Make your first GAME CHARACTER in 1 day! Maya // UE4 // UE5

fun and engaging characters are one of the most important parts of any game if you want to make games then you'll need to know how to create characters that your players will love hi i'm shane and in this detailed tutorial i'm going to teach you how to create this little robot character there are already lots of really good tutorials out there that show you how to model or rig or animate or even how to import your character into a game engine and make it playable but this tutorial covers all of those steps and more in one complete package over the next four hours i'll take you through the entire process including the modeling texturing rigging and animation as well as the right way to export the character from the modeling software and into the game engine once we're in the game engine i'll also show you how to set up the animation states the logic and how to tweak the feel of the character to your liking this might all seem a little daunting right now but i'll break it all down into manageable chunks to take you from a reference image right through to creating your first fully playable 3d video game character before we get started though this is game dev academy a youtube channel dedicated to helping aspiring game developers and artists learn everything they need to know to make their own games if that's the kind of mission statement you can get behind then i'd really appreciate it if you could give this video a like and maybe consider subscribing if you found this tutorial helpful just remember to bring the notification bell if you do one final thing before we really get stuck in this tutorial can be viewed in three different ways depending on the way you prefer to learn the first way is to view the whole tutorial as one long video with all 22 steps of the tutorial back to back individual steps can be found by clicking on the bookmarks in the video description the second way to view is there's five chapters which split the tutorial into topics all of the chapters have been bundled together into a youtube playlist the final way to view is as 22 individual videos with each covering a discrete step in the tutorial this version of the tutorial can also be accessed via a playlist if you're not currently viewing this tutorial in your preferred format you can change by selecting the one you want in the video description below you can also access the reference images textures and if you need a little help or want a closer look at what i did the project files i used for this tutorial by clicking the link in the description still here good i like you already let's move on to the next step and get stuck into some modelling before we can make a start on modeling our character the first thing we will need to do is to create a project and get our reference images in the scene so let's do that first of all so job one is just going to be file project window robot character is a good name so i might call it that robot character and then you need to choose a location for your project i'm going to put it in somewhere that i'll be able to share with you guys so if i put it in my drive and shared you can see i've already got a third person character tutorial folder you can put a folder wherever you want i'm just going to choose this you can see i've already got some images there which i'll look at in a second and then we'll select that i'm not going to change any names just going to click on accept okay now that's done i just want to put some files in the correct place in that project so let's open a window here so here's that folder that i just put the project in and these three images here are our reference images that we're going to be using so i'm just going to put these so i'm just going to go cut and i'm going to put them into my source images folder paste if you want to use the same images as me you absolutely can this project that i'm working on right now will be linked down below in the description and you can get to this at any point so that's how you can do that right so now my project is set up let's go back to maya and i want to save the scene so file save scene as and you can see that i'm in the right place because i've just set my project and i'm going to call it modeling yeah we'll just go with modeling that'll do it save i would also recommend at this stage to make sure that you've got my three favorite settings on which is infinite undos incremental save and auto save um i'll link the video somewhere probably top corner of the screen so that you can do that if you haven't already okay what i'll do now is change the workspace from maya classic to modeling standard it gives me a little bit more screen real estate and then i'm going to go to my for view and there we go and i'm going to bring in those source images that i just showed you that i put into the source images folder so here's the top view so we're going to go view image plane import image and it put me in the right folder and i've just copied the files in there so which view is that one top so we'll use the top image open these images should line up pretty closely because i drew them in a way that should mean that that happens but we might just have to use a little bit of common sense to get things lined up so now we're going to do the front import image front there it is and then we've just got the side left input image side okay so they're rolling that's a good start now what i want to do is make sure that i'm going to be working to the correct scale because we want this to just work when we take it over to unreal engine when we're done and we're going to set it to about normal sort of human height which is about 180 centimeters is kind of the high end of the average male so we'll go for that and the way i'm going to make sure that i do that is just create a cube there you can see the cubes just there i'm going to open my channel box and i'm going to resize this cube so i'm going to set the height to 180 and then as i zoom out you can see that's kind of how tall i want my character to be so now i'm going to select all of my image planes just doing that with a marquee selection that's not selected all three has it okay we'll do them one at a time so let's scale this up and what i want to do is make sure that it kind of matches the height of the cube that i've created so uh we'll do the top of the head and that looks about right and the foot hmm so i just need to move my cube down a bit to get a good idea just turn this grid off a minute okay i need to get it roughly in the right place and then i can see that this just needs bringing down a little bit that's about right and so you can see that i've set my scale to 11.3 i'm going to round that to 11 because that's going to make it easier to do that for the other views as well so that gets that started i can now delete that cube and i'm going to set the size of the others to 11. so this one here is going to be set to 11 and this one here is also going to be set to 11. so there we go oh hello so you can now see that i've got these reference images in everything should line up you can see the edge of the fingers pretty much lines up in different views so to the bottom of the feet and the top of the head everything's pretty close so all i need to do now is move these images out of the way so that they won't be in the way when i want to model so we'll just move this one back here this one will push back there and you always want to be pushing them down or back don't bring them up or forward because they'll get in the way okay so that now puts them in place you can see that in the orthographic view nothing's changed they're still where i want them to be and that's the setup complete we've got a project we have our reference images in the right folder we've also set the image planes to about the right scale and we have saved our scene so that means the auto save will kick in as well okay in the next part we are going to be creating a cube and turning that into the main torso in this part we're going to make the torso and we're going to make that out of a cube first of all though i'm just going to turn off some of these grids because i've just had a look and it's not coming across very well on video with the grid so we'll get rid of those we don't need them in fact we'll kill that one as well so that gets us started now what we're going to do is create a cube then you can see that it's tiny tiny minuscule um first thing we'll do is we'll just make it a bit bigger so that it's roughly in the right place and the right size so i'm just going to move it up a bit as well and then i'm just going to make some changes to it but first of all let's give it a name so we'll call it torso because that's what it is and then i'm just going to start making changes so that it pretty much matches up so you can see that i need to just move that forward a bit like that one mode that you might find useful while you're working like this if you go to shading and go to x-ray it's wireframe but it does kind of show a little bit of shading as well so it can be quite good for just getting that sorted and then actually it's a little bit too tall so we'll go for that that gets it close enough yeah that'll do it and it's starting to show now that the images aren't necessarily perfectly centered which is annoying because i put a center line on the image in photoshop so i'm not sure why it's being this way but we'll just have to use a bit of common sense it's fine okay next thing we want to do is put a center line on this torso cube so subdivision's width needs to change into two there we go and then we can start making some changes to this so one thing that we need to be aware of let's just put this onto x-ray as well there's a bit of a flare here i'm not going to be able to get that without another edge loop so i'm going to go to this tool here which is the multi-cut tool and then whilst i'm in this view i'm just going to make it active by clicking somewhere in it and you can see now that the tool is active and i'm going to hold control and that will now tell me that i can put in a whole edge loop and i'm going to aim for about there it's pretty good okay what i want to do next then is set about getting this shape about right and i'm going to do that mostly in vertex mode so let's put my move tool on and then i'm going to select whole rows and just scale them where i think i want to so i want to do that there i'll probably flare this out a little bit and the top does want flaring out even more so i'm going to do that and then i'm going gonna leave if i let's just move this row down a touch so it's just touching the top there and then these vertices on the side some i'll show you in this view here so you can see what i've got selecting what i haven't there you go so i've got one two three four but not the two in the middle and that's so that i can now bring them down like so you can see this matches up here but that's too far out so what i'm going to do is just bring it in a little bit to kind of go somewhere in the middle and that is a damn fine start to our shape what i want to do is round it out a little bit as well and i'll do that in edge mode so let's go into edge mode and i'm going to double click on that edge there now holding shift i'll double click on that edge and the two on the other side and what that means is that now in this view and i'm actually paying attention to this face here i'm going to round it off but what i kind of want to do with that is get this face here to be pretty square and the reason for that is that it will become a better circle later if i make it square now so that's pretty good and at this stage i'm going to make my first preview of that shape so if we press 3 that's kind of how the torso is looking so far so it's not quite there yet but as we add more detail to it and maybe even crease some edges this will start to come together so now we'll create the area for the arms to attach so i'm going to press one again and now i want what i do on this side to be reflected on this side so we're going to use mirroring to do that i'm going to open my modeling toolkit which can access with this icon up here within this tool you can see that we have symmetry and i'm going to turn that on for object x and now if i go into face mode and you can see that if i select any face the one on the opposite side is highlighted as well so i'm going to click on this face here and then what i want to do is do an extrusion so i'm going to do ctrl and e and then by clicking and dragging on the word offset of this little gizmo that pops up i'm going to put that kind of offset on it there that's pretty good and then i need one more extrusion control e again and this time we're going to go into a minus number on the thickness to create a bit of a cavity it's like a socket for it to plug into and then we'll just double check that that's happened on the other side it has we're good to go i might not have it quite that thick let's just push that back a bit yeah that's good okay so back into object mode we'll press three again and now that we've done that that's starting to look a lot better that's pretty good so there's just a few refinements that we need to make now and i'll do that by leaving this um smooth preview on and i'm also going to leave mirroring on as well so that i can work on this side and know that it's also happening on the other side so let's go into edge mode and see that this edge here put my move tool on really needs to go up here to fill out the shape that's working pretty well and then we'll get this edge here and we'll do something similar to make the chest shape look a bit better that's nice i'll do something similar at the bottom and this one doesn't round out quite as well so that's fine but it will do later because we're going to use another method so that kind of does that i also want to see how it's looking in this mode and we can see that it's not quite as i wanted it to be so i'm just going to bring this out a little bit here so we get a bit more of that flaring going on yeah that looks nice and then for this top corner i think i'm going to leave it i'm quite happy with that okay so now let's put this back into object mode and press one make sure that the shape's not going too peculiar anywhere no i think that looks good that will do it for the torso then so we have created our shape we've named it and we're going to leave this smooth preview on so that we know what we're working with going forward um in fact i am going to make one more change because i want the bottom to be a little bit flatter i think so what we'll do is we'll go into edge mode and i'm going to select all the edges around the bottom like that and i'll get i'll leave the middle one and then what we're going to do is go into mesh tools turn on the crease tool like that and then it tells you how to use it select components decrease and then drag middle mouse buttons so click and drag with your middle mouse button you can see that it kind of hardens those edges a little bit and we only want to do it a bit that'll be fine yeah and that just makes that a little bit sharper back into object mode okay so that is our torso complete in the next step then we will be taking a look at how we construct the head now it's time that we make the head and as you can see i've chosen quite a blocky shape which means it's a fairly easy shape for us to create the shape that we're going to start with is going to be a cube so i'll just create a new cube it's going to be inside the torso so i'll just put my move tool on to get it so that i can see where it is and then make sure that i can see the head in these views just so that i can get this cube roughly positioned and then i'm going to need to size it up so that looks like a pretty good size we can see here that it needs to come forward a little bit and also up a little bit i'll just bring the scale back down okay that's a pretty good start next thing we need to do is reduce the size of the face at the back so i'll go into face mode for that select that one face and then i'm just going to scale it down until it kind of looks right it's going to have to come forward a little bit and also up a little bit looks pretty nice just check that i'm happy with it in the top view as well not bad and the whole shape actually i do remember i decided that i wanted it a little bit wider than i did tall it's not quite square okay that's a good start now you can see we've got kind of this inset for the screen that makes up our little robot dude's face so we're gonna do that by going into face mode get the face at the front and then we're going to extrude that and just add enough set whatever looks good to you so something like that i'll extrude again and then i'm just going to bring the thickness in so that we've got a bit of kind of separation from the frame and the screen and as for the modeling that's pretty much done what we need to do now is work out how this is going to be smoothed the same as we did with the torso so i'm going to need to be in edge mode for this and i need to press 3 to see what the shape is currently previewing like so that's it you can see it's not quite there yet it's a little bit too rounded so i'm gonna work on the edges at the back first i've still got object symmetry on on the x-axis so that means that i can select the top and bottom and i only need to select one side it'll select both for me and then we're going to go to mesh tools turn on the crease tool and then i'm probably going to use this view here to see how this lines up and then just push it back so that i get the same kind of curve which is something like that i might need to just move things and resize them later but i'm just trying to get it close at this stage next i need to control how square it looks so i'm just going to double click on that edge there you can see that it's got all the way and it's got the one on the other side because of the symmetry i'll hold shift and do that on the bottom as well so now you can see i've got all of those edges selected and now i'm just going to go middle mouse button and drag until the shape looks about right and for this one this view here is going to be my friend again i want to get the same sort of curve that was pretty close next we need to select this edge loop and then hold shift and select this edge loop and then i need to get the kind of rounding on the front here so it's got a bit of rounding going on that looks pretty close and then these four edges in the middle are actually just completely hard because we want a good separation between the frame and the screen and as you can see we are now pretty close to getting this shape so all i need to do i think is going to vertex mode and then i'm going to move some of these vertices a little bit just to get the shape that i want and i think all of these on the bottom just need to come down a bit like the front they did not the back i'll move that back up that's pretty close now then i just need to do one more thing which i forgot to do when i created the shape so let's put this back into object mode and then go to my channel box i need to name this cube so we're going to call it head which is a fairly sensible name really oh it doesn't need a capital d there we go and that is now done so we've now got our torso and our head we're going to leave the smoothing preview on because we want to see how this is going to turn out but we're not going to be applying the smoothing yet in the next part we're going to model this bit here which we'll call his hips so let's move on to that now it's time for us to make the hips and as we have done so far we're going to use a cube to be the start of this for us so let's get a new cube just move it out of the main part of the torso and then i'm going to name this so we'll need to scale this up a little bit and i'm just going to refocus my image planes so that i can see what i'm working on a bit more clearly so we're going to need to do something like that and obviously doesn't need to be quite that tall that's pretty good i'm going to go slightly wider as you can see these reference images don't line up perfectly so you'll just have to kind of average out any differences the front view here isn't quite where i need it to be so i'll just scale that to get that a bit closer and that is a good start what i will absolutely need on this is a center line so we'll go into the inputs and we're going to change subdivisions width to two there we go let's put a line straight down the middle and now we can start adjusting the shape a little bit more we've still got symmetry on that's really going to help us so if i just go into face mode and select the face there and then i'm just going to scale it on the height and move it up to get this pretty close and i'm going to leave this bigger than it is there because this is going to smooth out and they'll probably have the result of rounding that so it makes it a bit smaller so i think that's pretty close and we can't really see it in the view of any of the images that i've created but i do know that when i start putting this exercise together i also brought that edge forward a little bit and this edge forward not quite as much and then if i just go into object mode that's probably going to necessitate bringing that in a little bit like that okay so that's the beginnings of our shape what we're going to need to do next is just work on creating the sort of leg sockets so interface mode and click on that face there and it's going to be an extrusion so control and e and we're going to want to put an offset on this but if you can see it's not doing enough set around the bottom and that's because it's treating this all kind of as one face and we need to just change keep faces together to be off and you can see now i get two borders so that's pretty good there so i'm gonna go for an offset of about three three point five and then what i want to do is try and get this shape here to be fairly square and that's going to help me out so in order to do that i'm going to go into edge mode and i'm just going to scale it in on this axis here and that's actually pretty square i don't need to change anymore about that what i'll do is go back into face mode we're going to extrude again and we're just going to go minus on the thickness like that put it in a little bit and we'll probably just put a slight offset on it as well let's just press three to see how that's looking yeah that's pretty good press one again okay the final thing i need to do now is just to work on the top so i'm just going to bring this down a bit so i can see the top interface mode and select the top two faces i'm going to extrude put an offset on yep and i think what i'm going to do with this is just scale it in on that axis a little bit yep that'll do and then i'm going to extrude again we're going to go minus on oh not the offset we're going to go minus on the thickness like that we're going to add a slight offset to it and again i think i'm just going to try and round it out a little bit by doing that let's press 3. okay that's pretty nice that's close to the shape that i want so what i'll do now is just make one final change i'm gonna go into edge mode for this just press number one to make sure i set the right edges i want that one there so it's not the center one it's just the two either side of it and it's just going to kind of uh flatten the bottom part of this out i'll show you what i mean so if i press three again and i kind of want to see this view here i'll put my move tool on i'm just going to move those down you can see it's just flattening that part out and i quite like the the way that looks okay so what we need to do now is go back into object mode and put this in place and see if we need any further changes so i'm happy with that not necessarily happy with the height anymore so i need to think about that let's just do this and we'll just scale the whole thing up and then i think it's likely to be this vertex here that i want to bring back like that and possibly this one here just into there that looks pretty darn nice i think just making small changes to get it to match the the concept art make sure that i'm happy with the shape yeah that's pretty good so that will basically do it for that what i'm going to do now is just add a very quick sphere so i'm just going to drop this in here and you can see that on the image there is a sphere there that's doing the connection uh so what i'll do is i'm just going to call this lower back i'm going to drop the subdivisions down to eight by eight that just means that i can smooth it out later if i choose to and i'm going to scale it up like so it doesn't really matter if this intersects kind of the point of it really like that and then i'm just going to go back into in fact what i'll do is i'm just going to go into object mode and i'm going to press three whilst that's selected and then i can make any changes that i think i need to to that shape same in this field my goodness definitely in this view like so that looks pretty nice and that should just make it look like that all joins up so let's just yeah that's pretty nice that's going to wrap this step up then coming up next we're going to need to take a look at the arm now we've got our torso hips and head it's time that we have a go at the arm to do that we're going to start with this upper portion just here and believe it or not we're going to use a cube we want this to be rounded like a cylinder but to make the two pieces that connect it's going to be much easier with a cube so that's where we'll start so we'll have a new cube and then i'm going to put my move tool on i'm going to put it roughly where i want it and then i'm going to name this first of all so it's going to be l underscore upper arm and the l denotes that this is for the left arm and it is the right arm as we look at it but the characters it's their left so that's how we're going to name it next what we need to do is just get this scaled up so we're going to scale that uniformly to about there and then we're going to scale it that way and we're only trying to aim between here and here these bits that come off are what we're going to add so that gets us started then what we need to do is go into inputs polycube4 and subdivision's height we are going to change to three and this is the magic part here that's going to allow us to have the two parts of the upper arm and the lower arm to have the kind of elbow joint now that we've got that we just need to round this out so let's go into this view here we're gonna go into edge mode i'm going to get that and that and that and that and so we've got the four corners as we look at it there go into scale mode and we're just going to scale it in on this axis here and you'll see that that gives us a fairly round shape and that's pretty much all we need to do so what we'll do now is put this into object mode and we're going to duplicate it ctrl d and we're just going to move it over and we're going to name this to lower arm and we'll be using this later by duplicating this we know that they're going to meet up properly when we put them together so lower arm and we'll just ignore the lower arm for now let's move that out of the way and we're going to continue working on the upper arm the first thing i'll concentrate on is getting this little area here modeled so we're going to go into face mode and we can see that if i select these faces here it's also going to select them at the back which i actually don't want now so we need to turn off symmetry so we'll go into the modeling toolkit and just turn off symmetry for this step so i'm going to select the bottom face there and the top face and we're going to go ctrl e to extrude and then i'm just going to use the thickness to take it to about there so in my case that's a thickness of three then at the back i need to select all of the faces with those faces selected i'm going to press ctrl and e to do an extrude and i need to get the offset right so i can't go plus because that's going to turn inside out i need to go minus and i'm going to go i'm following the blue line here so let's just see where that needs to be it looks like it's okay about minus 1.3 for me so i'm happy with that that'll do and then i'm going to extrude again and i'm just going to make the thickness we're going to go in this direction like that and i'm going to go well into the shoulder then i'll press three to make sure the shape looks like i expect it does you can see that it's rounded out here but at the back it's a bit peculiar and the easiest way to solve that is just press delete and you'll see that that will round it out so this is now mostly done we just got to find out where we want to crease the edges so we're going to go into edge mode i'm going to double click this edge loop there hold shift and double click this edge loop those two and then what we'll do is go into mesh tools crease tool i'm going to crease those all the way we want a fairly hard edge there and then those edges there those edges there that one and that one thing see that's going to go all the way around i want to harden that as well and then i'm pretty sure that that one and that one these here so i'm pretty sure it's everything apart from just the ones at the edge so i'm leaving those and we'll harden that out that's not bad but i do need to do some work on these that's not exactly what i'm looking for so we're going to just select those and we'll do the ones on the bottom and decide how rounded i want these to be in fact i don't know if i do want them to be rounded i think we're just going to leave those hard yep so that's good that's the upper arm done now we just kind of need to repeat the process on the lower arm so we're going to go into face mode we're just going to move along a little bit here let's go into object mode first and we need to oh what have i got selected there that's crazy undo that just select this and we're going to move it basically into place which is going to be there and then we're going to get this face here we'll extrude it ctrl e and then we're going to add some thickness to it to get that to kind of meet up there that should do it oh no that won't do it undo that that's crazy just that one ctrl e and then we'll add some thickness again that's better this is why we always check so that looks like a pretty good join there i'm happy with that and then i'm just going to grab these faces here one two three i'm just going to move them along a little bit so that they're going to be inside the next piece of arm and then i'm just going to delete that to keep it round and then we'll press three to see how that's looking not bad but clearly there's some creasing that needs to go on so we're gonna go into edge mode and i'm pretty sure that one there that one there so all these going around are gonna want to be selected and creased okay so i've got all four of those let's just get our crease tool back and then we'll harden that yeah that's pretty good but that's making it clear that these here also want to be creased one two three one two and three let's crease those much better one two three four crease those yep and i do wonder let me just crease this top and bottom here that one and that one see what that does oh yeah i might keep actually so that actually creates kind of a rounded joint let me show you so we'll pull this out that's rounded on the top and bottom i think i'm going to try and repeat that with these so let me just go into edge mode and we'll uncrease these ones one two three four and then we're going to go into our crease tool which i'm just going to select from over here and on the crease do i like that i might increase it a little bit but not all the way that's kind of nice okay back into object mode that looks okay and then we'll pop this back in place that's basically the upper arm completed or the upper portion of the arm now we need to go on to this big heavy looking part here which i think i'm going to use a cylinder for so we'll go for a new cylinder and then we're going to just bring this out here scale it up a little bit so we can see what we're working with and then we're going to call this uh l underscore lower on two because there are two parts that make this up i'm going to change the subdivision's axis to 4 no 8 is what i want i'm then going to rotate it by 90 degrees on the z axis apparently so we'll type 90 in there and that is a pretty good start so what i'll do now is get this into place so that's pretty good there and i'm just going to scale it down a little bit because i'm just kind of lining this part up here then interface mode and i'm going to select all these faces here and then you can see that there's a bit where it flares out so we'll move those faces to there and then we'll scale them up nice then we'll extrude those faces control e will add a little bit of thickness to it to bring it to about there and we will set the offset and that you can see is pretty much created that part of the arm i'm happy enough with that and i think i'll just end by creating a bit of a socket for the wrist to fit into so with that same selection in place i'm going to do ctrl a i'm going to add a small offset ctrl e again i'm going to go backwards on the thickness and add a small offset again and then we'll just press three to see how that comes out pretty darn nice so what i can see now is that there are when i smooth this are going to be a couple of changes i need to make so i'm going to go into edge mode double click on this edge and i'm going to scale it up yep i like that double click on this edge and i'm going to scale it up and i think i'm going to move it along something like that looks quite nice okay so that creates that part of the arm back into object mode for that this is starting to come together we're going to need a wrist which is going to be a sphere so quick sphere we're going to plop that in place bang it about there i'm going to call it l underscore wrist and then it's just a case really of oh hang on let's just knock the subdivisions down to eight by eight and i'm going to rotate it so that the pole's sticking out so i'm going to rotate it 90 degrees on z and then i'm going to scale it into place so i'm going to press 3 so i know how this looks when i actually smooth it that's like it's going to be a pretty good fit how does it fit there not quite so let's just make a couple of small changes so it looks like it is fitting into that socket that's not bad yep that'll do there and now we just have the hand to do which believe it or not we're going to start with a cube for that so new cube and what we will do with this cube is move it towards where the hand lives about there and i'm going to have to make some use of my top view for this one so what we're going to do is just get this to about the right dimensions like that and we'll have to add a little bit of height to it there that's good and what i think i'm going to do just to help me refine the shape is i'm going to add an edge loop with the insert edge of the tool note the multi-cut tool and if i hold ctrl it should let me choose where i want to put this edge i'm going to put it about there and then into vertex mode what i want to do is just select these vertices here i just want to move them to about there it's just going to refine the shape a little bit make it look like it's a bit rounder that's kind of nice okay so that's going to be the bottom portion of the hand then what i'll do is create another cube to represent kind of the fingers they're all going to be one piece and i think i'm going to do it as two separate pieces as well so we'll drop that into object mode i'm going to get another cube let's get this roughly where it needs to be i'm going to get it to about the size and shape that i want that looks pretty nice and then we're going to get the height and the thickness correct as well i'm going to have this not quite as tall because the point of this is that it's the the next part of the hand so i want it to be a little bit smaller really and then into vertex mode and we're going to set these two vertices here or these all of the vertices on the end there you go you can see i'm going to use my scale tool to just bring that in there and i'll probably just use my move tool to bring that up a little bit like that so that's that first part and then what i'm going to do is let's just make sure i'm naming these so this is going to be l underscore hand one this one's going to be l underscore hand two and then we're going to duplicate this move it to here this is going to be l underscore fingers i think and then the shape of this needs to be refined so we're going to go into vertex mode and do that so let's bring this down to about here let's move this one up to about there okay this bit here is going to go there and this one's probably going to help me round it out the most to about there how does that look not bad i think what i'll do with the end of the fingers here is i'm just going to scale them down a bit to thin it out that's pretty nice back into object mode and then i'm going to use this bit just to give me something to work with for the thumb which i'm gonna do out of two pieces as well so let's duplicate this ctrl d and we're just gonna move it here for now so i can rename it l underscore thumb one and then we need to do a bit of work with this to get it to do what we need it to do so we're gonna scale it in change the height and then we need to work with the vertices and get these into place so we'll put one there and the other here that's not bad and then we're going to follow the kind of contours that we've got of the image so that's going to give us our first piece of the thumb i reckons and then i'm going to duplicate this one more time so object mode ctrl d let's move this to here and this is going to need a little bit more refinement in vertex mode so that one's going to go there this is going to go here this little bad boy is going to go there and the final is going to go there and then if we look at it in this sort of view that's not bad that's pretty hand like it's just going to need a little bit of guidance with the smoothing now so back into object mode and let's see what's needed to make this look like a sexy hand so we'll press three on this okay we're gonna go into edge mode select those and those those and those you could probably work this out by yourself if you haven't already i think you're getting the gist of this so it's going to be into crease tool and then decide how much you need to crease all of these edges to get the result that you desire so let's go for that that was pretty nice and i do want to crease that a little bit and then just these here one two three four let's just crease those as well so it looks like it's going into the hand a bit so i think that looks nice for that one onto this one press three we already have our crease tool on into edge mode for this one i'm just going to select all the edges and crease them up until they've got a bit of a bend on them but not too much same for this one into edge mode press three let's crease them all and then we'll just bring it back in a little bit and then probably these two i'll crease even less that looks nice yep and now i've just got two pieces of thumb to do these will be the pretty much the same thing that i've just done so we'll press three into edge mode i'm gonna select them all crease it and then dial it back a little bit and then the same with this one into edge mode crease nope it's not creasing what's going on oh i need to press three there we go crease dial it back a little bit and then for these two at least we're going to dial it back a little bit more and that's going to give us our hand lovely okay we're almost done to wrap up this step we just need one more piece and that's going to be the shoulder which what we'll do for that is we're just going to duplicate this bad boy here so ctrl d let's get this into place and sized up so we're going to move it to about there and then we're just going to make sure that it looks right in this view it should all be centered because we haven't really moved much off the grid so let's bigificate it push it into the socket how's that looking i think it needs to be a bit bigger we don't want to kind of overfill the socket it'll look weird that's not bad it does suggest that we need to do a little bit of work on the socket on the torso which i will come back to but for now i think that looks pretty good i think i just need to move that up a touch to line up there i do think we can probably move that up a little bit and maybe forward a little bit yeah so actually what i'll do is i'll leave that as it is for now but as we finish the arm we'll we'll move it all together so that it fits in the socket a little bit better okay that does it then for this arm uh next will be the leg it'll be a little bit easier i think because we can reuse parts of the arm and we don't need to make as many pieces for the foot so we should be pretty close to done after we've got the leg on right let's move on with the arm complete we can now move on to the leg and as i said we can reuse some of the pieces that will speed this up a little bit so let's just jump straight into it we'll kind of start at the top of the leg and work our way down i think so we'll take this part here and duplicate it so this is the shoulder oh but before i do that i need to just have a word with myself i didn't rename this last time so let's do that now okay is that the duplicate that i just renamed no so now we'll duplicate it so it's still cold shoulder but that's fine because we'll rename it to what is this called okay i think we'll call it l upper leg joint because it's not the upper leg and it's not the hips so that's what we'll call it if anybody knows anatomy um by all means tell me what that's actually called so what we'll do now is we'll just kind of rotate this around so that it's pointing where we would expect it to and then make sure that it kind of fits in its socket which is not a bad fit to be fair yeah that's not bad i think we'll just move it in a little bit further yeah that's okay nice one it mostly matches up with the uh the concept art as well so that'll be fine there next what we'll do is take this part and this needs to be duplicated as well so control and d and then we'll move it down like so we'll rotate it and i'm just going to name it upper leg and then we need to put this bad boy in place yeah that's pretty nice and then if you've not already guessed we're going to take this part which is the lower arm so let's duplicate that move it to where we want it rotate it 90 degrees make sure we name it why is that called lower arm three i did something weird somewhere i need to go back and check my renaming but we'll call this the lower leg like that and then we'll get this in place and i probably do need to get in a little bit close here to make sure that's lined up as well as it can be in fact what i'm going to do is a translate x i think i'm going to copy it there we go and then we can see that that lines up so i just copied and pasted that in to make sure that it would fit perfectly there we go so that's that part and then we're going to take this part of the arm and we're gonna fashion this into the leg piece so the leg's got a little bit of detailing on but that's not too difficult to add so that's what comes next so control and d and then we're gonna move this here we're going to rotate it by 90 degrees we're going to call it lower leg 2 hopefully that naming won't mess up and then we just need to make some changes to this so let's put it roughly in place that's pretty nice and then we can see that it's a little bit too thick at the moment so we'll make it smaller and then i'm just going to restore the height to it and then i'm going to go into edge mode and get that edge loop there and with my crease tool just harden that pretty much all the way and then i need to get this kind of rotation on it here so i'm going to go into vertex mode for that and select the vertices and then with my rotate tool i'm just going to do that and then you can see that it also is a little bit smaller so i'm going to scale it in as well so that pretty much gives me the shape i want there then i'm going to go back into edge mode here and i'm going to move this up a little bit you can see that then the shape follows a bit better and then back into vertex mode i'll set all these at the bottom i'm going to rotate those to match the shape again and then maybe make it a bit wider yeah that looks okay so that's the beginning of our leg shape we now need to add this little bit of detailing which i'm gonna call the shin pad um i don't really know what it is i just thought it looked nice so let's do that to do that we're gonna go into object mode for now we'll press one and it's gonna be these four faces on the front that create this for us so into face mode one two three four we'll then perform an extrusion on these control and e and we're gonna add a bit of an offset not too much and then we're gonna extrude again and thickness won't work this time because it kind of takes out in funny directions that i don't want so instead i'm going to go to my move tool and just bring it forward by a bit that's kind of nice like that okay so that gets us what we want but i don't want this detailing all the way around it stands out a bit too much so we're going to rejoin it down at the bottom these here so if we go into vertex mode there we go and i'm going to go to mesh tools and i'm going to target weld that vertex onto that one that one onto that one and that one onto that and then that'll help this detailing look really smart so let's press three to see what we've got so far maybe i need to change my tool okay so that actually looks okay as it is but i want that detail to stand out a little bit more so we're going to go into edge mode i'll select that but i don't want that one there i'll select those and that one and this one here if it lets me so we'll get those and i want these here as well we'll just crease them together because we want the similar sort of effect so that's the selection we need let's get our crease tool and then we're just going to crease this as far as we want it to so i'm not going to crease it all the way because i think that stands out too much we'll go for something like that i think yeah and then that detail stands out fairly nicely so once we get a kind of plasticky looking material on there that'll look pretty good and so that leaves us one more piece to create which is going to be unique we're not going to um copy anything from up here this time it's going to be the foot so let's get a cube and let's put it roughly in the right place we'll call it l underscore foot that's a good name for it and then into our orthographic views to get it roughly sized up so it needs to be a little bit wider than that and a little bit taller that's a good start how's it looking in this view not bad but i think we need to bring it forward a bit and just make it a bit longer okay that works pretty well but to add extra detail what we're going to need is some extra edge loops so holding control and i'm going to hold shift as well that snaps where these can go and it means i can get one in the center i'm going to put one in fact i probably want one there and then on this one here press escape i will want one that is in the center there and that's going to help me to produce this shape hopefully so now i'm going to go into vertex mode and get these vertices here and bring them down this one here needs to come down a little bit this one here also could do with coming down but not too much that's okay there and then we can see here we've got some changes that need to be made so that's going to come down that middle one can stay there this one's going to come up and move in a little bit yeah that looks not too bad let's press three not bad so we need to crease some edges now to get this to sort of hold its shape i'm just going to move that up a little bit and then these two together i'll just bring forward a touch and maybe these two here i'll bring back just a tiny bit like that so now i'm going to go into edge mode and we're going to do the ones all the way around at the front around the top rather so we'll get those i'm going to press number three to see what my creasing is gonna do go to mesh tools crease tool and then not quite crease all the way that's pretty good and then i'm gonna repeat that on the bottom because i need the bottom to be flat so i'm going to get all of those and i probably want these as well to try and get it as flat as possible so then we'll crease that all the way yep that looks good and that is our foot i think i think what i'll do is just bring that one there in fact i'm just gonna have to move the whole shape down to do this i want to round the top off a little bit more so i'm gonna get that edge there and that edge there and just bring those up ever so slightly and then make sure that the overlap isn't too much between the foot and the lower leg yeah that's pretty nice so let's just go into vertex mode now and make any final changes so i don't want it to be too tall i think this vertex here can come back a bit because it's causing the shape not to look my favorite yeah that'll do it right back into object mode we will leave all of the smoothing on for now okay that does it for most of the tricky to model pieces in the next step what we will do is the finishing touches so we'll smooth things we will mirror them over we'll add the antenna get everything generally ready to go for uv mapping and texturing so i'll see you in the next part this step is all about getting the modeling finished and i think we'll start with getting a little antenna on the head of our little chap that's going to be nice and straightforward we're going to start with a cylinder so i'll just create a new cylinder and then let's move this up like so i want to drop the subdivisions on the axis we're going to knock that down to about 16. should be nice i still want this to look quite round there it is and now what we need to do is get this positioned so in my top view here we go if i just put that into wireframe i can see that i had that positioned about there and it looks like i had it slightly wider as well only slightly okay and then in this view here it looks like i'm quite close actually and we need to just get that positioned about there i believe and then you can see here that that's still above the mesh so it's going to have to go down slightly more like that to make sure that it intersects then what we're going to do is we're going to name this antenna and we'll make our changes so the first thing we need to do is go into face mode and we're going to select all the faces on the top like so and then we're going to extrude them add a slight offset like that that looks good and then we'll extrude again and we'll add a bit of thickness just to bring it up a bit and then we'll extrude again we'll add another offset this is going to be slightly more because it's going to be the thickness of the the antenna itself and then we'll extrude again this is going to give us the height so we're going to need to look at this view this time so let's raise the thickness to about there it looks good make sure that we can see the top of this we'll extrude again and we're going to add thickness again like that and then we're going to select this face i'm holding shift double click on the next one to get the whole edge loop we'll extrude and we'll add a bit of thickness to that and that's just going to add that bit of detail to the top okay that's the antenna dome pretty darn good that will do nicely next what we need to do is attach the head to the torso we're going to create a little neck for that and that's actually just going to be two metallic looking cylinders we're going to let the the audience imagine how exactly the head is attached and how it moves around we're going to keep it simple so we'll start with another cylinder and i'm going to put the subdivisions on the axis to 16 again 16 is a nice number put my move tool on and then we need to just sort of get this in place so in this view now what i want to do is just turn on the grid because i want to know i'm going to take this off center but i don't want to take it too far off center so let's just make this slightly taller it needs to intersect the torso and the head that'll do and then we're going to move it off to the side just slightly and then i'm going to duplicate that in fact i'll name it first we'll call it neck one that's it that was a good catch duplicate it move it over and i just want this one to be slightly thinner for no real reason just to add a bit of visual variety so let's scale that up as well so those are going to be our two neck pieces that'll do nicely those are the last things that we need to model then now we need to do is just the finishing touches to get this ready to be mirrored and the first thing i want to do for that is to just reposition the arm it's not quite in the socket as i would like it to be so i'm going to select all pieces of the arm like that and then we need to get this positioned so if we have a look in this view here we can see here's the socket let's just kill the grid again here's the socket and this is just not sitting within the socket so we'll just move that up a little bit that looks pretty good so that should now be sitting within the socket and i think we can't really see in this view now but this view here shows that it needs to come forward a bit as well so bring it forward just so that it's sitting a bit more central within that socket yeah that'll do it so i'm now happy with the position of that next thing i want to change is i want a bit of overlap in these hand pieces so there's not the gap between them and then again the audience whoever's look at it will just assume that these are somehow joined um we'll let their imagination do the hard work so we don't have to so i'm just joining these up just get a bit of overlap and that will be sweet beautiful okay we've got that and then finally i just want to make sure that i'm happy with the naming of the arm because we've got l underscore lower arm and then for some reason l underscore lower arm two which i don't like that's really uneven so i'm going to add a one to this so the naming is a bit more consistent right now that we've made those finishing touches the next thing we need to do is to smooth our geometry because at the moment it isn't smooth if i show you what i mean i'll select everything we'll press one this is how our geometry actually looks and if we were to import this into unreal engine now even with the smooth preview on this is how it would come through so we need to make these changes we'll start with the head then and i think i'll just switch into my large perspective view for this okay what we're going to do is go to mesh and smooth and you can see that it smooths it and it tells us that we've done this once we've subdivided by one and it's still too square so if we now just click and drag on that to two that is much more like the shape that we had in mind but for this one specifically because i want the head to look smooth i'm actually going to take it up to three this is the only piece i'm going to do this with but i do want that so there we go that's the head done right we'll do the torso next so there's the torso selected and instead of going into the menu i'm just going to click on this icon here for smooth click on that and this one's just going to get two divisions there we go okay this piece here just needs one as does this piece here because these are already fairly smooth so we'll just give them one each and then everything else along the arm kind of needs two so we'll smooth it and then give it two divisions this one here we'll smooth it and give it two divisions yeah that's pretty nice this piece here smooth it two divisions and then all the handpieces need the same so let's move two divisions otherwise we don't get the the shape that we want especially like this overlapping the rounding out just won't come through on the hands so we'll get all of these okay that's the arm done let's do the what do we call it the hips so we'll smooth that and we'll give it two divisions this socket here or the the joint that goes into the socket just needs one this is going to have two this is going to have two this is definitely going to have two and the foot will have two as well just to keep it fairly simple and then just this little bit here that allows that to move around we're gonna add one division to that okay so now all the smoothing is done i think i'm gonna make one more change i think the neck looks a little bit too much so to remedy that i'm just going to move the head down slightly make him look a bit stumpier yeah that's pretty good okay what we need to do now then is get this left arm and this left leg to duplicate over onto the right hand side there are multiple ways that we can do this but i'm going to do it in the way that i prefer so i'm going to select all pieces of the arm there i'm also going to hold shift and select all the pieces of the leg and these have all got different pivot points i need them to have one pivot point that is exactly on the center of the grid so to do that i'm just going to group them like so and you can see they're all selected now but more importantly if we go into this center view here they all share a common pivot point which is bang on the center of the grid and this is another reason that when we've been modeling we've only used the image as a rough guide because we wanted to be able to mirror this later so we've made sure that the model is on the center line and haven't worried too much about the image that's just been there to guide us so now that we've got that selected then what we will do is go to edit duplicate special and we'll click on the little settings box i'll just move this over here so you can see the effect when we do this we want to copy we are going to group on the parent and then yours will probably be set to this so one one one and we want the scale on x to be minus one like so and that's it when you click on apply it will duplicate everything over and you're all good and what's also good about this is that now what we can do let's just turn that grid off so it doesn't get too distracting is just rename everything so it's kept the exact name so you can see this here is called l underscore shoulder this here is also called l underscore shoulder which actually until today i didn't think maya would let you do i think it's because they're grouped that it's allowing them to have the same name and that helps us with renaming so what we'll do is we'll select everything on this side not the head though so we've got all pieces of the arm so i haven't selected the group now set to the individual pieces and then we'll do that with the leg yep and we're just going to rename these all in one go to do that we're going to go into modify and then we'll click on what will we click on search and replace names so we'll click on that and let me delete these so you can see what i'm putting in so we did name these really specifically everything starts with l underscore it wasn't l space it was l underscore and that's because if we just replace the l then it'll replace all the l's so we need something a bit more unique than that which is going to be l underscore so whenever it sees l underscore it's going to replace it with r underscore like that and then we can just click on replace and now if we click on any of these we've got r underscore shoulder r underscore upper arm or underscore lower arm one let's do a leg piece or underscore lower leg too so it's now all perfectly renamed as well isn't that grand so we'll just do now a couple more finishing touches before we can wrap up this step so the first thing i want to do is just get all those pieces we just put into groups out of their groups so for that we're going to go to windows outliner you can see here are our groups so we'll click on the name of the group and then we'll go to edit ungroup and they are now no longer grouped and we'll do the same for group two edit ungroup and now everything is all back as separate pieces and now what we're going to do is just delete the history and freeze the transformations which is good practice on anything that you model really so let's select all of the different pieces of mesh we're going to do modify freeze transformations and then we'll just check that that worked on everything everything should be zeroed out or have one on the scale yep that's all worked and then we're going to do edit delete all by type history and we'll know that that's worked because underneath this section here now there'll be nothing listed which there isn't so i'm just going to disappear the outliner and that is the modeling done we have completed chapter one in chapter two we'll be looking at getting some basic materials on this guy as well as a bit of uv mapping on the head so that we can texture the eyes on there so i look forward to seeing you for chapter two now it's time to start thinking about putting some materials on our little robot character at this stage they're only really placeholders and we're using them to create the material slots that we'll need when we get him into a real engine but it also makes it easier to work with because we know what he will look like when he gets into engine so we'll start with creating some fairly basic materials in this step but the first thing i'm going to do is just make my workspace a little easier to view by getting rid of these image planes they've served their purpose now so i'm going to click on show and i can now just click here for image planes or you can see i can press alt and 4 as well to get rid of them what i'm going to need is my hypershade so let's open that up and i just want to make sure that i can see the stingray pbs is available in my hypershade menu if it's not you need to load the plugin google how to do that or drop a comment below the video if you're not sure how to do that but there you go i can see that stingray is there for me so that's no problem i'm also just going to add a viewport to my hypershade so that i can see what i'm doing so we'll go to window viewport oh interesting and i want to drop this just here where did create go ah there we go so now i'll just make that viewport a little bit bigger and i'm going to press 6 so that i can see when i apply my materials the first material we'll create is going to be a glossy white plastic something that looks very apple from the early 2000s so we'll create a new stingray pbs for that i'm going to name all of these so we're going to call this m underscore white the m denotes that this is a material and then we just create what we want here so i want it to be white so we'll drag that slider all the way across and i want it to be glossy so we're going to drop the roughness all the way down and that's basically it that's all we need to do there and then we can apply that to all the elements of our model that need the glossy plastic so i'm just going to drag and drop it with my middle mouse button onto the part of the model that i intend to have this material and for the hands to save myself a job i'm just going to select all the pieces like that and we'll just right click and do assign material to selection and same on this side assign material to selection and for the head even though i don't want the glossy material on the screen i'm just going to drop it on everything for now and then we'll overwrite the screen later when we create that that's the first material created and applied then the next one we want is the metallic looking one so let's clear our work area we'll create a new stingray i'm going to call this one m underscore chrome which is just going to be a nice shiny metal for us so our base color wants to be a shade of gray but we might change that the metallic we're going to change to one you see that makes a big difference straight away and the roughness is going to come down because we want this to be really shiny something like that looks nice and then you can experiment with the different base colors i want it to be quite a light color so we'll try that and then as i did before i need to apply this to the parts of the model that needs it so these two here also those uh these parts of the leg and these here and finally i think we just need them on the antenna okay that's coming together just realize that because this is a new viewport it's showing me the image plane so i'm just going to turn those off because i don't need them in this view either there we go and the last material i will need is going to be like a black sort of rubbery kind of material so we'll clear our work space again we're going to have another stingray we're going to call it m underscore rubber there we go so this one's going to be black and i'm just going to take it slightly so that it's not perfectly black and then the roughness needs to be a bit higher let's try 0.7 pretty nice i might actually just bring the color down a touch yeah and then we just need to assign this to the remaining pieces so it's mostly going to be these joining pieces and then just get his little tummy and we're going to assign material to selection there we go so now let's just minimize our hypershade for a second and see if we're happy with them so you can see i'm not seeing any materials here yet and that's because i still have the shaded view on which is this one here smooth shadow what i really need is um the textured view so you can click on the icon there or just press six on your keyboard and that will bring that through so you can see we've got our metallic areas we've got the white glossy areas and we've got the black rubber looking areas so that will do it for this step then in the next one we're going to work on the face and for that we're going to need to bring in a texture do some simple uv mapping create the material and then apply it to those faces so let's move on to that now what we're going to do is create the material that we're going to put on the screen or the face of this character and this is actually quite important for the character because he's quite a simple character the only way we can give him any kind of personality or emotion is going to be through what we put on there and it's just going to be cute eyes for now but we could do more with this going forward so the first thing we need to do is make sure that we've got the textures so i've got here head texture and i've got the photoshop file that i used to create it as well and what i'm going to do is put those in the appropriate folder so i'm just going to cut where they are this is the project folder that i'm sharing with you so you'll be able to find these in the source images folder sega we've got the front side top image that we used right at the beginning and now i'm going to paste into here the head texture and yeah i know that's moved so there we go head texture these are these are the eyes that we're going to use so make sure that you get the textures from the link in the description or that you create your own so that you're ready for this next step back into maya then and we're going to go back into our hypershade here it is clear the workspace and in fact before we create the material we're going to uv map the head so let's go into face mode and really all we need to do is select all the faces that make up the the screen and the easiest way to do that is just select the ones in the middle and then press shift and full stop to do a greater than selection and you can see that that then goes exactly where you need it to be so i'm just going to see how far yes i'm just going to bring that back ones with a less than so that's pretty much all the faces that make up the face or the screen okay so now i'm going to do a uv projection so just quickly i'm going to go into my uv editing workspace and that's because it'll show me this here and i need to just make sure that i've got this these faces that just take up the the zero to one space so we're going to go to uv and we're going to do a plane our projection and it looks like it's going to be on the z-axis because that's the axis that looks like it's cutting through the face so we'll click on project and there we go that's now created a projection of the face if we only select those faces that'll be perfect so that's the head uv map that was nice and straightforward back into object mode and then i'm going to go back to my modeling standard view and this brings my hypershade back for me which is what i wanted so what we'll do now is create a new stingray pbs we'll call this m underscore screen rename that and this time we need to use a color map and that's going to be our texture so we'll get that first of all so there's color map we need to scroll down here's where we can apply the texture so we'll click on this little checker box here this takes us through to file four is what it's called here and i can click on this folder next to image name and choose head texture.png there it is open and that creates the material and now i want to do is just make sure that i'm happy with the other properties for it so let's just change this from sphere to plane okay so then what we'll do is click back on here and i'm just going to have a look at the roughness of this i don't want it to be very refined to look kind of like it's got a shiny um glass screen so we'll go for something like that and we're going to leave it here for now but i think we will come back to this material in a second so what we need to do now is go back into face mode and luckily for me that face selection's still there but if it's not remember you can just get the one two three four faces that make up the middle and then do a shift and full stop to get a greater than selection to make sure you get all of those and then with our m underscore screen material we can right click and assign material to selection and that will give him his fabulous little face look at that guy go so we'll just minimize the happy shade for a sec have a look at him in all his glory not bad uh and this is where we're gonna get to this final change so we want this to look like a screen but the eyes are quite dim and screens emit their own light so we want our screen material to mimic that same effect so we'll go back into our hypershade then make sure that we've got our m underscore screen selected and we're also going to use an emissive map so we'll tick that box there we're going to connect the same texture to that emissive map so head texture and already this looks a little bit glowier we'll click back on here again and then what we're going to look for is emissive intensity and now we can use this slider and you should be able to see that happening as we make the slider go up it makes the eyes look brighter and it goes to one but i think you can type higher numbers in there there you go if you want make it ten they can seem really bright i think that's overkill let's go for something like two so go between zero and two yeah and two looks quite nice so again this is just for preview purposes really we're going to rebuild this material when we get to unreal engine but for now we want to know how he's going to look as we're animating him so this gives us a good impression of that okay so we can close the hypershade now so this is our little chap with his materials on we've completed another chapter well done you so moving forward in the next chapter and the next few steps we're going to be rigging this guy which means giving him a skeleton and then assigning the different parts of the mesh to the skeleton making sure that that skeleton has controllers and that he's ready to animate so i look forward to seeing you for more fun here we are in chapter three then and this chapter is going to be all about getting our character ready to animate with moving forward so we're going to be rigging him um and before we can move on though there are a couple of housekeeping things that i should have done in the last step but i forgot to so we'll get those sorted now uh the first of these is the fact that i didn't put a material on these two parts of his neck so i'm just going to select both of those we'll just go into the hypershade quickly find my chrome material and assign material to selection like that and then that will have this metallic material on next we want to just move our character up so that he's standing on the grid and to do that i'm just going to select everything but i'm just going to deselect his foot and reselect the foot and that will just put this controller down at the bottom and then we're going to move into one of these views and again a bit of housekeeping let's just turn off the image planes like that and we'll need to turn on the grid for a minute just so that i can line this up so it's about getting his feet onto this thicker black line here and it doesn't have to be perfect but it does have to be close that'll do there so then we can just turn these grids back off because they just look ugly on video and one final thing i want to do and this is just a prep stage for later that's to get all these parts of his body all the geometry and we're going to put this into its own layer and that will mean that we can make that layer reference later so that we don't accidentally select it but for now we're just going to put it into the layer so with everything selected we'll click on layers and then we're going to go to create layer from selected and that'll put this so if i just toggle the v that everything that i had selected is in that layer we will rename the layer to gl which is short for geometry and save it okay now we're ready to start rigging so first of all i can deselect everything and i need to change my menu set from modeling to rigging and we get some new options up here and the one that we want to open first of all if we go to skeleton it is the human ik option we click on that and it opens it up and then we get some tools here that we can use what we need to do is just click on the first button which will create a skeleton for us there it is and you can see that because of the way that we modeled our character the scale isn't too far off but you can see that it's not perfect because he's got arms coming out of his head which is not how most people work so we need to sort that scale out and we also want to make it so that we can just see the rest of the skeleton and in the viewport there is an option for that this little chap here which is called x-ray joints or you can also get it from i think it's in show note in lighting no in shading x-ray joints but i'm just going to click it here and then it will always show the joints on top and so before we just start to get this scale correct let's name this character so that we know what we're working with so on this little drop down here you can click on rename character and give it a name i'm going to call it rob for rob the robot i know that's a little bit cliche but i'm not feeling uber creative today there we go right now we need to just scale him down now there are different ways of doing this you can just change the character scale in here so if we go to something like 0.8 and that will scale it down but then you see that sets it back to one and it's a bit finicky so i'm just going to undo that and the way that i like to do it is there's this little controller here if you select on that it's just a little cross between the legs and you can use that to make sure that the scale tool is available to you and for now what i'm going to do is just switch to the front view because what i'm most interested in is getting this hips controller in the center of the hips about there so whether or not the arms line up or the head's not important for now we're just getting the hips in place and everything else will flow out from there okay so that's pretty good now what we'll do we'll leave the legs for now we're going to work our way up the spine but you can see there's only one point at which the spine can bend because of the way we've constructed the robot which means there are too many spine joints so what we can do is here in our settings we can just take the spine joints down to one and you'll see that will alter the way that our rig looks a little bit but it also means it's a little bit more accurate as well so now we can just move up to the next joint which will be called something like spine or spine one i forget what it is the name is not important for now we're gonna move that up to here which is the point at which you can see it will look like the the little robot can articulate so that's where we're going to place that next we're going to work on the arm and you can see that i'm working on this arm specifically i'm never going to do anything on this side of the character we just work on this side and then we can mirror it so this little area here is essentially the clavicle we're going to put that up to about there and then this one here is going to be where the shoulder rotates from i'm just going to place that about there yeah which makes sense it's pretty much the center of this little shoulder joint we created earlier then we need to put the elbow in place so that's going to be pretty much in the center of that join we created and then finally we need to move to this joint oh this joint here and this is going to be where the hand pretty much connects you see this is the bit where it needs to bend from in fact i'm probably going to put it about there so that the range of movement's not too high and you can see that i was moving this across and i've now just moved that um arm piece down i need to check that that hasn't broken the definition so what i'll do is just move over to this tab here everything here is green it says characterization is valid as long as everything is green any changes that you make are okay if they ever go orange then you've done something wrong you need to redo it and you'll have noticed that so far the way that i've moved all of these joints around is that i've moved them i've used the move tool if however i use the rotate tool so i've moved that one down but if i've done it by rotating you see that these have now gone orange which means bad bad bad so undo that make sure that all stays good now i'll just be flicking back and forth between these two tabs to make sure i'm not doing anything silly uh but that there is gonna do it for this part of the arm what i need to do now is just check how it looks in the top and we can see the answer to that is not great so we're going to select these again and i'm probably just going to press 5 on this and turn on x-ray joints just to make it a bit easier for me to work with so we'll bring the arm forward at the shoulder and then everything else should line up because it's that hierarchical structure which means that when you do something at the top of the chain everything below that follows it you can see that the wrist i'm just about happy with i'll leave that there next we need to do the fingers and again we might need to make a change to the vid because i think we've got too many joints in the fingers for the amount of joints we've got in the hand that we modeled so i'm going to take the number of bones down to two and you'll see that reflected in the hand and i'm also going to just keep the thumb and the middle finger you can see that there aren't individual fingers in this it's just like a mitten so we only need one finger to control it so we'll take off the index the ring and the pinky and that is all the hand we need and then it's just about putting things in place so it's where bends should happen really so i'm going to straighten this up and then move that to where the bend should be same with this one and then this one here is just going to go right out to the end of the finger or close enough i'm overlapping it a bit because there's a bit of a slant to it and then we're going to do something similar with the thumb so that's going to bend about there this one here is going to go about here and this one's going to go out to the end of the finger or thumb and then what we need to do is for the thumb especially i like to go into the 3d view to check this because you can see the thumb actually has a bit of the height so that the finger stays flat but the thumb drops down a little bit and a lot of people will model their characters in a way that that makes sense i tend not to so we'll get that part of the thumb we'll just bring it up to about the middle get the next joint and move that up a bit and then the end of the finger should be fine okay i think i'm happy with the arm next i'll do the leg so i'm going to move into the front view for this you'll see i'll be changing my views fairly regularly for this to choose the one that makes the most sense and then we're going to put this here and it's not ever so important that this is in the center of this circle bit the uh or the sphere this is actually more of an optical illusion it makes more sense to have it where we want the leg to swing from and i'm going to put it about there try and get it as central as possible that looks good and then we're going to get the knee which is currently too low down so i'm going to drop that in place there and then i'm probably going to change to the side view now to check where the foot should be so yeah that for the knee is fine the ankle joint then is going to come down and again this needs to be where you want it to articulate so for me i think i want it to articulate about there and then this part i always used to think that it went right to the front of the foot but it doesn't it goes to the ball of the foot which is about there in this case perfect and so there's only one more thing that we need to look at and that's the head and the neck as well i suppose so this is the neck joint we're going to move that up and i think it's about there but we need to check the side view for this as well and yeah that's pretty spot on so remember that the way that the neck bends just an illusion really nothing actually bends and then this bit here is the head and this usually goes to the top of the head so i'm going to go fairly central and up towards the top okay so that is now all the bones in place what we need to do now is have them mirror over so this side's good this side not so good so what we'll do is just click on this little icon here and as long as we have this rob character selected it shouldn't matter what selection we have here some people think you need to select the bones that you want to mirror but you can see i've got this top of his head selected if i just click on this icon boop there we go he's now all mirrored and that's all we need to do in this step really we've got the skeleton created we've created a character definition we've called him rob we've put all the joints in the right place and we've mirrored them over so in the next step we're going to be creating a control rig for the skeleton and also connecting the geometry to the skeleton so that when we move the skeleton that will drive the movement of the character so i will see you in the next step now that we've created and got the skeleton that we want our final step on the rigging chapter is going to be to get this control rig in place and to make sure that the geometry follows a skeleton right so what we have so far is a skeleton if we select any of these joints we can use the rotate controller and that will move it and you could animate this way if you wanted to but meyer is much more powerful than that and it has some really cool tools that he can use the way that we want to access this first of all is if we just go to definition and then we've got some additional controls across the top and there's this one here which is create control rig if we click on that you'll see that the skeleton starts to look a little bit different and we've got lots of these um extra controls here and this is what we want so now instead of having to rotate i can grab this circle here put my move tool on and then just move that hand around you can see at the moment we haven't attached the geometry to it but the skeleton is now moving um in what's called inverse kinematics which means that it it's doing the mass if i move the hand it'll calculate what needs to happen with all the other joints to get that hand over there the same applies with the hips like that and also with things like the shoulders so that's brilliant we've also got the fact that the skeleton's still there and you'll see that with my move tool this really doesn't want to move but with my rotate tool it does and that's because it gives us the ability to animate with both forward kinematics which is when you rotate each bone individually and inverse kinematics where you select a controller and you can just kind of move it around so that's brilliant isn't it i'm a big big fan of that so now that we've got that there are a few things about it we can change so at the moment we've got this selected which is full body and you see that if i move this the whole thing goes we can change this here and instead of full body it'll just move the arm which can be better for making sure that you don't completely lose control and then there is this one which is just for the selection but in this case you can't do anything with it that would only work on forward kinematics really and you can also change so i'm just going to put that back you can also change the look of these controls so if we go into this little blue drop down menu here and to edit control rig there's a rig look and at the moment we're on wire but if you want box instead so you want this to be a little bit easier to see you can change that and there is also the option to have stick which looks like that and this is down to personal preference my preference is the wire because that's the one i'm used to but you can choose whichever one you're most comfortable with they just look different and they all work the same okay then now that we have set up this control rig for our skeleton we need to make it so the geometry is going to follow that skeleton so here's what we'll do for that we need to just turn off the forward kinematics and the inverse kinetics so this is the two types of control that my just created for us and we're going to click on this icon here which turns back on the original skeleton and this is what we're going to make sure all the geometry follows and i'll try and demonstrate this as clearly as i can so what we need to do first of all is select a piece of geometry and we're going to start with the hips and then we need to select the piece of the skeleton that we want that geometry to follow when it moves and i'm just going to turn off the move tool for this so i've got that and i want this to follow this joint here so i'm going to shift select the hips and because this is in a high rock you'll see it selects the whole rig but that's not a problem and then what we need to do is parent the geometry to the rig so selecting in that order was important geometry then joint and then you can go to edit and parent or i'll show you on the next joint so this one here i'm also going to parent to the same joint so shift select and this time i'm just going to press p on my keyboard and now if i was to move this skeleton you would see that although this whole skeleton doesn't go with it but you would see that when i move that joint that goes with it which is good next up we're going to select the torso and that's going to follow this joint so then we'll press p lovely the next piece of geometry that i'm interested in is this one here and i'm going to have this follow the clavicle oh no let's just select that properly and then press p then we'll start moving down the arm so this upper arm is going to follow this shoulder joint so i'll press p and you'll notice that if i want to select the bone i can go like this and that will only select the bone because there's a order of priority in which maya will let you select things so if i want to select the geometry and click on it but if i want to select the bone i can click and drag and that can make selecting things that i want now really easy so if i click on this part of the geometry here and then just hold shift and drag i can select the bone and press p same for this piece of geometry shift and drag to get selection and press p so both of these lower arm sections have gone on the lower part of there i'm also going to have this parented to that same bone and then for the hand it's going to be which bits i want to follow what so let's just press what am i pressing f and then we'll start that piece of geometry and this and this joint just turn my move tool off again p this piece of geometry and this joint p this piece of geometry and this joint p this piece of geometry and this joint p this piece of geometry and this joint and p okay at this stage i'm just going to test a few things out so let's just turn back on the controllers here so we'll get that there and we'll move the arm and make sure that things are following as i would expect it to and that looks pretty good and then we'll just select this hips controller and move him up and down yeah and then all the torso and the arms going with it so far so then we'll just turn that back off and we can keep going so next up we're gonna have this piece of geometry here now as i said earlier we don't really want this to move the reason that it's a black material that you can't really see any detail on is that the audience the player will just assume that's moving so we'll select that and we're actually going to parent it to that joint there just turn my move tool off again this upper leg part is going to be parented to the upper leg joint the first lower leg part is going to go to the lower leg joint and then the second lower leg part is going on the lower leg joint as well and finally the foot is going to go on the foot joint p and the final thing to do now is just get the head attached and the neck as well don't forget the neck like we did earlier with the material so i'm going to select that bit there and that's going to be parameter to this joint here okay same for this i'm going to parent it to that joint there and for the head select the head shift select this joint in the head press p and then for the aerial or the antenna i'm going to select that and actually just pairing that to the rest of the head okay now what i'm going to do is i've just done one side what i'll do now is just fast forward me doing the other side so you can see what i'm doing but it's going to be identical to what i do on this side there's just no way of mirroring this we have to do this the old school way so here we go okay i think i'm done then and the reason i say i think i'm done is it's really easy to just miss something or to parent something um that you didn't mean to to the wrong thing etc so now we need to test so we'll turn that skeleton off we're going to turn back on these controllers here and we just need to test him out so greg grab his hips get our move controller and we'll just try and move him around that looks good everything's moving there as i would expect it to let's grab a leg and move that around okay that's actually the foot control i want this one yep that looks okay and everything's kind of doing ik where they expect it to just check the other leg looking good check an arm yep check the other arm yep check the head so you can you can use the move control on the head i actually prefer to use the rotate on the head yeah that looks okay and we'll just move his head side to side yeah good stuff and then finally let's just check the fingers and you get this kind of cool finger controller on the end here which is kind of nice and we can rotate that and that will kind of make a fist for us and there's one on the thumb as well let's have a go at that it doesn't really behave in the same way there we go but it looks like that is working as expected we'll just check this knuckle joint there yeah so what you should do now is continue to check everything make sure that everything behaves as expected and if it doesn't redo it now what we need to do is just a couple of loose end tying up things so we'll go back to where are we channel box layer editor we have our geo layer and what we want to do is make that reference so now we just can't select it we can still move it by moving the controls here we go look but we can't accidentally select it and break anything so that's good really isn't it what we're also going to do is make sure that we save this as its very own file because this is now a rig that we're happy with it works as expected rigs can be a little bit temperamental and can break and so we're going to save this and then never work on this again unless we have to this is just something we can go back to if the rig breaks down the line so we're gonna do file save scene as and i'm just gonna call this clean rig like that and then i know i've always got a clean rig there we go and that's it we've completed another chapter and you have now got a rigged character who is ready to be animated and then eventually put into unreal engine and he's gonna look so sick so i hope you're excited about the next chapter it's gonna be a long one it's gonna include all the animation so i look forward to seeing you all excited for animation in the next step okay then now that the rigging is complete it's time to get some animation put onto this little chap so that he's ready to go into the engine we're going to start with creating an idle cycle which is the one that plays when the character receives no input from the player so when they're standing still you don't want them to be dead still you want them to look as if they're still alive sometimes it is called the keep alive loop or a breathe loop as well now i want you to kind of suspend your belief a little bit for this because we're going to make this robot look like he's breathing and of course robots generally don't need to breathe but to make it look like he's not just dead still we're going to create this idle cycle so as you can see i've got my rig open and to make sure that i don't save over anything that i want to keep i'm going to save it straight away as idle so file save scene as and we'll call it idle so it's going to be 12 for me idle cycle there we go save next up so you can see that i think i left you with the channel box open but in human ik what i want to do now is just make a change here and so here we've got this kind of full body control so if i just select a controller and pull him over you see the whole thing moves and i'm going to move this over to here and this is where we're going to do our animation and what it means is that if we pull it over it won't move the whole body but it will move the whole arm and this is just to make sure that we don't end up setting keys on things that we don't want to it gives us a little bit more control as we're going forward what we're also going to do is just change out the modeling view now there is an animation view so if we have a look at this so this gives you um a viewport up here and a graph editor down here i don't really like it's good for the graph editor but it doesn't give me enough space here i'm not a massive fan of that so i'm going to do it a different way i'm going to go to maya classic and that's because it gives me a timeline down here which we'll need and then i'm going to put a graph editor on the side and i'm going to suggest you do the same thing so what i'll do first of all is just go to windows animation editors and graph editor and open one of those up and you can see for me it's already docked to the side because that's where i tend to keep it it might open view in a separate window like this if it does just move it over to the side like so and then you can kind of have your views side by side which is the way that i prefer to work one other thing that i want you to check is that this little icon down here isn't red so it shouldn't be by default but this is auto key and again to make sure that we are in control and we don't set any keys that we don't mean to we just need to make sure that that's off and that'll keep everything nice and clean and organized the first thing we need to do to get this animation going then is to create uh our first sort of base pose this is the how he's just gonna sort of be stud uh we want this to be fairly dynamic so i'll just start building this now we can just make that a little bit smaller because we don't need so much of that just yet and we'll start putting this pose together so i'm going to start by getting the hips controller and you'll notice i do a lot of selecting with this marquee selection and just nip the edge of what i want i find that's a little more accurate for me so i'm just going to drop his knees down i'll probably raise that back up a little bit later but just to give me room to move his legs we're going to drop his waist down a little bit and then what i want to do is i'm just going to bring this foot forward and out a little bit to about there and then i'm also going to attempt to rotate this out a little bit can i do that by moving the toe let's see it's going at a funny angle so what we'll do for that is we'll just drop into the top view pressing f to find that particular control um it should be that one let's just double check yep and then i'm just going to rotate it using this yellow manipulator here like that and that will just make sure that it stays flat on the ground because otherwise that wants to go out a little bit okay then what we'll do is take the other foot and this one's going to move back and out as well kind of like that now the thing about back feet is generally we'll raise our heel up off the ground if that's how we want to stand so what i'm going to do is i'll just go into my top view again just so that i can rotate that out a little bit and then i'll do some other stuff with it and i'll probably need my other views to help me get this so the first thing i'll do is i want to raise this up so that it looks like he's sort of using his uh toes there to get the extra height and then i'll just turn the grid on so that i can get that lined up and i think what i'm also going to do is just rotate it that way a little bit as well so that should give that a fairly nice look so let's have a look at how these legs are not bad so what i'll do now is i'm just going to bring the hips back up because this is kind of my upper pose really so that's not bad i think the uh this foot here might just need to go back a little more no i don't like it further back i think i like it actually a little bit closer in so i think what i'm going to have to do is just raise raise his hips up a little bit further and maybe just bring his hips further forward a bit as well oh that's better okay the next thing i'm going to do then is just try and sort his arms out and obviously we don't want these to be stuck out the way they are that's that's too much let's just raise them up a little bit more again there we go um so let's get i tend to just do these with the wrist controllers if i can and what we're going to do is just kind of bring it down bring it in and this one's kind of going to be slightly back this arm so we're going to bring it down a little bit more let's just make this view a bit bigger bring it to that kind of position and then there's a fairly good starting point i'm going to get the shoulder controller and just sort of not the shoulder the elbow controller just to bring that out a little bit as well let's see what we get that's not a bad start i might have to come back and refine that and then we'll get this wrist here and i want this one to sort of do the same thing but this one's going to be forward a little bit we'll bring that down bring it in we don't want it to be too far out i think what i'll do is just rotate that hand around a little bit same with this one everything's a bit too straight there maybe just rotate that in same with this one so you see i'm just sort of building this pose as i go until i start to feel happy with it and one of the the views that i've got to be in the most conscious off here is the back view since that's the one that will likely see the player from most of the time so i don't want that to get too out of control really i think i'm also just going to rotate this a little bit so that shoulder's back and he's kind of leaning that way and then we're just going to counter about by bringing the head back so that's a bit more forward facing and that should then give me a little more freedom with what i can do with this arm okay so i think we'll use that as the base pose i think that's good enough that will do i think i'll just make one more slight change to the fingers because they look far too rigid so if you just let the end controller and rotate them around you'll see that that kind of does the whole hand and then the thumbs you kind of got to rotate on two different axes so we'll bring it in a little bit uh we can see that kind of goes up too much so if we bring it down that way that looks a bit nicer and then we'll do the same for the other thumb make sure that i have this like the one controller that i want so bring that in a little bit and take it down okay so we'll say that that is the sort of base pose that we're going for that everything else is going to be built from what we need to do next is get things so that they actually move so for this loop i've decided that it's pretty much going to be a 50 frame loop so you can see at the moment that we have 200 frames on our timeline it's displaying 120. we don't really need to take that 200 number down but we do need to take this one down i'm gonna just type 51. and the reason that i'm doing that is because it's a 50 frame loop and we start at one um so it's one to 51 will give us 50 frames and now we're going to start getting some movement so let's just slip the hips and check that it's doing what i wanted to yep so when i move the hips up and down everything above the hips goes that's good so with just the hips selected we're going to put our play head on frame 1 and then we're going to press s on the keyboard and what that does is sets a keyframe we also need a keyframe setting at 51. because this is a loop frames 1 and 51 need to be identical to make sure it returns back to the position it started at then in the middle we have frame 26 and on frame 26 this is going to be our down part of the animation and what i'm going to do is just on the y-axis bring him down a little bit we don't want to go too far with this or it starts to look a bit a bit too much and then we'll press s and then if we play it you should start to see that we've got the beginnings of this sort of breathe animation so that's the first part of it done essentially the last thing we'll need to do with this actually involves the graph editor so if i just bring the graph editor back to so it's got some space and we'll select that hips controller again and i'll press a in fact i'm going to select everything like this and then i'll press a again and you'll see that there are two curves here that have got some movement on them that's represented by these lines here and what we're going to do is make sure that this kind of happens forever and it's not ever so important on this particular loop but it will be important on the other so we'll get into the habit of doing it early i'm just going to zoom out a little bit and what we're going to do is go to view and we're going to select infinity and what that does it shows us what the animation does before and after the keyframes we've set and we can have it cycle so that it keeps going to do that we're going to go into let's just select everything we're going to do curves pre-infinity cycle and you'll see that that curve now is curving before we set any keyframes if we do the same for curves post infinity cycle that will happen forever which is really useful to us in getting this loop especially when we start adding offsets down the line so that's the hips done i'm happy with that the next thing we'll do is grab this chest controller just here and we're going to do the same sort of thing so we're going to go to frame 1 and press s frame 51 and press s and then go to frame 26 and on this one we want him to kind of look like he's breathing so we'll put the rotate tool on and we're just going to rotate him forward a touch not too much we don't want this to be distracting just enough that we can see it and then we'll press s and then we're going to play this to test it out yeah that's really good that's doing pretty much what i want it to do now the problem with this is it all starts off very mechanical and one of the ways that we can alleviate that is with something called an offset and it kind of creates a bit more of like a wave of movement going through the character rather than it all being this sort of mechanical look we've got now um and this is fairly easy to do in this case so if we just go to um make sure that we're seeing all the curves and we select everything like that we're gonna do our pre and post infinity so curves pre-infinity cycle curves post infinity cycle and this is really important for this one because what we're going to do now is move these frames along the timeline a little bit so i'm going to hold shift on my keyboard and then i'm going to do middle mouse for this and just drag to the right and then i'm going to move it about what i've got in my notes about five frames to the right so one two i've already done three four five and you can see that now there's no keyframe on frame one anymore but it's moved to frame six frame 31 and actually frame 56 which we can't see here but the reason that this offset is important is if we zoom in on this curve there is still some movement happening before frame six and that means it's going to stay even despite the fact that we've moved it on so we'll do that with anything that we offset that's really important okay so what we'll do now is play this again and see how it's looking and you'll see there's a bit more of kind of a wave of movement going on because we've done the offset on the chest so i think that looks pretty good what we need to do next is a similar sort of thing but this time to the head so let's go to frame one and what i'm going to do on frame one is just like the head controller i'm actually going to move it up ever so slightly and that kind of creates a bit of overlapping action um which kind of looks a little bit better so with that done we're going to set a keyframe on frame 1 move to frame 51 set it again and then on 26 as we've done so far we're now going to rotate it down a little bit and that's going to make the head look like it's got a bit of weight and like there's some effort going on so we'll do that um we'll just play it to make sure that's working yep that's not bad and what we're going to do now is offset that movement so let's just select this again we're going to make sure that we can see all the curves we're going to select all the curves let's just press a make sure they're all showing up yeah so it's going to be curves pre-infinity cycle curves post infinity cycle and then we're going to do this offset so i'm holding shift and my middle mouse button i'm going to move this one i think probably another ten so one two three four five one two three four five yeah and that's moving it to frame 11 that's perfect so then we'll test this and see if i'm happy with it i might decide to tweak this a little bit let's see oh no that's not bad i quite like the fact that his head's quite huge and now it looks like it's got some real weight to it because of the way that we've animated it so that's pretty good there the next thing we need to do is just something with the hands so i'm finding all of these bones at the moment a little bit distracting so let's try and turn these off so i'm just clicking this icon here that turns off your forward kinematics and then we've just got the controllers for inverse kinematics showing and then we'll have a look at what the hands are currently doing so they're going up and down that makes sense i'm happy with that but i kind of want them more to look like they're staying still so here's what we're going to do we're going to select both wrist controllers and on frame one we're going to press s and we're just going to yeah we'll set them on frame 51 more press s as well okay and then at 26 here's what i'm going to do so i'm just going to put it in this front view here i'm going to turn on this tool here it's called the grease pencil and i'm just going to go to here it'll let me make a mark on the screen so i'm going to put one mark here and one mark here this tells me where those wrist controllers are on frame 51 and frame one so now if i move to 26 i can see sort of where they've moved to so what i can do now i can just turn the grease pencil tool off i'm going to select this controller here so this is just a character's right hand i'm going to move it up and out a little bit like that and then the same with this one so i'm moving up to about the same height but i'm moving it out a little bit as well we'll press s and then what i'll do is just go back to frame 51 and remove that mark i made with the grease pencil i can turn that tool off now oh i can try to go away tall there we go and then we'll see how that looks okay so if you're paying attention you'll see the mistake i made i made the movement here on this wrist but i didn't set the keyframe so let's just make sure that i sort that out i should know better than this okay so i'll put the grease pencil tool back on i'm gonna put my mark back in then i'm gonna go to frame 26 and then i'm gonna turn that tool off put this roughly where i want it to be up and out a little bit press s this time and then we'll just play it yeah that's not bad i think i can get down with that oh yeah right so let's now just kill the grease pencil tool again uh we'll just get rid of that whether i put it on frame on this time get rid of that and close the tool and then what i want to do is get the offset sorted out so let's just make sure that for this you'll notice as well there are a lot more controls on this because we've got two wrists to work with so i'm going to select both of them and just click once at the top scroll down to the bottom and shift select that will show me all my curves press a to make sure they're all showing up and select them we're going to do curves pre-infinity cycle curves post infinity cycle all good and then we're going to do the offset which is going to be about the same as for the head i might do it a couple of frames before or after we'll see how it looks so middle mouse button and shift and i'm going to go to the right 1 2 3 4 5 6 7 eight nine ten eleven twelve let's try twelve frames okay we'll see how this offset looks um not a fan of that let's make a little tweak i'm just going to put the offset back a little bit so instead of it being that far forward we're going to bring it back a little bit so let's go one two three four five we'll try that not really enjoying that either we'll go further so we'll go to 345. one two three four five i'll put it on about frame 18 let's see how that looks yeah that'll do okay so that is pretty much the idle cycle so what i would recommend to you now is that you can go on and refine this um a little bit more if you choose to so if i wasn't trying to do this quick um i would probably put a little bit of movement on the fingers i'd have some side to side movement and probably rotate things side to side as well um just so that it doesn't look too mechanical although one of the reasons we're doing this as a robot is because mechanical movement does at least make sense so what we'll do next is we'll move on to the walk cycle and we'll bash our basic walk cycle as well and then we'll be getting well on our way to having a character that we can put into the engine so make sure that you've saved this as idle cycle file save scene and then into the next step we can make our next cycle i'll see you there with the idle cycle complete and saved then it's now time to move on to our walk cycle so let's make a start on that so i've saved this so what i want to do now to make sure that i don't accidentally mess this up is open up a version of the clean rig again so we'll do file open scene let's find clean rig and open and i don't need to save that because it's already saved so here is my clean rig then what i want to do this time is set this up for a 24 frame cycle and that means we're going to go from 1 to 25 because we're starting at 1.0 so we'll set this to 25 like so next thing i want to do is just move my views around a little bit uh and we'll see how this goes so what i'm going to do first of all is move my graph editor down to the bottom for this you'll hopefully see why in a minute there we go and i want another perspective view so i'm going to go to panels and we're going to tear off a copy of this and this gives me another perspective view and then i'm going to move this to just sit down the side there and just resize that a little bit like so then i'm going to change this view to a side view so i'm going to go predefined bookmarks left side because it's a copy it will also make this one on the left side but that's okay we'll get to that and then on this one we're going to go to panel's perspective and we'll just make a new one because i just overwrote my other perspective camera and this now gives me two views so this one i've got a little bit more freedom i can rotate around and this one gives me a good profile view so that i can see what i'm doing what i'm also going to need to do so that i can see when the feet are contacting the floor in this view is turn on the grid and you can see that i now have this thick line here which is representing the floor and i'll just go to show and we'll turn off cameras which removes a line there so that doesn't get confusing for me and with that then i think we're ready to start animating so the first thing i want to do is make sure that my human rk control is on this middle one here which is body part and now making sure that the playhead is on frame one we're going to set up the first pose of this walk cycle which is known as the contact pose so for this i'm just going to change to my channel box so that i can see that i've got the right values as i want them and then we're going to select the hips controller and the first thing i want to do is just move the hips down a little bit so that we've got some bend in the knees so let's just move this down yeah and that looks pretty good so i've just got a little bit of a bend in the knees like that and i think i'm just going to round that down to 61. there we go and then we're going to work on the character's left foot i always like to take the left foot forward first which is this one and you can see that i used this view here to select that because it would be very difficult to select it here and then with my rotate tool we're going to rotate this up to something like that and i might change this in a minute once i get it in place but something like that and then we're just going to move this foot up so that it's in line with the ground and we're also going to move it forward so just make sure that i'm getting this where i want it just bring this down so it's contacting the ground i think i'm just going to rotate that around a touch further and yeah i'm happy with that i think i'm going to round this to 23 and let's just make sure that i am happy with the rotation just something like that that looks quite nice now we're going to move on to the right foot which i can select fairly easily from this view now because i've moved the left out of the way and this one needs to be rotated down slightly to something like that and then we're going to bring it back in line with the ground and this one needs to be moved back let's have a look i think that's just once rotating a little more bring that up a touch maybe not quite that much let's just put that back yeah that's quite nice and believe it or not that's pretty much everything we need to do right now for the first pose the contact pose so what we'll do at this stage is set keyframes on everything that we have adjusted so far so that's the hips controller so i'll select that and then press s i'm also going to select this foot controller and press s and the other foot controller and press s and that is the beginning of our first posed on the contact pose next we need to move to frame four so we're gonna make a change on this one basically every three frames so frame four is the next stage that we need to go to and this is known as the down pose it's the lowest that the hips go in the whole cycle so that's the body part that we'll start with we'll select the hips controller and we need to move down a little bit let's see how far we want to go yeah i like that so i think we'll round that to 59 because we're pretty close to that anyway if i can i like working in whole numbers it's easy for me to make tweaks to okay so we've done that next thing we want to do is i'm going to select this foot and i'm going to rotate it back to flat which i believe is just this axis here yeah so i've put that flat and then i want to get it back on the ground so let's just bring it in a little bit so i've got room to do that and we'll get it back in contact with the ground that looks pretty good and then i just want to get this sort of into position where i think it looks good um yeah i like that so we'll set that we'll round that to 21 and you can see that that now is the foot's gone flat and it's also come back slightly as well on this one the back leg actually gets a little bit more extreme so what we'll do is we're going to rotate this round a little bit more just something like that which is going to necessitate bringing it up so that it's not going through the floor and we're also going to need to move it back as well so let's see maybe not quite rotated that much let's just bring it down a little bit yeah we'll give that a go i think so i'm on about minus 32.5 there let's round that to minus 32 i think should be good okay i think i'm happy with that so let's key those so we'll select the hips controller press s select this foot press s and select this foot and press s and then we can see that already we're getting the beginnings of our walk cycle so next we need to move to frame seven this is what's known as the passing pose and it requires the hips to go back up a little bit so let's just start with moving the hips up and where do i want them to be it's got to be sort of higher than where they started yeah i will go for that and we're going to go for 62 i think cool i'm going to work on this foot first as i tend to do in each step and i think i'm going to want to move this foot back almost to where it started what do we think i'm going to set this to one i think just a little bit before it started and obviously i need to get it back to being on the ground as well because i've just lifted it up by moving the hips up so i'm happy with the position of that foot let's select the other foot and on this one i am going to rotate it forward or down rather a little bit and this is going to create a bit of a drag movement hopefully and then i'm going to move it forward to about there and then i'm also going to raise it up and that's just going to create the effect of this leg overlapping this one that's coming back i don't want to raise it too far off the ground because it can look a bit too stompy yeah so i think i'm pretty happy with those positions as well so let's key the hips on both feet because they're the only bits that we've made changes on so far good stuff so that's our passing pose hopefully in place let's see how that's coming together yep not bad so far so then we'll move to frame 10 this is known as the up pose this is the pose where the hips are at the highest and i think i'm just going to type in 63 for this i don't want to take it too much higher but i do want it to be higher so that's done that we could possibly go a little bit higher maybe you want to experiment with that but i'm going to stick with 63 and then the left foot needs to go back slightly um so it's not allowing me to push it all the way back yet so what i'm gonna do is put a little bit of a rotate on the toe because this is starting to go back now and go into sort of a tip-toe position so we'll do that first and then i'm gonna start moving it back like this yeah i don't want to really go any further than that so we'll call it -21 that's pretty nice and then we'll get the other foot so this is his right foot and we'll move this forward it's going to come forward quite a lot i think we need to get some of this drag off the foot and bring it almost flat just a little bit of drag on it like that and i'm probably going to bring it down a touch this is going to be kind of seeking the ground now this is going to be allowing him to put the foot down soon so we'll go for that kind of height there and hopefully that should do it so let's now select all of these so we'll key the hips key both feet and then we'll see what's going on there yeah that's pretty nice and now we're going to move on to frame 13 and for this one we're not going to put in the um the positions manually because this needs to be a symmetrical walk cycle so what we actually need is for frame 1 and frame 13 to be identical except to switch the position of the feet so we'll do it with the hips first because that's the most straightforward part to do this with so we're going to go to frame one and select the hips and then we're going to right click on frame one here go to copy and that copies that position of the hips then we'll go to frame 13 right click paste and then paste like that and you'll see that the position of the hips changed and they are now going up and down between those keys so that means that they are now going to be in an identical position on frame 1 and 13. now we want to do something similar with the feet but have them switch positions and i'll show you how i'm going to do this one so i'm going to go to frame 1 and i'll set the one that's at the back perfect we're going to copy and then while i'm still on frame one i'm going to switch to the other foot because now i know that i've switched them then i'll move to frame 13 right click paste and paste and that's put it back here which is where we wanted it but there is one problem it's also moved it over to be in line with this foot and that is normal that's expected what we need to do is just put that back on its own side and what we're going to do is just invert the x-axis for that so it's currently set to minus 10.448 let's remove the minus and that puts it back on its own side and we've reversed that foot position but this is important you can see that while these are dark red this one here is light red which means we need to press s again just to make sure that that stays on its own side otherwise it'll move back over so we'll press s and that's that foot done with that still selected then i'm going to go back to frame one i'm going to right click copy i'm going to select the other foot go back to 13 where i'm going to paste there you can see that's now crossed over which we don't want it to do so we'll invert the x-axis by putting a minus in there and then we need to press s while we've still got that foot selected and then you can see now we've done that we don't have to set the keys because there is already a key on the hips and there's a keyframe on that foot and a keyframe on that foot so now what that means is that we should i'll just make this view active be able to scrub through from one side to the next so that's the first part of our walk cycle so we've got one step but we need to have two steps that this will properly loop so what we do now on the next set of poses is we just use the frames we've already got and we swap them over to the other feet and that makes it really easy so that's frame 13 done we're going to move three frames on one two one one two three so frame 16 is going to be what we do next so let's start with um the hip stem so we're going to get frame four right click copy go to frame 16 and paste that's the hipster and then back to frame four and as i did previously i'll set the back foot first this is just i do it in this order so that i know which ones i've already done so select the back foot copy select the front foot move to 16 and paste and then we need to make sure that we invert translate x and then we press s that's that foot done then we go back to four and we copy we switch the feet go to 16 paste and paste and then we'll invert translate x again and press s that's another pose done and we'll repeat this now by reversing seven onto nineteen so let's go to seven first select the hips copy then we're gonna go to 19 and paste back to seven select whichever is the back foot and copy select the other foot move to 19 and paste there we go and then invert the translate x and press s then we go back to seven we copy this frame we then select the other font go to 19 and paste lovely and then we invert the translate x just as we've done previously and we press s and then we've got kind of one more of these to do and then we can just copy all of frame one again so let's go to um 10 this time and i'm just going to select the back foot again it doesn't matter well i could select this one but i always start with the back and move over um but in fact what we'll do is we'll do the hips first so we'll select the hips and we'll copy move to 22 and paste lovely then we'll go back to 10 i'm going to set the back foot and copy select the front foot move to 22 and paste nice invert x don't forget to do that otherwise it'll look all weird press s and then back to frame 10 and we're going to copy this one select the other foot go to 22 paste and invert don't forget to press s at this stage i'm just going to run it through and i'm going to look at it undo that i'm going to look at it in this view to make sure that i haven't forgotten to process and that nothing crosses over yeah so far so good that looks wicked okay so now what we need to do is just make sure that one and 25 are identical so i'm going to select the hips that foot controller and that draw so i've just copied them all or selected them all at once then i'm going to copy frame 1 move to 25 and paste and then we'll let that play through and see what's happening so there will be a little bit of lag on 25 because that is 1 and 25 the same frame is playing twice uh and i want that for now but if at any point you want to preview it without that the frames that will let's say export we just take off that frame so i'll just play 24 frames and it removes that little bit of lag so let's just have a look in this view here that's not bad so as you'll know that notice is a little bit mechanical but he's a robot and that works so so far so good we've got the legs done the next thing we're going to do is just a little bit more work on the hips to make sure that the walk looks a little more natural we're still going to allow it to be mostly mechanical but will add some rotation in the hips just to make things feel a little bit nicer so i'll select the hips and we're going to go to frame 1 and what i'm really interested in for this one um is the rotate so you can see currently we have keys on the rotate but nothing's happening see i'm just visualizing this in my graph editor so that i can see what's happening so the only thing that we should have changed at the moment is this translate y and whilst i'm in translate y we can see that there is this particular curve here doesn't make a lot of sense so i'm going to select it and then i'm going to select i'm going to shift select that my tangents and just rotate that around so i'm holding my middle mouse button to do this just so that flows a little more okay so that sorts that one out uh now what i'm interested in i believe is rotate x what we're going to want to do is rotate the hips forward a little bit so i'm just going to do this and you can see that up here it shows that it's the rotate x that's moving so that's the excess that i'm going to be concentrating on and we want to lean into whichever foot is making contact so what we're going to do then is on frame one i'm just going to want to rotate it towards the left foot so if i just rotate and i only want to do this slightly because i do want this to be subtle i'm going to rotate so you can see that to put that foot forward it's going minus so i'm going to do i think on that one minus two and then what i'll do is reverse that on frame 13. so i need to just press s on frame one first to make sure that that sticks and then we're going to go to 13 and we're going to just put two on rotate x to reverse that and press s and then that we know that on 25 let's just bring 25 back we need to have this identical to frame one so that's going to be -2 and we'll press s okay so you can see that our curve is there but there are now a lot of curves that aren't really helping with this uh they're just getting in the way so i'm going to select these three keyframes here and just hit delete on my keyboard and same for these here and you'll see that that now creates a bit more of a smooth curve which is what we wanted so now as we play the walk cycle i'll do it in this view you can see mostly because it's illustrated in the arms that he is swaying left and right a little bit which helps to just add a little bit more magic to this uh cycle what i also want to do is give him a little bit of side to side wiggle when he's got a foot planted and he's putting all his weight on it and we're gonna do that on frame seven this is where he's got plenty of weight on the in this case his left foot and this one i think is going to be this axis here uh and we can see that it's showing us lots of changes but the only one i'm really interested in is rotate y for this particular one because that's the one that's moving the most so on frame seven what we need to do is make sure that that hip raises the one with the weight on it like that so what i'm going to do is i only want this to be subtle again so on rotate y which is the one that i know i want let's just put this straight again i'm going to set this to 2 and that'll just rotate it in slightly and we'll press s on there and then we're going to go to frame 19 and we're going to put -2 on this one i won't press s again and then you can see that these keyframes now need to be here if we delete them it will delete them off of the rotate y as well but you can see that's now going up and down and back up and that's creating a nice little loop as well so let's play that and see how it looks or have a look at it in this view and just take that extra frame off yeah that's not bad that's looping fairly well there's a little bit of a sharp change here but i think that's going to be okay the next thing we're going to do then is we're going to kind of move up our model and we're going to sort of counter what's happening in the hips on the chest because as one leg move forward so let's say the left leg moves forward the right shoulder tends to move forward but you can see that as this leg is forward here it's the uh the same shoulders forward so we kind of need to counter that a little bit before i do that though i'm just going to go back to my human ik control and i'm going to change to this which is selection so i'm no longer now moving on um the kind of whole joint chain it's just a particular part of it and that's because it just one of the things of this rig is that even though it's really great to set up there are some quirks to animating with it and for this particular part we need to just move here to make things work as expected so let's just get ready for this so we're gonna make sure that we're on frame one and we're not gonna animate on one of the controls this time we're going to animate on this actual joint so it's called rob control spine is the name of it and you can see that it selects kind of everything above the hips and what i'm going to do is just see which axis i'm rotating on so it's the x-axis which is good and i'm just gonna need to bring this forward a little bit to counteract what's happening uh below so i'm probably gonna rotate it forward by about um five i think it looks good yeah so then i'm just going to press s on that go to frame 13 and i'm going to invert that so it's going to be minus 5. you see that that has now inverted it so i'll press s and then on frame 25 let's bring 25 back i'll go back to 5 and press s and then we'll just see what that's looking up undo that silly shane see what that's looking like in this view yeah and that's a lot better because it's just counteracting what the legs are doing and it makes the everything look like there's more weight going on in this walk cycle so that's pretty good now it's time to make him look less like he's walking on a tightrope so i'll take his arms from being in the t position and get them swinging as they should let's just move back to frame one for this and for this one i'm going to be working on this arm that's closest to us first which is the right arm and i'm not going to be using this controller because we've changed the method if we try and rotate it it won't work on the controller anyway so we are going to be working on that joint there and it's called rob control right arm and you can see this one will let us rotate it before we do that though it's going to be easier to just get the hands kind of in the position that we want them in before we start swinging them around and for that we do actually want to go back to body part control in the human eye case let's just put that on and then what i'm going to do is try and make a fist so if i get this end controller here and if we just rotate this round a couple of times you'll see that it bends in the two finger sections i've got to get them bent nicely around that's kind of nice and then we've got to do the same with the thumb but first of all we just kind of need to bring it down which is that axis there and then we can bend it in a little bit it doesn't matter if they overlap a little bit that's fine that'll do for a fist on that side let's repeat that over here okay so we've got our fists in place that'll just make it look kind of nice and then we're going to go back to humanik or just go back to selection and then we can start to do what we need to do so as i said i'm going to be working on the character's right arm okay so we're going to rotate this down this is what we need to do first of all and i just want to make sure that i can see my channel box here and i'm going to rotate this i don't want this to go too far something like that and then we're going to need to rotate this forward it's the left leg forward so it will mean that the right arm needs to go forward something like this but what we also need to do is kind of just curl it in a little bit as well so that's a decent starting point and what we'll do then is just on that controller we're going to press s and then on frame 13 you can see now that this foot is back this arm or this front is forward this arm needs to go back so what we'll do is we'll move the arm back and then so if we move it back like that we're also going to need to move it in a little bit and we're going to need to do that and you're going to see a problem that i'm going to have with this so you see that's kind of where it needs to be that makes sense and we'll press s and then what we'll do is we'll just take frame 1 we'll copy that and we'll paste so that's going to give us our loop so if we just start by looking at this view here let's play it that's not too bad but if we look in this view the arm really kicks out as he's swinging it uh and this is another one of those quirks of this rig the way that the arm set up is not quite ideal for the arm swing and so it can take a lot of trial and error to get this to behave itself so i'm going to show you what i've done and you can just use similar values to how i put it together so it took a little bit of trial and error but i'm just going to put in the values that i know that i like for this so rotate x i'm going to put in minus 30. so i've moved to frame 1 for this so we'll do -30 there for y we're going to put in 70 and for z we're going to go minus 55 and we'll set that and then we're going to copy it to frame 25 like so frame 13 what i want on this one is 75 see that doesn't change much 70 this won't change much either and 85. it's changed very little from where i had it but this will make a difference and then if we play this again you'll see that this the swing out is still there so what we're going to need are some frames to sort of correct this i call them correction frames we're going to need one on seven and one on 19. so i'll go to frame seven first and then the values that i like for this correction are 35 on rotate x 70 on rotate y and 20 on rotate z like that you see that's just brought that in a little bit and then we'll press s and then we'll move to frame 19 and put in the values that i like for this one which are going to be 30 on the x-axis on the y-axis we're going to have 75 that just brings it in a little bit and the z-axis is going to be 20 and then we'll set that and at this stage if we play it see that it does kick out a little bit but it's more that the arm goes behind that looks quite good and once we put the bend in the elbow of the arm it's also going to look pretty good so what we'll do now is we'll actually set the animation up on the elbow to sort of finish this off and make it look quite nice so we'll stop that playing go to frame one and i'm just going to select the elbow joint there on frame one i'm going to set the z rotation which is this one and i want that to be so that it looks kind of like that yeah that looks good i think so i've just created a bit of a bend in the arm there so we'll set that on frame 1 and we'll also set that on 25 because they need to be identical on frame 13 which is when the arm's back we're going to set the z rotation to almost back to zero really so let's just do that i don't want to go all the way back though that's pretty nice like that so it's around about three and a half so if we have a look at that again so i'll have a look at it in this view here you can see that that arm bending forward adds a lot to this arm swing if we have a look at it in this view it also now helps the arm not to look like it's swinging out so much uh and makes it look quite natural which is what i'm looking for there is one more change that i want to make to this arm swing though just to add a little bit more uh fluidity to it so with the elbow joint selected we're going to put an offset on it so let's just get all the rotate values and we'll select them and we're going to do curves pre-infinity cycle curves post infinity cycle you can see that now keeps that animation going forever i'll select them all and then holding shift and my middle mouse button i'm just going to move them along five frames there's one two three four five and you can see that has now moved along so if we now check that out in this view here yeah it just makes the arm look a little bit more casual let's just take off the extra frame to remove the bit of lag in there yeah so that's not bad at all that's the right arm complete and what we do for the left arm is we basically just repeat that that we're reversing the frames um because we know what the values are that we want we'll just type these in and make it nice and quick so let's go to frame one select the shoulder so the values that we know we want for this are 75 70 and 85 and we'll set that and we'll also set it on frame 25 beautiful then we'll move to frame 13 and make our change and that needs to be minus 30 70 and minus 55 and that kind of brings that forward so we'll then set that on 13. so we're happy with that then we need to get the elbow oh no no no i've forgotten a step we need to go back we need to go back and we need to put the corrections in so on frame seven we need to have the correction of 30 75 and 20 and we'll set that and then we'll go to 19 and add our other correction which in this case is 35 70 and 20 and we'll set that and that just stops things from going too wild now we can move on to our elbow and in this case we're going to have on frame one our zed rotate was about 3.5 on the other round wasn't it so we'll set that and just put a slight bend in the elbow and then we'll set it on frame 1 and frame 25 and then let's just check what value we had on the other arm on the frame well it was frame six now wasn't it so it was basically 48 so that's what we'll set this one to so on frame 13 we're going to set it to 48 awesome we're going to press s on the keyboard to set that and we're going to get an offset going on as well so let's just press a to view all our curves make sure that they're all showing up select them all there's going to be curves pre-infinity cycle curves post infinity cycle yep that's working and then we're going to offset these by five frames one two three four five brilliant and then we're going to take off that extra frame so we can preview and let's press play so that's not bad at all how's it looking in this view pretty walky i like that the last step that we're gonna do then is to just add a little bit of weight to the head and then we can call this walk cycle complete and i'm going to do that on this joint here which you will see can control this angle on the head so we're going to go here so on frame 1 then what we're going to do is just rotate this up slightly and it just need to be just slightly something like that so i've gone minus 0.335 on that i'm going to set that on 1 and 13 and 25 set and then on frame seven this is when we've kind of finished putting the weight down we're gonna move the head down a little bit and this we're putting our um offset in by default here but we're gonna move this forward again not too much so i've gone about 2.3 so set and then on frame 19 we'll do the same i'm just going to type this in 2.3 and set and then what we'll do is just see how that looks in this view here let's just take off that extra frame yeah and that just adds a little bit of a bob to the head makes it look nice so let's just have one last preview of this before we wrap up so i'm just going to turn off these views here take a look at it in the front view nice so keep in mind that there is a lot more that we could do to this we could have had a lot more sway to the hips uh we could have if we wanted to sort of counter animated the head to make it hold a bit more straight when he's walking but i quite like that it sways i think it looks charming uh some people don't like that and you might choose to take that out you can continue to work on this as much as you want but for my purposes and for what i want to do i'm going to consider this done so let's just stop that preview then and we're going to go to file save scene as and i'm going to call this one walk cycle so let's just change the name so 13 walk cycle and when it becomes time to export this from maya and import it into unreal engine we'll be coming back into this file just to make sure that we export all of the frames that we need um so we're not 100 done with this yet but we are done with it for now what that means is that in the next step we are going to be attacking the run cycle so i look forward to seeing you for that well done for getting the walk cycle complete we are now going to put a run cycle together so this is going to be the last of our complicated cycles that we need to do for this character so let's do what we've done so far and we're going to just open our clean rig again so let's go to open scene and what did i call it clean rig there we go and now because of the way this is set up i just need to set my cameras up again so i'll do that quickly so that's the camera set up and now this one's going to be about a 22 frame cycle so what we'll do for that is we'll put in up until frame 23 so that we've got room to loop this and we'll take the final frame off when we're done and we'll get straight into it so we're going to go to frame one which is where we are and let's just go to the channel box so we can see what values we have and we'll select the hips and the first thing that we'll do as we normally do is just take the hips down a little bit yeah that was pretty good and we also want to rotate him forward a little bit so that he looks like he's got some forward momentum and we'll just rotate him forward what looks good about that and that will then necessitate just selecting the head controller and bringing that back so that he's still looking forward he shouldn't be looking at the ground he should be looking ahead to where he's running so that was quite awkward so far so now let's get the legs sorted so we'll get the left leg first and we want this one to be the one that goes forward so let's just bring it forward a little bit and up a little bit and think about where we want this to be so i think i want it to be slightly higher than this this is called the straight leg pose and actually both feet are above the ground so i'm going to go for something like that and that should mean that i can bring it further out and we also want to just rotate this around that looks pretty nice and then we're going to get the right leg and this one needs to go back so let's bring this one up a little bit i'm gonna take this one up quite high to get started i think bring it back as well and let's just work out what the rotation's gonna be as well yes something like that i think so we want this to be quite um bent around we're gonna get like the floppy effect on the foot so that looks pretty good and then we'll move that back further something like that i'm just going to bring it up a little bit higher yeah that's quite good so that kind of creates our first position on the leg so you can see that this leg here is kind of going out and forward let's just double check the position of that see if i'm happy with it i'm just going to bring it slightly further forward just to get the extended leg yeah okay and that's going to do it for frame one on the legs so we need to start the hips and both feet controllers and then we'll just press s on the keyboard to put that first frame in place now we're going to move along and the kind of center at the end of this first step is going to be frame 12 but we're going to just mess with the spacing a little bit so that we get a sense of hanging in the air and the feet moving quickly and hopefully this will become clear as we put it together but what that means is we're just going to move two frames forward for this next pose and that's going to be to frame three and this is going to be our down pose and because it's the down post the hips are going to move down a little bit only ever so slightly something like that i think and i'm just going to set that key on there now and then we'll get the left leg and this is going to now be flat on the ground so we're going to take the rotate off of the z-axis make sure that's going to be flat and then we need to work out where we want this to be i'm also just going to turn off cameras here so it's clear that this is the ground this line here that's what we're aiming for so let's just bring this down to about there i'm just going to bring this back a little bit more i like that yeah and just make sure that i'm happy with the position of this on the ground yeah that's pretty nice and then we're just going to do some work on the right leg as well so we'll get that selected and let's just move this into place so i'm going to actually make this a little bit higher and position kind of like that we're just bringing this forward the down pose is also kind of a cross between a down pose and a passing pose in a walk cycle so you can see that this leg's starting to come forward as well and we're just going to move the rotation on this foot a little bit so it's not quite as harsh now yeah that looks good okay so that position feels pretty nice let's set the keys on both feet controllers and on the hips as well and now so we've done frame one frame three we're now going to do frame five and this is going to keep the movements quite snappy and then we're gonna start spacing them out a little bit going after this but for frame five this is what we call the push pose and we also need the hips to be moved up a little for this one so let's make sure the hips are selected and we're going to move this up yeah that looks good and on this one the left leg moves back quite a lot i think you can see that's now struggling to contact the ground so we're gonna have to um rotate the foot around as well to make this happen so let's just get that set up let's see that looks pretty good and that means that we can then move this up yeah that looks nice and now we can move this back yeah to about there i think so i'm happy with that but the left leg being back means that the right leg now needs to come forward so let's bring this forward to about there and i also want to move it down that's far too high that looks good and then obviously we need to rotate this around as well because that doesn't look right so let's just bring that to about there we still want a little bit of drag on this we're not going to make it perfectly straight uh something like that looks pretty good so i'm happy with that as a position so that's the push pose done so let's make sure that we set keys on everything so the hips and both feet and we'll press s on that and now we're going to move instead of going to frame seven we need to now start to slow this down this is where we're going to begin to like hang in the air so we're going to move to frame eight and on frame eight we're going to put our up pose so now the hips need to go up to their highest point so let's select those i'm going to go a fair bit higher about that i think and if you want to make sure that yours looks like mine you can always copy the properties i'm using here in the channel box so that's my hips in place we're then going to get the left foot i like to do the left foot first and this is going to go back a little bit and maybe up a bit too let's move it up first yeah that's quite nice and then let's move it back a bit yep and we're going to have to rotate this as well just to make it make sense yeah that's cool so that's now behind the character so let's get the right leg and this is obviously going to need to come forward a little bit now so let's move it forward first if it'll let me no i need to move it up a bit as well yeah that's better let's just keep moving this out yeah that was pretty nice and this now does need to be rotated again so let's get that to where we want it to be yeah that's pretty nice so you can see he's now leaping quite high up in the air um and that's just come from the push pose so he's pushed himself up into the air and now he's kind of swapping his stride over this is all looking pretty good so let's get the hips um both feet controllers and we'll set a key there and that basically does it for the positions that we need what we need to do now is frame 12 needs to basically be identical to frame one but we need to swap the leg positions so let's start setting that up then so we'll go to frame one first of all and we'll select our hips these are just going to be identical so we're going to copy that move to frame 12 and paste lovely and then we need to copy the feet but swap them over so just so i can kind of organize this in my mind i always go for the back foot first and then i copy it and then i'll select the other foot go to the frame that i want to be on and then paste and you can see that that has worked apart from the fact that as with the walk cycle the foot has swapped over so we need to just invert this x axis take away the minus press enter and then we'll press s just to make sure that that keyframe is set and the foot will stay there and then we need to do the same thing with the foot so we'll go to frame one we're going to copy now we're going to select this foot go to frame 12 paste and then invert the x-axis and set the keyframe okay so you can see that these first two frames were quite close together and then it got a little bit slower and then slower again and that makes it kind of hang in the air and now we're going to repeat the same kind of timing and spacing so that's frame 12 done i'm happy with that so the next one is going to be two frames on frame 14 and we'll be copying from frame three to get that so let's go to three and get the hips we'll copy that then we're gonna go to frame 14 and we're going to paste so the hips are fine and then back to frame three and now we need to start swapping the legs over so let's get that leg there and copy select the other leg move to 14 and paste and invert the x-axis and set back to frame three then we're going to copy select the other font go to 14 paste and paste and then let's make the change to the x-axis and set okay so that's coming together now we need to do another two frames on so i'll be on frame 16 and i'll be copying from frame five to make that happen so let's go to frame five first i'll select whichever foot is at the back and we'll copy it select the front foot go to frame 16 and paste and then do our little invertey trick and set back to frame five copy select the other foot go to 16 and paste make our little change here and set so far so good we can see that now we've got one more frame to do which is frame eight and that's going to be three frames on so we're going up to 19 now so let's go to frame eight i'm going to select the back foot first and copy go to 19 paste and paste and then invert the translate x and set go back to frame 8 copy get the other foot go to 19 and paste and invert i've done something wrong there so let's just go back and see if we can work this out so back to frame eight so we'll try and copy this front for i think then we'll start the other foot go to 19 and paste okay let's invert this and set and i don't think i remember to set the keyframe here so let's just invert this one again and set okay that does look a little bit tired yeah and i forgot to do the hips on this one as well so let's go back and get the hips copy and put this on 19 paste and paste and i also put two on 16 as well i'm getting forgetful been doing this for too long copy and go to 16 is that right i think it's right and paste yeah okay so let's see if this is coming together let's have a little look in this view yep nothing's broken yet okay so the final bit of work that we need to do is just to get everything to loop on frame 23 so i can just select all three controllers that we've animated on so far go to frame one and copy then go to 23 and paste and now to see whether or not this looks okay i'm going to take the last frame off so i'm just showing frames 1 to 22 we'll hit play and that's not bad so you can see that he's going up and down the feet are going much faster when they contact the ground and then he kind of gets the effect of hanging in the air which looks pretty cool so that's the first part of our run done and that's the leg sorted the lower body portion um as with all our animations we're trying to do this as quick as possible this is very much just a block out and we're allowing it to look quite robotic what we should have done really there is have some sway in the hips and all kinds of stuff going on but this is enough just to get us to do what we need to do and it'll look fine when we're done so our next step is to get a little bit of um a sway going on with the shoulders to support the swinging of the arms and the controller that we want for that one is this one just here on the spine it's very small but you can see it's just there it's called chest origin effector on this one and if i've just put my rotate tool on you should be able to say that this is perfect for sort of rotating the chest and everything above it you just undo that and what we're going to do is just rotate this and try and put some holes in as well and hopefully it'll become clear what i mean by that so we've got on this one the left leg forward so we're going to be bringing the right shoulder forward because we kind of do it in opposites so on frame 1 we're going to rotate by about that much so i'm close to eight on there you can see and then i'll just press s there and then we're gonna put the next one on frame nine and we're gonna rotate the other way so because i went for about eight on x there we're gonna go for about minus eight here just to try and keep things fairly symmetrical that'll do and then what we're gonna do is copy this and paste it onto frame 12 and that's because we want his shoulder to stay in the same place for about those three frames and that's kind of aligning it up with the hanging the air that we did on the legs as well so it's kind of holding that and then what we'll do is just copy frame one and we're going to put that on frame 19 so we'll paste it there and that'll bring it back and we're also going to put it on frame 23 paste and now if we just play this again you can see that we've got our run going on and we've also got a bit of a sway in the shoulders as well which is going to support the swinging arms so far so good i think i can stop that back to frame one so the next thing we're going to do is work on the shoulders and the elbows but before we do that because it's kind of easier when they're still up by the side we're just going to turn the hands into little fists so let's just select this end controller here with the rotate tool on you might just have to rotate this around a couple of times just to get that to make a bit of a fist and then we'll get the old thumb controller rotate this around probably rotate that around a little bit as well and then bring it in so they can clip through a little bit because it's going to be moving the player won't be able to tell and then we're going to do the same over here and i could probably just copy and paste the values from the other hand but i don't want to do that so there's that part done get the thumb controller not that one not yet i will do that one bring that around a bit and then bend the thumb in like that so that's going to be our two fists created at this stage i suppose if you wanted to you could turn this put the arms back and turn it into a bit of a naruto run uh i'm not gonna do that i'm gonna have the swinging arms but it's an option if that's what you choose to go for okay so we'll work on the shoulder closest to us first because it's easy to see in this view and we'll get the right shoulder control and see i've accidentally selected two there so i'll just be a bit more careful with my selection i only want one and then we need to kind of get this one as well positioned as we can because everything's going to be built off of what we do on this first frame so what we'll do first is just rotate this arm down so we'll bring it down to about there and then just so that i can help myself to line this up and i'm going to put this back in a minute but i'm going to put the arm into kind of the position it will be in and that's going to help me to line up the shoulder joint to put this where i think it should be okay so i think that kind of position there works for me so you can see that the arm kind of is mostly straight down it kicks out a little bit but getting this position right is really important so you can see the values that i've ended up with there and that's pretty much where i want that to be then what i'm going to do is just for now because i'm going to come back to this later anyway i'm just going to straighten that arm out again just by zeroing out those properties there that's good and then because i'm happy with the position i think i'm happy with the position of the shoulder on frame one i'm just going to press s to set a key on that value so now similar to what we did on the chest controller we're going to use the same frames really so we're going to now move to frame 9 and on this frame we need to rotate the arm back really so we're just going to take it back like that it's okay in this case for the arm to just kick out a little bit i'm going to use different values to help us to get to that so i think the position i want is about that so you can see i've just kind of tilted the wrist out a little bit the arm does kick out and it swung quite a long way back so in that position i'm just going to press s on my keyboard and then to get that hold i'm also going to set that on frame 12 like so and then for frames 20 and 23 just like we did with the chest we're going to get frame one and copy that on to frame 20 so we'll paste it there and we'll paste it onto 23 as well and then we'll just have a little look at how that's coming together so quite robotic at the moment and i think once we get a bit of swing in the elbow that's going to come together let's just see how it looks here yeah that's not a bad start so now we need to move on to the elbow so for this one we're going to set the elbow joint just there i'm going to go back to frame one and then we need to get this rotation dialed in now the elbow is basically a hinge joint so we only really need to rotate it on this one axis here and that one should be fine so it's rotate zed for me so i'll rotate it on frame one round about to about there looks good and then we're gonna have to set that key and then we're gonna go to frame nine and let's rotate this again but we probably don't need it as far this time yeah that looks pretty good let's go to frame 12 so i don't want this in exactly the same place i don't think but probably close yeah that looks cool we'll set that now we need to go to frame 20. and let's rotate this quite a bit forward yeah that's quite nice and then of course frame 23 needs to be copied from one so that they're identical paste okay let's see how this is now looking yeah that's pretty good that will work i think so we've now got the the top part of our little robot guy going on his right arm so far so good what we need to do now is get the values for the other arm and we're just going to copy those from here so frame 1 we're actually going to copy from frame 12 so of this shoulder we're going to frame 12 and we'll copy that value and then we'll select our other shoulder controller go to frame one and paste you can see that now puts it back and what's cool about this is it also copies the elbow position for us meaning that we don't have to put it in this time so that's frame one now let's go back to the right shoulder so we've just done that one haven't we so the next one's going to be frame 20 so we'll copy that and then go back to our shoulder and 20 is going to be pasted on to frame 9 in this case so let's paste that on there and you can see that that has gone forward and then what we'll do is go back to the other shoulder again and this time so we've just done 20 so now we'll do 23 copy that get the shoulder oh i missed go to frame 12 and then we need to paste working out so far so good so now i think we're going to be copying from frame 9 on the right shoulder so we'll copy that go to this arm here and then we're going to go to frame 20 and hopefully we're going to paste this that looks good and then back to the right arm hopefully for one final time go to frame 12 and copy then get our other shoulder move to 23 and paste hey okay so now let's just take off that extra looping frame and we'll hit play and see what we got okay so we can see we've got arms swinging backwards and forwards they're doing their thing we've got the legs going no legs are crossing over let's check it in this view here you know what that's not bad so again there's lots that we could do to just smooth this out we could put a little more overlap in the arms we could also add some um overlapping animation to the wrists as well but for now i think that's gonna do the job we'll move on to the head i think so let's have a go at sorting this head animation out then so i'm going to need to select the head controller and i'm going to go into wireframe view here so that i can see when it's not straight and i'm also going to change this view here to a front orthographic view because if i just press 4 here as well you can see that that's basically not straight i think i'm going to turn the grid on just to give you an idea of when things are straight as well so we know that on frame 1 things aren't going to be lined up and we can see that so we're going to use this axis here to just sort of bring the head back straight and i'm also going to bring it straight in this view as well and that looks pretty good so we'll set that and now we're going to keep the same spacing as with the chest because that's where things are going to change so it's frame down where this is most extreme so we'll try and put this back so i'm just going to now rotate that around to get that straight and we're going to need to rotate the head to get this back straight as well nice and then if we just keep that the same at frame 12 that should work out nicely you can see that that now loses that as we go further on so we'll copy the values that we've got on frame one and we'll move to frame 20 and we'll paste those in and that should straighten it out and we'll paste those in again at 23 and then we'll check for any abnormalities and as it's playing that looks fairly clean so let's just press six in that view yep not bad and we'll just go back to our perspective view and see what we think to that that's okay let's take off the extra frame not bad not bad so we'll just try and get the head now to stay the same sort of height so we can see here it's basically looking up but here it's not so let's just try and correct that doesn't matter if there's a little bit of variation in this so long as it's not too much let's see how that looks yeah that's okay so i think that's gonna do it for most of this animation what we need to do is just select all the controllers that we put animation on and do pre and post infinity just in case we decide to make any changes to it so that's going to be that controller that controller that controller we also did the chest we did the shoulders and we did the head so for all these curves and i'm just going to select in here absolutely everything we're going to do curves pre-infinity cycle and curves post infinity cycle i'm just going to select the elbows separately let's just deselect everything first so elbow and other elbow and then we'll set everything that makes part of this and we're going to do curves pre-infinity cycle curves post infinity cycle and just check that that hasn't broken anything yep i think that looks okay that's going to do the job for us let's just give this one final look so we'll just turn off the controllers here press play take a look at this from behind which is where the play is mostly going to see it i would imagine yep i think that works so again we could make this a little bit smoother but for what we're trying to achieve to just get this character together pretty quickly i think that looks wicked so what we need to do now is save our work so file save scene as and i've been numbering these so this is going to be 14 run cycle and then we'll hit save and that means that we're now almost done with the animation section of this course all we need to do now is create a jump and we'll be ready to start setting this little chap up in a real engine so i'll see you in the next step where we'll make him jump okay so as promised then we're going to finish the animation section of the exercise we're doing here and you'll be probably relieved to hear that this is just a one frame animation we're just going to keep the jump really really simple let's open our clean rig and get this set up our jump pose is going to be heavily inspired by mega man so we're going to open our clean rig here it is and we don't need to worry too much about the view on this one we just need to build our pose so let's just give him some fists again a mega man has fists when he jumps there we go so we've got a couple of fists now mega man when he falls tends to be rotated back slightly and we're going to do that for the top half of the body like that and then we're going to bring the head back and i want him to look down slightly here so that he's kind of looking for where he's going to fall or land rather and then the arms tend to go up in the air so let's bring the arms up and they kind of the palms look like they're facing forward so we'll do that so that looks pretty good for that arm and then we'll do this one here let's just on this one let's rotate this from the elbow see how that looks and then oh hello that's not right that's better i think we'll bring one of the arms forward i don't want this to be too symmetrical and then we'll get his leg controller i am actually i've got um some reference images of the mega man jump open while i'm doing this in case you're wondering you might find it useful to do something similar so let's just rotate that like that and we'll just kind of rotate the leg out a little bit oh that's the knee do this as well and then the other foot we do want a bit of a bend on it if i got the right controller there i haven't is this one i wanted like that and we're just going to rotate around so that it looks like the fox trying to find the ground i think i'm going to bring both feet back a little bit and i think that'll pretty much do it for that pose it'll get across um the idea that he's jumping and that's really it for this one so we are just going to select everything we'll set a key on frame one to make sure that they stay there uh and that's it so let's save this one file save scene as and this one's gonna be where were we up to 14 although they've gone a bit weird i'll put that one back in a bit i didn't name it properly i didn't leave the mb in so this one's going to be 15 jump and save and that's really it for the jump animation we could make this more complicated we could have him so that he kind of wobbles in the air and we could add a land animation but if i kept adding things to this we'd never get the exercise finished so that will do it in the next step then we will be looking at how you go about exporting all of these animations properly and then we can get into unreal engine and begin importing and putting our character together so i'll see you in the next part for some exciting exporting action with the animation complete then we can now move on to exporting everything we've done so far to make it ready to be imported into unreal engine 4. the first thing we need to do is export the character itself without any animations on it so i'm going to open a scene for that and you just need to get one that is your completed character without any animation so for me it's this version 11 that i've got so i'll open that and if i move through the time slide you can see no animation on there whatsoever now this really should just be a case of exporting it but there is one thing that i want to correct and i need to do it on this version i don't need to add any others just this one and i'll try and show you what it is there you go as the light catches his face you can see that the screen's not flat it's got this kind of crease here that's not particularly nice to look at so we're just going to fix that before we export so let's just open the channel box i'm going to take the geometry out of reference and put this into face mode like so then i'm just going to select the four faces in the middle just take that glare off and then i'm just going to press shift and full stop and that will just select kind of all the screen like that and then i'm just going to do mesh display and harden edge there we go so now if i go back into object mode and move that around you can see that that now looks flat it's just nicer to look at okay then let's export this guy so file export all is what we need and i'm going to create a new folder for all these files that i'm going to create so i'm going to come out of my scenes folder for now and i'm just going to come up to this kind of top level here third person character tutorial is what i'm calling it i'll create a new folder there i'm just going to call this exported and then we'll call this one rob mesh because this is the kind of mesh that we want and then just make sure that you've got the following settings on this one so smoothing groups yep smooth mesh yeah there's nothing else that we need there and for this one we don't need animation turned on so we can just click on export you will get um this warning uh but we can ignore it there's nothing there that we need to do with it so we'll close that okay that's the first one exported now we need to do one of the animations so we're just going to open the scene and we'll do them in the order that we animated them so we'll start with the idle so there we go we'll open this up i will save this because i made a change to the the face and here we have the idle so let's just have a quick look at that cool i just want to see remind myself where this starts and ends okay so it's not a big deal but you can see i've got a frame set on 51 which matches one so it means we're only going to export as far as frame 50. so let's just not like that frame 50. there we go that's the cycle that i want to export so we're going to do file export all again you can see that it has remembered where i want to put it which is very helpful we're going to call this one rob underscore idle and this time i think you have to include the geometry so i'm not going to turn that off but we do need to export the animation so we'll tick the box there and then it's this bit here that we really need to worry about so we do want to bake the animation we're going to set the start and end frames so 1 and 50 is what we decided on and we are going to resample everything and that will do it we can now click on export for this one lovely and we repeat this for the next two so file open scene and now we're going to do the walk cycle again i just want to double check where this starts and finishes to make sure that i'm not duplicating any frames so let's just turn a controller on to see yep so there's a frame on 25 which means one to 24 is probably fine so we're gonna do file export all this one's gonna be rob underscore walk everything has been remembered from the last time we set this up so bake animations on we just need to set the end frame so frame 1 to frame 24 and then export lovely so we'll close that and then we're going to do the run cycle next so open scene let's open the run yep that's working fine so what we need to do now is just double check where i've got the frames looping yet it went up to 23 so 1 to 22 is what i want file export all rob underscore run frames 1 to 22 and then export okay so now we're going to do the jump this is going to be slightly different let's get it opened up first so there's the jump so we have set one keyframe on this um but i just tested this to see what would work it won't let us do this if we export just one frame we need to do two otherwise it doesn't see it as an animation take which is what we need so let's set that up so file export all this is going to be rob all right this is actually a fall so we'll call it fall and we can just use it as the jump so rob fall and we're going to do frames 1 to 2 and that will at least give us an animation take and then we export and that's it that's everything that we need what i'm going to do is just make one more change to the way that i have got all my files set up so that when i'm in unreal engine i only need to be looking in one folder so here's the folder that i've got set up here's all the animations that i've just exported and what i want to do is just go into my robot character i'm going to go into source images and just take this head texture so i'm just going to do a copy of this i'm just going to drop this in exported because we're going to need that texture as well so that now puts everything we need for this step in the same folder and that will do it for this video in the next one we're going to create a new unreal engine 4 project and set about getting things imported so i'll see you there for that now that we have got everything exported from maya we're now done with maya and it's time to get into unreal engines so you can see that i have already taken the liberty of opening unreal engines so you don't have to wait for me to do that and we're at the select or create new project screen for this we're going to create a new project so we're going to go down here to new project categories and we're going to do games and then we'll click on next and as we're setting up a third person character we are going to use the third person template because we don't want to set up absolutely everything from scratch such as the controls we just want to be setting up the character so third person is perfect for this and then we're going to leave absolutely everything else the same what i'm going to do though is just save this to a location that i can share with you lot quite easily so i've chosen the third person character tutorial folder which is the one that i'm making available to you if you follow the link in the video description and it's called rob so you'll have access to any blueprints and things that i create as well should you want to download them okay let's create a project okay that's the project set up then if i hit play you can see there's already a character in there it's the default um ue4 mannequin i don't think he's got a name um i think someone should give him a name um but there you go that's the one that we're going to be replacing we don't actually want that one so let's set about importing our own character so that we're ready to set him up in the upcoming step so i'm just going to move up to the content folder so right up to the top level for this and we're going to create a new folder so let's right click we're going to go to a new folder i'm going to call this one character underscore rob nice and easy and then we're going to create another new folder within that so my character up folder will make a new folder and this one's going to be called rob underscore mesh beautiful and then within that folder so we're going to go into the rob mesh folder as well as the mesh in here we're going to need the textures and materials so we're going to create one new folder here i'm going to call this materials we're actually also going to store a texture in here but as there's only one i don't see the need to separate that into two different folders so let's go into the materials folder then and the first thing we'll do is just import that texture so let's go to add or import we'll click the button there and we're going to import to this folder so let's click on that there and now we need to find where we saved that to so you can see that i have already been put almost in the right folder i'm looking for this exported folder and there's the head texture so we'll open that up and that's now imported and it just needs to be saved so i'll just click on save all and you'll see this asterisk disappear when i save it there we go that's now in the project now we're going to go back to the mesh folder and we need to import our character so let's right click and import we're going to find rob mesh click on open and now it's really important that we get these settings right so we need to tell unreal engine that this is a skeletal mesh so we'll click on that we'll leave the import content type as it is the only other thing that i really want us to change is if we go all the way down i don't want to create a new material so do not create and i do not want to import textures we're going to do that manually so we've got more control over it and then at this stage we should just be able to click on import okay we'll get this warning but it's not a problem so we'll just close that and we can see our rub mesh let's just open it up there he is so you can see he's got no materials on him yet but he's come through all his body parts are in the correct place so that is gonna work so we can just close that for now and what we need to do now that he's in there is to get his materials made and applied so that he looks as he should so let's go into our materials folder i'm gonna right click create a new material and we're going to call this one m for material underscore and we'll call this white plastic if i can spell cool and we'll set this one up first so i'll double click on this to open it it's a really really easy material to make this so i'm just going to right click and do a constant 3 vector i think and this basically just gives us a color so we're going to plug that into base color and then click on this value here to make that white and when this catches up you'll see we've now got a white material what we also want to do is just create a constant which is this one here and this can have a value between zero and one which is going to control how rough our plastic is you can see that there it is very very glossy let's put it on the cube you see that's quite reflective i don't want it to be quite that glossy so we're going to give it a roughness value of something like 0.2 yeah that'll do it and that's that first material made so we'll save that one we also want a black rubber so we're going to create a another new material um underscore black rubber and then we're going to double click on this just move that over there and then we're going to do a constant three vector drop that into base color and we're actually just going to come slightly off of black for this only slightly and then we're going to add another constant to control the roughness so i'll plug that in and this one wants to be quite rough we're going to go 0.8 which would be 80 rough and rubber doesn't really reflect so there you can see that's now working out quite nicely so we'll save that one too i can close that and the final one that we need to create is the one for the head so we're gonna go for new material um underscore we'll call it screen open this up and for this one we're gonna need a texture so i'm going to right click and search for texture sample there it is and here we are looking for this head texture image i'm going to plug that into rgb and let's just put this on a plane so that we can see how it looks there we go pretty nice so far we're going to need a constant for the roughness and we want this to be a fairly shiny screen so let's go for 0.2 i think yeah it's got like a matte coating let's go 0.15 slightly smoother than that okay and one thing that i want to do this is completely optional but i like the look of it i want to make the eyes glow a little bit and for that we need to use the emissive color and we're going to multiply it so i'm just going to right click and add a multiply node and the result of the multiplier is going to go into emissive color and then we're going to take the color of the texture and put that into a and you can see that already that's having an effect and then i'm going to add a constant to b and any number so at the moment it's multiplying this by zero and it's having no impact if we now multiply this by let's say three you'll see that that kind of brings the eyes to life and makes it look like there's a lit screen there and you can experiment with whatever number you want there and you can always change it later but that is the basic material so we'll save that and we can close it okay so you can see now that we have three materials if you've been paying attention you will notice that the metallic material that we also need we have not created and the reason for that is because there's already a chrome material in unreal engine so we're just going to use that instead of making a new one so now what we need to do is assign the materials to our character so let's go back to rob mesh and we'll open this and over in the top left corner here you can see we've got four material slots because of the way that we textured him earlier and so now we need to just make sure that we put the right materials in the right place so what i like to do is click on isolate and that will show us what each material is so this one here is clearly the white plastic so i'll do this drop down and just start typing white and there's white plastic and then we're going to do this one here which appears to be the chrome so if we type chrome there it is and then the next one if we isolate it this is the black rubber so we'll add that and then finally it's going to be the screen cool and now when it all comes together we have our character set up and properly textured in unreal engine so far so good but next we need to make sure that we've got the animations imported as well and in order to do that we're going to go to the character rob folder so we've got the rub mesh i'm going to create a new folder i'm going to call this one rob underscore anims which is short for animations so we'll go into here and this is where these animations now need to be imported so what we're going to do is right click and we're going to go to import to this folder and because we've already been importing from this folder here it's taking me to the right place and we'll start with the idle rob underscore idle and click on open and again we need to make sure that we get this right so it is a skeletal mesh but this time we don't need the mesh because we've already got one so we can turn that off but what we need to do is tell it which skeleton to attach the animation to so this little drop down now there's the original ue4 mannequin and there's our rob mesh so we're going to tell it to go on to that one for the animation length we're going to change that from export to time to animated time the reason for doing that the exported time should work but i noticed it was importing duplicated frames so we're changing it to animated time and that seems to sort that out and then all we need to do is click on import and then you can see that that has imported the animation and if we double click on it we should see that that is up and running which it is so now we've got our character materials and one of the animes set up so we'll just save that so it's in there and now we need to import the rest so we'll go to right click import and this time we're going to do the walk so we don't want the mesh we do want to attach it to the rob and nothing else needs oh yeah animated time is remembered from last time so let's click on import we'll double check that that's working as expected yep we've got a walk going on there so we'll save that next we're going to import the run so import choose the run open so don't import the mesh do put it on to our friend rob and make sure that it is on animated time and click on import give it a quick check looks good to me and click on save and then one final one we're gonna import get the full so we do not need to import the mesh we do want to put it on the rob mesh animated time and import and then we double check yep that is doing the job so we'll save that as well okay that's going to do it for this step we have now imported everything that we need we've got the character materials and all the animations ready to start putting this guy together moving forward in the next step according to my notes we are going to be putting together a blend space which is going to allow us to have the character blend from his idle state to go to walking and then up to running depending on how hard the player pushes the analog stick when they're playing the game so i'll see you in the next step for that now that everything is imported it's time to set up this blend space to blend between the animations that we've got apart from um the full which we don't need okay so here's what we need to do we're going to right click in our anims folder we're going to go up to animation and we're going to choose blend space 1d and we need to choose which skeleton we're going to attach this to which is going to be our rob mesh skeleton and we're going to call it rob underscore bs bs of course being for blend space there we go so let's open this up and this is what it looks like and down here is where we can blend our animations together so you can see at the moment we've got these kind of four increments um and they represent sort of how hard the player is pressing on the analog stick um so if they're pressing about halfway 50 this is what animation to show so at zero percent we need it to show the idle so what we'll do you can see all the animations are listed here we'll take the idle and we're going to drag that over here you can see that now it's doing our idle by the time they get to 25 we want him to be walking so we'll get the walk animation and we'll drag that over here and now if i just hold shift and move my mouse side to side you can see especially here so here is where there's nothing on this value and then as we go up to 25 it blends into the walk brilliant and so at 75 percent we're going to have the run so i'm just going to drag that to here and then you can see that if we go down to the walk here so i'm just holding shift again there's the walk and as we move up to the run there you go you can see that it blends into the room perfect okay one thing that we're going to need to change is what the horizontal axis so this is just a graph we need to change what the horizontal axis is called so we can access this later so i'm just going to name this speed and press enter and i actually want the walk to start a little sooner so what i'm going to do is change the number of grid divisions to 5 and that means that this now starts at a speed of 20 instead of 25 it also means that this now happens at 80. so it just adds a few more points you can add as many as you want we are probably going to come back into this a little later because the maximum axis value is set to 100 and i don't think that's going to be enough but we're going to leave it where it is for now and that's the blend space complete so now if you just hold shift you can start from your idle move up to a walk and then go all the way up to a run lovely okay make sure you save that we can close the blend space for now and in the next step we're going to set up an animation blueprint in this step we're going to set up the animation blueprint so what we've done so far is we've told unreal engine how to blend between our different animations but we've not really told it when to blend them and we've not told it which animations to play and why we're like for instance it doesn't know when to show the falling animation and the animation blueprint is how we give it all of those instructions so in our rob anims folder we're going to right click go to animation and find animation blueprint the parent class we're going to choose anim instance and it needs to happen to our rob mesh skeleton so we'll click on ok i'm going to call this one rob underscore and m bp so rob animation blueprint lovely so we need to open this up and everything in this window deals with which animation is shown and when so this bit here the result is whatever the final pose that we want to show is going to be so we have to plug something into this and we're going to create something called a state machine so i'm going to right click here and start typing state machine and then we can see add new state machine pops up so we'll create that i then want to just rename this so i'm going to call this locomotion which just deals with how the character moves and the result of this is going to be what plugs into here so even though we've done nothing yet that is going to be the result so we'll just plug that in now and then we're going to double click on this to open it up okay so here's our entry point and what we're going to do is just drag out of this we're going to add a state and we're going to call this idle walk run oops that's very name so let's just make sure that we don't have random capitalized letters idle walk run there we go and then we're going to open this up and what we need to open in here is the blend space needs to place so we're going to get this we're going to plug that into the result and we need something to drive this so we're going to have to reference this somewhere so that this speed changes depending on what the character does and the way that we're going to do this is just right click on speed and we're going to promote this to variable there we go so now whenever this variable changes it's going to feed into the blend space which is going to change what animation is played which is going to go to the animation output pose which is very good so if we now compile the character should start to idle that's because this speed variable is currently set to zero there you go you can see that that's set to zero and because there's nothing else to drive it that means that the output pose just becomes idle which is good so far so good if you want to see this in action though you can just go over to speed here drag to the right and as we move this up well that's very upsetting for it there you go it doesn't like to do that in real time apparently but there you go we can now see that that's the walk if we up that again it'll go to the run so we'll just set that back to zero for now and we'll compile okay so that tells us how to have him idle walk or run but it doesn't really tell us whether or not he should jump so in order to do that we're going to need to set a couple of things up so let's just go back to locomotion there we go and we're going to need a condition of whether or not the character is in the air to do this so now that we've got this set up what we need to do now is create some logic to drive all of this so we're going to go to the event graph up here and you can see that it gives us um these two notes to get us started which is exactly what we want actually and these are going to work together so the first thing we want to do is see is this valid so make sure that this is actually the character we're using so we're gonna first thing we'll do is that what we also need to do is get the velocity of the character so from this pawn owner because this is our character we're going to get to velocity which is basically just the speed that our character is moving at from the return value of this we're going to get the vector length so vector length and we're going to use that to set the speed so let's get our speed variable and we're going to set it with what that is and so that now the actual speed that our character is moving across the level is going to become our speed variable to drive the blend space so that right there should do it so i'm just going to comment this up so i know what's what so i'm just going to select these three nodes here and press c and we're going to do set speed nice and then just with these two here let's just make a bit of space for them comment see if pawn owner is valid just so that we know what everything's doing let's just compile that and make sure it's all working we're not getting any errors which i have to say to you is a very very good sign okay so at the moment this would now work perfectly to get the character running around although we do need to set up the character blueprint but if that was all done he would run around but what he wouldn't do yet is jump and we're going to need to set that up as well we need a variable to work out is the character actually in the air and we're going to do that in this logic as well now just to get this set up so out of here so out of get porno we need to find something else we're going to get a movement component so get movement component lovely and the movement component that we want is is falling like that so this return value then we're going to promote to a variable like that and we're going to call that variable is in air question mark okay so that is going to be whether or not our character is currently in the air and we're going to set that using this so actually what we're going to do now is before we do the speed we're just going to cut in with this so we're going to take our execution from here to set that and then to set that so what we're doing now is every time the animation blueprint is updated it's going to check whether or not the character is in the air and it's also going to set the speed so let's comment this is character falling okay and that is pretty much all the logic that we're going to need for this now so what we also need to do is just set up the jump so let's go back to our locomotion and out of the idle walk run if we drag out of here we can add another state oh i didn't rename it properly let's rename it and i'm going to call this jump i'm calling it jump but it's really falling but i want to keep it easy and what we'll do is just open this jump and we need to make sure that whenever this is happening that it plays the fall animation so let's just have that in there and that's it that's all we need to do for that so let's just compile that there you go that's all set up and because i've compiled it you see it's giving me a warning that this will never happen because i've got nothing set up to make it happen so we're going to go back here now and we're going to make it happen this little arrow here is what we call um a transition condition so we need to set something on this to tell it whether or not to transition from here to the jump so here we're going to say when is it allowed to go from either walk run to jump we'll double click on this and it's going to be whenever is in air is set to true so if we compile that takes away the warning so that's good every time our character is in the air you're allowed to go to the jump animation and then what we need to do is get this to go back so we'll go like that so this is now you see we've got arrows pointing out so to go from here to here we set a condition then from jump back to idle water run we need another one so it's going to be is in air and we'll get that and then we're going to need a not boolean like that so whenever is in air is not true there we go that is now going to transition back to the idle walk run so now what we're going to do is compile that and that's it then we have now set up the animation blueprint we have all the conditions to play the animations so that now when we're in game unreal is going to know which animations we want to play and when which is all very good stuff i think so moving forward what we'll be doing next is setting up the actual character blueprint this is the thing that we can put into the game so i'll see you in the next step for that in this step what we're going to do is now set up our character blueprint so we're just going to save and close the animation blueprint that has served its purpose let's go back up to our main character folder and we're going to create a new folder here for our main blueprints so we're just going to create a new folder i'm going to call it rob underscore bp this is where our blueprints are going to go so we'll go into this folder here in this folder we're going to right click we're going to create a new blueprint class and the obvious one for this one is going to be a character because that's what we're creating so we'll click on that and i'm going to call this one rob underscore bp this is our main character blueprint and we'll open that up by default you get a capsule which kind of represents your character in 3d space this is how they'll collide and things you've got an arrow which just kind of points which way is front on and you've also got mesh which is not showing anything yet because we haven't chosen one and there's also a character movement component which has lots of defaults for how the character moves and behaves which will change some of those later but we'll leave them at default values for now so if we go to the mesh component here there's a space for skeletal mesh and here we can choose our rob mesh and then he goes in and then we obviously need to make a few changes because he's too high up and he's also not facing the right way so let's just bring him down and we need to get his feet pretty close so let's in fact let's rotate him first so i'll just put my rotate tool on by pressing e i'm going to rotate him 90 degrees so that he's facing front and then i'm going to change my perspective view to a front view and then you can see here that his feet aren't really lining up with the bottom of the capsule so what we'll do is just turn the snaps down on the move to one and we'll zoom in real close and we're just going to line this up with the bottom of the capsule that should mean that it connects with the floor properly okay now what we're going to do is just zoom out the capsule is about the right size and shape so we'll leave that as it is for now and we'll go back into a perspective view now we need to tell this blueprint which animations to use so it's already expecting to use an animation blueprint which is good because we created one we just need to tell it which animation blueprint we want it to use so if we go to anime class and there's the rob and in blueprint we created we'll click on that and straightaway because there's currently no value in the speed it will default to idling which makes sense doesn't it okay now what we need to do is set up a way for the player to see the character to have sort of inhabit 3d space and to do that we need to put a camera in there and this is kind of a two-part process so first of all we need to create what's known as a spring arm and this is kind of how the camera will attach to the player so this will be how far back it is it will be whether or not eclipse do walls etc i'm just going to put it up in terms of height if it lets me to about the neck or something like that so that puts the spring arm in place then what we need to do with the spring arm selected we're going to add another component and that's going to be a camera there we go and that puts that in place if we want to move it it's better to select the spring arm and move it all up together so i think i'm going to go slightly higher kind of head height like that and whilst we've got the spring arm selected we just need to turn on use pawn control rotation which means that it gives the character control over the rotation of the camera so essentially using your right analog stick or your mouse is going to allow you to control what the camera is looking at what we also need to do is just open the class defaults which is just located up here and we're just going to turn off use controller rotation yaw and that's just going to allow us to keep control of that camera as well and one other final thing we want to do just to make sure that the camera behaves as we expect is go to the character movement component here and then we're just going to scroll down we're looking for the rotation settings section character movement rotation settings and we want to turn on orient rotation to movement which means that when the character starts moving around the camera will sort of default going back to straight behind them which kind of helps to keep the player oriented at all times okay so that sets most of it up we'll just compile that for now make sure we're not getting any errors which we're not what we need now is in our event graph we need the logic that's going to allow us to control the character now i could spend the next 20 minutes getting you to do this one step at a time but we're going to do a little cheat here one of the reasons that we use the third person blueprint is if we go into this here's the default character the mannequin and we're going to go into their event graph and just take all the logic from here it's already got the gamepad input set up the movement import mouse input jump it's all there which just means that we don't have to set this up from scratch so we'll select it all and we'll do a control c for copy we'll then go to our blueprint we're going to delete these nodes here because we don't need them and then we'll paste with control and v there we go so then that gives us all the logic we need but if we try and compile this you'll see that we get some errors and the reason is is that we need two variables there's one called base turn rate and one called base lookup rate and these are both float variables so if we go into variables and add so by default this thing's it's going to be a boolean i disagree it's going to be a float and we need to get the name so it's going to be the first one is base turn rate base turn rate so just type it out don't put any spaces in but do make sure you capitalize the first letters press enter and that would be the first one then we'll add one more variable by default this one's going to be a float because we just used it and this is going to be base lookup rate so base look up rate and then we'll compile the errors go away because these variables are now there we do need some default values for these variables so i'm going to go for about 90 on each you can always come back and change these later once you've experimented these just deal with how quick the character will change direction so if you move from running forward to running left how quickly will the character blueprint rotate to the character okay so let's compile that again and believe it or not that's it done that is our entire character blueprint setup and in fact that's the entire character set up in the next step what we'll need to set up is the game mode blueprint which basically just tells unreal engine which character we want it to use so now what we're going to do is switch out from using the default mannequin and switch to using our default rob character so i'll see you in the next step for that now it's time to create the final piece of the puzzle really which is going to be a game mode which is going to tell unreal engine what character we want to use to replace this mannequin character basically so let's get that set up so i just need to i've got an asterisk up here so i need to save this and i can just close these for now and we'll close the unreal for third person character i'm done with that as well okay so i need to go back to my character rob folder and into the blueprint folder we're going to create a new blueprint in here so right click blueprint class this one's going to be a game mode base and i'm going to call it rob underscore game mode blueprint so that we know what that is and then what we're going to do is open it i want to be in the class defaults which i am and i want to set the default pawn class to my rob bp and that's all we need to change in there actually so we'll just compile and save that and we can close it then what we want to do is go to the world settings so the world settings should be over here but if you've not got them open you should be able to get it from here world settings are just there and in this section there's a game mode here and we want to tell this to use our game mode that we've just created so we're going to go to game mode override and it's going to be rob gamemode blueprint there we go so that sets that up that will only do it on this level though so if we want to kind of do it for the whole game if we just go to edit and project settings and go to the maps and modes section we can just change the default game mode from third person game mode which is the default one to our rob gamemode blueprint that's all good so now we can close that again and now what we're going to do let's just position ourselves kind of here we're going to put in our character and you'll see he's below the floor until we let go and then he pops into place that's good and now if we test this is still not going to work you see if i test it's still going to default to unreal mannequin which is no good to us right now so what i'm going to do is select my character here and if we just go into his details and scroll all the way down to the bottom we're looking for the pawn section there it is and we need to set auto possess player to player zero let's just try testing this again now so we'll click on play and now you can see that we have a character he runs around he's got his fall animation jump works everything is in place so what we can do is just delete this default mannequin now because he's just getting in the way get out of my way default mannequin and that's basically everything that we need to have done i'm just going to show you one more thing before we move on so i'm just getting my xbox controller i'll plug it into my pc hopefully it's going to work and now with that plugged in i'm just going to lightly touch the analog stick so i'm only touching this a little bit and it it goes to the run animation really quickly you can see that the character is actually not moving very far across the screen and so the run kind of feels unnecessary and so we're going to need to make a change to that so that brings us to the end of this video and an introduction to the next video which is going to be fine tuning and polishing what we've got so i will see you in the next video where we'll make our final changes to this character we're almost done then uh what we need to do now is just a little bit of final tidying up and polishing to make sure that this all works so as we said the the run isn't really starting at the right time and there's a reason for this so if we go to um rob bp and we go to our character movement section what we're looking for is the max walk speed this is how fast he can go and it's currently set to 600 which means that at max speed we're moving at 600 now that's fine if we now go to our animation blueprint specifically the blend space is what we're looking for this axis only goes up to 100 which means that when the speed reaches 100 which is only one sixth of full speed it's already breaking into a run so what we need to do is change this maximum axis value to 600. like so and we'll just save that and we're just gonna duck right over here whenever you change if you want the character to move faster so let's say we want to change that to 1200 then that's fine but what you'll need to do is also go in and change this axis value as well so now if we just make sure that everything is saved it is and we play now if we move let me just click in this window move some dishes men look so you can see that as he's getting faster it's taking him longer to break into the full run and that just matches up a lot better so if you want to test this just make sure that you've got an analog stick and it just means that there's less sliding of the feet along the floor so that's that pretty good uh i want to make one more change in the blend space so in fact i'll just show you why i'm making the change first if we just go back into here so as he walks very very slowly because of the way that we've put the blend space together it kind of looks like he's got a limp because the idol's got his foot quite far back even when he starts to break into what you see it still looks like he's hurting himself so we're going to try and alleviate some of that i'm not going to try and get rid of it completely but i'll get rid of a lot of it and it's actually if we go into these blend samples the walk it's currently snapping to the grid if we turn that off we can tell it exactly where we want that to happen so it's currently happening at a speed of 120 and we can bring that down so let's say that when we get to a speed of 10 and you'll see that that is now much closer together it should have broken into a full walk by them so let's save that and we'll just give that a little test so there will probably still be a hint of a limp but he should get out of that pretty quickly there you go so now i'm walking about the same speed and the limps already gone so it won't go away completely if you really just feather the analog stick it can still be found but it won't stick around for as long and you can even play with those values even more to change that further if you so desire okay that's one fix done anyway what we're also going to do is add a double jump just because i can and i like a double jump so let's go into our blueprint and we change this in class defaults there are lots of things that you can change i'm just going to change the max jump count from one to two pretty straightforward let's give that a little test so jump once jump jump there is now a double jump yeah now if we weren't doing this as a um super fast or as fast as i can make it course i'd have done a slightly different animation to indicate that the second jumps happening um the other thing that i don't particularly like about the defaults is the jumps are too floaty for me i like them to feel snappier and also it's just not high enough i can't even get up there oh i can i can only just get up there but i can't get up here so let's make some more changes to this jump so we're going to go to the character movement component and we're going to make some changes so i want him to come down faster in order to do that i'm going to raise the gravity scale from one to six now if we just made that change it would like his jump would be even worse so what we also need to do is go to where's jump so in the character movement jumping falling section we're going to change the jump z velocity to 2000 so to offset the fact that gravity is now stronger the jump's also going to be stronger and it will just make everything feel snappier as a result so let's just compile that and we'll give that a cheeky little test so let's try this now so jump yep so it goes up and down much quicker jump jump so i prefer this you can obviously tweak this to whatever your preference is but i like that it feels like something's happening immediately and you can get down quicker i find it easier to line up one other thing that i will change though about the jump is because this is meant to be a platforming character you also want to be able to control them in the air and that's this air control thing here so if i just change that to 0.9 i'll compile that again and test one more time um now once i'm in the air i can kind of change my mind a little bit like that which can be much better because it means that now if i'm about to miss a platform i've got a way of correcting it in mid-air so that's the jump pretty much done with there's one more thing that i want to look at so if we just run into the wall he buries his face quite far into it and that's because the capsule is a little bit too thin for the character so make one final change if we go to the capsule which should be this here i'll just go into the viewport so select the capsule and this has a radius so the radius is set by default to 34. i find that if i set it to 50 for this character it'll stop him from going as far into the wall so let's now compile and play and now if we just run him head first into the wall that feels much better now he can just about get his face in the wall but it's not as offensively bad so there we go that just feels better you can see his feet look like they're just about contacting the floor i think i need to just raise that capsule a little bit so i'll rather drop the character a little bit just do a couple compile play let's see if we can get him up on a platform to see if that's working yeah that's now contacting the floor pretty well so i i'm gonna stop there i'm gonna call that an overwhelming success so what you've done with me over the duration of this course is literally everything that is required to set up a character for using unreal engine 4. you have modeled it you've uv mapped kind of you've textured you've rigged it you've animated it you've exported imported you've done the logic you've set up the blend space you've done the blueprints and you've also tweaked it to your liking that i think can only be considered a success so well done for finishing the course and that's it you've made it to the end hopefully you found this tutorial helpful and learned a lot along the way if you did then i'd really appreciate your help in making sure that the youtube algorithm doesn't bury all of my hard work by hitting the like button on this video as well as any other videos in the series you've watched and more importantly leaving me a comment tell me what you liked or what you thought could have been better or just say thanks or even hi i'm still quite a small youtuber and i try to read and respond to as many comments as possible if you think others would find this tutorial useful then please share it with them every view helps me get a little closer to being able to make courses like this full-time if you've made it to the end hopefully you'll also think that i've done enough to earn your subscription to the channel if you really want to support the channel and my work here i do have a patreon page which you'll find linked below and there's also some merch available too if you've used what you've learned here to make your own character for a game then please share it with me i love seeing my student success if you're wondering what to learn next i have some other game art and game development tutorials which i have linked in the video description so check them out to continue building your skills and knowledge on your journey to becoming a game developer or artist anyway i think i've kept you for long enough thank you so much for watching now go and make some games i'm able to continue making these videos thanks to the ongoing support of my amazing patreon community if you'd also like to support gamedev academy via patreon then check out the link in the description below thank you

Channel: Game Dev Academy

Views: 30,111

Keywords: how to make video game characters, how to make character, 3d character, 3d video game characters, how to make, process, creation, steps, texturing, uv maps, video game, game, character, maya, tutorial, how to, Unreal Engine 5, Unreal Engine 4, UE4, UE5, Game Engine, workflow, indie, indie game, tips and tricks, game dev, game development, third person, 3rd person, robot, mech

Id: 7LgQKFOLzlM

Length: 255min 0sec (15300 seconds)

Published: Sun May 23 2021