Advanced Rigging: Monster Camp (Adobe Character Animator Tutorial)

Advanced Rigging: Monster Camp (Adobe Character Animator Tutorial)


Welcome back Monster Campers, and hey, make
sure you like and subscribe, ring that bell, donate to our patreon, join the conversation
with #monstercamp, swipe up on Instagram, and visit our sponsor and save 20% off a king
sized mattress with offer code MONSTERCAMP. Well, the fall season is headed our way faster
than a yeti on an e-scooter, and that means a bunch of y’all are gonna wanna be making
s’mores. So today we’re gonna teach you how to roast
the perfect marshmallow. Now first, instead of a metal skewer or something
fancypants like that, I’d definitely recommend just using any dirty old stick you see on
the ground. I find that bacteria colonies and tongue splinters
really enhance the tasting experience, you know? Okay so next, you gotta get the mallow close
to an open flame, but don’t go touching it now. Just ease her in there real slow and nice-like
and…oh, dagnabbit. It’s okay, no big deal, just a little rogue
flame there, huh huh. happens to the best of us. All right then let’s just get ourselves
resituated here with another mallow in the chamber and…all right, the rodeo’s back
in town. Now the important thing to remember is…aw
cheese and biscuits! Just inch her on in there, reeeeeeeal slow,
reeeeal delicate, and…. well I’ll be a gopher in an outhouse, that
just defies the laws of physics. Woah nellie, she’s a hot one right there,
and oh, good gravy, I’m in a pickle now. A real pickle now. Sweet tea and peach cobbler she’s a hot
one. Yowch! Ah! Jimminy Christmas! Not bad. Well folks, I gotta say that did not go as
I was intending but we had some fun along the way: got some quality time with mother
nature, got a few second degree burns, and ate a few carbonized sugar pillows, so overall
I’d chalk this one up as a success. Y’all come back now, we’ll see you next
time on Monster Ca…Dyah! Save me Blake Shelton! Save me! Hey everyone this is Dave from the adobe character
animator team and today we’re going to do is walk through a brand new puppet: Sirr the
monster the camping monster who we just saw a an animated short that I put together. he’s a free downloadable puppet and scene
so the puppet and all his triggers as well as the campfire in the background all of those
are available for you to do whatever you want with completely free apps you can download
them in the video description below with this video is going to dig into is how to make
a character like this so Sarah is a relatively complicated character on he’s got you know
different Mouse sensor he’s got a happy and sad mouth said he’s got fer that Wiggles around
he’s got a bunch of different poses replay poses that we put together to give him a bunch
of different Expressions as well as this particular one which is about a 10 second one where he
put the marshmallow it gets fire on it he looks surprised he blows it out he looks around
and he eats it all with the click of one button to make that entire 10-second animation happen
little things there’s a glow hear that happens when he’s near the campfire different things
to move into manual mode to actually have control over dragging his arms around in a
few other fun things as well so this is definitely a more advanced character animator tutorial
creating a more complicated puppet if this is your first time I would suggest looking
at some other stuff first and kind of learned the basics of how to put a character together
before jumping into this all right so let’s start with the arms if you’re not senior controls
panel remember and record mode you can always just select your puppet and then go to controls
and you will see these controls happen here now by default I can’t drag the arms because
they’re stuck in triggered poses right now to play post isn’t working to get to Dad and
a little bit but for now all I need to know is to drag the arms around if I go down here
and click this one called manual I’ll just click that now that’s giving me full control
over being able drag the arms manually like you see in most puppets out there all right
so the one thing about sear that’s interesting is I knew that I wanted that one scene where
he eats a marshmallow and for that to happen I needed the arm and the stick in the marshmallow
to be in front of his face instead of behind so you’ll notice there’s something interesting
with his puppet his right hand over here that goes behind his head but this other hand is
left hand actually goes in front of his head so what’s going on here cuz normally when
you create a puppet write the standard structure we tell people is to your head group and in
your body proof and the arms go in the body group so nine times out of ten the puppets
you see when you drive their arms they go behind the head of the puppet so it was jumping
to ring mode and figure out what’s happening here all right so if I take a closer look
here at the structure I see you’ve got my main you know character group here I’ve got
my head and my body but then in front of the on top of the head and body I’ve got the left
arm group and this just means that you know the left arm is always going to show up in
everything it has it’s rigged essentially the same way as an arm would be inside the
body it’s just in front of the head and so when I drag and move it around the marshmallow
to stick the hand all that stuff is going to show up in front of the face now this has
a clipping mask associated with it and that’s why everything has this kind of watercolor
type texture to it it has just let you know nice paper look to it basically everything
in here has this exact same setup there is a mask and then I’ve got contents inside so
if I look at my mask here let’s just undo this could be masked by selecting it and going
to puppet release clipping mask and now you can see I have this you know nice bluish and
reddish purplish watercolor texture here and it’s set to an overlay blending mode but if
I want that mask to only show with this shape that’s underneath it what I’m going to do
is make sure it’s elected public create clipping mask and now. Is just going to affect the shape of this
arm now I could have just done one big mask and put everything underneath it but you do
run into issues where you’re moving things independently and the masked the paper texture
not moving with it so because the arms in the head in the body kind of all move a different
plate rate I felt like it was better to do these individual paper masks I think it works
a little bit better I’d say that’s a nice little stylistic touch you can do but listen
to the actual arm itself so my actual arm group here is not independent because I do
want to move with the head and the body all of these I kind of want to move you know what
my head movement is basically dragon all of these around at the same time that made the
arm independent it’s going to be left behind and that’s not what I want so instead I did
make the mask and the contents independent and if you look at the contents hear this
is rigged just like any other arm I would I would normally see so the origin has been
moved to connect to a where are my case I have the elbow hear the wrist and draggable
and add my sticks here so all of this is set up as we’ve seen a hundred times with arms
and again with you are my key behavior that is something you have to add manually to your
character does not come in when you import it the first time so you just select your
character you can click over here the plus that appears in manually add the are Mike
a behavior and that will allow the elbows just have a little bit nicer been to them
if it going to the contents here I see I’ve got a few things of Shadow some of the different
components that made up this this character and then in the Hand Group there’s quite a
few things going on so my hands by default I have a mellow position which is the stick
and all of its contents will show that in a second can swap to the thumb moving the
other way a normal and a point so all of these were added into a swap sit down here if I
click on the trigger it’ll icon over here immediately show me where that is over here
so we see my left hand I’ve got these a different states so the nice thing about triggers as
you can trigger systems right so default swap Point all those are working okay but once
I hit mallow what that actually allows me to do is get this whole other swap set of
things that happen to the stick in the hand open the Mellow one I see I’ve got what do
we have here smoke puffs up a flame the black marshmallow the regular marshmallow adjust
the stick by itself these different states and those show up down here in this amount
of trigger system to take a look how that work so I jumped to manual mode and when I
press Q or this trigger right here by default I get the stick with the marshmallow already
on it and then I’ve got a bunch of options 1 stats up I can make it burn with the fire
I can make it stop with the smoke and look like it’s roasted give me some aloe go away
and normally that would be done with the end of this munching a thing so I’ve got basically
a system where you know he would be near this you would have the marshmallow he would be
close to eating it and then it would go away in the mouse would probably do this this chewing
animation that I have as well so a lot of these can work together in sequence to create
kind of a compelling animation don’t notice in the cartoon when he goes down till you
know he doesn’t have this in his hand he goes down here it appears and grabs it so there’s
kind of an off-screen thing where he’s he’s grabbing the other marshmallow and that’s
just how to swap set system so he has normal hands to write so I can do his normal swap
his point you know things like that and this is just another system in there so what I
would say is you know hand positions a lot of times we see people doing some basic hand
positions like this but if you want your character interacting with objects and there’s objects
doing a different things food is a great example a drink a song whatever you want them to hold
you can create another level of triggers within that thing they’re holding and that leads
to some pretty interesting stuff and allows you to do more complicated stuff like this
now one small but important detail is that the smoke and the flame so these are these
you know cycle layers sequences they’ve been had the cycle layers Behavior or attitude
them where did you know this this is a looping flame animation this is a one-time smoke puffing
up animation when the the marshmallow is burned these have been set to a hinge attached normally
weld is what you get but look what’s going to happen if I do well. Instead of hinge let’s go back so look what’s
happening the fire is kind of welded and stain in One Direction and the problem with that
is I’m going to make him you know twist this and move this in a bunch of different ways
and I always want the fire to be staying up instead because it’s welded it’s going to
stay stuck to that one instead I want a kind of on a pivot I wanted to hinge upward instead
so by changing that to hinge instead of weld now you see that it doesn’t matter where I
bend it or move it the fire is always facing up in the same is true of the smoke as well
it doesn’t matter if it’s down here or up top the smoke is always going to appear up
as an attempt to kind of cell the character the next to the campfire one thing I wanted
to do is this glow trigger so when I click on this it’s subtle but you see the shadow
is kind of moving on his arms on his body there’s a highlight over here as well and
it just feels like it adds him into the scene a little bit more so what you’ll find as you
dig through this character is that there are a lot of different parts called either Shadow
or hello or whatever it’ll basically these little to frame sequences of highlights if
I double click Indiglo here I see this is just a little too set to 25% opacity and then
it alternates between this other street so I just drew this yellow you know thing twice
on the character that’s all I did and then I have if I click this Arrow to go back you
can see that I have the cycle layers behavior on it so it’s going to cycle between those
two every three frames move continuously when triggered all of that stuff and this happens
a lot so in on the other side of the face I have the Shadow and that moves back and
forth in the body in the contents there is to know if the arm has a glow in Shadow of
the Torso has a glow and Shadow to all these different parts and basically if I click you
know what trigger icon next to any of them I can see that let’s move this up a little
bit so I can see just how complicated this trigger actually became versus single trigger
called glow here and that has so many different things that is triggering it once all these
different clothes and Shadow so anything that I wanted to play in the sea I just dragged
it into that trigger and then it shows up down here so with one click then I can click
glow and suddenly all these different elements appear the Shadows the glows they’re all going
at you know every three frames they are changing back and forth between these two and it gives
this nice little effect this is kind of a similar technique to some other things I’ve
done with robots with blinking lights on them or other things were I want these little Dynamic
elements to always be moving on character so I find it setting up these little cycle
layers triggers and you cook one button and then a bunch of things start happening it
can lead to some really really cool effects in previous tutorial sweet showing the benefit
of having sad and happy mouth says to really add a lot of emotion to your character to
buy default I felt like this character he’s kind of more unsure or sad about things so
his default Mouse said is this up turned upside-down mouth said we are you know it’s kind of blower
he’s kind of are unsure about things but then there’s certain parts of the cartoon if you
go back and look where he gets happy about things and so I do have that more upturned
happier mouth shut and immediately the character just completely changes you know how you feel
about him how you think he is reacting to things but in addition to that I have some
extra mouths to over here as well and that includes the eating mouse is Big single frame
Open Jaw the chewing animation when he actually eats something and then this proof animation
as well where is kind of win the marshmallow is on fire so all this is another swap set
I’ve got my mouth swab said here and sad is the one I want is a default so I just took
my sad mouth here which is a bunch of you know the neutral all the different models
I would normally have an asset and I just dragged that into my sad default so that would
is what would show up I default my normal mouth the happy mouth I dragged into here
and I kind of renamed all these or this was called sad mouth or go up but you know whatever
they were called but if you express return enter or whatever on top of it you can redeem
these two whatever you want and then these are the actual names that will show up in
your timeline when these things are triggered so it’s really helpful to spend the time Neiman
these into things that you will understand and then open this is just a single you know
layer that’s all that is is just as the single open Cham out that appears in a puff and Choux
are cycle layers sequences wear puff is you know the short to frame animation and chew
is just as for frame repeating animation and again with all of these I just added the cycle
layers Behavior to it and I fooled around with how much every frame is advancing how
are they moving are they continuous revert forward and reverse all of this stuff to kind
of see what fit best with whatever animation I was going for only one of these is going
to show up in any given time I don’t want the Happy Mouse said showing up as the same
time as The Chew or the Puffy’s all kind of work together in unison to only show one of
the time so here’s the actual recording that I did for of the character and so for example
here’s one of the parts where when he eats it and he chews and then he goes back to being
sat you know it’s sad mouth shut and you can see in the mouth area over here I have you
know open chew sad it shows exactly when those things happen and I can manipulate these by
moving them around dragging them two different positions I can a right click to change them
to what I want to happen in a given time if I wanted things to change if I want to add
an extra mouth in here I just press a command shift Dion Mack that’s the same thing as if
you went to one of these went to edit split it’s just going to split in half and then
you can add a new mouth here so what this means is when I was recording I didn’t have
to get the triggers at exactly the right moment and say okay I need to be he’s going to be
open now and I was going to chew and I was going to go back to sad no I just recorded
once I extended the you know to take this and I extended it all the way out here instead
and then I just would scrub through the whole thing and say okay now I want him to do this
or that or switch and I would just do that split and then right click and change it to
whatever I wanted at that particular time so you know when you think of performance
capture recording as you’re used to in character animator lot of times you think I got to press
record I got to get the timing right what I find find is it for triggers is a lot easier
to just record One Thing extended and then just do this split and right click and change
things and keep adding of that way it’s much easier to get really precise timing this way
so I would definitely recommend for malice for triggers you’ll see everything else you
need the lids for example his his eyelid opening up I did the exact same thing I went through
it and I said okay I want to squint here now I wanted to be open and I wanted to go to
morpeth open again half happy lower it’s the exact same thing I wasn’t just going through
it in time in it and hitting all the buttons at the right time I just went through the
timeline split right click and it works great and personally I think the replays are the
most important part of sear these are all his various poses that he has and you’ll notice
it’s not just one thing happening it’s not just his arms that are moving around it’s
also his mouth is going from happy to sad or making different positions or his eye eyelids
are changing as well as I move between them and so this allows me to do a bunch of different
poses really quickly and not have to worry about okay do I get the arm trigger and the
I have to drag this or do this mouth it’s no I just press one button and he immediately
does these different poses that is awesome for Life production for sure if you’re doing
a live episode I think this type of thing is critical to do I’m for that sort of thing
so it’s just one button to get all these different emotion but for recorded pieces as well it’s
a really helpful feature to so if I’m saying I scratch Pad this is where I’m recording
a bunch of different poses so I’ve disarmed it see her here so we’re not seen any live
data coming and we’re only seeing the timeline data and if I scrub through this you’ll see
his head is staying still he’s not doing any movements except for his arms and eyes and
I’ll do you know the different triggers and so this is a typical set up that’ll do I will
you know you one little chunk here leave a little Gap do my next one leave a gap and
so on and so forth that is really long one is very complicated because this has all the
different things with him blowing out and eating the marshmallow and all that so they
can be a short or as complicated as you want and they can include as many different elements
as you want to so for example most of these poses they do not have the head and the mouth
of the actual lip sync data as part of them so as these replays are happening as the character
is posing or doing things I can still talk I can still move my head I can still move
my pupils round and those will still react I’m only doing specific thing so with a replay
you choose what parts you want to be pre-recorded and which parts you don’t do a test I’m just
going to do a new pose and we’re going to add it into our swap set here to the first
thing I’m going to do is take the default of the hips off and that way I will have full
control over being able to drag the arms into whatever pose I want then I’m going to press
over top of these red dots over here I’m going to press command and click and that’s going
to get rid of all of them that’s command click on Mac control click on Windows and now I’m
just going to arm Drager and triggers because for this character in this pose really that’s
all I want so let’s say I want to do two points I’m going to have him do you know a double
Point like a what’s going on something like that so let’s figure out how that pose would
look so I’m at a part of my time I have left a gap between here and my other pieces so
I’ve got a really nice clear section that I can use and I’m going to drag me disarm
up like this this arm over like this and then I’m going to do my triggers which I believe
were what was it 7 for this point and what we said eat for this point okay so it’s got
these two double points happening right here and I’m also thinking he would probably be
happy if he’s doing this something like that as well by pressing one and then his eyes
would probably be happy as well so let’s do that right so I feel pretty good about this
post is what we call a key post and a lot of Animation we see characters go from one
post to the next to another this feels like a post that he could be in a holding for a
few seconds while he’s feeling happy about something or pointing up to like And subscribe
or something like that so this works pretty well I could add in other things if I armed
face for example and had his head tilted back a little bit that would be part of the process
to but instead that’s so I’m going to leave those off I’m going to keep it minimalist
with dragger and triggers and honestly that’s what I normally do for a lot of my imposes
okay so this is looking pretty good I like how this is looking instead of pressing record
a quicker way to do this when you’re just sending these poses is to go up here to timeline
and you record one or two frame take I know they just do two to give myself a little bit
more of room to move things around and it’s not just you know a tiny little sliver it’s
still pretty tiny but at least allows you to be a little bit bigger so this is command
to on Mac or control 2 on windows so I’m just going to select that so what did I do do let’s
dig in here I’m going to turn Siri off disarm him and look at what that is so all this did
is crate for two frames it created that pose that I’ve got for my character here and now
this is something that I can manipulate and move around and blend in and out of to help
create a replay so what I’m going to do is make sure everything is selected here you
got dragged it out to be a little bit longer because I do want to give myself a little
bit of a good blend ramp in and out to make things of feel like they can seamlessly go
from one together so that’s one of the nice things about poses is that when you add blending
it doesn’t matter what from what pose you go to the next one will kind of all just ease
into each other and look relatively nice particularly if you have our Mighty set up if you don’t
know or you can just some weird elbows and stuff like that and it can take a look a little
dicey so in this case the draggers are the two elements that I want to blend two normally
the way I do things is I do a quick blend in so I’m just going to kind of these to the
blind handles to make them come in very quickly so it’s going to be a quick transition when
this replay happens the arms are very quickly going to move and then normally I do more
of a gradual blend out and it just means this gives time for the next Replay to come in
to find me this really quick the problem is that’s going to overlap with another replay
coming in really quick and there’s a chance that you’re going to get you no arms moving
out and going to different positions when you don’t want them too so just from trial
and error and experience I feel like the best replay that I’ve personally done when you
do a quick blend in and a longer blend out pretty good so it’s just kind of dragged and
Marquis select all of this stuff all of these elements and then over top of the draggers
I’m going to right click and go to breed actually Licious State ourselves a few steps I’m going
to go to create replay and trigger in swap set and so I’ve already created a group called
poses where the hands on the hips that hello all of that stuff I want this to be a new
one so I’m going to go down to my poses swap set and do that so that did a couple of things
first it made a replay over here call Draeger’s to and triggers for what hands and I have
four triggers the eyes both of those are a single trigger the mouth turning happy and
then the two points as well so that makes a lot of sense I’m probably going to rename
be so I’ll press enter on those and call this double points for me going to call this here
because that’s kind of what he’s doing it again name it whatever makes sense to you
stop sassing replays what this is said to buy default that sounds good to me I do want
it to stop on this as opposed to just you know going out and then immediately going
back some replace you do want them to finish by for the case it for this case I do want
to stop and sustain so that looks good and it automatically over here in the triggers
panel that also created the trigger that will accompany this now this name does not carry
through unfortunately yet to add the trigger Summit have to rename this as well so let’s
call this hay and we will assign this to a new key so let’s just I don’t think I’ve used
to El yet so let’s try that and I am going to latch this cuz I do want it to kind of
a hold in place okay so I’ve created this is part of my whole poses system that has
a lot of different things going on with it I’m going to go back and make hips the default
just because that’s the one that I always want things to start from so let’s see if
this actually works let’s click on cyr let’s turn all of my things back on I’m just holding
down command when I click a empty. To turn everything on or off and that’s control
on Mac on PC and knock at the hands on the hips and what happens when I press l he does
his double point and the happy and eyes and a mouth and a point are all there when I press
it again he’s going to go back to that other position and now I’m sad and I’m sad again
so this is great this is a single pose and now I can just move New Edition this character
now has nine poses that is a wide range of emotions that I can give my character and
have him moving and pointing and talking and hands on hips whatever I want there’s probably
one of these poses is going to fit the emotion of my character in any given point and so
I feel like this just makes my life a little bit easier because I can just instead of saying
OK at this time of need to drag the hands of this position and this trigger in this
Matt you know all of that stuff know all I have to do is Click one button he will move
seamlessly from one post to the next and it all works well and gets that emotion that
I’m looking for so that’s how you’d said something up with individual poses but when you get
to this more complicated animations like that 10 second one of him taking the marshmallow
getting burned eating it all that stuff that’s just a sequence up a lot of different things
happening so I treated this just like I would Retreat any other recording I kind of focused
on one element at a time so I said okay I’m just going to you know let’s arm him here
and let you focus on the tracker and so I just did the armed dragon and move that in
and out and close to the mouth then I did the other arm like this then I focused on
the triggers okay here’s the stick and it moves up and then I’m going to now trigger
you know the different eyelids and The Mouse and the marshmallow appearing and disappearing
in the fire and all of that and each of these was its own thing and I slowly started to
layer that up so all these art World up right now but you see kind of the method behind
the madness if I really start to dig this open you’ll see particularly for the arm this
is this area right here was the arm moving the stickup and so I had that recording and
then I stopped and then I made another recording word moves closer to the mouth and I had to
move up close to the mouth and I blended in it move down in a blended back up into a hip
decision so each of these were you know this sequence was made by five different Blended
Drager recordings coming together so I didn’t get everything right the first time I did
it in five steps and said I want this post then it went this other post to blend in and
this other one and so on and so forth so these replays can be as simple or as complicated
as you want you can include as many parts as many pieces put many things together manipulate
these drag you know these different drivers and blends and all of that stuff until you
get it exactly right and then just let everything package it together and it’s good to go this
sequence could be you know I could do a minute-long replay that has the character dancing or doing
bunch of different things looking surprised and have that ready with the price of a single
button out of it just require a lot of upfront recording work to get that to happen so I
still feel like replays or one of those things that are one of the most powerful parts of
character animator but I don’t see a lot of people doing them yet I’m so I would say if
you haven’t touched on replace yet dig into it because there is a world of just amazing
stuff you can do and just having all that power at the I was single I key is is pretty
pretty awesome through this triggers list over here and I’m saying wait this is getting
insanely complicated how am I going to remember depressed EX for this and 5 for this and L4
that even if you have it you know a naming Convention as for smoking meth for fire it’s
hard to think about what’s really on the Fly for doing send live or as you’re doing recorded
stuff so that’s where this controls panel really comes into play I think having a well-designed
well-organized control panel number one makes a character more approachable so if I handed
this puppet off to you all as I’m doing with it with right now downloading it works having
a friend as a voice actor or something like that this system is much more approachable
than this system over here and so it’s worth the time making all these little custom icons
and that’s what I did is make a lot of it’s very specific icons words and things that
on quickly and she can kind of understand what they’re doing now it’s kind of a secret
system because these icons are actually hidden in add the character soulistic into the original
Photoshop file and I’ll show you what I mean inside this character’s torso group there
is a group called icons in inside icons are a bunch of very small pictures so I’m going
to drag this out and I’ll show you what I mean all of these things were hidden behind
the character here so I’ve got Glo manual all these different you know arm positions
that I did basically I just created individual layers for each of these and then hid them
underneath the Torso it so that shows up in character animator as well now the control
panel does not show up in regular mode by default you’re going to have to do that manually
so I would go to window controls and that’s going to add the panel down here at the bottom
and then I’m going to want to go into a layout mode and that’s the one that lets me move
things around or kind of customize them in and do different things 21st of an abyss panels
going to see generate by look for the artwork is associated with the trigger so when you
click on these whatever showing up down here under layers and replays if there’s artwork
there that’s what it’s going to try to show this is going to be fine so you know the empress
ties there were two different eyes that were impressed that’s fine and if there’s a couple
of different things that are triggered in 02345 things those will show up here in a
list and you can choose which artwork you want for those now in some of these cases
do it like the replays replays do not have any poses or any artwork associated with them
so these are just going to show as blank boring you know buttons to the customize any of these
should like to know mallow for example that’s a really clear one I can drag that over top
of whichever one of these I want and that’s going to customize it to be that symbol you
can spend some time really trying to simplify things to make it very clear okay this is
fire this is something I should typing a word in is easiest in the clearest way to go a
little mouse here I am Destino total custom rectangle around them to hand positions all
of these you know just do whatever feels like the simplest clearest form of whatever you’re
trying to do and then just drag your icons in and you’ll have a really nice control panel
so believe it or not this character actually started from the blank template character
that’s the way we recently did some tutorials about in about Photoshop and illustrator versions
and how you can slowly customized it to become whatever kind of creature you want so I started
with that structure and then I move things around you knows and modify them so the mouth
for example you’ll notice is not the straight teeth that the blank character has but instead
I added fame’s to each of the different nail shapes the eyes I had it in an animated blank
I took out the face background added more Blobby purple thing out of the fur so it was
a modification I started with something that I knew was working and then I slowly modified
and change things that includes making the character more of a 3/4 so I kind of shifted
everything over to the character felt like he was you know facing one way a little bit
more and I think this is a nice technique told the cat I also designed this way we’re
a little more versatility so it’s not just a character straight on facing the camera
but they’re kind of looking towards the side and because of that if I had another character
on the other side of the camp fire I can make it feel like this character is talking to
that other character or talking directly to the camera so I think it gives a little more
flexibility for whatever you’re looking for so I hope this was helpful I felt like I was
just rambling and kind of talking stream-of-consciousness how I created the character but I’m hopefully
there was something semi-coherent in there that you can apply to your own Creations if
that’s the case I would love to see what you’ve made with this please use hashtag character
animator on social media and that’s what we searched for on Twitter and Instagram and
elsewhere I’d love to see what you’re making and if you run into any trouble if I was speaking
way too fast like I normally do and you want a little more direct help with you creations
the best place to get that help is the official character forums. that’s it for today thank you very much
for watching and have fun.

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About the Author: Sam Caldwell

19 Comments

  1. This program is so awesome even a random non artistic chump like me can make some cool scenes. Thanks for all your shares Samurai Sensei!

  2. Thanks for these great tips… I'll go back and check everything on cycles and triggers, so I'll try to replicate some movements later.

  3. Brilliant! Love the flickering flames on the face. Really places him in the scene. Another fantastic tutorial from the master ๐Ÿ™‚

  4. Thanks Dave! Very clear and understandable. I was hoping we would have more complex tutorials soon and you never disappoint. I really appreciate the timeline and key frame posing details, and look forward to giving that a try!

    I hope we'll see some external physical controller options soon. I've tried a couple MIDI options and haven't been successful, getting the application to recognize it isn't easy nor are there many resources for support. Ideally having them accessible on an external tablet or phone's touch display would be ideal. Kudos to you and the entire team for all the great work. Its really come a long way!

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