Skip to main content

Learning Moho Pro 12 (Anime Studio Pro) - Part 4, Debut and Pro Videos 11-26

In my last entry I was part way through the second batch of Moho and Anime Studio (Both) video tutorials. Twenty six videos in total, of which, I completed the first ten.

This post I work my way through the remaining sixteen and discover some pretty sweet, time saving effects in the process.

Continuing on from video 11 through 20, this block of videos mainly covers updates to various tools and shows you how they all work. Quite a few of the tools have already been used in earlier tutorials so it's not a big strain to take in all the information (and this post would get quite boring if I started describing everything covered in each). Videos are listed by filename.

Pro and Debut Video 
Tutorial Title Page
  1. Both - Freehand Update
  2. Both - Tool Updates
  3. Both - Brush Styles
  4. Both - Updated Brushes
  5. Both - Variable Width Curve
  6. Both - Multi-Shape Selection
  7. Both - Multi - Layer Editing
  8. Both - Combined Point Tools
  9. Both - Combined Bone Tools
  10. Both - Hide Bones and Points
  11. Both - Layer Outline Effect
  12. Both - Fractional Blur
  13. Both - Threshold
  14. Both - Masking
  15. Both - Follow Path
  16. Both - New Text

The Blob tool lets you create complex shapes
simply by drawing and adding to your shape.

Freehand Drawing Fun


Video 12 is worth mentioning as it is the longest, at 15 minutes, but the most fun, demonstrating the new (well new for Anime Studio 10) blob, eraser and point reduction tools.

The blob tool lets you draw and add to shapes freehand and works particularly well with a drawing tablet (in fact many of the drawing tools do as Moho supports pressure sensitivity).

I've heard people say Moho is hard to draw in freehand but so far I haven't found that to be the case. The blob tool works a bit like pushing paint around on a canvas. Wherever your drawing overlaps a shape on the same layer, what you've drawn becomes part of that shape.

The Eraser tool is pretty much the reverse blob tool. Want to remove something from a shape? Erase it, just like you would on a real pencil and paper drawing.

If you know anything about freehand vector drawing you'll know complex shapes usually are made up from way more points than they actually need. If you find this to be the case, use the point reduction tool to freehand reduce points from any section of a shape.

The Outline Layer Effect.

Incredibly Useful Effects


Videos 21 through 24 cover three incredibly useful effects that can really change your animation's look quite dramatically with very little effort.

Starting with Video 21's Outline effect. Use this setting to give all the objects on any layer an outline of any width.

In the image on the right I've added a yellow outline to Alvin the Owl's eyes and a red outline around his entire body.

This image is supposed
to be blurry.
Video 22 covers the Blur effect which can now be adjusted fractionally rather than with whole numbers for greater control. Like the outline effect it works on layers so you can blur just specific layers (for a nice depth of field effect on your scene perhaps) or your entire animation.

There's also blur shading which allows you to give your flat 2D characters a more 3D look in seconds (no need to add shading to their original character design models). All the blur effects are animated and change organically with the movement of your animation.

Video 23's Threshold effect is hard to describe in detail exactly how it works. It's a setting for the blur effect that removes the blurriness and sharpens the gradient and lines created by the blur. If that's hard to imagine, just know that you can really create some interesting effects with it

In the GIF animation below, that blobby, yellow, red and black, liquid background was created by applying the threshold effect to a few yellow circles with red outlines and moving them around. It took me less than two minutes to set up and is some what mesmerizing to see animated.

Alvin with a number of effects applied including:
Shadow, Blur Shading, Masking and Threshold.

Other effects you can see in the above GIF animation include, layer shadow (the shadow behind Alvin), layer shading (the actual shadow on Alvin's body giving him a more 3D look) and masking (the lighter area on his torso is just a big light brown oval masked by his body shape so you only see the part that overlaps his body).

How the above animation looks
in Moho Studio. None of the effects
can be seen until rendered.
Note that none of these effects (except masking) can be seen until you actually render the animation out. Which I imagine stops the studio from slowing to a crawl every time you want to preview your animation in real time. Fortunately you can check how scenes look at any point with a still of the current frame fully rendered.

Paths and Text


The final two videos, Paths (25) and New Text (26), are fairly self explanatory.

If you want a character or prop to follow a complex movement pattern (say you're demonstrating the solution to a maze) instead of key framing the movements create a path, by literally drawing a line, and have your character or prop follow it. It's much easier to edit a path than to edit key frames if you want to make adjustments.

Text is not a new addition to Moho but in version 10 they made it possible to edit your text after adding it to your animation. So now you have two options for adding text. You can add it as a shape, where once you commit, the text is no longer editable except as a shape like any other shape. Or you can add it as editable text, which is more useful for captions and speech balloon text where spelling errors have a higher chance of creeping in.

Speech balloons are a snap with
the dedicated tool.
Text can be added in any available font on your system that Moho can recognize. There's also a nice speech bubble tool that makes it easy to add almost any shape and style of speech balloon you might need.

At this point I'm pretty confident I've got a good grasp of the basics, along with a few more advanced features. If I only had the debut version of the software I'd have everything I need to know to start making animations.

 However I still have another batch of forty five videos just on Pro features to work through. I'll make a start on them next post.

Comments

  1. man i can't remember how i even found your site but i'm so happy i did. im having a blast going through these, every time i finish a part i add more and more to my little project just to use what i've learned ^.^

    ReplyDelete
    Replies
    1. I do appreciate all the comments letting me know how you're going. Certainly makes all these blog posts and the effort I put into learning MOHO and writing them was well worth it. I'll look forward to seeing your future animations.

      Delete

Post a Comment

I welcome, read, and respond to genuine comments relating to each post. If your comment isn't that save me some time by not posting it.

Related Posts with Thumbnails

Popular posts from this blog

Artbreeder - Using AI created Character and Background Content in your Animations

A selection of User/AI generated images from Artbreeder. If you're looking for an endless supply of 2D character and background images for your animations then Artbreeder , an online Artificial Intelligence (AI) that generates image mash-ups you can tweak as much as you like, could be the ultimate content library. What is Artbreeder? Artbreeder is free to use though there are various paid plans, that give you additional features, such as higher resolution download images or more settings to play with. All images created on the site are Public Domain (CC0 License) and can be used in commercial projects. Using Artbreeder's online app you can generate head shot portraits, full body characters, landscapes, and other scenes simply by choosing two or more existing images to mash together then, using a series of sliders, to select which traits from each image you wish to lean toward in the final image. Photo Comparison - Top is my original uploaded photo. Bottom is Artbreeder's ap

Jarrad Wright, The Big Lez Show - Who Would've thought Animating with MS Paint Could Take You So Far?

A friend of mine recommended I should check out The Big Lez Show after I mentioned to him I make animations for living. He said the show's creator, Australian animator, Jarrad Wright , just makes episodes from his home using MS Paint. Somewhat shamefully I hadn't heard of The Big Lez Show, but the fact that it was being made with MS Paint absolutely hooked me into checking out. If you've never heard or seen the show then you, like I was, are probably thinking how good could it be? MS Paint has kind of a cult following of hardcore animators but no one would use it as their primary animation tool on a series, right? WARNING - before going any further, you need to know The Big Lez Show and its humor contains some pretty strong language. By strong I mean it's peppered very liberally with the 'F' and 'C' words and is very every day Aussie, blue collar speak. Unapologetically, all of that, is part of why it's so good. There's a good chance you've

Make Disney/Pixar Style Characters with Reallusion's Character Creator and Toon Figure Bases

The Extraordinary Tourist Classic Coat outfit created using Reallusion's Toon Designer for CC3. I've talked before how I've wanted to get into 3D Disney/Pixar style character animation since I first saw the animated cutscenes for the very first Tomb Raider game back in 1996. It's why I initially bought Reallusion's iClone 3D studio app as soon as I could afford a computer that would run it. But then Reallusion released their 3D Character Creator (CC) for iClone and I wanted to create my characters with that (and I did try with Bat Storm ). But the focus of CC was realism, even with ToKoMotion's stylised body morphs . Now with Reallusion's Cartoon Designer bundle for CC3 which features two packs, Toon Figures , and Toon Hair , designing Disney/Pixar style 3D characters just got a whole lot quicker. The two packs are the bare essentials for creating Toon style characters. Five body morphs (2 male, 2 female, and one adolescent body morph that w

Eric W. Schwartz: Cartoonist, Animator and Amiga Die Hard

July 1992 Edition, CU Amiga Featuring Amy the Squirrel. American Cartoonist, Eric W. Schwartz , (whose unofficial Amiga Icon, Amy the Squirrel, is pictured on the July 92 edition of CU Amiga cover on the right) is my only real animation hero. Sure there are the big names like Disney , Chuck Jones , Tex Avery and even Preston Blair whose influences can all be seen in my own cartoons but Eric did what none of the others could. He showed that really great 2D computer animation was within my reach with little more than an Amiga Computer , a copy of Deluxe Paint and Moviesetter . This was at a time when computer based animation was in its infancy (outside of computer game animation) and Flash was something that lights did. There were many great Amiga artists but Eric was really the only one consistently making very funny, traditional style animations. His humor and drawing style is heavily influenced by classic Warner Brothers and Disney cartoons but he managed to build on this,

My First Anthropomorphic Character with Reallusion's Character Creator 3 (Pipeline) & Reviving My TETAnimations YouTube Channel

Skateboarding Cage Monster - Heelflip. Reallusion's Character Creator 3  is a pretty incredible application for creating any kind of human digital 3D character quickly. Its power comes from the way it can totally deform a standard human base template character into a seemingly infinite number of body types and shapes. While I wouldn't recommended it as a your only 3D character sculpting tool, it is very powerful with just how much you can edit a character's form at the vertex/mesh level. I've experimented a little with CC3's Edit mesh functions, mostly using it to hide areas of an object I don't want seen. Bat Storm's cape is a good example where I used the ability to hide vertices to completely remove the assassin's hood from the neckline up. Just on a whim I wondered if I could create my Cage Monster character entirely in CC3 (with exception to his skin textures which I edited in Krita). The character is basically a stylised human body with a monster

Voice All Your Own Animated Characters with Voice Changer

Voice Changer by AVSoft is real time voice manipulation software that can be used for a wide range of purposes including (according to their website); Voice-over and voice dubbing for audio/video clips, presentations, narrations, voice messages, voice mails, E-greeting cards, broadcasting, etc.; mimic the voice of any person, create animal sounds, change/replace/remove voices in songs, videos,etc. I bought it for the specific purpose of changing my own voice, to extend my vocal range, for voicing characters in my own animations. I was fortunate enough to get this software at a significant discount that made it difficult to refuse, given that I'd never tried it, or even heard of it before. I'm not sure if I would have bought it at the full price given that much of what it can do (for my needs) can also be done with the freeware audio program, Audacity . AV Voice Changer Interface. Voice Changer is relatively easy to install and set up. Once installed simply

Tokkingheads - Make Anyone's Head Shot Talk with Artificial Intelligence

I'm increasingly fascinated by how artificial intelligence systems are being incorporated into more creative applications like visual effects, A.I. generated art, and particularly the development of human sounding voices that can interpret dialogue with more human intonation. Tokkingheads , by Rosebud AI is an interesting application available as a mobile app in both Apple and Play stores, as well as a browser based desktop version.  The simple premise is to upload a headshot image of any person (or use one of theirs), record yourself speaking anything, and then the A.I. will work out how to animate your image saying those words. There's the additional option of filming yourself speaking those words (or you can use one of their videos) and the A.I. will add the movement of your head and face into the mix to 'puppet' your image. The final animation is kind of like a budget light, deep fake video, except this was created in seconds and is relatively impressive with the