Intro to 3D Animation: Create Your First Walking Character | EduCraft Ideas | Skillshare

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Intro to 3D Animation: Create Your First Walking Character

teacher avatar EduCraft Ideas, 3D Animation with your imagination!

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

18 Lessons (1h 52m)
    • 1. Intro

    • 2. Download Blender

    • 3. Blender Navigation

    • 4. Camera

    • 5. Upload Your Render

    • 6. Animation

    • 7. Project

    • 8. What are Bones

    • 9. Introduction to walking

    • 10. Contact Pose

    • 11. Passing

    • 12. Up Pose

    • 13. Down Pose

    • 14. Arms 1

    • 15. Arms 2

    • 16. Finish Walking

    • 17. Rendering

    • 18. Walk and Move

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About This Class

This class is the easiest and quickest way to learning the most important skills you'll need to do character Animation.  You'll learn the fundamentals of character movement through the use of bones.  You'll also learn what makes walking look natural, and how to make your character look good when they're moving around. This is all done with the absolutely free Blender 3D software.

This class focuses on animating a walking cycle. You don't have to spend time creating your character,  you can simply download your starter file which already has the character created and ready to use.  If you're interested in the fundamental aspects of modeling and animation, check out my other class.  

Be sure to read the project description to get the reference file you'll need to create your cool walking character. 

This class does not assume any prior knowledge.  You simply need a reasonably up to date computer.  It can be Mac, PC, or Linux.

Start by Downloading and installing Blender Here.

Get Blender 3D

Starter file

Walking Reference

Meet Your Teacher

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EduCraft Ideas

3D Animation with your imagination!


Modeling and animation are all about your imagination.  Here at EduCraft Ideas, It's our pleasure to teach you how to bring everything in your imagination to life.

In the pic above you'll find Linda.  She's the next subject of our upcoming classes.  William, one of the EduCraft Ideas team learned to do character modeling in a very reasonable amount of time.  Coming soon, I'll show you where I started and you'll be amazed at how far I've come and how you can do the same even faster.

It doesn't stop there either.  We're going to cover many facets of modeling and animation and it'll always be on free software.

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1. Intro: They say animation is one of being most expressive forms of art. There is. And that's because they say a picture is worth 1000 words in an animation. Oh, who is many, many pictures. But creating an animation is not that. Even if you don't understand a couple of key concepts, well, your animation could be left looking kind of mechanical on awkward. Join me as recover all the characteristics and skills you'll need to create realistic character movement by doing a walking cycle. And don't worry about needing to know all this extreme with information like modeling and setting up the file. Because I got you already created a file. It's already set up. All you gotta do is download it an opening. But if you do want to learn more about modeling and some would be simplistic fundamentals of animation, check out my other class. I think you'll like it. But for this class, you don't need to know anything other than, well, how to turn on your computer. I'll see you on the other side. T 2. Download Blender: so before we can really get started doing any of this cool animation, we need to download blender so we're already downloaded grinder. You can go ahead and skip this video, but in order to download, but they're going to go to www dot blender that or and once you're there, you're going to go to down load so you could go automatically to to this link. But you could also go to the down those green and then click download blender. From here, you can select what kind of operating system you have or this 64 bit or 32 bit and what operating system versus Mac OS or Lennox? But from there, you can just follow the directions and install it. 3. Blender Navigation: so if you open up the starter file that I gave you, and this is just something that you can use instead of making your own because it's already completely rigged up and modeled. If you're interested in modeling your own, I'm gonna be releasing a class that's gonna talk about how to create this model. But right now, I want you to get your first walking character as quick as possible. So I'm have given you this file here. It's called Starter File, and it's a blender file that already has a rigged character in it. Now let's start by making the interface something that's easy for you to you. So if you are new to blender, the first thing I want you to do is go to user preferences and the user preferences. Go to input and under input, I want you to select. Go to the left side, where it says select whip and I want you to hit let mouse. But mine is already set to this, but yours. If you just now downloaded blender probably isn't so. This is going to save you because you're used to selecting with the left mouse button and you're going to continue to be able to select with the mouse button. So go ahead and select that if you are using a laptop. This is a little bit different in blender because the NUM pad numbers are different from the numbers that are on the top side of the keyboard. So if you're losing, if you're using a laptop and you do not have a numb pat on the right side, you can click this emulate number bad. The other thing. I want to make sure that you have or you should think about getting even. If you do have a laptop, is a mouse with the middle mouse wheel. First of all, you need three mouse buttons. Second of all, you need the middle mouse from you. You second of all, you need the middle mouse wheel to navigate about the environment, so go ahead and click. Save user settings there. Then you can go ahead and close that the next thing I want to show you is how to navigate around the scene. So in order to rotate an object like we have here, you're gonna hold down the middle mouse button and you can drag the mouse around, so this allows you to rotate about the environment. Next. You can also pan about the environments if you hold down shift and middle mouse button and move the mouse that allows you to pan in the environment. And this are the two things that you'll probably used all the time. So that's Middle Mouse button for rotating middle mouse button plus plus shipped for panning in the environment. And then after that, you can use your middle mouse wheel to zoom in out. And this is really useful to really be able to move around during seen really easily. So that's just using your middle mouse wheel and rolling it up and down to be able to do the zooming in and out. Now let's say that you wanted to rotate or you wanted to pan, and whatever you were doing was not in the center of the screen. So the easiest way to deal with this is to select whatever it is you have in question or whatever it is that you want to work with and then hit period on the num pad that is going to zoom in on what that object is and it will center it. So now you can see that I hit period when this finger here was selected and now is in the center. I could do that for everything, and it will always center on that piece. That's a really good way to focus and get close in on what you're looking at. So that's period on the num pad for zooming in. The other thing that's really useful when you're doing when you're using blender is being able to see it from a particular angle. So right now, if I hit one on the num pad, it puts us in front of you. If I hit three on the num pad, that puts us inside view. And if I hit seven on the num pad, that puts us in our view above, and you're probably wondering what these are. These are the lights in our scene, and I'll show you how to get these out of the way in just a moment. So we have one for front view, and then we can zoom in and out using the middle mouse wheel so you can hit one for front view, three for side view and if you want to see the other side. You hit control and then that same Ortho graphic views. So if I wanted it and see the back of our robot outhit control and then one and I'll see the back and just normal one on the num pad for the front. And then the side is the same control to see the opposite, just three to see the normal. And if I'm ever in a weird view where I hit one and my object looks like that, it's because I'm not in Ortho graphic view, so you can see if I hit one by it. One or three. I hit one or three. It's not in that perfect side view. See, all you have to do is hit by That's gonna put us in Ortho graphic view. And now when I go to those 15 and seven, I'm in a perfect Ortho graphically or I'm not in this case, but then I can hit by begin, and that puts me in Ortho. Graphic view 4. Camera: Now let's talk about the camera. So as you're doing the project, I would love, love, love for you to do Render is both still and animated. So let me show you how to do that. Easiest way to do that. So in order to actually see through the camera, your camera looks like this. Here it's orange when it selected, like everything else that selected When it's orange, you're gonna hit numb pad zero, and that's going to give you camera view. Now you could hit G for grab, which allows you to move it around, but this is probably the hardest way to move the camera around. What you want to do is to go to your left side panel. And if you can't see this panel and it looks like this, you're either going to hit and to show it or you can hit this plus sign right there. Now the next thing you're going to do is check is check lock camera to view. Now, once you lot camera to view, you can pan zoom and rotate just like you normally would have, and the camera will say, Well, stay lined up with your view so That's the easiest way for you to move your camera around and get that perfect shot. Now, after it's where you wanted to be. You want to uncheck what camera to view? Because if you don't, it will continue to move around and you won't be able to keep that camera right where you wanted. So that's how I would keep the camera just like that. And if you want to do a render, you can either hit F 12 or you can go to this tab on the right side and it's a picture of a camera and you can click. Render that we're doing animation and I'll show you how to do that. Later, when we do animations, you click animation. So the easiest way to do that, it's just to go ahead and hit F 12 like I did just now, and that will start a render. If you have GPU, you can hit GPU compute, I'm if you have that set up and then hit escape to you out of that and let me do that one more time to show you how you can actually save it. So after it's finished surrendering and that only took a moment. You can go to image save as. And so if you do sit. If you do save as image, it will allow you to save the image to whatever location that you want. You don't have to get people to the right side. You don't actually have to pick a location here. You only need to do that for animation. And then below that, you can pick what kind of image you want to create. So if you're creating ah, still image, you can do a J peg or you can do a P and G or something like that. If you're doing an animation, you're gonna want to pick something here on the right. Well, we doing f f MPEG and I will show you how to do that when we do our animation. So that's almost it for everything you need to know before we actually start doing our animation 5. Upload Your Render: so you didn't really good. You listen to me, do all that talking. And I know you didn't do this just to hear me talk. So now I want you to do your own render. All you need to do is hit zero. To get into camera view, go over to this left side panel and if it's not there, you can hit. And if it is there, you don't have to do anything. Click lock camera to view. Get the view that you want. If you want him to look really tall, you can do that whatever view you want. And I want you to upload that image. So once you have the view that you think that you like all you have to do is click be camera button over here on the let in this right side pain and then either clicks render or f 12. And after that is finished rendering when that's all done, finished rendering. Just go to image, save as image and put that image somewhere on your hard drive and then please, please, please up that upload that to skill sharing so we can all see what you've done. All right, 6. Animation: So right now you're looking at a blank blender file will be opened up in the video. Before, this was the file you're gonna be using called the Starter File. If you want to follow along with me, that's fine. You just need to open up a brand new blender file, and this is the default that opens when you do that. So let's talk about how to move objects within the scene. Since now, you already know how to move about the scene to just interface with it. So let's say that I wanted to move this block, our default cube around so I would hit G for grab, and that would allow me to move it around in three D space. But the hard thing about that is when you move something in three D space with only a two D view like we have on the screen, it's hard to tell exactly what it's doing in three D space. So in order to fix that, when we hit G for grab, we then hit the axes like X, and that allows me to move it on Lee on that access. So if I hit G for grab then hit why I only could move it on the why. And if I hit G for grab and move it on the Z, I get the same thing now. One other thing is if we hit G for grab and then hit Sit and Z, it locks out the easy access so I can only move it on the X Y excess. If you go down here and look at the the axes, you can see that when I hit G and then shipped Z, I'm only moving in on the X y Axes and Aiken do that for any set of axes. So now I locked out where I'd locked the Y axis. So it's only moving in the X Z plane, so that's how you move an object around. Now let's talk about how you would rotate an object so, surprisingly, enough, rotate is are so if you hit our and you move it around, that just allows you to move it and rotate it in three D space. Similar or exactly like grabbing if you hit, are and then the access that allows you to rotate it about one particular access by G. And then I hit Z then Sorry, not G r and then Z Then it rotates about Onley that access. So that's how you would rotate something in control its rotation. So we covered rotation recovered. Grab. Now let's talk about really quickly how we actually do the animation. So animations are made up up key frames in blender and key frames are a certain location, rotation and scale in time. So in order to set a key frame, I'm going to hit I right. And now I can pick what kind of key frame I want to set up later on in your class. We're gonna do location and rotation all of the time so you can go here to the bottom of the screen and select L o c r o T. This means every time we hit I, it will lock the location and rotation. So now, by I that locks one key frame, and then I can go down here to what we call the timeline. So the timeline is how we actually look at the animation and have the animation is measured . So right now we're on frame number zero. So if I right click to another frame Let's say frame 20 now I can do that by typing in 20 directly right here, and I hit I again. If I hit I again, that would put us on a particular key frame. But I'm going to move this slightly. Somebody grab Z and I'm gonna shift it up. Now if I hit I that locks are key frame and then you can see a Pierce's successfully added six key frames, and it's six key frames cause there's three for rotation and three per translation. Now, if I right click back on the zero frame and I hit also a for play, you can see that our object moves up. The other thing you can control is when it stops. So right now we're playing from 12 to 50. But we don't really have 250 frames, so we can switch this to 20 now. If I hit all a or I can hit the play button here, we can see what it does over and over again. Now this is important, particularly the in frame is important because when you go over here and you hit animation toe, actually create your animation, this will be where it stops. It will stop at B 20 a frame. So right now we just covered what a key frame is once again, don't worry about that. If that was a little fast, we're gonna do it much slower. But I want you to understand what it is and be able to use this video as a reference. So the next thing I want you to see is the dope sheet. So blender has many different pains or panels that you have different information. Even right now, we're looking at a bunch of different ones, this one being the three d View port. This one being the timeline. I'm going to create one more by opening this corner. So if I go to these diagonal lines in drag, it allows me to open a new pain. Now, if you want to get rid of this, I go to the same diagonal lines and I dragged to the side. I want to get rid of. So if I want to get rid of this part, I just drag down. But in this case, I want to open it. So in order to open it Like I said before you went to be diagonal lines and drag up, and I want to change the panel to dope she. And if I look at the dope sheet, it's a more simplistic way to think about the key friends. So these are the key frames I set at frame number one. I said Zero is actually putting up one, and these are the key frames I set at number 20. Now these key frames behave the same as almost objects doing the three D V port I can hit, grab, and I can move them around. So if I move a key to key frames closer together, like I did this now and I hit all eight to play, it goes faster. Or if I hit G for grab. Now that they're selected and I move it out, it goes slower, right, closer, faster. So it the dope sheet allows you and I hit all A to stop our animation. The dope sheet allows you to move the key frames around in time without really worrying about what they are in particular. Now the last thing I want to show you is the graph editor. In order to see the graph editor we're gonna do exactly what we did before. Work on a drag up, preventable to use diagonal lines, drag up, and we're going to select the graph editor. So the grab editor shows us a depiction of the either location or rotation with respect to what frame were on. So just like this window had the different frames. This window also has the different frames, and I grab Editor also has different frames. So we can see here that we have are two key frames and I can use the middle mouse button too. Zoom in and zoom out just like I could with the three D view port and said, Now I have the ability to actually change the value. So if we were going to just look at what changes here, so right now, this blue line is what changes, and we know that we did not do a rotation so I can hide its with this. I means I can hide the lines over here that don't really do anything, and you're gonna be able to see that when we do our animation. So we see that the sea or the Z Channel is where things are So if I go to a particular if I go to a particular key frame and I hit an ice elect with my left mouse button, this particular key, I can hit G for grab, just like I did in the three d p port. And I can change the value at this point in time, right? That works for hitting G, and then the access that allows me to do left in right. So hit GM in X or G and then why? And that allows me to get around in space. So that's the graph editor that allows me to move things around in space with respect to what key frame or what what frame there on there's the dope sheet that allows me to keep framed without worrying about what their value is. And then there's the timeline that just shows us where we are in time where this play head is in time. Once again. If that was complicated, do not worry. I will talk in depth about how to use them at each individual step. But later on in the class. If you get to a point, you're like, what is what is that kid talking about? Well, you can come back to this video and you can get a brief synopsis of exactly what I'm talking about. Hopefully, that won't happen. But this should. This should leave you with everything you need to know. To understand everything I'll be talking about in the future. All right, I will see you on the next one. 7. Project: Now the time has come again for you to actually do something and stop listening to me talk . So I want you to create an animation of the camera and let me show you really quickly how to do that. But before I do that, I want to show you one hidden gift that I gave you. So have you ever done any type of photography or seen any type of photography? You know that a lot of times they use a backdrop. So blender has this thing called layers and on different layers, there are different things right now. I have two layers active. You can see the layers down here. The two dark ones are the two active layers. But on this third layer, which is not active and I can make active by hitting shit and then left kicking is a white backdrop. So you can use this whenever you're doing Orender of your robot. I know you're probably thinking that would have been useful in the last exercise. I did. Well, I'm telling you now, because now you can actually use it. So if you look for your camera if you did, Orender now would look much better because of the background. Wouldn't have any, Wouldn't have any corners and it would for the most part, be smooth and it would have depth to it. So let's talk about really quick what you need to do here. So you're going to make key frame just like you did before. By hitting zero to put yourself in camera mo, you're gonna keep frame, bring the camera in this case. So you're gonna select the camera by left clicking on it after you hit zero, you're on the first frame. You're gonna go down here like I showed you before and hit l O c R o t. Then you can hit I for lock, key, frame, rock, location and rotation. And then from here, you hit lock camera to view, and we're gonna go to the 50th frame. No, I just sliced back there because I locked the key frame. Soas faras blunder is considered cern The camera's locked in place forever. So I put it on the 50th frame and now I move it and I moved that by just using my middle mouse button. Zoom in. I hit I and I'm gonna change my in frame 2 50 because that's all I have. I'm gonna go back to the first frame by left clicking. And now if I click play here, you can see that my camera zooms in like it's going past our robot. Now, in order to actually see that render, you're gonna click this camera tap right here. You can leave these 1920 by 10 80 f 30%. You don't really need this to be really large. You can click this here to select the location where you like it where you like to go, and you need to change this to F. F. M. Pei and change that encoding and make sure it's h 0.264 and the presets are h 0.264 with those in their correct values. All you mean to do here is cook is quick, animate or animation. So this is probably gonna take a while when you do this. So when you click it, go take a break. It might, depending on your computer, it could take an hour or so. So maybe you could do this and then set this up before you go to bed. But I want you to be able to do it. So you understand what animation is and how to do that Just really quick. I'm gonna unclip clock clamor to view just so you can see that I'm gonna play it again so you can see what the camera is doing. And it's behaving just like that block that we did before Onley. We're doing the camera. So if I hit zero, we can actually look through the camera and see what it's doing. So I cannot wait to see what you upload. In order to upload this, you're probably gonna have to put it on YouTube and then upload the link. It's really easy to do that just in YouTube created channel and then in that channel. Make sure the video is unlisted. That way no one can see it. That doesn't actually have access to the link. Put that link in the discussion and let me see what you did. All right. Good luck 8. What are Bones: from this point forward will be using the start of file for the rest of the entire class. I just want to give you a really quick idea of what a bone is. Our bones dictate how the body moves in this case. So if I say G for grab after I select a particular bone that moves our object and just like the three d report, we can say G and then x g and then why G and Lindsay if we want to lock it to a particular at CES So you can also do rotate if you want to rotate that particular object or that particular bone. Now, right now, we're imposed mode. You can be imposed mode or you can be an object move. If you want to be able to move the object or move our character around, you need to get into pose mode. And before you're in the post No, you have to make sure that the bones are selected. So if I select our armature, which are the collection of bones and then I go to pose mode now, I'm able to actually move our body around. Now the majority of what we're going to do with the feet remove with with this bone here. So these are the two ways that we're moving our character, Um, in a macro way. We should also change the toes here by moving this bone, and that's the case on both sides. But when it comes to the arms will be moving the individual parts of the arm. So if we wanted to move this one, we just hit rotate. And in this case, these bones are I created so that if you try to rotate them in a way that they can rotate, they won't rotate that way. So if I try to rotate like this because your elbow is not capable of rotating like that, it won't move because I went ahead and prep this model so you don't have to worry about that. However, it does move in the way it should, but it can also go too far, so I didn't put any bounds on it, but it will only move in the plane that it's supposed to. So be careful, though. When you're walking, when you're working with bones that have a ball joint, so your hip you're hit your hip can do all kinds of weird things, so just be cognizant of that. But I don't think that would be a big issue because of the way everything is set up. So that's what bones are. You can use bones just like we did with the Cube in the previous video. Remember, in order to do different poses, you need to be imposed mode and you get imposed mode by selecting here down at the bottom menu. If you're an object more, you want to make sure that you select your bones first before you can actually be able to go in the post moment. Because if you don't select the bones, pose mode won't be available. So in order to make pose mode available, make sure you've selected the bones and then going to pose mode. All right, now we're all set and ready to go 9. Introduction to walking: So let's start by giving you a quick two minute crash course on what a walking cycle really is. So right now I have a reference picture that you will have access to for your class, and it's conveniently in the same robot that you're going to make but really was important is that there are typically in at least half of a walk cycle. There are four different poses, and I say four process, even though there are five here because the last pose and the first pose are mirror images of one another. And because we're using blended, we're gonna be able to utilize some shortcuts that are going to make this much, much faster, but really unique poses that we need to put into our walk cycle. There are four. This here is called the contact pose. When the tolls in the hell are you are touching the ground and the legs are more or less straight the next one. Some people call it the down post. Some people call it the recoil pose and is the point where the body is the lowest. The front knee is been, and the body is accepting the weight so if we were thinking about physics as a point when the body is kind of or the leg is accepting the weight right when it gets down in that lowest point, it's called down or recoil pose. There's the passing posed in the center and then there's the up post. This is a point where the body is the highest, right? So this is called the oppose and then we have another contact posed on the far right. So some things I put in here just to make it kind of clear the outside leg or the lake farthest away from us as we look at this is this blue lake. I made it a different color, just so we can kind of see which like it was. And we can keep track of which, like Waas. So the other thing to notice is that the arts are the farthest apart, right on frame number four in our recoil pose. So the whole thing is going to take about 25 frames but beset because the last frame in the first frame are identical. It takes 24 friends and each pose on the 1st 3 has a specific frame associated with it. So the 1st 1 is on one. The next one is on for the next one is on seven. This will make more sense. You were actually doing this in a blender, but I wanted you to see what it looks like before we do it. And then you actually, you, of course, have access to this reference, and you'll be able to look at it while you're actually doing the animation. If you have any questions about this, please do let me know in the comments, I'll be happy to answer any of them. And once again, this here is available for you to use as your records. However you see fit, So let's go ahead and get started. 10. Contact Pose: And if we're looking at our model right now, you see that our model is face towards the right. But if I hit numb pad three, it actually faces us to the left. But I prefer to do the walking cycle face towards the right. So I'm gonna hit control in, um, pack three, and that's what faces us the other direction. So whenever you're trying to do the Ortho graphic views from view, which is one side view, which is three top view top view, which is seven, and you can stay in our a graphic view by hitting five, you could see the other side like if I wanted to see the back of you. I control one for that back here, so let's go back to the side view. So I hit three, but that's not, but when I want, so I'm going to hit control three and I'm facing the correct direction and I want to do the contact post. But before I do that, I'm going to introduce you to what we're going to call or what is called the dope sheet, and it's not called. The dope sheet causes dope is called the Dope seat because, actually, you know what? I don't know why it's got the dope sheet, but on the dope sheet, it allows us to keep track of how we're setting our key frames. And if you remember, key frames are how we set our different poses in time. And if we take those poses and string them together, that's how we get our animation. If you're interested more specifically, and key frames and a discussion of what that is, check out my first class since you remember, because since you're a member of skill share, it's completely free to you. Now we're going to start on our first frame. But if you look down here, this goes all the way to 170. But if you remember what I said before, we're only gonna have 25 total frame. So I'm gonna use my middle mouse wheel, and I'm going to zoom in until I have a region that makes more sense. I got this extra screen by going down here to this left portion of my window looking for these slanted lines, and then we're being upwards. That's how you create another window with them blender. So you can do lots of different variations depending on the workflow that you like. And if you want to get rid of one of these, you go to that same place and then you dragged down and you see this little arrow in the center. And that means that this window is going to overtake this part of your windows. Says so how you actually get rid of one. Alright, So back to our walk cycle. So the first pose we're going to do if you remember, is this pose. Here are contact pose, which is right at frame number one. So we look at brain number one. We are on frame number one. It turns out you can move this around with the right mouse button. That's what I'm clicking around here. You can also go down to the bottom, right? But right below yours, Heinlein and you can type it in directly. Either one of them will work. You're not. It's not really possible to be in between ah frame. So I'm either on the first. The six support that there isn't such thing is 5.5 or 6.5. Lease? Not to my knowledge. So Let's go ahead and make that contact pose. I'm gonna make sure I'm in the right view and make sure I have the right bone selected. So right now I want to move R I k target dot L And let's take a quick look at our reference . The blue leg, which is our forward leg, is the latest farthest away from us. So this, like that's in white is the one that's closest to us. So I pick like a target that are, which is the lake that is closest to us. I can control three to get back into our side view. I'm gonna hit G for grab, and I wanted to pull it back. But you see, right now, if I pulled it back like that, it's not going to be close enough to the ground. So I'm gonna select that hit bone it control three to go back into side view G for Grab Z to pull it down straight in the Z and pull it down a little bit. I'm gonna grab that hands of again here, and you know I want it down some more, so I'm going to and grab Z, pull it down. I'm not Pull it down a little bit extra cause I want to make sure that I have enough this time and I'm okay with that. I don't want his leg to be hyper extended. I think that will make it probably a interesting looking walk cycle. But not one that looks terribly interesting to see what it's all together. So right now, this looks okay to me, I'm gonna hit, period, so I can go a little bit closer. And that was numb pad, period. And that looks about okay to me. Want we want to make sure that this leg is pretty much in line with the ground and there's a little bit of warping here. And that's just because when we did our bone assignments, we must have not done something quite perfectly. But for our purposes right now, that's okay, cause you won't be able to see that quite so clearly when he's moving around or she's moving around. If you like to call yours a sheet. Now, let's do the other leg. So we're gonna hit G for grab, we're gonna move it forward, and once again, we're gonna make sure that it's not quite hyper extended, so it doesn't have to be absolutely straight, but it should be kind of closer. Straight variations on how straight or how bint it is are not necessarily wrong. But they're going to change the way the walk cycle works. I'm gonna hit our now because I want to rotate this. And now, once I rotated, I can see that the hell is below this line. So I'm trying to use this green line as the ground. So I hit G for grab, and I move it up just a little bit. And this is just about right here, and I'm going back and forth between the different views by hitting control three like I had before. So now I'm going to select this hip because I think I wanted to be just a little bit higher than it is right now. The other thing is, if we look at our contact pose here on frame one, the hell is off the ground. And I didn't quite do that here, So let's rotate this here. Then We're going to grab pull it back a little bit. Now I'm gonna grab this front bone this tobe on. I'm gonna hit, rotate and it g for grab this one here, rotated some more, then grab again. And I'm just doing this until I'm satisfied with the way it looks. And for you, it's about the same thing. You want to make sure that this looks about right or as close to perfect as you can for what you're going for and when you put everything to get it. When you put everything together, it's gonna make more sense. But you want to make sure that it looks like at least it looks like it's contacting the ground at the same place, and that looks pretty good to me. So remember that forward leg is the left leg, the latest for this away from us. When we look at this picture and that is on frame number one, it looks like we got that there. So it's a couple of things we want to do. That's gonna make our life much easier when we're trying to do the walk cycle for the rest of the system. So let's start by creating a key frame. So the easiest way to create a key frame is to hit I, but we're going to hit pretty much the same key frame every time. So I'm gonna show you how to do a shortcut here. We're gonna go down to this bottom portion of our window when a click inside of it, and we're gonna hit loc our team. It's location and rotations. We wanna lock rotation and location. Every time we hit the I button appear in our three report. The next thing we're gonna do is create some bone groups. Now, bone groups are going to make it easy for us to select a set of bones without happened to rotate it around and then see which bone is where and what and how to select what. So our bone group is here under our armature tab we hit plus for here under our broken group. And then if you double click that, you can name your bone group, so I'm and it doesn't really matter what you name it I'm gonna name are bone group legs. So it's gonna represent all the legs that we need to select in order to make I walk cycle. So right now, what's important for our walk cycle are these knee bones, cause we wouldn't want. You may want to situate the needs These I k targets that we just moved around the toes and the hip not hit because it controls how high in the air. Our body is relative to our feet and toes. So remember when we first started, we started by moving around our hipbone. At least we should have started by moving around our hipbone. So that all looks good to me. I'm gonna hit a so sign. Now, all of these bones are a part of this bone group. Now, to make that even more apparent, I can give it a color. So if I go under the bone group, make sure that legs is connected under instead of default, I'm gonna give it a cover. Now I'm gonna choose Green. It doesn't really matter. You can pick whatever color you like, but it's good if you pick something different. So here we go. These are green. And if I click, select their artists like this or nothing happens. But if I had de select watch what happens yet they're all de selected. So now if I hit select, then I make sure my curses in the three D view port and I hit I and wallah. I have my key frames, all set on frame one. This also has their names here. So now we're all set for frame one. It's time to make some more friends. So if we go back to our reference picture, we see that the next frame is this down frame. But when you're doing things in blender, which is a program, we want to utilize copy and paste as much as possible. So it turns out that this pose is the closest to this pose. However, it's just mirror of the other. So you may be thinking, man, we got to do this whole thing reverse from the other. No, my young path. Juan, we don't have to do things. That was a Star Wars reference, just in case you didn't get it. Sorry, I can't help that. I minored. Anyway, we want to make this just the same, but reverse and let's check and see what frame we want that to be on the 13th frame. So if you remember, we can just type in 13 down here and now this is the part that's going to save us a lot of time in order to make. In order to do this and make sure it's just the mirror. We hit Control C for copy and B C appearances copied, opposed to buffer. Then we hit Control Shift V. And while it has converted our first pose into the mirror image of itself, so not hit I we have our pose, and that's partially because the way then that's mostly because of the way we name things and where we put our model, making sure it was centered over the origin. So now if I use my arrow keys, you can see that it's not quite a walk cycle, but it is the two poses that we care about. So now we have two of our five poses from our picture. So the next pose we're going to do is the recoil. So I will see you or the passing post. I guess we'll see. You'll see what you'll see it. It what it is when you go to the next video 11. Passing: Now that we're done with the contact pose, the pose that makes the most sense to do next is our passing post. So if we go back to our reference to take a quick look are passing post, is this one in the center? So right on this seven frame, you're probably wondering why we haven't done the arms. It's much easier to do this legs and then arms. Then it is to do legs and arms at the same time. We also need to do the hips, chest and neck as well, but it's much easier to go ahead and start with the legs. So let's go to the seven frame. We're gonna go down here to the bottom, hit seven directly. That puts us pretty much dead center to where we are before. And that makes sense because our legs are now completely alliance. I'm hitting controlled three to put us back in this view. Now, when we're doing the passing pose, if I pull that up here, we see that this, like this farthest away from us, is pretty much right underneath our body and flat against the ground, just a little bit of bend in it So let's go ahead and make that happen. So if I select that one, I hit G for grab. I put it down on the ground. Then I hit control three to come back down. I'm gonna hit Z to put us in wire frame mode so I can get a good look at it. Now I'm gonna hit our for rotate, Let us select. I'm gonna go ahead and so, like that again, Grab. Make sure that it's right on that line. I'm gonna select. Go ahead and select that foot again. That toe bone are you rotate to make sure that we're right in place for that? So the other thing, if we take a look at our we take a look at our reference right here, you can see that it's at because this leg is a little bit straighter and underneath that it's probably higher than oppose. It was is actually right before our highest post so that when I say the highest pose, I mean his head is the far this up in the Z direction. So when you're walking, if you ever walking, you notice there's kind of an up and down, so the up and down movement has maxes and the recoil phase in and in the or in the down phase and in the up phase. So let's make sure that that is all. OK, so we're doing controlled three to get back in the side month. That looks okay to me. I'm going to raise his body just a little bit. So I'm gonna hit G for Grab Z to make sure moving just in the Z now, I wanted to be bent a little bit because it's not his highest pose. Now we want to do the passing portions are hit G for grab. Let's reference are assaulted our reference really quickly than me. The foot hasn't really past that leg yet. It doesn't pass the leg, Toby 10 frame. So I'm going to rotate here. That was the I k target that are I'm going to rotate the toe bone a little bit. I'm gonna grab that I can target again. I'm going to rotate it more. Then we're gonna hit G for Grab and I was using are for rotate before. So right now that looks okay to me, but I'm going to rotate it a little bit more because it's this trailing leg here. And I'm really okay with the way the knees appointing. It's fine for me that they point straight like that. So this is our walking. This is our passing pose. This is pretty much how we want it. Now we want to set this keep frame. So what I'm gonna do here, I'm gonna go to the legs over here in our bone groups. We already have them selected. I'm going. Well, we already have the group selected. I'm gonna sweat the bones now, so I'm gonna hit, select. They're all selected that I'm gonna hit I and it's going to automatically lock the rotation and the location because we have that set here. Now, if we go and I left, click inside the window and I hit control A for play. It looks a lot closer to a walk cycle. Now I want to see that If I want to see it done over and over again, I can change my in frame 2 13 knots. Now, remember, we didn't do the other part of the walk cycle where the other foot comes forward. But if I change this and then I hit control A. You can at least see what that looks like. And it's not looking bad. Ladies and gentlemen, we are closer and closer to getting that walks like we only have, Ah, couple more poses left, so I will see you on the next pose. 12. Up Pose: So the next thing we're going to do is the up. Oh, so this is the point where his body or his hips are the highest on his head is also the highest. So let's consult our reference really quickly. This should be on frame number 10 and we see that our leg that's closest to us is now in front and completely ahead of the other leg. So it's almost like he's falling forward. A lot of people describe particularly animated, describe walking as controlled following and that makes a lot of sense if we look at how we're doing it here. So right now I'm going to go to frame number 10 which is supposed to be are up pose and it's really close toe already being like that and that's because we did our outside poses first and then our center post. So now these air just very Asians off the pose that we were doing before. So let's go ahead and fix this contact point here is not a contact polls, but it is our contact point. So I'm going toe hit G for grab. I'm gonna move this a little bit closer so that hey, can be on the ground when we rotated. So we're gonna rotate this here and it went orange like that because I selected the model and not the bones. Whenever that happens, just be sort of select the bone and it'll go back to pose mode immediately. Someone us like the bone that's the toe hit our for rotate. And then after that, I'm gonna select this backbone G for grab because I want this to be on the ground and this consult are walking post, so it's pretty much under his body. But like I said before, this is controlled, falling, really? So it's important that the weight be kind up ahead of where this is, but it's also the up posts. I'm gonna grab that hit bone and I'm going to move it. Uh, no, I don't want it toe lock forward like back like that. So I'm going to stop it right there. So we have pretty much a straight leg, and I had control three to get back into that side view. And if I zoom in using the middle mouse button, that looks pretty good. I'm going to rotate this a little bit, so I hit our for rotate and I'm still imposed mode. And you know that because the bones are blue when they're selected. Now, this pretty much looks exactly like what I want, but I'm gonna add a little bit of curve here. Now, this is just, like, kind of cartoon effect that right before he puts his foot down, it's kind of already curved a little bit, actually. You know what I'm not gonna do that were Then I go ahead and leave it, leave it straight, and we're tweaking things we can make that change, so that looks good to me. So right now this is our up pose, and we're going to select all of the bones that should be involved in that by going toe are bone group Make sure bone will per selecting, selected and then clicking Select. So now everything is all set. We're on the 10th frame just like we should be, And I'm gonna bring my three d Cursed my point, sir, in the three d re court I and add those poses. So now if I go down here and I hit out a and that's pretty close to what we want, we just have one more to do. So I will see you on the next one 13. Down Pose: So we have one more opposed to do before we do some tweaking to make sure everything looks OK. So right now I'm in wife, right moon, but it z to get out of wire frame mode and I'm probably gonna go back and forth between wife Ray mode and solid mode. But if we look at our reference to start with, we see that we still need to do our recoil or are down pose. So in order to do that, we're going to need to put this on the correct phrase reverse is supposed to be avoiding. Remember, I can right click around in here to get to to get to number four, or I could just simply type it in directly. So because we did our end poses first and then our center post were almost in the right pose right now. So what we know is that this is our lowest post. So what I'm going to do first is make this foot more clearly on the bottom. So I'm I can hit control three to make sure I'm in the right mode. If you hit control three and it looks and it looks weird like this. You just hit by to make sure that you were an Ortho graphic view. So I'm going to select this bone here. I'm gonna hit our for rotate, and then I'm going to hit G four. Grab and make sure to pull it down so that it's touching and it should be flat. And it is. But now let's go ahead and check and see what that back away it's supposed to be doing. And the back leg is it looks like it's slightly behind not doing anything out of the ordinary. I want to rotate here just back a bit. I'm gonna rotate the ankle a little bit. Sentient just came off of the ground, and I'm also going to select this hipbone control three to go back after I've selected G for Grab Z and pull it down just a little bit because this is this is supposed to be our lowest point because that's why we call it the Down Post. So now that everything is the way I want it, I'm gonna go over here to our bone groups hit select. So all of our bungles air selected. Then I hit I toe lock that key frame now when I hit a and not bad, Ladies and gentlemen, not bad at all. Now, in actuality, it looks okay. Almost like a full walking cycle. But it's actually not a full walking cycle because we don't have the other side right now. Just automatically switches back to the same way over and over again. But the look but look is not bad. So I will see you on the next video where we're gonna do the arms. 14. Arms 1: so really quickly right before we do our arms, I want to show you how to kind of check and see how things are looking so before when we did control A It shows us how it looks. But if you really look closely at this, it just jumps back and forth to go from right to left. Because it's not. It doesn't really have a full walking poles. We didn't animate a full walking poles yet. So in order to do this lender has this amazing ability that we shouldn't copy and paste the mirror. So you've seen this before. But if we do it down here with our cursor when our cursor is in the dope sheet So before we do that, make sure everything is selected so I could hit apron, select A to select everything there, I can go over here to the names which also need to be selected. So a toe on select and then again to make everything in selected, I make sure the cursor is on this 13 frame, which is the center of everything. So hit control C to copy control, shift the to paste. And now I'm gonna increase our end to 25 and I'm gonna hit control. Sorry, I'm gonna hit Ault. A. So now we have a full walking cycle and you can see what that looks like. So what you can also see is there's a site hesitation at the last frame between 24th and 25th really is at the 25th. And that's because the 25th and the first frame are the same, and we don't want to repeat that. So in order to fix that, I can go down here to our end and put 24 there. And now you can see that we have a smooth walking cycle. At least it doesn't have the arms yet, but the legs are pretty much the way we want it. So if we look really closely at it and it looks pretty good so if I hit I'll A I'm gonna hit Control Z for them. Want to undo that? Because right now we only want half of because we're still we're still working on it. So if we check our our reference, we see that frame number four is the one where the arms are the farthest apart. So let's go ahead and do that one first. So when we look at the arms, what do we care about? Let's go ahead and create a bone group for our arms. So we care about our arms and we do care about our fingers because maybe we decide to do something interesting with the fingers. Actually, you know what? I'm not going to include the fingers. Let's just include the arms or arms. So right now I have both sets of arms selected. I'm gonna go to over here to our bone groups. I'm gonna double quick on that. I'm gonna say arms and I'm gonna sick. I'm going to click a sign. So now if I hit De Select, they're not selected anymore. And if I hit so like they are selected out, let's give them Let's go ahead and give him a color. So I'm going to pick pink because pink is for Gangsters. Yeah, I don't know why I said I like to say things like that cause I like pink. Anyway, Pink is our color for the arms that is all set. But let's let's go ahead and make these fingers a little bit more natural looking so I hit one to get the front view. If you are. If you hit one on the num pad and it looks something like this because you're not north of Rep Review go ahead. Hit Numb Pet five to get into Ortho Graphic view. And just to make this look a little bit more natural for our robotic, there is such thing of a natural look for robot. I'm going to hit our for rotate for each of these. Just just so he won't be. He won't have this completely rigid. Look for the for the for the hand. And you're perfectly You are completely free to do this. And I hit number period to do that. Zoom in. You are completely free to do this and whatever weight you see fit for yours. But I just wanted to make sure that it wasn't completely out straight. There you go. I'm OK with that. Zoom out one to be in front of you. I'm using the middle mouse button to zoom in and out, and that looks good to me. So now let's check out reference again. We're probably going to do this front. Pose this number four pose first because it has the longest wingspan. So let's go. So let's start by moving the arms closer together, and I'm actually only going to do one arm at a time to start with. So the right leg is forward. So this means that if the right leg is forward, then the left arm is back. So if I hit control three I rotate that arm here, I'm going to just give it a slight bend and I'm hidden are for rotate Just an ever so slight bend. Now I'm gonna select all three of these bones, and I'm gonna use that same trick we did before with my pointer in the three d View port. I'm gonna hit control, see for copy. And this is copy posted. Buffer there. Hit control shipped. Be. This puts that same exact pose on the other side. So control ship Z means something different when you're in the three report. From what it means when you're in the dope sheet. If you just want to copy the post to the other side, then you can do that in the three D view port. If you want to do an entire cycle from one side to the over to the other and merit along where your cursor is. You need to do that in the dope sheet. So in our place I'm gonna hit control three to put us in the side view. I'm hit our for rotate, and I'm going to exaggerate this a bit more. So I'm just selecting these bones. And because this is the one that's the most forward, it's also the most bent, so the one is on the back. It's also out towards the back of the body, but it's not been as much because you're your arms. Don't bend backwards. So it's been a little bit. It's probably not going to be completely straight. That's why it's not. But when it's forward, it's is bint as it's going to be. So that's the pose that I have here. It should have been on the fourth pose, and because it's our only pose, it's OK that it wasn't there before. But any time you're doing the bones, you want to make sure that your cursor is on the frame that you'll be you want to work with . Otherwise you lose all of your work. So right now this looks good to me. I want to select the arms now that they're selected, I went to the arms down here in the bone group and click to select. I'm gonna go to our three D View port and hit I for lock, rotation and location A lot, location and rotation. And you can see here. It added these bones to our set. So this looks good to me. There's really not much to show you. If I hit control a right now, their arms just stay there because we don't have another post. So I'll see you in the next video. We do a couple more poses for our arms. 15. Arms 2: all right, We're almost there. The next pose, it makes the most sense for us to do is the one that's actually right before our downpour are damn pose are required apples. And I'm picking that one because that one has a mirror image copy on this 13th frame. So we do the one on the first team frame. We also get the benefit of having that available to us to just paste on the 13th frame. So if we do this right, we can do one more frame and then be done with the entire thing. So if we look at our reference, we see that the first frame is just kind of a scaled down version of our fourth frame, so we only need to bring it a little bit closer to the body, and that's pretty much it. So this arm here is the one that's closer to us. Some time I have to check and see which arm is closer to is which arm is on what side cause it's kind of hard to tell, so I'm just gonna bring this a little bit closer to the body. I don't want it to be absolutely in the center because that's for one of the other poses. But we do want it to bring We do want it to be closer. I'm gonna hit period to get in a little bit closer here, and I'm going to rotate it a little bit more. And the next thing I'm also going to do is straighten it out a little bit. And I'm doing that by selecting the bone and hitting our I'm going to do the same thing for the other part of the arm or the other arm. I'm gonna go to each bone and I'm gonna down their various rotations and that looks about okay to me. So now I'm going to hit select. I make sure that we're in our bone groups, which is under our armature tab. Here I select the arms group it select. Then I make sure my courses in the three d view port I hit I for walking those key friends , and they're right here on this key frame here. So if I go down to our dope sheet, I hit all eight to play, and it doesn't quite look right. But I think this is this is in fact what we were hoping for. We need to put our other Oh, it looks like we move the wrong arms. So that's an easy fix right here. So if you look right here, it shows that we have our left arm four without left leg, and that is not correct. So what we're going to do to fix that? We're gonna hit control, see? For copy. Been control be. And that Go ahead. That went ahead and completely switched it. Now we're gonna hit I to make sure that we have locked those key friends in place. So now when I hit all a should look Okay, now, right. And we freeze it right there and then we go to our next key frame. That looks alright as well. So now, like we said before, we want to go ahead. You know what I say? The word go ahead a lot. I shouldn't say that so much. So this thing we're going to do is put this mirror image of the arms on frame 13. So if we check our reference, we see that the arms are pretty much exactly the same. Just the mirror image. So that is that was our understanding before, so we're definitely right. That's why it's good toe. Have a reference because you can get a little confused when these things happen. So we're going to make sure that our arms are selected. We're gonna hit, select. We're going to do control, copy. And then we're gonna move to the 13 frame and hit, and we're going to hit control Sit V right. And this looks like it does in fact match because it's not as high as our recoil pose. And it's also the opposite with the left arm being forward and the right leg being forward . So I'm gonna hit. I toe locked the key frames and we should be all set here. So let's go ahead and hit. I see I said it again. Let's hit all a is because we haven't done the rest of the walk cycle. It immediately throws itself to the other side. And when we do the rest of the walk cycle, that should fix itself. So let's go ahead and test that hypothesis hypothesis. So I'm gonna hit a for UN selectman A to make sure everything is selected. I'm gonna go over here and a and a again to make sure everything is selected. I'm gonna put my three d cursor on this 13 center frame like I did before. I'm gonna hit control C to copy. Control sicked V to paste Mirror. And I'm going to change this in frame back to 25 again because I want to see what the whole thing looks like. And it's not why what we needed. It's close, but not quite. So let's go ahead and fix this to the 24 frame. Okay? So it looks like when we did this here, somehow we got confused in what frame was supposed to be forward for. What portion? So in this part, we have the left leg forward and the left arm should be back, so that same thing needs to happen here. So we're just gonna dio copy. I'm in control shift pace and then I for locking, and that looks that looks now much better. So we're going to dio the same thing that we did before control ship to be, but you're across and let's use that to 25. And there we go. We are walk cycle. That is only a couple of things we need to add before it's going to look amazing. Doing a good job. If you got it. This part, we're almost all the way home. 16. Finish Walking: not. If you're OK with this, you can go ahead and skip to the video that talks about rendering it out. But there's some things we can do to make it look a little bit better. Now, before we do that, I want to go back to the portion of when we were just looking at Hack proposed because that's much easier. So I'm gonna make sure my three courses down here and then hit controls the to get back to the point. We were only looking at 13 frames at a time, and that just makes it easier for us. We don't have to deal with so many friends at once. Now, whenever you're walking, you probably noticed that people's hips move. And unfortunately, if I hit control A here, we noticed that our model has absolutely no movement of the hips. So the hips are probably they probably move the most when the foot is fully extended. So what we're gonna do here is select this hipbone. I'm gonna hit our for rotate Z to make sure rotates about the Z, and I'm gonna swivel this hip a little bit now if I do a two months just gonna look kind of kind of like he's like a sassy robot. So I don't want to do too much for them not trying to make a sexy No. But But if you are by all means, give that hips and switch. Right. So I'm going to hit I to lock this key frame here. Right. So now this hip is locked there, and I want to put the exact opposite on the other side. But before I do that, I want to do the chest. So when the hips swing and the left hip comes forward, your body often works in are almost always works in opposition. So I'm gonna take his chest and I'm gonna hit our for rotate Z, and I'm gonna swivel it the other way. Then minutes, seven toe, look at it from above. And now you see, I can't really see this very well, so I'm going to select our lights here and when hit h toe, hide them and it looks okay. I think, for the most part, let's go ahead and select that chest again. It's seven from above, and it does appear that the chest is rotated opposite. So the only thing now is that the head? If we look from above, the head looks like it's looking slightly to the side. So we're gonna select the neck. We're gonna look at seven from above. I actually was looking from in front, and then we're gonna hit Rotate Z, and we're gonna make sure that that head looks forward, right? Because as your shoulders are moving and your tests are moving your hips removing, you're still looking straight. So we want to make sure that that is the case. So we just moved the neck, the chest and the hips, and this is at our first contact pose. So I'm going to hit I toe lock, rotation and location for those and you can see here that it just added our chest and neck bones. Now, the next time we reached an edge for these values is gonna happen, Efraim 13. And if you remember, it's just it's just the mirror of that. So if we go back to crime one, make sure that these three things are selected and only these three things, because the selecting any of the others would throw off everything. So Venice, like the hit the chest and the neck. I'm gonna hit control and we want to be in the three TB Port Control ship will control. See that copies the pose to buffer. We're going to go to that 13 frame and we're going to slip. We're going to hit control Shift V and that flips everything to the opposite, Which is exactly what we want with this particular post. I'm gonna hit high toe locked in those key frames. Now let's take a look and see what that looks like. I'm gonna go down here, Kit Control. Sorry. All to a Yes. And it doesn't quite look right, because we only have half of our walk cycle. But if we just pay attention and I hit out a the stock that and I'm gonna now hit the right arrow for just those few frames. It does look right now to check and make sure everything looks okay. I hit a again to make sure everything is selected. Then I go over to the names. I had a to make sure everything selected there. I hit control C and then control shift V to paste it across the 13. I'm going to change the in frame. 2 25 Hit our A and it's a little wonky, but it's not bad. That's not bad. Let's go ahead and take this down to the 24th frame and it's not bad. Let's see, You're probably wondering why this has this kind of wonky hesitation shaking being at the head. And if you were bothering me, yours is probably doing the exact same thing. So I'm gonna show you how to fix that. So first thing we're gonna do is going to stop this auto play real quick. So I'm gonna hit on a to stop the auto playing. Get it all A to start it again, but all a to stop it. I want to get back to the point where we only had half of the animation toe work with because, like I said before, that's much, much easier. So I'm going to hit B for Bak Select. While my three charter is down here in the dope sheet. I'm gonna select everything to the right of that 13 frame because that was if you remember , that was the part that we copy and pasted and got a part of. Now it turns out if you remember that this started when we added that switch to the hip and that was because if we look at these key frames, the hip already had keeping. So if I select this road here is the hip and the hip already had some key friends. So when we put the key frame here on the first frame, essentially when we go then to the next frame what was happening to the hip waas it was going back to center and that was because it already had it already had some key friends. So in order to do that, we just need to get rid of the key frames that were there before we put the hip switch in. So if we go ahead and open up the hips and we look here, so when you click on a bone and you open up the bone, it has what type of key frame it is. So there are key frames for X location. Why location, Z location and then these last four here This is pronounced for turning it and Qahtani in it has to do with the rotation now, initially, And if you remember to do this again in the future, you can set this oiler and it makes a little bit more sense when you're actually trying to figure out how to situate things. But that leaving you really need to know right now is that these four quantities have to do with the rotation. And because we want the rotation that we put in toe work, these rotations we can delete. So we highlight peace for and realizing that we only care about the ones out the first on the 13 frame, we can just highlight them. Actually, we're gonna hit a for select toe de select, make sure everything is de selected and these friends here. So we only want to get rid of the fourth, the seventh and the 10th Frank hip frames, because those we want to be blank other than the ones we put in, other than the ones we put in and on the first and 13 frames. So now I'm gonna hit X to delete those key frames. Now, I'm gonna go over here and hit a to make sure everything is de selected that I'm gonna hit a in the dope sheet and a over here with all the tax of all the bone names hit control C to copy than control Shift V to paste. And now I'm going to hit all a again. And now you can see that we have that smooth, cool look that we were going for. So once again, the only thing that you really need to remember is that we put those key frames in for the hips and it locks in positions we actually didn't want when we added this switch the hit switch. Now, if you wanted, if you were doing this on your own, the thing you could do to make sure that you don't do that is to not have the hips included when you're doing those initial key frame blocks. But if you remember before in our legs we put hit the hip as part of that so that was bound to happen. But that is a quick fix for that problem. And look at that. Ladies and gentlemen, you now have a walk cycle. Good work 17. Rendering: Now, before we start doing natural rendering, I'm gonna show you how to really use this walk cycle because you don't really want have to deal with all of this every time you want all of these different points in the dope sheet every time you want to be able to do something. So I'm gonna show you how to use kind of one level of abstraction hired in this in the nonlinear editor or N L. A editor is what they call it. So the first thing you're going to do is switch this to the action editor, right? So in order to go to the Internet in order in order to make this the action editor, you're going to go to this part. This is dope sheet, and you're gonna cook here and you're gonna turn into action editor. The next thing you're going to do is give this action a name, so I'm going to call it Walk Cycle and hopefully I spelled walk cycle correctly that I'm going to hit enter, and the next thing I'm going to do is click this appear. This will make sure that even if it's not currently being used, that it's saved in blenders memory. It means bake user. The next thing we want to do is make sure it's available in the n. L. A editor. So in order to do that, I'm gonna hit push down. So now it's no longer here. And if we hit a, you can see that it's still actually working. Now I'm gonna show you why that is in a second. But if we increase this toe 100 and its stock So the reason why it's still working and not here is because it's in our in l. A editor, and our walk cycle still goes from frame 0 to 25. Now the powerful thing about the n. L. A editor is that we have the means to make changes here so we can see that the current active strip starts on frame one and ends on frame 25 work perfectly fine with bet. But watch this. This is the part where the magic happens. So instead of the repeat being one, I can put the repeat up to, let's say 50 right. And now we have 50 iterations of our walk cycle, and if we look, it goes all the way out to frame 1200. So now if we put 1200 as our last frame here, hit, enter and then also a our guy's gonna walk for 1200 frames, and right now it's going slower. And that might have something to do with what we have available in the dope sheet, Um, and the speed of the computer. I found that when I run this, typically it gets faster and faster the longer it runs. And that has probably something to do with things being saved in cash or in memory as it's walking. So right now it's doing between 22 25 frames per second, and this is what it looks like. So now when you want to do a render, you can just do the render for however long you'd like to see your guy walk. So let's talk briefly about how to do a runner so we definitely don't need 1200 frames. It's run is going to render at 24 frames per second. We don't really need more than about five seconds worth of video where the worth of him walking on its own. So for five frames of 25. That's about 100 and 25 frames. So we're gonna go ahead and leave. You know what I say? We're gonna go ahead. I say that too much. Anyway, we're gonna go ahead and leave it at 125. We're gonna put this frame also at 125 so we can see we don't need the repeat to be 50. If we say 25 we don't even really need it to be 25. We can probably go with 15 and that is enough. So when we hit all day now, it will definitely go for our 125 frames. And it'll end right there. So that almost everything we mean, the last thing we need to do is situ away our camera. So if I hit zero to put us in camera view, we can see that That's really too close to appreciate What? There. What's happening? So this is probably, ah bit better here. So now if I hit, I'm gonna unlock this. That way we won't mess it up by mistake. So this is not bad there. I'm gonna also turn off this second layer by heading shit, and this is what he looks like when he doesn't have all those bones visible. The next day I'm going to do is change this material mole, change our view mode into material. So this is what it looks like here. And if I want to see just one render of what it generally looks like now, I can hit at 12. Or I can come over here where the camera is, and I can quick render. So I'm going to do it that way, since this is the first time I click render and if I want to know and it's doing pretty quick, probably because I don't have the sample set super high, and it doesn't look bad. But the problem right now is I have this gray background and there's nothing for him toe walk on. So let's give him a little bit something walking. We're not going to spend a ton of time on this, but let's go ahead and put our cursor in the center. And if we look at where our three d cursor is right now, I'm just going to zero that out. So it's right in the center I could have also said reset all data values that would have done that as well. So I'm gonna hit shift A for ad plane. I'm gonna tab to get into edit Mode s for scale. We're gonna scale it out. The next thing I'm going to do is give it. Give this a backdrop if you've ever seen a photo shoot, you have seen that a lot of times there's the camera, and then along the back of the camera is the backdrop. So I'm gonna show you really quickly how to get a good backdrop. So I selected me under that really quick. I selected these. Vergis is here because our backdrop is gonna just be two sided. And then I hit E for extrude Z to make sure it goes straight up, and I pulled this straight up. Now I'm gonna hit Tab to get out of edit mode. I hit zero on the num pad, and this is perfect. Really? Because there are no there is nowhere that the camera sees this not in our kind of photo shoot location. So now if I hit at 12 and it takes just a moment here, you can see, that's not completely gray like it. Waas But it is pretty gray. Probably wondering why is it so Why is it so dark? Well, it's dark because, um, our lights aren't really that strong, and our material for this background is not particularly good. The other problem is that our guys gonna be walking in place. We didn't really do an animation for It's a move and you can certainly make it move by animating that bottom piece and I'll show you that next time or on the next video. But let's go ahead and escape out of that. Let's give this a material. So we go to make sure it's selected, we go to our materials panel and let's see, do we have a material that we like for this right now? So we have a white diffuse That looks pretty good. I'm gonna hit all to H, and that's gonna bring our lights back. So if you remember, before we hid those so that we could see So I'm gonna select these lights hit tab to put us in edit mode that I'm going t It s for scale X to make these whiter. I'm also going to do hit, period. Now re center us. I'm gonna make them wider. So Tab begin s ex. And you know what? I'm going Teoh. Also give us some more. These so right now they're 10. I increased it to 15. I'm gonna scoot thumb up some. And now that they're farther away, I'm also going to increase the strength. So right now it's at three. Let's go ahead and double that to 6.0. And in order to make this visible just to see what it looks like but not take forever, I'm going to change our viewing mode to render. So this is going to give me an idea of what things look like without happened toe Wait so long. Right? And looks like this might be a bit too bright. So let's down this. And right now, the computers actually going slower because of the fact that I'm capturing in rendering at the same time. So I'm gonna take this down to material and we're gonna change this to force. It was just a little bit higher than it was before. Now I'm gonna hit at 12 this time. Now let's see what this looks like. and now it's done, and that's not bad. The only other thing is that when he's walking in our initial picture, he's gonna be moving and it's gonna be walking in place. So walking in place in this room corners is not gonna quite look that good. So the thing that we want to do to make sure that looks like he's walking in space and actually moving it's kind of good is going to be a slight illusion of sorts. We need to get these corners out. So in order to get these corners out, I'm gonna hit Shift B. And after I hit Shift B and I kind of pull these, I can use the middle mouse wheel to increase. How many Vergis is there are, and I think adding verses right here is not a huge deal. So so that's about like that. Now, if we hit a 12 so now we have that ability to now he looks like he's kind of walking, but we can't really see that he's walking in place. So the only thing I think I want to change, only thing I want to add is to take our backdrop and see what happens when we put a subsurface division on it and then we increase, We increase that. So now it has completely smooth, and we're actually gonna go over here and decide to make its move. So we know for a fact, Obi, there's nothing we can really see in this shot here. So that is just about perfect. The only other thing I want to do, I know I keep saying I'm not gonna do anything else and then I do something. The only of it being I want to do is increase this light a little bit more. Actually, before we increase the light, let's make the material more so I'm gonna select this material. It's like the object goto our materials tab and let's just see. So it's already is white as it composite glee be so that's not the issue. So we go to our lights. It's at four. Let's increase that to five and let's do actually, let's do six. I know six. We said six was too much before, but let's go ahead into six. Make sure everything is centered. Hit F 12. Now let's see what that looks like. So this is pretty much exactly what we were going for. We're definitely getting the reflections on the pieces that are highly reflective, and it looks like he's walking on a surface. But also there's nothing where we can tell that it's moving on its own them In the last video, I'm going to show you how to make a look like it's walking along a path. But from right now, it would be really awesome if you would do your render and uploaded. And now let me show you how to do the actual render. So we want to make sure that everything is set up for the way that we want. So when everything is all said and done, we're gonna hit animation. If you have a GPU for your computer, you can go ahead and make sure this is set up where GPU compute. The other thing is the output. We want to make sure and set the output to be what we want. So right now, mine is set to go to Temple. In your case, you can set this to go to wherever it is you would like it to go to on your computer. I'm gonna go ahead and pick a location for me. Now, the last thing we need to do is to pick the format. So we need to pick a format that is usable by most things. And in most cases, this is This is the FFM pay video. We want to save this in MP four format. So we're gonna choose age to does 60 H to 64 np four, and we're OK with M paid back and stay. Age start to 64 and all of that is all set now. So are right now are aspect ratio. Our resolution is set to 1920 by 10. 80 and met is fine. If you actually want it to be 1920 by 10. 80 you can increase this to 100% been in my case, I'm gonna go ahead and let it day at 50% so you can type that in directly. It will take less time at half this ratio on, and that's the main reason going to do this. If I was doing something for YouTube or something, I actually wanted a lot of people to see in full resolution. Full HD, I would not do this at 50%. But for this case is this part is mainly just the demo. This is what we want to see. So we're just going. The last thing we're gonna do is just step through this to make sure this looks right. And because we set this to 125 frames here, it's already set to 125 frames there. So now when we hit Animate, it's going to fully animate the entire thing. So I'm going to do this, and then you'll get to see what it looks like in the next video. All right, here we go. 18. Walk and Move: So the last thing I want to show you is how to create a actual walking cycle where the character is moving. Now, how you use this is completely up to you. I'm gonna do another video later when we talk more about dynamic movement and how to do walking cycles in different environments. But right now I just want to show you how to make your person move and walk at the same time. So the first thing I'm gonna do, because I want our character to be ableto walk on and walk a lot, we're going to get rid of this completely. So we want him toe walk. And it's not really that it's not really that important that that peace be there like it was before. So the first thing we're gonna do is give him something that's going to control his walking . So right now, when he walks, he walks in place. Now there's a couple of different ways we could do this. We could try to move the route bomb, But if you pay attention if I grabbed to the root bone, all right, the parts of his body that are embraced can a Matic don't move. So that does not really work well for moving the body the way we have being set up. So we want to give control or something that will control the entire armature at one time. So what we're going to use is an empty. So I'm gonna tab out of edit mode, tap out of Poe's mode and go into object mode on object mode. I want toe add an empty, but I want to add it right there in the center. So I just right click to get about where I wanted it. But then I can go to our right side panel with it says three d cursor. I can right click and say, Reset all to default values. So that puts everything in the center. Let me turn on display so you can see what I'm typing right there. So the next thing we're gonna do is hit shift a for ad, then under add, we're going to pick and Andy, you'll see where to go an empty here and we want arrows. So right now we zoom in by hitting period. You can see the arrows right there, But that is really small and we want to be able to control them. So what we're gonna do now that are empty is selected. We're gonna go over here to our empty tab. We're gonna select it, and then we're going to increase the size so it doesn't really matter what direction it points, but for our purposes. Let's just go ahead and turn it around. So if we hit our for rotate Z to rotate it about the Z and then type in 90 So let's do that again. Rotate our and then Z throw Tate about the Z and we see to get to where we want. It's probably about negative 90 degrees, so it's just type it in. Rotate the 90 and Ben Negative. So now it's pointed in a direction where at least the arrows appointed the same way we might actually want to make it move. The next thing we want to do is parent are our miniature to this empty. So right now we select the empty and then we select Be sorry was like the armature and then we select the empty. Then we press control p set parent and we want to choose to keep transform. Now let's see if that works. So now I want to just select our armature. Then I hit, grab and it moves our entire object and that is exactly what we wanted. The next thing we're gonna do just to make things a little bit easier is in the rotation in location. We're going toe lock the Z. So that means that the Empty won't be able to move up. So if we select it like a selected now and then we hit G for grab and we try to move it up , we see that we can not. And that's because we've locked Z. So that way it will always be level. So the next thing we want to do is animate this part, right? So in order to do that right now, it iss selected, we're going to create one more window here. And I did that by going to these horizontal lines and selecting event racking up. And what we're going to use this time is the graph editor and we using the graph editor because we want to really understand what this object is going to be doing, and it's really only going to be doing one thing, it's gonna be translating in one direction. So that is what we want to dio. So the first thing we're gonna do is we're going to lock a key frame where we are on the first brain, and then we're gonna go to the third frame, and it really doesn't matter what key frame you're on here, but we're gonna go to the third frame. Actually, let's go to the fourth frame. But since that's where we were putting things, actually, let's not let's go to the second frame because there's nothing on that and that makes it much easier to see down here. Even though we're not going to really use down here. There's down here so much so I'm gonna hit I so lock that key frame. But let's move it just a little bit. And once again, it doesn't really matter what are how far. But I'm gonna hit G who grab and then I'm hitting. Why? To make sure that it stays in the front. So I'm gonna hit I toe lock back, you frame again. I'm gonna click, normalize and then kick normalize again just to make sure I can see this little bit of movement. So now that we have that there, we open this lock rat black rotation skill. We don't care about these rotations, so we're just going to turn those off. We don't care about Z. We don't care about X. We only care about why? So that's the one we can see now under channel. Actually, let's go ahead and play it so you can see what that looks like. So if you play it right now, we see that it moves really, really quickly, right? And we don't want it to move that quickly, But we are going to make changes to all of that really soon. So now the next thing we're gonna do is make sure everything is circle. Everything is selected there. We're gonna go to channel extrapolated and choose constant extrapolation. Actually, maybe not constant extrapolation. We can choose on the key interpellation linear and then channel extrapolation, linear extrapolation. And that's exactly what we wanted. Now we play. That is what happens. So right now, if you look at this, it's moving too fast and we know it's with me to confess because if we hit our control three or we hit three it doesn't really matter. Three for side view. It looks like he's skating and it looks like he's skating because he's translating too fast for his walking. So in order to fix this, we want to select these two, then hit our for rotate. And we're changing this slope here, right? And we want to do this until it looks like we have it about down. So we're gonna actually increase our thing down here to 60 frames, and now we can see that it does this thing where it slides. Well, we can easily fix that. We can do that same trick that we did before we go to our in L A editor and then in our in L. A editor. We see this armature action here. Oops. And I'm gonna undo that, cause I didn't mean to run it. I'm going to zoom in a little bit, and the next thing I'm gonna do here is increase the repeat and I'm gonna put 20 on that now. So now it can walk consistently and we see now if we look at it, it's probably walking a little bit faster than so. If I go back to our graph editor. I hit our we just increase it a little bit, and that's almost about right, and that's a bit too fast. So the steeper this wine is, the faster he walks and the flatter it is, the slower you walk. So we're just barely changing it to try to figure out what works. So right now he's working faster than his moving, so it needs to be a little bit more so. It's just a matter, Ah, tweaking this and right now he still looks like he's skating some, so that's still too fast. He still looks like you skating some. So this is kind of a hard part about doing this, to tweak it, to get it just the right speed. So it looks like the steps match, and this is almost that. I may have actually passed it, So now it's not going fast. And, uh, so this is how you would do it now you could. You could spend as much time as you want kind of tweaking this to get it to be the right thing. Right now, it's only going at 15 frames per second, so it's not really giving you a good indication of how fast it would actually be, but it is showing you where would be in time so you can tweet this until you get it just right. And that way, when you do your animations, you can figure out exactly what you want him to do, how you want it to be moving. You can tweet how fast this animation is over here By looking at the scale, you can slow down how fast he walks by increasing the scale, or you can decrease by increasing the scale to 0.1, and that is something that's really fast. So at one it's normal that more than one, it's slower. So that's another way that we can actually change this as well. And you can see at two. Even though he's walking slower, it seems to fit a little bit better the way it is. This would work for whatever you want to do. It's definitely an entrance into doing walking animation, so I look forward to see what you've created. So go ahead and do an animation and do a render of the animation. It could be in place, or you can do it where it walks either one, but I can't wait to see what you made