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Tutorial: Photoshop Animation Series Part 4 | Splash Animation

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We made it through the basics...

So now it's time to start making some really cool stuff. This lesson we had some help from our good buddy and all around awesome guy, Rich Nosworthy. Rich helped out by providing us some proxy footage to animate over. If you don't know who Rich is, you should. You can check out his work here: http://www.generatormotion.com/

And here is the piece that our robot friend came from: https://vimeo.com/135735159

In this lesson I'm not going to be animating over that footage just yet, BUT what we’re going to do is show you everything you need to know to start animating you're own bad ass looking splash over those octo legs.

We're going to take a look at how a splash works by creating a much simpler splash from scratch, then you can work your way up to making something big over that awesome footage.In this lesson we’ll also use some Photoshop brushes (tool presets) made by Kyle Webster. These are life changing. You need to go get them. Trust me. He's practically giving them away at the price he asks for them. You can find those brushes here.

Also I mention a book called Elemental Magic, Volume II: The Technique of Special Effects Animation. You can find that on Amazon.

In all of the lessons in this series I use an extension called AnimDessin. It's a game changer if you're into doing traditional animation in Photoshop. If you want to check out more info on AnimDessin you can find that here: https://vimeo.com/96689934 And the creator of AnimDessin, Stephane Baril, has a whole blog dedicated to people who do Photoshop Animation that you can find here: http://sbaril.tumblr.com/

Once again a huge thank you to Wacom for being amazing supporters of School of Motion.

Have fun!

Having trouble installing AnimDessin? Check out this video: https://vimeo.com/193246288

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Tutorial Full Transcript Below 👇:

Amy Sundin (00:11):

Welcome to lesson four of our cell animation and Photoshop series. So there's some crazy stuff happening on the screen behind me right now. Pretty cool. Right? Some of you may notice that the robot looks familiar and that's because for this lesson, our buddy rich nosworthy, they helped us out by providing us with some really awesome footage to animate over. Here's what the raw animation looks like. That rich gave us animating in a 3d app, like cinema 40 and then drawing over it is a great way to save a ton of time and make sure you like the animation before you spend hours drawing today. I want to talk about how I did the splash in this animation, but this particular splash is a bit complex. You'll need to work up to that. So instead, we're going to animate a simpler splash and in the next lesson, I'll show you how I colored shaded and finished this animation. All the concepts that I'm going to be showing you today are the same ones that I used in this piece behind me. So let's get started.

Amy Sundin (01:09):

All right. So let's check out that rich Nosworthy footage that I was talking about. This is the stuff that we will not quite be working on yet, but after this next couple of lessons, you'll be able to do something like this also. So what's going to go on in this lesson is we're going to start learning how to make a splash. Now, the splash you're seeing in this is pretty complicated looking, but really the principles to it are very easy to understand and learn. So what we're going to do today is a much simpler splash. So this is actually what we're going to be working on today. And it's a much simpler splash in the other one, but all the same principles and timings are used in this particular splash. So let's get started on animating this simpler looking splash. Okay. So let's go over some timing stuff really quick before we get into animating this.

Amy Sundin (02:02):

So let's focus on just this purple part first, and then we'll talk about the green skirt. So the purple stuff is kind of our blue pier. And if you notice I have these numbers below and those numbers correspond, the purple's going to be the actual drawing that we've done. The orange is the number of frames. So we're starting this animation off on once because we want this to be quick, but we want it to look nice and kind of fluid. So we're going to do on the second drawing the first, one's just going to be that line that goes straight across because you need something to start from with your water. And then the next drawing already, we're kind of like a quarter of the way up. And after that, the third drawing that we're doing, we're already almost pretty much at this peak point of our splash here.

Amy Sundin (02:50):

So this is the furthest extent of this little bloop thing before on drawing for where it shoots. It's little droplet up in the air. So a few drawings later, you can see we've kind of shot this thing up in the air, and this is just hanging out out here. And that's because we want things to overlap a bit. We do not want everything to happen at one time. We need different timings in animation, and that's what keeps things visually interesting. This is like an overlapping animation. So we're going to leave this one kind of behind while this is already half way, shrunken down, only a couple of frames later. Now, if you notice these orange numbers are now doubles, that's because we're switching from one frame exposures to two frame exposures in here, and that's just to keep our drawing workload down. It still looks as nice.

Amy Sundin (03:40):

If you wanted to go even more fluid and smooth, you could keep this on all ones, but it's not entirely necessary to do so. So you can see a few more frames later. This guy is still hanging out out here on the 10th drawing. And that's just because it's slowly falling back down. It'll gain speed now, because if you see on drawing 12, it's hit this kind of splash point and it's shot another little droplet up. That's going to hang out and just repeat that same action that we had here. And by drawing 17 or frame number 29, roughly somewhere around there, this isn't an exact precise science, but kind of in that range, we'll be back to just this flat water again. So with the skirt, you notice it's much faster and that's because we really want this to be an accent to just give this, that extra force.

Amy Sundin (04:33):

So what's happening here is drawing too. It's just kind of about the same size there and drawing threes drawings three and four. It's pretty much at its highest extent there. And you can see we've got these little tears in the water and that's because we're going to break this water apart here. So you can see on drawing number seven, this is the stuff's like pretty broken apart. And I'll show you guys how to kind of create a line here and have this stuff fall back down. And these things are going to just shoot out and then they're going to disappear. Now, if you notice, there's kind of like an arc to this, there's an arc of travel and we're going to go over that too. So those are the basics that you need to know about the splash and some of the timing now let's actually get in and draw the splash out.

Amy Sundin (05:26):

Okay. So let's get started on this animation. So now the first thing that we're going to do is we're going to go in and we're going to make sort of a rough animation here. And I'm just choosing just, I have this animators pencil by Kyle T. Webster. Um, if you haven't checked out his brushes, we're actually going to be using those quite a bit in this particular tutorial. So I have his animators pencil equipped, and we're also going to be using his water colors right now. So we'll link to that in the show notes. These brushes are absolutely amazing, highly that you get them. And like, I think it's like 12 bucks for everything that I use in this particular tutorial. I mean, look at all these watercolor brushes that you get for like $9. It's absolutely amazing. So I'm going to be using this animators pencil here, and I have it set down to like a three point, I think.

Amy Sundin (06:17):

So it's quite thin and I can kind of go light and it's quite responsive pressure sensitivity wise. So let's get started with this. And what we're going to do is we'll make our first one frame exposure. And for our rough animation, it's kind of like a pseudo animatic. It's just going to be something quick that we do so that we can go in and still like mess around with the timing and make sure that everything lines up without spending a whole lot of time worrying about the details and exactly, you know, getting this perfect. So I'm going to give myself some guides here. I'm going to say that's my waterline. And then I'm just kind of going to keep this pretty square in the page. Um, so this'll be like my working space is within these lines here. So let's do our first frame here.

Amy Sundin (07:04):

And as we said before, that first frame is actually just going to be that line that goes straight across here to start with, so let's add our next frame. And this was the frame where we're already kind of a quarter of the way up. So let's come in and just quickly sketch in that splash at it's, you know, almost one quarter third, maybe way up. And we just go like that. So real quick and easy, and now we'll make our next frame and we're going to turn our onion skins on at this point, cause that's very helpful and just kind of check your settings. So I'm going to do one frame before one frame after, and I think I will go up to, you know, what, I'm going to try smoothing this just a little bit more this time and I will add a frame here, and this is going to be kind of another one, those intermediate frames.

Amy Sundin (07:56):

And again, I'm just working quite quickly, so it doesn't have to be absolutely perfect. A water has nice, you know, organic variations to it. So don't worry too much about if things are a little wobbly and imperfect as you're drawing, you actually want that to get the water to look pretty natural. So let's make one more frame here and this will be our top most point. So we almost kind of gave it a little bit of an ease this time easing in, and we'll just stretch this guy down really quick. So this one might be a little taller than the one, the example, but that's okay. You know, when you're drawing and doing this kind of stuff, that's the nice thing about it is you do get some freedom to experiment and play.

Amy Sundin (08:44):

All right. So we know on the next frame, that's where we're going to release that drop. So the drop is going to shoot out. So here's our little droplet and we'll just start kind of pulling this back in. So this is going to go about roughly a quarter ish, the distance down at this point. So here's the top of it for this main body. And this guy is going to hang out on top. So, but we want to give it a little bit of overshoot, even though it's only a frame or two, it just adds a little more impact. So we're just going to kind of bring this guy up a little and then we'll add another two frame exposure. So this time we want this to be half its height. So we're just going to cut this right here. And this guy is just going to hang out still up at the top. So this'll be our start of our ease. You can see it did its little overshoot and we will add a new to frame exposure. And again, this is going to be half its height.

Amy Sundin (09:49):

Feel free to, you know, kind of come in and if you need to erase something really quick, cause you don't want to get distracted by it later, I tend to not do a lot of erasing when I'm doing these quick drawings. Cause it won't matter too much later. All right now on this, we're going to have it start to descend. So we will just come in and kind of sketch that like so and another to frame exposure. And this time again, I bet you can guess this is going to be half its height. So we'll just kind of give it a bump there, right? And this guy is going to start falling at a faster pace now. So we're going to come in and just make this go a little more of the distance. And we're going to have this finish out in the next three frames here.

Amy Sundin (10:40):

So we're going to go once. We're going to go here for two and then we're going to have one more frame right about here just before it hits. So let's go another frame exposure. And this is where we're going to want this drop now. So it's falling much, much faster. And again, this is going to be, you guessed it half its height and on the next frame to finish this out, we're going to throw this right here. Now the reason that we're putting this here is because once we actually come in and make this hit on the next frame, your eye is going to see this here. It gives it enough information to translate it from this position into the next position which we're going to draw, which is going to be the splash here. So what we're going to do is we're just going to come in and kind of give this a nice, quick splash.

Amy Sundin (11:44):

It doesn't have to be real high yet. Just something. There we go. So just really quick, sketch that in, just get the gesture of the splash going. It doesn't have to have all those nice curves to it yet or anything like that. This is just an indication. And again, you can erase little bits that kind of come off and my bother you later. So here's our splash gesture this time, and this is going to be quick. So we're only going to complete the splash and about, we'll say four drawings. So we're going to come in and we're going to give this even more height. And remember this isn't the skirt. This is just a sploosh from that little droplets falling in. We aren't working on the skirt yet because we just want to focus on this portion of the animation. So let's come in and give this a little bit more height.

Amy Sundin (12:39):

Now. You know what for funsies, I'll tear this piece off. Why not? So that'll be our tear off piece and I might give it another little drippy here. And since I've decided to add that other droplet in, I want to go back a frame and we'll just add it in right there. All right. So let's go another frame up, and this is already going to start descending now. So we're going to tuck it back in about you guessed it half of it's height and this guy will just let them hang for a bit. Same thing with this one. We'll kind of break this one in two at this point, I'm just leave it hanging.

Amy Sundin (13:25):

This is just kind of going to be its own little wavy thing now, and this will start falling back down. We'll have these fall back in pretty quickly though. Well, I have him fall about there and another two frame exposure here and we'll have this one as if it's hit already knowing we'll have this guy hit. So a little bump there and that guy he'll be close to hitting. So put him about here and this one about here and to frame exposure, same thing only this time. These will just be a little drips like that. Okay. And if you look, we're just over one second here, which is exactly where we want to be for this sort of an animation. Now it seems like we drew a lot of stuff, but when you play it back, it's going to be fast. So let's turn our onion skins off and we will take a look at our whole animation here.

Amy Sundin (14:30):

So there you go. You can see it has this nice sort of toss up into the air and then it falls back down and splashes really nice. And we could stagger these two little drops a little bit more if we wanted to, but I think I'm going to leave them as is. And if you notice on those two little drops, what's happening is this one right here. We're getting almost a little bit of an arc going with the way that it's falling back down because we staggered them just slightly. So this one's falling a little bit to the right of itself and back down, same thing with this one, they're traveling just slightly. So it gives it this nice sort of almost an arc kind of effect. All right. So now that we've got that done, we can move on to the skirt portion of this.

Amy Sundin (15:17):

So again, this will be kind of that same idea. We're going to add our new video group and call us our skirt. So before we start drawing that skirt, let's take a quick look at a drawing tip. So here's something interesting that you may not have thought about when you're drawing, when you're actually drawing something, the shape of it's very important, but the way that you draw that shape is equally as important. So what I'm talking about here is we have our little bomb friend here and we're going to have him like make a blast. So here's one way you could do it. You could focus a lot on like the shape and trying to get in there, you know, get this all to, to look right,

Amy Sundin (16:04):

Right. And that's, that's like a representation of how a blast looks. But if you actually just draw and think about the force and the direction of travel of that force, you'll notice a big difference in how your lines are going to look and also look at how much faster I can just gesture in that movement. And that's a big thing that a lot of people tend to overlook, especially when they're first starting out is getting this, this gesture and this direction of travel and really capturing the energy of a movement in their drawing. So think about that the next time that you're actually working on drawing something, especially something like a splash or a bomb blast that has a lot of energy and force behind it. All right. So let's get started on that secondary splash now and on this, obviously we're not going to start here.

Amy Sundin (16:57):

We're going to start here. So again, we are just going to come in and really quickly just gesture in the splash here, you know, figure out how high roughly you want it to be, get that curve. It kind of curves in down here and then just really try and capture the energy of this water as it's moving up and out, you want to kind of point these in the direction of travel to really capture that energy. And you can have them kind of, you know, be a bit pokey here and there and come up and you know, like curve a little, however you want to do it. Just go really quick though. The faster you go and the less that you think about this stuff, the better off you're probably going to be when you're trying to capture these initial gestures. So if you've ever taken a figure drawing class, you've, you're probably sort of familiar with gesture drawing and all of it's done really quick. It's timed. You might have like 15 seconds to capture the whole essence of a figure. And that's essentially what we're doing here. This is the animation version of that. So let's go and add our next one frame exposure, make sure our onion skins are on and we're just going to come in and do the same thing with that skirt real quick again, just capturing that energy.

Amy Sundin (18:18):

So there we go. And then we'll add another frame exposure. We actually need it to be a one. I accidentally added a two. You're going to want to watch your chart up here as you're going through this to see what your timings look like. So we're still just going to stay on our ones and this time is not going to grow quite as much, just a little more. And we're actually going to start tearing the water at this point. So we're just going to add these little rips at the bottom. And we'll add a couple of them kind of in this intermediate range here where these bigger pieces of water are. And again, this is all kind of subjective. It's just depends on where you want to put this stuff at this point. So it looks like we've got one more, one frame exposure to go.

Amy Sundin (19:12):

So again, we'll just kind of give it a little bit more, I mean, dip this in a bit this time as if it's pulling some of this water away from the middle, not a whole lot of growth here, just a slight amount will increase the size on these rips. A little same thing at the base might add a little bit more there now, and now we're starting with our two frame exposures. So at this point, we're going to start really kind of working on tearing this water apart. So let's come in and we know that the water is going to start breaking apart. So we just need to pick where we want that to happen. So what I'm doing is I'm giving myself sort of a line here as to where I want this water to break up. And this takes a little more thinking you have to be a bit more calculated than what some of the other stuff cause you have to, it has to kind of make sense. I mean, we have a rip here, right? So we're going to go around that rip when we tear this water apart, same thing here, this is a rip. So we're going to go around it once again. And we'll tear this off at about here this time.

Amy Sundin (20:40):

So all of this top stuff now is going to continue on its own. Now we've kind of got an idea of what pieces are going to be flying out here. So let's kind of just sketch season. So we know the sky. Maybe we'll make that kind of a bigger piece and get that to go like that. And I'll give this kind of a stringy or side piece for fun, maybe a little bit of something there. And on the side, we're going to do that same sort of deal. So each of these pieces is going to be a little bit more to keep track of, but it's actually not that bad once you get going with this. So this is probably one of the most complicated frames that we're going to have to draw because we had a lot of decisions to make on this frame.

Amy Sundin (21:31):

Now the rest of that is just carrying all of these pieces onward. So we're actually going to make ourselves a guide layer. So we need to create just a regular old layer. And this is where that obnoxious pink color that we were using for our guide frames, like our guides before, and other lessons comes back into play. We're going to grab that pink color. And what we're doing this time is this stuff that's at the bottom is going to recede back down now. So this is going to fall back and these are going to continue onward and they're going to eventually disappear. Now, one of the important principles of animation is actually arcs. So what you're going to want to do is you're going to want to carry these on each one on its own individual path here in the direction of this energy of travel. So we're going to come in and we're just going to grab, you know, find a dot and figure out, okay, well this is going to arc out like this. You know, this is the direction that I want this guy to traveling. And the same thing with this one, this one might have a little more height to it.

Amy Sundin (22:41):

And here again, the same deal and you just draw your arcs in. And this helps you decide how these are kind of going to decay in their actual direction of pat travel here. So we have all of these arts determined. Now let's go and do these ones. Cause you know, as he's traveled, they're going to be losing that lift that they have, they'll lose energy as they go along. And that's why we're doing these arcs like this so they can travel along because what goes up must come back down eventually. All right. So now we have our guides to go with.

Amy Sundin (23:20):

So the rest of this now is just going to be following these guide paths as the stuff comes back down. So let's add our next two frame exposure and we'll go back to our blue collar and all right. So the first thing we're going to do here is we'll have those come back down, uh, you know, almost half its height. This is maybe like a quarter of a, we don't want it to disappear too quickly and it's not like it's going, you know, super, super high up at this point because we lost all those top pieces. So just sketch it in. And this stuff down here are, these holes are going to start pulling away too. Cause it's receding back into its initial puddle of itself. And now on these, we're just going to figure out, okay, well how fast do we want them to travel? So let's get these going at a pretty good speed at this point.

Amy Sundin (24:19):

So we'll add our next two frame exposure. And this time we will come back in, you know, tuck it in about halfway at this bottom part here, you can break it in the middle there. We want these guys to travel even more. And at this point you can kind of start breaking them up and shrinking them down. So I might give this blob over here, a little bit more of a tail and the same thing with this big guy. So let's add our next two frame exposure. And then on this word, just shrinking back in hardly anything left here, we don't need that bottom broken up bit anymore. And we'll just get some of these to travel just a little bit more this time. And don't forget that we're going to break up these little droplets here in the next few frames. So really start shrinking these down, making them smaller and just giving them little tails and stuff like that to break them apart. So let's add another two frame exposure and this guy, same thing. I'm going to shrink him quite a bit. Now I want these to really start losing their mass and little guys. Just kind of going to peak out here and then this one much smaller now, little drops, same thing, much smaller now, little drop.

Amy Sundin (26:04):

Let's give you a little bit more to work with. And then again, another frame, but this time, this one's going to be like gone. We'll just make a little drop there. This one we'll break up into three bits. Now we'll just do two. This one, we'll send them off on his Merry way. A little farther. There we go. Same thing over here. You can kind of follow your arc at this point. You know, visually speaking, they're going to be falling at this so you can just continue this on in your mind. You don't need to go back and draw it or anything, not a huge deal.

Amy Sundin (26:55):

And another two frames. And we'll just this, one's gone this guy, eh, tiny bit, this guy, same thing, you know, tiny little bit, maybe a little tiny mark after him. Same. Thing's going on over here. Tiny bits. That might be a little too far. Just, just a little guy. Oh, I don't like that at all. All right. So, and that's it for the skirt. I mean, we've drawn everything we need to draw. It's completely receded back into the water, the little bits of flown off. So let's take a look at how this looks right now. All right. So we're getting that splash coming off and everything's kind of flying up and in its own direction. Now I've caught something that I don't like. I don't like that this guy disappears so quickly either a, I forgot to draw it because that sometimes happens when you're taking, you know, kind of going through a lot of information or maybe I thought deliberately that I wanted to do that, but I've decided that I don't, I don't like that.

Amy Sundin (28:08):

It's just kind of popping off there. So easy fix, right? You just go up to the next frame exposure. You turn your onion skins on and you just give it another drawing here. So this is the part where you get to be picky and decide exactly. If you need to drop something or add something, change something around. And that's why we did this so quickly with the Roth. That way, when we decide that, oh, I don't like this frame anymore. I don't like how far that's traveling or whatever it might be. You can come in and just iterate really quickly and change things without worrying about having to go back and fixing all this nice clean line work that you would do after this.

Amy Sundin (28:52):

All right. So I would say we've got ourselves a pretty good looking splash at this point. So now what we're going to want to do is we're going to want to come in and do our clean line on this. All right. So let's go in and start cleaning stuff up. So we're going to focus specifically just on the blob part first again, because we don't want to overwhelm ourselves by trying to do too much at once. I am going to stick with my animators pencil on this. And all we're going to do is just make our new video layer or new video group. I always want to call it a video layer, but it's a video group.

Amy Sundin (29:29):

Okay. So let's talk about this clean line here really quick. Basically what you're doing is exactly that you're making clean line work to go off of for your coloring. So even if you're going to come back in and ink it one more as an outline, you want to clean everything up first, just as kind of a final pass to make sure everything's looking correct. You might have noticed that I'm colorizing the rough outline group so that I can see it better. This is just a quick way for me to be able to see what I'm drawing without needing to change the color of the brush.

Amy Sundin (30:03):

Now you can see one more thing that I'm doing here as I'm doing this clean line is I'm going in and I'm refining the way that this blob that's hanging in the air looks, I'm giving it sort of a different shift in mass. So that way, when it hits said top peak, it's kind of rounded at the top and then it'll shift back down and then it'll be rounded at the bottom to give it more of a sense of weight as it's kind of going up hitting that top point and then flipping back down and you know, the mass is carrying it downward now. So that's this kind of stuff that you want to do when you're doing the clean line is getting those types of details worked out and completely locked in before you do your final line work.

Amy Sundin (30:49):

So now I've changed my colorize frame system so that the frame that I'm drawing on is blue. And then the frame before that is red, and then two frames before that frame that I'm drawing on is green. And this is just so that I can kind of combat some of this visual clutter and be able to see what I'm doing a little bit better because Photoshops onion, skin system, isn't quite perfect. All right. So once you have that done, you can turn your rough line off and we can turn off our onion skins, and we can just kind of come back through, make sure there's nothing that needs to be super tightened up or anything that looks very strange or super jarring. Let's play it back really quick.

Amy Sundin (31:58):

All right. And for a splash on mostly twos, that's looking pretty nice. So the rest of what we're going to be doing is pretty much going to be the same thing we were doing before with the bloop, just a little bit more complicated because the skirt has more moving parts and pieces. So just keep tightening everything up and refining it. And then we'll move on to that final phase of actually coloring this in and making it look really awesome. So interesting thing Photoshop does. If you move any of these layers around everything kind of shows up like this, and it looks like it's freaking out, but you don't have to worry. All you do is hit the space bar. It plays back normally for the most part, sometimes you might have a little glitch there and you just have to turn things on and off or see that took care of it.

Amy Sundin (33:05):

All I had to do was kind of scrub around. There is also an option. If that doesn't fix it, you go up to edit purge and just like an after effects. There's a video cache. So you would just want to purge that cash out if like moving the time range guy around and turning stuff on and off does not fix that problem if you've moved a layer around. All right. So there's our splash. So let's go in and just finalize everything you guys learned how to color in the last lesson. So all I'm really going to be doing is more of the same thing. Only this time I'm going to have you using Kyle. Webster's really awesome watercolor brushes to color this stuff in. So what I'm doing here is actually just kind of more of the same stuff like we learned before. I'm just tracing over that clean line with the, um, the fine detail watercolor brush, which adds a really nice effect.

Amy Sundin (33:59):

And then I'm going to go in and I'm going to actually kind of color this and using another water color brush. And the trick to this particular watercolor brush that I'm going to be using is that you don't release your pen pressure. And that's what keeps it from getting like this overlapping kind of look, you just keep your pen down on the page and then just go along and that'll give it that nice kind of wash. Look, you can do whatever you want for yours. This is just how I chose to color mine. And then I actually did go back at the very end and I used the alcohol brush from the set and that gave it just kind of a little bit of an extra light texture and kind of sparkle to the water. So that's all I did during this coloring phase here.

Amy Sundin (34:45):

All right. So now that we've done all this work to this, and we've gotten our coloring where we want it to be in everything instead of rendering this out as a gift, because there's a lot of different texture going on in here and stuff. And some of that will get lost in the gift compression. We're actually going to make a movie this time. So to make this into an actual, like H two [inaudible] four render, what you're going to do is you go up here to this little menu and you're going to go down to render video. And all you have to do is name it. You select the folder that you want it to go into. You can create a new sub folder if you wanted to. And then you're just going to tell it to you as Adobe media encoder and turn it into an H 2 64.

Amy Sundin (35:27):

You have pretty limited options here. You either get to do an image sequence or an H two six for a couple other things. So age 2 64 is fine for this. You want high quality? You can change your documents, eyes don't mess around with the frame rate. If you don't have to. And then you just specify how, like, what range of this you want to be rendered out. So that's it. You just hit the render button, you'll see the little spinning wheel and it doesn't really always pop up dialog box. So just assume that when the little wheel goes away, it's actually done rendering. So that's all you need to do to get your video out of Photoshop.

Amy Sundin (36:09):

So let's take a quick look at this Rich Nosworthy footage one more time and see how our little splash translates to this big one. So if you look at it, all of the principles are still there. So to like how we have that big column of water coming out, that's almost like that purple bloop where it's like that primary portion. And then if you go along, you'll see these little tear off pieces. And those are almost like that skirt that we had in that smaller splash that we just animated. And then if you keep going along, even though we have this water kind of going off screen and falling back down once again, same kind of principles at play here, we have the water coming up and then breaking apart and all of these little pieces flying off in arcs. So you can see the similarities between the two.

Amy Sundin (36:52):

This is just a different splash at a much grander scale. Hey, there you survived. And now that you've completed that splash, show it off. We want to see your splash. So tweet us at school of motion with a hashtag som splash and let us see what you've got. Make sure you sign up for free student account so that you can access the project files from this lesson and from other lessons on the site. And you'll also get a couple of other cool perks like weekly MoGraph updates and exclusive discounts. We've got one more lesson store for you guys, so I'll see you next time.