scale these things up if you if you need to an artifact so that's another big advantage in kept I could kind of play using the Enter key that's what happens between architects and animate so that's how this one goes now how much time do we have left about 20 minutes so we're kind of at that time is like hard cutoff as well so it's like 25 let's that's our hard cutoff yes so if we um we want to probably wrap up a little bit earlier a little bit earlier than that okay let's quickly do a quick Squatch and squash and stretch can frame by frame and then I'll quickly show you how to do that and how to use it in After Effects okay so this is lightning round squash and stretch we already know we're making lots of frames down here new layer okay okay I've clicked the wrong thing with lost time okay lightning round continues does it keep ringing every time i dial a book comes out does it pop over to the other screen yeah okay every frame so here let's add a a ground so squash and stretch its principle of animation we're got a ball here it's not a very good for we could do better than that see my graph all here so as it accelerates it's moving down right so them lined up there yeah as it accelerates it's going to be more pressure pulling it downwards so it's going to slightly elongate when we get to the bottom it's going to be very thick it's gonna stretch and then when all that weight comes and impacts it it's going to squash so it's gonna go into this shape and maybe extend a little bit on this frame think about you know like I mean it's a basketball they're probably bit you know they're gonna squash it a little bit or you know there's rubber ball once you played written you know as a kid you know when you move when you put pressure in one direction it sort of stretches out in the other way and then as you add an impact to it and if you worked like really high speed videos like golf balls you can see golf balls like almost get consistently what I was thinking of yeah so you can be you know an animation purpose is to exaggerate as well that's another principal evaluations exaggeration so you can go a little bit over the top here let's see on the trader - bounce up here might be alright let's see how this squash and stretch works there we are so we can see it just adds a little more like weight to a squash here and you know it makes it feel like there's no physics in acting on this object here and one really fun thing I like to do is how we animate about panda is let's add more blanket frames is I had a a a sphere should I send another color in the new layer like underneath underneath that panda to make is his body and add this some more squash and stretch to this again we still need to see onion skins I kind of you know just drew each frame sort of reacting to this top ball and squashing and stretching so we get a bit of a like a double squash and stretch as we can see on this point as you know also when you're squashing and stretching you want to keep you a math consistent so we're pushing down from the top here so we're losing all this mass here so that needs to pop out at the sides and that helps create believable the mation and then we're getting far too many onion skin to you then we get to the bottom I don't get really extreme and I have a completely squash out the sides here and maybe we need to be a bit bigger on the left to mash right and then I'm pretty next actually come on know that pose we don't need to have that that was too too much too extreme to explain maybe week because we've got a few more poses of this as well right yeah he maybe want it just like so vibing in over here that's pretty rough let's see how this works so yeah I think this frame push this out more the edge and if this one gets flat on but that's gonna push it out it's rainy bit and at this point I'm kind of just guessing an animating a bit straight ahead so and you know I'm animating really roughly here and benefit of that is I can see really quickly if this it doesn't work so we've only got three more frames to do and here we hope we can get a bit more of shape back so we can got some ground under here pretty fit into and now I do want to look at what its original shade was at the beginning so we need to get back to that shape and two frames we can do that do you ever grab it and sort of just flip it in a way like kind of reverse it or is that bears that one yes oh all right like I'm grab the layers that we used before hand that's right the frame yes yeah yeah I do that a fair bit and I kind of when I'm roughing it out try like not to avoid that particularly but it's just it's almost quicker to draw the frame again if you're a dry ball like this and I've got I think is you know is useful practice to get you to draw consistently right we need between frames in a way but you know like in some cases yeah it cuts your animation time in half especially with the bouncing ball so that can be really helpful okay let's have a look how this looks all right so we've got a few extra bounce we've got a bit of an actual client going there because the animation lines but that's looking pretty good and I wasn't doing an awful lot of thinking while doing that that squashing buckle down there because it's condition reacting to this animation have already done so I like to start animating frame by frame with the most I'm the most difficult not necessarily the most difficult piece to animate it usually is the most difficult but the main animation that's going to drive the motion so if I'd have drawn this the larger and ball first and then try to animate the pink one on top it would have you know I would have been you know already confined into a box of how you know how much that that pink one can move but this way you know draw the most important thing and then the rest is really like a secondary animation which is gonna essentially every frame is reacting to that so I could even in a sense take each individual frame without even the onion skins and CRO this ball squashed you know where would a a squash ball underneath the look like I'm not having to make you know I'm making fewer and fewer decisions every time you know I animate so now if I you know if I needed to animate you know a hat on this layer you know I'd make the Hat here you know I mean I've got friends in this layer but you know I just draw the fret they have you know just on top of where this ball is I'm not thinking about it at the same time while I'm drawing the ball like if I was to do that while animating this ball it were taking me three times as long to draw the animation and if turned out wrong you know I wasted three times as much time right it's good to break it down into the most basic bigger shapes and then animate you know small things and details are on top of that I think I need any time where we can say save some time we'll be efficient is always so so useful with our workflow and when and where to kind of use those things like the example that you you made yes you could flip it and swap it if you're like in a rush or you know you're on tight deadlines or something like that you need to you need to flip that but you know generally gonna draw it's good practice you have that kind of secondary value from from redoing at the second time which i think is really nice definitely and especially when you're wrapping if you're cleaning up you know and it's taking you ten minutes to do every frame that's the time but you copy and paste whatever to do growing circles it's you know it's fine and it's you know yeah a little bit of practice that helps now so we've got 15 minutes left we want to do some last Q&A here yeah let's do some last Q&A I think yeah so there's a couple in there so so check because yes it's more like 10 minutes you know more or less ok so we'll need to jump out so last-minute questions ladies and gentlemen if you want to ask them and Samantha Griffith was asking when will your next challenge with animate slash after-effects be my next challenge challenge challenges on your channel is that something um or in on Instagram or something like that but I'll tell you what I will be issuing a challenge Wow you heard here first you've inspired it you're like then end of June June the next challenge and also the first challenge yeah that's also something here maybe we could do well here's you know anyone just in the chat only people in the chat watch.watch in life and people watching it later if you want to animate something really squishy like the panda we animated or this last ball thing the squishiest thing the squishiest animation will get you know a shout out in my stories but a minute you gotta hand it to Ben's yeah love of tactile aesthetics squishy things and really kind of cute fun sort of ridiculous creatures as well exactly that's my advice Chris was asking it's a question from a while ago so hopefully you still hear Chris hopefully still with us how long did it take you to develop your style and what are some what are some tips on developing style I get I bet you get this question quite a lot because you have quite a unique style yeah like taking taking my whole damn life I think it's opposed like I started illustrating like when I finished uni let me playing it yes hey hey peace ago so I think maybe that long but you know my Styles you know evolved constantly and it's gonna continue evolving like the biggest tip I can get from finding a style is you know just make what you want to make and make lots of it and your style will kind of wrap it you know will appear how did that you know out of that chaos because that's how I find my love well I found myself one time animating personal projects I really like to include a lot of texture so that is now become a thing that unit out of my you know my style involve that but I did decide one day hey I'm gonna I'm gonna do a style it's gonna have texture it's gonna have no stroke it's gonna look like this and I wasn't I did at one point was ready to try to do something like that like try to planar and my style is going to look like this I'm only gonna use black white and yellow so it stands out and it's going really consistent but I got so bored with that and you know like he didn't really work so I did said oh well I think people's when I started animating because it was hard to like if you have a specific like a really really married style it's hard to attract clients and you know you can't well it's not show off the work they do plans because it's not going to be in that style so I didn't want my Instagram for you to be like hey it's a client work I did that's kind of fun but also here something completely different you know it's kind of having two modes I think so I've just said well I'm just gonna make what I want to make and post that post everything I make up and then there's everything I make up online and then slowly over time that's just for comfort that I have now and I still think my look had quite a variance in style but I like a lot of stuff I have doesn't have any texture and it's mainly clean and gradients but you know like and I'm kind of less worried about that now like there are are things that I you know don't really look at a taqueria 3d stuff mean because I don't know how to do and 3d start or maybe just straight-up design and things I try to keep my things within you know this ecosystem and this tone of work but you know the edges of that are very blurry and it's not as now a lot of people as really illustrative works are and it's a lot harder to do that emotion design because it's such a team sport like great animation often takes big teams of people to work on the you know individual stuff you know you can have your own say in your own and ruin work but unless you direct it unless you are directing a big client animation you know you're gonna have lots of work that doesn't look like you know it doesn't look like your style awesome I hope that helped yeah it's great it's great advice I love that Sam Sam thought this was a daily creative challenge which it which is on the US team does like every single day over there but it's great because you can't put that genie back in the bottle now Ben is on record saying he's gonna do a challenge with us so that's awesome you figured that out at some point so here's another kind of career question from Henry probably got time for one or two more questions at the angles here we go then what is your opinion about the sustainability of a motion design career um I think it's very sustainable like I mean I think you know I think the thing looming over ahead to the next decade is artificial intelligence I think that's gonna you know displaced an immense number of like jobs like more than we've ever seen you know like like worse than you know it's going to be worse than the car Ward's for horses like right so didn't have jobs like a scam this is gonna be worse and I think motion design animation is one of those like relatively strong and relatively statement like there's more screens being invented every day which is why I'm the animation is gotten a lot more attention than illustration and just static art but now with AR and VR like noticed not just every screen is a canvas for your work like everything in the world is this like every right and every volume metric you know every piece of air can have be an animation of projected onto it or you know displayed inside it in they are they are so that's not going away there's going to be way more demand for that and if you are looking for an area to focus on it's going to be a high demand it's absolutely a are I mention that more the previous streams yeah I get heaps yes to do like Instagram they are filters and spark I certainly learned that if you're interested in that but I think like I didn't think eventually like and our work will be able to be replicated by by artificial intelligence by machines and that's okay by the time that happens we're gonna have bigger issues then you know I will an animator have its job like that's when we're gonna face big societal questions when no one has know when there's no need for anyone to work how do we know how we have we pay people other than the people who are in the robots right and and they're not gonna have people don't want anything so the the big question to do with that but I think most I live as long as as far as create code pretty it's available I can see a lot of growth in the future yeah and I think trying to make your work focus on your ideas rather than your tools and your skills is the best way to them you know just keep that longevity because you know if someone someone can always hire to come on in a country with a lower cost of living to do the work they have the same skills as you but what you have the tunic is your ideas and your perspective and if you can get that into your work that's a lot more valuable that people can't as to so easily replace yeah I think I think that's a really good point I have had these conversations with some designers that are a little bit more senior than I and and and they were saying that they remember when the computer came in and everyone was a little bit freaked out about graphic design because why would you need a traditional graphic graphic designer to be you know doing electro set and laying laying all this stuff out when suddenly you know these kids with these newfangled computer machines can sort of do it in you know a fraction of the time and everything but I think it I think it's important to embrace embrace the technology and move move with it rather than it exactly like yeah we can't stop it so we may as well yeah embrace it and use it use it as a tool for ourselves rather than you know outside that's something we'll never touch and you know it'll swallow an industry whether we like it or not we should be prepared for IP be part of it Jamie was asking did you do all of the artworks behind you I think at the very beginning you were mentioning that some some of it might be yours but some of them you know illustrator friends or yeah yes I did one of the artworks behind me which is this one down oh I would have guessed the dinosaur one for sure no no the balance on this one back to the camera this is a little it's an ice-cream with fangs in a tuxedo that's my little my ice cream and you'll notice that's small sorry I'm away from facing away from the knife don't small and push there like there's nothing behind me that's just to fill that gap but from releasing on the camera these are done by my friend blue Morales who's a designer and animator buck this one over here it's by my friend French French little gray so a young girl break French Earl Grey yeah I feel great reality's amazing it's try an artist well living in France at the moment that's where the friends opt in there and then this one's by Sean Morris down here nice and then these ones were by Michael and and these ones the dinosaur ones just some old school Victorian you know illustration we've done as the Morpher morgan is the signature in the bottom but that's you know that's hundreds of years old I really like the that sort of retro dinosaurs drugs yes before we knew you know like how actually look at amis a little bit funny yeah it's fantastic isn't it yeah I love it so good I thought that there were a lot of questions about getting started in animation resources that were available we're talking about podcast before and everything like that we should definitely do a shout out for your course that you have on at the moment and I think you have a pretty sweet discount for everything as well let me do that oh my god yes we have an unbelievable discussion let's go look let's gotta always be selling yeah look at my screen I've got the course called motion practice with Ben Neriah it's where the motion design school and we've got a 40% it's 40% off at the moment so it's 249 US dollars down to 141 what a deal think about wait what your day rate is that's you know that's barely anything like that and it's five hours long it's all about adding frame by frame for use in motion as iron and applying it in After Effects so I teach frame by frame from from the absolute beginnings a little we've got a little bit of a flavor that in this live stream but we cover everything in so much more detail like we could have a like walk cycles how to plan morphing transitions between your animations of course affect animations yeah animating like sort of fire and smoke and flames and stuff like that with the focus of you know putting it together in after-effects how to composite it and how to make it all look like was all animated frame by frame or some sort of mean it has you know a quick you know injection you know how you know how long in frame by frame for you know before for the typical motion designer and we assume you know no knowledge of frame by frame animation and at the end of course hopefully you can actually be able to say to your client hey I can offer frame a frame and an animation is part of you know what I do that is awesome thank you so much so it's been great hanging out with you again I'm sure we'll have you back again soon we're gonna say our goodbyes and thank you chat thank you for all the great questions thanks for those that woke up early with us yeah thank you so much really great and everyone that stuck stuck through and I know there's some people in in Turkey having a chat in there it's great to see all that stuff it's so nice to be to be so global and hanging out with all of you we've got some more stuff coming I'm just gonna quickly show what's happening this week so that was Ben Mariette over he still has been married but you know we're gonna we're gonna give him a break to me we have tomorrow this time tomorrow we have Jeremy Lord he's coming in on Thursday as well and that's and that's Friday we've got some tips with Ian Haig as well very exciting stuff we're really really happy to be starting our morning here and hanging out with you wherever you are in the world so thank you chat and big thank you to mr. Ben Maring it I thank you very much Flynn it's been only been a pleasure thanks to everyone in the chat we'll be back soon it's good see you all will do a daily challenge to a day's try daily creative challenge we will figure that out until then thank you very much sir thank you very much you

Channel: Adobe Asia Pacific

Views: 30,409

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Id: r59ubQND3Og

Length: 120min 27sec (7227 seconds)

Published: Mon Apr 13 2020