Animate a T-Rex Dinosaur in Blender Full tutorial (free rig)

foreign from P2 design with a full length follow along tutorial it has been requested several times so here it is your T-Rex animation tutorial in blender and the cool thing is that it's totally free and you can get the rig for free on my website p2designacademy.com this is a step-by-step tutorial but I assume that you know how to animate in Blender at least you know the basic tool to animate in blender but if it's not the case and you want to learn the fundamental of Animation or push your skills to a professional level check out my animation course alive you will find the link in the description I advise you to follow along watching 30 second to one minute then go back and repeat the process shown and don't forget to share your animation on social media using the hashtag P2 design let's get started [Music] the first thing you want to do is to get the character ring go to p2designeracademy.com and search for the free rigs you can have those rigs for free or pay your 15 support fee once in there in the tyrex section just choose rig download and follow the instructions the whole rig is explained in the T-Rex presentation video opening the files you should have this presentation so we will collapse the text editor once we don't want it and I will also push the outliner in the properties panel as we won't be using them in the rig UI I will hide some of the controllers that we won't be using or this animation I think it's gonna be easier to use inverse kinematic for the hands or the arm of the character so I will ID forward kinematic controllers of the arm I can also hide most of the tweaker bone for the time being as we won't be using them at the beginning and I will duplicate my king set animation this way we start with a neutral pulse but with all our controllers properly keyed I will rename it walk and then I will go to the preferences and make sure that in the animation tab the only insert available is enabled this way blender will insert keyframes only on the controllers and custom properties that already have a key and this is why I created this first action keying for you only the needed transform Channel arcade and it will keep your blender file clean if you want to identify your controllers based on their group color just enable the channel group colors in the preferences I personally prefer not to work with the head can be controlled by your forward kinematic or inward kinematic controller I will use the invert kinematic by default this controller is parented to the Torso root or center of gravity and I will keep it as is for the time being I gathered a few references that you should have a look at while the leg motion might be obvious look at how the Torso bounces that's super important and look at the stability of the head and yes this is not the tyrex but a lot of scientists think that birds have a lot in common with Dinosaurs they have a very close bone structure bone properties like hollow bones you should also have a look to this sequence from Jurassic world the Fallen Kingdom it's great to have a sense of pace and weight on the character don't worry you will find all the links in the video description the last reference I have is an animation done by Brendan body is a season animator instructor at inmate specialized in creature animation and we'll be using a lot of his principle to communicate weight and scale for this animation check out his webpage for awesome animation tips first thing first I want to animate a 24 frame per second not 30 so I will change that in the document properties for this kind of Animation I like to use a mix of layered animation and simple blocking we will trade the animation of the legs and the Torso root and based on this we will animate the other parts of the dinosaur so we'll select the fit controller and the Torso controller and I will press shift H to hide everything else from there I will create the first pose the contact pose and I will start with the left leg so I will move the left leg forward and the right leg backward this is the moment where the weight of the character is falling downward so I will slightly push the character down toward the supporting leg the front leg don't push the offset too much as this is not the most extreme pose for this controller if I now check my timeline my character will reset its pose because I'm not recording what I'm doing so I will press Ctrl Z to undo that I will check and enable the auto king and I will add a keyframe on all my controller on the first frame I now switch to front view that will be better to slightly tighten the the faster you animate a walk or a run the title will be defeat onto a centered line but since a creature is pretty heavy you want to keep a large stance so I just offset the fit by 0.2 units towards inside all right let's move on to the next pose I will arbitrarily jump to frame 5 as I absolutely don't care about timing at this stage and I will insert a keyframe on all controllers I will select all the keys with a and press T and switch to constant interpolation also known as depth I will bring the front leg back just beneath the center of gravity of our character and I will push the Torso or the center of gravity up and slightly toward the other leg but I will keep it beneath the supporting leg now we'll bring the other leg more or less at the same level but I will erase it so that it doesn't touch the ground I will press alt H to expose all the controllers as I will mainly use the footroll mechanism to rotate the foot forward from there we need to pull the fingers I will first select the outer pan bone and slightly rotate it backward then I will select all the pan bones I will switch my rotation mode to local and I will press R to rotate and rotate along the x-axis to curve them back then I will select the curl bone that allows us to curl all the fingers at once and rotate them also back along the x-axis the foot animation is going to be one of the most important for this work because a lot happen here now that my foot is posed I will erase it so that it doesn't clip with the ground and I feel like I need to push the Torso a little upward and more onto the supporting leg I will also add a bit of rotation toward the supporting leg as it's trying to raise the right leg now that we have those two pose we can almost create all the poses just a little tip you may may see hiding and re-enabling all the controllers I'm just toggling the overlays by pressing shift alt Z so now on frame 0 I will select all my controllers with a press Ctrl C I will go to frame 10 and press Ctrl shift V to paste the mural pose from there I will select all the keys on frame 0 by selecting the first on the top in the summary press shift ID and move it on frame 20 and then I will copy the pros on frame 5 and press Ctrl shift V to paste it mirrored on frame 15. then I can go on frame 20 and press Ctrl and in the action editor this will set the end of the action or the timeline and when I hit play I can start to see my current work cycle so while I felt with the cycle as it is is that during the passing post the center of gravity is a bit too much forward so I will adjust the pose on frame 5 and then just re-mirror the poisson from 15. Let's Line the foot motion before I switch to spline I did a little timing pass of camera and it feels better to have this cycle over 50 frame at least for the moment so I will scale my keys to distribute them over 50 frames now I will select all my keys press T and switch to busy interpolation and press V and make sure that everything is in autoclamped so now I can see blender automatically interpolating my animation not too shabby but really not good I will start by working on the left foot I will select it press shift H to hide everything else and switch to the graph editor by pressing Ctrl tab I won't be animating the rotation yet so I will hide everything but the location channel the first thing I want is to make sure that my foot travels slower on the ground than when it's leaving the ground the foot forward motion is driven by the Y location curve I want the foot to travel slower while on the ground so I will offset frame 25 on frame 30 for the time being when you are working on the walk or run cycle you want any point contacting the ground to move at a linear speed so I will delete any key in between select the two keys and the extremities of this contact pose and press V and switch to Vector now I need to offset the moment the foot leave the ground the up and down motion is driven by the Z curve so I will offset the Z curve and also switch its interpolation to Vector now as the foot leave the ground I don't want it to go up and forward directly I want it to kind of have a bit of overshoot backward so I can do this by aligning the Y curve with the last point before it leave the ground I want it to slowly accelerate forward as it pull its leg but you know by the way I don't know if it's a he or a she so let's call the tyrex Bob and I will soften the verticality of the Y curve so that the foot moves forward a little slower now we need to work on the Z location curve so basically I want the leg to raise not too much and then it will raise a little more before it hits the ground like super fast since Bob is heavy he has a hard time pulling his leg off off the ground and when it's the time to pull it back onto the ground he does it super fast this is why I will switch the contacting frame to Vector so that we have a hard angle on our curve then I will push the IR pointer little further closer to the moment of impact so basically the foot will lose altitude super fast I want a bit of another shoot of the foot forward as it's moving forward I will rotate the curve so that it will go further forward and at the moment that it will touch the ground it will be moving backward basically the idea is to refill the Stomp the moment it touched the ground so you need the foot to fall pretty fast now when you are animating a walk cycle you need to make sure that you use the less energy possible to raise the feet so in the beginning I will try to keep the foot as close to the ground as possible I mean you don't try to raise your knees as high as possible unless you're into a CrossFit training or whatever so try to keep the feet not too high and in the end I'm just raising it a bit so that we have a nice stump a nice impact once the finger will be animated it will really feel better don't worry now you should always check your motion using the motion path so you will go to the amateurs properties go to motion path set your frame range and then calculate I personally added it to my quick fabric by right clicking on the button and choosing add to Quick Fabric and this is what my motion path looks like one thing a lot of animators forget to animate is the side motion of the foot during a walk cycle so I don't know if it's going to be accurate because I don't have a reference for that but I feel like the character should be pushing inward that the foot is pushing toward the inside and then during the passing pose the foot will go slightly on the outside before it touches the crown while on the ground you want a straight X location you don't want it to slide side to side but then as it leave the ground I want it to go slightly toward the inside point and then during the passing pose slightly toward the outside so I will kind of have a s-shaped curve and then I will zoom on my curve to reduce the amplitude of the curve so I don't want a super broad side to side motion it has to be subtle but it just brings a bit of believability to the motion I guess now I'd like to mirror the action onto the other foot even though it's not finished just to have a better feeling about it so I will first make it cycle by selecting all the curve pressing shift e and choose make cycle now with all my curves selected I will press Ctrl C to copy all those keys in the 3D view I will unhide all the controllers select the opposite foot and then I will get rid of all the keys but the first one I will select them all and press Ctrl shift V to paste a mirror curve now Bob is doing small gems so I will offset all those keys by 25 frames and then I will duplicate them back to create some kind of cycle and I will insert a key on the very first frame on all channels and convert them to free duplicate those on frame 50 and get rid of all the keys after frame 50 and B from frame 0. this is how you kind of clamp your animation length in a way while recording I spotted that I offset the curve by 24 frame instead of 25 but I fixed that on left foot basically a little later on I didn't notice why but it felt better on the right foot and I fixed it on the left foot but now it feels like the animation is a bit too slow so I select all the curve and make them cycle pressing shift e now I will switch back to the action editor and I will scale down the whole keys to what the 0.0 basically I'm making the action shorter so the animation a little faster and it feels better to me at least on 40 frames the length of the action is really up to you I felt like 50 frame was a bit too slow but it also feels like super heavy that's really hard to to get the timing right at this stage so as I explained before on the left foot I will simply offset the landing pose by wine frame so I will push the up pose of the foot by wine frame one frame later so it takes only three frame for the foot to land on the ground which is the case on the right foot since I did this little mistake now if we polish a bit the photographs will really change the feeling of this rock cycle so with my foot roll controller selecting I will press shift H to hide everything else and I will start working on the graph editor I will deal with it as I will do with a human foot but then with the finger we will add this kind of bird motion so here I'm raising at the fingers but this is not rotating around the heel of the foot but around the ball of the foot so I push the key down to raise the fingers but I want to slap them on the ground pretty fast on frame one or two as you want to slam the ball on the ground you switch your key to Vector this way you get rid of anything then I will duplicate the first key on the very last frame and I will make Bob pushing onto his foot a little sooner by duplicating this key to have a more flat curve on the top so it will be raised a little longer then I want to make sure that he opened the foot a little more while the foot is going down on the ground so this is where the finger curling will kind of get into the other direction it will make sense when we start animating the fingers and the time is more or less now so what I will do is that I will press alt H to unhide every controller I will select the Palm controllers and the finger coloring controllers and for the time being we will focus only on the X rotation so press alt H to and hide everything select the bone you want to use and then we will press shift H again and to isolate the X rotation Channel I will go to the search bar and type in X space EU for X Euler and only the Channel with the name X U will appear the actual rotation basically so let's police those fingers first I need them to be in contact with the ground I don't want them to go through the ground so I will offset their exploitation curve until the foot leave the ground and then I will trick them to keep them in contact with the ground as long as possible so it's not really about moving the curve or wherever I'm using the graffiti top because it's easier I can work with chunks so I'm duplicating the curve and per frame I'm offsetting the curve to have visually in my 3D viewport the fingers that seems to be in contact with the Y Line which represents my ground level in a way so I'm using the graffiti top but I'm basically building post to pose animation here then once the foot leave the ground I can curl the fingers back as a follow through animation I will then go back and revise a bit the position of each fingers on the ground so I will try my best to reach the best result I can using only the killing controller and then I will unhide all the controller and play with the tweaker Bones the individual joints of the fingers here I've reached this limit where I can't really get the result I want with those main controllers so I will switch with the tweaker bone I will rotate it you can see that it's interpolating over five frame I don't want that so on the previous frame I will cancel the rotation by pressing alt r and then I will smooth the curve so that the controller doesn't pop by offsetting the next keyframe as the foot travels fast in the air I want the Palm bone to slightly curve backward again as I follow through animation and I will do the same with the curling controllers as explained before I dealt with the contacting post a bit as a human foot but it doesn't feels right whenever a chicken or a big bird or if you watch other dinosaur references in movies or stuff like that they tend to land on the ball of the foot not on what I interpreted as a heel so it doesn't feel right so I will try to absorb the impact with the fingers a bit but still have a bit of slapping rotation of the fingers it's a bit subtle it's a bit complex to explain so just follow along try to to get a sense of the motion basically so here I'm almost at the contacting point and I'm making the fingers pointing down while I was planning to make them point up as your toes will do whenever you are walking so now when I switch to frame 40 the contact imposed you can see that the Palm bones are pointing up a bit too much so I will lower their curve and it will reduce their rotation and make them Point toward the ground and it feels a little more natural I still want to have a bit of this slapping motion like this impact on the ground I will just speed up this part of the animation because this is where I was kind of exploring this slapping motion on the ground and it doesn't feel right at all and this is what is hard about doing animation tutorial is that sometime you need to explore some stiff and it doesn't work so you need to revise them afterwards so here I choose to show you the whole process because I don't want you to feel like hey you did something I didn't see it so you see the whole thing here you see my mistake and you see how now I'm trying to fix it so basically I'm fixing it by going back onto the footroll controller and make sure that our friend Bob doesn't lend too Ashley on the ground that there is a bit of absorption with the fingers and then I will spend quite a lot of time on the first two or three frames working on each joint of the fingers to make sure that they are in contact with the ground that we feel like they are absorbing the impact so I will just post them one by one I will use their rotation but also their location it's totally fine fine to kind of break the rig a bit because your fingers doesn't rotate along a simple axis if you look at your fingers for example joint they do rotate but they also slightly slide around their joints you can't see it because you will need x-ray but what I mean that by that is that there is a bit of rotation but also a bit of translation so that's totally fine to use that at your advantage during your animation what I don't want is my finger to go through the ground too much or to be floating above the ground too much it's okay to have a bit of clipping with the crown if at some point you set a plane to materialize the ground it will feel okay if the the fingers are kind of clipping with it while if they are filtering upon the ground it won't look okay so here you can see I have a bit of popping in my fingers I will just go frame by frame to get rid of it and get a smoother interpolation here I'm just accelerating a little bit at the video because it's pretty long uh I will be like fine tweaking each finger so as I told you before I want them to be contacting the ground so I will make sure that they are properly rotated they are properly offsetted I'm only working I think with the very last joint basically so that's pretty fast but it's not super interesting to speak over that or there is nothing to explain but a trick your bones or tweak the poses that it looks right now I'd like to bring some extra details that will really push this foot animation to the next level I want the fingers to spread a bit when they are in contact with the ground so one thing that will probably demystify your bits animation for you is that I did read this character so I more or less know how it behaves but sometimes I don't so I just take a curve I move it and see what happened on screen and check if this is the right Behavior I want it was not the case with the X location so now I will try the Z rotation and see if it does spread the fingers and it does so I know that I need to use this curve so now what I will do is that after the contact pose I will take like about two frames to open a little model finger and I will hold that pose until the foot is released from the weight of the character so basically as the foot start to leave the ground I will just reset this rotation spreading the fingers a little more while the weight is on the current foot will bring this extra detail that really feels more natural so I will just add a key in between and push it slightly down to slightly open the finger a little more it's barely noticeable but it will make it more natural as the pose won't hit the wall like I'm transitioning to nuples and the pose is locked it will still be moving in a way now I can repeat the process on the outer pan bone so I will simply open a bit the pinky or this finger I don't know how to call it uh while the foot is still on the ground and as it will leave the ground I will reset the pose now I can see that I don't know why maybe I paused it by mistake but it was a bit too opened while the foot was raised so I'm just fixing that by setting the curve value to zero now it really feels more natural now I just need to work on on this finger so I will simply animate the curling bone that will be enough and I just want to add a bit of shaking and a bit of fall through animation to this bone as the foot is moving so by looking at it a bit closer it feels like it's really curved inward like too much mass if it was contracted I think that's something I post during the blocking stage that's perfectly fine I will simply erase the curve a little bit to relax the Boon in a way or relax this finger and I will create the follow through animation so basically when the foot is moving back I will slightly erase the thumb and as the foot is moving forward the thumb will be dragging backward then it's a matter of distance between the keys here my curve is very smooth so I won't even notice at the different poses because it's interpolating during the whole animation so I offset the key so that I have a bigger change between frame 25 and 32 and it feels a little more natural now as the foot is falling down I will erase the thumb as it's dragging and I will duplicate the pose on the opposite side and then I will create a bouncing motion so I will create a zigzaggy curve that will soften over time I will slightly accelerate the video now on this part because I'm just experimenting I'm just trying some different amplitude of this new solidal shape for the curve that will bring this kind of bounciness in the Sun as it's reacting to the impact on the ground and eventually I got this specific curve and eventually I ended with this curve where I can see the bounds of the sun and it feels okay to me so instead of trying to find which bone was animated or not I would select my whole left side copy the keys select all the bone on the right side delete all the keys but the very first one and then select them all and pressing Ctrl shift V we get our super jumping Bob to fix that I will select all the keys of the right side press shift to D duplicate them and offset them by 40 frames note that I'm almost always using the shortly selected option for my curves so it will show me only the curve from the bones that are selected so now with all my right foot curve selected I will offset them by 20 frame to the left back in time basically now I will select a keyframe on all the controllers on frame 0. then I will select those keys press V and switch their handle type to free now I can get rid of all the keys before frame 0 I will select all the keys on frame 0 press shift d and 40 to duplicate them on frame folding and get rid of all the keys after frame 40. and now we are done with our foot animation we can jump onto the Torso animation so we will start with the up and down and side to side motion so I will select my torso root and I will isolate the location channels I need a little mistake there by isolating the Z location and X location because the up and down motion is driven by the Y location Channel now the big deal as I will start with the side to side motion so the X location Channel a very common mistake is to make the extreme of the Torso or center of gravity to be in sync or synchronized with the contact pose but you want to offset that in time first the foot contact the crown and then the weight continued to travel over the contacting foot and then the foot will push the body the other direction the opposite direction so in my graph editor since the contact frame is on frame 0 I'm offsetting the extreme left pose of the Torso on frame free and then I'm holding the pose or I have a slow transition to the right between frame 4 and frame 12. Bob is pushing on his leg to bring his weight onto the other side and then as you fall down I will have a fast transition onto right leg and I will repeat the same mechanism or the same profile of the curve but on the opposite side so this is the main profile of the X location curve I will slightly tweak it and then start working on the up and down so here I was trying with the Z location curve and it felt strange and I realized it was not the right channel so I just switch hide the Z location Channel and enable the Y location Channel but you really don't want when you're working on such an heavy character is to have this pure sinsolinal shape in your up and down curve what I mean by that is that you should have a slow paste raising as the character is pushing to raise the opposite leg and as you fall down as it is very heavy it should go very fast also since there are two steps into a cycle the up and down Curve will repeat itself over 20 frames it's like you have two cycle of the up and down within our 40 frame cycle the up pose should be a couple of frame after the passing pose this is the moment where you really push forward basically so this is where your body is getting as high as possible and this is where Bob bodies should do the same and then look how I try to slow down the fall on frame 20 the contacting pose but then I wanted to accelerate after the contacting pose because one short foot contact the ground you're kind of releasing the weight from the other foot and so your leg has to support the whole weight and you fold down even like slower then you will push to be able to erase the opposite leg the one that was supporting the weight basically so what you want to remember is that when you are doing a walk cycle your down pose is not on the contacting pose and the heavier the creature you're trying to animate the later the down pose will be reached after the contacting pose so I am spending a bit of time refining those curves while I don't want to is to get my down pose and my extreme side to side pose to append at the same time which is the case right now I want to hit the down pose before the extreme side pose so basically my character is going down and reach the down pose but he's still traveling to the right or the left depending on the foot that just contacted so this is what I'm doing right now you can see that I'm reworking my side to side curve to be able to offset it maybe by one or two frame and so that the extreme down pose is not aligned with it so now my extreme down is on frame 23 and the extreme right on frame 26 and then I will make sure that I have some kind of the same profile for my curve on the left side basically to summarize your down pose is a couple of frame or three frames after the contact pose and your extreme side pose is a couple of frame after the down pose from there the result twice decent but I felt like I had some kind of v-shape in my motion path and what I like when I'm viewing the motion path from the front view of my torso root is to have more like an eight shape something that Loop nicely here you can see the result I had after revising my x-curve so now let's switch to side view and work on the back and forth motion I always struggle a bit with this one because it doesn't feel natural especially when you are animating a work cycle on place or a static work cycle if you want but basically when your character is pushing forward or up you should bring back the center of gravity and as it falls forward you should bring It Forward and just try to keep this motion pretty smooth the idea is to make sure that your character looks balanced from the side view also one Pitfall that can happen when you're working like that with the layered animation approach so basically we are layering details of Animation one after the other by polishing each controller separately that you may feel like you're lacking details in the motion right now so you want to push it further but don't forget that we will animate the chest the head the hips and this is going to bring a lot of details in the animation and a lot more visual noise and texture to our animation that will make it feel more lively so for this side view I'm not going like into a super contrasted curved shape I don't want a crazy contrast in this back and forth motion maybe I will change it later on but for the time being it feels safer to keep it smooth like that take the time to watch your animation and turn around your character it's important to be satisfied with what you're doing don't forget that satisfaction drives your motivation we will now work on the rotation of the center of gravity we'll start with the left to right rotation this is our base curve and I just want to bring a bit of contrast so basically when the characterizes weight on one leg he will will be leaning or rotating toward the leg and then we have the weight transfer that should be pretty fast from one leg to the other here you can see the motion I'm currently working on so while you cool think about is that since the character is very heavy think that he's a bit drunk so when his weight is transferring onto a foot he will rotate toward the foot a bit and he will hold this rotation for a while and then rotate the opposite way super fast don't push the curve too much you don't want to bring too much rotation because we will be adding rotation in the chest the head the hip so keep this torso controller pretty subtle when it comes to rotation from there we can switch to the X rotation channel so it's the up and down that will drive the chest and the head basically I advise you to keep these rotation super subtle again because we will be adding more motion using the chest controller and if you bring too much rotation in this controller it won't feel natural it would feel like your character is losing control because his head is moving too much in space now motion wise with a slight offset in time you want the Torso or the chest of the character to point up whenever it's falling down and you want it to lean forward whenever is pushing on the legs also as the up and down motion this motion will be repeated twice over a full cycle because you will have this motion for each step I don't have that much to add to this so I will just accelerate a bit the video a slightly platter when the character is leaning forward after the down pose and when it's pushing on the legs and then a smooth Bend point is going down should now switch to the hips I will first use rotation and I first want to animate the vertical rotation of the hip that will Hollow to bring the leg forward and backward basically since I don't know what channel to use I will just try a couple of them until I find the right one and it's the Y channel the hips are generally leading the motion especially when it comes to the leg so the hips will pull the legs forward so what I want to do is to rotate the hips toward the front foot so basically I'm just reducing the distance between the foot and the hips that's pretty straightforward but what I will do is that I will give my curve a bit of acceleration when I'm switching side just to give the impulse to pull the foot from the ground this is why I'm adding a key on frame five and instead of having this smooth sinusoidal curve I will just push it up just to make the transition a little faster just after the contact input so I contact with the ground I want to pull the back leg so I will accelerate and I will do the same on the opposite side after frame 20 I will simply add another key or duplicate a key on frame 25 and push it toward the next position and this curve profile at least for the time being feels good to me now what is disturbing is the tail following the rotation it currently feels like there is too much motion but this is because we haven't animated the tail yet to give it a follow through animation but what we can do is isolate the rotation of the tail please make sure that you have the latest version of this rig that was updated on the 28th because the property wasn't Exposed on the first rig release in the properties panel on frame 0 I will set the tail rotation Flow To Zero you can see it's interpolating so we need to get rid of the keys that are not needed or not used to drive this property in the graph editor enable show hidden option and then in the search bar just type in prop and all the properties should appear it worked that way on this specific grip because the properties are bound to a bonus called properties so I will just get rid of the keys of the tail follow and just keep the first one that is setting the property to zero with that fixed let's jump onto the twisting of the hips the principle is pretty close to what we did before but I want to add some impact as the foot will touch the ground it will push the hips up this is the kind of mechanism you want to exaggerate to have a very feminine walk cycle for example on frame 0 the left leg is contacting the ground on frame 3 I want to extremely push the hips hip then Bob will recover from his own weight and he will start twisting the hips the opposite way to be able to raise the right leg so I will start to twist the hips the other way basically counterclockwise piece to raise the right leg and then I will rotate them clockwise but not too much to reach the ground to help Bob reaching the ground with the right foot and as he contact The Ground Three frame later I will re-rotate or retwist those IPS contact likewise pretty brutally to have this kind of shock or shaking in the hips as his weight is getting on it so you can clearly see in the graph editor on frame 20 I have my contact pose and then I'm just tracing the hips the opposite way and we have this little bump on frame 25 so now Bob just recovered and he needs to raise his left leg so I will rotate the hips clockwise until I reach the up pose and then I will slightly rotate contact clockwise to reach the contact post so the base curve will be pretty sinusoidal but we are adding this bump on frame 3 and frame 25 to break the rotation and it does feel pretty cool let's work a bit on the X rotation I will try to keep it simple when he's reaching the contact pose I will just move the hips forward a bit so I will rotate them inward basically I will raise a bit the curve value on frame 0 and frame 20. and then six to eight frame later I will push the curve a bit down and it will make the back or the hips raising backward a bit like a cheetah running if you want but here we keep this rotation pretty suitable because it's clearly not a cheetah it's a little bigger and I don't want to add too much of this rotation because it will bring too much noise to this area and I don't think that will be super accurate motion wise we will add a lot of shaking and details and stuff like that but I have to be careful with the rotation because if I push it too far it won't look natural so here it's a bit Poppy I feel like it it switches a bit fast so I will just slightly offset frame 6 and frame 26 by one or two frames by doing that time smoothing the curve and I reduce the contrast in this Motion in the end I switched to frame seven here it's frame 8 so it's a bit too smooth but I did modify it off camera One Last Detail I'd like to add to the hips motion is the Y location so basically the up and down and what I would like is to bring more detail to the down pose so basically the impacts and the weights of the character so you don't really need to add this motion because there will be a lot but again it's a matter of detail so what I want is a drop of the Apes just after the down pose so why the character is going down from frame 0 to 2 or at the end of our motion the hips will raise into your offset up and one or two frame after the down pose the hips will reach their lower Point basically they have a follow through motion with a settle so after these bounds they are trying to stabilize but since we have two bounds in such a short cycle they don't have that much frames to stay still so as usual I'm working on the first Alpha of the cycle since I will be repeating the same motion twice once I got something that felt satisfying I just duplicated it making sure that it Blends properly and then I just try to offset a bit some of the keys just to see how it feels on the screen so that's not the most interesting part but you have the results right in the middle of the screen now I now want to work on the chest so I will select it and I will work on the up and down rotation so the X rotation I will probably add a bit of up and down also using the location later on so as usual I will hide all the control Channel but the X rotation and just check how my curve behaves the process is going to be pretty straightforward since I'm just doing overlapping motion based on the root motion I mainly want the chest to drag so on frame 0 we are into the down pose we are going down pretty fast so I'm raising the chest we eat the down pose around frame four or five so I will go even lower on frame 7 and I will consolidate the frame on frame for you so basically I'm holding the chest up and then after down post the chest is dragging down since this is an abandoned motion it will occur twice during the Cycles therefore I can duplicate the keys and offset them by 20 frames here I'm trying to add a bit of contrast so that we better spot this motion the curve is currently resetting getting to a value of 0 on frame 12 but I will offset this value by one frame earlier so that we have a little more contrast it's pretty subtle but that should show from that I can duplicate the first half of my animation onto the second elf to make it cycle now we will bring a bit of twisting to the chest if you animate the wall Cyclone before January you have what we call a kuntar pose or Contra poster between the chest and the hips so let's add that so as usual when I don't know which channel I have to use I just check the different curve move them a bit and see how my character is behaving so the Z curve is the one I want to play with so basically what I want is when the left leg is pushed forward I want to rotate the chest clockwise it will basically erase the opposite shoulder and when the right leg is forward I want to rotate the chest counterclockwise our contact poses are on frame 0 and frame 20 so it's pretty straightforward I will just push the rotation on those keys then I will get rid of any keys that are unwanted because we don't really need them duplicate the first key on the very last frame since they have to be the same and then I will simply scale my handles so it will contrast the curve note that by default I'm generally using the individual origin as a pivot point to edit my curves all right now I will do exactly the same thing but with the Y quaternion rotation but I will make it more subtle because it's the side to side motion and I don't want at the chest of the character to wobble too much again it's about finding the right balance between fighting against the weight of the character where he's trying to resist or lead his motion and showing control so I have my acetyl curve set up here and I will just offset it a bit to the left so basically the chest is anticipating what the hips are doing as in a walk cycle you will move your shoulder forward to give yourself some momentum the hips lead the animation but so does the shoulders they give momentum too once I'm happy with the result I will just keyframe 0 press V to convert the key to 3 and I will duplicate it on frame 40 and and remove the key that isn't wanted great we are almost done let's jump onto the head I thought I said yet to use the inverse kinematic mechanism but when I test it it doesn't work so I will just go on to my properties on frame 0 switch to inverse kinematic from the head then I will search for my properties into the graph editor and I will get rid of all the other Keys as I explained previously to do so I switched to show hidden and then in the search bar I'll search for prop I will isolate the inverse kinematic switch for the head and I will just get rid of all the keys but the first one where I'm selling the mechanism from there I just tested whether I should keep the inverse kinematic to follow the Torso controller also known as the center of gravity as it means that I will have to control animate the position of the head paste on the Torso but the Torso motion also brings a lot of interesting details to the base motion of the head so in the end I choose to keep tip it's parented to the Torso then I will get back and select my head controller get rid of the prop in the research so that I can display my transform channels and I will first work on the back and forth motion of the head it's the Y location Channel basically I want the head to go backward when Bob is making a step when he's pushing on his leg and then the head should go forward when he's going down so as you can see on frame 5 I slightly push the curve down just to set my extreme forward pose and then during the passing pose I will push the head backward once I have this space set up I will simply duplicate the keys to make it cycle over 40 frames I dropped here the profile of the final curve because I thought we did quite a lot to get it right but there is not that much to say about it you know I'm just trying to contrast a bit the motion and keep it subtle and natural as I felt the motion was a bit too strong I selected all the point on my curve and then I switch my Pivot Point for the graph Editor to use the bounding buff Center this way I can scale the curve along the y-axis to reduce the amplitude of the curve reducing the amplitude of the motion once I'm happy with that I will key the very first frame set it to free as usual then duplicate it on the last frame and get rid of all the unwanted keys and here I am with my base back and forth motion for the head so let's now switch to the up and down motion I will keep it super subtle so basically I will raise a bit the head on frame 0 when it starts to getting down and then on frame 7 also I will lower a bit the head just after the down pose so it's a very subtle overlapping motion and then I will simply duplicate those keys to make the cycle now on top of this we will add a bit of x rotation so it's going to be a bit of the same principle I will enable the X rotation and basically we want the nose to point up when the air is going down and when the head is Raising we want the nose to point a little down so we are making the nose dragging a bit and I'm as working on the curve I will favorize the down pose of the nose so the moment where the nose is pointing down what I mean by that is that I will add a third control point on the cycle and make sure that the curve is mostly on the Top Value so I will hit the IR value where the nose is pointing down just after the down pose and then I will kind of maintain or hold this pose while the head is getting up so we are close to the up and down motion of the Z location curve but I'm bringing a bit of Interest once I'm happy with the result I will select all the point and I will scale my curve down so basically I will flatten it a bit to make the motion more subtle you just need to scale down all the points along the y-axis I will now check the rotation in front view and work on the Y quaternion rotation here I don't want the head to drag because it will look weird it will be like Bob is not controlling his head so think about the head as a wheel and I will rotate the head toward the point it's moving or it's translating so when the head is moving to the right I will turn the head to the right and the head is anticipating the motion this is why I offset my extreme by a couple of frames it has to be a very subtle motion you all seen those videos of birds and again we do believe that this character should have a bird Behavior where the head is stabilized in space and this is probably due to the fact that Birds can't really rotate their eyes so if the head was moving around all the way they wouldn't be able to focus on the point or have a clear view so we brought some follow through animation through the location of the head and the up and down rotation now I'm kind of stabilizing the head with the others rotation channels this is something you could also achieve with the target for example or a dump and track constraint but that's also quick to do it by hand on such a short cycle I will do the same thing with the Z rotation so basically I'm trying to get the most extreme side position of the head and I will slightly rotate the head inward the extreme was on frame nine so if I go to frame 29 I should find The Other Extreme and again I will push the head slightly inward so that the character is looking toward its Center Line and so far it looks pretty good so now I will work on the jaw I do believe that closing Bob's mouth should looks a little better then you can just pluck the pose and keep it as it is or add a very subtle motion because on a cycle if you add too much mouth motion it will look weird in the rig UI I will enable the face controller layer I will select the joke controller and in the graph editor I will isolate the X quaternion rotation that will allow us to close the mouth so I will push up the curve and then I will just get rid of all the other keys and duplicate this key over the last frame closing the jaw of the mouth really changed the silhouette of our character and it seems that he's looking up so I will just select the head go on to the X rotation of the head and offset the whole curve just to make the head look down a bit so next time you do such an animation you should pose the mouth first so that you don't have to go through these six back onto the jaw I will add a bit of motion but it's going to be a very basic follow through animation and I want it to be very noticeable because when you're walking your jaw move for sure because everything in the body is connected so it will look a little more alive or fleshy but unless you're watching a clip of someone walking in very slow motion you will not notice this Motion in the jaw which is why I told you before once the joy is posed you can almost skip this step it's up to you I'm not even sure you can see the difference here on the screen so let's work on the tail I will display the relevant bone layer and I first want to work on the up and down rotation the X rotation I will start by animating the Taylor's root and then we will animate each joint along the chain we need to keep this animation very subtle because the tail is used for balance so it's not like a ponytails or hair where it could move all over the place there is tension in the tail muscle and we need to feel it if you're feeling lazy you can just animate the tail root and then the master controller just use a slight offset I will show you how we can quickly animate the Old Tail manipulating each joint the tail root will have a lot of rotation especially the up and down rotation and then we will dampen or absorb the rotation along the tail and then I may increase a bit the rotation on the last three or two joints of the tail so the middle of the tail will absorb the bones while the tip of the tail will shake a little bit because it's lighter basically and it's not that involved into the balance of the character now as a lot of our animation so far this is going to be a simple follow-through animation so when the character hit the down pose I will make the tail go down super quickly a few frame after and then the tail will stabilize back up and I will hold the posts so that we have a nice contrast so at this stage it's pretty easy to get a decent result and then it's all about tweaking the curve kind of polishing it to get a better result something that feels better with more weight and more contrast so if you lock a pose by creating two keys one close to the other as I'm doing here on frame five you can see that my curve is almost flat and then it goes down very fast I'm creating contrast but then the down pose is smoothly getting up so it's not like a hard bounce the time will go down quickly then recover slowly and hold it doesn't feel like it's hitting a wall or whatever with that done I will select the curve and press Ctrl C to copy it I will select the next controller isolate the X quaternion rotation get three dot of all the keys but the first one and press Ctrl V to paste the curve then I will offset the curve by a couple of frame and I will repeat this along the whole tail chain then you can play with the scale of the curve increasing it or reducing it to increase the amplitude of the motion you can get rid of some of the keys because as further away from the root we are getting the smoother the Curve will be and in the end you will see that I got rid of most of the point to keep only four points per bone and I just played with the amplitude and the offset of the curve so I copy again the curve jump into the next joint select the extra turning curve get rid of all the keys but the very first one paste my curve and now I'm offsetting it even more so I was kind of arbitrarily offsetting the curve each time by a couple of frames sometime a little more and in the end I just took all the curve and started repositioning them so most of the time I had one to two frame of offset between the joints so I just accelerated the video a bit because I'm doing exactly the same thing over and over on each joint you don't need it to be super accurate just paste your data offset them a bit scale them a bit once all the joints are keyed you can play with the Curve so I will just skip this part and here you can see the curve profile I had for almost all the joint in the chain I got rid of the holding frame I had on the roots of the tail I kept it on the first two bones but on the next bone I just created this initialidar shape and I was just offsetting in time a bit the different Keys scaling them up or down depending on the behavior of the tail so here I'm taking advantage of the cyclic modifier I didn't key the very first and very last frame on each pump I just offset them once I will be happy with the chain motion I will properly cut the animation but I'll do it once we have animated all the rotation axes so here I am with a decent result where I try to add more motion to the tip of the tail so let's now play with the other axis so I will repeat the process with the Z rotation axis and you will see that it will really bring our chain motion to another level we paste our previous motion the up and down rotation if you want on the up and down of the Torso of the root of our character so I had a bit of contrast in the rotation on the X channel here I want something really smooth I just need to find the right timing the moment where I'm hitting the extreme down for the curve and the extreme hip and basically I'm just counter animating the rotation of the hips so I will keep my curve in Auto clamp I will just move the keys and create a nice sinusoid then I will copy and paste this curve again and again over all the 10 joint and the offset them in time once my tail root motion is okay what I want to focus on is keeping a nice curvature on the whole tail I wanted to have a smooth s shape and as explained before I don't want crazy extreme amplitude of motion because the tail is used for balance so it has to be a tight s shape so it took me like two to three minutes to get it right at least right for me just really focusing on the shape of the tail a different stage of the animation so I'm just controlling the shape go to frame 15 I've set a bit the curved see if the root is properly aligned if I get this nice curvature in the silhouette and that's it so so I can't tell you yeah just put the key on this or this Frame or whatever you really need to to get to this point where you play with the Curve until you get this result or a result that fits your walk cycle Rhythm you can add a super subtle twisting playing with the Y quaternion rotation I won't do that because a tape can't really twist that much and it will make this long tutorial to last forever to keep it simple we will animate the arm using the inverse kinematic controllers so I enabled the corresponding layers there is a couple of bones that are not used so I will just press h to hide them those are bone that are supposed to be hidden basically they are useless for you I want to switch the mechanism to inverse kinematic in the real properties I will switch the value of the arm ikfk to zero on both arms now they are using inverse kinematic I will search for my properties in the graph editor as we did before I will isolate the ikfk curve and I will just get rid of all the keys after key zero because they are useless basically by default the N inverse kinematic controller are parented to the Torso root so there's already an offset with the chest that feels pretty good my goal now is just to add a little more offset in the hand motion first working on the Z location of those bones and simply making them drag a bit based on the up and down motion of our character so as we did several time before I will first work on the Z location curve here by mistake I was manipulating both the x and z location so I got rid of the user's key later on when the chest is going up I want the hand to drag a bit so they would go down and when the chest is eating the down pose a couple of frame later the end will go even lower based on their size we can assume that the arms will not use that much into the wall cycle basically to keep balance or add momentum but you don't want them to wobble too much if the motion is there and is accurate enough and you make it subtle enough too it will be believable you will aim for something pretty realistic now if you want to do something very stylized you can bring more contrast into this motion that will give a very goofy look to your character for sure as we did before for the up and down cycle once you have the first 20 frame that are okay you can duplicate them on the next one is because the up and down will occur twice in a cycle we can now work on the side to side motion of the hands so basically the X location curve and here again the same principle I want a simple follow through animation so as the body is going to the left the arm will drag right so let me increase a bit the pace here because it's not super interesting an important point though I didn't choose the motion path that much for this animation because I'm pretty used to create this kind of full cycle but here I had summed up that it felt like the hand was eating a wall so basically that it would raise too straight at some point so I just enabled the motion pass for scene q and calculating it and you can see that I have a nice curve so what you don't want is to have straight lines into the motion otherwise it will feel like the hand is stuck in space it's hitting an imaginary wall and you don't want that my initial motion path was okay but I just pushed to beat the left to right motion to get more curvature as for the foot we will animate one hand fully and then we will transfer the animation onto the other but we won't be mirroring perfectly the timing the idea is to create a slight offset so that it will feel more natural just as a test I will copy the curve I just created go on to the other end get rid of all the keys but the first one and press Ctrl shift V to mirror on the animation and now I will offset it by 20 frame so now the hands behaves properly but then I will just add an arbitrary offset of two frames just to get rid of what we call twinning it's when you have two element that moves exactly in the same way so we'll fix that by simply offsetting a bit them in time and maybe moving a couple of Curves but now what I want is to add a bit of rotation in my hand so I will start with the X rotation again it's the up and down rotation so as usual I will do the same thing I will make the tip of the fingers to drag compared to the position of the wrist the little nugget here is that I will add a slight bounce in the rotation instead of having a very smooth curve once I've set up my main up and down pose as we've been doing as usual here I will create a little bend that will create a slight jiggle in the fingers or the hand motion so on frame 9 instead of blending toward frame 20 I will just duplicate the frame 20 and push it to the left and go down so I create this little bump and this will create this shaking Motion in a way and since this season up and down motion it's cycle over 20 frames so once I have my first 20 frame okay I can duplicate them over the next 20 frames from there I just move the down post by one key to make it smoother because it was bouncing a little too much from there I just switched to the Z quaternion rotation which is the inside and outside motion and I repeated the process this axis cycle over 40 frames so we should add a very smooth curve but again I will add a slide beam to it so you will add this nice shaking in the hands so you can see that instead of having a s curved shape around frame 14 and frame 0 I'm just pushing the curve up a little bit to create a little bump so I'm still in the lower values of the curve but there's this little bump that will just you know create this shaking motion you can bring a bit of twisting playing with the wire rotation if you want I will keep it as is my hand motion is done so I will unidol the channels select all the curve copy at them then on the other hand I will just reset what id I will kill the channels on from 0 and get rid of all the other keys and then I will press Ctrl shift V to paste mirrored and then I will offset all the keys by 20 frame and then offset them back by a couple of frames assuming that the motion is okay to even break further the twinning you can take a couple of transform Channel and slightly offset the curve along the y-axis so here for example I'm moving the Z location curl slightly upper than the opposite arm and it will break the Symmetry in the character from there you can clean your animation curve so I will duplicate all the keys move them back by 40 frame then key all the controllers on frame 0 switch to three duplicate those keys on-prem 4D and get rid of any Keys before and after frame 0 and frame 40. we haven't done that on the tail so don't forget to do it on the tail I will repeat the process with the fingers so I will start with the left hand you don't need to be super accurate again it's just about creating a follow through animation so I will start with the X rotation of the pan bone or the main finger bones instead of hiding the transform Channel I don't want I will simply type in the transform Channel I want to work with and then basically I will just edit both a curve at the same time just to save a bit of time then it's up to you you can slightly modify one of the two curves again to break the twinning in the fingers so here you realize how much time it takes to add those extra details there are other method to do it maybe use a bit of physics simulation so stuff like that but basically here you don't need to be super accurate what you do want is not to go into transformation or hand pose that are not natural for example over extending the fingers or over calling them so here basically I'm concern limiting the end pose I'm creating an overlapping motion we did that like so many times in this animation and then I will repeat the process with the curl controllers for the fingers for me it's always better to separate the root motion of a chain for example the fingers or the tail the root of the tail should move differently from the next child but then you can use a controller for the next joint that move them all at once so this is what I'm doing right here I just animated the root of the finger and now I'm creating a novel lapping motion of the next joint on the fingers based on this motion it's a good time to create the bounce effects from we talked about just before by you know modifying the curve and not making it too smooth it will bring texture to your animation so I just split up a bit the video because it will take so much time but you can feel it I guess even in this time lapse and once I was done with that I got back to the Palm bone and rotated them along the z-axis but a very subtle rotation the next joint if you take your fingers as a reference the root of your finger can rotate almost around all the axes but the next joint can only Rotator on one axis so you don't need to then propagate this overlapping motion onto the next controller basically once you're done just copy and paste the mirrored action onto the other fingers and don't forget to offset them in time a little bit that was definitely a lot of work for those little detail now we will add even more details by using different tweaker bones using the pulse huggage we will bring the fleshiness of this big body so I'm sure you will love this part we will start to bring some motion in the muscle of our character the flesh the fat whatever you want to call it and it's actually pretty simple to achieve you just want to bring a bit of bounciness and noise to the different Tweakers controller and we will start that with Bob's biggest muscle the thigh muscle so we'll be using those twicker controllers we'll use a very simple curve shape of bouncing or spring motion to drive the up and down motion and the twisting of those trigger controllers so while I'm isolating the proper transform Channel I will look to this curve you start from 0 you reach a high value and then you have some dampening opinion so basically it's just a sinusoid that lose length over time so with the first controller selecting this is the shape I will be creating for the Z quaternal rotation it will create some twisting motion on the flesh so it doesn't show that much from this angle it shows way more from the front view so then I will scale down the curve so that the amplitude of the motion is way smaller once I'm done with the left leg I will copy and paste the same motion onto the other leg but since this motion is driven by the impact of the leg I will offset it by 20 frame so I will just copy the few keys I have created select the other controller directly go to frame 20 get rid of the keys that I don't want and press Ctrl shift V to paste mirror then I will switch to the Z location channel the up and down of that muscle that controller basically because it's there to control the base of the femoral bone but who cares we are using digital bone to move a digital flesh so we don't care if what's inside is not accurate what you want is to have a good visual result so from there I will take my Z quaternion curve I will copy those keys and then I will switch to the Z location curve and I will paste them now I have this spring motion but the problem is that the bone is Raising after the impact while it should be going down so I will simply flip the curve I will make sure that I'm using the 2D cursor as a pivot point and I will press s to scale Y and -1 to mirror the curve along the x-axis now I can copy those keys onto the other bone but on frame 20 I will then make some cleaning because I have some offset on my curve and look how nice it now feels the world feels way heavier and fleshy well now we will simply pick this curve and paste it a bit everywhere on our character so I will just speed up a bit the video because this is exactly what I will do I just copy the current curve shape I will choose the next controller in this case the shoulder controller I will try to find which channel makes the up and down Motion in this case the Y Channel and I will simply paste the curve then depending on the kind of control Channel you're using your rotation location or quaternion rotation the range of values might differ if it's in degrees or in radian for example so once you've paced your curve what you have to do is scale it down or scale it up basically increase the range of motion to see a result here for example I want the up and down on this spine tweaker but if I push it too far the top of the back will also move and it won't look natural I just want a super subtle shaking so I will scale it down a lot now if I switch to the calf muscle for example they are using a Euler rotation in degrees so our usual 0 to 1 value for the quaternion won't show that much onto this bone I paste my curve as usual but I can't really see any motion so I will simply scale it up a lot so remember that your curves are just outputting a value then it converted to degrees or centimeters or meters whatever so here we have a range of 0 to 20 degrees that's not a big deal but if you do that on a location it's going to be 0 to 20 meter and that's a lot that's why you may need to scale the curve also remember that you may also need to flip the orientation of the Curve now we have a couple of lovely tweaker controller the ability controller and the throat controller that are just here to be able to move the fat so it wasn't keyed at first so I just kid it and now I will paste my curve so you can see that the bounciness I used before looks very stiff for these parts of the body to soften the motion I will simply scale my animation over time basically increasing the spacing between the keys and I will also scale up or smooth the curvature so that it doesn't look as triangulated as is right now I will simply scale the handles and it will create a smoother curve and therefore a smoother animation of the belly so time to time you may have to tweak the curve I really tweak them against just pasting them but really it's super fast it took me like six or seven minutes to go over the whole character and do what you're seeing right now with my belly fat animated I can now just paste the curve onto the throat fat and then I will simply scale it down so that I don't have such a broad motion I will do that also with the middle of the neck the neck tweaker with the same consideration as the middle spine trigger I will add the motion but I will make it very subtle because this thicker bone also control the top part of the neck so where the bones are and it will look weird if the bones are shaking now one last thing I wanted to add is a bit of motion into the knees and to do so I will paste the curve on the pull Target of the knees basically I want them to slightly Shake left to right so I paste in my curve for the first knee on the first pole Target I will scale it up until I get a nice result and you can see the knee is likely shaking so I know that currently the animation is a bit upscaled in speed you can still feel it and you can still check the animation at the beginning of the video and then I will do the same with the other knee and here is our animation whole wobbly and jiggling everywhere as any art form your job is never finished but at some point you have to say it's good enough but I just wanted to go back a little something on the animation and while I do think the result is super cool right now maybe in a week I will spot a lot of little issues I would like to fix but let's say it's finished and I will move on but I wanted to refine a bit the rotation of the fruit as you remember in the beginning I told you that I wouldn't rotate the foot as we were using the footroll controller to do so but what I want is just to spread a bit the leg when it's raised so basically turn the foot outward while Bob is raising the leg foot Motion in a walk is very complex so adding this extra rotation feels a little bit more natural also the pull Target is parented to the food controller so as I spread the feet a little bit it will also push the knee on the outside and so it won't clip that much with the chest this is a game character this is not a cinematic character so there is no flesh simulation and all this kind of stuff and what I mean by that is that it's okay if you have a bit of clipping but adding this little motion it feels a little more natural and it brings extra detail to the current wall cycle and what I've done is that I didn't mirrored the animation I just animated this detail by hand on each foot separately and the idea here is that I'm sure that the right leg and the left leg won't have the exact same motion I don't think we will really Spot the Difference but I don't know it's there so I'm happy with the result and this was basically the final touch I added to this animation so you can see that it takes time but not that much to get a nice creature walk cycle so I hope you enjoyed this video and I will see you very very soon for a new tutorial foreign [Music]

Channel: Pierrick Picaut

Views: 39,681

Keywords: blender3D, modeling, shading, rigging, B3D, p2design, sculpting, digital, animation, cartooning, rendering, CYCLES, tutorial, Pierrick, Picaut, Pieriko, 3D, Computer, Graphic, blender, eevee, VIDEO GAME, rig, animate, stylised, best, Blender, art, digital art

Id: 6uxUTdYKzIw

Length: 83min 50sec (5030 seconds)

Published: Wed Nov 30 2022