Ok. Grab your picture and separate the character from the background.
When doing this, it's important to make each cut as clean as possible.
This means making sure every floating white pixel is TRANSPARENT. Use the eraser tool to clean up any fuzziness. Temporarily make the background a dark color to help you see.
After you do that, start separating the body in major parts -- starting with the head and body. Then continue breaking down each moving part from there.
Here I've separated the ears and each group of hair.
Note how I've 'patched up' the parts underneath by extending them as if the parts above weren't there.
With this, I'm able to make the upper layers move more freely without having chunks of the character missing.
For blinking, I separate the eyelid and put it on its own layer above the eyeball. I then extend the eyeball. Same as the other body parts, really..
Use the color picker to help make the extensions look more seamless.
Your eyedropper tool may have a setting that says something like 'pick from current layer' or 'pick display color/entire image'. Use these to your own discretion.
I'm patching up the body here. Extending the markings, fixing up pants, yadda yadda.
Use the water or blur tool to blend colors together and create a gradient to make things look less obvious.
After you separate everything, save it as a .psd. Create a new composition in After Effects -- I do dimensions that are 1920x1080 since that's the most common wallpaper size I suppose.
File > Import > File... and leave Editable Layer Styles checked. Drag it into the program and it will behave like a solid picture.
Double-clicking the layer will open it up, like a folder, and reveal the layers that make up that composition.
Press CTRL+P to bring up the Puppet Pin tool and literally just click points within the layer you want to move. Think of it as joints.
Extending the layer and going to Effects > Puppet > Mesh > Deform > Puppet Pin x will show you diamonds, which are the keyframes.
Move your Time Indicator to the beginning of the timeline, click the stopwatch and that will be your starting position. Scrobble somewhere in the timeline and move the part where you would like it to be moved until that time point -- or keyframe.
I RAM Preview frequently to check the animation. If a movement is going too fast, I move the keyframes further away from each other. If too slow, I move them closer. Very simple.
If you would like your animation to loop like this, CTRL+C the keyframe diamonds at the beginning of the timeline, scrobble to the very end of the timeline, and press CTRL+V to make the movements revert at the end.
Here I'm using a plug-in called Auto Sway. You can manually animate hair, I did it for my first animation.. but Auto Sway saves me a bunch of time. It's $40 though RIP
You can adjust wind speed and how much a part sways, which is what sold my lazy ass.
I'm just doing nothing but doing the same process to each group of hair. Not hard, just tedious. Sigh.
Here I made the wind blow the front part of the hair more than the back of the head. Different sway speeds look a bit more realistic to me than the whole head of hair moving as a unit, you know?
There's looping issues that I fixed by duplicating a layer, splitting the top one by the first half, and the bottom part by the last half.
I then move the first half one to the end of the time line and the last half one to the beginning of the timeline so that you have a seamless loop at the ends and the not-smooth looping in the middle to fix.
Press 'T' to open the Opacity, and click the stopwatch to key in each parts fading into each other.
If the shapes don't line up and the fading looks too obvious, go to Effect > Distort > Liquify, and click on the stopwatch under Distortion Mesh. Move that keyframe several frames forward, go back to the beginning of that timeline and 'smudge' the shape to align with the bottom version of that layer.
What this is doing is having that layer warp into a shape similar to the layer beneath, and since you keyframed the Liquify effect, it will soon revert back to normal and have a near-perfect loop. Near-perfect as in not too obviously noticable, so good enough.
Look at the timeline and see the duplicated groups (each color coded) and see how they're split by the first and last halves. The very slight overlap is where the loop fixing is. Kind of a pain in the ass, but worth it.
By shift-clicking multiple layers, right clicking and going to Pre-compose, you'll be able to create 'folders' to keep things organized. Perfect for lots of moving parts like this.
Here I've clicked 'Graph Editor' to turn the guideline into what looks like a speed graph of each key frame?
By having the animation 'ease in' or 'ease out' at certain points, it can make the movement look more natural with it gradually speeding up or down -- rather than just robotic linear movement.
Now I'm moving the arms. I've placed Puppet Pins at the shoulder, elbow, wrist, and yadda yadda, and have made the arm bend slightly as the character breathes. Like tensing up and relaxing his shoulders.
Originally, I had a lot of movement (note all the diamonds) but then decided that less was more, and that having each body part moving equally erratically and drastically as everything else took the focus away from the parts I wanted people to see: the anime hair and face.
Couldn't resist leaving the tail alone, though. It was so big and soft. I made it bounce a bunch. Fluffy fuckin' thing.
Making it loop seamlessly was kinda hard. The bigger it was, the more obvious the flaws were. I had to use the Liquify tool to morph the messy endings together into something at least a little more smooth.
Character movement was finally finished, but how was I supposed to imply wind more strongly? Particles.
Here I literally just downloaded some stock footage of cherry blossoms off of Youtube and resized it. I put it behind the character.
However, the black background was kind of a pain, and I didn't feel like looking up how to mask/'greenscreen' colors out of a video, so I inverted the colors to make the black into white and THEN set the blending mode to Multiply so that the white wouldn't show up. Whatever works.
Inverting the colors turned the cherry blossoms cyan, though, since opposite colors, but I tinted them pink again.
The pink looked a bit tacky, so I turned it black, and with Effect > Color Correction > Levels I was able to up the contrast to make the petals look more crisp -- and fewer in number.
I wanted them to fade away as they fell, so I added a mask with the Pen Tool (G) and drew the parameters. It was a sharp drop off, so I feathered the mask.
The petals also didn't loop smoothly, so I had to fix that too. Ugh.
I felt like they were falling too quickly -- as if the wind was affecting them more than the character, so I right clicked the petal footage layer, Time > Time Stretch... to slow it down. Then I cropped it. I had to fix looping again after changing the speed though.
I slapped an Overlay over everything to unify the colors. Also added a bit of a shine in the corner.
Strengthened the vignette on the side and added a slight blur on the edges. Your usual post-processing stuff.
And you're done! When Rendering the video, I usually go with MP4s as those are more universally compatible.
For sites like FurAffinity, I use an online converter (be careful!) to change the .mp4 into a .swf. Flash sucks.
Thanks for watching. I hope to make more in-depth tutorials in the future to help those who are more hands-on learners with microphone commentary.. or just stream the processes. I learned everything I did here by looking up 'how to do ____' as soon as I ran into problems that I didn't know how to fix. All by myself. It's that easy. Don't give up!
also fuk u jasonafex lol
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