Walk Cycle in CINEMA 4D Part 1/2 (~1hr 20mins)

okay in this first video I want to just address a question that I see asked very often when people start at what animating walks and basically this is should we animate the character in place and then move the main control around to slide the the walk around or should be I made each step moving forward I want mean by that I've got this little example file here and this red guy is doing a treadmill or a walk in place if you like and where it's just a loop basically I just animated one walk as it's a 25 second tour try one second 25 frames loop and so that's just repeating and then the this main mover control then could then be moved around the scene to actually move the walks as it's you can have it looping and just move it around like that to actually move a true space and that's what we call a walk in place or a treadmill walk and it's particularly useful in situations like games because if you're animating for a game you generally want the animation to be as simple as possible so it doesn't take up too much resources and you also generally the character will be controlled by the player so this controller here this is often called a main mover or the root mover or people different names for it but basically this control is a parent of all the other controls so as you move it it'll move more with it and then in a game this will be what the character will actually control in fact you'll often see that if you play a game lightly grand theft or something like that you actually notice that is the character slows down the feet usually slide around the place which doesn't look very realistic really but we got and by it you'll because in games it sort of works so you actually move this or rotate this to move the character around so that's I'm what about a treadmill walk and the other one then is before you actually translate the character true to the scene in this case this controller is actually staying where it was originally and you'll notice the characters actually walking away from that so in this case you've actually got a walk animate each step individually I've actually cheated a little bit here but well I'll cover that later and I did that but just as kind of as an example to kind of show you what it looks like this is actually the character the body and the feet are actually moving away from the main controller and you might ask well which which should you do and dancer really for me anyway and you probably him using this answer a few times in this tutorial is it depends you know it depends on your intended purpose if you're going to animate something for a game then definitely you need to use a treadmill walk because you know that the player needs to control where the actual walk takes place and it's also much more efficient if you're animating though for TV and it depends you know often little bit it'll be a treadmill walk as well for those quickly if you're not going to see the characters feet you can certainly get away with us but for feature films certainly on the the main characters and particular practice walking over an uneven surface or something like that the nearly always do this walk off the spot kind of way and so it really depends on the purpose if you read the animators get to a survival kit the book by Richard Williams which loads great advice about animation he says that you should always animate when you're starting off and off the spot like this and I think first for a hand-drawn animation that makes a lot of sense because you've got you know you can you can actually trace each foot position on top of the old one whereas if you're trying to sly if you look at this guy his feet are actually sort of sliding back as he walks and you know so he's actually staying in the same position in the world and then this disc control would move around so this kind of thing is actually pretty hard to do in traditional hand-drawn animation it certainly is done people do do it but it's kind of a little bit tricky to do so that's why he recommends in that book that you that you do the other ones that this blue guy but I think in 3d it's actually slightly easier just this is really subjective but my personal opinion it's actually easier to do a treadmill one and the other thing though is that depending on the kind of move you're doing and these of your scene it might be easier to do the other one I'll show an example this is a piece of animated for animation course earlier this year when I animate if it watch this guy and you're actually starting in this position then he's going to walk over here the whole purpose is a shot with animate pace any turns and he kind of stops and you kind of think it's annoyed because he's impatient for this cattle to boil and then he walks back and he's another turn here so you'll see there's a lot of stopping starting turning am and I animated this one like that blue guy you know it for me it wouldn't have made sense to try to move this control around so what I did we stopped that controller there I just basically positioned it here at the star animation so it's if you can imagine it somewhere around here and then I just left it there I moved to character ran so it's still staying there and to me because his feet are visible the whole time because this foot contact it's kind of an important part of the shot and this would have been extremely difficult to do with a tread with a treadmill walk moving the main mover around so that's the example of where it's really not practical to do it so you would actually animate each step in turn but for this tutorial I'm just going to treat the treadmill walk because it teaches some of the technical stuff and I actually believe it is actually a little bit easier when you're starting off taking because it's 3d because we have the F curves where we can actually get a pretty good control over out of the feet slide back and how this moves forward and so on to make sure that it works Lenalee even if you are translating this round and so I looked at next okay so we know what we're going to do now we're going to do a treadmill walk and then just let's do a little bit of planning and setting up a senior so it's ready to animate and the first thing I'm going to do is I'm going to set my project settings up the way it kind of suits me to work so I'm going to press control D we should bring up the project settings and the first thing I want to do is set the frame rate by default cinema will be set 30 frames but I wanna size at 24 frames per second and that's kind of a standard frame rate for feature films if you're working on TV stuff you probably send up to 25 if you're working in Europe or 30 if you're working in the US for NTSC but I'm going to go with 24 because it's a nice sag kind of handy frame rate for dividing it's not a traditional animation like the other thing I'm going to do is I'm going to set my first frame to be frame 1 you can either you can do it here actually or you can do it there and I like to start in frame one rather than frame 0 similar folds to frame 0 but frame 0 doesn't really make much sense to me I prefer to count from 1 and the other thing I'm going to do is I'm going to change my interpolation likee interpolation this basically determines the kind of curbs will get in it in the timeline and when I'm doing an acting shots are generally fix this to this mode to step which means there's no interpolation at all and that's kind of handy when you're blocking out the poses in an acting shot but for something like this I generally work in linear I could work in spline as well but I find that I end up fiddling with the splines or allows me to be concentrating on the poses so I like to start with linear which means I get just really are smooth transit or not smooth transitions but a very predictable transitions between each pose I do think that is I'm going to set my last frame to 25 because it's going to be a 1 second loop so frame 1 and friend 25 I'm exactly the same so that's our poses and just to mention a little bit about the rig this this is an I rigged the came with a version of cinema I'm not holding % sure which one it came with but I'm it's a I've modified it a tiny bit just to make the foot rig suit my the way I work a little bit more and but or not it's it's a pretty much the same as the one you get so you're welcome to download this this and a lot of these using these scripts and stuff up here these are scripts I've written all you actually use a couple of movie for this stage anyway but you're welcome to grab all these you can find these on my web site in graphite 9.com so the reason I'm using them starting off with this rig is because it's nice simple one I am gonna do something else later on where we have a full carry triplet of spine and you know add an arm is not kind of stuff biting is great to start off with something like this because it allows you to focus on the real core and parts of a walk which are basically the feet and then the hips you're the center of gravity if you like up for a firm for the character so it's kind of simplified really greedy but if I find this great with the star breath and so we're ready to start animating well almost there's one thing I think we should do first and not have a look at some reference it's a thing that I didn't encourage me when I first started animating I used to just you know go in and put some poses in and kind of wonder why it didn't work and sometimes you know I kind of look at other animators and wonder how they're doing it really it there's no magic to it really well but mostly good I managed do is they look at reference and you know it seems logical no if you think about you know somebody modeling something they're always going to look at reference as well because Sam you know we think we understand stuff when we do understand them are good but actually looking at some reference I'm kind of reanalyzing what makes a walk work will really help you get get started in a good way so I've got this little bit of video here I actually use this one of my other videos just kind of look at the main poses so now if you look at this guy in the red t-shirt and you can see as he's walking there is his legs are pretty visible and it is feature quite it's quite clear what what his legs and feet are doing so if I break it down the first pose that's kind of important I've actually grabbed a few of these as still images as well so it'll be easier to get through this one if you look at books like the animators if I will get the off call this the contact pose and basically what's important by this is that the heel of the front foot has just met the ground there's actually no weight on it yes but it's just kind of contact to the ground and in the back foot is kind of lifting off a little bit but it's not the fit up yet so that's often called I say the contact pose so I'm going to go to the next pose we look at and this is often called a down pose so the weight is kind of coming down on the foot the front foot is flat and the knee is kind of trying to band here and we're interesting about this though that that often people make a mistake about it so the back foot doesn't lift off straight away it actually it's still on the ground here and it's just kind of rolling onto the toe and then the next pose we look at is often called a passing pose this where the leg is pretty much straight the planted leg and it's kind of in the middle of this let's try it if you like the other leg is kind of lifted off the ground it's kind of swinging forward and the next pose then is the often called the peak or the up pose and this is one that I kind of confused me when I was starting off when you look at books like the animated survival kit they really exaggerate this pose if I could actually yeah let me just get my am of drawing tool actually which is here and I take pros a nice little tool for drawing on your and windows if yeah I'm a survival kit will tend tend to have a leg like this and I'm really exaggerating it for the lifted leg um which you know looks fine and sort of cartoon but in in CG and it's it kind of looks a bit off you know it kind of looks a bit too a bit too push unless you're going for something really cartoony but if you look at a very naturalistic walk the heel doesn't really come around very much so even though we call this the up pose does not hold olive up to it and the next pose then would just be the contact again so there are four poses really contact down passing and up and then it's going to go back the contact down passing it up that's going to be the repeated sequence so we've got a kind of better idea of what we're trying to do so let's go into cinema now and start blocking those out and for me and I think glove line there's this could actually start with the contact pose because it kind of establishes the stride length and it kind of gets you kind of fam something kind of phrase solids you can base there to walk off so I'm going to is I'm just going to grab this foot I'm going to push it forward a little bit and I'm going to grab the back one and pull it back roughly around the same amount and then I'm going to bring the body down a little bit so this sort of front leg starts to bend I don't really want I want to keep it fairly straight but just feels it kind of doesn't lock her completely one thing we'll talk about a little while as well this I care how it tends to pop when the knee is almost straight and they're wasting to deal with that the other thing that you'll find people will down Lee do n is that they'll rotate their hips if I look from the top they're in this direction to favor the forward select the M the foot foot will be at you know it'll kind of stretch just it'll give the weak leg more reach so now that the leg is bent again so I can either bring this up a little bit or I can increase the stride length to the but I think this try then cooks about right there the other thing I'm going to do that is I going to bring this one back on its heels I'm going to use this Sam heel lift attribute and again you can see that the leg is bending answer push it forward a little bit again I don't lock the knee completely but I'm trying to get it so it looks pretty straight and then same with this one well this one I'm not going to use the ball lift and again you'll see the leg what kind of fan I'm not going to go too far back because I can actually push it further in the down post I'm going to bring it back a little bit like that so something like down a little lamb icon here or this is that actually select something if I double click that it'll select the three controllers I want and I'm gonna make sure position and rotation is set to record and I'm going to spread record a key and that's recorded a keyframe here I'm going to record the same key down at frame 25 because I know I want that to loop so I know I want that key to be exactly the same then I'm going to go exactly halfway through its frame 13 I want to mirror that pose and you can do this by eye or you can you know go into the graph editor and start doing it but I'm a big believer in that you know if you can get the computer to do something automatic for you you know true scripting or some of that you'll leave it to the math then it's gonna save your time so I've got this little script I've written here called walk cycle buddy and you can kind of you can grab that off my website so I'm going to console echt this foot controller and this one I'm going to click that I swap supposes so it's I swapped all these attributes as well for them instead of Python script I wrote that just makes that a lot easier to setup the other thing that we need to do I was easing to mirror this pose I've got another script here which is a which will mirror the spine pose so now if I click that you'll see it flips that so now you've got an exact mirror image of the first pose by jump between it and see that if I press play now we've got you know not necessarily something that looks like a walk but maybe he looks like he's kind of skiing or something like that but we've got sort of the tentpole poses if you like so now I'm gonna start diesel of sometimes we call a key poses I'm gonna start putting in what they often call breakdown poses I did I mentioned this in the other video as well that key poses are are you know kind of describe what happens and breakdown pose to describe how it happens so so this is going to be basically the passing pose so look remembering for my reference I know a few things about this I know I want I got to put on all the key now so that as I make changes here that did a lot about a chord it so I'm going to just stand that is zero everything out pacing is here at the ball lift and heel lift I know do the same for the other foot as well because I want those to be zeroed out as well you know that foots going to be off the ground and then I'm going to pull the as a body controller up a little bit so the planted leg is pretty much straight again I'm going to avoid locking it completely and if I look at the animation its back foot that's coming forward at this stage so it's going to lift it off the ground a little bit and I got to tilt it a little bit like that as well and a little bit like this I'll just make a little bit more natural and I might actually even push it out just a tiny bit in X so it's not exactly the same position so now we've got our passing pose and I'm going to think that happens with the passing pose as well is that the body weight will generally shift over a little bit over the planted foot you know the body has to kind of support itself under the foot so I'm going to push the this body mouse over a little bit so it's kind of a little bit more balanced over the planted foot so we've got this kind of thing and now obviously I need to mirror that pose over to the other side so again I do send again like I'm gonna make sure I kiyul right tião done and I'm going to go friend 19 honey you can do actually it's just if you hold alt you can drag a little the timeline will drag but it won't update the animation so it means I copy that pose over here to frame 19 by recording again so now I've got the same pose on frame 19 and now I can just use those scripts again just to mirror because obviously I wanted this to be the opposite pose so again use the walk cycle but you want to mirror the foot pose and then this spine one to mirror the spine pose so now we're getting something that looks a little bit more like a walk but still not too natural so what we need to do now is go in break this down further we've got sort of van you know you can call these a primary breakdowns I'm going to put down the next one so the next one I put down is gonna be on frame four words can be basically halfway between the contact and the passing pose and this is going to be the down pose and basically the front foot is going to be zeroed out again because the you know the foots gonna be flat in the ground the weights come down this the body mass is going to is going to actually drop down a little bit so you see that a little bit little bit of a Down downward movement there just to kind of van make sure that leg stays flat I cannot exaggerate a little bit in this tutorial I'm gonna try getting to walk very naturalistic but I'm going to exaggerate a little bit as well so that I'm so it's kind of nice and easy to see what I'm doing the other thing though as I mentioned in when we look at the reference to the foot here you know with the interpolation it's just coming straight off the ground which isn't actually right so I'm going to do that she's just going to grab that foot and I'll use that same trick again I'm gonna press alt and then click on frame 4 I'm going to copy it and that means I've now got the exact same pose on frame fourth I had on frame 1 it just gives me a starting point for the next post that's actually better than that I wonder would it give me what with just with the interpolation and what I want basically to happen so I want this force to travel back the same amount as the other one because you know if I if we're imagining the characters on a treadmill you know both feet are going to be affected by the treadmill the same amount so the few ways you can do this you can kind of go in and do with that with math sometime but I gotta what i'm going to do is i'm going to go into a side view where it's a little bit easier to see and what I sometimes do is I use a little drawing tool again just a little annotate Pro thing and you can use a doodle tool as well but what I really like about this is that I can actually just make a mark here I'm gonna make a mark clearly what I had there already and I'll make them little mark here grab the other way but that's actually what I really like with this you can't you just you can move those points around and hide them so I'm going to grab my pen here and just make a little mark here so I'm kind of marking where the the front foot is and then I'm going to go back go to frame 4 and I'll put another mark in there so basically what I'm doing is I'm and working at how long or how far that is traveling over those few frames so can because another market and to figure out the length of it so that's how much the front foot has moved during those few frames so basically all I need to do is is make sure the back foot moves been saying man so this is what I really like what this annotate Pro thing it's it's $20 actually so I highly recommend you get it actually and it's a really useful tool I was actually keitel on going with tutorials he mentioned this and he said it's one of the best $20 you can spend as an animator and I think he's totally right it's a great tool for this kind of stuff and for lots of other things as well we'll see later and so what I'm gonna do so it's kind of I've moved it over there so I can tell measure this one I'm just going to bring that back the same amount so there's nothing perfect where I'm gonna finesse this India and then the graph editor later on but em that's that's pretty much right there the other thing I'm going to do though obviously you can see the legs be stretching out there and then increase the ball lift so he's kind of coming right on to his ball I'm actually might even give it a tiny bit it's whole lift as well in fact now that I look at this I actually feel that the striping might be a little bit too long so I'm actually going to bring the front foot back here in this pose and I'm going to make sure to have to update that so I'm going to go to frame 25 and keep friend out as well and I don't do my little trick again I've gone to this frame copping it and then mirroring it again just feel like kind of alter that pose a little bit and now I'm gonna do again so I've got my back foot to lift and we're going to do is even bring this down a little bit more so that today kind of starts bending like that something like that and one of these are going to block things in pretty loosely first then we're going to kind of finesse them in the graphic as you go along or an F curves so I can actually increase the ball lifter as well something like that will do the job for the moment so that's our down pose I'm going to hide these guys again for the mood and again we need to just mirror that pose so I'm going to do a key all I'm going to select all of these and then record a key and then I'm going to copy that pose and then again I'm going to alt and click on frame 16 this time and records that pose again and then I'm going to mirror it so I'm going to grab these two and mirror with that script and this one on mirror with that script so now you got our up our shot we've got our vertical contact our down on our passing pose is blocked in so it's just one more pose we need to do now if the next one is the peak pose and we've almost got it read the interpolation is giving us pretty much close to all of this but I want to just want to push it a little bit more so I'm gonna actually bring this up a little bit and I'm going to zero I'm gonna zero this out a little bit I'm pushing forward a little bit more and not make it basically more like the add the front one like that so it's kind of swings really like that might even tilt it up a little bit something like that and I even push it forward a little bit more so it's kind of swinging forward towards again I don't lock the knee completely but something like that and then that's that's going to work pretty well so again I got select all with this and key I'm gonna go to frame 20 to again I'm holding also there's an update I record a key again and again I'm going to mirror those poses so I'm mirror the feet and it's just like this a mirror despite its now you've got a basically poses doesn't look particularly great yet we've got to do a bit more work to make it look natural and sort of get into the key frames and you know they in the F curves and for our polished things to make it work nice and cleanly but the basics are there one thing you might notice it might come across in the in the screen capture this is the framerate but one thing that's kind of important is to make sure when you're playing it back that you switch off the last frame or hide it for a moment just so you can see the loop playing cleaning otherwise you're going to actually see the same frame twice so it's going to look like as a pause in it so we have a basics there one thing though that you'll find and depending on a type of walk as well is that the the middle but the hips will tend to to pill tilt as well as they particularly as the foot lifts off so kind of rounded it to down pose I couldn't make my rotate gizmo little bit bigger so I can get that so I'm gonna tilt it a little bit on the down pose if you're animating that something like that female walk it we'd push that a bit more so it got kind of a little bit more of a of a change there it kind of shows the weight coming down and on to the front foot so this leg is this left leg is actually taking the weight and this leg in the way just kind of coming off the back foot at this point so again I want to mirror that pose to frame 16 so I'm going to again hold alt and just click on that record the key and then mirror it so now I got the same pose on the other side and it's a good thing as well to do is to look at your animation from different angles as you're working you know sometimes things will look ok and one angle and you look at them from another point of view and they don't look right I generally you know when you're rendering a final animation you're only going to see it from one view but it's a good idea to kind of make sure things make sense but pretty much intreaty so that's a basic pose is blocked in now in the next video I'm going to kind of go true and kind of finance this I'm going to start supplying some of the controllers so it's a little bit more obvious and you know how things will work and will start smoothing things out the lows and then these are popkins of that as al and we're going and kind of fix that stuff okay so now I'm going to start time kind of polishing and detailing this animation and in power W I'll be adding extra keys to certain controllers and in part I'll be working with the ground fighters or the deaf curve editor I'm going to open that you can go in for a little bit outside the screen capture area here I'm going to go up to the top menu this is a menu called window I'm going to select from that timeline or you can use the hot key here shift f3 never bring up the timeline it has two different modes you can toggle between them I pressing space the key mode is where you actually see the actual keys and the F curve mode is going to be the one we're going to be working mostly in and one thing I should preface this section the video with this just a comment that I I would advise if you're kind of following along with this tutorial you know if you're following the steps with that maybe with this Rako we're in a little break I would recommend that rather than doing that for this section that you just kind of watch this part and maybe watch it a couple of times to see what I do because and this isn't going to be really a section where it's kind of I'll do step eight followed by step be followed by step see your eyes couldn't see me probably go back and forward a couple of times between some aspects and maybe reworking stuff and that's typically the way I work or I've seen other animators work as well like I think it's something unusual and I tend to be fairly and organized I suppose a way to put it when I'm blocking but once I go into polish for me it's more like them it's almost like a sculpting kind of process yeah where you're kind of you keep looking at from different angles and seeing new things you want to fix and you just kind of pick the thing that sticks out to you most to fix first and then you might end up changing out a little bit again when you've changed something else because everything kind of affects everything else so not saying my workflow is disorganized but it does tend to be kind of an iterative process so so I recommend just kind of watching this video and kind of am getting a sense of how I do it and maybe trying some of these techniques yourself rather than actually following every step for battle so first thing I'm going to do is I'm going to set up the timeline the way I work I usually have a couple these options on this one here is show only animated elements I like tap Done I'm sorry I'm to see any other objects that are now made I also use this technician on the show automatically our project elements icon and the other one I stick on this lick a link timeline to object manager and that means that as I select objects in the action was already on apparently as I select objects in the scene you'll see that they come up in the timeline here I'll give myself a bit more room were dragging this over so I can kind of see the names of the controllers and so the first thing I'm going to do is I'm going to start supplying the body controller because that's I press play that that's linear the moment so again if ready hard here's the other side and if I look at the curves you can make to see I press the go to the position x1 here if I select them all and press S it'll kind of frame up on that and you can try to see why it looks so mechanical because the curve is just kind of hitting kind of dumb grind a little here bonk him back again so it's a very hard transition you know there's no I'm what they call it easy in or out in traditional animation terms one thing I do is when I'm doing this eyes you can do it for all controllers double click on this selection on difficult to select them all what I tend to do is I select them like that and I right click and go set the before after to repeat before and the after behavior to repeat after I also there's an option now in or thirteen called repetitions which I actually don't like I wish this was just defaulted to infinity as it used to do but anyway what I do notice I can set this up to like something really high like 111 or something ask and be just so that it'll keep looping so if I extend the timeline necessary if I give this more frames the animation will keep cycling it'll keep leaping the reason I do it is so that I can sort of see how the curves look if i zoom out now if I select it's pretty hard to see like my everything's like if I just liked one key say to see this kind of bloodline that's kind of showing how the the curve is translating into the next one and you know that's kind of important when it starts planning it so if I grab these keys and just select this option here spline you can actually see that the curves end up a little bit of a mess so I'm going to start cleaning them up to the few ways you can do it but it's going to I'm going to hit this an auto tangent I'm function which sort of works but you'll notice that for if you look at the you can see it really clearly when you look at these curves you see this kind of kink in the curve as it as it kind of joins again that's because the last curve here is it's the last key is flat so what you do is I select the first one and the last one and I grab this handle and an angle of it'll do both them not that way and I just try and make sure that it's getting kind of a smoother path to that curve the other thing I usually do and if you'll notice it's kind of hitting if I look at the viewport here it's kind of a make that gauge which is a bit smaller for the move to be notice as it gets to each one it kind of it's a very linear transition even though the spline the curve there's a little bit of softness there it's still kind of a very mechanical think what I'd like to do is actually um make these keys and these keys a little bit more like this one and a few ways you can do that but actually I've got this little script again called scale keys which you can find my website again I don't know hold I'm going to select those ones I'm going to hold ctrl actually going to hold shift which will go the opposite way sorry that is control actually and I'm pressing a few times and make sure what it's doing is its increasing that value so it's making those keys again I got to tweak this curve there to kind of clean it up a little bit so it's making these ones a little bit more like done so it means it's going to kind of go out to that position a little bird your whole lash I didn't kind of come back I try to go to the middle and just just this time to make it nice and clean so it's a pretty subtle difference but it means that rather than just kind of go ahead and back in a very mechanical way it's kind of favoring this key it's going to go now staying here in this area going back to this part quickly and then coming back and that's kind of shows inertia you know in in real life we don't we never actually kind of hit something and come back unless it is something physical that we we interact with like a wall or out the ground or something but normally you know it we've got a nurse here working on us so we can't just kind of go over here and then come back set away we've gotta kind of we could be glad and then we kind of we kind of accelerate and then decelerate and come back so it's kind of more like this Monica sort of a sine wave so that's the consider that's kind of okay for the moment and then notice I looking at the Y curve so this is the the open down of the body again this is all linear for the moment so I'm going to select all these curves and they're going to spline and I'm a tomorrow tangent and you see the other tangent again any messes them up a little bit so I'm going to select these ones and smoothing that out I'm gonna slay he knows I'm often wherever I cannot go and select the two of them that I kind of a mirror two poses just so I gonna round this one off I'm not leave it over she's a little bit you know I it's only got two and only a little bit of Elvis users bath thing you don't want to hold up but we don't want sort of totally mechanical iron so I'm gonna soften a little bit so I'm kind of getting a smoother up and down now I might also kind of just flatten these out a little bit so nothing too much overshoot there the Z curve that's actually no animation that there's no forward and backwards in this walk so I'm going to leave it like that then I'm gonna look at the rotation of this curve so the heading again you can see the same toward thing it's just a very mechanical and you know hitting either extreme so gonna do the same sort of thing the spline I'm going to shut them to auto tangents and then I'm going to grab these ones and these ones on hold control and use my scale keys to let just brings them up a little bit you can do that manually of course so I'm kind of doing the same thing I did with the X translation I'm it's got a kind of favor you can see it's kind of staying more and and kind of twisted pose and if I it's kind of going quickly true the the kind of intimate intermediate pose again that's a little bit natural looking I'm gonna do the same thing as well with the banking you can see if I look at this curve this one actually is for a second more impress ass I'm frame open it you can see there that one the am the curve is very kind of pointy looking which kind of shows you you can see sort of if I scrub through it a you can see it goes down and it comes back up very quickly to the straight post so I'm actually going to take that one and bring it down a little bit so that it doesn't kind of just kind of snap back from that here and break down to this line I would just the opposite then with this one that kind of thing but I might even just delete this key and this one and then um spline these and see what I gotta change in them and they're gonna again I've got you see the curve friendlier if i zoom out they can see that's gonna look really kinda noisy and messy so I'm gonna grab this curve and this one and kind of flatten the mat and I might even push same so I did again I might just grab these two keys and scale it up a little bit so it's again kind of softer transition so we're getting quite cartoony now with them with motion but I think that's okay for this purpose you know because I wanted I want to sort of show you know the principles in that in action so you can see as it goes down then it's kind of coming into this it's kind of keeping the butt body kind of tilts us a little bit and then just as I kind of reaches into the the contact pose that's where it straightens up and then the same sort of thing here so I'm going to clean the curve a little bit more it's still looking a little bit messy so something like that still not super clean but it should do the job I might actually grab this one this one as well I'm just gonna round them off a little bit use the end up adding to it it's just the one just after it as well to kind of smooth things out a little bit something like that I'm trying to get very nice clinically in curves but it's also important to keep one eye on the viewport as well because sometimes you will end up with curves don't look particularly clean but the animation will look ok and to me that's okay you know if the curves look the animation looks good that's really the important thing you know generally the curves looking smooth it will give you a good indication that things are going to work white but one thing I'm not sort of starting to feel now look at this and I think the the Y is a little bit too much it's kind of bouncy up and down so this is again another thing you can kind of finance quite quickly in the curves so the other thing is well you'll notice if i zoom in sometimes the curves will look ok for distance like that looks kind of relatively okay but before you mad a bit they can look a little bit messy so I'm gonna grab this one see the tangents are gonna gotten longer there so I'm going to smoothing that without the same thing here same sort of thing here so I'm just going to get a little bit nicer and the down polish then is dr these two this is where it's coming down and i will see i think that's far too much so i'm going to grab that and bring it back up again that's one thing I really like rather the curve editor you can very quickly make pretty broad changes so now we've kind of got very little up and down I could probably bring that back a little bit I don't really make it too kind of flat something that is like that's not too bad I'm putting an end up facing this as well I've worked on the feet so I'm not gonna spend too much time on I'm gonna look at the feet for a little bit now so one of the things I mentioned earlier is that we need to have the feet translating back is from from where they're in contact with the ground I'm gonna zoom in a little bit I wasn't to come back the same amount basically steady man so these I'm actually not going to supply set some sections of them I'm going to look at the position Z which is the one coming back here and you can see it looks like I got a fairly accurate if you look at this curve this line here it's pretty straight but I often do just to get this really clean it's just actually oops and just grab these ones and just leave them and now you can see the line is completely straighter that means now I'm getting completely linear it's there's no acceleration or deceleration there as it goes back so it's going to be a nice clean and that's going to be really important when we start moving this mover forward to translate the character to space that will total avoid the feet slipping you need to make sure that this curve is completely clean lined up this part of the curve dull I can supply it so I'm going to grab these ones and spline them and actually this one is long spline that so I'm getting a little bit of an acceleration deceleration into this see the last curves we funky-looking so I'm going to clean up I'm not keep re going to add another key or two I put out a key here and here just to really finance this I have my preferred method rather than the kind of really tweaking the curves I will go in and add a key or two to kind of control it but that's not a bad starting point now so I'm gonna do the same thing to the other side and we don't have a look at this one this one's a little bit more tricky but it's there's an easy way all right to get around it if you look at the curve here it's actually this is the am this frame thirteen is where it contacts the ground and it's sliding back but doesn't finish its curve until here if you like so we need to make sure this one you know this like we did with the other one we need to make sure that we've got this nice and clean transition so we need to make sure there's no acceleration of deceleration there it looks pretty clean and what I could do is just kind of blow these away but I want to make sure it's a hundred percent linear one simple trick to do that I like to do it's just to grab this key hold ctrl and shift and just drag it over here until hope to where it was on top of the other one so this looks a bit strange right now but it means now I can just actually delete this key and now I've got a completely linear path I want to do then is I go to frame 25 and I'll just key it again so now I put that key back in now I can delete this or fleet this again and now I know like actually delete this one as well I'm now going to copy this one back so now I've got a completely linear transition I might actually go and we do that because I put it out quite quickly so essentially what I'm trying to do here so I've got this curve that's going from here to here you say this have a virtual key there and then this one it may be right like I've already financed it adjust a little bit like this but a quick way to do it for me is just actually to take this key I just copy it you can even you know grab both of these and copy them both buggers I'm holding ctrl + shift ctrl will copy it and shift will mean that as I drag sideways the value won't change so I'm going to drag it to that same right key and then I'm going to frame 28 and I'm going to delete this this one I'm also going to leave this one and now I've got you can see now if you look if i zoom out I've got that clean curve I wanted but I want to have keys on frame 25 and unframed 1 so I can kind of control it so I got a keyframe here and then it's going to copy that one but in the same thing ctrl shift and drag back and then finally I can just delete this extra one so all that means I've got I've ended up with the same kind of curve it's just a little bit more difficult for this foot because it's going over the end of the cycle if you like it's going you know pass this part and into the next part so I hope that makes sense it you know watch that part of the video again maybe if you've a chore figuring it out but yep I end up doing it again on some other controllers to illustrate it later so again I'm going to grab this part of the curve this is where the foot is off the ground are coming back to the front position I'm going to spline that section of it and again you can see it's kind of it makes a little bit of a mess with a curve so I'm going to grab this one and they're zooming again to kind of finesse this a little bit grab this one and grab this one something like that again I'm not spending too much time in now because I know I'm going to actually add a key or two in there to kind of really finesse it and we're going to look at through the position Y as well at the feast I've been focusing on position G so for our magical save incremental as well just in case you never know dude there we go now why the timeline close there and there we go and so I'm going to look at the y position there as well so if I grab these keys and press s to frame up on them you can see that most of them are just flat on the ground they're linear keys and that's fine because you know I want to put it to look like it's on a hard surface so I don't want it to be changing height at all to this section while it's sliding back along the ground I want it to be zero the whole time but this part of the curve I want it to be splines I'm gonna grab these guys and make them spline and you can see what's happened to this one doesn't look too bad and this one's not too bad I can polish this one up I mean by doing this I may be making this a little bit shorter and you can see even obvious problem here if I look at actual if you watch the foot as it goes past key and so if i zoom in like this you can see it's actually going to go through the floor a little bit just for those few key service for that key really but that's because of the overshoot of the curve but I don't want this to be linear I don't want it to be like that so what I can do is I can actually break either break times it or to make this just this one linear and then I can still have it I just over tangent here to do that the other way I could do it to show you is actually to break the tangents that's this option here so to break tangents and that means that I can adjust this one individually and flatten this one out so both of those will work you can either make it linear and just have just adjust this one or else you can kind of keep it spline the break the tangents something like that I'm gonna keep this one fairly hard thing is you don't want to really slow into the contact because you know one remember affected by gravity our feet aren't gonna gradually hit the ground they're going to hit it pretty hard and stop you want maybe a little bit of easing here on the desktop because again the foot is affected by gravity so it's going to you know it's going to lift off a little bit more slowly than sometimes don't put down so I'm going to do the same thing on the other leg I'm gonna fix the Y curve on that one so Y so again it's just going to be these keys I'm gonna spline and I can make this on linear again I like it shorter something like that and work fully like actually make it like that and again just so I gotta scoot it a little bit this something I thought that that's enough for a starting point I gotta finish typing again I meant by adding more keys I've also got some rotation on this foot as it comes forward you'll see it's just and this is where it's kind of in midair obviously it doesn't rotate once on the ground but just just this little bit here you can see just keep it a bit more natural you know I've got this and probable Tatian P along the x-axis here but also got a little bit of rotation in in B and in H if I kind of angle this way you can see those curves changing I do that so I'm gonna soften those again by just blinding those and again I got to do some cleanup on them and see this one looks really bad this one basic tension is too long there so something like that and again this one same sort of thing again the tension just really down there that's not gonna work I'll soften this up again with this one and the same thing they would say rotation B actually process with these ones select it just like inside when you see these so I got shortened that smooth this out so you're trying to just get sort of a nice looking curve Jannetty but again you say you don't want to get to folks on the curves you want to kind of look at the keep your eye on the viewport as well we're doing that so that means that they did it's going to stay flat and then as it comes off the ground then it's good it's quite subtle the rotation there but it helps make a little bit more our guide looking something like that I'm gonna do the same with the other foot so again let's look at the curves so they're gonna be over this side for this put this part so again I'm going to spline those I like to make the last one layer and again I'm gonna press s with all selected the frame up a little bit and that smoothing is out a little bit you just want the animation to kind of flow through these curves in a sort of organic way and that's generally going to reflect in the animation it's going to look more organic we're trying to do is get rid of the economic annika sort of field you get with the linear curves so can I make this earlier but flatten this one out a bit loveless this one the last one to be again so again fine just make the last one linear or you could break the tangent again make this smoother looking for this one and this one so it might not be too obvious which the end with this the frame age of the screen capture but violation starting to look a bit more organic that a little bit more natural a couple things are now that I'm kind of looking at one one is that I would like the feet to be a little bit closer together because they're they're quite spread apart like when only when we get a character rig in the tipos the feet are kind of in this wide stance but it's not that natural you know generally we walk with our feet a little bit on more in you know sort of underneath the center of gravity and you know I could go in and adjust each pose but but this is one of the things up there that's great in the curve editor as well you can um if I grabbed a position X which I'm actually justed yet so it's a good time to do it now well you know if I'm going to grab these ones these are the ones and that are where it's on the ground so I'm good it's looking I got a look at it from the frontier I'm going to drag these down you can see as I drag them down it's updating the viewport there my frame out a little bit little why not obvious I'm going to be a time to say but minus 10 what I can do is you can even actually do these in this numerically if you've got a value that looks good on one side you want to be mirrors I can see it's around 10 there it's kind of hard to get exact what you want what you can do the X put in the value there so minus 10 and then I can go to this one and took the same keys so pick these ones in this case and then make those plus 10 and you can see the idols have brought that in that's a little bit more natural I'm finding that this might be a little bit too much now that's what I might do I can drag this back a little bit as well say something like that let's look at that yeah I don't swing out too much maybe the morning bring us down to the zero line yeah that feels good to me so I'll do the same with the other side so I grab these down my fingers and down to the zero line pretty much yes I was good so again I'm going to spline this bit because again once it's off the ground I want it to be sort of you know sort of smooth motion sickness stretch this not gonna pick this one smoothing this off and the same thing with the other side which is an X so again spline these guys like a last one linear smooth nap swing it up okay so we're getting there one thing I'm noticing now is that the M the spacing this is an animation term people talk about love and spacing ly I'd covered this in the other video I made for maximum last year actually but basically spacing refers to how much something moves over a few frames you know like the distance it moves for a particular frame generally don't want it to be completely even and so one device can add another couple of keys to the to the front of the stride and the back of the stride particularly where it comes off the ground and where it lands on the ground so if we look at this foot if we look at it here I can bring up my little drawing tool again the annotate Pro to which I have here this will help me kind of illustrate this little bit better I'm just going to go into a side view time now for a second if we look at this back foot here you can see from frame thirteens on the ground and then it keeps going from frame 15 that's our down pose and then it kind of comes up there's a big change if I actually just draw a little kind of mark of where the foot is on that frame you see there's a big change from that frame to the next frame and then you know it kind of continuously afraid linear away from there and that's I'm really natural but you know our bodies and stuff will always kind of do the least amount of work that's required it's guys that's why it's kind of easy to trip on the pavement you know because a lot of times we're actually do don't lift our feet for upright high and the other thing we've got gravity and inertia and waist up without affecting it so the foot is actually not gonna come off the ground that's suddenly so I'm going to do is Mexican add another keyframe here in frame 17 and I'm actually going to use another little tool everything my amazing tools this is my nudge tool so it's part of the notes tool base of all it does is it allows me to make that this key a little bit more like the previous one so I press this you'll see now it's actually given me it's actually pushed it back so now I'm getting kind of a narrower spacing so this key is actually more like the other one and then when I come through here but the other thing I want to do is I want to get a sense that and you've kind of pushed off with the toe which I'm not really feeling right now so I'm just going to bring the foot up a little bit I'm going to angle it back and I'm going to adjust the I'll use a toe wriggle just to kind of van give the idea that there I'm not even real been sort of manually as well something like that so you get the idea that the the toe is kind of pushing off the ground like that you can even have the intersect slightly I find that you know if it's intersecting a little bit it doesn't really show too much most of the time something like that I'm looking this key actually might pick it up a little bit as well just such a little bit more organic looking not hitting the ground too much so I'm kind of just in this one now the other thing I might do is actually add a little bit actual regular as well to this pose just to kind of show the foot dragging I'm sure going to go to a shaded view so somebody should see that so you can see there just to kind of give it a little bit more organic sort of feel until you get the idea that you feel that the toe is kind of pushing off the ground so you see the spacing now between these two keys between 16 and 17 it's kind of tight it's kind of now you're seeing big change between those two poses then you sing a much bigger change between these ones I'm going to try get the same sort of thing then with the front one and it's actually not too bad a bit of the spacing here it's pretty close already but I'm going to add another key on frame 25 and I'm gonna nudge it a little bit just a tiny bit towards that I might even creeping up tiny bit whoops something like that that will help fix it the knee pop a little bit like that no expect better so basically I'm trying to do they're gonna make its pacing quite narrow on this end of it we still might get a little bit of knee pop on the posters after this but we'll look at ways you can fix that in a lot in a moment so something like that I'm pretty look just scoping back and forward here kind of looking at the spacing you can also use that kind of the drawing tool again to to kind of an that's not if you like but and you can see it pretty well there you have it out done so I'm gonna do the same with the other foot now so and this one comes off the ground on frame five something like that so again I could I could go through that same process or I could just do I did earlier I could I could copy them paste paste the keys from the other pose so I'm going to do that again just to save time so I'm going to go to this frame I know I want this frame 20 we were sorry where is it just frame 17 rather so you're actually keyframe both of the feet there something like that I'm gonna copy that pose and back this pose 17 by alt clicking by all holding alt and then clicking on frame 5 and I copy I pose there and then I'm gonna use my tool again to to mirror those poses so now I know I've got exactly the same pose there have a merry version of friends but of course I've got the same spacing on boat it's not looking pretty good and now you do the same thing I did with the foot coming into the contact pose so as this foot comes forward here I'm friends 12 I wanted to be quite like you can see that it needs completely straight I don't want to be completely straight because it's going to pop so I'm going to take the pose I had with these two I'm friend 2040 them there I'm going to alt click on frame 12 and key them there and then swap to again with the script now I've got some very clean looking curves there and I'm going to look at I just add one little poser as well just at this one frame 19 so I'm gonna do the same thing with that as long I grab sight both these and I'm gonna keep them on frame the curve of this pose would be frames 7 they have a frame alt click on frame 7 key them bolt and then soft them again it's now I know I've got double foot rating I did on the other paws on this one as well it's always starting to get there now and some of what I've done that though will have undone why idea with the add the graph editor this is what I was saying earlier about sometimes I kind of work back and forward a little bit so I'm gonna have a look at the feet now again just to check and things are still working - I want the main Giang are carbon on the concernment really is the c1 so I've got these extra keys and now that I've added I don't need these ones and those I look at this curve and this section of curve here that we just looked really funky you could clean this up but really it doesn't actually matter because there's only one frame there 16 - 17 so this interpolation isn't going to be counted really when you're rendering I'm going to see the so you know you can clean it up if you want to kind of keep things neat looking but it's really not going to affect the animation at all because there is no interpolation between those two keys again these guys could probably do a painting and splined and this one is blind that you can see that that's looking for your organic and again I've got the same sort of thing of ice framing on these guys this looks funky but I'm not going to touch it because that does only want the key there so there's no interpolation there so I'm going to check the same thing on the other side again and say the Z one is the one I'm most kind of concerned with again like with these extra couple of keys about it in so I don't need these ones like in tippy-toes and it seems alright thing here and supplying this bit just kind of smooth it out a little bit something like that so you can see what's happening out there the feet are kind of picking up and landing kind of quicker so sorry slower than they are they're going to go into the middle and that's kind of natural with you know our bones stay off the ground as long as I stay on the ground generally unless you've got a really bouncy walk and I'm still looking at the accent of translation is it still looks too big to me so I'm going to look I'm going on adjust down again a little bit I look at it here I am premiere on these guys it's basically just this curve here if I screw up a little bit you can see as it comes to that one that's way too wide not sure how that happened actually but let's just fix it here in the curves so bring this one down to zero again and the same thing here the excellent is coming over this side yes we big that's something work that could happen sometimes when you're working in particular view and you're kind of looking at elements and as you can easily end up with some weirdness that's why it's important to kind of look at your character from different angles as you can all the time so again I'm gonna spline this guy again just kind of smooth things out I've still got my interpolation and my project setting is set to linear when I set new yorkese they're going to get set as spline I could I could change that but I'm going to leave it for the moment because I'm going to be adding more linear Keys later to the main mover so I don't worry more happen to spline or kind of polish couple of these here and there it kind of gives you a look at the workflow as well publishing these curves again you can see when it's find out on that one video to the big overshoot there generally you don't want too much of that because it's clip it's computer can dictate in the animation more than then what you put in there so I stuck a bit more sensible again so you know I'm not going to polish this to where it's completely perfect to pacifically honest I don't think there is a perfect walk but I think that's looking pretty decent but I'm going to show you just a little trick that I use sometimes for fixing knee pop and then switch off all the key for a minute so I can can't play with this I'm fine without breaking things if you know this this is the thing that happens a lot when I came out be discussing this again when we look at how I'm making the arms obvious disguised how many arms over me having another character with arms what I kind of you see your long stare as I pulled you like forward it kind of snaps the knee will kind of snap straight well I do sometimes to fix that it's actually use the scaling on the leg our squash and stretch on the leg you'll see there that it kind of what gives a pop really is a sudden change from one pose to another you can see there it's kind of obvious under I'm going to pick up with stories you can see with the screen capture but I think there's a really big change of pose there from that frame 1 to frame 2 and then it kind of does the dance of a change of frame 3 you can actually see this more by going to a side view if I just put a dot again say if I just do it a little mark here you can see this kind of this is where the leg is or the knee is and this positon frame 1 Frame 2 it really jumps forward and then frame trees is not such a big difference so you kind of get this sudden pop and then let's have a change and any kind of starts getting smooth again so what I do to fix that is I actually use this attribute on the foot controller to squash them this is what I actually out of the original big didn't have that I'm gonna go back to all the key along these are going to leave my mark there I'm going to go to the frame tree which I know this looks pretty good I'm gonna change my color so it's kinda obvious which one is which it should be obvious anyway but just to give you an idea so that's frame tree and I'm going to keyframe this squash parameter there on 0 I've depended on 0 on frame 1 and the problem is now you see if you can see quite clearly now what I'm these kind of marks I'm making are showing me the spacing they show me that the spacing is really wide between these two keys and then there's not much of a change so it's clear like it's almost like it's hitting something solid here it's like there's like a a wall here it's hitting that and stopping so a way to fix that there are different ways to fix it but one I'm going to do is actually one thing before I do this I should actually flatten the foot down as well that's one thing that I often do the policy stage I've got the down pose on frame for which is where the foot is flattened down but that's actually quite a long time to take to come down you know more known as gravity affecting us our foots actually flatten the ground up probably quicker now so I'm gonna actually have a flat on frame 3 so inflamed frame tree here I'm gonna flatten out to here lift and I just did that now so that if it change the spacing actually hasn't really changed spacing too much but somewhat bad thing to do I'll do the same thing on this floor as well so frame 13 it's contacting and framed 15 I think it should be flat when you select this one and there we go we've got the same issue of popping there so I'm going to fix the popping on this one so I'm gonna do is I'm just going to make sure that the spacing is more even you can see now it's kind of like really wide gap and not much of a change a little bit of a change and smoothing out of that so it's really just frame - I want to fix why don't you guys can scale a leg on frame so you're going to use a squash attribute to bring it back a little bit so I'm kind of looking at this little your little pointy bit and now you can see that it's much more smooth kind of transitions and I get this but it's much less of a pop you know to get it the transition is kind of evens like this you know if I draw another line but pick another color here and I've got this or a mark here so this is a lot smoother you know got thick like that I'm gonna do the same on the other foot so I've got the knee there are the knee is straight here on frame thirteen actually looking this one I pull it up a little bit so it's not locking out quite so much something like that you can see huge changes there between these two keys so again I'm going to put a key on frame 15 with this at zero go back to frame 14 I got to scale a little bit so on spatter now so I've got this much smoother transition now into that and that kind of thing so you might say well that's kind of weird your legs don't actually get longer and shorter in real life but you find it you know this really won't be noticeable if you do it in a subtle sort of way something I should get it on the back end as I've destroyed as well just gonna have a look at that that's good I just three of those works so it's actually not too bad there but you can do the same sort of thing if you do find the you have trouble there yeah actually you can see it there if you look at this this back leg here if i zoom in a little bit the knee is kind of there's kind of a big spacing difference from there to there so I'm going to do is just kind of keyframe the squash on this foot on this pose I depend this one as well again let's make a little mark just of so I'm gonna keep track of what's happening so I'm doing the same thing here I'm gonna try to fix the spacing so use a clever kind of stays in the same place and then it pops back and then pops forward you get this kind of children sort of motion but they both up with the knee you can kind of see it they're kind of jumping around so what I'm gonna do is I'm gonna I shall keep em here and then here as well that should already keep it key there and then this thing I'm going to stretch it a little bit or squash a little bit so I get smoother transition so now the knees you know it's starting here and then I'm frame 14 it's kind of coming down you know kind of a halfway point roughly and then here and then back again so it's still not got a little bit of movement there but it's a little bit smoother it's going to do the same with the other knee actually I'm still think I could get out of a cleaner Lavina there it's kind of quite straight here let's have a look I've been out a bit yeah we're going to do is actually soften up there it's the difference between those two poses between the straight leg and then this one so Mike's gonna bring this I can put a little bit more so it kind of stays a bit straighter and then maybe even a little bit here as well so that's a little bit smoother yeah I think that's the closer to I want you can really spend a lot of time on this stuff kind of finesse again it's a kind of the last stage of the animation really when you're you've got everything pretty much done you can spend the time on cleaning this stuff up it is quite time-consuming and you might end up with a lot of keyframes here look at that squash IBEW here it's here you seem actually adding a lot of keys to that but that's okay all sometimes you need to add a lot keys to get get what you want and you know that's not a bad thing you know really what you're doing is you're controlling animation you're kind of taking away from the the computers control the other thing you can do is well that's kind of adjust the actual ball if for a total if title the double tweaked a little bit as well so usually going to go back and forth with those a little bit so so Mikey a little bit more there mr. lucky is acting I grabbed a smooth ride and mark this one yeah so that's the frame that's bugging and I've grabbed this one fix it a little bit about this this this yeah now I should be picking smoother there we go now we're not getting that children that knee so you can see there's a bit of working back and forward sometimes to get what you want but I find this squash on tribute if your rig doesn't have that you can you know you use the ball Lisbon so I have to get this or you can adjust it up and down the body but I find that this little cheat works great yeah happy without now it's not going to the same with your knee and if that one's bit quick hopefully if you want this one again it'll and it'll help clarify a little bit so again I'm going looking at basically what they call a spacing yeah you can see the space in there is huge this was we jumping from here to to here basically in one frame which is too much and then it's not where you're moving at all between the neck move in the next one so I'm going to keyframe the squash here and press ctrl and click on that and then this frame is already keyed so this one I just need to adjust it sorted okay ease out of that pose so that's what's more of gradual progression and then it's going to come back here and I look at the space near you see it and down and then and back I'm sayin if I play it there force me to see that one judders why gentle is nice and smooth so keep blessing that so again I might bring the ball lift up try a bit just a feeling finesse that I have to make sure I do that same change on frame 25 second again I can all click instruct or take here so I've got that exact same pose otherwise to give walk with look uneven and some might bring that back a little bit there and maybe even a little bit here as well that's looking much better now it's still a little bit of shudder there's something I could probably last a little bit more but I kind of straightening it out a little bit something in a more gradual coming out of that pose into this one behind this one and we bring it up like this again so again it's not coming out of that straight pose too hard and then here I want it to be zero again yeah that's not cheap and again I could mirror the poses but that's still think really decent it's not perfect you know I can really spend ages financing this and sometimes you do you know depending on your needs the animation depending on how close up the knees are going to be seen but you see that looks a lot cleaner another did it was been really fussy I think the left knees a little bit better than the right one you know like you can actually go into graph editor as well as curves and you know copy the values to make sure you got exactly the same thing but I'll do this by eye because I think it's a good thing to do is while they're current you know last animator you're we what trying to do is develop your eye so I guess that's pretty much getting there now it's kind of nice and clean so the only thing we want to do next really I'm going to move on in the next video to actually a character where arms on torso as well so we can see how that works but for this one I'm gonna call is pretty much done the only thing though and that we haven't looked at yet is actually moving the character forward in space so if I add some more keys if I i've already looped all the animations so that if i am you know just press play there you'll see it'll keep looping away and jump there at the end when it when it comes around I still add some more keys who don't even see them so you can see how it's just looping for infinity nor for however many loops and said everything was 111 mm so that's not too bad there so we're going to do now is I'm going to actually set it up so that this controller is moving forward in space so I'm not actually added any keys to this yet all I need to really is add a key on the Z which L is going to add a key here Z it's going to control click just on one and I'm gonna go to frame 25 I'm just going to add another key and I'm gonna do this in the curves again like pick the main mover position Z what I like to do and you can do this with sortable you can use math to do this we you can figure out the stride length and you know multiply it by 2 and use that to work out how far they should move but I tend to just do this stuff by eye and what that will do is the dope as I lock the time of that key because when justin is i don't want to be kind of sliding around if we don't have that locked i just start moving a little little shift around the sides with just kind of in easton so so i'd like to just kind of lock it so that i can change the time or a lot of time so I can't change it and then I'm just kind of start dragging it down and you'll see as I drag it down the controller moves forward and zoom out a little bit and basically I'll start doing is I'll start scrubbing the animation and I'll look and I can see there but the fact that the feet are sliding back that I need to increase the amount of forward movement of base one trying to do there's only get two for the movement of this to be the same as a backwards movement of the feet as I say I could do that with you know if you got a calculator and work I have a stride length but I like to do just by high so I'm going to keep increasing that and then kind of scrubbing and seeing and again the feet are still sliding back so now it's so I need to increase this so I make it more like that so now you can see I'm actually getting closer there that's not too bad now while doing as I kind of zoom in a little bit I might even get into a side view again and well I to do sometimes again use a little drawing tool just put down a little mark maybe on this I'm just gonna see if that's moving and it's actually not it is actually it so any bit there let's just show you if I go too far you'll get the opposite effect where the feet will where the people seem to be kind of moonwalking us or sliding I'm gonna do that but I'm pretty close to the value there they're still sliding back a tiny bit so when these two does it just finesse this I can actually zoom in on this a little bit as well just to kind of really get the value a lot so basically want to do is just make sure that that stays on that mark something like that there we go that's I'm gonna call that done might not be a hundred percent actually see it's moving for it a bit so I can decrease it a little bit like that keep it on the dot I think that's gonna be pretty much invisible when we look at it in the viewport and the sliding on should be pretty much gone now there we go so you just got one obvious problem I can keep starting from the same place so all the other curves I said well I am this dis selection that he doesn't select the main mover just it just selects Thea that's a body and the two feet controls and earlier I said these if you look at that if I go to right right click on them and this before I set it to repeat before and pillow and I repeat after but the body are the main mover rather and the position Z curve I want that to be offset repeat after and you can see well actually if i zoom out a little bit and see what the curve looks like at the moment it just kind of goes you know linear like this and stops and if I switch it to after offset repeat after you can see what happens it it continues on in the same direction so it's going to basically add on the value to each repeat repetition so again I'm going to turn up throughout this again given 111 like I did the other ones just because that one key is kind of handy to get to and if I increase the play range now I'm press play there is our character walking forward with pretty much no foot slip and fairly minimal knee pop that's what we is still a little but there you know again you can really finesse this stuff it's just a matter of taking the time and kind of really looking close yet but I'm going to call this one pretty much done then we're going to move on the next video to am animating a full character but I really recommend if you've watched this far you know grab this character and joining them you're blocking the main poses like I did in the previous video and then you know try to finesse them in the curves take your time with it it is kind of there's a bit of science and a bit of art and sort of mix together so it does take a while you know one thing I should say as well so your walk is quite difficult to animate it does take a while and even you know I've been doing this for quite a while and I made lots of different characters walking I still still takes me a while you can see I've been an hour pretty much polishing this section the animation and always have it quicker if I wasn't describing what I was doing but but you know it does take time animation is one of the things that just does take time but it's be fun when you get me we start seeing stuff moving around so I just recommend you know you just take take your time you know just just really play around with it until you get the results you want you know don't be afraid to experiment as well you know you can always save a new version or revert to save if things going to get too messed up I tend to use save incrementally lot haven't we done too much while I'm recording here but generally when I'm working on an animation if I've got something that's reasonably decent I'll save and then save incremental and then start fiddling with a new version and if I know if I start getting somewhere that's not working I can just go back to previous one so I'm gonna call that don't for this section of it and I'm going to move on there into a full character with arms and head and all the rest of it we're going to look at how he did approach animating those

Channel: Maxon

Views: 103,579

Keywords: CINEMA, 4D, Cinema 4D, Brian Horgan, maxon, training, tutorial, video tutorial, 3D, animation, character, character animation, ca, motion, cg, animated, rigging, rig, walk cycle, CMotion, Character Builder, cartoon, r13, CINEMA 4D R13, c4d, walk, walking, walkcycle

Id: J8lkNz_gBJk

Length: 79min 45sec (4785 seconds)

Published: Wed Jun 13 2012