[EN] Liquid Animation with Adobe Animate and Adobe After Effects

[Music] [Applause] [Music] welcome to this new tutorial made by motion cafe let's talk about traditional animation with Adobe animate CC previously called Adobe Flash to use in addition with After Effects to realize a fluid animation composition so you don't need to have drawer talents to make this tutorial and we're going to see together some processes that allow you to have fairly fluid movements precisely I'd like to thank Edward McCallum who motivated me to go on this subject now he recently made a tutorial and I encourage you to see his video the links in the description special thank you to our partner AE juice they've translated this video into English for you check out their liquid elements pack over a thousand frame-by-frame animations for your projects it comes with a handy pack manager plugin basically it's a huge asset library on demand pressure shortcut to open the plugin drag and drop and you're done this is one of those investments that'll last you a lifetime the links are in the description all links are affiliated so if you purchase something from AE juice will get a commission it helps us to produce more tutorials and sustain our community thank you for supporting motion Cafe will immediately start on After Effects then we'll see the tools I'm using now the idea is that this is reachable for everyone so we're going to realize a dribble shot so here you are on my dribble page and the idea is to make this render which is going to be on an 800 by 600 pixel resolution now first we start by this principle I make a new composition and because it's going to be a traditional animation frame per frame we're going to start on 12 because we're gonna make frame per frame to 25 or 30 is gonna be too long and the render is not great so voila we take a background and we take two minutes on after to prepare our composition we already know where we go and what we'll do so the first step is to make a ball in the middle don't ask me why the balls in the middle it's just a have fun so we make this little ball with a form layer double click it's in the composition and I adjust its size to 200 by 200 pixels when I have this the idea is to anticipate with the pen I'll create and try to imagine the direction of the little children of this ball there will be two so we're going to name it a and B it won't be complicated here I'm spending time to visualize their direction to make sure it doesn't touch to make sure it takes aesthetic curves and direction and that it's well balanced in the composition take the time on it it's really important that you allow it an animate to be able to manage the velocities as you can see I'm creating two little spirals to place secondary animation these are the main lines I put here the idea is when we think we found a good render we generate an image and we go to animate here we are on animate now it's not complicated to open and start a new project in our case we'll click on ActionScript we won't work for web this is the most standard that will be chosen so here I'm on the classic interface and you can search other kind of interfaces but we're gonna go on classic so we'll find the toolbars to the left the timeline is at the top which is called here scenario and the compositions which is called sequence at the bottom immediately will have the sizes to the right here I can change the right resolution of the composition to 800 by 600 I can adjust the window at the top we'll be able to add keyframes and all the frames shown here on cases we have on layer by default that have just arrived this layer will see one frame that has just arrived this frame I can add new frames with keyboard shortcuts if I press on f7 I'll add a new frame we'll see there are little circles which indicate if there's data or not currently there's nothing I can take the brush here or the pen tool shortcut B and here I have my brush if I'm starting to draw we'll see that our frame is filled now this is going to be different from our other previous keyframes so we'll first have a shortcut f7 which allows us to create new keyframes automatically if we go back to the keyframe we just created here and want to extend its duration press f5 and you'll see I'm adding a duration every time I press it it's going to the last X frame and we'll be able to go see all the shortcuts here but I want to show you f7 and f5 which allows you to create new keyframes the idea isn't to walk around with the mouse like this but to use the shortcuts for example here you can see I'm using comma and semicolon it's really the shortcuts that I want you to be able to find by hovering here it'll give you the shortcuts normally it's comma and period personally I added semicolon because it was closer on my keyboard you can change it in the keyboard shortcuts so you search advanced per frame you click and press on keyboard key that you want I added the semicolon it's just for me the easier way to advanced that means I'm going to work with a tablet and not my mouse don't be afraid I'm using the cheapest tablet on the market but still it has a good quality Wacom Bamboo at 60 euros you can go to their website I also had a Cintiq 13 HD but the idea is to make this tutorial reachable so we'll do that with the bamboo now for the demo hop to the new keyframe I take the B tool brush I can change the size and here we can start to make our first ball I advance to the new keyframe here the problem is that I'd like to see my previous keyframe here we'll have the tool onion peel it's going to allow us to show all the frames behind it new keyframe here we can see something starting to happen and to resume I use f7 to create a new keyframe if we want to extend the existing frame we hit f5 or just double click and ask to delete the frames then we'll create two new layers tidy and end folders if necessary now there's nothing more so we'll start we'll be able to import what we generated in After Effects the first composition to analyze and work our direction this frame I make it last a hundred frames to have a base on a new layer as you can see I'm starting to put some lines these new lines are here to work the velocity now my movements are going to operate in the duration I'm creating on a new layer a test of these little lines as you can see the space between will be very important I'm going to ask you to refer to the animation theories to know everything about timing here you saw how the frames are placed here I'm doing a little test with a small ball to analyze our first location of velocity lines here we can see there's a lot of slowdowns because there are a lot of lines that are getting closer in turns I made a lot of slowdowns in almost every corner so I delete it in the middle and let's see what that gives us we can see the ball accelerate in the middle and it slows down and the other turns that's not what I want I want the opposite I want to accelerate the ball but I need to slow it down in the middle so I brought the velocity lines closer into the middle now I advise you before starting to make animation details and drops to have at least a perspective on your velocities when I made and tested this first direction I can make exactly the same for the second direction hop so here I see that it matches we're almost good we'll test it more and you'll do more of these exercises and you'll be better able to visualize by drawing these lines how it will react I encourage you to practice it a lot here I'm putting my little spirals in and now we'll start as you can see I'm creating a new layer a we said we'll call our two directions a and B so we'll make a first base of animation thanks to my landmarks the idea is to go little by little don't go too fast to have a render so here what I'm starting to do is a rough drop with dynamism a kind of general form and I'm trying to respect my velocities I have a direction and also landmarks on my frames now I know when and how the form has to deform here you saw her a first try there's almost two hours since the beginning but at least we're advancing together and that allows me to already have a base I can make the same way to the drop be here I'm trying to follow and match faster it goes more it will extend more it will slow down more it compresses you have to play with the dynamic it's really like a feeling that I need to ask you to have I'm going to make a little parenthesis because as you can see we just had a first base this parenthesis because this first step will ask you to call to your inspirations knowledge is what we like here for example advise you to go on dribble and follow some artists break down their works for example Henrique Barone is really famous for his qualities mantas also makes fabulous things ana made Edward make a love here for example I'm on one of the buckets of Tim Konstantinov who made a subject around liquids I encourage you to analyse and understand record gifts decompose it frame per frame make some trials because we want something where you need to focus on your feelings I'm not gonna teach you step-by-step how to make a liquid effect because it's really about analysis alright let's begin when I think of having the base of my directions I'll be able to make here the body and the form the details the idea is to create something liquid at the beginning it's often deformed you always need to follow the dynamic evaluate how it can react physically if there's a gravity effect according to the speed of movement some drops are more or less heavy some directions will come off little by little become smaller man smaller the idea is to make protract some drops by many frames but at this moment we'll have a lot of liquid on the screen everywhere so we need to make some disappear yeah you saw that I'm allowing myself to make a glassy effect just at the head of the ball with the eraser I only make two little lines and that makes a spectacular effect it costs nothing and that gives it a lot as you can see the idea is to analyze here we have the impression that I go fast but it's almost an hour ago I'll try to speed up to make the video easier it's time to learn that you always have to analyze the slightest drop you saw we had the impression that it's jumping when I'm accelerating just because I move forward and back so here we see when I did for example my first drop my first shifting the idea is to rework on it and to create some secondary animations for example in a turn there's a drop which doesn't follow the main direction which is going to leave separately a little bit like the spirals I made at the beginning and I can add some details we can see the drop that escapes just here because it's an interesting effect we can do it again and another turn try to test it it's not that complicated something good is that kind of fluid and you're not required to be a professional artist I'm absolutely not the work is a feeling an analysis here the same thing I start with the second ball will try to slow down more steps to understand things you saw I extended my little drops my little forms I tried to make it come off to make it leave in a spiral the drop goes up because it takes a lot of speed so I extend a lot of these elements I try to deform the head to have something not really linear it has to come off so I also use the eraser to cut it if some time I have some drops that I don't like I take my tool selection I select I delete and I make a new one in here I try to take the curves every time here I make a first analysis the idea is to follow it and keep the dynamic because it can happen that it doesn't work at all so I remake it right now don't be in a hurry something obvious is that you don't have to have a fast render I think it took me six hours and I took my time try to analyze things as you saw I took the curve and I tried to get the drops off by keeping the main body I take the eraser I try to make the spectacular effect at the head every time at the back every piece that I get off it has to be drops which decrease and disappear analyze constantly you can see it's flashing because I'm accelerating the frame that I'm looking at before and after etc I'm playing a lot with those shortcuts comma and semicolon last turn obviously the more I make it the more I can make drops and forms that I like more than my first direction in blue I know that my red Direction appreciate much more my last turns in some forms everything comes with training I'm still far along and making something interesting but what sure is that we already have interest frame per frame without having character of anything else I'm finishing some little drops like this in turns and it's adding some details to have these kinds of specifics it's detached the eye that makes the animation fluent here last step I put the exit of drops from the ball on a new layer I take directly the color with the palette tool and I put it to try to make some waves which are leaving and crashing I don't take many frames as you can see I made it without recording despite me because I didn't record it but it was exactly the same process here I just need to select the visibility and I can hide the visibility layer and I export at P&G all the animation of my first direction here you can see the PNG is transparent it's pretty fine to take it like this and I'll do exactly the same for this sequence I select this spiral and all the red sequence and I export it same thing for the ball reactions now I've got everything and we'll be able to make it on After Effects welcome back to After Effects the first thing we'll do is import our sequences go to the folder I check the P&G sequence I bring in all the frames by default After Effects will make a timecode here right-click on the footage you can adjust it at 15 frames per second which was the number of frames and animate I import all my sequences at 15 frames per second here I can drag it in my composition and I see that everything is alright I changed my twelve frames per second composition to 15 now because I updated it in animate everything's working I just accelerate one step where I put my first colors which won't be the final colors what we're going to start now is to compose some elements here as you can see for example some elements are overlapping and not behind or in front of it I cut here the beginning of my drop and I put it back on my ball so my form layer here the same thing we're going to analyze and we've got some elements that go in front of the ball instead of being inside of it so I cut it and put it behind the ball what I'm doing here is to analyze where the elements are to placed in front of the ball here I can create a mask instead of cutting this mask I'm going to ask to delete all the elements inside of it then I make keyframes on this mask to adjust the time of the action of it I'm moving forward frame per frame and creating new keyframes when the mask is useless I make it leave my composition that allows me to delimit my elements which go beyond the ball the idea then the first time is to manage my frame sequence to cut and work it which are the foreground or background it's not complicated you just need to separate the elements and rearrange them in the right order from the beginning into the end then we can also arrange the color of the timeline the idea is to be well organized keep analyzing what jean and here we can see it's overlapping again keep working I cut I place it at the right place and at the right time that was the first thing it seems to be complicated but it's not we're just tidying up our sequences the thing is that we didn't do in an animate so we're taking the time to do it in after-effects I'll be focused on the splash created when the drops come to the ball you saw that I didn't make the splash under the ball I thought I was going to save time by duplicating the splash at the top i duplicated it and oriented it to finish I'm going to use disassociate and make a horizontal mirror by putting negative 100 it saves me time here for example we've got two splashes the idea is to start the balls at a different time I'm going to disassociate the splash which is on the same sequence we've got four splashes two for the entrance and the exit of every direction what I'll do is I'll apply every splash for the direction of a and B for entrance and exit I'm organizing everything I'm changing colors I'm replacing it I'm also putting the elements in the right order to be at the foreground or at the background I make the in and out for the both contacts with the ball here it's well organized and we'll be able to duplicate all of it for direction be before duplicating it I'll try to shift it by shifting it we can have two directions which won't start at the same time and that's the reason why it's interesting we organized all of our compositions to be able to manage all these elements I can see quickly that everything for Direction B is red and yellow for a here for example I select the a direction I duplicate it and I change the place only shifting I'm trying to get my direction into my ball and to make it leave by the other side it crosses into the ball that's what we need to imagine it's a timing work when I look at it we can see the direction it takes in the ball perhaps one or two frames I moved back two frames to see and maybe it's too fast so I move forward one frame now we can feel it crosses the ball will repeat the animation and create a loop same thing i duplicate the second direction for B I put in the right timing and here it's alright what I can do even if it's not necessary is to make my composition into a new one to manage the loop when I make it here for example I'm gonna place it in the middle I put it at the beginning of the composition and I delete the beginning I try to find the same time and make a loop I think I found it I can make a picture here by using this tool when I go to my first frame it was placed exactly on the right position I just need to move back one frame to avoid having the same frame twice when it's looping and now we found the loop because I'm on a new composition we could make it in the same but don't worry about that a tip to find the landmark is don't touch my temporary code put a landmark on my composition and not on my layers here I go to the beginning of the composition of the loop and here our temporary code moves automatically I just need to put in my two landmarks retag it as entrance and exit so loop in and loop out and now I can preview my loop we've got a clear loop and all the elements are well placed there are no faults everything is in the right place I've just chosen the colors I didn't record the research I just chose a color gradient of two colors I think it's a pretty harmony I wanted a light background to be better on dribble and what I need to finish now is to add some shadows when the direction goes in front of the ball I'm using the ball by duplicating it I'm duplicating the sequence of a when it goes in front of it the idea is to make an alpha on the ball because when I put it in solo you'll see we'll only have this render in the ball this render is very easy and move it into position I choose a little color of shadow because why not I don't think it's gonna be very useful and I just need an inlay it'll be better you saw there's a shadow created which is only visible on the ball thanks to the Alpha I just need to place it at a good place so you can see in purple in the timeline now I'm going to make the same thing for B direction I put in an alpha I duplicate it here twice or more like three times to intensify the inlay fusion mode here we've got shadows created we've got our animation made on animate and flash previously and as you can see we need to be more organized to make it frame per frame all right we just finished the composition and After Effects so we'll end here I think you need to keep practicing to improve there's so much to do thank you again to our partner a e-juice who made the translation possible check out their liquid elements pack which will save you weeks or even months of work more than a thousand frame by frame animations including similar to ones we worked on today you can also download the free starter pack with over 100 animations and give it a try the links are in the description all links are affiliated so you're helping motion cafes community to produce more tutorials by purchasing products from AE juice thank you for your support by the way don't hesitate to like this video and post a comment and if you want other tutorials on traditional animation well that's pretty fun but it's long to do be inspired the video of Edward is on the link below to complete this subject don't hesitate to join motion cafe and follow us there will be a new tutorial shows we'll start again so don't hesitate to join our Facebook group the forum it's a French community all right that's it thanks for watching [Music]

Channel: MotionCafe

Views: 122,687

Keywords: after effects, adobe, motion, design, motion designer, vfx, effet, visuel, animation, montage, tutorial, tutoriel, tuto, edit, visual, effect, trick, learn, community, graphic, animate, framebyframe, fluid

Id: bM9mjRidWJw

Length: 24min 25sec (1465 seconds)

Published: Thu Mar 14 2019