Introduction to 3D Character Animation: #4 - Getting Started by Learning to Animate a Scene! | Danan Thilakanathan | Skillshare

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Introduction to 3D Character Animation: #4 - Getting Started by Learning to Animate a Scene!

teacher avatar Danan Thilakanathan

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

8 Lessons (2h 5m)
    • 1. Simple Walk Cycle Concept

    • 2. Building a Walk Cycle

    • 3. Simple Run Cycle Concept

    • 4. Building a Run Cycle (Part 1)

    • 5. Building a Run Cycle (Part 2)

    • 6. Best way to Approach Walk/Run Cycles in Films

    • 7. Waving Arm Animation (Part 1)

    • 8. Waving Arm Animation (Part 2)

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About This Class

In this class, we will finally start animating character shots. We will learn to animate walk cycles and run cycles as these are the most common character actions. You will learn the best way to approach walk/run cycles in your own projects. We will also look at animating the waving of arms. By the end of this class, you will have gained some exposure in animating a character. You will also know the process of animating a walk and run cycle.

Meet Your Teacher

Hi, my name is Danan. I am a Software Engineer by day and a filmmaker/animator/educator by night.

I started out making an animated short film for fun using Blender a few years ago. It was during this time did I realize I had a huge passion for 3D filmmaking. I have spent the past 5 years making animated short films and have learned a great deal about the entire process of filmmaking and animation.

This is something that I do as a hobby. Animation and filmmaking are both something I'm quite passionate about and I spent a few years trying to learn and master this skill. Through heaps of trial and error and researching on my own, I feel I have come a long way. I would now like to impart this knowledge towards others who feel a similar w... See full profile

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1. Simple Walk Cycle Concept: Hello and welcome to another video of the character animation series. In this video, you will learn how to create a simple walk cycle. This'd is perfect for the character animation beginning. There are only four main poses in a walk cycle. Contact pose Pose possible high post. If you can memorize those four poses and really understand what each does, you'll be able to create work cycles with your eyes closed. There are a total off mine keepers in a walk cycle. The's for poses are in verses or opposites off the 1st 4 poses, so you would copy the 1st 4 poses and then 50 arms and legs around. The final post is a contact pose again, which will complete the walk cycle. And while I've supplied the frame numbers in the side, you could not your own and find the right timing for your character. This isn't setting stone. It just works for me, that's all. So first up the contact pose. This is the first pose off a walk cycle, and we start with the feet at its widest length. This is called the maximum stride length. The front foot is raised off the heel on the back foot is raised up the toes. The arms swing in the opposite directions off the legs. Always, the hips rotate around towards the leg on the chest always rotates opposite the hips in the front view. We rotate the hips so that it looks like we place the weight of the body on the front. The chest then rotates opposite the hips. You should also rotate the feet in opposite directions slightly to make it look more realistic. But then again, it depends on the style of your characters. Walk the contact poses are on frames one and 25. The low pose is the part of the walk cycle, where the body is at its lowest point. So the hips go down, the back legs moves towards the front leg and the front leg is planted flat on the ground. The hips and body starts to return back to the front like it originally did. If you want to make your character character's head bob as it walks, you could rotate the head up slightly. The low poses unframed for and the inverse Aleppo's is on frame 16 in the passing post. The back leg is now in line with the front leg. The back leg is slightly raised off the ground. Make sure is only slightly raced. Beginners tend to raise the leg too much, which isn't very realistic. Just look at people in real life when they walk around and you notice their legs aren't race that high and that it nearly scrapes the ground. If you don't notice this, they may be trolling you. You could actually raise the feet higher if you're doing more cartoonion emissions, though the hip is also slightly raised. The hips and chest are now facing front words with no rotational, and the hands are by the character side. The passing poses on frame seven and the inverse passing post is on frame. 19. We finally get to the hypos in the hypos. The character is at its highest point in the walk cycle. The hips is raised. Heil! The back leg now becomes the front leg as it moves forwards, and the front leg now becomes the back leg as it moves back the arms off course, rotating opposite direction of the legs but isn't too extended as the inverted contact poses Next, the hips and chest are rotated like in the contact pose, but in the opposite direction and again, not too much as the inverted contact pose will handle that. Finally, to get bobbing head look, you can suddenly rotate the head downwards. The high post is on framed line, and the inverse hypos is on frame 21. And that's all the main poses. You can pose your walk cycle in a specific order to save you. Heaps of time. The best order I found when working with opposing the walk cycle is first starting with the contact poses and then the inverse contact pose right in the middle, then the passing post and the inverse passing post. Then I go through and do the low pose and hypos in any order, and then I'll be done again. Timing is not set in stone here, and you could shuffle these around to find the right one that works for you. The timing here was just based on my own experiments. That's it. Thank you for watching. And I hope you learned something. And if you enjoy this video, please subscribe to the channel and check out my website will be much appreciated. Thank you. 2. Building a Walk Cycle: hello and welcome to another video off the character animation series. In this video, we'll be creating very simple walk cycles. Now walk cycles are one of the most common forms off character animations you would ever have to do. So it's for the best to learn the techniques of actually carrying out a simple walk cycle. So let's get straight into it. All right, so let's begin our walk cycle. Before I do that, I'm just gonna go ahead and open up another window by dragging that corner and training to the dope sheet editor so that we can see the keys that we're working with. And then we'll change over to the action in Italy so that we can see the exact actions are we creating for this character? Create new action and I'm just gonna pull it simple. Look, it's under school cycles. That should be it. Also one change, the active king said to whole character, which means every single control of the character will be We'll have a key frame inserted when I press I and I think I think that's about that. Should that should be set up. All right, so the first person gonna create is the contact pose. So let's go ahead and create that. So for the contact post, what you wanna have is you don't have the back foot go back on the front foot girl front. Obviously, they're gonna be at the furthest point. And, um, legs are obviously hovering up in the air for no reason. So you can't let that happen. Something pulled up. Um, I'm gonna pull the hips down a little bit about that much. Should be okay. And now for the back foot. You want to have the hell going up like that, The back heel going, uh, up, speculum up, and then move this back so that it's almost the legs almost extended. Same goes to here, said, instead of having the toe up, you just want to write it like that and make sure that the leg is almost at its full. Well, yeah, it doesn't have to be. You can have a little bit of angle like that. Um, okay, so they're the furthest. That's good. So that pretty much sets up the legs. Now, another trick when you're creating walk cycles is you wanna have the arms swing in the opposite direction off the legs. So what I mean by that is let's just pose that hand by the side like that. If I go to the site, you can see that this leg is going back. So his left leg is going back. So his left hand has to been opposite direction. Has to go front. American starting a little bit of a been there. Okay. And there we have a pretty much out basic pose. And now what we're gonna do is I want to copy that. I want to try and copy that pose off the hand to the other side. So I just select these three and press hover over this, which is the copy pose. But it a number impressed this one Little slip the post, and that's now the right hand will be affected, and it will copy the same post. But this time I want to have this going in the opposite direction. Because when the right leg is in front, the left, when the right lingers in front of the right hand, goes back. So that's about good. Okay, So for a side view, that's good. That's that should be right now Let's work, Let's work with it from the front of you. So from the front view we want probably have the legs rotated in that direction, and this leg pretended in that direction. Um, this is probably bit of ah lesson to learn. Usually you're doing male masculine type of characters. You really want to have the legs further apart like that. And when you doing female characters, you wanna have the legs like, you know, if that's the center line there, you want to put a little bit closer to it or for exaggerate, effective beyond like so I've been to selected like that because you create a sense of catwalk. But since I can't with male or so I'm just getting a generic walk cycle, it's gonna be around halfway something like that, which is more realistic, I guess. Not too much, not too feminine with the body. What you want to do is see what you want to have the hip Now, what you wanna do, you wanna have the hips rotate in the direction opposite direction of where the front leg is facing, So not too much, just a little bit subtle and obviously over here the chest. You want to be in the other direction opposite direction. You can go a little bit overboard. Exaggerated that my credible, cartoony effect. But it's until quitting the simple walks. Like what? I'm just gonna stick with that. All right. Um, of course, this leg has most of the weight, pretty much on it. So what you want to do is you want to pretty much rotate the hips like that. So it looks like the most of the weight that most of his weight is leaning on the front leg . So if I just rotate like that, uh, now looks like he is. Most of his weight is now living on the front leg. And if you if you're leaning in that direction, the spine has always been in the opposite direction. It's just something that I've let so that creates a more appealing looking walk cycle up. And now our contact post looks a lot more appealing. All right, that's cool. So maybe we can go ahead, and obviously these fingers look a bit fake, I guess. I guess this is what one of the areas that new animals tend to make. They tend to leave the fingers flat out straight. Is this intentional robotic? It always looks better Ones bent slightly. That's why I bent this arm the beginning a little bit Didn't keep it straight because generally when it looks straight, it looks a bit rigid. Looks robotic. So you want to make a short make sure everything bends a little bit Testing of that more organic field. So if I just ah, like that said that tests look much better. The hands Oh, she just groups. Sorry. See that I'm just separate out a bit. So that tells you look much better than opposed like that, which is just robotic and probably looks a little bit silly. This is obviously something that I've learned over time. I've actually created films where I left the fingers flat out like that and people have told me there's looked I mean, weird. So that's something that I've learned to change. Now I've tried to add bends and things like that so that my characters look more organic. Okay, that's cool. I guess the head you can I don't know what the head can't be sort of optional, I guess. Well, I guess if there's going this direction. The head can go in this direction. It sort of depends. Whatever you want. Try to keep it within line on, obviously rotating in back in this direction because we re irritated the spine in that direction. War to the head in that direction. Keep it opposite, all right and obviously one. I did exaggerate effect. You can go a little further like that, Andi. Obviously, when you do the animation, it'll his head will bob around, so that might be a nice cartoon effect. So that's our contact pose. That's pretty much it. So just to recap, the contact pose is pretty much the only thing you to memorize these two feeding to be at its furthest apart. The backfield needs to be almost straight. The Tonys two erased was called Toe the heel. Sorry the he'll need to be raised on Dhere. The tone is to be raised. The front foot on the leg can be livid, bent in terms of the hands. The hands have to swing in the opposite direction of the legs. So just remember that and add a little bit of bending to make it look more natural. Also bending in the fingers the hips need to bend in the direction where the leg. So I don't know how to say this. I think the hips need to bend in the direction so that the front leg has more weight and it is. Two units are attended along the set access alone away from the front leg. The spine obviously rotates in the opposite direction. And yeah, just pretty much in the opposite direction to where you move the hips. So on the Z axis the opposite way. And also you want to make it rotated downwards. Ah, the shoulders. Make sure your shoulders look realistic as well, so I'm just going to support the motion. Go are said, making the shoulders come out. If you add a little bit more movement the shoulders, it has to look more organic. Don't don't don't keep the shortest If in character, animation is best that you move every single muscle. When you move every single muscle in the body, intense, look more organic. When you you tend to keep one of like some of the muscles just stuck in this place, it has to look robotic. That's another thing that I've learned the hard way all right. So now that we have all our main poses there, we can now create a key frame for everything. So to do that, I'm just going to I see I don't have to set any specific control. It's created every single key for me. And that is the magic off the whole character. T ings it. I pretty much have a t for everything. So that's convenient, all right. Based on timing and the fact that I've done it a lot, I know that I frame 24. I need to have the same pose again. Is that that's the walk cycle? You start with one post, and then you do the cycle and you end up with same pose again. So I pretty much have to duplicate the same pose over here. So I just pressed I again on that same poses duplicated. If you don't like the time frame 24 you can just use a reference video and get the exact timing you want based on your reference video. But I'm just choosing 24 because it looks the most realistic. Okay, I frame 12 exactly half way. You want to have the contact pose now flipped. So how do we do that? Okay, so what you do is you select every single control like that. I'm not going to select the so I'm not distinct the route. And I don't think I would need to select the face as well. I'll be pointless, but everything else I need to select, I think I don't need to, but I need a sect, I think. OK, so obviously you do the same way with the hats. You press this, you press the copy buffer button and then you press the paced flipped buttons and there you go. The pace flipped button had flipped the post for us, so we don't have to recreate this pose again. How convenient is that? So I hate I again and we have our flipped pose. So if you have a look at our walk cycle now, it doesn't look good in this. Looks horrible. Nevertheless, the reason for that is because we still haven't created all our keepers. So if this was our post oppose principle, we have pretty much done the first pass, which is a very, very basic first pass. But I want to go in and create the second pass. So for the second pass, I want to create the passing pose. So it'll be about exact about halfway. I guess so. Good frame six Frontal frame six. And we will not create the passing first. So now we're up to the passing pose. So in the passing post, the legs are pretty much in line with each other. So let's go ahead and create that pose. So the first thing we do is with the front leg. You want to get rid of all the rotations in the heel and the toe, so make sure it's flat on the ground. Great. And with the Blackwood and with the back leg, you want to also get rid of that rotation of the heel. But what do we do now is that I never decided you pull it up so that the tie is just going over the, um, front leg. And then I'm just gonna rotate the leg. Like so Now call. Mistake is for new users that end to put the like in the passing. Put that in to put the leg too high up. That tends be unrealistic. It's better to make sure that the toe. It's almost touching the ground because if you watch a real life walk cycle and observe a passengers, you notice that people's legs don't go so high up. They almost scraped the ground. So make sure you don't go to hire indistinct something around there. That should be good enough, I guess, because the animation you can exaggerate that a bit more. Yeah. I mean, depending on how cartoony wanted, you can choose that distance. More cartoony Ohio More realistic. Tend to stay a little bit. Law. All right. And yep. So that that looks all right. Cool. Andi. Yeah. Also, with the passing post, make sure that the torso is raised. The body has to bob up because you raise it to the point where the front leg isn't bending too much is almost straight. Well, it's actually know almost rates. Pretty must read the reason why I don't make the legs go fully straight because with I k and adds a lot of struggle like stretching like that. Well, I'm using older re here, but generators that law stretching on that tends to create is weird popping effects. I think you have to use it for yourself to understand what I'm talking about. But generally I almost go for straight, not fully straight, but like almost straight like that. So that I don't create. Those were popping, um, so we don't create that were popping kind of effect. At this point, you want to make sure that the hands are pretty much in line with the body cool, and the head is also in line. The torsos online and the every everything else else is pretty much in line. That's good. I think that's pretty much the passing bus. Easy is that so? Let's create a key for the passing post. There we go. And obviously we need to revert that pose onto this site since, like everything I don't like the face on doing. Select the route. A copy of that post go here. I think 18 is the midway point of the 12 24 24 minutes to of his tool. It's 18 okay, and I want to paste this flipped. That's and now I'll hit by the credit key for everything, and that is pretty much the passing puts. So let's just quickly have a look at walk cycle now. All right? A little bit better. It's time to look like a real walk cycle now, right? Okay. So let me just quickly be kept our passing pose before we get into our next pose. So for the passing post, it's quite simple, but the legs have to be almost in line with one another. The back legs tie has to be a liberal in front, off the front legs tie. Don't put the back leg too high up. Put up just a little bit higher up like it's almost scraping to interpret a more realistic effect. Pull the other hips, pull the torso up and put the holy arms pretty much in line with the body. And that's it. Uh, the the hips and the spine can pretty much rotate in front direction on. That should be good enough. Okay, that's it. So now let's go to the third pass, which is the low post. The low opposes pretty much the part of the walk cycle where the body is at its lowest point, so I can go half way off six with his three, but I was gonna at a little bit more delay in girl four anyways, So at the locals. Um, the head and the hips are pretty much at the lowest point. So a tous point You need to make sure that the front legs and have a look at the beginning . Yeah, Front leg needs toe. Already plot back in two position so that they're that low pose I'm gonna pull that. Told her down a little bit again. It depends on what type of started going for. Cartoony. Go way down. Realistic. You go up. Um, I guess I'm teaching you guys how to create different styles or walk cycles in this to Tora as well. But I guess we'll do a more stylized walks like in the next tutorial, but yeah. Just giving you some ideas. All right? So cool. The head is pretty much lower as well. Hands. So that's what I did. Just move the tolls on down and changed that, actually. Sorry. No, I want because it's near towards the passing close. I'm gonna go front and go almost like the passing post. But don't don't go too much like that because it's sort of out of bounds. If people don't like that this part of But I will say it will fall over backwards. And when you do realistic, When you when you observe real life physics, you don't want to have the body out of balance, like them Facebook bed. You want to balance things out. So if the body is there, it's the center of gravity. Is that I don't know how exactly? Good at physics. But if the center of gravity is there, you want to make sure that you bounce it out like that. Okay, so just, uh, rotate like that. That's about it. So just to recap what? But I did for the passing pose is I pretty much got rid of that rotation. Made a flat on the floor, the leg Push This look pushed this leg closer to the, um, passing post and pull his torso down. That's it. So just to recap went over the passing pose. I gondron this rotation. I pushed the back foot closer to the passing pose and I pushed his torso down. That's about it. I guess what I can do over here in the in the low pose is, um yeah, I think that that should be it. That should be it. Maybe I can go a little bit of back. All right, so Ah, okay. And I'm gonna show you a another way off. Copying puts rather distant copy paste. So I'm not looking where the next low post is gonna be, So it's obviously going to be here. So if you want a copy and you know that you don't know I don't have a copy. Sex, everything. Copy and paste. I can select the dope. She's summary. If you see this year, is this orange part Adoption summary. This summary is pretty much shows the key friend ful all this starter here. So, for example, if I want to select the key frame for do the key key frame for chest like that, then I can move it. I can duplicate and do whatever I want with it. But if I want to say everything, usually get box so you can box like like that, and expect a few key from the once Or just use adoption summary and district. A lucky in that in that light. So I won't do that for so basically, that's how I want to duplicate the low pose. So here is a low portside is created, right click that the highest adoption summaries, they'll set all the keys for that body shifty on. Move it to this position here. Okay, so obviously Mito invert that it's odd. So to inverted dance mother, like the Norway copy us. I slept everything except this on. It's no different. We could do the other way like we did before, but I just want to show you that there's different ways off. Copying poses is not the only way. So was copy and invert that pose. All right, so let's have a look at our animation now. Uh, no, don't. It didn't Look, Let's do that again. All right, on the skin of the face. You know what went wrong? Okay, so I copy and invert the post, All right? I think it's I forgot a press should create a key frame that Okay, A And there you go. Stein's look good. All right. Nothing, actually might be better if I moved back to the halfway, so that plus stay close to toilet looks more organized. What? What? What's going on? Okay. All right. Yeah, that looks better. Actually, before I wrote, it looks like when I found that bring halfway, didn't in the work, but okay, anyways, that looks better for simple cycling anyways. All right, cool. Next we're gonna create the high Post, which will pretty much end the walk cycle. So So with the high post, you pretty much have the torso and the head at its highest point. So I'm gonna go ahead and create that. So all I'm gonna do is glued to something that access toward his highest point. Okay. Sorry. Make sure. Subtle. Andi. Yep. That's cool. You can probably start to pose this up like that. So for the highest point in a very poses up like that, So dumb. Looks like a little while now. Okay? That's for me. Better. I'm just gonna unable or too many key from assertions that I want to keep rising I all the time if you remove it even higher, doing some extraordinary high rotate this too high. I guess I was a little too high and I'm gonna move. Move this little closer here. I lose a lower He's down. I want to. That's good. Something. Copy this for a second. Uh, be middle click Taunts like that beside copy. And how do I find out it is the hypos contact pose. Passing poses this one and reverse. Select. Okay, not just that. Cool. So nice. Like this. Pose a copy, that pose. And now I go about halfway less, and I invert that. No, I All right, So what I did days He is a passing pose. I went about halfway and one frame back. I copied the hypos and just applied here pretty much the same thing. Okay, so I played back the entire animation. That's looking good. Just I forgot one more thing to recovered for the hyper. Sorry is I move the hips and the head up. I moved this front for a little bit forward. A little bit closer to the final destination, I guess. Oh, so he's going backwards. Um, I moved that back, actually. All right, don't want to come backwards like that. Okay. Anyways, um, I'm I just copy that. Were they here? Sorry, I'm a copy. Taste, Invest. All right, cool on. That's it. So if I just go to frame 24 on that So if I just ended up for infamy for and now playback the animation, you can see our walk cycle. Cool. That is a very, very simple walk cycle. How cool is that book? All right, anyway, So the feuding you can do to make it better even better than we haven't? No. We can go ahead and start to refine our poses. So a bit of that key shuffling technique that I talked about in the how to approach card animation video that I did tutorial I did earlier. So what I wanna do is want to snap the leg one frame after it's it's Ah, the front Lego. I want this friendly here to snap down flat on the ground one frame after serving our bank . So when he walks, it just props his feet down. It's less good and do the same for this side of the feet after after it makes his walk one frame down. I don't want to, like, take three or four frames to plop down. I want to go immediately. Done, because when we stamp out foot on the ground, we don't take, Don't take a few seconds. Sorry. A few frames to do that. We can't do that almost instantaneously. If you observe some reference footage, you might see how quick you probably foot down. So our will do that. I'm not gonna do another key friends for everything clean. Um, I'm sort of polishing, so that's good. So that looks better. I walk cycle looks much improved now, and that's pretty much it for the basic walk cycle. All right, so I'm just quickly mention one more thing in terms of the poses in terms of just normal character animation principles on how to approach card information video that it earlier You can see that what I mean by the organized key frame technique that all start talking about that that Keith Lango also mentioned years tutorials. You have very reorganized key frames here. So if I want to change the timing or something, like, say, I don't like the timing of the hypos, I wanted to sort of the body to sort of come up a little later. But I can just select all the key frames in an orderly fashion, then just move them like so and adjust the timing easily and all the posts for the timing will move accordingly. Now I'm gonna add key friends like these ones. It's sunny as a bit more complexity, and I have to keep moving couple key frames. I mean, this is pretty simple, but I'm saying, if I would say and move this key frame or or I delete you know, I believe this key frame it suddenly adds a lot more completely complexity. When everything started, shuffle up and he tends to add a lot more noise adjusting Timing starts to become a bit of pain. So it's good earlier on in your first few passes off, blocking out your animation that you have very, really organized key frames. That way, you know, you can adjust timing and poses very easily without much of a hassle. Only when once you're happy with your poses and you're completely set that well, this car like you know, well, I'm happy with this character animation that that's when you can pretty much going and pretty much ruler mess up your key frames and had not more style and things like that to it . But you gotta first be sure that you have your key frames that you oppose and your timing is set in stone. So yeah, that's pretty much what I want to show you in this tutorial. How to create a basic walk cycle. Um, that's you. So while we're at it, I'm just What? I was going to save this as a walk cycle? Well, that I'm going to show you a different way to do to create a walk. I want to show you ah, technique that I use before to create my walk cycles and that you can use yourself in your animations and why it's probably not a good idea. I'm just gonna go ahead and just enabled that you only see the are much animation. Not any other animation, Donna. So what? So what I did there is I went to the n l a editor on what we can see is we can see our simple walk cycle animation. Donald there. And now I don't just do is I'm just gonna hit that, uh, this, uh, Christmas tree decorations think. And what they do is you can see your current animation done of it. So what you can do is if I just extend the animation to, say, 250 frames long or something like that. If I play the animation now, you'll find that it stops so you can still treat this a little bit like a video editing strip, so what you can do is you can repeat that animation. So since it's a walk cycle, it is always gonna cycle again and again again, so you can repeat that safe five times. It's all that ended. Yeah, that sorry, maybe 10 times. And that was full walk cycle for this video. 200 31. Good enough. 30. So if you play back now, you pretty much have a walk cycle that repeats for 10 times, and that's what we can do with it. You can now create animation on top of that. So if I create a new action, so by the way, when you go to dope sheet for a second and they had actually after, you'll find that your animation, the simple animation walk cycles gone now because you pretty much applied. Once you apply that to a London ear animation editor, it's pretty much gone from the action from the actual action a little. So now you create new action. You can pretty much create inaction on top off the nonlinear detection. Anything that you can top off the nonlinear actually tell Override. What's the nominee? Editor that sounds way too confusing. So basically, I do, like, right now, if I may say, waving hands, take this hand and I create a waving or hello. What that will do is you'll have your walk cycle on the hands will sway from side to side. But then suddenly, when you have your waving hands that will overtake override the animation off the walk cycle and your handled, then wait while the legs are moving. That makes sense. Okay, So what I'm gonna do is I'm gonna say, um move, move, move under. No, I got an idea. Anyways, I saw I can move it, decided g and just create key frame for the route. Going to to 30 and grab. Why moving a bit like there. I wasn't there. Um, grab. That's enough. Um also just changed the victor v Victor. What that will do is with Brenda's animation, you start slow, and then it goes fast and in slow again. So by doing Victor, the animation is constant. I'm sure there's I think I've mentioned in the previous two toil, but yeah, just just Victor on. They can see that. So now when I go into the N L A little. You can see that there's a move action on top off the track. So now you have both the move animation and a simple walk cycle automation as well. If I had to create another action it up like if I hit that Christmas budget again and I go back to the Negotiator, it's gone again, in effect, a new one call saying, waving hands, for instance. And then I go to the N. L. A editor. This action will then supersede or override the walk cycle. So, for example, if I created a let's just go here in here on a frame 60 I said I wanted to wave his hand like So I was going to a quick wave. Hello. That's a horrible animation. I know. Okay, so you have your waving hand animation like that so you can see that on then, If I go into the military attire and I enable that now, when you could see, look at the hands, the hands walk. So now if I played back the animation, you'll notice that the hand swayed from side to side side aside, and suddenly it's waving and you create interesting animation that way, obviously what? It starts abruptly. It started abruptly, so you can obviously adjust that, um, like like adding an auto blend. It starts quite abruptly over here, so you can always adjusted by blending Brenda, save blending by five frames and blend out by five times tonality. Play it. You'll see that it blends in and start as abrupt. You can create, you know, dynamic type of animation is that way. I have been something. This is how I used to create walk cycles for my films. My first, my only A film, especially, has agreed a walk cycle repeated a few times, create a move action and moved the entire rig and any other actions, like waving hands or some other expressions or something like that. I create action. On top of that, the drawback of using the N. L. A. At a tough for walk cycles is, uh, sliding feat. And I think I showed you a few examples over in like in my tutorial videos off problems I used to have in my earlier films with the sliding feat problem. The problem with the move action is you will need to calculate the exact location. Say from this point here to this point and then try to create an animation that minimizes that move you like you can get. You can actually get rid of that sliding people buy. If you can't go the distance from here to here and then, you know, create a key frame and then repeat that move. I want to play the distance than you keep you Create a key from that sort of adjust to that . And then, you know, somehow the sliding few problem will just go away. Um oh, I want I want I pretty much did is I didn't really bother with much of the meth. I just, uh I just adjusted the back for their vile I'll go here. And if it's not far enough, then I'll sort of the key things that blacks of it like if it wasn't far enough, what I did is I just If I was, if it slides too much that I'm moving forward, if it's like two less than I'm moving backwards, I sort of floated that way. But really, when you do high quality animations like such as if you want to do animation for film or something. It's probably better not to use the energy of the times better to animated in scene. So I'll show you that technique in the next video. This technique is much better for more realistic character animations and to really showcase kind of talk. So I'll be showing that in the next video. So thank you for watching this video. I hope you found this video helpful as usual. Please comment. Subscribe like and all that other stuff. 3. Simple Run Cycle Concept: Hello and welcome to another video off the character animation Siris. In this video, you will learn how to create a simple run cycle. This is perfect for the character animation beginning. There are only five main poses in a run cycle similar to the walk cycle. The contact pose the low post the passing pose. The kick off post, which is in addition to the walk cycle and the high post. The next five poses are inverted poses. The inverted poses are copies of the original poses. But with the arms and legs flipped around, the final poses the contact post again, which will complete the run cycle. There are a total of 11 key poses in a run cycle, and while I've supplied the frame numbers on the side, you could not your own and find the right timing for your own character. This isn't set in stone, so play around to find what works for you best. It may also depend on other factors, such as how your character looks, whether it be large, skinny, small or fat or even talk. It's even better if you can use reference video as this is the best and easiest way to get good timing. So let's start looking at our poses. First up the contact pose. This is the first post of a run cycle. The right foot comes forward and the left foot goes back and up in that shape that you see there. The arms counter. Irritate the legs. But make sure you don't overdo the rotation for the upper arm unless you want a more cartoony effect. The hips goes down so that the front leg is placed firmly on the ground. The hips also rotates away from the front leg in the chest. Counter rotates from the hips. Hips also rotates upwards from the front leg on the chest. Counter rotates in the opposite direction to the hips from the front view. The hips moves sideways in the direction of the front leg. The chest moves well forward and the head faces straight. The front leg is also positioned closer to the center line to maintain the captain balance , and the feet is rotated slightly away from the center line. The content poses are on frames one and 20. Next up, the low pose the low poses, the part of the run cycle where the body is at its lowest point, so the hips goes down. The back leg was closer to the front leg. On the front leg is planet flat on the ground. The hips and body starts to rotate back to the front like it originally did. The chest bends forward even more, and the arms come closer to the center. If you want to make your character's head bob as it walks, you could rotate the head up slightly. The low poses on frame three and the inverted low pose is on friend 13. Next up, the passing pose in the passing pose, the back legs starts to pass. The front leg on the front foot starts to go back. The back leg is raised well off the ground, and the hip starts to go back up. The body starts to return back to the front, like originally did. The arm starts to swing in opposite directions, and the head still remains straight. The passing poses on frame for the inverted passing purse is on frame. 14 in the kickoff pose. The front leg goes well back and is raised off the hill, getting ready to, well, kick off the back foot goes to the front and is raised off the ground, the hips are raised higher and the arms continue to swing in the same direction as the previous post. The tools are no now starts to been back a bit as it kicks off the passing poses on frame six, and the inverted passing post is on frame 16 and finally, the high post in the hypos. The character is at its highest point in the run cycle, so the hips are raised at its highest and the body is well off the ground. The legs are at the farthest distance from each other. Similarly, the arms are also at its father's distance and in the opposite direction, off the to the legs. Of course, you can also exaggerate this to great effect. The hips and chest start to rotate like in the contact pose, but in the opposite direction and again too much as the inverted contractors will handle that, the chest goes back even further. Finally, if you want to get that bobbing head look, you can suddenly rotate their head downwards. The high post is on frame seven, and the inverted hypos is on frame. 21 and that pretty much ends the main descriptions for the poses. So that's all the main persons of a run cycle and different frame timings. The best order I find when setting up the poses of a run cycle is first, starting with the contact poses and the inverse contact pose in the middle. Then I would go ahead and do the passing Coz and then the inverse passing post that I'm going through and posed the low post as well as the inverted Locos and the high purse and invite hypos in any order. And finally, one frame before the high and low poses had added My kickoff poses an inverse kick. Opposes, respectively. Then I'd pretty much called done. Well, actually, I didn't go ahead and do polishing and things like that, but I guess for this simple example, calm it down again. Timing is not set in stone here. You could shuffle these around to find the right one that works for you. The timing here really depends on how your character looks on the style of your own run. And that's it. Thank you for watching. I hope you learned something. And if you enjoyed this video, please comment and give me feedback will be very much appreciate it. Thanks 4. Building a Run Cycle (Part 1): hello. In this eternal, you'll be learning how to create a simple run cycle. All right, let's get straight into it. Um, I get this character very proud smile, just to show that he's proud of his running skills. But the run cycle they'll be giving him will be a very, a very basic run cycle because I only have 10 minutes to shoot this video. So let's get straight into it. I want to pull out another window and I want to create. I'm gonna change this minute to adoption it up. Don't change from Doug. She to action at the top and create a new action. I will call this a simple run sytem. Andi here will be creating our simple one cycle. Now I want to make sure I create keys for although Captain Bones. So let's go ahead and change that call. Carter. I'm just gonna enable automatic key frame insertion so that any change I make will automatically be updated in the character. All right, let's just press in and t to get rid of this side because I don't really want any destruction while I'm looking. Andi. Yep, the first post I'll be creating will be the contact with. So I'm gonna go ahead, oppressed I and they'll create keys for every single bone. Since we put whole character, all the bones have key frames associated with that. So the first public reading is the contact post. So just go ahead and do that the right foot and come forward in the contact pose. So grab why and move it forward on the back foot. Sorry, the left foot goes back and get this type of shape here. I don't know how to explain it. Just It's always better to use an actual video reference when you're doing run cycles or walk cycles. But this is what I've sort of memorized. So if you if you don't bother to use references or anything like that, you used that type of, um, shape, Okay. And of course, the length would be just humbling. Of course, the legs would be hovering high in the air like that, sir, move the hips of down on the Texas to get that type of shape. Shannon with the leg a little bit back because that's, like extreme. Okay, the further you put your leg, the more wide his run will be on the closely put his leg. The more shorter is run will be or the short of it strives will be That's the right word. Okay, Um cool. I think that about that looks good enough. And that does the legs next us to the hats. So for the hands, we just might put the sides, Uh, And remember how you said in the walk cycle? It's always gonna be opposite to, but if that if you work in the left hand, the left hand moves in the opposite direction on the left leg. So we're gonna use that similar concept here as well. Uh, I'm just gonna suppose it like that, Uh, e I want when I want to move it. The the forum Was it the the the upper arm? I want to move the upper. I'm a little bit back, actually, because I want to a different type of hand movement where your upper arm stays pretty much no. Still throughout the run cycle. Because that's how a riel, like a realistic one separatist to be, doesn't really flop. It doesn't really swing side to side while you're running. I mean, you could for a cartoon effect, but it is just a more specific type of run cycle that I'm going for. Some was gonna move it a little bit back like that. And that should be good listening to work. On the next hand, the right hand moves in the opposite direction. So in movies we can afford Melissa with back on, put a bit of bending like that, and that should be good. And then I'm gonna bend it in words like that. All right, Cool on. Of course, having flat are fat fingers like that is a little awkward and stiff looking. So I'm gonna go press in, open the toolbox, and I'm gonna click fingers to enable the finger bone controls. I want to select a lot fingers by pressing B and then box selecting a man s to scale. And when you scale it, it actually cold fingers in. And then our x x two bullet into a fist like that on this finger will then out the same thing as well hid. Copy this copies the finger keys, the key frames for this fingers and then paste flipped. So now that key frame gets pasted on the opposite side. so the opposite fingers, you know, that type of looks better looks much better than a flat. A flat hand most like is more naturally running. All right, but we're still not done. We have to animate nearly every part of the body because a good character animation means in almost every part of the body moves. Because a good character animation involves almost every part of the body moving and not staying still throat. Because, good Castell, Because that's not realistic. So, uh, the body when you're running usually your body leans forward and your head stays straight like that as you focus on your gold. Yeah. Okay. And pushed his hand back like the andi that move this hand for like that. And that looks a lot better. Okay, in the front view is gonna move the hand away. Andi, move the hand Like away here. All right, that looks much better. So, uh, just yet, case that's done. That's the hands and the legs. Pretty much done. Next, we're gonna work on the hips, the huge for that to get usually the hips, usually the hips. You want to rotate away from the lake that has the greatest weight so that this case, the front leg because it's is weight is directly impacted by the ground because it's weight is influenced by the ground. So it's moving away. And because there's weight on the front leg, we're going toe. Um, simulate that by rotating like that. Cool. Okay. And what else? Okay, that's that handles that situation. Okay, this would tape up on Hopefully it's not too much. Don't go overboard. Okay? So once you do that, you have to count a rotate the chest, the chest always counter rotates from the hips. So this if the if the hips rotate in that direction in the chest, rotate in this direction. And the more extreme you rotate, the more more exaggerated animated look that you get. If one of a realistic make sure subtle. If you want to go full on cartoony, then make it you're making more extreme. Okay, that does that. And off Another change I made was slanted the hips this way. So I sent hips this way then opposite direction. Be that like so right on the head. Yeah, eso When you counter, rotate the chest from the hips and you can't rotate the head from the chest. So the chest comes back into the head, comes back like this and it rotates back to the front. All right. Cool. And I think that looks like a pretty good pose. Yeah, Andi were pretty much using nearly every bone except the shoulders. Never, ever forget the shoulders. Because generally that does contribute to those amateur stiff looking animation. Because when your shoulder states still the whole time, it's kind of odd. Your shoulders do move as well, especially in run cycles. So we'll just move the Charlotte in whichever direction the hands movie, ours it and move in the direction off the hands. So in this case, the hand in front, under the shoulders before this case, the head is going back some of the shoulder slightly back. Yeah, And it was penetrated through the but a little bit. So this moving out, make sure he doesn't really, you know, collide in tow. All right? Nothing. That was pretty good. Little not That looks really good. I think I like that. Cool. Okay. And another thing we need to do is maybe move the hips. Pickle is emotional. Weight is on this leg move the hips a little bit to the side. Oh, and also move the legs closer to each other. Sort of make sure there it is near the center line. Because, riel, when you're when you're running, you generally run towards the center line more, and you can also rotate legs away. It's just slightly Yeah, like that. And that's a pretty good contact post. I think, um, maybe move the hips like that movie hips like that as well, trying get that line of action. Before, when we had our hips before we had a chest like that. The line of actions pretty bad is just it doesn't make sense. But when you go like this and I feel like the hip season showing that trip is not very well , that's why I'm just sort of rotating that hopes off trying to get that effect. I think that I think that achieves it. That's pretty good. Okay, cool on. Do you know I could spend a lot of time on this, but I really think I'm running out of time, so I'm going to stop there. You can tweet this for about. To be honest, you can try, get the best looking run cycle possible, but, yeah, I don't have time, so obviously I want to do a lot off, You know, rigid. Obviously. I'm gonna do it every someone to skip out on an animating a lot of stuff like fingers and stuff. It's not good. Generate. It's not good to leave out the fingers, because if you think it's a stiff, it's also a little rigid, but, yeah, I'm sort of hard pressed for time, so we'll stop there. Um, okay, so the contact puts you The contact was go time frame one. I want to make a guess now and say frame, uh, run cycle goes, I think for him 20. So the contacts phones on frame one and on frame 20 Our frame. 10. I want to feel to the roots, so leave that as is, But I don't really care about flipping facial expression. I don't want small to go from one side to the other. That's just with I mean, I guess this Carter can be a little weird like that, but, uh, yeah, I think I'll just I'll keep him a little thing. Okay, So once you have the all your bone selected the important ones that you want to flip. Just, um, press hit this button here to copy. So this pose right now that you haven't so this post that you haven't as is right now, So this post that you have, as is right now will be copied and then paste flipped flip, we'll take that copied pose, but then flip it around to the opposite side. So now Oh, you'll, um along the bones are now flipped. So now you're pose is flipped. That's exactly what we want. I was going press I anyway, because I think I noticed missing, like, for the face. I see him. So I'm still going. I Because some it just looks a needle when you have keys everywhere. You know, Doesn't I mean, later. One with everything looks orderly and Kenya. Okay, so that's it. Um, playback. Now, all day we got a, uh this is pretty much with legs. Pass. Well, with the back leg. Pretty much meets front, like so in the passing post. It's to the passing pose is pretty much where your back leg means. Front leg. Okay. So what I want to do is I want a copy. Um, I don't want I want to keep the legs on the ground. So I'm trying to achieve Go the first frame and copy just the front foot, and then the possibles on frame fight laissez halfway or frame 10. So that's good frame. Five. Just paste it like that. So yeah, it stays on the ground and then lose up. But of course, it's not realistic for like and now the back foot, it goes ahead off the front foot. I'm sorry. Sorry. And there's a head off the front or slightly, but I'm gonna move it up on something like that. Um, we can raise the hell a little. Just a little, I guess. Off the ground and the hips come the hips surprising they come the hips in the passing posed the hips come slightly down like that. Every Stevie exaggerated and get some more cartoony. Look, I'm slightly exaggerating it for this tutorial because I want to show you how it I want to actually show you the process of actually I want to I want you to be able to see it working . Okay. So with the hands, we're going to move the hands this hand now goes back opposite direction, off the legs on. Just wanna straighten up a little bit. Maybe, uh, bring it slightly closer. Okay? And this hand comes forward controlled three to go to this right view. Uh, okay. Yeah, that's all right on this. Move back like that. Yeah, that's good on the head. Can still stay raised. I guess I'm looking ahead a little bit later. Uh, what is focusing purely on the run cycle? Okay, um, the shoulders, Of course. When you're going to have this trial difficult, the shoulders. So rotating slightly back on this rotated slightly four. Okay, cool. So let's have a quick look at what that looks like. That's not bad, Doctor. We do much. But if you really want to have some control, I guess, or take a little bit towards front. I see. Yeah. Keep slightly bit. And Samos a chest. Yeah, I think that's not that's previous, but you still haven't away on this legs. Just still bend it up like that. Um, been in opposite direction and been Listen, opposite direction on the chest coop. Um, I think that's good enough. That pretty much in the past in court. So he I to finish that off and want to create the inverse passing pose. And I guess about half way on this. So shifty and also not shifty. Just copies opposed selectable the So I select all the keys that you want to be flipped. We don't eat. Just sorry about that. We don't need to select the route All the face. Okay, so just copy this post, go to friend 15 and paste it flipped and then just hit I to cover up missing France and create a more nieto linear key frame organization. Good. Okay, cool. So it's starting to look like a walk cycle with it. Okay. Cool Stein, and look like a run cycle. Not that you can actually see the dividend. His chest. You can see the hips being moved. Uh, but one thing I haven't really noticed is the body that side the chest. While I can see his his hips rotating from side to side, I don't really see the chest being so let's exaggerate that slightly are is it? I said Okay. I mean, our isn't would be the good thing I think are why? Why? That's that little actually rotated? No, actually, retain it around that. Go to the last frame, paste it. Make sure make sure the first and last poses are always the same. And the middle one can just have a version. Okay. Yeah, I could see that. Now, that's much better. And of course, the more you exaggerate this, the more it looks like you can change. You can change the look of a run cycle just by exaggerating or, you know, listening The effect of these listening the effect of this. Okay to I think that's that's all right. Next, let's work. The next person when I work on is the low post, the low post. We're gonna put around half of this frame. Okay, so I picked three. Okay, so let's just the low post as just similar walk cycle is the lowest part off the run cycle . So it's hips are and it's lost. So let's compare hips here and here. Yeah, we want to make a short, even lower than birth. So it's just compare. Yes, that's what around that Maybe slightly exaggerated. That 5. Building a Run Cycle (Part 2): Hello. In this eternal, you'll be learning how to create a simple run cycle. So this is the result of our run cycle. Mixing up, even looks, makes it look more fluid. Okay. And I think that pretty much ends the passing post. Something I on that which should have done before my bed. And we're gonna go ahead and inverse this purse onto the other side. So, um, that's against all the poses except route on the face de select by where? Building C and then middle clicking to decide things I don't want. Okay, so let's copy that pose on. That's good of frame. Let's say 13 pasted, flipped, and then I just to cover up all those positive. Okay, So if I watch this now, I think that's good enough. That's pretty good. Head looks like dancing about really, but on the hand is will. But, uh, yeah, we'll work on it. Okay. Next post want to do is just refer to my notes real quick is the hypos. So the high poses when the hips are at its highest. Okay, so I'm gonna frame eight, and I want to move this hips at his highest point like the maybe even higher than that To show that jump the the move, the legs in front like that And just shape it out like that. I also like that and then move this leg, uh, back. Something like that. He's got a little Noah like that. No, that's good. All right. I guess the check the body can sort of afford to go up a little like that on board chest can start to go back a little bit in the hands they extend at its maximum in the opposite direction. On the legs, I think. Yeah, that's pretty good. We're having already on this exit the hands a little bit more like that. Cool. I think the shoulders are rotating the direct correct direction. Hopes don't go overboard with that. Whom Maybe it's fair to move something like that. Okay, cool. All right. So keep against Adam. I wrote a little bit towards the front leg on destructions. Well, the just, um, possible. So listen, Why? Why sort of started company front. Andi? Yep. Nothing. That's that's pretty much it. Sorry. I forgot to mention the head comes back time. Usually, I just know that to keep ahead. Mostly straight. Very, very straight, but almost straight because, you know, when a runner run said generally focus on something so they generally try to keep the head . Still, it's possible. Okay, so you sort of see them Run. Everyone, push this pose. One frame earlier. There's something weird going on with the hands. Nice. It's fine. Okay. I think it's fine. Yeah, that's fine. Okay, that's pretty fine. I was gonna move the chest slightly back in the head slightly lower. Just a show that is really jumping high up in the air and re trusting at just a port. You could do that for a very exaggerated if it and then move the head down like that. But, uh, I'm not gonna go to that extreme for this example. Just don't look right. There has been quite right yet down. I mean, like something like that. So let's have a look at our run cycle now. Oh, something looks on the that's trying this one frame back. Okay. I think I exaggerated some of the movements way too much. We can afford to move this lightly food. So it's sliding down. Yeah, that's much more respectable in wiping You. Okay? All right. Does picks up ahead as well. Copy that. The end. Taste that good. Middle second it. Good luck to you. Okay. I had to do was money and sort of halfway from the rest. I want to put the brakes on. This is not a breakdown. So shift e and breakdown will closer to and this money to up to the same this and then get a flute, copy this and then placed. Flipped? Yeah, it's much better. Yeah, that's much better. Has a different style to it. But I said I can spend, uh, you know, hours and hours on this, But, you know, I promised to get this video down 10 minutes, but it's taken over 14 somebody. Anyway. I have to stop there. That's good enough for my purposes. So I'm going to take that post there and do the same thing. Select all the the bones. It's not Don't like the route. Well, the face, um and then not just copy that. Andi, go to se frame 18 17 17. It's good for you 18 and then paste that flipped. Menace it by. Okay, so look a whole thing now. Yeah, style, like around cycle. It's like a much better on cycle. Remove them one frame back. No, I won't keep it there. Okay. And the last person want to do. And this is what I've learned from another tutorial is to call the kickoff pose. So the feet off persons very, very basic. Uh, basically, you have your length. I was gonna move this front like that. Ah, and that's a little R and Control said Art and grabs it to the runners of ground. But the difference is I just want to make a raise on his heel at its highest point Like that, This leg would take a little bit like that, but not so high. Actually made. Yeah, like that, Uh, gonna move the hips. Just a touchdown. You know, that's an anticipation. Remote mother's top principles to participation of big jump slightly down on the hands. They can go naturally the way they want. Move this down a little like that. See how that looks. Yeah, that's much better. Okay. Cool. Um, I think that's good enough. Good enough. This is fix that line election a little bit more. That's the just a little bit forward like that. Yeah. Andi, smooth. This bit back. Back. Like that, I guess. Yeah. Yeah, that's much better. Okay. And it's just, uh, Chris, I on that, do the same thing. Just select all the keys there. That's right. Disliked all the key there. But get rid of the route on the face. All right? And then copy that pose in one frame before the hypos to create our kickoff pose. Sorry about that. Harper's. And then I just in that there on. That's pretty much are finished. One cycle. Okay, It does look odd over here where the hand suddenly puts bumps up like that. So I'm just going to listen The effect of that hand suddenly bumping up like that And to do that, just see how that looks. Okay. Yeah, that's that's pretty much good. That'll pretty much do. Um, and, uh, just, uh, grab the hand here. Copy and then pasted. Flipped. And now it's looking on cycle. Look at that. We've got a pretty good looking run cycle. He said I have my look a little weird. So this is where you go ahead and do a publishing. So just go ahead and save this on and just four. Save this, that we will never lose his data. I wanna clear a copy of this Create. Say something like that. Punished. And I was going to a real quick polish here, but I don't like how the hands are bumping up like that looks quite static. So the way to fix this is we just expect these three arms like that you and then just, like, overshoot it a little bit by Alexei. One frame. Please give this one up. Aram apartment Stay as is. I'm really not, Actually, I guess when this one too. Mark, we're going The graph at a town real quick. Look at the problem causing ones. Turn off the, uh, locational scale. I will just say I feel not filters. Could you go to search this type rotation only. Okay. Andi, where the sudden jump Because is here, uh, stays stagnant here. Okay, it's on. Dispose. I'm just gonna move it up just to make it more smoother. Yeah, and then just copy that to the other post where this Oh, okay. Could be that to the other clothes. Yeah, that's pretty good. And that's pretty much that's pretty much I'll run cycle tutorial. Go back to the because adoption on Yep. I think that pretty much instant. So after this one, you will go ahead and do it to make it more details. You go ahead and miss run with keys. So I'm not sure you One example with this feed here for a second foot, I cannot are. I'll go ahead and see that I look. It's going on a straight line and then it takes off after that. So many between that and get rid of these key frames and then just like these were, too. And make it victor so that it moves smoothly. So I go ahead here and do the same thing. So wherever the leg makes contact, yep, I find where that key frame is right there and then find out how long it stays in the ground. It kicks off there, so every on the key frame between that is irrelevant, just like those two and making Victor and always move in a straight smooth might. So that's just that's just example of it off some of the tweaking you can do to your run cycle to make it look really, really good. Another thing is, maybe if you want to find out a way to, you know, turned down the extreme extremists of this. I mean, just bumping up a little too much looks weird to score the graph editor on Since we only working with rotation filtered out just irritations that search by the beauty over here Just hot rotation. Select everything on him Pretty bottom. Find a place where suddenly bumping up like that. So every here, So it looks like it's gonna be one of these. Just try experimenting with its clear. This wonderful isn't obviously this one that's dividing the most wanted moving around, I just We can see that the body being, you know, pushed up a little. So just try to smooth it out a little bit and see if that makes much of a difference. Yeah, that's much better. So as you've seen, when when I worked on my animation, we have the simple one. This was just blocking. So everything was in an orderly line and everything does look nice. That was the first passed. So that was the first pass. So while it did look respectable, there were issues with it, so That's when when when you see these issues, that's when you started work on the second pass, you can either build up more poses and fix it up using straight ahead animation, all you can just find out the keys like if you like that trick that I showed you here you can making most me that way or weakens. Go to the graph editor and smooth it out that way. But in the second pass would go ahead and offset keys. Try to create a bit more, more fluid like movements in your animation and make it look more like human rather than robot. So what's he doing with that? You then go ahead and do the third pass that third parties. Basically, you can just go ahead here and do straight ahead animation of work, frame by frame. Or you could just simply go to the graph editor on Play around with the Costa stuck with it to fix up the jerkiness off the chest. So that pretty much is this simple walk cycle tutorial. I hope you learn something new from this tutorial. And I heard Mr Tutorial was helpful to you, giving you confidence to create one cycles. I will see you next time on Dumb. You see you next time 6. Best way to Approach Walk/Run Cycles in Films: hi, everyone, and welcome to another video off the character animation series in this year will be learning the best approach to walk and run cycles. Um, so let's have a look at them. Right now, there are two main approaches to a walk and run cycle. The first approach is on the spot. The second approach is unseen. So with the first approach on the spot, basically, that means So I'm just gonna go ahead to the N L. A. In a 10. Hide this and then we'll have a look at our walk cycle, so as you can see Well, sorry. Hide this. Okay? So, as you can see, when I play back in animation, you can see that the character is basically walking on the spot. That's because we animate it. So the character would just walk on the spot, and then we just put it in the n l. A editor and make it repeat when we want our Carter to move former location A to location, be we basically animate the entire armature. So we said a key frame for the entire amateur on location A. And then a few frames later, we moved the character to location be and put a key frame for the entire How much a debt. So I've done that. Ever hear something unheard that Sorry. Okay, um, to hide an unhurried Desprez. Hate. Okay, um, now wanna play back the animation? You can see that. Well, I've not got the character movie. This is good because, well, you get to animate on walk cycle once, and you get to use it many, many different times for many, many different scenes. Because all you have to do is just animate the location a in location B for the entire amateur and let the rest of the walk cycle do its own thing. Um, but it isn't always so good. Why? Because if I just go in, enable grid view, if I can do so and if you look closely at the ground as I play this, you'll notice if I if you look closely that the legs are sort of slipping like it's sort of sliding like it's kind of doing like a front new book or something. And that's a common problem that a lot of amateur artists tend to have the feet sliding problem. The main reason for the feet. Citing problem is because the location that we sent a location a in location B needs to have the distance set properly so that it takes into account the widest stride length off the characters walk, and if you get that wrong, it can. Sometimes even by a little bit, you can come across as a little bit fake. However, it is still quite commonly used, and you do see it regularly in games and other lower. You know, lower quality type works like you wanna do a quick animation for YouTube. That's perfect if you don't do it for a game. This method is also perfect when it is not perfect. Well, obviously, for higher quality works when you want to show off your character animation. So for films or Demery, ALS or things like that, you would probably not use this technique. It also doesn't show off your character's personality. That makes sense because you do use just one generic walk cycle, and you basically just loop it. That didn't really give much of you that that that that doesn't really give you a character much personality, if that makes sense. So this method isn't always the best. And that's where the second approach comes in handy in seen. So basically, I'm just gonna go ahead and turn off. I'm gonna get rid of these actions, and I'm going to go into the job. She's editor on the action editor, and I want to give him the walk cycle on just going to select everything by pressing a and then hit in the period bottom so I can see all the key frames there nicely lined up and with the most optimal view for my own needs. So when I look at the character animation Carter, now that looks pretty good. All right. Okay. So to animate insane, we basically well, physically move the character as we animate it. So if I start with the first post, that's good. But I'm you know, I'm not gonna do the whole walk cycle again, but just to give an idea, um, I'm just gonna go ahead and turn off the route. This is the one that's basically also it, Uh, yes. I'm starting over in Turn off the tools. Okay. So basically, this is our characters Walk. Actually, I'm gonna go ahead and delete all these key frames that come after. Just need a fist. Pose the key frames. Right. So we have our first pose. Soto animate in scene. We basically make our poses and then actually physically animated in seen So which over the next frame is we then go there with and move the character forward. And then we moved the legs forward and so so one. So far, I'm just going to a very quick and dirty walk cycle. Um, just like that on my progress, I just to create that, um, that organized key frame to create a sort of organized key frames. So that's in based so that we can you make use of post to personal more go over here a move it. So the here may was it here? But you basically can see what's going on. I'm basically actually animating the walk cycle insane. So this has many benefits. So if I played back now, you can see that the character is actually walking along, So this obviously fixes the hole feet sliding problem, and it also gives you room to give your character personality. You don't have to have one robotic and repetitive walk cycle. It's always gonna look different because when you're animating insane, the pose that you're currently working working on will not look like the pose from the previous frames. Unless you want to do the trick off saying you copy the pose here and copy it and then go over here and then pasted except the torso on someone. You basically gonna have a unique set off poses for your work walk cycle, and you can do crazy things that you can make in wiggle you can. You can make him way with arms in sing without having to use the L A little trick and things like that. This technique is mainly used by character animators for Phil and other higher quality works, because it pretty much gives in the room to bring the character to life. So yeah, that basically summarizes the best approach for walk and run cycles for character animation . So you would use the on the spot technique for games and other lower quality but higher, um, speed requirement related work. Andi, you would use insane for film work or Demery, ALS or other higher court related work, so that's pretty much it. I hope this video has been helpful to you, Andi. I will see you in the next video 7. Waving Arm Animation (Part 1): hi, everyone, and welcome to another video off the character animation series. In this video, we're going to be doing a waving arm. Animation will be following some of the toe principles of character animation and will also be following some of the workflow that we've been looking at in the first section off this Siri's. So let's get straight into it. I'm gonna go ahead and pull out a new window by dragging the left hand corner off this window and left leg dragging on. Desperate to somewhere around here They don't want change this toothy dub sheet at a talk on that. I want to go to a Tory and actually better for you. You will probably defaulted to dope. See, I just need to actually little that I want to go ahead and create a new action. So I scrolled just to move the school, the menu over here, and then just pressed new and I want to change. I must name this something like waving off waving arms, something like that on one team name that you now have. You can not very much animate your waving off the arms as an action, so I'm gonna go ahead and press in a cloud. I get rid of this tuba, it's not required. And to set us up, I'm going to, uh, go ahead and change. The king said to hold capital. But this will do is this will create key frames for the entire character. For all the bones of the character, it may seem like a waste off key friends, too, like, for example, for the legs or the hips. I'm not my animate any of those in this tutorial, so it does seem like a waste of key frames. But it is a necessary just to show the concept off our, um, of our animation. So we're going to be animating the waving of the arms in two stages. The first stage is the blocking stage on the refining stage. On the second stage is the polishing stage. So let's get straight into Let's go. Let's first look at the blocking and refining stage. Basically what we're gonna be creating key poses for the wife and um, and then we will just be refining it. I've used reference video for the waving of the arms by recording myself, however, a bit awkward to show my myself in the video, so I would be showing you the beer here. But you could try to record yourself waving your arms and putting it in your blender. Far to do that, you to spread in. You just go to, um, background images of a here, take that box and then goto add image. If it's a movie clip, press Marie clip or if you have a series of images press image. Nevertheless, respect that. Put one of a view you're using. Perhaps the camera view tops the front view and then select your video on generally very in the back right there were distinct to the timeline and then you pretty much be good to go, but I'm not gonna be using that. So, uh, let's just leave it there on this start building opposes the first pose will be the extreme waving out off the arms. So I was gonna go ahead and start. That's the 1st 1 person I know create ALS the key friends for the character for every bone in his body. Then now will go by enabling the automatic key from in session. I can now move the bones, and that will automatically create a key for him every time I do self. So let's first create the first I'm wave. So I'm just gonna rotate the forearm to the side around like that. And then I want to select the upper arm on the side, be able to rotate hardwired. Why? By pressing Why twice? And then there's just around the andan. Other thing is, generally we're gonna, uh, when you wave your arms to be been a living like that like that I tend to look a bit more realistic. Onda. We can now move it a little bit up like that. Cool and the the hands can rotate back just like that. All right, on obviously are round like that on its maximum bend just like that. All right, Mary can move up around a bit higher. I didn't make the shoulder along with them and, uh, the four on a little bit to the left like that. So that's looking good. Uh, for the fingers were gonna, uh, bend it slightly to the side. I'm small. Rotate things around. It's always important to it animated fingers as well, to not good to keep it flat and straight. Just like that. That s stock robotic and stiff when you do at a bit of bending, just like I've done here, to my to my character, which I think I've done before for another video. I didn't reset the person fortunately, but to bend the fingers, I just slept all the finger bones to settle the fingerboard suppressed B and delicate box, too. And I just drive around the finger bones to stick the boats Can you press s to sort of coal the fingers in. So that is a little better than the default flat finger like that that that never looks good just really, ever lost going on little school when you're laying your fingers flat on the table, something but always better to bend it a little bit like that looks a lot more natural. All right, so that's it's looking fine. Now go to So that's pretty much I think that's pretty much good enough for the extreme waving out of the arms. So now this to the extreme waving in off the arms are sticking keepers. So to do so, Um, uhm, I'm going to generally model kind of reference video notes that the, uh up around, have to go down a little bit on the forearm tends to come in and the hands to come will in that, well, this list. That's how I waved my arms. Other people's waving off hands is different to mine. But that's generally what I got from reference video. And obviously all the key friends on Keenan here some slippers. I just to make sure we have a nice linear, Uh uh, the way a nice linear arrangement off key friends, which is good about post to pose, which means I would make any mistakes by missing out poses hope, in fact that so if you look now, it sort of looks good. There's just all obviously called the things in and make it bend in this direction. All right, that's looking good. No cool. And now that's looking good. I think. Only problem is, the, uh, forearm hasn't come in as much as I would have liked. So I'm just going, actually, that's looking good on the extreme out of I should push it away a little. Okay, that looks much better. Okay. And also, when I'm coming in after I should think it, the shoulders will it's pushed that down, okay? And thats much better. Okay, so once that's done best. Now go ahead and look poses a little bit. So I'm going to do so. I want to select all the poses. Old the entire post from that time from that frame, bisecting the dope sheets Summary key frame right there that will automatically set a lucky friends at that time. Shifty and then move it to frame 20. I want to take the middle key frame one extreme in cause shifty and then moved to France. 30. I want to select, uh, this frame again shifty and move it to frame 40. And that should complete a little on wave. So it's looking pretty good. Like a novel. Way looks robotic, but it still looks good. So that's basically the first pass off our animation. The blocking pass. All right, it's And now we've got another. We have a main keepers is done. It's now time to do our second parts, which is the refining stage, which I call it, and usually referring stage about opposes. We were putting things like moving holds breakdowns. Check that out arcs a good we've been throwing some of our tour principles of character animation in there somewhere. So for this case, I'm probably gonna do some moving Holtz. Because what basic? When you went when you wave your arms, you don't tend to wave it like in a linear uniform Fashion. Timing wise, you would probably, uh, for example, you probably wave your arms, hold for a while. Then wave your arms. This was a way of your heads. Hold for a while. Then go to the next extreme, hold there for a while, then go next extreme whole day for a while and so on. Some people might incorporate some of that. So to do that, I want to employ breakdowns on a bit breakdown stir to create that moving hold effect. So I'm probably just gonna apply it only to be heads. Um, I just go shift heat shift, ease the breakdown and you can see the name of a here breakdown. And when you depress 50 you can move your course and left and right. You have left breakdown goes towards zero and we will write. It goes towards 100. If you go towards the road, it chooses that it goes towards opposed that's said on the left, exactly to the left off the post that's currently at the frame close up. If you go towards the right 100% it goes towards the post that it's on the right. That's exactly you, corresponding to the right off the frame yourself. So, for example, if I press shift E and I go to zero, that's this Posey A is exact same keeper is the exact same post off the hand at this frame here. And when I go to shift E and go towards 100 that post is exactly the same pose as the posting of a here. So in between weekend at, like, breakdown things to create a fixed like moving holds, transitions and things like that. So I'm gonna add a slight, slight moving home. Um, once it reaches its main like wanted, which is the maximum, So I'm just gonna hold it there for a bit. So maybe over here on my go shift A. It's not Russian list holding a bit, uh, this is go. One more frame. Have a shift. A and still, it's gonna hold it back 10%. Let's see how that looks. Yep, that looks a lot better. Um, on do the same here as well shift. She will hold it towards 10%. And the school ratio 50 10%. And you shift 10%. Good enough. That was good. Looks more really looks a little less robotic, A lot more organic. So that's basically the refinement stage down is gonna go ahead and claim that I'm not ready to go into the polishing stage. The first part of polishing stage is the key shuffling purse. I'm sorry, The key shuffling stage eso As you can see here, all the key friends are linear. It's organized all in a nice straight light such that if you want to change the timing if you want to play around and say that we want, we want our arms to move quicker. If you want our animation to be waving quicker, you can just select everything like that s 0.5 and you have a much quicker wave or if you want to just remove like bits and pieces of your animation like this pose could come a lot quicker. Just add a bit of random listening like that other. This is exactly don't look good, but just example. You might come across the Jewish like that. It's always good. Have a nice linear key frame once you're happy with the timing. So at this point, I'm pretty happy with that timing. Once you open with the timing, that's when you can go around. It ruined the linear neatness off. You can make it all chaotic and message. Okay, now eso That's what we do with the key shopping for post. So one of the famous or not famous. But one of the best ways making full use of the key shopping post is by making use of something that's called offsetting Keys. So basically offsetting cues basically means that we moved keys like one two frames away just appear sort of office. It offset from its original life on purpose. Off that is, to sort of create a whiplash effect. So let's let's do this by example. Um, say I wanted my like, uh, as you can see the best local hand here when we move from one post main keepers toe another main keepers so went from one extreme to another extreme. Every muscle, the lands that exact same point on exact extreme at the exact same point. Do you know? Like, for example, if I go from frame 10 to frame 20 bam, they're all landed, exact extreme, and then they all go back to the next extreme. And they also landed exactly extreme, really stupid. That never happens unless you're a rowboat or some other mechanical device that rarely ever happens. Organic characters tend to have a delayed offsets in the movement, if that if that makes sense, so basically what that means, uh, you should have a low bones landing at the same time, because that's just not realistic. Realistically, all your muscles are move at random, random, but at the late times, because it's just how physics sort of works. I'm not greater physics myself. I don't believe I explain what I try to explain. Right there was probably pretty bad. So I should actually do is by example the sea. Let's see this extreme. Let's have a look at this extreme. Let's say that we don't want that extreme off. We actually don't want the extreme off the hand to land. At that point, when all the other birds done, we wanted to sort of whiplash after wanted to sort of which the extreme after this gun has reached a stream. So to do that, we select our hand and I'll just like these two. And what the extreme to reach two frames also after it's after the forearm, which it's extreme. So when I played back the animation, you can see that it's you can sort of see it looks a bit more organic. Basically, what's happening is that once the forum which is it extreme? Two friends that are as a sort of whiplash effect the hand also, Richard, it reaches its extreme. Maybe we can buck Andi. Yeah, and it starts to look a bit more organic. We can take it a step further and go lower down the chain. So this is sort of like a chain effect. A chain reaction. One. When one muscle lands at one extreme, all the other no one must. So when one bird landed, one extreme or the other birds are created to it lands at their extremes a few frames later , so that's moved the forearm as well as the heads. One friendly I made two friends is a little too much. Let's keep it one frame and I should change the breakdown while I'm there. This goes about 20% all rights. That looks a bit better, Um, on the shoulders, whichever remove it. That also will also create a chain reaction with that as well. So this move that one frame back. 8. Waving Arm Animation (Part 2): so that looks good. So I'm gonna go ahead and do the same for all the other arms to create that sort of chain reaction effect. Andi. Yeah. So this one frame back forward, two friends forward, Still one. And, as you can see, tense. Look a bit more organic right now. And I guess the refined persistence look a bit on. So obviously we need to change the timing for that. So the one moving holds for the hands. So Richard Extreme here. We wanted to stay like that a little longer. Yeah, let's do the same for the size, will it? May 10% might be a little too extreme, because it's not only a few frames later that it reaches his next extreme summary. We should do 10% which made me stick to about 30%. Same for this one. 30% just moves out a little. Let's stick this 1 30% close enough to on it. Tests look like a much better arm way. You also need to offset these ones as well. His back this forward. But this much food on this end, the animation 23. Um, have you interviewed a properly Bs because our there's no moving hold that I applied here. Perhaps I could do that as well. Maybe not. Um, yeah, it's since Inupiat. It's not much I can do. Actually, nevertheless, you get the idea If I want to be a longer arm wave, I just duplicate these key frames When when it was organized quite nicely. So that's, uh, that's a nice little arm wave. Obviously, it's not exactly complete. We can way. Should be Austin fingers as well. Um, just like the fingers right there. Um, that's just there. And many, um I just, uh, offset these manually. Actually, no, no, let's go back the same time we move it one frame back, two frames back, pinky. We move it one frame back for the ring with Keep it as is on the middle finger. Move it. One frame forward index finger movement. Also that's different on That was good. And that's basically our nice looking arm animation. So at the next the final state, so you can see it starts to look a little bit unorganized like, Ah, I think I see that it starts to look a little under one of just going with the torso since not necessary. And, uh, I'm not using any of the thumbs from the right hand. Seems to leave that. So, as you can see, it starts to look a lot more unorganized over here. Disorganized key frame life, which is good because we don't worry about timing anymore. We can do whatever you want with this animation, and I didn't see his tends to look a bit more organic because none of the key the extreme keepers, are hitting at the same time. Remember, Mr Roboto? That's one of the problems with post oppose animation. That robotic look we get. We finally got rid of that. It has to look at, but were lost a bit. Studied chaotic. Are we not as well done with timing everything, but it looks a bit like a human, a human waving arms. So that's pretty much the way in the arm. So if I want to go the next stage and tweak the actual movement, better are then going to the graph editor and I didn't select. I promised to the tweaks one by one. Some basic I start with selecting. This is this is the next stage off the polishing face tweaking the actual pose itself via the graph editor. So I respect everything on I'm sorry I didn't go one by one. Said looking at the post and seeing ah, whether like, i something a little too much or too less, for example, maybe the hands, uh, what is this Hands Ed Crotona rotation might be too much. Maybe I can turn those down a little bit. Grabs it if I look at it. Ah, yeah, that's pretty. Looks better. Maybe I find that it's going a bit quick. Summary. You can fix that timing as well. Um, every second fix those changes by doing fixing that once. One is this SST at the top of rotation. Dump your ass down. Britain s a bit different. Maybe I can say I want the I wanted to be a bit more even I wanted to wave around a little bit. We have around all that much that'll fix that. Um, the next time you look at the white quit union rotation, I might find that is waiting a bit towards the way Mary wanted went away. To be from like front one. Looks like it's wearing a bit away from the camera. We want to be front on. Like, uh, this is a bit too high. All right. I noticed some of the ways that going to quick someone with within that within that range that range. So, perhaps, is this one? Yeah. There has to be extreme returned to turn down the bed. Yeah. So you can obviously play around with the graph editor. Do many, many different things with it. Yeah, maybe we can make it. Uh, it's sort of a speeded up that story down and speed up suddenly over here. But basically, I know that it's used by that's character in the minutes to do fine tweaking and polishing off character animation and basically turns your, ah, good character animation into Pixar Little animation. That's what I That's what I know about the graph editor. So basically, I'm just have to say I'm happy with my waving animation as it is so far, it doesn't. It now looks at a point where it looks like it looks like a real character waving his arms . The timing. I don't like being repeated. It don't look robotic. It looks like it's just spontaneous. So I just point out. Just say I'm I'm quite happy with that wave. Probably gonna end up using this throughout the character animation series. Anyway, uh, so I hope you alerted evidence tutorial. We did view some of the torpor. It's one character animation money the follow through. So just like that chain reaction whiplash effect, that is, that is a formal followed through. Because once it wants to this point which this maximum for your friend this this burn also into this maximum. So it is following through and anticipation and easing in an easing out moving of the moving holds the extra holes that we did there. The breakdowns are a form off, uh, slow winds and snow bouts and things like that. And obviously, since we're not using I k, we're only using f k. We're guaranteed that Allow pretty much going to the all night movement. Um, have, ah, arc shape. I think there's a if you're not 100% sure it is your bones upon our shape, you can always put the amateur tab and, uh, select a range. I would say like 20 frames, and you can pretty much visualize the curve. And if it's if is mostly curved, your movements, then you're pretty much you pretty much have good ox. And remember, good character animation always has hawks. It's very red that any character moves in straight lights is a vital principle off character animation. So, yep, that pretty much that's pretty much all I have to say about, uh, this video on I hope you learned something from this waving arm animation tutorial. If you have any questions, please let me know. I'll try my best to help, and I hope to see you in the next video.