【Lynda高精度字幕由CGSUB.COM独家发布】 - Hi kiddies!
In this chapter I'm gonna show you the workflow
to take advantage of a brand new application
called Adobe Character Animator.
It comes bundled with After Effects 13.5.
After that I'm gonna show you how
the face tracking technology,
like this and like this,
has found its way into After Effects
to automate some of your masking tasks.
So, let's get to it.
Sorry about that silly intro,
you just can't help but to act in character
when you're looking at a character
of yourself onscreen.
Anyway, when you install After Effects CC 2015,
you will also install alongside
a brand new program called Adobe Character Animator.
This is a brand new technology
they've been working on for awhile,
and I'll be working with a preview version of it here.
You can open it directly from your Applications folder,
or from inside After Effects,
and here is the basic screen layout.
Your project's on the left side,
the screen where you're working is in the middle,
and in the upper right is a display with your web camera
looking at you.
A preview version comes with a number
of these characters you can play around with.
Here's Monster Fish,
(mumbling) is sort of an abominable snowman
type of character.
Some of these characters have a lot of technology
in them, for example, this bunny dude has dynamics,
for the little tassles that hang from the ears.
And there's others you can play with.
What I was playing with in that intro
is someone called Red Monster.
And rather than using the scene
they've already set up for me,
let's start a brand new scene
using the Red Monster puppet.
I'm not going to go through how
you build and rig puppets
inside Character Animator,
that's a whole 'nother course.
But I do want to show you this basic workflow.
I'll select my puppet,
and then I'll drag it down to the New Scene button
in the lower left.
And there's my puppet off to the left.
With my scene selected,
I can choose frame rate.
The default is 12 for this character.
I might want something a little bit higher,
such as say, 24 frames a second.
The duration could be edited after the fact,
I happen to be working in 1280 x 720 projects here
so that's what I'll set as my dimension.
Now monster's a bit too large,
so I'll select the red monster and his track,
and I get a number of so called item behaviors
down at the right.
Again, this is all a part of rigging a character.
What you're interested in is Transform,
cause that will help you position your character
inside your screen.
I'm gonna scale him down a little bit here,
better fit the screen.
Move him up a little bit
so he's standing on the bottom,
and move him a little bit over here to the right
so he's a bit more centered.
Character Animator defaults with your web camera
and your microphone, already enabled.
But this Reset Pose is very important,
this is where a character animator gets an idea
how to map you to the character.
You don't look at this screen on the right
when you hit the reset pose,
you look at the character right in front of you.
So I'm gonna look at my character,
click a reset pose,
and now I have a much more centered view
of my character.
If you want to get an idea of
what Character Animator's tracking,
I'm gonna hover over this camera
in Microphone panel
and press the Utility key.
And now you'll see a series of small, red dots,
which indicate how it's detected in my mouth,
my nose, my eyes, my eyebrows,
and the outline of my face.
This outline to the face will come in very important
later on as this technology's found its way into
After Effects.
Anyway, I'll press the Utility key,
to go back to my little character here.
So, with my red monster selected,
my web cam and my microphone both active,
I'll hit the record button,
and let's go ahead and record
a simple little performance
of me goofing off playing around
with the red monster character.
I'm sorry, I can't help it to speak in a silly voice
whenever I see myself onscreen looking like this.
Anyway, we'll stop recording,
you'll see a take has appeared with the audio,
a little bar showing my animation,
and I can go ahead and preview that animation
I just recorded.
And let's go ahead and record
a simple little performance
of me goofing off playing around
with the red monster character.
I'm sorry.
Okay, silly enough, but there you go.
I'm going to drag my current time indicator,
sorry, to figure out where the end of this comp is,
about 14 or 15 seconds.
Click on the scene back in the Project panel,
I'll get my Scene panel back here,
and say I only have a 15 second duration
to go ahead and export.
Finally, to get this into After Effects
I go to File, Export,
I want to export the entire scene,
not just the video or the audio,
navigate to where I want to save it,
and give this a name such as
Red Monster Test.
It will create a folder with that name
and fill it with a PNG sequence
and audio file with this name embedded in it.
Click Save.
It'll take a little while to export,
but it's not too bad.
And then we'll automatically open up
in the Finder or Explorer,
to show me where these have been saved.
There's my PNG sequence,
and there's my Audio Wave there at the bottom.
Now I can return to After Effects
and I can either go ahead and import
that sequence and the audio seperately,
or take advantage of a script
that comes bundled with After Effects CC 2015,
called New Comp from Character Animator Recording.
I'll choose that.
I'll navigate to what I just recorded,
the Red Monster Test.
Go ahead and select any PNG
inside that folder,
click Open,
and automatically I'll get my PNG sequenced
at the frame rate I exported,
that's important because After Effects
actually uses a preference to set the normal frame rate
for sequences.
There's my audio file,
and here's my composition
with my monster in it.
And if I wanted to I can go ahead
and queue a preview of that.
Go ahead and record
a simple little performance
of me goofing off playing around
with the red monster character.
I'm sorry, I can't help but speak.
And there we go.
Note that this has an alpha channel,
so you can put a background behind it.
It is a normal file, so you can go ahead
and scale it down, reposition it,
do what you need to with it.
I've even gone ahead and used effects such as
Time, Pixel Motion Blur,
to help smooth out some of the motion.
But it doesn't work perfectly,
because things like mouth flaps,
where they suddenly appear,
and suddenly disappear,
don't blur that well,
you get a little distortions.
Anyway, that's the workflow
from Adobe Character Animator
into After Effects.
But what's really cool is
that some of the characer animators technology,
namely this face tracking,
has made its way into automated tracking
and masking in After Effects.
And that's what I'll demonstrate in the next movie.
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