From the course: 2D Animation: Tips and Tricks
Looney Toons: Walks and runs
From the course: 2D Animation: Tips and Tricks
Looney Toons: Walks and runs
- [Instructor] I'm very quickly going to give another overview and this time it's an overview of walks and runs, because it's one of the things these animators were really good at. And again, this isn't the nuts and bolts movie. I've gone nuts and bolts on all of this material on previous courses in particular, how to animate monsters and alien creatures, and two other courses on walk cycles, particularly the course on attitude walks, how to do sneaks and stomps and that kind of stuff. They go into all the detail you're gonna need. This is, like I said, just a global overview of the kind of skill sets that you will need to be able to tackle these kind of scenes. In this case, Frankenstein monster and wanted to get out of the usual constrained walk cycles that we tend to do when we're practicing. And just to do something that was a little more fun, had some personality, broke a leg here on the walk, stuff that was going to be a little off balance. The kind of big, heavy, mean, scary villain character that tends to come up in the classic cartoons of the period, the big muscle guy that everyone has to work around and outwit. I'm not afraid to use colors on my thumbnails when I'm doing walks and runs, 'cause it really helps your brain to follow the action when you're going from one to the other. So the beauty of this scene as I discovered, I was really surprised by this, I just very simply blocked in the contact positions on one, seven and 13. And I did the passing positions on four and 10. And I was thinking, oh I'm gonna have to add some kind of squash or high point to really finish the scene off. And as it turned out, I didn't. So that was the result of just those four keys and I was pleased with that. I thought, I'm not do any more than that. The kind of thing that I think would have passed back in the day. I think it's smoother as a result. There's nothing stopping me from going in and adding maybe a little extra to it, but I was just so chuffed with the fact that you could get a fairly believable run in terms of the amount of engineering involved was pretty neat. It has that old timey feel to it. And for those who care, these are the four images overlaid. And again I go into my course in much more detail on this, but again, just four keys for a very nice, very believable, typical, for me, '40s, '50s era run cycle. Now this is material from my animate walk cycle, an attitude walk. And the kind of walks that you see in the Looney Tunes cartoons and the Tom and Jerry cartoons, all that Warner Bros. Stuff is very strong on personality. And if you look at the Preston Blair book for example, he has pages and pages of these very cool attitude walks, but he doesn't show you how to break them down. So they're beautiful as inspiration but they're actually kind of difficult to pull apart in terms of which drawing did he do first? What sequence did he do them in? So the whole point is you lay down your contacts, then you make the passing position, and that's where you do anything really flexing of the back or anything that's really gonna break up the walk to give it a looseness. So, the contacts establish the personality, and the passings, the fluidity with them. You can add a down position and an up position, of course. As we have here, going even further with it, and that creates a very strong, angry, classic era stomp. So that's what he looks like. Now, some of the things that don't look quite 1940s or '50s for me are those really sharp elbows, so I'd want to round them off a little bit. Lots of little things like that, but those are stylish. Think in terms of like his physical motion, that looks pretty good. It doesn't look like a rig to me, and that was done in a rig system, I just went fine tuning all the little symbols and shape tweens and motion tweens. Another typical example is the sneak cycle, same thing, identical process that you saw with the other one. That's how you break it down, contacts first, then the passing position, then you put in the lows and the highs. And again, very nice, classic look, you can continue to refine this, you can put little extra movement in the fingers once you add things like hair, costume on the rest of it and you have a little drag on them, this is really gonna start looking like it's potentially from the period. And moves across the screen beautifully. I mean, really nice. These guys do an awful lot of running. 'Cause they're constantly chasing each other. So this is a six frame beat, so in other words, the contact positions are six frames apart. This is frame one, this is frame seven and so on. So just to give you an idea for the speed for a typical run and the amount of time it's gonna spend in the air. I'm not going into nuts and bolts here, I have this covered in my previous course. Here is an image of the run overlayed in place. But again, the kind of thing that you need to know I can do a run, I can make it believable, it'll feel like a run, because if you're gonna do a few scenes of these guys, they're probably gonna be running away from one another at some point. So, you know, this is a modest enough run. I'm not totally in love with it, I'd like to make another pass. But it's okay, it doesn't feel bad. It does not feel like a run, here's a six frame beat so that's a little better. A bit faster. And starting to feel more like an actual thing you'd see. If I was going faster than that, we would add speed lines. They would always use a dry brush effect where they would get a physical brush, load it up with paint, and then with a flick, they would get that fake motion blur. That's another approach that may be available to some people. It's the kind of thing that some people might even want to do in Photoshop as a bitmap or a .png and bring 'em into the software. Again, I can't speak for everybody, because you're all gonna be out there using different programs. You may or may not be able to do it, but keep it in mind. Unless you're gonna animate a scene where a character's more or less standing in place, it's really good to know that you can have a basic competence with walks and runs. And it's a good opportunity if you do decide to do one of these scenes to push yourself to put a little more personality or mischief into your work.
Contents
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Loosen the joints2m 30s
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Loosen the body6m 1s
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To twin or not to twin6m 6s
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Head articulation5m 14s
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Physics: Falling4m 33s
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Creating staggers6m 32s
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Cartoony male mouth shapes5m 29s
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Realistic male mouth shapes3m 32s
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Pose-to-pose wipes4m 31s
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Zipping off screen3m 58s
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Cartoony female mouth shapes6m 1s
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Realistic female mouth shapes3m 44s
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Bird beaks4m 57s
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Stylized mouth shapes2m 51s
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Elderly mouth shapes5m 17s
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Breakdown basics turns3m 8s
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Breakdown basics reactions6m 6s
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Breakdown intermediate5m 24s
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Breakdown advanced6m 56s
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Thumbnail basics4m 56s
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Thumbnail intermediate5m 20s
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Thumbnail advanced5m 27s
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Fabric creases4m 49s
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Drag basics4m 15s
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Capes: Basics4m 48s
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Capes: Intermediate4m 28s
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Capes: Advanced4m 39s
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Flags4m 18s
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Dresses8m 18s
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Flour sack4m 25s
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Pantomime4m 7s
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Pantomime advanced6m 16s
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Object design7m 46s
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Objects Moving5m 17s
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Hair Basics6m 53s
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Hair Intermediate4m 16s
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Hair Advanced9m 56s
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Ball bounce1m 15s
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Fast Bite3m 21s
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Wipes Blurs2m 30s
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Morphs2m 39s
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Change expression4m 1s
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Timing basic1m 46s
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Timing intermediate5m 2s
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Timing Advanced3m 55s
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Texture Basic2m 38s
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Texture - advanced4m 47s
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Technical9m 4s
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Traditional animation process8m 15s
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Torque2m 54s
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Realistic construction4m 18s
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Cartoony construction4m 51s
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Eyeballs - cartoony9m 42s
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Eyebrows - cartoony5m 37s
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Eyeblinks - cartoony4m 27s
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Pupils4m 35s
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Eyes - realistic4m 58s
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Center mass2m 42s
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Crowds3m 52s
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Overcoming fear4m 23s
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Overcoming mental blocks7m 51s
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Breakthroughs8m 14s
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Avoiding burnout6m 17s
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The mystery of appeal4m 3s
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The wheel of fortune6m 45s
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Relationships matter3m 41s
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Interpreting dreams6m 5s
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Animating tails4m 21s
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Cheating transforms4m 7s
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Model sheets5m 8s
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Moving Hold3m 31s
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Moving Hold Advanced4m 28s
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Jumping with a push4m 34s
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Push objects2m 26s
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Coughing3m 8s
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Snoring5m 56s
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Reaching2m 18s
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Old styles: 1920s rubber hose intro8m 17s
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Old styles: 1920s rubber hose scene7m 51s
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Old styles: 1920s rubber hose post6m 6s
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Loosen with a reversal4m 16s
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Opposing actions4m 16s
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Overlap4m 39s
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Follow through5m 52s
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Leading actions6m 6s
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Overlapping large characters5m 20s
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Drawings, frames, and exposures3m 20s
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From rough drawings to cleanup5m 54s
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Cell painting to DIP6m 41s
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Color model3m 48s
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Tremor4m 44s
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Shaky walk2m 54s
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Camera shots5m 24s
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Strobing3m 38s
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Aspect ratios9m 34s
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Looney Toons: Intro10m 48s
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Looney Toons: Technical8m 8s
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Looney Toons: Animation style8m 20s
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Looney Toons: Walks and runs5m 59s
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Looney Toons: Scene7m 8s
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Looney Toons: FX explosion5m 5s
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Bouncing ball6m 3s
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Opposing action: Basic3m 13s
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Opposing action: Intermediate3m 56s
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Opposing action: Advanced3m 17s
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Counterpose: Basic4m 11s
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Counterpose: Advanced5m 37s
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Overlap: Introduction2m 9s
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Overlap: Advanced3m 15s
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Perspective: Introduction4m 30s
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Perspective: Intermediate1m 54s
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Plotting arcs3m 3s
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Figure 8s5m 7s
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Types of shots4m 44s
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Camera moves4m 2s
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Shot transitions3m 54s
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Staging: Introduction5m 25s
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Staging: Advanced6m 35s
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Line of action3m 16s
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Breaking a single joint1m 58s
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Breaking joints in a walk cycle3m 13s
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Plotting arcs and timing in a walk3m 29s
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Exaggerating the face2m 19s
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Exaggerating the body1m 44s
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Exaggerating acting5m 19s
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Anticipate and overshoot the head3m 13s
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Primary, secondary, and tertiary actions4m 10s
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Create personality with leading actions3m 14s
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Squashing the face for chewiness3m 8s
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Squashing bodies for animal runs2m 56s
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Reversing the line of action2m 15s
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A stretchy jump4m 33s
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Introduction to anticipation2m 46s
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Plotting character arcs3m 57s
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Leading actions on walks1m 29s
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Fast transitions2m 42s
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Breaking down a turn2m 47s
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Introduction to accents1m 30s
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Advanced stagger2m 59s
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Squash and stretch3m 36s
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Examples of counterpose1m 37s
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Straight-ahead animation3m 38s
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Pose-to-pose animation3m 53s
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Different accents3m 5s
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Correcting arcs and spacing6m 23s
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Frame rates and logistics6m 22s
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Wheeled robot3m 48s
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Animating walks on beats4m 12s
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Animating candles7m 53s
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Giant robot6m 41s
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Tails and reversed curves6m 2s
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Animating hair and clothing11m 9s
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Fixing hair and clothing5m 47s
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Plussing hair and clothing5m 3s
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Tripod walk6m 36s
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Dividing in thirds and fifths5m 39s
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Lighting a scene4m 10s
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The mushroom cloud6m 37s
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Ocean waves4m 32s
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Ocean waves: Advanced6m 3s
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Drawing budget3m 39s
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Sweatbox notes3m 11s
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Layout poses2m 20s
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Concise naming conventions7m 7s
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Cheating camera orbits2m 3s
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When to start a pan1m 39s
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Sixties TV intro and style3m 37s
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Sixties TV Structure7m 24s
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Sixties TV assembly8m 26s
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Sixties TV post-production3m 38s
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Cheating depth with color and tone8m 18s
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Cheating depth of field with blurs4m 53s
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Cheating depth with motion3m 11s
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Extreme walks3m 47s
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Acting with clothing and hair1m 11s
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Basic smoke poof3m 58s
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Advanced smoke poof4m 35s
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Animating a splash3m 58s
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Constructing animal snouts1m 16s
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Animating a dress3m 16s
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Fixing a dress animation2m 43s
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Animating puppet dialog2m 2s
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Planning side-scroller game animation9m 38s
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Creating the artwork and designs9m 28s
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Zero poses and idle animations5m 39s
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Walks and hookups3m 49s
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Jogs, runs, and hookups4m 44s
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Picking up objects2m 34s
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Jumping and crouching3m 20s
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Firing a weapon2m 32s
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Breaking an animation into pieces2m 49s
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Hit reacts1m 47s
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Dies3m 24s
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Flipping horizontally2m 42s
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Wins and levels up4m 15s
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Construction4m 41s
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Hands6m 34s
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Advanced hands4m 49s
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Texture in design3m 53s
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Straights and curves4m 3s
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Designing feet6m 50s
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Dimensional forms3m 25s
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Using color for story4m 13s
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Styles5m 28s
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Simple run4m 26s
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Weight and mass1m 55s
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Weight and mass in motion6m 55s
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The foundations of animation10m 51s
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Easy vs. hard scenes2m 11s
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ABC scenes4m 10s
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Puppets and gestures3m 57s
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Puppets and arcs3m 33s
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Boiling a line3m 16s
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Odd timing on twos5m 25s
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AA cycles4m 38s
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ABA cycles5m 1s
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Don't pop 1: Line and color2m 41s
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Don't pop 2: Lighting4m 40s
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Don't pop 3: Camera angle2m 43s
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Don't pop 4: Composition3m 38s
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Dos and don'ts11m 3s
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Making poses read3m 59s
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Making expressions read3m 31s
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Timing charts vs. tweening5m 36s
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Capes basic6m 15s
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Capes intermediate5m 56s
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Capes advanced2m 29s
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Hair basic2m 42s
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Hair intermediate2m 8s
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Hair advanced4m 5s
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Flags6m 8s
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Fine-tuning flags7m 4s
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Punchy dialog2m 8s
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1980s TV animation history3m 12s
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1980s TV animation techniques5m 10s
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1980s TV animation scene11m 57s
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1980s TV animation post production5m 53s
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Color vs. pencil test1m 42s
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Popping on and off screen2m 2s
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Foreshortening scene5m 43s
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Isometric game intro6m 45s
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Isometric game acting and dialog3m 46s
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Isometric game turning around2m 58s
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Isometric game walking5m 19s
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Bluth-style intro4m 59s
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Bluth-style design8m 15s
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