Was this video useful to you?
Rate this video from 1 to 5.
Bouncing Ball Peg: Keys and Breakdowns
Learn how to attach a peg to a ball and start setting keyframes.
- 1. Bouncing Ball Traditional: Planning — 2m
- 2. Bouncing Ball Traditional: Keys and Breakdowns — 3m
- 3. Bouncing Ball Traditional: In-between Poses — 5m
- 4. Bouncing Ball Traditional: Clean Up — 3m
- 5. Bouncing Ball Traditional: Painting — 3m
- 6. Bouncing Ball Peg: Planning — 1m
- 7. Bouncing Ball Peg: Creating the Ball — 2m
- 8. Bouncing Ball Peg: Keys and Breakdowns — 4m
- 9. Bouncing Ball Peg: Adjusting the Action Path — 2m
- 10. Bouncing Ball Peg: Adjusting the Action Spacing — 2m
In this video, we'll be setting a key and breakdown poses for our bouncing ball animation using the peg technique.
So in order to animate the ball drawing that we've created here, we need to attach to it what's called a Peg. So we're gonna attach a peg to the ball drawing layer. With the ball layer selected, we're gonna click on this button, which is called Add a Peg. So now there is a ball peg layer, and I'm going to click on this arrow on the peg layer to collapse the peg layer and the drawing layer into one. Now, you can think of a peg as a kind of container or maybe a handle that allows you to manipulate the drawing without actually changing the drawing itself. So what we need to do in order to attach the peg to the ball is to use what's called the Rotate tool. And we then get this pivot that I'm going to select and drag right over the ball drawing. To start setting key frames of the ball on the peg, the first thing we need to do is extend the exposure of the drawing so that the camera will see it throughout the scene. So I'm going to the last frame in the timeline, right clicking and then selecting Extend Exposure. The tool that allows us to translate and otherwise manipulate the drawing is called the Transform tool. And before actually setting a key frame, the last thing I need to do is to activate the Animate mode by clicking on this button above the Transform tool which looks like a little yellow running stick man. With the Animate button activated, I'm now going over to this icon, +KF, meaning plus key frame, which records a key frame and that position on frame 1. I'm now going to go to frame 9 and set another key frame. Now, I'm dragging the ball via the peg to the position that I indicated on my planning layer for frame 9 and clicking and dragging on the small square handles, I'm adjusting the ball into the squash shape. And now I'm going to go to frame 17 and set another key frame. Instead of dragging the ball from frame 9 and trying to get it back to the round shape, I'm gonna click on frame 1 then right click and then select Copy Cells From Timeline. So I'm copying the ball from frame 1, then I'm going back to frame 17, and in the timeline right click and select Paste Cells From Timeline. So I've pasted the ball from frame 1 into frame 17 and now I simply drag the ball from the copied position over to where it should be according to my planning drawing.
According to my spacing chart, I know that I want my breakdown position to be a frame 7. So I'm gonna create a key frame and then position that ball over my action path closer to the key frame position in 9, favoring that pose since our breakdown pose is our opportunity to create contrast by not placing the ball right at the half, and also because the ball is accelerating and I also want to adjust it to its stretch shape.
Now following my second chart, I'm going to go to frame 11, set a key frame, and then since the shape has stretched like the ball at frame 7, I'm gonna go to frame 7, copy that ball in the timeline, go back to frame 11 and paste it in the timeline, and then position it over my action path, but this time I'm gonna favor the key frame position at 17 since we also want to create contrast, in other words, not a half between 9 and 17, and we also want to get the impression of the ball springing up from the position at frame 9.