Now that we've finished laying in our base,
we're going to start cleaning up and refining and adding all the in-between frames.
So we have the perfect layout to start the rest of our animation.
So this way what we're going to do is we're just going to replace
the duplicated frames with an actually drawn in-between frame. So it's super easy.
We keep the same amount of key frames and it's not going to get too crazy.
This part is a little bit more meditative and you can
put on a nice podcasts or something and kind of get
into it and destroy the in-betweens
in a way that makes sense between the two frames that we already have.
So what I've done here is I've added in-between frames
for all of the frames that had only two.
If you look at the end, we still have duplicates of the longest first frame that we had
a hold on before that was a little longer than the rest
and then the opposite frame that we also had a hold on.
So now we have all of these frames in-between and they're just really pure tween frames.
We're just continuing to follow the motion,
continuing to check against our other frames and make sure that we're
kind of following our arcs and nothing is really popping out of place.
These can still be fairly rough.
We aren't going super refined yet because we are still laying in the groundwork,
but after we lock these in,
we're going to start cleaning up a little bit more.
One thing to keep in mind while we're going through and adding these in-betweens is,
at the parts right before and right after our bigger pause on these widest frames,
what we want to do is make sure that the gap is a little bit ease towards the pause.
So since we have this frame holding for longer,
you're going to see that the frame in-between that one and the frame
before is a little bit closer to
our pause and we're doing that so that it has a little bit more of an ease,
so it doesn't just have an even motion and then
stop and then have an even motion backwards.
So now that we have this little bit of ease in there,
so it kind of just has a smaller gap between that and the complete stop.
When you look at it moving it has a little bit more of like a slow
before it stops and then a slow before it starts moving again.
One of the things that we can start doing after we've
locked in the rest of our in-between frames is,
we can start going in and cleaning up and as you can see,
I've clean this up a little bit already.
Some of my in-betweens are still a little bit rougher.
They lay a really good groundwork for what we're going to have
later and it's not too hard to tell where everything should be.
On one thing that I've done during this part
is I've actually added a little bit more of the detail.
You can see that I've added the V and her belts and
then a little bit at the bottom of where her pants are going to end.
And I'm doing that now because it'll be way easier once I've
laid out in the line work to keep track of
where everything should be when we start filling.
Then if you look at my onion skins,
this is where they're going to come in really handy.
You can kind of see that they're following,
like these lines on her pants are following a pretty good line between each other.
You can tell that they're going to be continuous just from looking at
the onion skins especially on parts where they're closer to each other.
This is the part where you can just kind of watch through several times,
I think I've spent like a solid thirty seconds who
manages staring an animation when I'm at this point,
it feels kind of tedious now doing all of these little tweaks,
but it will help so much later and you will thank yourself.
As we're going through this process and cleaning up,
you can see that I still have my frames duplicated at the beginning and
the ends so that I can really see in between these two how it's going to loop.
This looks great here,
this is my final tween.
I've taken that widest frame that we had as
our key frame that was still doubled while everything else was now on ones
and I've just drawn that extra frame and you can
see that they're very close to each other and that's
because of the same principle that we were talking about with easing before.
I want this pause to feel really tight and I don't
want it to get too much blended into the motion of the rest.
I want it to be a significant kind of pause at
this point so that we emphasize how wide of a stride she taking.
I'd suggest going through each moving elements
such as the butt or her hand and her head, etc,
and watching it on its own while re-watching your animation and checking to
see if there are any points where pops at a place or maybe a knee isn't working.
It's looking like it kind of jerks around a little bit and smoothing that out now
so that we don't end up having that once we're in full cleanup in the filling mode.
Now that we've finished cleaning up and locking in this animation,
it's time for you to clean and lockup your animations that we have
a solid base to get started on some secondary animation in the next lesson.