Intro to Adobe Animate 2021: THE FULL COURSE | Beginners Complete Tutorial

starting animating without a proper plan is like building a house without putting the foundations in in this episode we talk about the best practices to get you started hello everybody and welcome back to tiptop and welcome to intro to adobe animate 2021 this series will break down step by step how to make an animation in adobe animate at the end of this series you'll have your own animation complete and be equipped to handle all the basic aspects tools and features of adobe anime i recommend you have a drawing tablet to follow along with this series and i've recommended a few good beginner options in the description without any further ado let's get right to it part zero planning and generating ideas this is called part zero because it takes place before you even open up adobe animate sure you could just boot up the software jump right in and have a scribble but honestly you'll lose focus you'll get stuck and you'll quit i see this happen all the time the solution have a plan step one is deciding what you want to animate and in what style usually i've got a few ideas bouncing around my head if you don't try to generate some by using things like personal anecdotes that made you laugh maybe you saw an interesting character on the street and you wondered what their life was like maybe your pet did something silly and you want to make an animated version of it if you're struggling to come up with an idea you could start with an idea generator such as this one by bardot brush to spark your imagination once i come up with an idea i'd like to decide what style would suit it best visually to do this i like to use a tool called pureref which is a very simple mood boarding and reference tool but you can use whatever you like you can drag images and clipboard content onto a simple background to collect your ideas start by going to your favorite animation site and start collecting images of things that inspire you i use my instagram feed newgrounds youtube and giffy usually something will inspire me because i like its color or its line work [Music] maybe it has a good story or visual style for now i'm just dumping ideas of things that i think are cool into a big repository in puref now let's move on to making a storyboard usually i sketch digitally on my ipad but just to prove to you that this isn't necessary i've done my sketching this time on paper let's draw my idea of a character bouncing uncontrollably along a path with shocked passers-by in the background when sketching your storyboard try to think of it like a comic strip comics are really great at telling the whole story in the least amount of frames possible this will ensure that you get your point across in a dynamic and interesting way sometimes if i think i'll have trouble drawing something specifically i'll sketch it out by itself too outside of the storyboard usually this is for things like characters or complex items that need to be seen from many different angles [Music] i like to take it one step further and ink or color my storyboards just to get a sense of the finished thing but you absolutely don't have to once you've got your storyboard all sketched out you're ready to move on to the real beginning adobe animate the absolute basics so that's it for episode zero make sure you're subscribed and you've rung the notification bell so that you'll be first in line when the next video is out if you've enjoyed this and my other tutorials please consider clicking the join button below to become a part of the tiptut zone thank you very much everyone and i'll see you next time on tip-top i'd like to say a massive thank you to my level 2 and above members unknown ghosts wn 62 anonymous mel m hoover maybe sharma ralik m month 336 ian costello de chan singe and da vinci goel also congratulations to unknown ghost wn62 and anonymous for being members for three months you lovely people if you'd like to get exclusive perks such as shout outs at the end of videos personal design feedback discounts on merchandise and access to the discord then consider clicking that join button below remember to subscribe for more tips tricks and tutorials thanks for watching welcome to intro to adobe animate 2021 let's pick up our pens and get to [Music] animating everybody and welcome back to tipta and welcome to intro to adobe animate 2021 this series will break down step by step how to make an animation in adobe animate at the end of this series you'll have your own animation complete and be equipped to handle all the basic aspects tools and features of adobe animate i recommend you have a drawing tablet to follow along with this series and i've recommended a few good beginner options in the description without any further ado let's get right to it part 1 the absolute basics so what even is adobe animate well it started its life back in the day as macromedia flash before it was bought by adobe and eventually rebranded to adobe animate it's used for making animations interactive web content using actionscript before and html5 now and flash games in this series we'll go over the animation side of adobe animate because frankly i'm an animator not a game or web developer if you want to follow along specifically and replicate the animation i made for this tutorial you can download some sample files from my website tiptut.xyz to get you started but these techniques can be applied to your own similar animations and i encourage you to make something of your own because trust me you'll love it much much more okay let's get on to using the interface and the absolute basics okay so here we are inside of adobe animate and i've got our sample project open here as you can see or hopefully you will be able to see soon it's not actually that complicated there's only a fleet a few layers a few tweens and a few frame by frame bits of animation in here so what i'm going to do today is take you through the interface and we're going to start our animation by drawing the bouncing ball body of our character here and then in the next episodes i'll take you through piece by piece um the techniques i use to create this i'll show you a technique in an isolated simple environment and then i'll show you how i applied that technique to this particular animation hopefully that way you'll be able to learn how to do your own animations as well as recreate this one if that's what you want to do okay so i'm just going to close this project down and yes i'll obviously save the changes to it and when you first open up anime you'll be confronted with this kind of window here okay now for animation you just want to click create new that's going to open up a window with all the document settings that you need might take a second by default it's on character animation which is what you want to leave it on you can see you have all these different tabs based on the things you want to make i'm going to make mine a square so it's going to be 1080 by 1080 i'm going to leave the frame rate at 24 frames per second because that's kind of the default for animation platform type is going to be action script 3 because we're not making a html5 canvas and actionscript3 allows you to have all of the filters and settings you might need for animation so let's click create and it will open up a new document for us okay so here we have our interface uh this large white section in the middle is our stage this is where all the action in our animation is going to take place if you want to change any of the settings you can just right click choose document and that will change any of the settings you made when you first started just in case you did it wrong including the background stage color if you find white too distracting holding space will allow you to pan by clicking all the way around your stage you have some other controls up here as well which allow you to zoom fit to show frame which fits to window but then allows you to pan around okay you also have the center stage button the rotation tool allowing you to rotate your canvas and your clip content so turning this on or off will hide any content outside of your frame okay [Music] on the left here you have your toolbar with simple things like selection and free transform tools so the selection tool will move anything that you draw for example if i draw an oval i can select the oval and move it around the free transform tool will allow me to scale and squish that oval to my heart's content the lasso tool will allow me to select portions of it in order to delete them or whatever and the puppet pin tool the asset warp tool sorry we'll go into a little bit later maybe but essentially what it does is allow you to select an item place pins in that item and then warp that item using those pins okay so if i were to place a few of these i can then squash and stretch that item to my heart's content a little bit complicated that one but we might go into it later then you have your various types of brushes you have your fluid brush tool which is the new updated brush with lots of property settings over here we'll get to that in a minute you have your basic blush brush tool which is kind of the classic brush within adobe animate um so you can see there's not much difference on their basic level apart from some nice neat tapering effects and things like that pencil tool does the same thing apart from your drawers with an actual line and then you have your various shape tools squares circles polygons etc then you have your line tool which draws straight lines just skipping through these because they're kind of obvious right text tool will allow you to type the eraser tool will allow you to erase believe it or not the paint bucket tool will allow you to fill an area so if you press the paint bucket tool there you can fill in an area completely the eyedropper tool will allow you to pick a specific color from your stage and that will turn your brush to that color then you have the camera tool the rotation tool and the zoom tool which we'll get on to a lot more detail later on just going to select all that and delete it if you don't see any of these tools you can click the three dots down here and that's going to open up your extra tool options and you can click and drag those tools onto your toolbar like so okay so over here in the properties panel it will show whatever properties you have for the particular tool that you've got selected for example you can paint normal or paint behind the lines you've already drawn with the brush paint any sections you have selected but don't paint anything else all that sort of thing you can change size minimum size smoothing of your brush etc okay all these things we're going to get into in detail obviously as we use them i'm not going to bore you by sitting here and explaining all of these details now but suffice to say that obviously depending on the tool you select it's going to bring up different options for you it's important to note however that there are several tabs okay so if i draw something on the stage using my mouse and i select it i can go to the object tab which controls things that are on the stage this is interesting i have a with my brush tool i've obviously had object mode turned on there which means that when i draw something it turns into like an unmanipulatable object and if you have that turned off when you draw it will turn it into a editable selectable brush selection but we'll get we'll get into that for example so if i draw something on the stage my object menu comes up i can also select the frame menu which is to do the timeline which we'll get to in a second or i can select the document properties so this is basically where you'll spend most of your time when you want to manipulate stuff inside adobe animate okay as well as the properties panel you have your library panel okay and your library is where everything all assets related to your animation are stored for example if i go to my windows explorer here i have this sketch that i have created uh in the previous episode which if you haven't watched was just about um creating up ideas and coming up with ideas if i drag and drop that into my library you'll notice that it appears inside the library i can then drag and drop that from the library onto my stage as many times as i want and any changes i make to this item in here will i update and reflect whenever we place it on the stage so i'll just delete those so and we're going to use this as an example to explore the timeline for example if i drag this onto my stage here and go back to my properties panel you'll notice that i can using my align window align this to the center of the stage pressing q to bring up my free transform tool i can drag and stretch it until it fills my canvas and it'll snap to the edges of my canvas there you'll also notice that when i dragged it into my stage my timeline changed a little bit and i'll just do it again to show you if you watch this dot down here go from an empty gray to a filled in gray with a black dot now those are the two frames styles that you're going to see most often empty gray means nothing is in that frame dark gray with a dot or dark gray means there's something in that frame now this down here is the timeline and this timeline basically shows your animation okay you'll notice all of these different colored gray boxes here but essentially you can add in several layers so you can work on different layers in your animation so for example i could rename this one sketch okay and on the top of this i could rename this one rough and on top of this i could rename this one clean okay and now i have a layer for drawing all of my rough drawings and i have a layer for drawing all of my clean drawings now the way you work in adobe animate is there are two types of frame there is a frame and there is a keyframe now a keyframe is any time your drawing changes no matter how you manipulate it you will need a keyframe to tell it what the new drawing would look like okay and a keyframe has this black dot in it if i press f5 if i just select a bunch of frames and press f5 that's going to insert new frames you can also right-click and choose insert frame you'll notice these frames do not have dots in it and what this means is as we go through our timeline the shortcut which is just pressing enter to play you'll notice that there is no animation going on at all okay if i just choose a frame at random and i press f6 or right click and insert keyframe okay i can move or animate or redraw something and as soon as our animation hits that point in the timeline it's going to animate that those are the two types of frames that you use in adobe animate to animate okay so i'm going to clear that keyframe which gets rid of it there and what i'm going to do is just on my roughs layer i'm going to draw or animate what i think this bouncing body is going to look like and we're going to start off really simple by just doing a circle okay so i'll explain a little bit more about this in the next episode but if you select your background image here and go to um your library you can press f8 with the image selected and that will turn it into a symbol and i'm just going to call this sketch now don't worry episode 2 deals with symbols in complete detail what this allows to do under our properties panel is change the color effects on this symbol to alpha and that allows us to drop the opacity of it so it's not quite so distracting when we're drawing on top of it i'm going to lock the background layer by clicking lock here and on our roughs layer on the first frame i'm going to get out my pen tablet here and i'm going to press b to bring up my brush tool and i'm just going to start drawing okay so i want to make sure that my brush is the right size so at the moment it's a little bit thick so i'm going to go over to my properties panel here and i'm just going to change the size down to about 10. and you'll notice that it changes the minimum size and that basically means if you've got pressure sensitivity what's the thinnest line it's allowed to make okay so ctrl z will undo which is going to be really useful for you and you can zoom in like i said and pan around as well so i'm just going to draw a rough circle that's been squashed on the ground like so okay now we are going to draw this body as if it was just a circle bouncing up and down so i'm going to move over a couple of frames and the shortcut for this is um comma and full stop so full stop moves you forward comma moves you back okay there's a technique called animating on twos which means that you animate every other frame so one three five seven etcetera again we'll get more into that in the frame by frame details but i just wanted you to uh draw something in your first episode i'm going to press f7 rather than f6 for insert new blank keyframe which inserts a keyframe but doesn't put any content on it okay now i'm gonna draw my circle in a slightly different shape but you might notice it's kind of hard to see what the previous thing looked like so i can go down to my timeline options here and i can turn on onion skinning which shows the previous frame okay now i'm going to go and draw this ball at its highest point maybe something like this okay i like that but it's not quite center so i'm just going to move it with the directional pad now we have two frames of our ball animating okay so i've drawn it at its lowest point which i think i'm just going to use the free transform tool here to just squish and stretch it out a little bit because as it's hit the floor it's probably gonna in shape yeah now i've got these two keys i'm gonna go into the middle and i'm gonna press f5 twice to move that other keyframe along then i'm going to press f7 to insert a blank keyframe in the middle and you'll notice now i have a red shape and a green shape the red shape shows the previous frame and the green shape shows the next frame in the middle of that i'm just going to draw the ball in the exact middle okay and i've squashed and stretched it a little bit because as uh sorry my phone there because as um it's falling out of the sky it's going to stretch and deform itself okay and that's going to happen right in the middle of our animation here so now we have three frames and we can see we can move between them okay but this moves quite fast okay and what we want this to do is to ease a little bit more so i'm going to add in some more frames with f5 i'm going to press f7 on this side and i'm going to do the same thing over here to give us two blank frames between our other frames and i'm going to do something called easing so um what that's going to do is draw this frame here more towards the red shape than the green shape so this point has hit the floor but it hasn't like started squishing yet okay um i just realized i'm doing this backwards so let's uh this is it rising up instead that's fine so now it's starting to come out and here it's going to start to slow down as it reaches the top of its arc okay so now let's take a look at that i'm just going to select these frames here and just click remove okay so now we have our ball moving up but that looks a bit silly so let's select all of these keyframes right click choose reverse frames okay if we then remove the extra we've now got our ball falling rather than flying upwards as our ball falls out of the air it hits the floor it squishes let's add in another keyframe so it can settle a bit and these are just my roughs so i'm not worried too much so i can just you know press e for eraser and clean it up a little bit now we've got our ball falling and squishing so let's add in one more where it starts to rock it back up into the sky like so and let's add another where it's starting to resettle and to make sure there'll be a perfect loop we can grab this first frame holding alt i can click and drag it over here and i'll just add in an extra frame here um which means that in this frame here now we've got the first frame again at the end of our animation so if i add in some more frames with f5 hit f7 to give us a blank keyframe i can start to do the final bit of easing like so let's go back to showing the entire animation and there we have our bouncing ball okay um so i want to see this in action over and over again to see if i like what it's doing so i'm going to come down here to my looping options and just turn that on that's going to give us this little blue bar which if i drag out will allow me to loop the entire animation it looks pretty good but obviously it's hanging in the air for too long because we added that last duplicate frame so i'm just going to remove those and now we have our perfect bouncing ball animation so there you have it there's a quick very brief intro to adobe animate's interface next time we're going to go into proper frame by frame animation i'll explain what i did here in detail and we'll apply it to our character we'll give him a head and some arms and stuff like that okay so thank you very much for watching i hope you've enjoyed this do make sure you've turned on the notification bell so you can stick around for next episode and get notified for when it is uploaded thank you very much for watching everybody and i'll see you next time on i'd like to say a massive thank you to my level 2 and above members unknown ghosts wn 62 anonymous mel m hoover maybe sharma raleigh m month 336 ian costello de chance and da vinci goel also congratulations to unknown ghosts wn-62 and anonymous for being members for three months you lovely people if you'd like to get exclusive perks such as shout outs at the end of videos personal design feedback discounts on merchandise and access to the discord then consider clicking that join button below [Music] remember to subscribe for more tips tricks and tutorials thanks for watching let's get started with frame by frame animation in adobe animate 2021 [Music] hello everybody and welcome back to tiptop and welcome back to intro to adobe animate 2021 in this episode i'll take you through the basics of frame by frame animation we'll learn the theory behind it using some exercises and then apply it to our example so let's get right to it part two frame by frame animation [Music] animating frame by frame simply means drawing one picture then a slightly different picture and so on and so on until we get an animation you probably did this in the corner of your school books as a child or on a stack of post-it notes to make a flip book animation the essentials basically boil down to two things timing and spacing the timing of a frame by frame animation comes down to your frame rate i won't go into details but the standard frame rate for animation is 24 frames per second animators usually make a new drawing every two frames which is called animating on twos for most movements but if something is moving very quickly or you need a lot of detail you place a new drawing every single frame which is called animating on ones using both of these timings correctly makes for a smooth animation spacing involves how you move your objects through that time for example if we move this ball in equal increments of space through say 13 frames we get a very linear movement with the ball moving quite unnaturally if however we make the ball move slowly at the start and end but faster in our middle frames we get a much more natural looking movement you'll also notice that i've squashed and stretched the ball as it moves this is one of the core principles of animation which were defined largely by disney in the 1930s if you want to make a convincing motion i highly recommend researching the phrase the 12 principles of animation one day perhaps i'll make a series on this but for now alan becker has a great series that explains them perfectly feel free to experiment with making a ball move freely around your stage practice and see what feels natural you can use guides like these to mark out your work draw a path for the ball to follow and marks along that path for where it sits on each frame think about what would happen when that ball meets a curve or a hard corner okay let's apply this theory to our animation with our bouncing character in a little bit more detail okay so last episode we animated this very quick and rough bouncing ball just that you drew something in the first episode we're actually going to delete this and do a better bouncing ball using the guidelines that we have discussed in this episode so i'm going to select my layer here and just press the delete icon to add the delete to delete that layer and add a new layer in on top and i'm just going to call this guide okay and rather than making it black which is kind of hard to see i'm going to make it like a nice bright orange and with this i'm just going to mark where i think the bottom point of our little animation sequence is going to be and then i'm going to draw up to where i think the top of our little animation sequence should be like so so now i've got the highest point and the lowest point okay now using the same guide technique as before there's definitely got to be a bit this right in the middle but as a ball bounces up and down it's going to speed up as it falls it's going to spend a few frames on the floor and at the apex of its arc it's going to hover for a few frames as well so i'm going to put a couple of frames here so that's going to be one on the way up and one on the way down using the same spacing there's gonna be one in the middle like this there's gonna be one as it's stretching to hit the floor another as it hits the floor and then there'd be a second one as well um so there'd be one on the way down and one on the way up here so this would technically be one three five seven nine then um that would be on the way let's do that on the way down so i'll just stick those on the other side just to make it very clear okay then we're going to have frame 11 frame 13 frame 15 frame 17 and frame 19. so we're gonna go 1 3 5 7 9 11 13 15 17 19. okay and i'm just going to use this as a guide so i'm going to lock that layer i'm going to turn it to outlines by clicking the little outline icon there which allows me to see beneath it then i'm going to add a new layer underneath that and just call it rough in fact i'll call it rough body because we're going to separate out all the elements of our character here so then i'm just going to give myself a whole bunch of keyframes um specifically i'll give myself 20 because we've got 19 frames then i'm going to select all of the frames on our rough body layer right click and choose convert to frame by frame animation keyframe every other frame and that will give us our keyframes on 1 three five seven nine and so on so now we're ready to go and animate and what we're gonna do here is animate straight ahead because this is quite simple okay um animating straight ahead just means literally that you're gonna go from frame 1 through to frame 19 and anime when it comes to adding the heads and the legs we may do pose to pose animation which is where you pick the key poses and then animate the inbetweens later i'm going to go with my brush tool which is b i'm just going to go to a nice solid black line that's a little bit thick so i'm just going to take the size and i'm going to drop that down to about 8. yeah that looks much better so i'm going to zoom in now i can do this by pinching with my tablet if you don't you can press ctrl plus and minus okay and we're going to go to frame one but first i'm just going to take a circle that is roughly the size of our character's body using our sketch and i'm going to position the center of it with our first mark at the very center of that circle now i could if i wanted to copy this and paste it onto the next frame but instead i'm just going to go to frame three i can't see anything because my onion skin is turned off so i'm just going to turn that onion skin back on and i'm just going to draw it with the center now on frame of three in this position that we've earmarked for frame three it's moving quite slowly so i'm not going to give it too much squash and stretch at the moment it's going to stay roughly the same shape and these are only our rough layers we're going to draw the final neat line on top of that at the end of this tutorial so at frame five we can see that frame five is down here in the middle of our ring so this point is probably if we had our ball moving it's probably going to be stretching as he falls down to the ground at this point so uh just for clarity i'm going to copy this shape so that i know i'm working with the same mass okay then i'm going to move it to the space i want to be then i'm going to press q to bring up my free transform tools and i'm going to squash and stretch him some people might consider this cheating but it's only for the roughs so you're never going to see it in the final thing anyway frame seven then i am just going to copy and paste this layer but first of all i will select this and just press delete to get rid of it so i'm going to control c and then ctrl shift v will paste it in place on our next frame allowing me to just move it down like so and i'm going to do something called point of contact which means i'm going to make it hit the floor like so so now we've got our ball falling down and it hasn't lost any mass at all okay on the next frame it's hit the earth so it's going to splurge out into the other direction you could just copy the shape hit q and rotate it if you wanted to but for this one i am going to redraw it just that i don't get into that bad habit well the center of our shape should be here on the keyframe um our previous frame uh the kind of the center of the ball is missing um so we've kind of we should have done something like that as if his body was turning as it hit the floor but it doesn't matter too much for this simple animation for this one we're going to do the same thing but his body is going to be squashed out onto the floor okay so he's hit the floor like like so the next frame and that's frame 9 then which we've just done there as you can see the next name is frame 11 and we've we've earmarked that he stays in this position for two frames so what i'm going to do is just push it just a little bit further okay and i'm not too happy with that so i'll just select it and delete it and i might rotate my canvas with r or shift h i think is the default just because i'm left-handed drawing on a slant like this is a little bit easier for me okay click that button at the top to re-center back up my frame that's our frame 11. frame 13 is when it's going to start reaching back out into the sky and we want that to be quite explosive so i'm going to go from this relatively flat and squish shape back to something more similar to our previous frame okay so nice it's looking pretty good um moving on to frame 15 here okay i'm just going to redraw and i know that sometimes i've used the center point of these balls to line up with the marks sometimes i'm offsetting them sometimes i'm not using the guide but that's exactly all that it is it is just a guide you don't have to follow it if you notice something that looks a little bit better and what i'm doing in my head sort of automatically is kind of tweaking this as i go i rotate that around because the mass i feel would be more towards the top of the ball so i'm just going to hold ctrl and drag out these individual points as well to kind of round out that circle character frame 17 and then frame 19 is actually going to be like the same as frame um one so i'm actually going to go to frame one copy it paste it in place there just so that i've now got the before and after on my onion skin okay then i'm going to do my frame 17 and again i'll do the exact same thing i did before which was to trace frame one and just move it down slightly okay for frame 19 what i'm going to do is i'll delete it now because we've got that original guide and i'm just going to put it ever so slightly below where frame one was just so that when it comes back to loop it's not exactly the same okay and there you can see we've got our bouncing body so let's go to show frame i'm going to turn on this button here which is the looping button alt shift l is the option for that and i'm just going to drag this little blue bar out until it fills our timeline so that when i press space we can see it starting to bounce properly that looks pretty good to me i think it hangs in the air a little bit long so what i might do is try removing these last two frames with just a right click that looks much better to me okay and that's because we just duplicated that last frame frame one and frame 19. oh hey i didn't see you there i was just taking a break from doing the animation on this intro to adobe animate series which i don't know about you but i found really useful if there was a way that i could thank the person who made this series oh wait i already have because i bought this t-shirt from youtube.com forward slash tiptup forward slash store you can get this t-shirt hoodies dog hoodies pencil cases all sorts of merchandise from youtube.com or alternatively if you're not into the dopest finest premium quality teas and you aren't a fan of merch you could alternatively click that join button below to become a member of tiptop and join the tip-top zone along with all of the other members for exclusive perks and benefits to the channel [Music] i'm not very good at adverts back to the video so that's the basics of what i'm going to do for the rest of this character is add in the keyframes that i need use guides if i need to and we're going to go through now and just add the head and the legs as well now the head is exactly the same process as this ball apart from we're going to have it rotating around the body so what i like to do is i'm just going to add a new layer on top select all of these layers again frames again convert to frame by frame animation keyframe every other frame so now i've got an exact duplicate but empty of the layer below i'm going to grab a bright red brush and i'm going to go to the frame which most closely resembles that frame we've got here which i'm going to say is this one and where the head is i'm just going to draw a dot for where i want the head to connect to the body okay now i can work backwards i could work forwards but essentially i want this to rotate in a nice neat circle around the body so by this point i'm going to say his head will be here on this next frame here it's not going to move much but it will have rotated a little bit by here i'm going to say it's going to be perfectly in line with the center and then we know but by this frame it's just stretching out and boom it's hit the floor and snaps down on our next frame it's going to be facing down on the floor our next one here is going to do quite a quick movement but it will work in motion trust me it's going to move around to the other side of the body here it's going to be up this side of the body and by here it's going to be back up at the top and then if we watch that in cycles it's kind of spinning around it does jump a little bit so on that first frame i'm just going to move it back slightly and on those squished frames i might just yeah let's just forgo the rules here i think and let's change it so that his head it's completely upside down as he hits the floor here because that's going to be a little bit nicer i'll move it so his head's lower here hits the floor it's upside down this side will just move his head over this way a little bit as it's squishing it's going to continue to turn and that should make a little bit of a better cool so now we're going to use that red dot to just draw a circle for the head and i'm going to fast forward through this section because it's exactly the same as the body and i want to make sure you guys just aren't straight up copying me so what we're going to do is add we'll call this head sorry rough head and uh using my black pen just eye dropping with eye key there i'm going to start drawing my character's head again i'm going to start maybe on let's start on the first frame why not i'm going to zoom in and you have to think about the forces that are applied to their head so i'm going to say something like that for the first bit slightly smaller than body but otherwise a circle i forgot to add in oh no i didn't sorry i'm on the right layer that's fine at this point the head's starting to move so it's going to stretch it a little bit as it rotates and so on [Music] okay so there you can see it just a quick addition of the head rotating around the body there so now we've got the basic form of our character bouncing up and down on top of this it's now time to add all of the details we'll do the arms and legs in one go together and then i'll go back through and do the facial features in time-lapse mode because they're quite simple okay so we're going to add a new layer on top we're going to select all of these layers right click convert to frame by frame keyframe every other frame and now we've got a duplicate but empty i'm going to go to rough and we'll call this rough limbs now i'm going to go to oh let's say this frame here i'm going to turn off on your skin so it's a little bit easier to see at this point his body's falling straight through the air everything's um forced down upon him but his head has made solid connection with the ground already yeah bam so his arms might which were previously up like this might bend okay so we're just going to try and attach this to his body we can use little points if we wanted to so we could go through and we could just say you know these are the points where his arms would attach but i'm just going to run straight through and do it straight ahead at this point i'm going to say his arms are still pretty much outstretched but otherwise just a little bit crooked and we're drawing his fingers because why not this arm here as well we're going to have it following the same kind of trajectory because he's spinning as he moves as well you need to make sure that if possible your arms are like following the curvature of that spin okay so let's start there with those arms like this i'm going to go back a frame turn my onion skin on and i'm going to hide my sketch layer just so it's a bit easier to see and it's just a case of drawing something adjusting it if needs be so that you get nice curves between the previous frame and the next frame yeah so when you flip back and forth between the two you can kind of see where that motion is going to come from same thing goes for here we'd add probably a little bit of a curve to the arm like so he's hit the floor now and his body has started to turn so to help draw the viewer's eye with that you just make sure that there's a little bit of overlap with those arms you know the arm's now on the other side of his body but there's no reason that it can't come through like that so that the path of motion for that particular arm is quite similar i think i just drew that on the wrong layer yes i did but that's okay i'll just copy and paste it it's only guides anyway so it doesn't really matter this next line here um all the energy has come out of his body so i'm going to say that this arm is going to be pretty much flopped onto the floor now and this arm over here has continued its downward trajectory because his body's spinning like this so his arm would sort of force itself this way i believe but let's see if it looks good no it looks kind of janky right so what we'd probably do is select this get rid of it oops let me just lock those other layers so i don't accidentally select them i think maybe then let's have his arm sort of fall this way instead yeah that looks much better okay so moving on i think at this point his arm would start to drag itself back upwards and this arm here would start to turn around the other way because his his nose is kind of over here now right so at this point start to perhaps be dragged down like this from the force of the arms and then by here what we'll do is we will take those original frames again if we unlock them we'll take those original frames again we'll hold alt and drag them to the end just so that whilst we're working on this loop we can see what that original frame looks like here we're going to what we're going to do here we're going to have his arms be facing oops i've gone into orange there he'll have his arms facing the camera uh and here's like back arm whipping around like this so when we get into the was essentially the first frame his arms are going to be kind of just curving up like this okay because now we can then transition to these sections here where his body rotates because at this point we'd have his arm start to curve upwards this back arm starting to curve upwards too so that when it comes to this next frame it looks more like a seamless loop okay we'll remove these frames again because we don't need them it's losing a little bit of impact because although his body hits the floor his arms here should already be flat i think so let's fix that by selecting the arm layers oh yes i've drawn those on the wrong layer didn't i so let's select that with a loop tool and just delete that again doesn't matter because this is only the sketch it doesn't matter too much if it's not that neat and i think what we'll do is we'll just draw the arms like a simple ease just ahead of their previous or their next coming up position so bam you get a bit more of a solid splat on the floor there great okay i'm gonna do the same thing with the legs now but it uses the same principle so i'll fast forward through this section [Music] okay so there we go as you can see i did pretty much the same thing for the legs there if we just flip through this frame by frame you'll notice that i've got the legs following the same trajectory of the as the body rotating around hitting down squashing onto the floor there with the arms rotating coming up the other way on the other side of the body and then eventually looping back around to its original position like so so now we've got the arms legs and um head attached but we haven't yet done the features so i'll just pop those features on a new layer using the same technique as before right click keyframe every other frame and all this animation is going to be on twos because it's fairly consistent there's nothing moving terribly quickly if you wanted to you could flap the hair about on this one on ones i'm going to leave it on twos just for ease of use for this tutorial but um feel free to do that if you'd like i am going to draw the face in a different color rather than black let's do it in something like bright green just so it's really easy to see and i'll turn back on my sketch layer so i can see the original kind of facial structure here so we want these big green googly eyes with the sort of cross-eyed effect and an upturned upset mouth just a simple tongue in it there's also the three bumps for the hair and a sort of semi half circle with a lip for the hat okay this one we will turn the um onion skin on and this is just a case of just seeing making sure that you're tracking the position of the eyes to the position of the head um as the head rotates obviously so will its features and you need to make sure that you're rotating those features with it also that they're not growing and shrinking too much but also most importantly that you um add in the emotion here okay so i've got the cross eye to make him look really confused but at the same time as he hits the floor here um his eyes should almost certainly squint shut and his mouth would turn into like a grimace of pain okay not only that but you can add in funny stuff like um his hat gets completely flattened and his hair as well and then at this point you could even have his hair on backwards as uh his face just gets dragged along the the grass here maybe his eyes and his mouth open up again by this point um just so you can get some of that emotion back in and it's just a case of trying to make sure that the main you maintain the direction on these details here it's mostly the hair and the the tongue of the the hat you need to make sure aren't losing um direction this is a bit of a different one because he's now looking kind of downwards like this so we need to draw the hat like so and if you can't see the hair it would look strange so we'll just add it kind of on the side of his head you know why not he's a simple enough character maybe he's a cartoon so his features do erupt off of his face a little bit by this point the hat's starting to come back to the right way so we can we can draw the hair in a bit easier but again his facial features showing that motion and this is the frame before the last so we will just drag out over these frames again with the alt key just so that we're not making them too different by accident one two and then three bits of hair and then the mouth there like that so we're leaving these as pretty loose um because this is just the roughs for this section but let's take a look yeah i'm pretty happy with that um he bounces nicely he's got all of his limbs moving in the right directions all that sort of stuff he goes a little bit off screen but not to worry we'll be dealing with that next episode when we do with our symbols for now though um practice this make sure that this guy is moving to a situation that you're happy with once he is you'll be doing the next section which is all a firstly you just name this rough face but the next section is to add a new layer on top right click convert to frame by frame keyframe every other keyframe so there you go and same as before lock and outline all of the below layers hide your sketch layer and if you'd like to hide your guide layer as well at this point i'd probably drag the guide below everything else now you get to do the fun bit which is inking now inking is uh just the process of drawing your neat lines so i'm just gonna grab a black pen make sure i'm happy with the size and i'm just gonna go through and try to make it as neat as possible i'll fly through this bit because there's no real technique to it it's just trying to draw what you've already drawn just a little bit neater so i'll see you on the other side [Music] [Music] okay so there we have it our looping line work animation now i'm just going to hide all of these guide layers by clicking and dragging over this i icon here which will just leave us with our line work and you can see at what we're working with i think that looks pretty good like i said we've drawn him a little bit high up we'll have to shift him down but don't worry we'll be talking about that next episode when we get into working with symbols inside of adobe animate so that is it for this time around have a play redraw him a couple of times if you're not happy with how he's bouncing around but hopefully this has given you a little bit of an introduction in how to work with frame by frame animation inside adobe anime thank you very much for watching everybody and i'll see you next time for the next episode of this series on tiptup i'd like to say a massive thank you to my level 2 and above members ghosts wn 62 anonymous mel m hoover maybe sharma rallica m munn 336 ian costello deshan singe davinci goel and lonewolf 16. thank you very much everyone you're making a very merry christmas here at tiptut if you'd like to become a member of the tip-top zone to get access to exclusive perks such as discounts access to the discord shout outs on videos and personal design feedback please consider hitting that join button below [Music] remember to subscribe for more tips tricks and tutorials thanks for watching let's learn how symbols and tweening can help you in your animation process welcome back to intro to adobe animate 2021 in this episode i'll teach you all about the different types of symbols available in animate how and when to use them and the tweening options that using these symbols allow for if you don't know what any of that meant then you're in the right place so let's get right to it part three symbols and tweening so what are symbols well whenever you draw something in adobe animate it's known as a shape and you're editing it directly turning that shape into a symbol don't worry we'll get to the how later takes that shape and wraps it up inside its own container you then have to enter that container or symbol to continue editing the shape directly why is this important well the biggest benefit of this is twofold nesting and tweening when you make a symbol the content is wrapped up and given its own timeline that works in tandem with the main timeline this is known as nesting and allows you to easily loop repeat or select specific segments of that symbol's timeline and play them in your main timeline a bit like pre-composing in after effects if you're familiar basically you can animate something once and use it over and over again which is brilliant also making symbols allows you to tween your animations tween is short for in-between and allows you to give the computer two keyframes and let the computer figure out what happens in between aside from a very primitive form of shape tweening which you can do on shapes that aren't symbols all tweening in adobe animate is done on the symbol itself not on its nested content a great example of this is a walk cycle inside a symbol you animate your character walking in place then on your main timeline you just do two keyframes and tween your character between them the rest of the types details and limitations about symbols and tweens are best explained in the software so let's jump right into some examples and then apply the relevant techniques to our animation okay so here we are inside adobe animate i'm going to take you first through the three types of symbols that you can create and after that i'm going to be showing you the different types of tweens you can use to manipulate those symbols we'll cover a few other things along the way but that's the main section and then once we've done that we'll see how we can apply it to the animation we created previously which was of our bouncing character here and we're going to turn him into a symbol so we can play a bit better then we're going to add some more content into the background which will add their own layers and their own symbols too but before we get to that bit it's best to explain how to actually use symbols so whenever you draw something adobe anime you'll notice that you can directly select it and directly manipulate it if you hover over the edges of your shape you can pull out and push in all the different shapes and sections of it according to the points of the shape that you've created this is the same regardless of whether you've made it with the pen tool the brush tool the shape tool whatever doesn't matter you end up with a shape that you can manipulate to your heart's content now if i give my timeline just some frames here so it's a bit easier to see i've got to frame 60 with f5 there you will notice that i can select my shape and hit f8 and this will convert that shape to a symbol now the symbol like we spoke about in the previous section will wrap this up in its own container and give it its own timeline now there are three types of main symbol as you can see from this drop down menu graphic button and movie clip we're going to talk about graphics and buttons today but not really talk about graphics and movie clips today sorry we're not really going to talk about buttons um because buttons are mainly for web development and action script like flash games which this series doesn't really cover this series covers animation there's not really much use for buttons in a modern day animate workflow so we're going to ignore those we will show you the difference between graphic and motion clip or movie clip though um because there are some slight differences that will benefit you later down the line so we're going to call this one graphic just so i know for sure that we are working on our graphic so i'll call it graphic one and we're going to leave the registration point in the center you don't really use that again for animation you more use your anchor point which you can manipulate separately and the advanced tabs we're just going to twelve those down as well because that's mostly again for web development and flash gain creation we have our shape here and now that we have turned it into a symbol you will notice there is a blue bounding box a bit like the stuff i drew earlier okay i can still manipulate this by squashing and stretching it you know and positioning it however i want but you'll notice that i can't now directly select the edges and manipulate the shape like i just did instead it would just make me move it around and that's because we've wrapped up everything inside a container here inside its own symbol so if you double click on that shape that you just made it will take you inside the symbol as you can see from this menu up here in the top left and that will allow you excuse me that will allow you to directly edit the shape however you please okay and you'll also notice your timeline down at the bottom here has changed as well and that's because every symbol has its own unique timeline like we discussed before so for example if i go back to my main scene now you can see that it's manipulated and changed that shape and it's respected it in the canvas it's also added it as an item to our library so i can drag that out from my library and add it to my stage as many times as i want these are instances of the same symbol so if i go inside any single one of them and i manipulate it you'll see it will update on every single other symbol on the stage okay quite useful now what is the difference between a graphic and a motion clip or movie clip well i'll show you go inside your graphic i'm just going to draw a circle on our first frame okay and on our third frame because we're animating on twos here like we spoke about in the last episode i'm going to add a square okay so now inside our graphic one graphic we've got a circle changing into a square not very well animated but it serves the point if we go back to our main scene now you'll notice that the timeline changes back to our main timeline and if i hit play it will flit and loop between those two shapes okay now this is very useful because like for example if this wasn't just a circle and a square if this was say a stick man and we can have him wave again we'll uh not win any prizes for our drawings here but you can see how we can now have our animation looping and this can be quite useful good for walk cycles good for repeating and looping animations etc etc essentially you're wrapping up your own animation in its own symbol and then applying uh information to inside of and outside of that symbol so graphics what's the difference between a graphic and a movie clip well if i drag out my graphic and add a new layer on top and i'm going to draw a red stick man and this one can be i don't know tapping is for angrily or something i'm going to select him and you'll see it's easy to see what is and isn't a symbol because your symbol has a blue bounding box and your shapes do not if i select my shape my red stick man hit f8 and this time convert it to a movie clip and we'll call this one movie clip one or movie clip one apparently and hit okay i'm gonna do the same thing inside this movie clip as i just did inside that graphic i'm gonna give myself a new frame to work with and let's have him tapping his foot a little bit okay so when i hit enter i should expect this to play but it does not okay and that's the main difference really between a movie clip and a graphic in terms of working with one um your movie clip will only play when you test your movie okay and then it will animate now there is a reason for this it goes into the code of how the program works and stuff like that but the main thing and the main difference between graphics and movie clips is what you can do to the symbol itself okay so if we go to our properties panel and i select my graphic you'll see that we have some similar options regardless of the one that we select but we do have some different ones as well so if i select my graphic here you can see that i can change the looping to however i want and this is quite important i can set my graphic to loop forever which is fine i can set it to play once which means that it will play just once and then stay still on its last frame which can be useful in some circumstances i can choose a single frame from the graphic and then open up my frame picker which allows me to just select what frame i want to show and this is useful for lip syncing um i can then also if i close off my frame picker choose it to play once in reverse or i can choose it to put loop in reverse so you'll notice that when i set my graphic i get all these good looping options when i select my movie clip those options do not appear but we get some different ones instead noticeably under color effects for graphic you can just change brightness tint advanced and alpha which you know we explained a little bit about in the previous episode but you can adjust the color essentially by applying a filter over your graphic okay we just turn that back to none on the movie clip yes you get those same options but you also get additional options similar to you might find in photoshop or illustrator for example you can change the blending mode um and you can add certain filters to your graphics if i just blend those down you can see for example i can add things like a drop shadow to my symbol but i cannot add anything like that to my graphic so graphics you get more control over the looping and the in software control of the symbol movie clips you get less control over that but you get more control of the visuals applied to that specific symbol how and when you should use them depends entirely on your project and what you're doing okay um there are tons of filters i'm not going to go through but you can see what they do if you just click them you know you can add glows to the outside of your character maybe in bright yellow and just crank that up so you can see it um if you've worked in photoshop or illustrator you'll understand these at a glance if you don't just have a play around with them it really is that simple i'll quickly show you a button even though we're not going to use one maybe i'm going to just add um because you might find it useful i'll add a rectangle with a triangle in it and that's going to be like a play button so i'll hit f8 and i'll turn that to a button buttons are quite unique in that they have their own specific timeline you can't change there's just four positions up over down and hit so you can say up is when the mouse is not touching the button over is when the mouse is hovering over the button so i can change that to uh red there for example down is what it looks like when the mouse is clicked to the button so you might scale it up a little bit and hit is the area in which the computer considers the button so you draw the area that you want the button to be uh if i then go and test our film you can see what happens when we hover and click the button as well yeah so um not useful really for animation anymore but um if you're working on some kind of flash game or something then it would be obviously flash is now dead so you can't really do that so that is the three different types of symbols graphics motion clips or movie clips and buttons okay they all have their own uses i pretty much exclusively work with graphics just because of the style of my animations but you're not here for boring stuff like that you are here for interesting stuff like how to make these motion clips or graphics or whatever move about in clever ways so let's talk a little bit about tweening so much like in the same way there are three types of graphics there are also three types of tween there are shape tweens there are classic tweens and there are motion tweens i'm to take them through one by one from the simplest the most complicated so a shape tween is the only tween that you can apply directly to a shape rather than a symbol so to illustrate this i will draw myself not a wobbly line but a circle there we go i will go a few frames into the future say one second i'll hit f7 i'll turn on my onion skin and i'll draw a triangle trying to keep this as neat as possible on the other end of the frame there okay i'm going to use my q tool transform tool to just neaten up that triangle a little bit there we go and just to make it interesting i'll also make it a red triangle so now we have a black circle and a red triangle i'm going to right click anywhere between those two keyframes and i'm going to choose create shape between and with the onion skin on you can all automatically see what it's going to do it's going to generate every frame in between there to the best of its ability now it's important to note that whilst the computer does its best to do this if it's a complicated shape it is not going to work on a shape between it's just impossible the computer can't figure it out okay for example if i were to hide this layer and on the layer beneath it do something like this and then on the next frame do something like this so i'll stick that one you know 30 frames down like we did before and i try and shape between between these you're not going to get the expected results okay now technically what the computer has done is 100 percent mathematically change from one shape to the next but it is probably not your intended effect okay is mathematically correct but it's not good doesn't look good and this is one of the limitations of working with tweens in any form simple shapes going from a simple black circle to a simple red triangle very useful for the computer to handle complicated stuff not so much one thing you can do to make this look a little bit nicer however is to edit the easing so if you select any point between your two keyframes it will bring up in your properties panel a tweening panel over here and you can choose how to ease your properties you can choose to ease your properties together which is kind of the only option for shape tweening and then you can choose from here your effects panel a path a motion path um or a speed path i should say not a motion path from that you can choose different ways to ease that motion in or out so for example if i choose ease in and then i choose something like quart you can see that it's going to go from very fast to very slow or sorry very slow to very fast so it's going to start off slow and then whip into that faster shape and it's going to reposition the timing of those keyframes it's going to have the same changes the same shape changes but just on a different time if i choose ease in out for example and choose the same one quart you'll notice it will go slow too fast to slow again and kind of whip through those positions and this adds just a lot straight away to your animation so shape tweening very simple in a later episode of this series we'll be talking about shape hints which will help in our shape morphing episode uh and that will help you with slightly more complicated shapes but we'll get onto that later because it's a bit of a sort of rabbit hole so that is our um shape tweening and the only type of tweening that you can do on a basic shape rather than a symbol the other two types between classic and motion which you saw when i right clicked here classic and motion tween can only be done on symbols so let's take a symbol let's draw a circle i just draw our stick man again so we have our stick man here okay i'm going to hit f8 and i'm going to call him stick g for graphic and we're going to make sure he has a graphic so that he plays in our timeline and inside this graphic symbol we're just going to add again another frame where he is in a slightly different position okay this section of the tutorial isn't really about beautiful animation it's about teaching you the concepts so please forgive my stick man okay so our stick man is now just going to loop between those two positions which is great okay so if i position him over on the left here and then over on a later frame i'll hit f6 and i'll pop him on the other side of the stage i can right click and choose create classic tween and you'll notice a purple bar between our two shapes between our two keyframes sorry and it does pretty much the same thing as the shape tween apart from it's done it on the graphic itself rather than on the direct content what this means is i can go inside this symbol change the content however i like maybe give him an actual face poor guy and you'll notice that the animation of him moving across the stage is completely separate from the animation of him inside the symbol very useful you can apply the same types of tweening as you can with the shape tween you can also which you can do on a shape between two um click this little pencil icon here to create a custom ease i'm sorry that window appeared on the other screen there and you can adjust this however you like using the handles and you can test it as well by just clicking the play button so i'll just position that back to roughly where it was before hitting save and apply once you do that it's interesting to note if you select the eases again down in custom it will save that one so if you if you're happy with it and you like it or apply it to something else you can save your eases from there classic tweens very similar to shape tweens apart from you just do them on a symbol okay um apart from that not really much difference you can add a rotation in so you could say you know i want it to rotate clockwise one time during its transition which you'll then do quite useful um for certain situations and you've got all sorts of other things as well you can um orient a path sink symbols scale along path all sorts of stuff so here it will scale up from 0 to 100 if you select scale along path could be useful in certain situations but if you're doing something that complicated i would just animate it because you get lots more control you can also see you have a orient to path option and which i can just briefly show you if you draw a new layer with a sort of wiggly line on it like so and then you turn that layer to a guide layer by right clicking and choosing guide you can then drag your layer underneath it and it will sort of clip your layer to that guide if you then position your character at the start of the line and the end of the line you'll notice it'll work when the onion skin lines up correctly with your guide layer and it'll kind of snap to it a little bit like so you see him snap there and then he will move along the path like that which can be quite useful then of course you just hide your guide layer and you've got an oriental path which can be pretty useful for certain situations as well so when it comes to a classic tween that's pretty much all there is to it okay you've got um easing that you can do via the easing panel you've got rotation you can do via rotate panel and then you've got different options down here um for animating later on some of these things like sync symbols are a bit complicated for this point in the series um they do to do with like lip syncing and um syncing up the inner frames of a symbol to your main timeline when you've manipulated it after the fact so if there's an opportunity we'll get into that later wrong um but i do cover it in other series of mine as well if you want to do that so drop a comment below and i'll tell you all about it but for now we're trying to keep these fairly simple so uh we've done shape tween and we have done a classic tween uh it's now time to do motion tween which is probably the most complicated of all of them so i'm just going to remove all of my frames delete my guide layer so i'm back to a normal timeline i'm just going to once again drag out my stick man onto the stage so i've just got one stick man on the stage animating between these two poses because that's what's happening inside the graphic a motion tween works more similar to other adobe softwares where you can separate out if you right click and choose motion tween you can separate out the properties that you'd like to manipulate you'll notice that it will change your entire timeline to yellow and you can manipulate your character by just selecting a frame and repositioning him and rescaling him however you like so we'll just scale him down a bit we'll move over we'll position him over here maybe we'll scale him up a bit and then we'll do the same thing over here so you can see that we've got here what is essentially a motion path and each dot on this motion path will show you a frame on our animation so you can see the further apart the dots are on this line the quicker the animation is going to go the closer they are on this latest segment the slower it's going to go and you can manipulate that path so if you double click on the layer it will open up all of the properties which looks quite scary which is why i left this one to last and you can see you can edit and manipulate the positions and properties of each of these um well properties by themselves this is the scale individual scale so the x scale here uh the scale y as well you could just put that down a little bit so you can see that this manipulates in the same way as um like line graphs or motion graphs in after effects if you're familiar you'll also notice that if you go and change something on a frame that isn't currently keyframed it will add a keyframe for you and add it to that path to do eases on these you can just double click on your little add ease option down here and it has the same or similar ones um as your classic tween so stop and start and that will add something over the top of your entire motion tween okay and go from start to stop as well again quite complicated and something that we're not really going to use in this series because i think it's too complicated for a beginner series so if you're interested in working with this i've made a separate video which just covers motion tweening and i will link to that as well in the description when that is ready so for now though we are going to focus just on classic tweens because hey that's all we need for our animation that we're working on and b it will cover 99 of the situations you need um if you want to work on motion tweens go for it it's just a bit more complicated and i'm trying to keep this quite basic so we've spoke about um graphics movie clips and buttons and we've spoken about classic motion and shape tweens we've all done this in a void and there's no point talking about stuff in a void we should apply it to a project that we have made so you can see here we're back in our project from before we have all of our frames and timelines ready to go and we've got our character bouncing up and down this is what we finished last episode what we're going to do now because unfortunately i drew the character a little bit too high and he uh pops off of screen we want to be able to move easily all of these frames um now you can do this without turning into a cymbal but it's a right ball lake so we're going to turn it into a symbol to make it a lot easier one of the most powerful things you can do in adobe animate is copy chunks of frames and put them in other places that you need so i'm going to select everything i've got my main um character line work here i'm going to select all of the rough layers and i'm going to select the guide layer that we made basically everything but the sketch i'm going to right click and i'm going to choose cut layers that's going to remove them from our main timeline now there's one more way to create a symbol which i haven't told you and that is to go to insert new symbol and this will create a symbol without putting anything on your stage and we're just going to call this bounce it's going to be a graphic very important because we want to see it inside our timeline we'll hit ok and this is going to give us like a kind of void empty void you can see we don't have a canvas here we've just got the white section that we need um and in here down in this timeline i'm just going to choose paste frames there you go so you can see that's pasted our frames inside this void and if i zoom out a little bit you can see this is our character here so i'm going to lock all of the guide layers and turn them all off as well so we've now just got in our bounce timeline section bit here we've just got our character bouncing up and down like so okay it looks pretty cool so now this is this is the bouncy character in the void excuse me i didn't actually cut those layers so we'll just get rid of them there so we have our character bouncing up and down in the void and you can see he now also appears in our library so what we're going to do is create a new layer here and call this bounce and we'll drag him out from our library onto our stage and you can see that he's there we can position him up using the guide layers that we've made now if like me you have hidden your layers inside your symbol but when you come back out of your symbol you can see them again that is just due to a published setting that you need to turn off which is just under file and publish settings if you then uncheck include hidden layers and hit ok that will then hide all of your layers basically you're hiding the layers in your preview but it's still publishing them because it thinks you're just temporarily hiding them whereas if the way i like to work is if i hide layer it means i don't want it included okay and now we can see we have our character bouncing up and down he's already positioned a little bit better because we've popped him in the middle but all i need to do now if i want to manipulate him is just change his position like this i can make him a little bit bigger if i want and i can make sure the top of his head never goes off screen by just selecting him and moving him down a bit okay so if you wanted to see this in action you can just click your loop button here drag out the loop to fill the complete section of frames that you need and you can see now that we have our perfectly looping animation over and over again but what we can do now is manipulate him and scale him really easily without having to worry about our keyframes and because our properties for our graphic here is set to a loop he will loop forever for our whole animation which is perfect okay so let's turn on our sketch layer to see what we've got working in the background here and i'm going to add a new layer and i'm just going to call this one background and we're going to start just drawing in the rest of our content now i'm going to lock my bouncing guy and hide him and on the background layer i'm just going to draw myself some lines for the mountains in the background and you can probably guess what we're going to do next with them which is convert them to a symbol now if you have pretty much any static content in your animation i would always recommend turning it into a symbol with f8 giving it a name mountains and then going inside that symbol to add layers edit it add colors etc the reason i say this is because if you leave it as a shape you are at some point are going to accidentally erase or select or delete a section of it and then you're going to ruin your whole animation to do loads of work to go back and actually fix it if you convert it to a symbol which is the main thing of converting it to a symbol if i delete it first of all i can just undo it and i know that it's there again but if i delete it accidentally i can always just come back from my library and just drag it back out to the main stage okay also if i grab my eraser tool and start erasing stuff on different layers it's not going to affect anything in the symbol because the symbol is locked away and is kept safe okay so what i'm going to do now in time-lapse mode is i'm just going to go through in different layers and add line outlines to all of the background um and other elements just so that when we go into our next tutorial we've got some um symbols to work with but also because when we come to our next tutorial we're going to have to be working with the camera and when you work with the camera it's best to have symbols ready to go so that when you position on their layer depths and things like that they're all locked away and safe so all i'm going to do is add a few more layers so we've got um background which i'll just rename to mountains to make it easier i'll draw a layer behind that for the sun and a layer behind that for the sky so we'll call this one sky we'll call this one sun and then we need a layer in front of the mountains for the floor and another layer in front of that for this guy in the background which we'll just call man and another layer in front of that for the grass which we'll pop on top of the bounce layer which is our bouncing man uh because we want some tufts of grass so in time-lapse mode i'm just going to go through draw these elements that i need on their own layers and turn them into symbols and then we'll leave it there [Music] [Music] okay so here you can see we have all of our symbols laid out on separate layers on our timeline here everything from the grass on this top play here down through our bouncing man our man in the background our floor layer our mountains our sun our clouds in the sky and our sketch which we now no longer need so i can lock and hide that we're now going to add some nice basic tweens to this just to get you guys started before we jump into the next episode which i believe is adding color and everything to this scene um so for example we know we want this character here to be sort of sliding along the floor as if the camera is panning past now we'll be doing some actual camera movements later on but just to get you guys using some tweens we're going to use a few tweens here to get this started so let's do the floor first then i'm going to double click on my floor graphic and as you can see this is just a graphic that i've drawn um with a few tufty bits of grass and other bits there now we're going to start by making sure we can get a perfect loop with this grass here so we want our shape to start like this so if we grab our scene we can position our grass all the way over to the left and what we're going to do is go inside it okay we're going to select everything and holding alt and shift we're just going to drag it over until it pretty much lines up with the next section like so okay now that's going to give us a twice long section than we need and we'll just tidy up the point where it joins as well okay so we've got um a nice i'm on paint behind me there we go uh so we've got a nice long bit of floor that's much longer than we actually need it to be with a seamless break in the middle which is great now on our main timeline layer we're just going to duplicate this i think twice by just hitting f5 to extend all of our frames and then on the floor layer we're going to add a new keyframe at the end with f6 okay now we can just turn on our onion skin and essentially you'll notice a point where there is a tuft here which duplicates with the same tuft over here okay and you're just going to move your shape until that tuft lines up now you might have to just tweak a little bit like so but then when you right click and choose create classic tween it's going to be moving along if you hit control and enter you'll see your seamlessly looping section of grass there now we didn't use all of it obviously so you can make it as long or as short as you'd like it doesn't really matter um it's completely up to you but what we've got now is a seamlessly looping background um which looks like it's going on forever when in fact it's only using a small portion of it we're gonna do this similar sort of thing with these graph tests graph tests grass tufts in the front here uh if we double click them select everything on that layer duplicate them over again like so and then back on the main timeline hit f6 on that last frame turn on your onion skin and drag over until it lines up perfectly like so okay go to show frame right click create classic tween now you'd want these to move faster but because they're closer to the camera but we're actually going to be doing that with like camera depth later on possibly um so for now we'll have them moving at the same speed it's not really a problem that's why i didn't look correct earlier because the full loop wasn't working i accidentally left my loop on um if you want them to actually move faster what you could do is drop inside duplicate a third copy [Music] of your tufts and then on your final keyframe have it line up with the third copy like so and then you've got it moving really fast so faster because it's closer to the camera or the camera which we haven't made yet we'll be adding a real camera to this later on i will show you how to use a real camera whether or not we actually add one to this scene remains to be remains to be seen uh the final one to do then is the man and now the man we're gonna do a little bit differently we're gonna start him off screen then he's going to end off screen so we don't have to duplicate him we are going to do something cool with frame picking so that as he passes by he's going to turn a little bit as well so we're going to go to the start of our animation he wants to be looking kind of the other way almost so i'm going to go inside my symbol here and if this is a little bit too confusing with all the background stuff in you can go to view preview mode full or view preview mode outlines whatever one you want to help you see um better inside that graphic there i like to use on a fast because i think that works the best if it's too distracting what you can do is go to your library and open up the man there and he'll be in an isolated environment i prefer seeing him in the environment that we're going to be working in though so it's completely up to you right so we're just going to add perhaps three poses to this character the first pose is gonna be this pose that we've drawn already but we're just gonna hit modify transform flip horizontal okay so he's gonna be facing the other way and if we turn on onion skin we can make it so that his feet line up which is the most important thing then in the middle we're going to delete that and we're going to zoom in and we're just going to draw a perfect in between for this character so we'll just draw his head trying to get it exactly halfway but between your blue and your green keyframes like so okay so the scarf at this point will just be down the middle oops like that okay so not worrying too much about this just trying to get it looking okay because he's in the background no one's really gonna be looking at him the idea being that we can then just use to frame pick these frames at points when he's moving across the screen which will then allow us to quickly and easily change his angle so you can see we have these three frames of our character now it looks like he's turning around a little bit we're gonna go back to scene one we're going to go to our man and go to properties select the symbol and just choose single frame and just to double check that it's done that on the last one too we'll go to our last frame here and we'll check a single frame as well now we've got our guy moving across the screen as he hits i'd say about here we want him to change direction so we're going to choose that frame click on man go to our frame picker window which if you don't see you can just hit window frame picker and it should pop open like so you select your symbol and then just choose single frame give him a keyframe there and just choose number two move along i'd say to about here hit f6 and choose frame three and now as he moves along he's gonna change direction nice and subtle because he's moving already just adds a little bit extra to your animation okay so let's hit save control enter and we've got our guy moving along in the background watching our dude so as you can see that's pretty much all there is to it we're going to be adding all sorts of extra things as well like color and proper stuff like that but um in terms of tweening and graphics and stuff that's pretty much it so i hope you've enjoyed this tutorial i appreciate there was a lot of information in this one so do feel free to go back ask questions in the comments watch it again i always try and respond to the comments that you do leave so feel free to do so um but also just have fun with it explore you know maybe don't draw your man in the background maybe have different grass tufts than mine you know maybe add like a tree or something just basically explore an experiment and see what works for you uh next time we'll be adding color to this scene which is one of my favorite bits and then we'll be exploring further into the world of adobe anime so thank you very much for watching everybody i hope you enjoyed this tutorial and i'll see you all next time on i'd like to say a massive thank you to my level 2 and above members ghosts wn 62 anonymous melem hoover maybe sharma rallica m mun336 ian costello de chan singed davinci goel and lone wolf 16. additionally we hit 40 members of the tip-top zone this month so thank you so much to everybody that has joined you truly are tip titans through and through if you'd like to join the tip-top zone and get access to a whole bunch of really cool perks consider clicking that join button below remember to subscribe for more tips tricks and tutorials thanks for watching let's explore the color workflow in adobe animate together [Music] welcome back to intro to adobe animate 2021 in this episode we explore working with color both in theory and in the software and we'll do some practical work by adding color to our animation which at the moment is looking a little bit unfinished so let's get right to it part four color gradients and effects picking the right colors for an animation is a skill unto itself but if you know a little bit of color theory it can be much less daunting when picking colors you should look for a few key things contrast and harmony you can see which colors complement each other by using the color wheel as a starting point now i have a video on color theory which goes into much more detail so watch that if you'd like a deep dive into color theory but i'll explain the basics here complementary colors are those that are directly opposite each other on the color wheel this doesn't mean they are the best and only combination it just means that they have the most contrast between each other in terms of hue there are other types of color palettes they pick from different parts of the color wheel and a great way to explore this is with adobe color at color.adobe.com there are tons of tools out there similar to this one but this is as good as any so i'm going to take you through two different color selection tools essentially it's going to be color.adobe.com and coolers dot co color.doby gives you a bit more nuanced control in terms of color harmonies and coolers is a great starting point if you've got no idea what you want so we've spoken about complementary colors and a complementary color is opposite on the color wheel and what color adobe color does is gives you five colors to start with and you can just drag around your color wheel here find a particular shade that you'd like for example this kind of rich pink color and it will automatically find the complementaries and a couple of shades or tints to go along with that complementary color which is great incidentally you can also adjust within the confines of that color harmony in this case complementary you can adjust the shades and tints and saturations and things as well there's analogous monochromatic triad split complementary double split complementary like i said i'm not going to go through the theory of this i've done that in a different episode but i am going to say that if you go and click around on these you will clearly see which ones give you more or less color selections to pick from um in this case we're gonna need i think approximately three main colors if we take a look at our file um here in adobe animate we're gonna need something for the grass something for the sky and mountains and something for our main character here there's obviously going to be additional other colors that you're going to see in the animation there's mostly going to be three main colors i quite like this guy to be pink and i'd like to maintain some kind of accurate color system with green grass and blue sky so for example in adobe color i might choose a split complementary which gives me three main colors and place one of them on pink and you'll notice you'll be able to adjust with your base color so if i chose this base color here is pink i can adjust individually the split complementary because all split complementary means is you have to have an equidistant amount between the opposite complementary color so the opposite of pink here would be green and the split complementary would be an equidistant color from either side of that green so you could choose for example something closer to blue now just because these colors are in this palette doesn't necessarily mean i need to use them all for example if i like this pink and these two shades of blue i don't need to use the yellows i could pick another one um for that instance um double split complementary might be a little bit better basically play around see if you can find something that you like now i like to use coolers dot co because i can just press the space bar and it will bring up five new unique colors to work with and additionally if you find a color within a palette that you like for example once i find a nice hot pink here that i quite like the look of i can lock off an individual color and then keep generating new ones that fit within that palette until i find something that i like again for example maybe this color for the sky i can lock them off and it will continue to find colors that work well now when i say complementary here i don't mean in terms of the color wheel complementing the opposite side of the color wheel i just mean colors that look good together yeah now what i like to do is start off with one color that i know i'm going to like so this pink for example and maybe a blue as well that i like uh and then go into adobe animate and from there use a few different tricks i've learned to generate the rest of my colors i mainly use sites like this as a starting point and then from there i can tweak to my own uh needs within the certain file that i'm working on so let's jump right into that and we'll carry on from there okay so here we are in adobe animate as you can see i've got the two colors pink and blue that i liked from my color palette and using these we're going to generate all the necessary shades and tints and things that we need for the rest of our animation now these are just some rectangles that i dragged out onto the stage you can pick the fill color from this box down here and the stroke color from this box down here uh you'll notice when you select them you get a whole bunch of predefined colors i don't recommend that you use these um you can if you'd like but they're just not you know everyone's going to use them if they're there you need to use something that's a bit more of your own so i'm just going to zoom in down here on my colors so that we can see what we're working with and i'm just going to holding alt and shift i'm just going to drag out a few copies of these colors as well like so now let's first talk about tints and shades and how to find um darker and lighter copies of a color that you enjoy now you could just go select a color choose window and color to bring up the color box here and you could just say all right i'm just going to add some more black to that color and voila we've got a darker shade of that pink you'll notice that it starts to look a little bit muddy because all we've done is um add some more shade i.e adding direct black to that color which is going to make it look muddy because it's just direct black we're just decreasing the amount of light or increasing the amount of pigment depending on how you want to work what i prefer to do is a technique called hue shifting and what hue shifting is is you can select a slightly darker color within your pink sure that's no problem but as you can see you get a little bit of that muddiness back in there so hue shifting is you just take your hue slider and you shift it more towards a warmer or cooler color for example you can go more slightly towards red and then choose the darker instance or you could go more slightly towards pink and then choose the darker instance and try to maintain that feeling of warmth as you can see we then get a slightly darker version of the pink without it looking muddy you can go back towards the red and you get a more red one obviously um but if we just copy out a few examples here and i'll see if i can make i can't really make the window bigger but that's fine um essentially you just hue shift a little bit like so decrease the brightness just a little bit like so and increase the saturation a little bit and you get a less muddy it's not really a shade but it works as a darker color if you wanted it to be even darker you could push it further down like this but just by shoe shifting that just a little bit you can see how you reduce that amount of muddiness now if you like the muddiness that's fine but i really i really don't so that's one technique to get a darker option and you can do a similar one to get a shade as a tint as well so let's first get shade let's go just a little bit more towards red i think a little bit darker down and boom there's the shade of our pink let's take the same one i'm going to go a little bit more towards pink this time and then add some light to get three shades of pink that i like to work with let's do the same thing for the blue so the blue here i'm going to go a little bit more towards the green and we're going to just grab a bit more darkness in there for a nice dark shade of blue i'm not too sold on that i might go a touch back that's much better more towards the blue as opposed to the green this one here let's try going towards the green and lighting it up just a little bit bam so now we've got three shades of blue and three shades of pink which is pretty good um we are definitely going to need a green though so i'm going to select my middle color again which remember was my base color i'm going to go up like so and i'm going to select all of these because we're just using the base green here i'm just going to hue shift until i find a starting point green that i quite like around here now that looks way too saturated and that's because obviously different amounts of light work differently depending on the hue that you've selected so i probably would desaturate this just a little bit especially because we'll be using it in the background until i get a green that i'm fairly happy with which i think that's pretty much there and at this point you're basically just eyeballing it until you find a color that you like but try to maintain in the middle row this a similar amount of um like value and what value is like the cumulative amount of uh light darkness hue everything mixed together to get this this value that uh is like the finished result and you'll be able to see if something is too saturated it's gonna have more value i'm not sure if that's the technical way to use the term but it's the way that i use it so i'm gonna do the same thing for the green i'm gonna shift it a little bit more towards blue and perhaps add some darkness to it so with hue shifting there you can see we don't get that muddiness that we did get before i'm going to shift a little bit more towards this turquoise color and add some light and we've got three shades of green and as you can see we've got a fairly um good looking complementary palette there to start working with but now that we have these colors here we probably want to add them to our actual swatches and we want to learn how to use gradients within these as well to add some more color control so if you open up your swatches window you'll see here that if i pull this out i have my default selection of swatches and i've got an already made selection of colors here which i've put together previously obviously i've made this all already now working with swatches is great because you've got two different types of swatches that you can use you can add just a basic swatch by going to a new folder i'm just going to call this one test because i'll be removing it later on i can select one of my dark greens click the test folder and click add and that will add that swatch to your folder here which is great and do the same thing with the next one same thing with the next one and so on until we get our full list of colors inside our palette and they'll be added in this in the order in which you select them so it's up to you how to group these i like to group them by color some people like to group them by shade some people like to group them by uh other stuff i think it works best when you can see all of your correct colors like so now if you go to your color window again window and color up here you'll notice you've got some different options such as solid color linear gradient radial gradient or bitmap fill now a solid color is exactly as you suggest new eyedropper with the eye tool i keyboard shortcut to pick a color and it will show you a solid color and show you the um hex code rgb value for that etc etc we want to work with some gradients though so i'm going to choose linear gradients and what you can do with a linear gradient is double click on one end of the gradient it will bring up your swatches window and you'll notice we've got our swatches in it here so i could choose for example my light green do the same on the other end but choose my dark green and i now have a gradient and with this add to swatches button i can add if you just click and drag across from the default swatches i can add a linear gradient to my swatches which means i can draw using a gradient which is incredibly powerful now once you've added all of the gradients and different combinations you think you might need to your color palette you'll end up with a folder full of everything that you need i'm just going to delete my test folder and i'm going to delete my default swatches folder so i've just got intro to adobe animate 2012 20 20 21 with all of my colors in the swatch panel and then gonna hit save colors call it intro to adobe animate 2021 hit save yes now what this means is i can pull up this whenever i want by just hitting well clear colors first of all i can hit replace colors load my color palette in and use it in any different project that i want it will give you all the default swatches back but that's fine you can just close that folder down okay i find it quite useful to have my default swatches panel open just like hovering up here in the left you can click this little label to collapse it and then you can just open and close a click and what we can do now is go through and add these colors to our palette and we will see how we can control our linear gradients and things like that and add highlights and things to give ourselves a bit more control over our um animation here so let's do the background first because that's gonna be quite simple so i'm gonna grab my clouds layer double click to go inside the graphic and if you remember here what we've got is our um individual cloud so one cloud on its own layer and another cloud on its own layer so i'm going to select both of these clouds open up my swatches panel and give them just a white outline okay um inside these out white outlines now i'm going to select my paint bucket with k and i'm going to fill them in with white as well like so so we've just got two white clouds and just to make it easier to see i am going to drag them off as well like this okay now one thing i like to do with clouds and with lots of my colors really is add a linear gradient on top of my flat color so that um you can add a bit more depth without too much extra work just fill in that tiny dot there to do that i like to select both of these objects here ctrl c and on a layer above them i just hit ctrl shift v and that will place them in paste them in place from there i'll go back and i've created a linear gradient that goes from white to my first blue color here and i'm just going to click that and that's going to apply it across my clouds now you can control whether it's radio or linear doesn't matter you can control your gradient with your gradient tool if you don't see your gradient transform tool it's hidden underneath the free transform tool if you long press on that you'll get gradient transform tool the shortcut for that is f by the way and it'll open up this little overlay which at first might look confusing but it's actually quite simple essentially you have the center of your gradient here you can control that by clicking and dragging your dot around and you'll notice i can pull the entire shape around like this then you have two controls on the edges here a circle at the edge will allow you to rotate your gradient so change the direction of it and pulling in or out on this arrow will increase or decrease the width of your gradient so i would like to rotate it so that the blue is on the bottom and i would like to decrease it so that it's pretty heavy and i would like to put the center point just below our cloud and i'm going to do that with this one as well just quickly make the blue go to the bottom drag in the width bring it down so the center point is just below like that and what i like to do then is come along the edge of my cloud here and actually cut out a segment which is why i do it on its own layer so i'm just going to lock these other two cloud layers select this above cloud layer and forgive me i'm doing this with the mouse at the moment i'm just going to come in with my pencil tool and i'm just going to draw a section of the cloud over top which will create this sort of separating line now i will set that to smooth because uh if i don't it's going to look awful trying to do it with a mouse essentially i'm just going to be cutting out a section from the top of this cloud which allows me to select this fill on the top i can then delete it double click my line hit delete again and you'll notice if you zoom in a bit more you'll see it clearer you've now got this white line this white bounce along the top of the cloud which adds quite a nice bit of depth to our artwork so i'm doing the same thing here and in fact i will just quickly get my small graphics tablet this is a wacom intuos small uh you know me that i use my wacom cintiq where i draw on the screen but this one allows me to draw on a tablet directly and we'll make this section at least a little bit easier so i can draw out that top section there delete the top section of this fill double click to select the entire pencil line and just delete that and again going back to the mouse now you can see that i've got these separate shapes here which are now part of the same cloud layer so i can select everything just unlock it all position it back boom and there we've used solid solid fills and gradient fills to create our nice clouds now this is on the sky layer so what i am going to do is just drag out a rectangle with no fill no uh stroke sorry which i can do by selecting the stroke over here go to the fill section of my um color window and just choose the blue for the sky and i'm just going to drag out a sky box behind it just so we can see the clouds a little bit easier for the sun that's just going to be a nice flat color for now because we're going to be coming back to the sun in a later episode and doing some shape morphing so i'm just going to fill that in with the paint bucket tool like so same thing for the mountains we're not going to go overboard here what i'll probably do is choose a slightly lighter color for this center mountain so to do that i'm just going to select this inner section and choose this kind of light green select these two outer sections choose the slightly darker green and for the border between them i don't know whether i'm just going to choose uh the same dark green you can even go to one of our gradients here but i quite like that look where we've got the um distant mountains of overlapping these two front ones here like so so drop back to our main composition here and uh let's do the same thing with the grass but we'll add a gradient to the grass like we did with the um clouds so we'll select our bright green layer for that all i'm going to do this time is uh ctrl c add in a new layer ctrl shift v okay i'm going to just shift that down just a little bit okay and because it's on our own layer we can kind of manipulate it however we want so i'm going to move that over just a little and then i'm going to give it my green gradient that i set up earlier i'm going to go to my gradient transform tool i'm going to decrease its width rotate it so that the dark green is on the bottom like so and here is a good trick you can then lock your second layer lock your original layer and on your gradient overlay layer you can just select that content oh excuse me we go you can just select that content and with your eraser tool you can then just erase out certain sections for example if i zoom in a little bit decrease the size of my brush and i just come in and do a few little tufts yeah just all over the place just a couple of grassy tufts like so now you don't want to do too many of these because uh we've got our looping section so if you wanted them to loop perfectly you would do this before we did the duplicate that we did in the last session um so in fact what i will do is i'll just make sure if i undo those i will just make sure that um where my marks were raised they shouldn't loop so i think i can just do that by making sure it starts and ends with nothing on screen but you get the point there okay um i'll come back to that bit later perhaps but you can see when we drop back out of this we've now got these slightly lighter grass tufts and when we start rocking them in like this you can see how it's not going to loop so that's why you should do that before you've duplicated your grass here which is a mistake that i made okay same thing goes for this section here i've duplicated this grass already so i can't really do anything different what i can do is select all of my grass tufts without selecting the black outline copy those paste them in place on top on the layer underneath i'm just going to select everything and just give it the bright green layer okay rather than the black outline and in fact why not do that for our grass here as well so that it's less of a visual weight compared to our characters then our characters will be the only things outlined let's do that in dark green so we've got a nice border on it there back inside our grass grass tufts layer i can go to the layer on top i can now make that green i'll add a new layer on top of it ctrl shift v add the gradient tool select my transform gradient tool like so and select each of these so you can see you can come through and you can tweak them individually i quite like it just going from left to right in this instance though so i think what i will do is come in here select just these three lock the other layers and using my eraser instead of the pen pencil tool this time i'm just going to come in and just unpaint or erase not on paint some of the edges here on my grass you know just adding a bit more detail to the tufts making it look a little bit more interesting and this is a great way to add highlights quickly okay and once you've done that with three sections that you like there's nothing stopping you just if like me you've already duplicated these holding alt shift and dragging them over to duplicate and that way you'll get your perfect loop again and you can see your grass tufts moving by um so the rest of these characters because they're animated there's going to be no gradients on them they're just going to be plain flat colors so i'll come through and do that in a quick time lapse you don't have to watch me do that and then i'll quickly explain with a duplicate of our character here some of the effects and that'll be it for this episode so stick with me and i'll see you in a second [Music] look everyone it's a cameo from phoebe hello everyone hello phoebe hello now she doesn't want to be up here [Music] okay so here we have our fully colored animation which is fantastic um so the next step is to just show you a couple of effects that you can apply to different um movie clips such as drop shadows and things like that so let's jump right into that final section of this tutorial okay so first i'll show you uh all the effects you can apply to a single graphic now as you can see here we spoke about in our symbols uh episode the difference between graphics and movie clips and one of the differences the color effects that you can apply for example if you select one of your graphics here you can choose between four different color effects brightness is the first one which just adds direct white or black value which is great for making shadows for example if i duplicated this object here turn the brightness all the way down to zero and plonked another one on top like so you can get a duplicate like hard shadow added to each of your frames because it's just a duplicate of the graphic which is really useful okay um secondly quite simply you can add tint now what tint does is essentially adds a large amount of white the more that you increase the tint but you can also decrease the colors to change the color of the tint so you can say i want to add 50 white with pure white or you can tint it with a different color so if i were to reduce green to zero we'd be tinting it with a direct purple because we have a combination of red and blue together okay so that's a 50 tin of purple if you were to reduce red and green it would be a 50 tint of blue and so on and so forth okay quite simple the third effect that you can do with the graphic is advanced and this is like a combination of the fourth effect and the tint effect so you can decrease the color balance so you can change the overall color balance of your graphic by changing the amounts of red green and blue that are involved in it so for example you could reduce all of the blue and just have full green and red in it and it'll give you a different tint and then you can reduce the overall see-through-ness of that graphic as well which can be quite useful and the final effect is just that again see-through-ness which they call alpha which just shows how see-through something is if i drag this one for example you can see that i i can now half-see through that same symbol so four different color effects that you can apply there which as you can see can be quite useful in certain circumstances hopefully at least so let's see what you can do uh with a movie clip as opposed to a graphic so as you know the first difference with the movie clip is that it will not play in your timeline so we can't preview any of these but what we can do is still create a number of duplicates of them and apply individual effects to each duplicate okay so the first thing i'm going to do is select it go over here and you can see that under color effects we have the same options brightness tint advanced and alpha but we now have an additional um menu called filters now under filters you can add things that you might see in uh illustrator or photoshop for example a drop shadow will just add like we did with the duplicate graphic before a blurred or completely unblurred copy of your um graphic symbol or movie clip symbol you can adjust the distance and the amount of blur as well as the color of the shadow entirely so you could make it green for example i always leave it on quality high you can also knock out the original which gives you basically just the shadow which can be quite useful you can make it on an inner shadow which kind of makes it like an inner glow maybe a particular light has hit a character and you can make it glow like that and you can hide the original object as well so that's drop shadow could be quite useful the next filter is a blur which just directly blurs as if your object is out of focus can be quite useful when you're doing camera depth and layer tracking and things like that which we'll get to in a later tutorial very useful make a few more duplicates of our character here the next one after blur is glow and this creates kind of like a drop shadow apart from it's like an outer glow around your entire object you can make an inner glow around the entire object so a drop shadow is directional whereas the glow is universal and again you can do things like the knockout and stuff like that as well maybe if you made it the same pink it would look quite good if you did knock out knockout is quite useful when you want to make like lightsaber style effects basically uh which is quite quite useful sometimes in certain situations uh the next one after that i'm just making sure i've got a clean copy uh is a bevel and it kind of tries to make your object look a little bit 3d so if we increase like that you can see it kind of rounds off the edges of my characters a little bit uh you can increase the distance which makes it stronger or weaker and can be actually quite nice in certain um situations it could be an outer and inner or full bevel which is both in a bed of always the most common one that you can see and you can change the colors of your highlights as well if you wanted the dark and lighter colors to be within your um color palette for example as you can see it makes quite a nice effect for some things bevel is largely considered outdated but for working in adobe animate and stuff like that can actually look quite nice in certain circumstances so after bevel we have got gradient glow which does a similar thing to normal glow apart from you can apply a gradient to it so in the same way you can edit other gradients you can just adjust for example adding in different colors and things like that to a gradient basically a very complicated gradient glow around the edge i've never used this one i can't think of a situation where it could be useful maybe for some special effects or something like that but again i probably would just take it into after effects if i wanted to do um effects that are that detailed uh in addition to uh gradient glow you've got gradient bevel which is the exact same thing i'm not really going to take you through it because it's the same thing it just does a bevel and apart from gradient bevel you've got adjust color and this is kind of like um adjusting the overall colors of your entire graphic so you can change the hue for example of the entire graphic and all of its relative colors colors will remain relative to each other same thing with the saturation it increases everything globally with inside that symbol so that sort of thing so you can see here there's quite a few different effects that in certain situations can be quite useful i do like drop shadow and i do like bevel i can't say that i use the other ones too much um but they are quite useful to have there so that was a bit of an oddball episode all over the place but um is what it is really when it comes down to it the one thing you might want to use in an animation like this is the bevel to add some fake roundness to your characters but i quite like the simple style which is why i did it in a separate document over here for us in this particular instance so thank you very much for watching everybody i hope you enjoyed this tutorial we're getting into uh the deep dive of adobe animate now and the next few episodes i think gonna be quite cool going into specific features so hopefully you'll stick around for those and i'll see you next time on another episode of tiptup a very heartfelt thank you to my level 2 and above members ghosts wn 62 anonymous mel m hoover maybe sharma rallica m one three three six ian costello de chancing davinci coil and lone wolf number 16. thank you so much you guys and i have a lovely christmas [Music] remember to subscribe for more tips tricks and tutorials thanks for watching let's explore the shape morphing options in adobe animate 2021 [Music] welcome back to intro to adobe animate 2021 in this episode we explore the options for shape morphing whether that's done frame by frame or with tweening and shape hints we'll break down all of the options so let's just get right to it number five shape morphing shape morphing is the act of changing smoothly from one shape to another this could be as simple as going from a circle to a square all the way up to morphing from one entire object to another in adobe animate you can use shape tweening to achieve this automatically but only works well on simpler shapes you can use shape hints which tell the computer which parts of your shape are important alternatively you can do it frame by frame which is just a manual process that achieves the same results but of course can be as complex as your skill allows so let's jump right in and explore both options then apply simple shape morph to our animation okay so inside of adobe animate there are two ways to create a shape moth the first is using shape tweening and shape pins that we spoke about in the third episode of this series and the other way is just to animate something frame by frame so i'll take you through the shape betweening way first if i were to draw say a circle and later on in the timeline i wanted to change that circle into a square then using a standard shape between will probably work totally fine um just move this across the stage right click choose create a shape between and as you can see you get a fairly okay transition from one to the other you might go to classic ease ease in and out and make it whip around a bit faster and of course you can't always just delete redraw the content and see if that changes the effect but you'll notice about halfway through you get some kind of weird like line thickness change especially if you're doing this with um like a pen rather than using lines you'll also notice on slightly more complicated shapes like for example this flame shape that moves from one edge to the other you might get some difficulties around the corners and tips now it is quicker to shape between and fix that on simpler shapes than it is to animate frame by frame so i'll show you how if you go to modify shape add shape hint it will add a sort of little red circle with the letter a in it and if you press ctrl shift h as a shortcut it will do the same thing so you can see now that we have two red dots here labeled a and b and on our next keyframe we have the same two dots labeled a and b as well basically you want to place these shape hints wherever your shape is messing up and they work as kind of like pins that keep that element in place so if i were to place a shape in at the top and bottom of this stroke here where the corner is messing up and then went over to my last keyframe and moved those shape pins into the same place you'll notice they'll go green okay you'll notice that once they go green and you scrub back through it's fixed that shape hint for you um now sometimes they won't go green and it will still work but most of the time they will go green and it fixes it for you like so and this should allow you to then carry on with your animation using those shape tweens now i prefer the frame by frame message because you can get message method because you can get a lot more um nuance and character to your animations for example you can add tweening and things like that which will then morph your shapes you know with a bit more nuance but i prefer doing it frame by frame in certain circumstances because it gives you more control like for example if i go inside my sun layer here on our animation and we notice that we've got 36 frames be working with so i go to frame 36 and i can just hit f7 to add in a blank keyframe there okay i would like my sun to go from a circle over here to a triangle over here and then back again okay so perhaps what we'll do if we want to go back again is we'll put this uh what's half of 36 18 but it's a frame 18. drag our original circle over there to duplicate it now we could just right click these choose create shape tweet and to be honest it'll do a fairly okay job of morphing back and forth between the two if we added some easing in and out as well that'll probably look a little bit better okay but to me that's not really good enough so on top of that what i'm going to do is just copy and paste my original circle in the middle i'm going to draw my triangle like so and i'm going to hide my original tween layer and we're going to do a shape between in a frame by frame shape morph in between those two keyframes okay so the reason i like to do it this way is because you get to use all of the stuff that um makes animation good like squash and stretch and overlap anticipation all that good stuff for example i would like in the absolute middle between these two frames let's call that frame nine i'm going to stretch out my onion skin so i can see those two frames and i want to really emphasize the squash and stretch here as if it was um warping completely so for example i might stretch the sun like a ball of putty into this big stretched blob halfway through and then using my free transform tool to make sure the path between these points is perfectly lined up okay then halfway between those exact points i might hit f7 again and have our sun shape here start to stretch out so you can see how just doing it frame by frame you get a lot more character and control between your two points here for example uh i'd want to move from the circle through to the triangle so i'd start to indicate those points while still keeping it relatively spherical but of course it's like the points of the triangle are starting to come out and then of course it will end up in position here so i'm going to remove the rest of these keyframes because we're just going to be duplicating them again in a minute and this is the point at which we end up on frame 19 with our finished tween okay so for example we now have one frame one frame five frame nine and then on frame thirteen we have our next midpoint and let's say frame 17 just to keep things perfectly even we have our next midpoint okay so halfway in between each of those frames we can add the rest of our tweens um for example i can color my onion skin as well if i go to advanced settings and just make the next one green and the previous one red to make it a little bit easier to see what we're working with here okay so this point here i'm going to come back in in a moment and add our anticipations in but at this point we want it to be stretching somewhere between this first frame and this fifth frame and then by this point here we want it to be starting to be heavily loaded towards the front but still most of its weight behind and most of its weight's circular at this point which is between the complete mid section and where it starts to form up into a triangle we basically want the rest of the weight to start moving over like so and i'm doing this quite roughly just so this this isn't a super long tutorial okay and then by this point here we want it to basically be its finished shape but still squashing and stretching into position so we'll just give it some extra frames there so you can already see how this has a lot more character to it um than our previous animation and the good thing is you can come in and just edit to your heart's content for example i think this frame as well can go it doesn't need to be that slow the you know perhaps even do these frames on ones here to make it even smoother like so and then that way we could add in a settling frame here like this okay so you can see how you get a little bit more character when you do things frame by frame than you would if you just use your shape tweens okay and you might also add in some anticipation which is our sun winding up to its movement by moving slightly back before it launches forwards like so and you could even get away with just reusing the same shape and squash stretching it a little bit and then it's whipped across the sky like so now you'd have to of course duplicate and reverse these let's see if we can get away with just duplicating and reversing the frames but we probably will have to redraw them because otherwise it won't look realistic enough but let's turn on our loop and see what we've got to work with and we can just extend that section out just a little bit so you can see how you get the same effect you've got a circle moving through to a triangle but you can see how it's a lot more dynamic and uh unique emotion when you um animate things frame by frame which is kind of all animation really um and you get a little bit more nuance and a bit more control as well so i definitely will be going through and redoing the stretch from this direction because i don't like the way that that looks so i'll do that quickly in time time-lapse mode then we'll come back and we'll look at the finished [Music] thing [Music] okay and there you have it our shape tweened um shape using frame by frame animation so obviously this is entirely subjective but to me this like squashed and stretched and morphed shape here that we use just by taking our circle morphing to our triangle and thinking about how the points of that are going to um connect so for example if this was our circle and a point would be here here and here then obviously as it morphs it would just become a rounded triangle uh all the way into a triangle so just think about where your points become curves and so on um the way that looks compared to the way this looks to me is incomparable but of course it is entirely up to you it's whatever style you would like so um for example i would just go and extend that to the full 36 frames or rather sorry i would do it at the start of the loop so that it works as intended like so so there's just a little bit of pause there between those uh elements when we get back into our main timeline we can see our sun will be looping perfectly in the background of the sky there just a little bit of fun animation for the background so i hope you've enjoyed this shape morphing tutorial and you found it a little bit useful consider what parts of your animation you could use shape morphing for it's not just for background elements like this it could be you know his hair and his hat flapping around depending on what style you've gone for anything like that really so uh next time we'll be looking at shape rigging and we'll be using it to add a little waving uh cactus plant in our background so stick around for that one and i'll see you next time for another episode of tiptup an absolutely massive thank you to my level 2 and above members wn62 anonymous melem hoover maybe sharma ranika m ian costello deshant singe da vinci goel lone wolf 16 and starry teachy thank you so much for being members and if you'd like to join the tiptut zone and become a tip titan yourself you can join by clicking that button below [Music] remember to subscribe for more tips tricks and tutorials thanks for watching let's explore the options for rigging in adobe animate [Music] hello everybody and welcome back to intro to adobe animate 2021 in this episode we take a look at rigging now i've already made two detailed videos on both types of rigging that i use in anime so this video is really going to only explain what rigging is and how i use them for this animation particularly part six shape rigging so if you'd like to learn how to rig using the bone tool head on over to this video by clicking in the link in the top right and if you'd like to rig using layer properties head on over to this video instead so with that in mind let's take a quick look at both options and then use layer parenting to add some simple shape rigging to our scene rigging is the act of applying a skeleton like structure to an object and using that structure to control the connected object this makes animating arguably easier and quicker you can rig using the bone tool which builds an actual skeleton rig for your object or character or you can rig using layer parenting which ties layers to other layers so they follow them around in this episode we'll be using leia parenting to quickly and subtly animate a cactus in the background of our animation so let's jump right into the software and get right to it okay so here we are inside adobe animate and as discussed we're going to add a cactus to our scene in the background and use layer parenting to rig it and just animate it swaying slightly and as it moves by so to do that we're just going to pop a new layer above our floor here and we'll rename this one cactus because labeling your layers is always a good idea and then from that point we'll just zoom in a little bit and i'm going to grab my color palette by opening up my swatches window here like so i'm going to grab let's grab this nice light green color and for the start for the time being i'm just gonna draw the main chunk of the cactus maybe something like this okay let's select that with v hit f8 to turn it into a symbol which will rename cactus m for main and make sure it's a graphic then we can go inside this and continue editing um so that we can isolate the rest of our cactus okay so we have our main cactus selection we'll rename this cactus m and we'll hit f8 again and now that i'm inside the cactus i'm just going to call it cm for cactus main okay on top of that we'll have a new layer called cactus left and another bit called cactus right and then on each of these layers we're just going to draw the extra little bits that come off the sides of a normal cartoon cactus and making sure that we're drawing each of these portions on their own layers okay and maybe what i'll do is offset this one so it's a little bit higher up and we're just going to make sure that these overlap a little bit as well because we're going to come to color these in a moment so i'm going to fill all of these in actually thinking about it including this main section here like so okay so now we have a cactus on various different levels and layers now i'm going to turn each of these bits into a symbol i accidentally just broke apart that main cactus section because i'm a i'm a damn fool so we'll pop that back in from our library just drag it back out and fill it in like so so now we have three layers with three symbols each one a different part of the cactus okay so we'll go inside one of our cactus right layers here go to our swatches i think i want a gradient overall and we've got our gradient control or gradient transform tool that we learned about in the previous lesson and i'm just going to drag it out so that it goes from light to dark okay and we'll do that as well on cactus left just to add a bit of variation to our colors so we'll grab the gradient we'll go to our gradient transform tool drag it out so the point where it connects the main cactus of the body it's still seamless okay and inside here we'll do the same thing but of course we'll edit this gradient so that it blends seamlessly or near enough seamlessly into the arms of the cactus okay so it looks pretty good let's stick with that i think i'll go back to my free transform tool and we'll just move the anchor points of each cactus section so that they rotate from the correct place and the last thing to do is just go back inside i like to add a new layer on top grab my light green color here and i'm just going to go around the edges to add in our highlights and also just flick upwards a few times to add in a few spines on our cactus okay and we'll do the same thing here on this side oops again should be on a layer above just to keep things nice and editable should we want to come back later on so you can see we've quite quickly built up a decent looking cactus which we can use and apply some basic shape rigging to to get this to sway nicely in the wind if you wanted to you could select your gradient and draw in some little gradient uh darker gradient spines what is that one messing up like so okay on the lower half of your cactus and boom inside cactus we've now got a ready to go drawing okay so three layers with three transform tools positioned into the correct places which allow us to rotate our cactus but as you'll notice if we rotate the main section here the arms currently don't follow it and we want these arms to be attached so we can do that with layer parenting so i'm going to turn on the layer parenting options here like so we're just going to open up an extra little panel and we want to basically choose which objects are going to follow which sections of the cactus for example this is quite a simple rig because the right hand side and the left hand side of the cactus are going to both follow the main portion so we can just drag from the left character section to the main section and from the right cactus section to the main section and it will create this little tree for us here now if you want something a bit more involved then you should go to the simple character rig video that i linked to the beginning of this one and it actually goes involves rigging a few more things in this but basically for now what this means is when i rotate the body of my cactus everything moves with it but i can still individually rotate the arms of my cactus and my heart's content okay so all we can do now is go and do probably a one second loop so adding some keyframes there adding some keyframes halfway and we'll have the cactus oh excuse me i've got several things selected there that's why that grouping didn't work but um select the cactus just rotate it to the right a little bit go to this last keyframe here rotate it to the uh right a little bit so the other one's left sorry commander from right it's mixed up there and we know that our animation is 40 frames long or roughly 40 frames long so if we copy those first frames back we've now got a cactus that goes left right and back to the middle so when this goes to the left we'd want to um compensate by rotating these limbs slightly this way when it goes to the right you want to compensate by rotating these limbs slightly back like so and then by the time it goes back to the middle it gets back to the beginning select all of these right click then create classic tween i'm going to go to my classic ease window now go to ease in and out quad just to give it a little bit of easing and we've got a nice waving cactus in the background if you'd like you can do some secondary animation so have your limbs be dragged behind your cactus and you can do that by just taking these and moving them over a few frames which means they start a little bit later obviously if you hold alt and drag back you'll get them kept in the same place which is obviously quite useful just remove that classic thing so now you've got them being dragged behind a little bit and of course you can then just reposition those keyframes as well so it looks like it's being dragged by the rest of the cactus so if we go back to our main scene we can now see that looping but we obviously need to um attach it so what we could do is we could take the cactus where we want it to be here and you could layer parent it to the floor which means it would move along with the floor um but because we want this to be seamlessly looping if we did that we'd want to go and make sure that the cactus starts off screen like so okay and then that way it'll move a little bit of a different speed as well from the previous um layer because we've we've repositioned it to animate further so if you don't do that way you can obviously just remove the layer parent and do a same classic between as we've done here with the rest of our elements but as soon as we've already animated it once we want to reduce the amount of keyframes that we use wherever we can in our animation so layer parenting means we don't have to add any more keyframes which is great okay um and if you want it to be a bit further away you can just keep continue tweaking it as long as it ends off screen shouldn't matter too much okay uh and that's really all there is to it nice quick and easy one like i said if you want a more detailed character rigging thing is a whole thing unto itself so i've done unique videos on these already which you can check out by clicking the links in the description or on the tags which are in this video otherwise we've added just another little level layer of animation to our scene here and i think it just adds a little bit extra just have that slight wave of the cactus as it swings by thank you very much for watching everybody i hope you enjoyed this tutorial we are coming up to the end now i believe next is working with sound then cameras and then exporting so well done if you've made it this far and uh i will see you in the next episode a colossal thank you to my level 2 and above members win 62 anonymous melem hoover maybe sharma rallica m ian costello du chan singe lonewolf 16 starry teachy and katmar you guys are lovely and i hope you have a great new year if you'd like to become a member of the tiptup zone you can click the join button below for exclusive discounts access to the discord shout outs perks and other things that are really [Music] to cool for more tips tricks and tutorials thanks for watching let's explore the sound workflow or lack thereof in adobe animate [Music] hello everybody and welcome back to tiptoe and to intro to adobe animate 2021 in this episode we talk about working with sound and whether you should really in adobe anime the sound options for anime are fairly limited as is intended for a trigger-based sound system for things like flash games and web adverts working with sound in the timeline is simple enough but can quickly become unwieldy so here's what i recommend if you're working with a lip sync or want to add simple sound effects to your animation then adobe animate is perfect for that that's what it's designed for but i would recommend using something like premiere pro a video and audio editing software if you want complex audio for example in this project i made previously i did the lip sync audio in adobe animate then did the rest of the audio editing in premiere pro as you can see it gets pretty complicated and you have much more powerful audio editing tools in premiere when compared to anime with that in mind let's explore the audio options you do have in anime by adding some simple sound effects to our scene number seven working with sound okay so here we are inside debbie animate and we're going to try and add some sound specifically some grunts as our character hits the floor or twice each loop which should be quite easy um so a few things to set up before we start adding sounds i like to put all of my sounds on their own layer basically the way it works is wherever you place a keyframe you can add a sound at that oh my light just went out well it still looks okay that's fine you can place a keyframe at that um location and add a sound to it and the sound will continue to play until it finishes essentially so for example i could find the point where my character impacts which just happens to be the correct frame there and find the next point where he impacts again like so and i'd place my two sounds upon those two keyframe points if i go to my library i can import my sounds um by just going to the folder where i've kept them and i have four various type of grunts here dot waves or dot mp3s will work fine and i'll just drag them into my library and i can play them or as you can see we have our four different uh grunts there which is quite useful so i'm just going to pick one of my grunts and clicking on the keyframe just going to drag it into my stage let's choose grunt 1 and you'll notice that you can see the waveform or of that sound as it plays now if when you hit enter and it plays and it doesn't make a sound that's because your properties of your sounds aren't correct if you go to your properties panel with the keyframe selected you'll see it has sound here you can also swap out for any of the other sounds that you want so if i change out to grunt 3 you'll see it have a different um excuse me a different uh audio file in there now and i can just position up because obviously there's a little bit of a delay in our audio if you can't see that it's because your event isn't set to stream your sync needs to be on stream because event start and stop are all for when we're making interactive flash content which we're not doing here we're making animation so it has to be set to stream repeat will be set to num and there's all sorts of effects you can do like for example forcing it to go to the left or right channel having it fade from the left to the right so it'll go like from the left ear to the right here and back again as our character staying in the middle of the screen obviously needed to be none but you can also set it to fade in or fade out if you've got a longer audio clip now this is pretty much the full extent of audio control that you get in adobe animate so it's not super powerful which is why i recommend if you're doing lots of audio to do it outside of the system and let's just watch by hitting ctrl enter okay so would i actually include these probably not but we're doing a tutorial on them last few things to check is to go to file and publish settings and make sure that your audio stream is set to a high quality now by default these these days is set to mp3 150 kilobytes per second which is fine if yours is sounding compressed however you can select this here and just choose raw and that means that whatever audio quality goes in will be the audio quality that you get out hit okay and it will change over and you'd want that to do it just for both audio streams and audio events as well what stream also does is that if you were playing a large swift file um and it lagged a little bit it would lag the audio too whereas if it was set to an event it wouldn't actually lag the audio some hang-ups from old flash days so that's pretty much all there is actually to it you can add audio onto your own layers you can scrub through which is how you do lip sync and if you're interested in doing lip sync then i do have a tutorial on lip syncing which i will link to with a card in the top right corner now but we don't obviously have any lip sync for this animation so thank you very much for watching very quick one this time around and uh hopefully i'll see you next time for i think camera options and then after that it's the last episode which is learning how to explore everything that we've made so thank you very much for watching and i'll see you next time on tiptup an absolutely massive thank you to my level 2 and above members wn-62 anonymous melem hoover maybe sharma rallica m in costello de chance singed lone wolf 16 starry teachy and jk digital creations you guys are super duper awesome lovely people and i love you everybody else i love you too but if you become a member of the tip-top zone you not only get access to exclusive perks shout outs and design feedback but you also become a tip titan and get to use that dope as emoji on live streams and in comments so do it okay you become a tip title is awesome i love you bye remember to subscribe for more tips tricks and tutorials thanks for watching what is parallaxing and how do we use the camera in adobe animate let's find out [Music] hello everybody and welcome back to tiptoe and to intro to adobe animate 2021 in this episode we'll work with our camera to add a simple parallax to our scene using animate's inbuilt layer depth now i will say that i've already made a complete and comprehensive episode on just using the camera that i'm very very proud of so if you've got 10 minutes i'd go and watch that episode first as it covers literally everything you need to know about the camera in this episode we'll just quickly explore what you need to know as a beginner so let's get right to it number eight camera and parallaxing the camera is a separate object in adobe animate and you can set a layer depth which determines how far away each layer is from the virtual camera when you move the camera the layers respond accordingly and the effect of these layers moving in perspective is known as parallaxing disney perfected the physical parallax camera back in the 1930s but nowadays it's all done digitally let's jump into our scene and add some simple zoom in out camera movement okay so let's take a look at adding a camera and some layer depth to our scene now adding a camera is very simple you just press the c button on the keyboard and it will create a new camera layer for you here it gives you this camera control panel when you've got your camera layer selected and using this you can drag in or out to zoom and you'll notice that it zooms everything that's on your stage you can release and drag again if you reach the end of this bar as well to keep continuing and going further and further if you switch to rotate mode you can also do the same by rotating something on your stage now every layer that is not unlocked from the camera so every layer that is locked to the camera will ignore this and you can lock a layer to the camera um by clicking this icon here which will attach or detach all of them which means that if you drag this nothing happens you want to do that for individual layers you obviously just click individual layers and it will unlock them so that they do not react to the camera okay it could be quite useful if you wanted something to be attached to the camera okay so uh what i'm going to do now is set up the layer depth so that as we zoom in it doesn't all move um at the same level or same speed we wanted to react to the camera as if it wasn't just on a flat plane okay so the way we do that is by setting up layer depth now i do recommend you set up your layer depth before you do any animation because as you can see here when i start doing this you have to set it up for each keyframe which can be a right pane in the butt if you've got a lot of keyframes so if you don't have this panel you just need to go to window and then layer depth and it'll open up this panel for you and this triangle here represents the camera with the large side of the triangle representing your canvas okay and as you can see on each of our layers here i will need to rename this one sound on each of the layers here we have a number next to them if i were to push this number for example this grass closer to the camera you'd see that green line moving correspondingly and further away from the camera again moving correspondingly now we've already drawn all of our content so you'll notice it scales up and down as you do this if you don't want it to scale up and down you can just click maintain size and then type in or drag a number here i'm just going to put this one to negative 300 which puts it closer to the camera you'll see it's moved much closer but it's maintained the correct size now we've done that on the grass layer here but if i actually go to my next keyframe it's put it back to zero so i have to maintain size negative 300 again and the idea is anything that's closer to the camera really close you'll be past this line anything i available maintain size because i've already set him to the size i want to be and let's just stick him at 200. you'll notice there his feet popped behind the grass because the grass or the ground at least is at zero so we will be fixing that don't worry now this guy's got quite a few keyframes so we'll just go through and do that to all of them um and i'll be fast forwarding through uh all of these sorry just disappeared behind the mountain there but it's because i haven't done the mountain yet i'll be fast fooling through all of this because it's just a case of picking a number and seeing if you like it which is why it's good to do this without any keyframes in place so i'm just going to go through and add the rest of these layers um for example the cactus i'd probably put at 300 the floor at 400 and then the mountains and clouds way back in the distance because you don't really want them to move so i'll just nip through and do that now okay so i've pushed all of these layers back now and as you can see uh from the numbers here i've just pushed them further and further back the more fur they would back actually be in real life wow was that a sentence i pushed them further back the more further back they would be in real life is what i meant to say so my grasp very close my bounce layer on zero my man just behind that my cactus just behind the man my floor very close but behind the cactus um mountains about a thousand in the distance clouds 2000 sun 2500 and the sky 5000 what this means is when i come to my camera layer now and open up my camera tool with c for example if i were to move everything around like this you can see that my grass here moves much faster in position than my sky or my sun or my clouds because they're way way way behind uh the camera in the layer depth okay so what i could do is put a keyframe here and here for example pop a keyframe in the middle so we're at 36 so let's make it frame 19 add a keyframe to my camera press my c tool to bring my camera up maybe zoom in a little bit and pan down as if we're moving closer to the ground something like that now whether or not i'll keep this don't know just to show you if i right click those just choose classic tween that'll animate the camera in the same way that you animate another keyframe let's go to classic keys and on this first one here let's have it ease out so it goes um fast or slow cubic or quad and let's do the same thing here but easing in like so so we'll get a nice nice bouncing effect like so so let's test our movie with ctrl enter wait for it to export the swift as you can see now we have our camera moving i'll just stop that because it's gonna go over and over uh we have our camera moving in and out and with the rest of our objects in accordance to it now would you really use it for a scene like this i don't know probably not but it helps to explain what we use it for uh go check out the full camera tutorial if you want it i kind of rushed it here a little bit uh just to give you guys a brief overview of what you can do with the camera uh if you want a full detailed one just go to the camera tutorial well that's it for now next time we're going to be taking a look at actually exporting this animation finally and i'll show you all the different ways that you can do that and the reasons that you might want to choose those different ways so stick around you've done really well to get so far hopefully you've made something that you're proud of and i'll see you next time on another episode of tiptop massive thank yous to my delightful and lovely level 2 members wn-62 anonymous mel m hoover maybe sharma rallica m ian costello dushant singe lonewolf 16 stariti katma and jk digital creations you guys are super lovely if you would like to become a member of the tiptut zone and become a tip titan yourself just click that join button below remember to subscribe for more tips tricks and tutorials thanks for watching it's finally time to export our animation so let's learn how actually to do that properly [Music] hello everybody and welcome back to tiptoe and to intro to adobe animate 2021 in this episode we're finally ready to export our animation and there's a few options on how to do that depending on where and how you want to use it so no theory this time let's just jump right into the how number nine exporting and publishing options okay so here we are we have finished our animation and we are ready to export it now we've got here our sort of bouncing in and out camera motion we've added our sound i've just muted it for now because obviously it's gonna don't wanna hit for the next five minutes while i'm chatting um we've added color we've done our shapes done tweening we've done uh frame by frame we're finished we've just got to actually export the damn thing now uh 2021 has added some new features for quick export which i'll show you first and then we'll go through the full exporting options so first step when it comes to exporting is to make sure that you have saved your project okay once your project is saved and it is safe for some reason it is stuck on 25 so let's just wait for that okay wow that took a long time not sure why um once it is saved you can get ready for a quick export now up in your top right hand side of your interface you've got here the quick share and publish so if you click that you've got social share and you've got publish if you choose publish you can choose between a video or an animated gif i'll just click video hit publish it will get ready the video get the video ready for export and then open up adobe media encoder for you pop that file in adobe media encoder and export it and tell you that it's done you can then click the file and it'll open up in windows explorer and you can check out the file and see your exported animation which is pretty cool okay really nice quick export which is great gif works in the same way it just gives you a gif instead of video share on social currently supports twitter and youtube if you click youtube it will literally just make a video and upload it for you so i never do that but you could pop it up on twitter if you wanted to sign into your twitter account give it a description and some hashtags and things like that hit share and it shares it really simple i'm not going to do it because this one isn't finished and i don't want it on my twitter feed okay now social share easy peasy but we want proper export options where we get control over what we export now there are several ways you usually export i'll just talk about publishing first if you go to your publish settings you'll notice there's a few options here that you probably want to check you're always going to have a swift export that's just a standard flash export you can export all these other types of options as well whenever you do publish but these advanced options are probably the most important we talked about our audio last time but do you want to compress your movie that's usually checked i've never really noticed a difference between compressed and uncompressed include hidden layers is probably the most important one for this one we do not want to include hidden layers because we have our sketches on hidden layers and things like that and if you want to take something into after effects you're better off checking the optimize for after effects button then when you hit ok you can go to file publish and it will create all of that published stuff for you and basically it's just a finished and complete way of doing the same thing when you press control enter and test your film apart from it gives you all the supporting stuff as well if you want to export as a mp4 or as an image sequence you just go to file export export an image will just export the current frame that you're wrong which is kind of useless unless you're making a thumbnail or something export movie is what will give you your png sequence okay so you can see here from a previous animation i exported a png sequence this is quite useful because if your export is very long and it crashes overnight or something you'll still have you know everything up until the point where it crashes will be totally fine because it'll be individual pngs whereas if you did it as a video and it crashed you'd lose everything so you'd hit save and it would just export as a series of pngs there okay you then bring those pg sequences into premiere pro or after effects and compile them and it will create your footage for you the most uh explore animated gif has kind of been overtaken by the quick share publish we won't go over that export seen as asset will export your entire document as an asset that you can load in the assets panel you'll find it under all objects and it's like bringing a rig or bringing a symbol from another project into this project we can see here i have a scene from another animation that i've exported as an asset i can drag this entire scene into my document and it'll bring it out for you for example if i say insert timeline scene and i drag out this here it might take a second before it drops but it will drag out every frame symbol piece of animation whatever that we have from that other project into this one which can be quite powerful do we want that no i now want to delete this scene as well because when i go to export it it will export this scene so i'll just hit delete okay uh what i want is file export video media and that's going to export this for us it will open up a window i'm just going to cancel and just stop this from playing so it doesn't loop forever file export video such media this is the one you'll use probably most of the time it'll allow you to change your render size so you can double the size to say 4k if you wanted to um you can export the entire movie or individual scenes so i could have just exported that one scene but i like to explore the entire movie if you do an individual scene you can choose the frame range or you can choose the time range to export but we're going to explore the entire movie h.264 or h.265 are the best formats for the internet so we'll leave it on h.264 and you can do default ama which is adobe media encoder it will just do a default h264 export you choose your output path in this case i want to just go into intro to adobe animate 2021 and then into this folder here and we can just hit export with this checked and it will again open up media encoder for you which i can tab to now add your file automatically export it and then you can click your file to open it up and you'll have your file exported okay now the only other thing you might want to do is take it into after effects add some textures or something like that to it but that's a different story a different subject we have now pretty much covered publishing your file so well done very massive congratulations you have made it to the end of intro to adobe animate 2021 and you have an animation which you have made from scratch by yourself from start to finish you should be very very proud check out some of my other videos on my more advanced tutorial series about animate or um motion graphics or whatever it is you want leave a comment saying what you liked or didn't like about this series that i can improve when i make the next one and hopefully i'll see you next time for another episode of tiptut if you found this useful please stick around and you'll hear a little bit about membership to the tip-top zone which hopefully you'll consider and helps to keep the channel strong and supported throughout the future cheers everyone and i'll see you next time absolutely colossal and massive thank you to my level 2 members wn 62 anonymous melem hoover maybe shower relic m ian costello duchamp singed lonewolf 16 starry chichi katmar and jk digital creations your kindness cannot be overstated and i am forever grateful thank you so much if you'd like to become a member of the tiptut zone become a tip titan yourself for exclusive perks just click that join button below [Music] remember to subscribe for more tips tricks and tutorials thanks for watching you

Channel: TipTut

Views: 277,217

Keywords: tiptut, digital, create, theory, adobe animate, adobe animate tutorial, adobe animate tutorial 2021, how to animate, how to animate in adobe flash, adobe flash, adobe flash tutorial, flash tutorial, flash, animation, animation tutorial, frame by frame animation, tweening animation, easy animation, how to get started animating, adobe animate basics, the absolute basics, for complete beginners, for beginners, beginners guioe, beginners guide, frame by frame

Id: JtlVx-dNHcw

Length: 170min 23sec (10223 seconds)

Published: Mon Jan 04 2021