Photoshop Animation Timing

In this Photoshop Animation lesson we’ll learn how to time hand-drawn animations.
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Amy Sundin (00:11): Hello, again, Amy here at school of motion and welcome to lesson two of our cell animation and Photoshop series. Today we’re covering one of the most important parts of animation timing. We’re going to discuss the difference between one and two frame exposures and how they affect the overall look and feel of your work. Then we’ll get to the fun stuff and animate this infinite looping Sprite that you see behind me. Make sure you sign up for a free student account so that you can access the project files from this lesson and from other lessons on the site. Now let’s get started. All right, so let’s get started with our infinite loop Sprite guy here. So what we want to do first is of course create our new documents scene. And Adam Dustin is automatically going to create a 1920 by 10 80 canvas, and it’s going to bring up our timeline frame rate for us.

Amy Sundin (00:57): So we’re going to select 24 frames per second, and we’re going to save our work really quick. The first thing that we’re going to do when we’re creating an animation like this is we’re actually going to plan out a guide for ourselves. So, you know, this guy’s kind of traveling along this infinite looping path that one’s actually really bad, but we could spend, you know, all day trying to draw different variations of paths and getting this right. Or we can go in and create a more precise guide for ourself using the vector tools here in Photoshop. And if you’ve got a student account, I’ve already done all of the hard work of laying these guides out for you, all you need to do is download them. So if you already have that stuff downloaded, you can go up to file and hit place embedded. And you’re going to select this infinite loop Sprite guide and just hit place and then enter to place it.

Amy Sundin (01:53): And you are all set and ready to go onto the next part. Now we’re not quite completely ready to actually start animating this. So first we’re actually going to create some spacing guides. So if you remember back to the first lesson where I had that chart, that was just all these different lines. Well, we’re going to be doing the same thing here. We’re going to give ourselves some lines so that we can line up our spacing so that we know exactly which where the ball needs to be, or our Sprite in this case where the spray needs to be on each frame. So to do that, we’re just going to come over here and we are going to select our line tool and we are going to just kind of make this look like spokes on a wheel. So let’s start with our vertical line and try and get it kind of centered. You’re going to hold shift to constrain and you just drag it down like that. And then across like this same thing, shift to constrain, and then we’re going to add two more lines to divide each of these half. So we’ll start somewhere kind of in the middle here. And this time I’m not actually going to use shift. I’m just going to kind of line it up with that center, cross hair and let go. And then same thing from here to here.

Amy Sundin (03:18): So I want to shoot for probably about where I was. All right. And there you go, you have your wheel spokes and I’m going to change this to like a dark blue color. That’s just one of my preferences. You can make it whatever color you want. I just like it because it’s a little bit easier for me to see and differentiate between like the actual spacing and the path. And then I’m just going to group these off control G and now I have my spacing chart here. So I’m just going to go in and name the spacing, and then I’m actually going to duplicate this group, cause I’m going to need it on the other half here too. And we’ll hit control T to transform it over. And you can just hold shift again to constrain kind of line it up in the middle, hit enter when you’re done.

Duration: 00:27:42