Photoshop Animation Series Part 4: Splash Animation

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Photoshop Animation Series Part 4: Splash Animation

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.

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP.

Have fun!

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    00:00:03,194(rhythmic music)
    00:00:11,335- Welcome to lesson four
    00:00:12,560of our cell animation in Photoshop series.
    00:00:15,221There's some crazy stuff happening
    00:00:16,599on the screen behind me right now.
    00:00:18,395Pretty cool, right?
    00:00:19,814Some of you may notice that the robot looks familiar.
    00:00:22,231And that's because for this lesson,
    00:00:23,799our buddy Rich Nosworthy helped us out
    00:00:26,209by providing us with some really awesome footage
    00:00:28,479to animate over.
    00:00:30,062Here's what the raw animation looks like
    00:00:31,879that Rich gave us.
    00:00:33,171Animating in a 3D app, like Cinema 4D,
    00:00:35,709and then drawing over it
    00:00:36,771is a great way to save a ton of time.
    00:00:39,399And make sure you like the animation
    00:00:41,029before you spend hours drawing.
    00:00:43,774Today I wanna talk about how I did the splash
    00:00:45,870in this animation,
    00:00:47,111but this particular splash is a bit complex.
    00:00:49,871You'll need to work up to that.
    00:00:51,708Instead, we're going to animate a simpler splash.
    00:00:54,773And in the next lesson,
    00:00:55,894I'll show you how I colored, shaded and finished
    00:00:58,511this animation.
    00:00:59,970All the concepts that I'm going to be showing you today
    00:01:02,103are the same ones that I used in this piece behind me.
    00:01:05,056So, let's get started.
    00:01:09,242Alright, so let's check out that Rich Nosworthy footage
    00:01:11,834that I was talking about.
    00:01:13,930This is the stuff that we will not quite be working on yet.
    00:01:18,086But after this next couple of lessons,
    00:01:20,761you'll be able to do something like this, also.
    00:01:24,748What's gonna go on in this lesson
    00:01:26,251is we're gonna start learning how to make a splash.
    00:01:29,012The splash you're seeing in this
    00:01:31,066is pretty complicated-looking.
    00:01:32,494But, really, the principles to it
    00:01:34,254are very easy to understand and learn.
    00:01:37,662What we're going to do today is a much simpler splash.
    00:01:43,491This is actually what we're gonna be working on today.
    00:01:45,792And it's a much simpler splash than the other one.
    00:01:48,095But all the same principles and timings
    00:01:50,477are used in this particular splash.
    00:01:53,467Let's get started on animating this simpler looking splash.
    00:01:57,543Okay, so let's go over some timing stuff really quick
    00:02:00,005before we get into animating this.
    00:02:02,899Let's focus on just this purple part first.
    00:02:06,107And then we'll talk about the green skirt.
    00:02:09,540The purple stuff is kind of our bloop, here.
    00:02:11,716And if you notice, I have these numbers below.
    00:02:13,797And those numbers correspond.
    00:02:15,096The purple's going to be the actual drawing that we've done.
    00:02:18,690The orange is the number of frames.
    00:02:21,292We're starting this animation off on ones
    00:02:23,669because we want this to be quick
    00:02:25,692but we want it to look nice and kind of fluid.
    00:02:28,897We're going to do on the second drawing,
    00:02:31,779the first one's just gonna be that line
    00:02:33,653that goes straight across
    00:02:34,827because you need something to start from with your water.
    00:02:37,564And then, the next drawing,
    00:02:39,384already we're kind of like a quarter of the way up.
    00:02:43,100And after that, the third drawing that we're doing,
    00:02:45,638we're already almost pretty much at this peak point
    00:02:49,030of our splash, here.
    00:02:51,176This is the furthest extent of this little bloop thing
    00:02:53,951before I'm drawing four,
    00:02:55,817where it shoots its little droplet up in the air.
    00:02:59,946A few drawings later,
    00:03:01,635you can see we've kind of shot this thing up in the air.
    00:03:04,076And this is just hanging out out here.
    00:03:06,345And that's because we want things to overlap a bit.
    00:03:09,146We do not want everything to happen at one time.
    00:03:12,143We need different timings in animation.
    00:03:14,857And that's what keeps things visually interesting.
    00:03:17,337This is like an overlapping animation.
    00:03:20,580We're gonna leave this one kind of behind
    00:03:22,765while this is already halfway shrunken down
    00:03:25,673only a couple frames later.
    00:03:27,790If you notice, these orange numbers are now doubles.
    00:03:30,816That's because we're switching from one-frame exposures
    00:03:34,423to two-frame exposures in here.
    00:03:36,598And that's just to keep our drawing workload down.
    00:03:39,329It still looks as nice.
    00:03:40,931If you wanted to go even more fluid and smooth,
    00:03:43,291you could keep this on all ones.
    00:03:45,282But it's not entirely necessary to do so.
    00:03:49,571You can see, a few more frames later,
    00:03:51,762this guy's still hanging out out here
    00:03:53,771on this tenth drawing.
    00:03:56,868And that's just because it's slowly falling back down.
    00:04:00,361It'll gain speed now.
    00:04:01,730Because if you see on drawing 12,
    00:04:04,191it's hit this kind of splash point.
    00:04:06,322And it's shot another little droplet up
    00:04:08,241that's gonna hang out and just repeat
    00:04:09,774that same action that we had here.
    00:04:12,187And by drawing 17, or frame number 29,
    00:04:15,859roughly, somewhere around there.
    00:04:17,700This isn't an exact, precise science.
    00:04:20,209But kind of in that range,
    00:04:22,098we'll be back to just this flat water again.
    00:04:25,477With the skirt, you notice it's much faster.
    00:04:28,388And that's because we really want this to be an accent.
    00:04:31,517To just give this that extra force.
    00:04:33,981What's happening here is, drawing two,
    00:04:37,745it's just kind of about the same size, there.
    00:04:40,222And drawing three's,
    00:04:41,848drawings three and four,
    00:04:44,057it's pretty much at its highest extent there.
    00:04:47,388And you can see we've got these little tears in the water.
    00:04:49,791And that's because we're gonna break this water apart here.
    00:04:53,219You can see on drawing number seven,
    00:04:55,502this stuff's pretty broken apart.
    00:04:58,590And I'll show you guys how to kinda create a line here
    00:05:01,829and have this stuff fall back down.
    00:05:04,480And these things are going to just shoot out
    00:05:06,698and then they're gonna disappear.
    00:05:08,651If you notice, there's kind of like an arc to this.
    00:05:13,207There's like an arc of travel.
    00:05:14,957And we're gonna go over that, too.
    00:05:17,375Those are the basics that you need to know
    00:05:19,193about the splash and some of the timing.
    00:05:21,933Now let's actually get in and draw this splash out.
    00:05:26,226Okay, so let's get started on this animation.
    00:05:29,600The first thing that we're going to do
    00:05:31,021is we're going to go in and we're going to make
    00:05:32,541sort of a rough animation.
    00:05:34,954I'm just choosing,
    00:05:36,592I have this animator's pencil by Kyle T. Webster.
    00:05:40,180If you haven't checked out his brushes,
    00:05:42,062we're actually gonna be using those quite a bit
    00:05:44,403in this particular tutorial.
    00:05:47,573I have his animator's pencil equipped.
    00:05:49,923And we're also gonna be using his watercolors right now.
    00:05:52,898We'll link to that in the show notes.
    00:05:54,786These brushes are absolutely amazing.
    00:05:56,562Highly recommend that you get them.
    00:05:59,616I think it's like 12 bucks
    00:06:01,060for everything that I use in this particular tutorial.
    00:06:04,069I mean, look at all these watercolor brushes
    00:06:06,039that you get for like nine dollars.
    00:06:08,057It's absolutely amazing.
    00:06:10,546I'm gonna be using this animator's pencil here.
    00:06:13,178And I have it set down to like,
    00:06:14,980a three point, I think.
    00:06:17,533So it's quite thin.
    00:06:19,224And I can kind of go light
    00:06:21,226and it's quite responsive, pressure sensitivity-wise.
    00:06:24,842Let's get started with this.
    00:06:26,559And what we're going to do is
    00:06:28,186we'll make our first one-frame exposure.
    00:06:30,547For our rough animation,
    00:06:32,203it's kind of like a pseudo-anamatic.
    00:06:34,055It's just gonna be something quick that we do
    00:06:35,927so that we can go in and mess around with the timing
    00:06:39,473and make sure that everything lines up
    00:06:41,191without spending a whole lot of time
    00:06:43,351worrying about the details and exactly getting this perfect.
    00:06:48,430I'm gonna give myself some guides here.
    00:06:51,112I'm gonna say that's my water line.
    00:06:53,292I'm kind of gonna keep this pretty square in the page.
    00:06:58,166This will be like
    00:06:59,558my working space is within these lines here.
    00:07:02,956Let's do our first frame here.
    00:07:04,734And as we said before,
    00:07:06,621that first frame is actually just going to be
    00:07:09,798that line that goes straight across here, to start with.
    00:07:13,506Let's add our next frame.
    00:07:15,173And this was the frame where we're already
    00:07:16,654kind of a quarter of the way up.
    00:07:18,796Let's come in and just quickly sketch in
    00:07:22,031that splash at its
    00:07:23,587almost one-quarter, third, maybe,
    00:07:27,481way up.
    00:07:28,879And we just go like that.
    00:07:30,569So real quick and easy.
    00:07:32,795And now we'll make our next frame.
    00:07:34,857And we're gonna turn our onion skins on at this point
    00:07:37,323because that's very helpful.
    00:07:39,333And just kind of check your settings.
    00:07:42,150I'm gonna do one frame before, one frame after.
    00:07:47,401You know what, I'm gonna try smoothing this
    00:07:49,726just a little bit more this time.
    00:07:52,094And I will add a frame here.
    00:07:54,153And this is going to be
    00:07:54,986kind of another one of those intermediate frames.
    00:07:56,637And again, I'm just working quite quickly.
    00:07:59,683This doesn't have to be absolutely perfect.
    00:08:02,498Water has nice organic variations to it.
    00:08:06,187So don't worry too much about if things are a little
    00:08:09,815wobbly and imperfect as you're drawing.
    00:08:12,524You actually want that
    00:08:13,574to get the water to look pretty natural.
    00:08:16,419So let's make one more frame, here.
    00:08:19,857And this will be our topmost point.
    00:08:23,216We almost kind of gave it a little bit of an ease this time.
    00:08:27,465It's easing in.
    00:08:28,628And we'll just stretch this guy down really quick.
    00:08:32,580This one might be a little taller
    00:08:33,703than the one in the example, but that's okay.
    00:08:36,548When you're drawing and doing this kind of stuff,
    00:08:38,617that's the nice thing about it
    00:08:39,802is you do get some freedom to experiment and play.
    00:08:44,987We know on the next frame,
    00:08:46,554that's where we're gonna release that drop.
    00:08:48,759The drop is going to shoot out.
    00:08:52,252So here's our little droplet.
    00:08:54,428And we'll just start kind of pulling this back in.
    00:08:59,905This is going to go about roughly a quarter-ish
    00:09:04,693the distance down at this point.
    00:09:06,900Here's the top of it for this main body.
    00:09:10,193And this guy is gonna hang out on top.
    00:09:12,588But we wanna give it a little bit of overshoot.
    00:09:15,135Even though it's only a frame or two,
    00:09:17,090it just adds a little more impact.
    00:09:19,584We're just going to kind of bring this guy up a little.
    00:09:23,723And then we'll add another two-frame exposure.
    00:09:26,927This time, we want this to be half its height.
    00:09:30,891We're just gonna cut this right here.
    00:09:33,580And this guy is just gonna hang out still,
    00:09:36,268up at the top.
    00:09:37,730This will be our start of our ease.
    00:09:39,699You can see it did its little overshoot.
    00:09:41,739And we'll add a new two-frame exposure.
    00:09:44,586And, again, this is going to be half its height.
    00:09:50,098Feel free to kind of come in
    00:09:51,845and if you need to erase something really quick
    00:09:54,175because you don't want to get distracted by it later.
    00:09:56,642I tend to not do a lot of erasing
    00:09:58,362when I'm doing these quick drawings.
    00:10:00,592Because it won't matter too much later.
    00:10:03,187On this, we're gonna have it start to descend.
    00:10:05,846We will just come in and kind of sketch that, like so.
    00:10:11,995And another two-frame exposure.
    00:10:14,865And this time, again,
    00:10:16,451I bet you can guess this is gonna be half its height.
    00:10:20,275We'll just kind of give it a bump there.
    00:10:24,486And this guy is gonna start falling at a faster pace now.
    00:10:28,714We're going to come in and just
    00:10:32,457make this go a little more of the distance.
    00:10:34,993And we're gonna have this finish out
    00:10:36,537in the next three frames.
    00:10:39,371We're gonna go once.
    00:10:42,349We're gonna go here for two.
    00:10:45,435And then we're gonna have one more frame right about here,
    00:10:49,657just before it hits.
    00:10:52,431Let's go another frame exposure.
    00:10:55,964And this is where we're gonna want this drop now.
    00:10:58,102It's falling much, much faster.
    00:11:01,539And, again, this is going to be, you guessed it,
    00:11:04,336half its height.
    00:11:09,860And on the next frame, to finish this out,
    00:11:13,317we're gonna throw this right here.
    00:11:16,699The reason that we're putting this here is because
    00:11:19,861once we actually come in
    00:11:22,188and make this hit on the next frame,
    00:11:24,999your eye is going to see this here.
    00:11:27,151It gives it enough information to translate it
    00:11:29,311from this position into the next position,
    00:11:32,206which we're going to draw.
    00:11:33,904Which is going to be the splash.
    00:11:37,952What we're gonna do is we're just gonna come in
    00:11:39,748and kind of give this a nice, quick splash.
    00:11:44,453Doesn't have to be real high yet.
    00:11:46,794Just something, there we go.
    00:11:50,016Just really quick, sketch that in.
    00:11:53,682Just get the gesture of the splash going.
    00:11:56,212It doesn't have to have all those nice curves to it yet
    00:11:59,671or anything like that.
    00:12:00,707This is just an indication.
    00:12:02,196And, again, you can erase little bits
    00:12:03,809that kind of come off and might bother you later.
    00:12:08,793Here's our splash gesture this time.
    00:12:12,878And this is gonna be quick.
    00:12:15,030We're only gonna complete the splash in about
    00:12:18,232we'll say four drawings.
    00:12:20,379So we're gonna come in and we're gonna give this
    00:12:22,469even more height.
    00:12:25,021Remember, this isn't the skirt.
    00:12:26,567This is just the sploosh
    00:12:27,989from that little droplet falling in.
    00:12:30,619We aren't working on the skirt yet.
    00:12:32,282Because we just wanna focus
    00:12:33,598on this portion of the animation.
    00:12:36,166Let's come in and give this a little bit more height now.
    00:12:42,308You know what, for funsies, I'll tear this piece off.
    00:12:45,948Why not?
    00:12:47,147That'll be our tear-off piece.
    00:12:48,653And I might give it another little drippie here.
    00:12:52,699Since I've decided to add that other droplet in,
    00:12:55,017I wanna go back a frame
    00:12:57,889and we'll just add it in right there.
    00:13:01,427Let's go another frame up.
    00:13:03,746And this is already gonna start descending now.
    00:13:06,564So we're gonna tuck it back in about
    00:13:08,709you guessed it, half of its height.
    00:13:14,738This guy, we'll just let him hang for a bit.
    00:13:18,138Same thing with this one.
    00:13:19,395We'll kind of break this one in two at this point.
    00:13:21,919Just leave it hanging.
    00:13:25,428This is just kinda gonna be its own little wavy thing now.
    00:13:28,993And this will start falling back down.
    00:13:30,866We'll have these fall back in pretty quickly, though.
    00:13:39,073We'll have him fall about there.
    00:13:41,419And another two-frame exposure here.
    00:13:43,478And we'll have this one as if it's hit already.
    00:13:47,869No, wait.
    00:13:48,932We'll have this guy hit.
    00:13:49,765So little bump there.
    00:13:52,764And that guy, he'll be close to hitting.
    00:13:56,265So we'll put him about here.
    00:13:58,496And this one about here.
    00:14:01,775And two-frame exposure, same thing.
    00:14:04,779Only this time, these will just be little drips,
    00:14:07,689like that.
    00:14:09,055And if you look, we're just over one second here.
    00:14:12,335Which is exactly where we wanna be
    00:14:13,912for this sort of an animation.
    00:14:16,017It seems like we drew a lot of stuff
    00:14:18,040but when you play it back,
    00:14:19,597it's going to be fast.
    00:14:20,759So let's turn our onion skins off.
    00:14:23,169And we will take a look at our whole animation here.
    00:14:29,979So, there you go.
    00:14:31,025You can see it has this nice sort of toss up into the air
    00:14:34,098and then it falls back down and splashes really nice.
    00:14:38,073And we could stagger these two little drops
    00:14:40,235a little bit more if we wanted to.
    00:14:42,530But I think I'm going to leave them as is.
    00:14:44,721And if you notice on those two little drops,
    00:14:46,823what's happening is this one right here especially,
    00:14:52,048we're getting almost a little bit of an arc going
    00:14:55,781with the way that it's falling back down
    00:14:57,957because we staggered them just slightly.
    00:15:00,522So this one's falling a little bit
    00:15:02,483to the right of itself and back down.
    00:15:05,223Same thing with this one.
    00:15:06,185They're traveling just slightly.
    00:15:07,633It gives it this nice,
    00:15:09,593sort of almost an arc kind of effect.
    00:15:13,212Now that we've got that done,
    00:15:14,717we can move on to the skirt portion of this.
    00:15:17,918So, again, this will be kind of that same idea.
    00:15:20,428We're gonna add our new video group and call this our skirt.
    00:15:28,220Before we start drawing that skirt,
    00:15:29,697let's take a quick look at a drawing tip.
    00:15:32,122Here's something interesting
    00:15:33,517that you may not have thought about when you're drawing.
    00:15:36,020When you're actually drawing something,
    00:15:37,332the shape of it's very important,
    00:15:38,947but the way that you draw that shape
    00:15:40,844is equally as important.
    00:15:42,653What I'm talking about here is
    00:15:44,578we have our little bomb friend here.
    00:15:46,170And we're gonna have him make a blast.
    00:15:49,400Here's one way you could do it.
    00:15:50,932You could focus a lot on, like,
    00:15:52,532the shape and trying to get in there.
    00:15:54,828You know, get this all to look right.
    00:16:04,708That's like a representation of how a blast looks.
    00:16:09,046But, if you actually just draw and think about the force
    00:16:14,099and the direction of travel of that force,
    00:16:17,264you'll notice a big difference
    00:16:20,510in how your lines are going to look.
    00:16:23,089Also, look at how much faster I can just gesture in
    00:16:25,854that movement.
    00:16:27,525That's a big thing that a lot of people tend to overlook,
    00:16:30,684especially when they're first starting out,
    00:16:32,621is getting this gesture and this direction of travel.
    00:16:36,524And really capturing the energy of a movement
    00:16:39,068in their drawing.
    00:16:41,100Think about that the next time
    00:16:42,507that you're actually working on drawing something.
    00:16:44,331Especially something like a splash or a bomb blast
    00:16:46,756that has a lot of energy and force behind it.
    00:16:50,546Let's get started on that secondary splash now.
    00:16:53,598On this, obviously we're not gonna start here.
    00:16:57,285We're gonna start here.
    00:16:59,711Again, we are just going to come in
    00:17:03,085and really quickly just gesture in the splash here.
    00:17:07,910Figure out how high, roughly, you want it to be.
    00:17:11,050Get that curve.
    00:17:12,133It kind of curves in down here.
    00:17:14,405And then, just really try and capture the energy of this
    00:17:18,190water as it's moving up and out.
    00:17:21,371You wanna kind of point these in the direction of travel
    00:17:24,515to really capture that energy.
    00:17:26,505And you can have them kind of, you know,
    00:17:28,138be a bit pokey here and there
    00:17:31,473and come up and curve a little,
    00:17:34,686however you wanna do it.
    00:17:35,700Just go really quick, though.
    00:17:37,138The faster you go
    00:17:38,250and the less that you think about this stuff,
    00:17:40,041the better off you're probably going to be
    00:17:41,937when you're trying to capture these initial gestures.
    00:17:46,399If you've ever taken a figure drawing class,
    00:17:48,191you're probably sort of familiar with gesture drawing.
    00:17:51,103And all of it's done really quick.
    00:17:52,677It's timed.
    00:17:53,733You might have like 15 seconds
    00:17:55,310to capture the whole essence of a figure.
    00:17:57,555And that's essentially what we're doing here.
    00:17:59,622This is the animation version of that.
    00:18:02,327Let's go and add our next one-frame exposure.
    00:18:05,013Make sure our onion skins are on.
    00:18:07,988We're just gonna come in
    00:18:09,099and do the same thing with that skirt real quick again.
    00:18:13,693Just capturing that energy.
    00:18:18,341There we go.
    00:18:19,882And then we'll add another frame exposure.
    00:18:23,330We actually need it to be a one.
    00:18:25,143I accidentally added a two.
    00:18:26,395You're gonna wanna watch your chart up here
    00:18:29,505as you're going through this
    00:18:30,811to see what your timings look like.
    00:18:33,587We're still just going to stay on our ones.
    00:18:38,362This time it's not gonna grow quite as much.
    00:18:42,898Just a little more.
    00:18:44,504And we're actually gonna start tearing the water
    00:18:46,445at this point.
    00:18:47,278So we're just gonna add these little rips at the bottom.
    00:18:52,435And we'll add a couple of them
    00:18:54,610kind of in this intermediate range here,
    00:18:57,860where these bigger pieces of water are.
    00:19:02,023Again, this is all kind of subjective.
    00:19:04,090It just depends on where you want to put this stuff
    00:19:06,836at this point.
    00:19:08,989It looks like we've got one more one-frame exposure to go.
    00:19:12,767Again, we'll just kind of give it a little bit more.
    00:19:18,048Dip this in a bit this time,
    00:19:20,948as if it's pulling some of this water away from the middle.
    00:19:26,080Not a whole lot of growth here.
    00:19:28,206Just a slight amount.
    00:19:29,782We'll increase the size on these rips a little.
    00:19:36,219Same thing at the base.
    00:19:37,878Might add a little bit more there now.
    00:19:42,123And now we're starting with our two-frame exposures.
    00:19:46,579At this point,
    00:19:47,656we're gonna start really kind of working on
    00:19:49,752tearing this water apart.
    00:19:55,618We know that the water is going to start breaking apart.
    00:19:59,048So we just need to pick where we want that to happen.
    00:20:02,961What I'm doing is I'm giving myself sort of a line here
    00:20:07,546as to where I want this water to break up.
    00:20:12,139This takes a little more thinking.
    00:20:14,090You have to be a bit more calculated
    00:20:16,265than with some of the other stuff.
    00:20:21,600It has to kind of make sense.
    00:20:23,457I mean, we have a rip here, right,
    00:20:25,255so we're going to go around that rip
    00:20:27,815when we tear this water apart.
    00:20:29,560Same thing here.
    00:20:30,824This is a rip,
    00:20:31,851so we're going to go around it once again.
    00:20:35,031And we'll tear this off at about here this time.
    00:20:40,583So all of this top stuff now
    00:20:42,439is going to continue on its own.
    00:20:44,975We've kind of got an idea of what pieces
    00:20:48,063are going to be flying out here.
    00:20:51,649Let's kind of just sketch these in.
    00:20:54,220We know that this guy,
    00:20:56,131maybe we'll make that kind of a bigger piece.
    00:21:01,052Get that to go like that.
    00:21:02,771And I'll give this kind of a stringier side piece for fun.
    00:21:07,036Maybe a little bit of something there.
    00:21:09,568And on the side, we're gonna do that same sort of deal.
    00:21:17,740Each of these pieces is going to be a little bit more
    00:21:19,556to keep track of.
    00:21:20,962But it's actually not that bad once you get going with this.
    00:21:25,107This is probably one of the most complicated frames
    00:21:27,387that we're going to have to draw.
    00:21:28,917Because we had a lot of decisions to make on this frame.
    00:21:31,710The rest of that is just carrying
    00:21:33,976all of these pieces onward.
    00:21:36,828We're actually gonna make ourselves a guide layer.
    00:21:40,510We need to create just a regular old layer.
    00:21:43,433This is where that obnoxious pink color
    00:21:45,164that we were using for our guide frames,
    00:21:47,156like our guides before in other lessons,
    00:21:49,429comes back into play.
    00:21:51,148We're gonna grab that pink color.
    00:21:52,389And what we're doing this time is
    00:21:54,586this stuff that's at the bottom
    00:21:56,260is going to recede back down now.
    00:21:59,420This is gonna fall back
    00:22:01,162and these are gonna continue onward.
    00:22:03,193And they're going to eventually disappear.
    00:22:05,546One of the important principles of animation
    00:22:07,514is actually arcs.
    00:22:08,955So what you're going to wanna do
    00:22:10,601is you're going to wanna carry these
    00:22:12,122each one on its own individual path here
    00:22:15,847in the direction of this energy of travel.
    00:22:18,592We're gonna come in and we're just going to grab,
    00:22:22,575you know, find a dot and figure out,
    00:22:24,656okay, well this is going to arc out like this.
    00:22:28,640This is the direction that I want this guy to travel in.
    00:22:33,517And the same thing with this one.
    00:22:36,940This one might have a little more height to it.
    00:22:41,793And here, again the same deal.
    00:22:44,196And you just draw your arcs in.
    00:22:46,820And this helps you decide
    00:22:47,789how these are kind of going to decay
    00:22:50,208in their actual direction of travel.
    00:22:54,879We have all these arcs determined.
    00:22:56,741Now let's go and do these ones.
    00:23:00,707Because as these travel,
    00:23:02,583they're gonna be losing that lift they have.
    00:23:05,307They'll lose energy as they go along
    00:23:06,967and that's why we're doing these arcs like this,
    00:23:08,738so they can travel along them.
    00:23:11,377Because what goes up must come back down eventually.
    00:23:15,441Now we have our guides to go with.
    00:23:20,806The rest of this now is just gonna be
    00:23:23,255following these guide paths as this stuff comes back down.
    00:23:27,366Let's add our next two-frame exposure.
    00:23:30,483And we'll go back to our blue color.
    00:23:35,162The first thing we're gonna do here is
    00:23:37,164we'll have this come back down at almost half its height.
    00:23:42,736This is maybe like a quarter of its height.
    00:23:46,805We don't want it to disappear too quickly
    00:23:48,838and it's not like it's going
    00:23:50,577super, super high up at this point.
    00:23:53,045Because we lost those top pieces.
    00:23:56,477So just sketch it in.
    00:23:57,467And this stuff down here,
    00:23:58,692these holes are gonna start pulling away, too.
    00:24:01,274Because it's receding back into
    00:24:03,234its initial puddle of itself.
    00:24:06,093On these, we're just gonna figure out,
    00:24:08,561okay, well how fast do we want them to travel?
    00:24:12,082Let's get these going at a pretty good speed at this point.
    00:24:19,714We'll add our next two-frame exposure.
    00:24:22,387And this time we will come back in,
    00:24:24,650tuck it in about halfway at this bottom part here.
    00:24:28,458You can break it in the middle there.
    00:24:31,473We want these guys to travel even more.
    00:24:35,430At this point, you can kind of start
    00:24:37,618breaking them up and shrinking them down.
    00:24:40,996I might give this blob over here
    00:24:42,985a little bit more of a tail.
    00:24:45,230And the same thing with this big guy.
    00:24:49,571Let's add our next two-frame exposure.
    00:24:52,867And then, on this we're just shrinking back in,
    00:24:56,579hardly anything left here.
    00:24:58,177We don't need that bottom broken up bit anymore.
    00:25:03,590We'll just get some of these to travel
    00:25:06,474just a little bit more this time.
    00:25:09,404Don't forget that we're gonna break up
    00:25:10,851these little droplets here in the next few frames.
    00:25:13,524So really start shrinking these down,
    00:25:15,685making them smaller and just giving them little tails
    00:25:17,865and stuff like that to break them apart.
    00:25:22,198Let's add another two-frame exposure.
    00:25:25,541This guy, same thing.
    00:25:28,757I'm gonna shrink him quite a bit now.
    00:25:31,331I want these to really start losing their mass.
    00:25:40,094Little guy is just kind of gonna peek out here.
    00:25:49,693This one
    00:25:53,164much smaller now.
    00:25:54,949Little drops.
    00:25:57,501Same thing, much smaller now.
    00:26:00,068Little drop.
    00:26:04,733Let's give you a little bit more to work with.
    00:26:09,622Again, another frame.
    00:26:11,942But this time, this one's gonna be, like, gone.
    00:26:14,166We'll just make a little drop there.
    00:26:16,317This one we'll break up into three bits.
    00:26:22,100Now we'll just do two.
    00:26:23,640This one
    00:26:27,735we'll send him off on his merry way a little farther.
    00:26:35,118Same thing over here.
    00:26:37,009You can kind of follow your arc at this point.
    00:26:40,379Visually speaking.
    00:26:41,476They're gonna be falling at this point,
    00:26:43,283so you can just continue this on in your mind.
    00:26:46,616You don't need to go back and draw it or anything.
    00:26:49,895Not a huge deal.
    00:26:55,648And another two frames.
    00:26:58,414This one's gone.
    00:27:00,017This guy, tiny bit.
    00:27:03,162This guy, same thing.
    00:27:06,408Tiny little bit.
    00:27:08,324Maybe a little tiny mark after him.
    00:27:10,777Same thing's going on over here.
    00:27:12,281Tiny bits.
    00:27:16,153That might be a little too far.
    00:27:17,981Just a little guy.
    00:27:19,825Oh, I don't like that at all.
    00:27:23,894Alright.
    00:27:28,791That's it for the skirt.
    00:27:31,343We've drawn everything we need to draw.
    00:27:32,896It's completely receded back into the water.
    00:27:35,519The little bits have flown off.
    00:27:37,323So let's take a look at how this looks right now.
    00:27:40,998We're getting that splash coming off
    00:27:42,959and everything's kind of flying up and in its own direction.
    00:27:47,316I caught something that I don't like.
    00:27:50,303I don't like
    00:27:53,931that this guy disappears so quickly.
    00:27:56,329Either, A, I forgot to draw it.
    00:27:58,810Because that sometimes happens
    00:27:59,952when you're going through a lot of information.
    00:28:03,656Or maybe I thought deliberately that I wanted to do that
    00:28:06,400but I've decided that I don't.
    00:28:08,163I don't like that it's just kind of popping off there.
    00:28:10,489Easy fix, right?
    00:28:12,093You just go up to the next frame exposure,
    00:28:14,246you turn your onion skins on.
    00:28:16,008And you just give it another drawing here.
    00:28:20,200This is the part where you get to be picky
    00:28:22,228and decide exactly if you need to
    00:28:24,184drop something or add something,
    00:28:26,569change something around.
    00:28:27,999That's why we did this so quickly with the rough.
    00:28:30,411That way, when we decide,
    00:28:31,638oh, I don't like this frame anymore,
    00:28:33,800I don't like how far that's traveling,
    00:28:36,309or whatever it might be,
    00:28:38,312you can come in and just iterate really quickly.
    00:28:41,308And change things without worrying about having to go back
    00:28:44,032and fixing all this nice clean line work
    00:28:47,199that you would do after this.
    00:28:52,516I would say we've got ourselves
    00:28:53,927a pretty good-looking splash at this point.
    00:28:56,072Now what we're going to wanna do is
    00:28:57,851we're gonna wanna come in and do our clean line on this.
    00:29:02,384Let's go in and start cleaning stuff up.
    00:29:04,979We're gonna focus specifically
    00:29:06,632just on the blob part first, again.
    00:29:09,669Because we don't wanna overwhelm ourselves
    00:29:11,189by trying to do too much at once.
    00:29:13,429I am going to stick with my animator's pencil on this.
    00:29:17,221And all we're gonna do is just make our new video layer.
    00:29:23,375New video group.
    00:29:24,799I always wanna call it a video layer.
    00:29:26,249But it's a video group.
    00:29:29,286Let's talk about this clean line here really quick.
    00:29:32,244Basically what you're doing is exactly that.
    00:29:33,942You're making clean line work
    00:29:36,357to go off of for your coloring.
    00:29:38,417Even if you're gonna come back in
    00:29:39,798and ink it one more time as an outline,
    00:29:42,396you wanna clean everything up first
    00:29:44,521just as kind of a final pass
    00:29:46,213to make sure everything's looking correct.
    00:29:50,332You might've noticed
    00:29:51,165that I'm colorizing the rough outline group
    00:29:53,262so that I can see it better.
    00:29:54,989This is just a quick way for me
    00:29:55,822to be to see what I'm drawing without needing to
    00:29:58,299change the color of the brush.
    00:30:03,824You can see one more thing that I'm doing here,
    00:30:06,087as I'm doing this clean line,
    00:30:07,599is I'm going in and I'm refining
    00:30:09,503the way that this blob that's hanging in the air looks.
    00:30:13,170I'm giving it sort of a different shift in mass.
    00:30:16,194That way, when it hits that top peak,
    00:30:18,989it's kind of rounded at the top.
    00:30:21,085And then it'll shift back down.
    00:30:23,267And then it'll be rounded at the bottom
    00:30:25,287to give it more of a sense of weight
    00:30:26,847as it's kind of going up,
    00:30:28,580hitting that top point
    00:30:29,759and then flipping back down
    00:30:31,168and the mass is carrying it downward now.
    00:30:34,415That's the kind of stuff that you wanna do
    00:30:36,686when you're doing the clean line
    00:30:37,920is getting those types of details worked out
    00:30:41,517and completely locked in before you do your final line work.
    00:30:50,045So now I've changed my colorized frame system
    00:30:52,318so that the frame that I'm drawing on is blue.
    00:30:54,885And then the frame before that is red.
    00:30:57,466And then two frames before that frame that I'm drawing on
    00:31:01,126is green.
    00:31:02,318And this is just so that I can kind of combat
    00:31:04,613some of this visual clutter
    00:31:05,918and be able to see what I'm doing a little bit better.
    00:31:08,294Because Photoshop's onion skin system isn't quite perfect.
    00:31:36,402Once you have that done,
    00:31:37,622you can turn your rough line off
    00:31:39,817and we can turn off our onion skins.
    00:31:41,492And we can just kind of come back through,
    00:31:43,632make sure there's nothing
    00:31:44,465that needs to be super tightened up,
    00:31:46,265or anything that looks very strange or super jarring.
    00:31:51,964Let's play it back really quick.
    00:31:59,207For a splash on mostly twos,
    00:32:02,085that's looking pretty nice.
    00:32:05,044The rest of what we're gonna be doing
    00:32:06,607is pretty much gonna be the same thing
    00:32:08,680we were doing before with the bloop.
    00:32:10,489Just a little bit more complicated
    00:32:11,887because this skirt has more moving parts and pieces.
    00:32:14,754Just keep tightening everything up and refining it.
    00:32:17,338And then we'll move on to that final phase
    00:32:19,503of actually coloring this in
    00:32:21,387and making it look really awesome.
    00:32:43,053Interesting thing Photoshop does.
    00:32:45,454If you move any of these layers around,
    00:32:48,108everything kind of shows up like this
    00:32:50,175and it looks like it's freaking out.
    00:32:51,758But you don't have to worry.
    00:32:52,594All you do is hit the space bar.
    00:32:54,247It plays back, normally.
    00:32:56,173For the most part.
    00:32:57,301Sometimes you might have a little glitch there.
    00:33:00,824And you just have to turn things on and off.
    00:33:04,127See that took care of it.
    00:33:05,245All I had to do was kind of scrub around.
    00:33:07,420There is also an option,
    00:33:08,896if that doesn't fix it.
    00:33:10,414You go up to
    00:33:12,185Edit, Purge,
    00:33:14,210and in After Effects, there's a video cache.
    00:33:17,577So you would just wanna purge that cache out.
    00:33:20,235Moving the time range guy around
    00:33:22,532and turning stuff on and off does not fix that problem
    00:33:25,690if you've moved the layer around.
    00:33:28,516So there's our splash.
    00:33:31,360Let's go in and finalize everything.
    00:33:35,084You guys learned how to color in the last lesson.
    00:33:38,213All I'm really going to be doing is more of the same thing.
    00:33:40,918Only this time,
    00:33:41,751I'm gonna be using Kyle Webster's really awesome
    00:33:44,601watercolor brushes to color this stuff in.
    00:33:47,695What I'm doing here is actually just kind of
    00:33:49,448more of the same stuff,
    00:33:51,033like we learned before.
    00:33:52,295I'm just tracing over that clean line
    00:33:54,503with the fine detail watercolor brush.
    00:33:58,026Which adds a really nice effect.
    00:33:59,935And then I'm going to go in
    00:34:01,768and I'm going to actually kind of color this in
    00:34:04,584using another watercolor brush.
    00:34:06,575And the trick to this particular watercolor brush
    00:34:08,765that I'm going to be using
    00:34:10,163is that you don't release your pen pressure.
    00:34:13,546And that's what keeps it from getting this
    00:34:15,895overlappy kind of look.
    00:34:18,048You just keep your pen down on the page
    00:34:21,116and then just go along.
    00:34:22,957And that'll give it that nice kind of wash look.
    00:34:25,509You can do whatever you want for yours.
    00:34:27,225This is just how I chose to color mine in.
    00:34:29,892And I actually did go back at the very end
    00:34:32,644and I used the alcohol brush from this set.
    00:34:36,121And that gave it just kind of a little bit
    00:34:37,926of an extra texture and kind of sparkle to the water.
    00:34:41,641That's all I did during this coloring phase here.
    00:34:46,016Now that we've done all this work to this.
    00:34:48,662And we've gotten our coloring
    00:34:49,649where we want it to be and everything.
    00:34:51,699Instead of rendering this out as a GIF
    00:34:53,885because there's a lot of different texture
    00:34:56,361going on in here and stuff.
    00:34:58,156And some of that will get lost in the GIF compression.
    00:35:01,046We're actually gonna make a movie this time.
    00:35:03,407To make this into an actual H.264 render,
    00:35:08,263what you're gonna do is you go up here to this little menu
    00:35:11,307and you're going to go down to Render Video.
    00:35:14,033And all you have to do is name it.
    00:35:16,864You select the folder that you want it to go into.
    00:35:19,552You can create a new sub-folder if you wanted to.
    00:35:22,375And then you're just gonna tell it to use
    00:35:23,747Adobe Media Encoder and turn it into an H.264.
    00:35:27,699You have pretty limited options here.
    00:35:30,330You either get to do an image sequence
    00:35:32,490or an H.264 or a couple other things.
    00:35:35,415H.264 is fine for this.
    00:35:38,945You want high quality,
    00:35:40,407you can change your document size.
    00:35:42,539Don't mess around with the frame rate if you don't have to.
    00:35:45,391And then you just specify what range of this
    00:35:48,331you want to be rendered out.
    00:35:51,600That's it.
    00:35:52,433You just hit the Render button.
    00:35:53,807You'll see the little spinny wheel.
    00:35:55,610And it doesn't really always pop up a dialog box
    00:35:58,293So just assume that when the little wheel goes away,
    00:36:01,417it's actually done rendering.
    00:36:03,270That's all you need to do to get your video
    00:36:05,560out of Photoshop.
    00:36:09,248Let's take a quick look
    00:36:10,082at this Rich Nosworthy footage one more time
    00:36:12,704and see how our little splash translates to this big one.
    00:36:15,821So, if you look at it,
    00:36:16,975all of the principles are still there.
    00:36:18,979Sort of like how we have that
    00:36:20,281big column of water coming out.
    00:36:22,458That's almost like that purple bloop
    00:36:24,310where it's like that primary portion.
    00:36:26,435And then if you go along
    00:36:27,326you'll see these little tear-off pieces.
    00:36:29,407And those are almost like that skirt that we had
    00:36:31,198in that smaller splash that we just animated.
    00:36:34,182And then if you keep going along,
    00:36:35,405even if we have this water kind of going off screen
    00:36:37,860and falling back down,
    00:36:39,149once again, same kind of principles at play, here.
    00:36:42,837We have the water coming up and then breaking apart
    00:36:47,056and all of these little pieces flying off in arcs.
    00:36:50,129So, you can see the similarities between the two.
    00:36:52,455This is just a different splash at a much grander scale.
    00:36:57,116Hey there, you survived.
    00:36:58,749And now that you've completed that splash,
    00:37:00,758show it off.
    00:37:01,920We wanna see your splash.
    00:37:03,548So tweet us @SchoolOfMotion with the hashtag SOMSplash.
    00:37:07,691Let us see what you've got.
    00:37:09,272Make sure you sign up for a free student account
    00:37:11,521so that you can access the project files
    00:37:13,303from this lesson and from other lessons on the site.
    00:37:16,391And you'll also get a couple of other cool perks
    00:37:18,615like weekly MoGraph updates and exclusive discounts.
    00:37:22,358We've got one more lesson in store for you guys,
    00:37:24,497so I'll see you next time.
    00:37:29,817(rhythmic music)

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