Animating a Quadruped Walk

1. Class Introduction: Animation has always been fun to me, you know, creating characters, stories and memorable moments that audiences will keep and cherish in their minds forever. My name is Zopie. I'm a senior animator in the video games industry, and currently working at second star studios on the Peter Pan game. And in this tutorial, we're going to talk about quadwalks, how to do quadwalks. And we'll be going over all the reference, how to study reference, how to break it down, how to find the key poses. Particularly the hips, how to get the offsets right, because if they're not right, everything's wrong. So we're gonna lay down a solid, strong foundation. Then we're going to polish through that all the way to polishing the ears, the whiskers, the mouth, the tail, and the pores. So get your Maya, Blender max, whatever you use, doesn't matter. The concept is the same, you know, any animation software is fine. It's just a tool. And come join me, and let's get this squad work going, okay? And let's start animating, doctor. 2. REFERENCE AND PLANNING: 1a: First thing we're going to do with this four legged walk is we're going to as always, reference reference is very important. I have broken down on sync sketch this reference here. And we will go over this. But as you can see, these are going to be poses. It's the ups and downs that we're looking at that are very important. We've got these poses. We've got one, two, three, four, five, six, seven, eight, and then nine, back to the start cycle. These are the high points on the hips, low points on the chest, the highest point, then it starts coming down. Then you've got the high point on the chest and then it's going the opposite way on the opposite leg. We've got that and most importantly, we're also going to be looking at the front. As you can see here, the chest is always angling towards the leg going forward, you're obviously reaching out. We've got to make sure we get those right. The rotations is going to be all axes Z we're just going to concentrate on Y first, then we'll start adding in all the other ones. Uh, the lean. As you can see here, the back at the start is neutral first. That kind of follows later. But then as we get it's slightly offset, you can see the hips are slightly offset to create that S shape, but as you can see, halfway through the contact, the opposite way to the start, we can see that there, we can see that. Then obviously the end is back to there again. And as you can see, naturally that leg step that's coming here, it's going forward, naturally, it's going to be it's just like the walk. It's very simple. When we break it down, it's very simple the mechanics. So we're going to block it first. This series will be a five part series, going to block, splining, polish. So this is the blocking. I just wanted to show the importance the real importance of this breakdown. I'll put a link in the description for this reference so that you can go to it. But obviously, you can follow tutorial, just follow me along, let's dive in without fervor to do and get these poses. All right. All right. So the first pose. The first pose will be we're going to do this in stepped interpolation two. We're going to do it in stepped. But let's check this out. If we go to the side view here, this is going to be back, so that will be back a bit. And we're going to have this down. So it's going to be down like this. Now we can exaggerate the up and downs. We like this a bit up, and then we can always tone them down later once the blocking is all done. That's locked, so we'll keep it a bit like that. Then the back one, we have this leg going back coming up and we're going to have this rotating. We're just getting these poses. Now the other thing we want to do is this one. So this is going to be let's put it around here. All right, so we've got that. Now, the other thing we want to do while we're here, like I said, that's the first pose. Let's go back here. The first pose. Let's look at the we know the back is neutral straight, and there's going to be an angle at the top, so it will come it. Let's go back here. We're always going back and forth checking out. This is going to stay neutral, we'll keep that neutral. And in this, we're going to choose. If I come here, let's bring this channel box here because I like to work a bit like this. We'll go to Y and we know that that leg is reaching out, so we know it's going to be this way. Another thing, as you notice there, his head's moving. Now what we want to do, I should have done this at the start, but if you look here, these controls, just select the head. If you notice you select the head, if you notice here, head follow root. We don't want that. If we want to put down zero, neck follow root, we don't want that. We'll keep the stretch how they are. But now if I do it now, you'll see it won't follow. I'll stay like that. That's why I want to keep it. I don't want it to affect the head. What we'll do here, we'll start rotating out as we can see, so it's leaning. In the front, we can start maybe Z as well. We have to worry about the X too much, a little bit, a little bit forward, not too much. All right, so we just basically get that down then we can exaggerate it later. We've got that all working. Then what I do, I just select everything and I just key everything. Then we go to number three, frame number three, and then let's check out the pose there. That is going to be you got your contact. Then you've got your next pose, which is coming here. So what we see here we go forward, it comes back, so this leg comes back. And this slightly goes up. Sorry, it comes down, comes down slightly. Bring this back. This leg goes up. It's coming back here. Just fold this back. And then here we have This one comes forward, so this is coming forward. We're just posing these out at the moment. This one comes back. Then we'll just key everything there. Then we'll make sure in our graph editor, we're stepped pose for pose. We've got that pose. Let's go to frame one and put the head up, then it comes down. Then the next pose is going to be passing position. So this is starting to come up a bit and the back is starting to go down a bit and this is moving back a bit. This front leg is planting, so we'll just zero out and then put that to what? Zero, so it's hit the floor. This front leg here is going to be going forward, so it's coming here and this is back leg, it's starting to come back. So we've got that pose. Are you with me? Are you following me? Yeah. So we're just doing this now. We're just blocking out the key poses and the breakdowns. Next one, we're going to rotate this. This is going to be reaching out this paw out here. 3. Part 1b: Still going up and then this is coming back. We're moving this back. This is coming up now, the back one, and we are rotating here. We're getting that. We'll just key everything. Make sure we got it on, we got it stepped. Okay. All right. Now, what we're going to do here, we're going to go to the models, and let's go to Geo. I'm going to go to the first frame and duplicate and press Shift P. The reason I press Shift P is to bring it out of the hierarchy, so it's here so that I can delete it and it won't affect anything. So it's out of the hierarchy. I can see easily. Now, what I want to do, basically, I want to take all the keyframes on zero, middle click it to 12. Now, I just want to do the opposite. This front leg, I want to make where the left leg is. Then this left leg, I want to make where the front. I'm just changing it around. I haven't got I haven't got the anim bot. I would have done it easier, I have it at work, but I can't use it here. It's only one license, so I have to do it this way. But yeah, I'm going to lift this up, rotate this and just match. The other thing I need to match is basically I need to rotate this now the opposite way. Why? At one, we know at one, it's going to be the same value. A I do here is just add the minus C, it's going to do it the other way. It's going to reach out that way. Now I can delete I can delete this. Don't need that. It's a reference, right? So we'll key everything there. Make sure that's stepped. Okay, so now we've got a blocking there, right? So I would say here. We'll bring the shoulder up. I mean, we can always do this later, but I just like adding it a bit. Well, actually. We'll add it later. Keep it simple, isn't it? Keep it simple as my teacher will say. He would say, keep it simple, stupid. I'll go right. We've done that. This would have been done really easy all I had to do was copy all these and mirror the poses, but that's fine. But we can do the same thing. To make it quicker, we'll do the same thing like I did last time. You go to the third frame here, duplicate that, unparent it, and then come here, and then I'll be like this pose is going to go here. This one is going to go there. Yeah, same thing. And then, was it gone? I got this. It's going to go and this is going to come forward. You're using the opposite legs, right? Right. Yeah, this one's going to be forward, that's right. And that's going to be back. That's right. The opposite. Okay, we've got that we've got all that working. Or, the other thing I wanted to do I should add a squash squash and stretch, I should add that too. Okay, so now I just uh Okay, so we got that, so we know that one. Now, this one, we want to copy this. Again, duplicate and parent and then come here and we want to do the opposite. So I need to copy this. Copy that today. In this one too copy this. Copy this. Okay. What we'll do? You know what? Let's just do it with the reference. What was it go? Let's get rid of this. Okay, let's do it with the reference. We've got that there. Then the next pose is it's going to go up from there it goes up. One more thing we'll do. Let's select these foot controls and go here to autostretch and put it as one. Okay. We'll keep that as one. Okay, so let's go back to 12. 12 is like that. 15 is up and 15 is up. Yeah, this is fine back here, so we're going in. Okay. This is going back too far. This needs to be, that's fine. We got that, then it goes back. Okay, this is also too far. Wait, sorry. This one still needs to be back here. Yeah, but we need to lift it up then bring it back. B 4. Part 1c: That's fine. Can you bring it back? We got that. And then Let's sort this out this rotation here. Let's leave it like that. We got Y minus minus minus Y, yeah, that's it. Okay, let's leave. Let's just bring this back a bit. All right. Okay, so we've got this. That's fine. And then we have that pose, which is fine. That comes forward. Next one. So the next pose is You're going to hit the floor, right? So this is going to hit the floor. I'll go over the poses after I've done it all, but as you can see, we're just getting these poses in. And then this goes back. This goes down a bit. This goes up. Have a look at the reference here. Yeah. This goes forward. This comes back. And then the next pose the paw goes up, paw comes forward, reaching out. I just reaching out here like this. Torso is going up. It's coming down on here. Backside. But then this leg is coming lifting, going back, and rotating the toe and this leg is going back too. And then we just copy the end pose to the start, let's have a look. All right. Let me just block that all. Okay, let's have a look at this. Now you can see it's a bit higher everything, right? That's fine. We can sort that out. What we're going to do now is we'll go into the graph editor. So if I show you here. Let's look at the chest first, right? If we look at the top view, we can see, right? Now, we need to go back to the reference and have a look at the top view. If you look at the top view here. So if we put that there. All right. Now we're going to follow this top view, we can see here. So the first keyframe, if we go here, we know that rotation is right. Now let's look at the second keyframe. If we look here, the second queue frame, the second one it straightens out a bit. This one's starting to bend, that's what we'll do. We'll come in here. Then we'll always clean this up. If you come here, there's a slight little if I'm looking looking it is slightly straightening. But then you notice the back one is starting to rotate, is starting to rotate. Now, the next one, if we go to the next pose here, the back one is rotating a lot. This is where we need to put that rotation in to show the offset and how it's rotating. That's where you're going to see the front one becomes straight. But if you notice at the start, the back one is straight. But in the breakdown, you got passing position, the front passing position, the back leg, that's what's creating the S. You see this line? That's what's going to start creating that S shape. What we'll do, we can start rotating that and then this becomes straight. You can even zero it out here if you want. And then then we go to the next frame. So if you look at it, this is the importance of reference, right? Next frame, you can see, they're both kind of rotating similar, right? So we can start to Well, we can zero this out because then we can start to rotate a bit more. Same here, just rotate a little bit. Then we can go to the next frame, and it's going to straighten. We come to the next frame, we know that's straight and this one is obviously we've done that here already. You can see it's reaching out because this leg is forward, so you can see that's reaching out too. We got that and then the next frame, the next frame here, we're starting to see this one rotate because this leg is coming, we're starting to see that rotate this way more, and this is kind of coming back. And the next one I'm looking. 5. Part 1d: The next one, the front is straight and then look, it's reaching out the other way, we know that that's reaching out. We could always equal the values later, but this is straightening out, so we can zero this, so it's straight. Then obviously, the next keyframe, they're both slightly same direction. They are both But coming back, but coming back. They're both similar direction. Rotations, but they're coming undo that. Sorry, I mean I meant the next frame, that's it. So we can still have them going that way a little bit. That one is also going that way. We're getting that Oh, bring that back. We're getting, then we can clean that up. We can clean all that up. That's not a problem. So if we come back here, we can see. If we go from here to here, we can see We can see it moving. You see this is rotating a bit more than that one? This one, slightly a bit more before. That's the offset we wanted to get. We've got that. Now if we go to the graph here, if we go to our hips here, we can see in the rotation. So you can see it all here right now. If I just splining that there, you can see. Now, all you have to do is just clean it up a bit. Just make everything a bit even like that. The rotations. Obviously, you can cycle, you're going to cycle that later. You can basically clean all this stuff up later. You have to worry about it now and then go back to step, it'll look a bit more equal there. We got the back working now at the front. If we look at the front, again, here, you can see Here, so if we look here. You can see it's all messed up, so all you're doing is just cleaning this bit up. So if you come in the middle here. That's all we're doing, just cleaning it up a bit. And then we can just brick that out. So we got that happening there, and then if we play it now, you'll get cleaner curves there. The only thing here I would say is, let's see the values. So if we splining that again, all you're looking at is What's that 3.5 square? Yeah, that's fine. So that's fine, right? I would just say match these values. Just match these up and then just have a look now. So you're getting that kind of twist happening in the torso. That's the key thing. I'll just have a look at these values here as well. I think you just want to equal out the values. So let's have a look. That's right. These are all right. That's zero, zero, that's fine. Yeah, that seems all right. That's fine. We can just that plate. We've got that. This is to show you basically got the dynamics down. Now, the other thing you want to do is if you look in the front view, if you look in your passing to this position, the weight is on this leg. Let's stay around here. Now, you just want to make sure that you're leaning that way because the weight is there. And then when you come back, the weight is on this leg. If you look here, the weight is on that leg, yeah. You just want to get that in then to smooth that out, you just come here, and again, you just same as blind that's all you're doing, right? You just trying to break it down like that. So if we splining that there, right? We've got that kind of what's that? 0.0 I want to copy that and just paste it here, make sure it's not minus. And yeah, that's it. You just want to make sure it's all equal, then you can just straighten these out the tangents. But we'll do that later when we have to cycle it more smoothly. But for now, that's just a little habit I do, but good habit, but not important at the moment. If we just do it like that. Then obviously, the other thing you can do is you see the legs here. We basically want these more in. So we have it like that. Then what I'll do, I'll come here and just delete all of this. It's They're always a bit narrow. Okay. And then the same thing with the back one, we put it in a bit there. And again, delete the rest because otherwise it's gonna pop. And, you know, that looks a bit better, right? And even with the back legs, what we'll do? We'll just bring them in a bit. And again, we'll delete. We'll come here and just bring them in a bit. Just meting things up a bit in the blocking. The more you can get sorted out in the blocking, the better. But we've got all that working. This is the main thing with this is the mechanics are working, right? Don't worry about the tail, don't worry about the head or anything like that. The other thing we're not going to do is I think this back is moving too high, let's have a look here. So if you look here, I think it's going too high, right. Again, here, 6. Part 1e: To What's happening? Look at the reference. We've got the reference, we've got to reference. What's happening? At the start, the hips are going up and they're going up. They're going up and they're going up and then they're going down. Actually we could start it a bit lower. Then it's going up, then it starts going down, and then it's going Yeah. Then it's going up down. So it's going up, up, down, down, up, down, down, yes, we go down, and then it's going up again, which it is yet. We go here that's the high point. That's highest down down. Then Okay, so that's the. Yeah, that's it. Then it goes up again, then it's coming down and then down. Okay, that's it. We've got it now. If you have a look at that and then it's going to go back down, then it's going back down to that one. See? That's It's just going up. So if we just for that. Okay, so that's a bit more tone down, right? That's fine. We just want to check out these values. That's fine. And that one. That one in that one. This value. So this one and this And then these middle ones. These are our in betweens here. Recycle that. Okay. Just save this. Don't want to lose it. Always save your work. And then block that out. So if we look now. And we can always we can always refine that later. The other thing we want to do is the front one. Have a look at that up and down as well. Okay. So we've got a down. Then it goes up, then it goes up. So it goes up here. I'm just looking at the reference and it goes up again. So it starts off. How does it start? It starts off down, down, up, up, down down down up up and then down yes doing that. What we need to do, it's the same. That's fine. So what we're going to do, we're going to copy this pose, copy these values. That goes down and then that goes down. Down here. These down values, we're just going to copy so they're equal. Think this is the same. Yeah. Okay. That is the same as this one. Yes. Okay. We can just do a bit of a there, keep a lot of that. We can just flatten these off. To be honest, we can just match these. So we've got a nice match there. Okay, and then we can just block this out. Now, we can tone this down if we want. Well, I think we should tone it down. Just bring these down a bit. I don't know why this is a bit slow. But what we do, we'll just tone it down. So if we look now, you can see. Maybe a little bit higher. We don't want it too too high. If we look now, Let me see this all blind. Sorry. We look now, we've got we've got our mechanics working here, right? We can polish the feet and all that. Little sliding there, we'll do all that. Little things we can do. For example, here, if we go to animation Motion Trail, have a look here, see the spacing, so we don't like the spacing. So here, it could be a bit bring it in the middle here. So you get a bit more. 7. Part 1f: Move there. And then we can go to the next one here. Do the same thing, Motion trail. So, you know, refining in motion trail is like this is, you know, it's good to do. You're just kind of spacing things out, so the cycle is a bit more smoother. Okay. And the check out the back as well. Okay. We're just trying to get the spacing right here. Okay, let's copy this. Come here. Okay, that's fine. Just move that forward. I can have it back copied out to the front. We could move this a bit forward. Get a bit more of a cycle there. Okay. And then lastly, let's get, was it this one? Have a look at this. This seems to be spaced out nice. Yeah. Might be flicking a bit quick there, but we can sort that out. That might be something there and then copy that. Feels a bit better there. So we've got all that. So we're just getting the mechanics working. That's the main thing that we want to do. So it was faffing around there. But the one more thing we need to do, if you look at the back with the front, find out where the weight is on the leg, right? So So the weight is on this leg. So have the and then the middle, the weight is on this side, right? So we just want the hips to move side to side. If we look here, we've got a little I think it's kind of like this. But let's see. Translate. Let's just mirror that and take the minus off. So we've got we're moving side to side. Okay, so you've got your mechanics all working there now. Okay, it feels good to see the S shape is happening. That's how you block out the right mechanics by looking at the reference. We got the reference here. We're looking at all of this and we also important most importantly looking at the top to see how the hips are. So go along with this. And just block it out, make it solid. It is a bit of a process. It's taken, 40 minutes, 45 minutes. We did it we could have gone a bit earlier, but we just faff it around a bit that's animation, back and forth, back and forth. But I have a go. The next video we'll be splining, we'll be refining it a lot more. And when we come to polish, we'll really start bringing the shoulders up and everything. Would probably start. In fact, I would say, let's do it next. We'll do the shoulder stuff next. We'll just see how that is and then splining it, clean it up, and then we'll start adding more stuff. Okay, oh, almost forgot almost forgot the head. So the head basically goes up. The head goes up when the back hips more or less more or less go up. So the head is up there. The third one down this comes down. And then when we get here, it goes back up. Then it goes down. And then we'll just work on that soap we come here. Here's the head. So we'll just start just keep it the same consistency like this. Same as the hips, basically. We could tone that down a bit. Doesn't have to be a too much. That's fine. We can always refine that later. But there you go. All right, guys. I'll see you in the next video. In the meantime. Don't forget to check out Maya Animation Master. There's more of this in there. I teach you how to master fundamentals. Bus once you master that, you can pretty much animate anything you want. So check that out, link in the description. Please share, subscribe. Channel is growing over 6,500 now so slowly, and I will be bringing out more content. Okay, guys, I'll see you in the next video, take 8. SPLINING: 2a: Okay, people, we're going to start splining now. What we'll do? We'll get the graph editor in. All right here. We can see both. All right. So we'll do I normally just select everything and I'll cycle this. Then I'll select the in between and I'll just splining actually splining. We'll fix it up when we get closer. The splining it. All it's too it's not too bad considering we We had keys on every three frames. It's a lot of cleanup, but you can see it's getting a bit smoother there, what we'll do we start working on let's check the hips out first. So we go to the hips and let's have a look. All right. I'll just straighten these out make these a bit more matching. Also bring this back a bit, level it out. To bring this down a bit. This is the rotation. Or really, what we can do, we can just delete these. That would still be all right. Then we'll just match these and really we could delete the middle bit. Actually, we know what we'll keep that in because it's the same value. Now, one thing I did notice is where is it gone? Okay. That's weird. Okay. So what we'll do is what I noticed is so the weight the weight is on this leg. Which means let's put the weight on the let, which means we're going to move the character a bit to the side there. Then in the middle, it's basically going to be opposite that. In the middle, we're going to have it 1.27 Okay. We can delete this and play around with that later. We're getting that side to side because it's taking the weight that is going to be the same rotation as that. We'll get the same rotations now. Here, same same. And the front here, I think we did add a delete those. Z, which one? Z is going forward, right? What leave that do. Then we've got the rotations again. Okay. Yeah, we'll check that. We'll keep that rotations. That's fine. But then here we also have We also have step here. When it comes underneath, there's a weight shift. I would say on that side, then there's a weight shift on this side. Very slight doesn't have to be much Ihelo here. We'll just copy this value, so it's the same value as the one at the top. They're both moving the same. In fact, we bring it down to the square below here. Bring that down. We don't want too much movement. We could always tone that down later, but we look at a front view. The other thing we need to do is Me to bring these in. Me to bring these in. I don't know why. And this one bring this into Hey. Okay. The back legs too. I want to bring these in. I think I did this in the blocking, but I think the file might have corrupted a bit, so I'm just doing them again, which is no problem. No problem. All right. Okay. So we've got the hips and everything. The head we can do at the end. 9. 2b: Let's check out the legs now. There's a little bit of a pause there. These seem to be cycling. There's one here at the front, there's a bit of a pause. S there. First thing we'll do, let's just clean up the curves. We'll come in here, flatten these curves out because they are overshooting. Anything like this is making the character go forward and back the part. If you're okay, if we look at that bit, you'll notice it's going forward them back. Maybe we might even, we don't need that. We could even just bring that down a bit. All right, bring it down, level this. We may Let's see. Yeah, we could even bring that. I reckon we should just bring it down like this. So we'll get more. It's getting there, we're getting those nice curves here to here, there to I mean, it's the same values actually going across, right. So we're just trying to I mean, you could even try you could delete these and delete these and see how that works. Okay. Let's try deleting that. Then we can check out the curves later. We just want to get these translation sorted out here. Next one here, we'll just flatten these all out and see what's happening here. Obviously, this foot is already out. Bring this back. Keep this line a bit more constant. Okay. Flatten this, come here. Now, this one, we could have it a bit more like this. Yeah, that feels a bit better. Okay. And then this back one. We could flatten these out 'cause they're going to be hitting the floor here All right. This, we could just move this out a bit, so that That's right. We could bring this up a bit. So you're getting a bit more of a cycle there? You're cleaning up these then we can do the toes later. But as you can see, there's a nice cycle there, and it's going nicely there, right? We're getting there and then this one, let's just have a look. Was it a ball? No, that. Then this one here we'll check out. We can flatten this as we do. When we get here, maybe these we can make these go up. Bring these up slightly, flatten these and then bring these down slightly. We've got a nice Is a little bit bit of a pull there, isn't it? Near the end. But let's see. I think it might be to do with this. These, yeah. Abcuso. All right. Bring this down a bit. The Okay, we'll work on the spacing there, but I think what we're trying to get like that. I want to make it a bit more. Okay. And now, the other thing we need to start doing is the shoulders, right? So when cat takes the weight, so we're going to do every three frames. Let's just key here so we got our reference points. So when we get here, we know the shoulders are going to start rising and then the passing position. And then it's going to go down again. Keep it there. Maybe forward a bit. Okay. So we're going to do that. What would work. 10. 2c: That y, you can see. And then, you know, we just start refining this as we go about the moment. Kind you can kind of ease it in like this so it comes up there, right? We could start refining that. Just get it in for now. It seems to be going down a bit quick, isn't it, so we could still have it up a bit. Then it comes down. That feels a bit better and we can add And the same with the other bit. We come here. We can start adding this is in the middle, so we know the weight is being taken so we can raise this a bit. It's just frame, every free frame. We got a reference point. Okay. Okay. It's good food. Then it starts coming up and then up then up bring it up there. We really want to make that pop. So let's see. So we'll copy that to the start. So it goes down here, so we'll keep that like that. Then it comes back up. I might even push it up a bit more here. I got to make it a bit more sharp. Push the shoulders up, make it pop a bit. Even here, push this up a bit so we could even push it. Push these all up. We're starting to get a little bit of a feel for shoulders. We can always tone that down. But for now, it's good. Yeah. I'll just stop. There you go. So we cycle that. Okay. Let's give you a little look. How's it feeling? All right, there's a bit of the front legs need a bit of work, and the back polishing, but we're going to polish that with the arcs, but we'll do that. We'll get to that. But it's getting there, It's getting there slowly, slowly. We'll start refining it a bit more as we go. But that's the steps, never looks good at the start and then you have to keep on refining. Animation that's just how it is at the start, it's all a bit blocky. You're trying to get the animations in the timing. We've got it kind of smoothing out a bit, right? Now, this middle bit if you look at this middle bit, what we can do, we can start just creating that shape coming through. We'll just move the start one. It's you've got cleaner lines, so you're getting cleaner lines here. So we'll start doing that for the first frame, we'll copy that to the last frame. And then in the middle 12, we'll just move it back that way, and then we can adjust in the graph editor. We can just bring it down to maybe, one, two, three, four, five squared, so we can bring this down to five. Or you can change the value however you want to do it. Just roughly so we've got that movement happening, little jello movement happening there. We've got something happening there and you can start to see it starting to feel a bit more organic. Now what we'll do for each leg, we're going to check out the arcs, we'll select any leg you want, and we're just going into animation here. Bring the mike a bit closer. We'll create edible trail and we'll have a look at this because we want these to be cycling. You know, that seems to be for me, the front leg here just seems to be coming up too quick, right? It might be to do with the rotations, but let's have a look. So if we look here, so we know here, the legs coming up. So let's take a look at the rotation. I think so. So let's ease that. Let's see if the ease works. Yeah, I still feels quite abrupt to me. So we bring it in. That feels a lot. 11. 2d: Up. Let's have a look at this, see if we can smooth this out. Maybe it goes back here, arcs back first. Spacing there as well. Quick that. Let's see there. Okay, that seems a bit better. But let's get this smoothed out a bit. All right, it's starting to feel a little bit better. All right. All right. Let's see how that looks. No. No, there's something not right there. I think I think the rotation there needs to be more rotation, so I do think that this needs to be rotated a bit. Let me get here. Zero that? Yeah, that's not bad, but I think we just need to sort this out. I need to make this a bit forward, maybe bring it forward a bit. Then it comes back. Maybe bring it forward a bit there. That's a bit better. There's something going on there. Don't like that. Don't like that. Is basically this bit. There's a bit of compression here that I don't like. I don't like it. I don't like it. I think we could lift it up. So maybe Yeah. I think that's what it was. Okay. Yeah, that's much better. We'll polish it a bit more by least. That's working. And now we'll do the back. We got the back here. We'll do the same thing. Great edible motion trail. Have a look. Let's have a look. All right. We'll sort this out, let's see. Okay. Okay, this is cycling. I think this is cycling good. Just think that there is a lot of 12. 2e: Up. Let's have a look at this, see if we can smooth this out. Maybe it goes back here, arcs back first. Spacing there as well. Quick that. Let's see there. Okay, that seems a bit better. But let's get this smoothed out a bit. All right, it's starting to feel a little bit better. All right. All right. Let's see how that looks. No. No, there's something not right there. I think I think the rotation there needs to be more rotation, so I do think that this needs to be rotated a bit. Let me get here. Zero that? Yeah, that's not bad, but I think we just need to sort this out. I need to make this a bit forward, maybe bring it forward a bit. Then it comes back. Maybe bring it forward a bit there. That's a bit better. There's something going on there. Don't like that. Don't like that. Is basically this bit. There's a bit of compression here that I don't like. I don't like it. I don't like it. I think we could lift it up. So maybe Yeah. I think that's what it was. Okay. Yeah, that's much better. We'll polish it a bit more by least. That's working. And now we'll do the back. We got the back here. We'll do the same thing. Great edible motion trail. Have a look. Let's have a look. All right. We'll sort this out, let's see. Okay. Okay, this is cycling. I think this is cycling good. Just think that there is a lot of 13. 2f: Base hair. I think that here we could push push it a bit back. Yeah, we can get even this we look here, there's a overshoot overshoot. That's why that's why there's a That's why it's like it doesn't stay on the floor. But apart, I think that's right. Yeah. The back leg seems to be right, man. The arcs seemed to be right. Then let's check out the next one. Let's look at the arcs here. They seem to be okay. Polish this a bit. Edible motion trail, let's have a look at this. All right, this looks alright. I think coming down is quite sharp. Mm. Whereas on the other one, it's a bit more rounded. Okay, so let's try and get this one looking a bit like that. So he went up. I would say, Hey, we just want to Get the spacing right. Okay. Oh, let's change that. See, that's not right. We need to get rid of this. Mm. No, if there's a limp there, that's not right. Not good. Let's delete I don't like that. Okay, let's get rid of all of this. Sometimes this is what happens in animation, you just got to go back and forth. Mm. That does not feel right. And it has something to do with this axis. Maybe. Do we need. 14. 2g: Okay. Let's check this out. All right. Let's cycle these. Let's see how this is All right. It's a bit of a roll there. So we'll do. There. That's not right. Doesn't look right, man. But Normally, we'll look at the other side and see what's happening here? It's bit constant, then it goes up. This one is on the floor. If we look at the floor, this bit should just be linear, really. That feels a little bit better. Let's get good ideas. Yeah, there's just that bit there. That's not right. We've got to sort this out now. So it's coming up. So this is what we're Okay. The I think we're getting there. We had to overshoot. That's what it was. So if we delete these there. I think M 15. 2h: That's better. So we just have to overshoot below here. So overshoot, I mean, we had to make this go back a bit. So that's feeling a lot better. We'll try and tone it down as well. So at the moment, let's see. Okay, we're cleaning it up. We're getting. It's getting there, right? We're getting there. Still a long way to go. But let's do a little play bass and have a look. There's a bit of a pop there. Yeah. Yeah, a bit robotic at the moment, but we will check this side out. That's looking a bit. Yeah, that back legs looking much better than still a long way to go. Don't like that pop. This one, don't like that at all. It's got nothing to do with the rotation, so that's good. It's just think is this. Or let's have a look. That seems fine. No, I don't like I don't like this bit. Okay, that's better. I've deleted that. That's a bit smoother. So what we'll do? We'll have a look at the arc here. What we'll do here? To go. That's fine. We've got a constant. That's a constant, right? So we'll do that as a constant. We'll leave that how it was because that was cycling, all right. 16. 2i: That's better. So we just have to overshoot below here. So overshoot, I mean, we had to make this go back a bit. So that's feeling a lot better. We'll try and tone it down as well. So at the moment, let's see. Okay, we're cleaning it up. We're getting. It's getting there, right? We're getting there. Still a long way to go. But let's do a little play bass and have a look. There's a bit of a pop there. Yeah. Yeah, a bit robotic at the moment, but we will check this side out. That's looking a bit. Yeah, that back legs looking much better than still a long way to go. Don't like that pop. This one, don't like that at all. It's got nothing to do with the rotation, so that's good. It's just think is this. Or let's have a look. That seems fine. No, I don't like I don't like this bit. Okay, that's better. I've deleted that. That's a bit smoother. So what we'll do? We'll have a look at the arc here. What we'll do here? To go. That's fine. We've got a constant. That's a constant, right? So we'll do that as a constant. We'll leave that how it was because that was cycling, all right. 17. 2j: All right, let's have a look at the other one. Sorry, I'm just going back to the other leg. Having a look here. I think here what we can do. Let's try and add say if we add an overshoot, we can add an overshoot like this, right? By breaking the tangents, let's have a look how this is. Yeah. You see? So much better, then we can do add a key. Let's add a key there. Then right. We add a key there. We added the key there and then here we can try and do the same thing. We're adding an overshoot and this might be a bit flatter. You get more nice curves like that. What we'll do, let's have a look at this again. We could add an overshoot here there so we could I had a bit of an overse if we look at this. Yeah. Then this one too, we have a Let's go to overshoot. This one has an overshoot already, but we could try and add a bit more like this. Keep this linear. There's a bit of overshoot. Okay, so we've got that. All right. I don't like this. I hate this. Was this. I hate this. 18. 2k: And See, I think here we could have it overshooting. I think that's better. Yeah, that's a bit smoother. Okay. I don't like that. It's too much overshoot. I mean, not enough, sorry. Let's see how this is. Yeah, that's better. Okay. So if we look at this, Okay. Now, what we can do is come here and start. Start rotating these. Passing position passing positions here. And we'll do. We'll just bring it up higher. Breach it out a bit. Alright. Here, there's an overshoot, so we might want to just bring that down. We might have we could ease that in. Yeah. We ease that one in. So what I did, I just eased this one in and made this one sharper so it doesn't overshoot intricacy. This I think is right because it comes here and it's not overshooting, so that's fine. Okay. All right. Okay, let's see how this looks on the side. Okay, starting to cycle a bit. The other thing we can do is smooth recycling. What's this? Okay, so what we'll do in the next one we'll start polishing Let's have a look at this background. I quite happy with that. Yeah, I need to delete these. I think this is rotating too much. That's what's happening is catching the eye. Yeah, that's better. Okay. All right, so that's the splining we'll do for now. Okay, that's all working, the mechanics. And in the next video, we're going to really start getting it together, polish these little bits and the feet as well, the claws and everything. So that's the splining stage done, and we'll move over and we'll start doing polishing a bit more. 19. SPLINING PLUS: 3a: People. What I've done, this leg was popping a bit. It's a bit more smoother now. What I did, I just cleaned it up, make your curves look like this, and you should be all right. You just want to get a nice curvse this one looks smoother, the leg. That's what I was just working on just trying to get that lift up smoother. Yeah. Now what we'll do now, we'll start working on making the legs come in a bit as they come around, they're arcing in slightly and we'll do that by checking the arcs. I'll delete this. What we'll do? For example, we'll get this. I've just cleaned those up. Now it's just going to be a lot of going back and trying to refine. This is how it is with animation. Look at the back legs. They seem to be cycling all right, normally what I do. Have a look. Sometimes a play blast helps as well. But we'll start making this cycle a bit more. Yeah, that cycle seems a bit the mechanics seem good there. That looks good, we can start refining what we'll do now, like I was saying. If I do put this up a bit, that's it. Right. So we've got that, but as you can see in the front, it's just straight, right? So we want it to come. The cats comes in, so we want to do it like that. What we'll do, we'll go in the front view here and the side one, as the cat excuse me. So as the cat is in the air here, the foot, we could have it come out, and then we go to the next one, have it come out, and then the next one comes in. Then even here, we could have it a bit more in the center, then we middle click that back to the start so the front and last polls are the same. But you can see, we see how's sliding there. Now, what that is is the red. If you look here, see? All the time the foot is on the floor until it comes so what want to do here. We just want to put the same value here as the foot comes up there, it's flat. It's not going to move. If we look now, stays in one place and then it's moving. Then it's going we could even keyframe here and then start moving this down, easing. Basically, the foot starts easing in, it's easing into the next. We could even push it down even more. Get that. Let's have a look at that. Yeah. Then we'll add a bit more with the claws shaking that will add a lot more. If you look at the top, in the top view, you can really see that's the floor. Then it comes out here. And then back in. We'll start creating these. You can play around with the positioning however you want. For now, we'll do it. By the end when we start approaching it, we probably do on every frame to get it really polished. And then what I'll do, I'll do the same on the other side, we delete that and get the visualized tool as well there and just do the same thing. Remember. If it comes out, right? Let's see, two, two, two. That's the contact. There are contacts there, and that's going to be the X as well. I we're okay, same thing, X. Let me just key here. And then we want. 20. 3b: To be the same. Let's just copy that's the same, then we copy that last pose to the start because obviously it's going to be the same? But now you see that's too much happening there. So we'll just ease that in play around. Kind smooth that out. We come in. We could even bring that in a bit. And you're just there. Yeah, that looks better, isn't it? Yeah. Bit more closer. Okay, then what we'll do? Let's go back to the other one. You know what, man? Let's try and delete these two, and let's see how it looks. Yeah. And even that. Because essentially, that's what you're doing on both sides, just getting the side to side happening. That looks fine. All right. And we can refine it as we go. All right. And then we can do the same. Do the same for the back. So if we go to the back one, let's have a look at this. So we know as it comes up, we could even have it come out a bit. Have a look at the and then key that at the end. Okay. I just have a look, see where in the middle. That's fine. We can keep it like that. We know. You see how it's curling on the floor. We want that we basically want that all the way to here, here to be zero. Come here, we'll come here. We just need to flatten. Take this off this. So we want to key frame here and basically move that up. So it's flat. Yeah, so it's flat, and then it comes up. And when it hits the floor here, again, key frame and bring that up. It's hit. Okay. Because in the air is when it's curling, but then it's flat. We got that happening. The same on the other side we'll do? We'll delete this, come to the other side. Again, motion we create edible motion as your best friend and um do the same thing. So it's in the air there, so we might want it to just come out a bit. Well, it's a key and a key at the end. There's no key on her and then key at the end and in the middle. Alright so when that lands, So there, this way is going to be out a bit, right? Yeah. And then when it lands, which is there, we want that to be constant. So basically, from there, let me just key the start and finish here so when you land there, keyframe 21. 3c: Que frame. But the land is going to be I guess in a bit. There you go. Then from there to there, we'll have it the same. We'll just put a queue frame, copy this and then queue frame here, and then flatten these out so the tangents match there. All right, so it's a little bit of curvature, and then we can always refine that as we go. So I just delete that key. Yeah, we can work with that. All right. I'm just thinking about I mean, we can do this at the end, but just thinking here, we could bring the pvector out. Just slightly. And the end is going in, so we can just bring them out a bit. Copy and paste that there. I mean, to be honest, you can do this at the end. I just saw it now. I thought I'd do it. All right. The main things here is the shoulders, when the leg is straightening here, you're getting this shoulder bit going up, because it's taking the weight. But yeah, we can sort that out. We've got that happening. What's this? I guess here, the only thing here is in the front. You just want to bring it in. Yeah, right. So you want to just this one too, so we look at the front. And the end, and then let's see how it is here. This one looks alright, Mum. This one doesn't look too bad. Yeah, so here, that's fine. Even here, we'll just bring this in a bit. Then what we notice with the head is it moves similar to Similar to it's in sync with the back. If the back, let's have a look at the back. Well, we got her y, right? So I'll just keep it in sync with the white What we can try is we can copy this. If we copy this and then go to the front control and I have already done that look. Splining this. So we have it already. We have a movement already in there, right? Maybe we can get a rotation in like that as well. Let's check out the There's a little bit of movement happening there, what you can do while it's playing to scale it. You see, and then you can scale really exaggerate it so you can tone it down, then always exaggerate and then bring it down and same with the translation. Always exaggerate. And bring it down. I think there's also a Z, isn't it? Yes. What we can do, we can play around with the Z axis so it could go forward slightly as well, like that. Obviously we don't want too much, but if we play it, So if we look at that now, it's something to work with. Right? I think we should tone that down a bit, let's see. Yeah, that's fine. And then what we can do. We just tone that Yeah. Maybe the rotation we could make a bit more. Bring that down a bit. Yeah, I think this is cool. Something like around here. 22. 3d: Then this insight, I don't know what's happening here, we'll do actually. Let's take the rotations off. Let's put it in here. It's keyframe there, go to rotations and put it at zero and paste and then just cycle this. Let's check this out. Might be more. Oh no, that's fine. Yeah. That's basically for rotations, the control inside, translations for outside because you can't translate or you can translate, sorry. Okay, so the head is starting to feel I mean, it might be a bit but I think that looks nice. I don't feel that's too bad. So we can work on that. Then if we look, let's look at the front again, right? Let's we can see that we want to make sure that this is over there like that, and then we can just copy that. You know what? Let's make it five. It's a nice brown number, isn't it five? And then make that five. G's have a look. Yeah. Because that one's crossing over like that. Okay. Alright. I'm just thinking the back. We look at the back legs. Alright. You know what? You know what? Let's try and bring these in as well, because I think we can bring these legs in a little bit. Not that. It just using the red X actually, I'll do five on these 55 is an even number? Let's see. Yeah. Down here, and then we'll put that in the middle to like that. And we'll bring that down to minus minus five. All right. But I think here we'll move this here so it does it earlier. Then we can sort these backbits out with the pol vectors here, we can start playing around with the Pol vectors, but that's when we polish it. But for now, I just think that little curve adds a bit of difference. Makes it look a bit more natural. Then now what we can do now we've refined that a bit, we're at, we get the cycle a bit smoother and we'll start adding some real animations to the toes, the kind of polishing it, spring, getting that spring going. So we'll work on that, refine that. All right, so we'll do that in the next video. I'm putting this out bit by bit. But in the next few weeks, we'll do I'll do a whole compilation of it together, right. So we've kind of got that working, how we want. And, you know, the mechanics are working, right? We might straighten these legs a bit more. Just get that all working properly. All right, guys, that's it for now. And look out next week. There'll be a bit more polish happening and stuff. So I get it, we'll get it looking like demo real ready, kind of like to just show a nice vanilla quadwak. Okay, guys, I'll see you in the next video. 23. POLISHING: 4a: Okay, guys, so what I've done, I've selected the make sure your curves here are like this, like spaced out below evenly. I've got a nice cycle there now. The legs, right? So we've got that happening. And now what we'll do? What we'll do? We'll, I noticed like coming up as the character comes up, let's start adding some sideways rotations, right? Like this. There's a bit of a spread there, right? Did I put some spread on there? Let me check. Yeah, by accident, I got your spread on there. But let's just we'll do the spread, but we'll do that later. We just want to make sure we got that nice little angle going like that, right? As it comes up. Okay, so even here, we can start rotating. Up that then. And then we can have a bit of a spread. And when it lands. Let me see when it lands. Let's look at the reference. There's a spread when they land, right? So we'll keep it in. Then there's a spread, right? Then we'll copy that to the start. So I'll just key that. But then the next one, we want it to be a bit in because we want the spread want it to spread when it lands. Then we'll copy that to the end. Then maybe it goes in a little the So let's check out the reference. All right. That's fine. We've got this bread. I would say here is the same as 21, 2.93, we could do three actually three and make this three minus three minus three. Actually, let's make the first and last minus three. The mirror this bit should be zero. Got that wrong, so be zero. What's this display? All right. Well, we've got a bit. So you've got a bit of that volume happening now, right? Squash and stretch. All right, let's check this display out. What's the display? Come here. Where is that? Maybe we'll just play with this a bit. Yeah, that's adding a bit of cushion, too, isn't it? So can you build that display in too? That's a nice little touch there, man? I never saw that do. Is that looking like a psycho from there? It's getting there, isn't it? It's getting there, right? And let's do the same. I got Anim bought at work, but I don't have it there. I could have easily copied that all over, but never mind. But what we can do is let's check out the spread spread on display, right? Let me try and copy this over. The spread might copy, let's do this. 24. 4b: Right. I'm going to do, I'm just going to copy Control C, copy, go to the next one, go to spread. Delete all the keys. Make sure I'm at one and paste it in there. Let's have a look. The only thing with this is the spread starts. That curve starts around here, You know what? We'll get it, mat. We'll do it by key. We key we doing? We'll just curl it in a bit. That's fine. And now, what we'll do? I got to spread. So the spread here is zero. When it lands, we'll do minus three like we did with the other one. Now we want to hold that. We want to hold that spread all the way to the end. So we'll go to spread and make sure, yes, it's all the way the same to the end, right? Let's kind of smooth these out a bit. This was the rotation, so we'll move that slightly. All right. So let's have a look. The only thing here now is that's zero. The spread here is zero. That's 02, and then it goes up. That's fine. But also, we want to do display. We come here. No, that's fine. Display. All right. So you're getting a bit of that volume now, right? I want to make this small, yeah. I want to make that smaller. Yeah, we want it to be small, then it lands, then it gets flat. That's what we want. We want that volume, maybe a little bit want it flat and then a little bit going in. And then copy and paste the last pose and the first pose. That is the same. We got a bit of that cushion. Now I might have I added it? Squashing, then it goes in a bit. You want a bit of that you might add it to this one too. So when it lands as it comes back. Yeah, there is a little bit of a pull. That's fine. Okay. Later on, we'll do because you've got Individual controls, we can add a bit of cushioning there as well and offset them. What we'll do with the back, save the work, always save your work, and what we'll do at the end. We'll do the same thing with the end ones. You got to spread on there as well. Same thing here. We'll come here. So it's on the floor, we already give it a minus free spread, then what we'll do? That spread will go all the way to there, we'll key that. When we come up here, we can zero the spread, and that will go all the way to 15. We'll key here, zero, zero, that, zero that I'm just zeroing it in the graph editor. Zero that out. When you land, you could even key here before and then be like, Alright, spread Wait, minus three. That was minus three, minus three, zero this. That's zero. So let's see. 25. 4c: To Yeah, there is a spread there, but it's not really that Is it noticeable? Minus eight. Okay, let's do minus eight. Minus eight, copy that to the start because we want it to be the same. There's a bit more volume on there. Yeah. You can see the spread there. All that's fine. So those back ones are cycling pretty well, isn't it? Just a bit of a let's what's this? Let's sort this out. There's just back cycle doesn't seem as clean if we ever look. I just think there's a No, let's have a look. Something don't seem right there, man. Let's see. Maybe I need to make the Y go up a bit. No, it stays down. All right. Let me try some. Maybe we make the Y shoot up. That's too much, man. All right, let's ease it. Mm. Okay. So this bits pretty quick going up like that. It's pretty quick, what we'll do. Let's check the other one out, see what that's like. Sometimes you have to see there's a little bit of, that's a bit. That's why. The circles a bit different, isn't it? There's another queue frame there. I think I think this. We need that around here. Yeah, that feels better. And that has right. There's a bit more keys there. So what that is, I reckon. So that distance there we could close that a bit. Good. All right. That's fine. And then what we'll do? Let's check this one out again. Okay, so I'll think here. All right, let's clean this up a bit. Let's just get this linear. 26. 4d: So All right. I don't like how that is because it's Well, let's go back, Let's try and get this. I think we can delete. Ooh, pen there. Okay, that's the first one. I think we can make this go forward a bit. That feels better. All right. That feels a bit better. What we'll do here, we need to put the spread here. Here was Q frame zero, then the spread, which will be minus eight all the way to the end to the So we'll do that. Yeah, you got this spread. Okay, awesome. Now what we'll do, you can come in and start polishing. For example, where these rotations are happening now. We can be like. Keep it up on the line. Yeah. So we have got that and we can do the same on the others. So we can go one by one, one frame by one, make so it's not intersecting the floor. I will give a good kind of groundiness feeling. Then the front seems fine. This is a, that's rotating. I would say with this one when it lands, we need to just make the spread, go to zero, not spread all the way. Put that to zero. So it doesn't that's better. Okay. That's cool. All right, ma'am, we've got those working a bit of cushion there. See what we can do now is we also got these controls, right? So these So what we can do with these. We can key here. But this is more like when we come here, we key here. When you land, 27. 4e: We could just move them a bit. And then then we can play around with that, bring it down a bit. So maybe move this a bit, so there's a bit of a see there's a bit of a jiggle there, right? But what we can do here, Then what you can do is we've got that key on all of these. If we cycle it, we can go to the second one and move that one frame and move this one too. It's a bit of an offset. See, there's a bit of an offset. Jiggle, a bit of a jiggle. Then we can do that with the other one. If we come here, if we come here, we can do the same here, so we key, then here as well and then copy that first key to second and then come in here and just cycle everything. Again, just pick the second one, leave the first one, take the second, offset both of them w one, and then the second one, offset the last one by one. You offset by two. Then if we have a look. Yeah, we've got a bit of a dish is shaking a bit because let's go to the first frame, put it to the last. We want to take the first frame. There. You got a little bit of a Something there that wouldn't be there otherwise, little movement. You can tone that down very slightly. Just go to match these end poses up on these because I've cycled them. There. Yeah, if you can always spread this a bit more fast. A little fine tuning you can do right? You can bring these middle ones. I just creates something. An extra secondary motion, if you like, you can tone these down to bring that down, tone them down. Okay, so you can do that. Just create that on the other side and you can do the same for that. And then let's have a look at so let's start having a look here because we want we kind of want So, that's fine. The shoulder should be coming up like that, right? So we could have this going forward a bit. Let's see how that looks because it is reaching. 28. 4f: Okay, that's cool. Let's select this tool at the front. We have a look at this. Okay. Let's see. Let's see here. All right. So what is bothering me a bit is this shape. I'm just thinking when we come here. I wanted to just straighten that out. Okay. I just rotate that so it straightens it because you see here, it straightens it there, I'm just straightening that, put one keyframe here and I just made it go back to normal again because I just felt like it looks much straighter Shoulders working fine as well. Opposite that's fine. The same thing here, So let's get rid of that, and let's have a look here, too. So we key at the start, then we key at the end. Let's have a look. Where am I not happy with that shape? Is it here? Let's see that. A anywhere else here? Is it right? I think that's alright. Yeah, that seems right. No, that's fine, yeah. And I would say, Hey, you just need to bring it. A bit hierarchy. Yeah, you can see this peeking at the right. Just thinking is it too much? Think it might be too much. Could even bring it down slightly. Bing the stone of it. Yeah, that's fine. All right. So we've got that. The other thing we need to do is the back here, we've got this. But these controls are very much Let's have a look. Because we want this to rise as well. So we want to do what's this one? This one here. Yeah, that's it. We want So this key here, when this leg is coming up, this is going up. So why don't we get both of these and move them up slightly. Okay. But when they're coming down, it's cute. Actually, let's delete that because I know what we'll do. Instead of that, instead of that, what we'll do? 29. 4g: We'll just make the hips go up a bit, a little bit more. What we'll do we select these, zero this out, this control out. That's fine. Because the legs are cycling fine. We don't want to mess that up, you see. I already did the up and down. Let's just do a little bit. Yeah, add a little bit up and down. We don't have to mess with that too much. We've got that working. The feet seem fine. The only thing we'll do, excuse me. This pol vector is at the end here is let's see this pol vector at the end. We just need it to stick out a bit. I want to make sure when we get in the middle, it's just out a little bit. We don't want it to be Perfect. All right. Same here. Come here. Slightly out a bit. So it's following the toe. Yeah, that's fine. Then we get here, it's slightly out. I want to follow the toe, not two out though. All right, that's working fine there. The head seems right. Let's check out the head. Head's fine. What we can do? With the head. I could even try and see if you wanted to rotate it a bit more. Select everything and scale it up. We can come here. We can be like, Well looks good, man. Should we scale it down a bit? Is that subtle? Is that too much? I think that's all right. Let's just tone it down a little. That's fine. Let's leave it at that. Then what we can do is then after this, we've got the mechanics working. Mechanics seem to be working good. I'm just trying to think of these controls. I didn't use these in the other one. I'm just thinking, would it be good to use it just to add a bit of volume? Let's see if we key here, key here. Yeah, I don't think we need them. You could add them for other stuff. I think I think we are right with these, man. And let me see. Sometimes I do a play blast just to check. This front leg, left, right leg. I just think it keeps pausing. I don't like that. It's not cycling smovly. Let me see this one. Yeah, you see, this one is That one is that one doesn't feel feel like there's a pause there. I don't like that. I don't like that. I think it's because of this, it's not linear and here too. I'm just thinking this needs to be linear. 30. 4h: So Yeah. I don't seem right about that. Let's see. Yeah, I don't like that. Let's go back. Okay, so I reckon we can straighten this out a bit. Let's see. This is what it is in animation, man. You got to keep going back and forth. Yeah, see, there's a little stop there. Let's see what is that? Dan, what is that? What is that? Something don't look right there. Ls. Alright. Let's see. I try and fix this. I'm just trying to polish. All I'm doing is trying to polish this at the moment, so I'm just You know, is it the spacing? Is it the spacing? All right. Let's see that. Yeah, yeah, that looks better. That looks much better. See, it doesn't look like it's poison. Yeah, I think the other side just needs The height bit needs to be higher. I think that will do it. Sorry, excuse me, yeah, that's fine. Just look in here. Let me see this. All right. So there's a little bit of a pull. 31. 4i: Okay, that's fine. I just want to rotate. So when this is up, I'm trying to I'm trying to make this and this is parallel, right? And then when we come down when it lands, there's a bit of a cushion there. And then here, I'll just probably copy this pose around here. So it's the same as this one, holding there. Yeah, that's fine. Okay, that's fine. Then the next video we'll do. We'll leave that for here now. Next video. That was a bit of fine tune. I guess there's a video you could go through and just look at how I refine it. I'm just trying to get the cycles clean, you know, that takes sometimes has to do with spacing and timing, right, guys. So I'll see you in the next video that will start working on the fun stuff like the s and the tail. I'll show you a quick way of animating the tail so that you don't have to you can see the secondary action and everything working quickly. All right, guys. I'll see you in the next video. 32. ANIMATING THE EARS AND TAIL: 5a: All right guys, we've got the mechanics working. We're getting that walking, it's feeling good and what we'll do. Is there, we can put that at the end. What we'll do? We'll just key this control here. So this foot is forward. So let's key it here and let's go in the middle and key it back that way. Yeah, so we've got a little bit of a movement happening in the neck. And then maybe a bit more that way. Yeah. So at least there's something happening in the neck, there's movement there in that is connected. I would have to rotate. That's fine. Actually, you know what? That legs coming forward, we rotate that way in the middle, let's rotate, let's minus it Rotate Z. Oh, sorry, 15. That's what way to rotate. Copy that, go in the middle and do -15 here. So you can see there's a bit of a there's a rotation happening there. And then we can just cycle that. All right, so now, what we're going to do, here's a quick way of doing the ears, right? So if we look at I think that's the bottom one. Yeah. All right, what we'll do? We'll leave the ears up like this. No, D. Oop, sorry. Let me see. We've got a All right, so let's check this out, right? So we come here. Let's leave. Let's put the ears. Have a control down then, That's fine. Let's move this ear back like this, right? Let's copy that to the other side. Is it the same? No, it's not the same. All right. Normally, when we put it in this side, we can kind of match the control so it's similar or similar. There. Okay. All right. So what we'll do we'll key this. And I'll key at the end and we come to 12. And then was it as D. Let me see the head. The head rotation goes like this. What I do, I copy this say let's go here and we want what axis do we want? That rotates. Which one is rotating? I would say this one's going forward. That's Y. I'll go into Y, delete the end and just paste that cycle it let's see how that looks. Now what I'll do, I'll just start exaggerating this. So you're getting a bit of movement there if you want, you can make it a bit less. Don't have to make it move that much. Now what you do is you copy that, we'll copy that. And then I'll come here like this, put a key on one and then go to all of the Y rotations and paste it in. Cycle it and you'll see it moving like that. Then what you do is you go to this one A, just move that by one. Then the next one move that by two, and the next one move up by three, one, two, three, and the next one move that by 33. 5b: Four. One, two, three, four. Before you know it, you've got a little secondary motion there. If you want to play around that with a bit more, all you do, you can select all of these, and then you can start playing and then maybe start moving. Move at all of them together, and then even you can start just moving it up a bit, see if you want. Down here, if you want a bit more flap or another thing you can do is just select them all in scale. No, that don't work. But you can do it like that and then you can come in and be like, maybe I want the top. Maybe I'll have the top three. And then maybe I want this one a bit more, and maybe I want the third one a little bit more. Right? Just to create a bit of movement. Make it feel alive or you can just bring them all back and just have it have it normal offset the same on the other side. So what you do? You go to the other side. It's the same thing. I would select all of these and just key the first bit. Again, select all the wise rotation wise and paste but and you'll see, you'll see it all starts of the same position. You've cycled it, and then all you're doing exactly the same thing, you're just selecting the next one and you're just moving it in. Select the next one, move it in by two, one, two, next one, one, two, three, and the next one, one, two, three, four. That's just a quick way to just get something in so you can quickly review it, right? S. And if you really want to make it a bit more natural, I tend to what I do is I tend to select one of them, could be anyone, select them all, go in the graph editor and play it and just have one offset maybe two frames. So it's not happening at the same time. So that really just makes it look a bit more natural. I will do that. And you've then you can always tone it down if it's too much. So what we can do we can select all of these. And you can just bring it down a bit if you want, bring the controls down. But the other ones are the same as well, I think. That's the same, yeah. Yeah, it's the same. All right. That's fine. So you've got I think this was offset a bit more, so we just do one. You do that a little bit more and offset that by one and that by one? Yeah. Okay, just to get a bit of movement there, let's offset that, bring that back. I think that's too much, man. There's too much going on there. Let's bring that down and bring this down. Let's bring it now. So if it's too much, just tone it down. There. That's better. Yeah, so you got to be a movement there, so it makes it look a bit alive, and then 34. 5c: Now the next one is the tail. Let me save this file. This is what I want to teach you. This is one axis at a time. Let's take this tail for example. All right, so it's moving. What we'll do, we'll start this off where it's bent and then it starts going up like that, yeah. So let's start it like that, right? Yeah, so it's down. That'll be right. So that's going to be our starting position. So let's get all of these, and let's key it. Now, if we look at the first thing here, first axis, let's do the Y, side to side. All you're doing the hips is driving that movement, the tail. If you look at the hips, you just want to get that rotation in the Y. If we come into Y, that's all you want. You copy that and what I'll do, same thing as it is, select all of the controls for the tail, key which is already keyed, go to all the rotate Ys so there should be five of them there. Make sure you're at zero and just paste and make sure you cycle it. And you already can see, right? There's a swing, there's copying. But also, what we want to do is if we look at the hips, et's check this out. All right, you know what? As the leg comes up, don't forget we didn't add the rotation of the bum coming in. So as it comes up, as it comes up, then middle click that to the end. Then what we want to do we want to delete this middle one. No, wait, delete this Actually, zero this out. As there's a high point, the tail goes up. What we'll do we key and then the tail goes up. Tail goes up. Tail goes up. So the passing position, so let's zero this all out. Let's get this all zeroed out there. This is the passing position, the leg here, there's going to be a little rotation going up. Then on the front leg glands, it's going to go up. It's going to stay up, right? And here it goes down. So passing position, then down. Passing position down. So it's going to go down here, right? So it's going to be similar like this. You're going to have this kind of a movement. 35. 5d: Because every time there's a parting son is higher. So maybe we can bring that down here, right? So you got that rotation happening? That's fine. I just wanted to add that. Okay, now, with the tail, we've got that movement happening, right? Now, All right. So we also need to put z axis, I forgot about. I was going to do that. But basically the leg leading that takes the weight, it's gonna rotate towards it, right? So it's going towards it, right? So that's the one that's that's the one that's landing, so it's going to go towards that way. Okay. And then So let me copy the first difference. So it's going to be like So it's landing and then landing, right? So it's going to go that way. Okay. So that is what's that minus six and six. So it's very subtle, but you see it. In some animals you see it, but I will always put it in. So you'll get in that kind of rotation. Now what I was the reason I did that is because now we've got that copy that. And one to three. Was it disateT is going to be the z rotation, right? So we've got that, that that. And then what you're doing, we can delete the end and just come to the front and paste. All right. And now, if we have a look. Alright, you've got that rotation right happening. Okay. Now, that might be too much, so you just reduce it here like that. But you see you're getting that. Now what you do is you get the front the first tail, offset it by one. Get the second tail, offset by one, two, get the third one, offset it by one, two, three, fourth one, one, two, three, four, and then the last one. One, two, three, 45. And if we play now, you see, you've got a little bit of leading from the hips. And now, what you can do, you can start playing around. So if you come in here, so you could be like, right. I want this third one to be a bit more exaggerated, so you could move this like this a bit more, you can select the next three here and you could be like, right, let it play and let it play and let me move this two fims more, and you start to see a sway, right? You could be like, all right, let me unselect Let me select these last two. Play it, and let me move them a bit more, offset them more. Then the last one, you might be, right, I'm going to offset that a bit more. So you want to start getting a bit of a sway. There. You see? Then you can start maybe moving this one or more. There. All right, so you're getting that kind of secondary motion, right? If you want to drag it a bit more, you can. You can get this, and you could even exaggerate the animation on it. See how it looks. Even more. Right? There's a rotation happening. And then maybe in the z, you might add a bit more rotation. You'd be like, Alright, let me add 36. 5e: Yeah, you're getting more sweet and then we should have done it for this one, too. Let's play it and let's see how this looks. If we put more Si's moving around a bit more like that, and then we do the same here. Play that and then we could be like, there you go and you're getting it and you could even exaggerate bit more here as well. Okay, and then just something there, you know? Just something there just to just to play off. But yeah, there's a bit of a movement there happening. So what we can do, we can start play blast we can play blast this, have a little look. See how it looks? Yeah, so you've got a little work cycle there that you can kind of edit and make it. We know all the mechanics are working right on there, you know. That's the main thing. Then you can start refining even more. And then what we can do is we can come here to the settings and go face rig and start playing around with the face rig more, you know? I don't know what's happening. What's this? The mid controls, neck? That's all the neck follow stuff. That's fine. But yeah, so that I mean, we'll start we'll do next, we'll do the face, get that all detailed up. And then we can polish a little bit more and we call this one done. This is more to do with research, reference, and getting the mechanics right. That's the main thing, getting the mechanics right for the Because once that's right, you can keep polishing the rest. If it doesn't look right, hips aren't right, offset, then you may as well not polish Eva. You need to get the foundation animation, get the fundamentals right first. Then you can start doing the fun stuff like the tail, the ears, the face. Until next time, I'll see you in the next video, guys. We'll do the face next and then we'll call this one done. We'll do the run next as well, using this. But yeah. I'll see you in on these quad series. I'll see in the next video. 37. FACIAL ANIMATION: 6a: Guys, what we'll do now. Remember, select your rig, here, the face, this option here at the back, the face, and go to face rig visible. Then you'll get these extra faces on it. Now, what we'll do? What we'll do we'll grab all of these. These are the whiskers, let me turn this off because this keeps coming on. Not good. Let's get these Okay. And then the last one, and key, the start key at the end. What we'll do, we'll just add a rotation subtle one to this going like this. If you look, actually what we'll do. When it steps, then we'll go down and then in the middle, we'll go back up and we'll copy that over to 15. Every time there's a step it's going like this. Now what we'll do, we'll just soften it slightly. We'll move these couple of frames. Okay. And even we look here, you can move these up a bit. It doesn't have to be too much, right? That's fine. Something like that. Very subtle. And then to cycle this, go to the next three. Move that by one, go to the next three. And move that by two, one, two. You got a bit of an offset. Then if you leave the top one, get the bottom one, offset that by one, select all of them, and go to the right at the bottom and offset that by one, two. The first one happen, then the second and third, you'll get that kind bounciness and just do the same on the upside. We go to outside. We'll get these. This is just a very quick way of you to add some secondary motion very quickly. Okay. So if we select this, right. And then let's go to the middle, keep the middle the same. So when you land, we know when we land, we go down and just copy that to 17, right? Same. And then what you'll do we just bring this up a bit. Keep it the same. I think it was around that much, right? And then, same thing. Get the second ones on all of them. Offset that by one, make sure you cycle it, and then the next, offset that by one, two, Again, you've got that. Then all you do is you leave the front one, leave the top one, get all of them and overall, make sure you cycle them, move it by one, and the last one make sure it's all cycled. Move it by two, one, two. There you go. If you really want to make it a bit more asymmetrical, then what you do is keep the bottom one selected, select the top two. And the middle, all of them. The bottom is already selected. Then you can just move it by one and you'll see it'll happen. If you delay a bit more you see that one's happening way after and that's happening bifore. I'll just do it a little bit to keep it subtle like that. That just creates a bit of symmetry because you don't want sometimes it's good to have it asymmetrical, sorry, not symmetry, asymmetrical. You know what? Maybe here, we might we could even have it open slightly. Do that same kefine in the middle contact and the end. As the whiskers, when we go to five, we could have a subtle rotation like that and add that to 17. It's just a bit of a breathing happening. You can leave that makes it look a bit more alive. Then if we look at these controls here, same thing we do, we'll select all of these controls. And even that one there. Yeah, so what we can do, we can put key frames in the contact and lost and go to five. The reason I go to five is because there's a step in the back. So I'll go down with it, and I'll copy that 215. 38. 6b: Here you can see there's a bit of a movement happening in the face there. Then you can just cycle that. Then I guess what you could do is you could come to the outside ones here, the outside cheeks, and you could be like, Okay, let me just offset these by one because I want the front ones to go down first, then the second. And then you'll get a bit more of a breakup in that. Same thing with the eyebrows. All you have to do is create a little bit of movement, not too much. A key frame, contact keyframe keyframe, you could be like, all right, the head goes down, the eyebrows go down a bit and put that in. It just fleshes out the skin a little bit, then you here, you see you already got one here. There's a bit of movement there and you could just maybe that's a bit too much movement, then you just bring it down a bit like this if you don't want too much. And then the other thing you could have is say the nose here. You could key frame again in the middle and be like, right down, we go down. Just have a very slight, if you have to show it, just have it very slight. Then this is the top bit. We don't have to worry about that. Obviously, these will move, right? So these will move. That's all right. That this one. Yeah, so we can get these too. What's the square? All the square moves all of them. That's nice. That's good. Then the square here, that will move them. The same thing because the whiskers are moving, it makes sense then that these are going slightly down. Doesn't have to be too much, but they're going slightly down. And they might even happen earlier because they're leading the whiskers. Then you've got those as well, you can keep on keying out all of these. You could be, we'll bring this down as well. Copy that over here. Then you just key frame. It's just something there that wouldn't otherwise be there. And in these arrows, you could do the same thing you could cue frame, come to five, just slightly have it down, not too much. So there's something there and I guess this is for the eyes, but again, you can just do the keyframe and just bring it down a little bit. There's a bit of movement there, right? So just makes it feel a little bit alive, something that's there that wouldn't be there otherwise. Then you can have a look. Yeah, that tail might be too much exaggeration of the tail, but hey, it's right. Okay, so we've got and you can carry on polishing that as much as you like more and more and more. There you go. So there is a walk cycle that you can practice. Remember, it's all about oops, it's all about why isn't this closing. It's all about the reference. That's all it comes down to. But there you have it. We have done a cycle which we can still polish it a little bit more, you know. Yeah, I mean, the cycles side to side. You call it side to side, moving side to side. Yeah. 39. 6c: Two All right, guys, yeah, that's the end of the series for the walk cycle there. And that's how you animate walk cycle, a quad walk cycle. Vanilla one, obviously you can go ahead and just polish it a bit more, get it refine it a bit more, get it looking how you want. Change the timing if you like, as well. All right, guys, I will see you in the next series, which will probably be the untoro that will do. Take it easy, take care. And remember, if you want to dive more detailed into this kind of stuff, I've got a Maya animation mastery that you can do or animation mastery, as you call it, which goes through basics to fundamentals and gets you ready. Gets your show real game ready. I'll give you all the tools to do that you got to put in the work. Animation takes time. It's not easy, it takes time, but I try to make it as fun as enjoyable to learn in the course. Check that out in the description. There's a private Facebook group, private inner circle group when you enroll, so I give feedback directly. Okay, my friends. I'll see you in the next video. 40. Conclusion: Congratulations, my people. You have just animated a quad walk. Now we can polish it, as well, but, you know, that's up to you. You can take it wherever you like now. You know the basics, the fundamentals. What did we cover? Let's go over it. Firstly, reference, right? That's the main thing we want. We're gonna make sure we're studying the reference and making sure that foundation is laid down. And once that's laid down, then you can have fun with the other stuff, right? Because if that is wrong, then everything is wrong. You know, I just doesn't look right. So the main things were the offsets we were trying to get from the back hips and the front shoulder, if you like, or two of the hips. I'd like to see them as two hips. And then we're working on the back legs and then the front legs, trying to get the cycling working. And really, we're just looking at the hips, the rotations in the hips and the patterns, the foot patterns, right, the gaits, how they happen. And that all comes down to reference. So we check that out. We check the reference out, got the key poses, contact positions, sorry, then we got the passing positions, high positions and contact again, and we cycled it, right? And you just want to keep in mind that you're getting the hip rotations and the ups and downs working at the right way. Because like I said, if they're not working right, everything's off. And once you get that mechanic working, then it's just a matter of polishing, you know, splining and checking the arcs, bringing the legs in, you know, as the walk as the toes come in, and all those little details, the claws, and then you can really go to town with that kind of stuff, and the ears and nose and everything that we did detail. So I hope you enjoyed that. I'm still learning as well. So, you know, that was a tutorial on doing a quad walk. Most quadwalks are similar, but some are different. You know, camels are a bit different. I was talking to a colleague about that. So, you know, with camels, they walk two feet on one side, then the two feet on the other side together. So it's like, you know, so always do a reference, you know, just to double check how the foot patterns, the gait patterns are. And for now, if you want to learn more and go further further in depth to animation, I have a course online exclusive course where you get to if you enroll, you get to join the Maya Animation mastery inner circle group. And that's where I teach and give a lot of feedback to my students as well. And if you really want to refine your skills, it goes right through foundation, all the way to advanced techniques and how to create a show real, how to network, how to get your work out there. And, you know, how to be seen, how to register to agencies. There's so much stuff in there that you can check out. Check out the free training on that. If you like that, you know, and you want to commit, you know, there's no time like the present, you know? When you invest in yourself, that will always come back to you. But remember, time never comes back. So, you know, if you're on the fence, just be committed and go for it, right? And, yeah, apart from that, I hope to see you in the other classes that I'm teaching on Skillshare, you can check them out or on YouTube, you'll see on YouTube. Always put in tutorials out there. Alright, guys, take care. Look after your health, and I will see you in the next video. A