Animating A Run Series

1. Class Introduction: What's our people we're going to be animating a run in this class, and it's going to be a simple vanilla run, but we're going to be concentrating on the muscle jiggle when we come to polishing and the hair, and we're really trying to bring the character to life. With just those little bit of extra details that really bring the animation up to the next level. So without further to do, dive into this course and let's start animating. 2. Blocking Part 1: Guy us r, the first thing we'll do we'll get welcome by the way, welcome to the channel. We're going to There's a guy called Modern Day Jo, and I thought we'd use this as a reference because the size is pretty similar to this rig. What we'll block out the whole poses in this video. And then slowly, slowly, we have a four part series, where we'll do a blocking, binding, it is all practice, just animate along with me. It's always good to keep going over these. I'll be animating for Properly, I would say the last ten, 15 years, ten years. Even though I've been in the industry for 18 years. Properly, I would say since animation mental 2007 is when I graduated. It's always good to keep practicing and keep doing different runs, different sizes, different weights. Let's go ahead, get your twos, get your cup of tea, wherever you want to, let's just start animating pose this character. First things first. Let's start black. What we'll do or just select everything. That's geometry. Let's just make a layer here, call it go. And add it in here, and then put that to R so that we don't select that. Even this top one, we can add that in the Geo. There you go. Now if we select all the controls, is faces. We don't want to key any of the geometry or the R is. That's fine. Select everything and just put a key frame at the first. Everything is key frame there. Now, going to Ma, let's just make sure we got it on stepped. Tangent stepped. Everything is blocked out. Now we just go and get that reference. My reference here, I'm going to have in the other screen. The first pose is the contact. The contact is we get this I see the grid is I think the grid is then yes. All right. From the reference here, I can see that his right leg is forward and his left leg is back up in the air. We can rotate this rotate. And this one is, does it roll Hill roll? Yeah, we've got the hill roll there. Okay. And now we want to do, there's a general lean forward, so we'll just rotate his energy is going forward, right? So let's bring it down a lot more like that, forward. Okay. And we'll keep this there might be a stretch option here. Auto stretch. If we move this, auto stretch, I wouldn't even use this to be honest. Messes everything up. We'll just leave it this. Every rig is different, we'll just put it like this, and then the back pose or this one is right up in the air like this. This. All right. Now, naturally, what we'll do with the hips? We'll use the hips to go left and right, but we'll use the control in the middle. As you can see the front leg, we'll use that to the front leg, you want the leading leg. Obviously you want it to go up. And down because it's leading, it's moving forward and then you can move this forward a bit, so you can get more length. We don't want to lock out completely, you want a little bit of a bend because then you have like a pop happening. You don't want to do that. You want to try to avoid that. Obviously, this leg is in the air, naturally, the hip is going to be in the air. That's why we're rotating upward like this and of course, in the y. We've got that pose. What we can do while we're here, naturally, the other thing we can do is, let's go to the other arm, let's make it F K, so it's all going together. I just went here, pressed arm, as you see on the rig review, previous video, and check out the previous video for d and learn about the rig. Basically, for now, we'll just have the chest going in the opposing direction. It's going to go like this. Got the rotations and also we can I this is rotating Which way go it that way yet. This would also be the opposing way. What we would do is in the front view because this is like this, the spine will be in a C shape that. You want to get and the other step, it would be the other way around. So you're getting that contrast. We shift we shift, which we'll talk about. We can just give give it a bit of a rotation that way too. Then we can come back and work on the middle bits to just sort out the shape, but we'll get into main bits. That's the first frame. Pre select everything just key, and then we'll move to the down position. Let's go to three. From here, we can go down. What we'll do we just zero. And then bring it down, and then bring the hips down. There's a bit of a bend in the knee. That's what we want. That's where the weight is. Yeah, we'll just have the foot here. Maybe a bit more forward there. Then we can see that the back foot comes in a bit and it's a bit lower. Maybe rotate in as well. We could always polish this later at the moment. Control vectors, we can move this out. It follows the toe. That's the main idea, you want the knee to follow the toe basically. Otherwise, it gets awkward. Step. We get everything and key. That's the downward pose, and then there's a passing. The passing pose. Come here. So we put the foot in the middle and slightly goes up, but it's not straight, it's just slightly. Then obviously, this is the leg which is passing, hence the passing pose, and it's just passing. And then what we'll do. I passing through Then we don't have to worry too much. What we'll do with the rotation here. Is this starting I mean when we have the other contact, we can sort the hips out then, I tell you what we'll do, we'll leave this for now and just get noses in the I block this out, make sure everything is stepped. Sometimes it goes down and then the next pose, this is the passing pose. We go up. This is where we go up or this leg goes back, and then we can ball roll. Goes stretching back, goes up. I guess we could just bring it down a little bit. And we could bring this down a bit. Then it goes up. Then the next one just goes forward the foot. We're just trying to get that. Basically, we're trying to get that tri shape. H that line going through the force. And then we'll key that basically Another trick we can do here is if we select everything, go to the first pose, middle click that to 12, copy it. But we want to basically bring this back. This wants to be zero, and we want to rotate this basically the same position as the other foot. If we can go to side of you, some people have the copy and paste two, which you can use it saves time. But I've just always done it old school like this. Then the other foot, you just bring that down, you bring it down, rotate. In fact, we can zero that, and what did we have ball rolled it? We ball rolled it. And then go to y, zero that out, bring it forward. 3. Blocking Part 2: Ooh. Down up. Okay. That's the same as that, the hips are the same. That's right. I see what's wrong. Let's check out the ball role. It was Let's put it at five. Let's go to the other one, put it at five. It is minus five. Now the reason why I start that is because the hips. If we go to the hips, any value we got here was copied, obviously wanted the opposite. Basically, we just go in here to y, go to the start and put a minus in. Go to the start, press home, put a minus in, and it will do it the other way. And the ball. All right. Okay, let's see here. Maybe. Was it hell? I was, of course. I'll get it. Then you can move that forward there. Then of course, this is also opposite, it says minus there. We'll put 24 there. We've got the opposite happening, got the line going like that. If we select everything, K n, six, and then let's go to sometimes it's blind. We'll just block it out like that. We've got the first cycle there. I know it's a bit block it like that, but don't worry. That's how it's meant to be. The legs are cool. Now what we're going to do zero that out, and then bring it back a bit, and then we know there's a down position, and we know this foot comes do a bit. Let's look at the reference, Always checking out the reference, comes down a bit. And then we can just copy that. We're just work it on the hips, and then there's a passing position. Then it comes up. We're looking the side of view. Passing position here. Goes up and of passing position. C heck in the knees out to, make sure they're facing the right way. This one is a bit in, have that coming out. That as well looks a bit awkward there, doesn't it? That one to looks a bit awkward. We can polish this later, but it's good to get it. Good to sort it out while you're doing it as well. He comes in, pass in position 21, we're going to have a reach at the back. He goes up a bit. Ball roll. Try and get as much of that ball roll as we can. Then obviously, going forward there. We've got that energy going forward. Actually, if we come back to this pose, let's see we can do it a bit more. Let's move this back a bit. It's always good to push this pose. That's good. Then if we get everything, key key key, and then less stepped because sometimes it doesn't step for some reason, I don't know if it's Mo or what it is. But we've got a little cycle going there, and then all we have to do now because we've got all the poses in, just get the first pose, copy it to the end, and now you've got a bit of a cycle go in there. We've got a little blocking happening there, and we've got the reversals happening. Now what we can do We can get there, for example, the shoulder, so let's check out the shoulder, the y on the shoulder. Let's say let's flatten this. We know what we can do here is, we can just move these up a bit. Step. We know it's like step step, step, so it's going to be like this. But basically, we're just trying to smooth out the animation in blocked. I don't know why it's taking so long to do as well. Sometimes shouldn't take this long. Anyway, there, we've got a bit of a step thing going there. We can use the graph here, the graph lines to equal it out. So here too. Out there. Now if we flatten this, if we go here and flatten it, it is going up and down. That's what we're trying to get. You don't have to do that in the blocking, but why not why no. Bring that down. Bring this down. We're just going to bring all these down. In fact, let's base it out a bit more. No a bit more evenly like that. I didn't bring that here. We've got a bit of if we look now, it's a bit more smoother, the same thing we can do with the hips. We get the hips here. Same thing. You go, keep it. Keep it sweet, this. Bring it down, don't know why this is a bit slower than normal? Maybe it's the gogometry. Why don't we geo level? Let's p to zero. Maybe that might make a difference. We got it on zero. Let's have a look. Now it's not because of that. Never mind. If we flatten this now, you can see it's equal. Ie have to be doesn't have to be exactly yet, but we've got it roughly there and then the same thing here, we can bring this down. Take this up. Bring this up a, bring this up a bit. You'll just get a better idea of how the running looks, the animation, and move this in a bit. I testing out my new mic, has been a bit low here and there, but trying to make it setting so it's working properly. It's meant to be a good mic, but let's see. Now you can see, it's the mechanics, the rotation. There's a few things here. This leg is too high. We can come down or actually it's not to, it's the knee, bring it out. We bring it down a little bit. You've got a bit of that happening. And what we'll do. Just make sure everything is blocked. Yeah. Let's check out the distance. That's fine. We've got a bit of cycle happening there. We come back here, you can see the knees out. We need to bring that in a bit. Bring that in. Then we're just going to go through That's fine. Bring this in. There you go, that's fine. And the same thing with the other one, if you come here, That's fine. We can always check that in the front view. We can have a look, I was thinking may need to be out a bit a little bit there. We got that blocking. That's all blocked out. The other thing we can do is now that we've got the blocking and we've got it moving properly. Remember, when we said step, then take the Step, take the weight, we'd have to go too far, but we know the weight is taken there. Then we come back up, step, take the weight. Then the weight has to go on the side where the foot is because it's taken the weight. Because if the foot is here, and our weight is this way, is off balance, because look at that. Doesn't look right. There's no weight on there. Then we'll go in and fine tune these hips as well because when the legs going up, obviously the hips is going up with it. But at the moment we got this, we can do, we got the hip selected. Then we go in to translate and the same thing here, you see, you just come here, bring it up. You can bring this one down. Bring this down to. And bring this up. There you go. Again, if you go to flat, you'll see, now you can see there's a weight shift in there now and he's running. Guys. That's the blocking 25 minutes, quick what you're trying to do with this one is trying to get a solid foundation that you can work from. The most important thing with this blocking is, you're just making sure the mechanics are right. Because if that found if that mechanics isn't right, it might look good in blocking, but when you take it out, balance will be off, everything the hips aren't rotating properly. Yes, you can go on and polish blind. It might look all good, but in terms of being polished and smooth animation. But are the mechanics right? When you Is a step weight shift up in the ear. Step weight shift, is it going the right way? Sorry, the center line is that correct? Is the C shape in the spine correct. You know all these little twists that are going on. 4. Splining Part 1: There's almost this line here that comes across. And then when he lands, there's almost the line which is kind of like this, right? Now, that is key for adding a bit of compression when we're running. When we're running, there's always just compression happening like this. Ph. And you want to that. We talked about it at the front. You know the front view with the sea the shape, the alternate C shapes. Then we got that one and then we got that one. These are they're not really compressions, but they're just showing the different C shapes. What we want to do in the side view is what I'll do is, that one, and I think we could use that as the K, and then we've got the top. What we do is when the character is in the passing position, there's going to be compression. When it's up this in contact, there's going to be a extension, if you like. What we want to do here is, we want to put we want to rotate in x and then get the hips that is, and get the out the upper body, rotate that in x as well, and the middle one here, we could just move it forward a bit like this. So that we've got a shape in the spine, which is going like that. Following that line of action. Now, I'll I'll select that control the hips. And key everything there, the hips, middle control, and the shoulders, and then copy that to the last frame because that's what we want. When he lands, when it's compressing, we want to do the opposite. We go with the hips and we could be like, Okay, let's rotate it forward a bit, and then rotate that forward, and then this one, we just check the curve of the back, have it back. Another way you can check it is we'll just see here. I was going to say we get this, get the mirror. We got that got the mirror control and the shoulder. Now we want to key everything there. Basically, we want to go to the next contact and then weight shift here, and we basically want to copy it here. We just go from this one mirrle click it to 18 copy it. There's that little bit of compression happening there, right? It's like from there, compress, and then up, that's it. We also want. We've got the same controls selected, and we also want to copy that there to 12. We want to copy that to 12. Yeah. There. I'll copy the end. There's a little bit of a twit. Let's see. There's a bit of. We want the opposing side. We want the x rotation be the same, but what I've done, I've copied the y and everything. What we'll do, we'll come in here. I'll get it. The x stays the same. But we just take the minus and take the minus of. I copied the same pose basically. I copied that. If you look now. It's a bit exaggerated because we're getting that compression. But what you can do, we can come in here to the top one, and then go to basically go here, and then we can just tone this down a bit yet. As you can see here, this is coming down a lot, so we can bring this up to four, and we could even get all of these and then rotate it down a, keep it a bit lower. Now if we look now, You see, is very small there. Obviously with this, which was Z. We can see here Z. O is going down quite a bit there. All we have to do is just bring this up to the same amount here, so four squares. Then we can just scale this. We just scale this down slightly. We don't want it too much. The compression is there, but it's very slight, but it doesn't matter because we need it, you'll feel it here as well, what we can do here, we can just move these Actually, I'll move it up. It's very subtle. But you're getting that compression. Then we can always scale that as we go. Now, we've done that, now what we're going to do, we can start, sorry. That's my phone. Put that down. Now, what we can do now. We get everything. We're going to sp. We get everything come in here, graph editor, and we can start spliting. What we'll do is just grab everything, spin it, and then I'll just cycle everything. Everything cycling. That's what we just press these two buttons to cycle. This one and this one. That's for infinity. This is the ones you want cycling, not the infinity one. I cycles on the spot. Now you can see what's happening. Still a bit of blocking going on there, isn't it? Now, what we're going to do, we can clean up. We'll just clean up. We go to the hips, we come here. First thing with, we're just going to go through each one. We can more or less see here. We can get rid of these keys because they're a bit redundant. We can start cleaning up and it flattens. When I press this I flatten it, I got a shortcut called OF on my keyboard. But You can do it by just going up here to flatten, but I've got shortcuts. I'll do a video on that, how how I've done that. I'll get this point here and what is it? 3.9? Let's go to minus four and let's make this four just to make it even. That's cool. Clean the tangents at the end. You don't want them like this. You want them matching. Then we'll go down to the y, and the high on the y is here, so we move this up. The low is here. We know that. This is going to be the zero. All of this is going to be zero, we know. We can just level that up and we'll just match all this. Obviously, we can copy this here on this pose. I might even let's clean it up first then we'll have a look. The hips is rotating That shouldn't need any rotations. So we can leave that how it is. That shouldn't have any rotations on it really. The y. Yeah, that shouldn't have any on it Eva. Sometimes these rotations. I don't know. Because, I did choose the hips. Yeah. You see those hips. These are still. Let's sup this out. Everything's not sped out yet. Don't know y. Let's select this button one, that seems all right. Let's go to the hips. Now, let's work our way up. Then we go to the hips here. The, no rot no translations, which makes sense. We'll just cycle these. The y. We can just get rid of these. That shouldn't be there. Maybe this should be here. Yeah, that should be like that. Yeah, that makes more. That makes more sense. But we can do with this. We'll just put this as what 15, and that's going to be -15. We've got that happening there. Then we can that because as we come here, we can always adjust it a bit. Had a key frame. All right. Now now we've got the keys in here. Normally with this, you want to delay it a bit. So Come here. That's the key f, the key F there. Yeah, that's fine. We just want to delay it a little bit. As it comes. In that one, this one is the Z. Let's see what the Z is up and down. Go in that. Should be more like that. That's it. I think the hips was the only one. I get it. The hips was the only one when I copied the pose, this bit went to the top. That that's right. I get it now. That's. That's fine. That middle one, basically that middle one, which was up here, this is the right trajectory, so this just need to just bring it down. That's all. I'll just copy this value and put it here so I know the opposite value is equal there, and then we can just bring these down to match it. Bring these up. And then you've got that. We're working on that. We're just working our way up, so let's check out this K. Is that the IK? Yeah, that's the one. So this seems fine, the way it's going up. We'll just put these all at zero. Match these. Match these at the top. And then down. Oh, let's check this out. That. What we'll do, we'll just clean this for now and then when we come to polishing, we'll come back and polish these. Trying to add a bit more of that up and down. But at the moment, this is fine. To be honest, we don't need these curves in between, and even for this one, we don't need them there. But let's check this out note point. Let's make this minus note point there. Let's equal. The other thing we can do is, let's go back to the hips. See what I want to do here is, I want to add a bit more of an impact. I want this to come down sharp. And then there's a bounce coming down. I'll delete this. And this is all right. I just want this to come down sharp. In this one, I want this to come down sharp. Because I want the hips to come down with that weight. And then it pops back up. And we could delete this key as well, but for now, never look down. Okay. So what we can do. Let's bring it down. So that the knee is not locking. 5. Splining Part 2: Okay. Got that cycle working, Save your files. I've just saved it now. Don't forget to save. Let's move up. Now we're working our way up from the central gravity to cog, we're moving up. Let's go to the shoulders so you can see here. Actually know what. Let me just bring this in a bit. Aspect of like that. Now, let's go to. That's fine. All of this is fine. We don't need to. We're not going to add nothing on that. All right. This is the x compression, we're talking about. I can see is it. Okay. So it's 3.49. We'll copy that to the top. And then we'll go to the We'll just cycle every day, move this up, move this down a bit. And then here as well. We can move this up. Match this. Now if we have a look. I just cycling more smoothly there, and we're getting a bit of that impact. If we look here, we'll go back here. There's that impact happening in the hips, going down. Let's check these hips out for a minute. That's fine. That's fine. Up and down here, right? You getting that impact. Now the other thing we can do is we look at the foot. Playing with the foot. You see here, automatically, we'll just flatten this, flatten it. We're going to cycle. We can bring this down like this. If we break the tangents, and then have it like that would be the impact coming down. It's going to stamp down. Then what we can do here. The next frame, obviously ball roll, which just heal roll is plus zero, so it stamps down. Boom. Then we can add we'll do that. And then we'll just flatten these. That's fine going up or let's shut this out. We'll flatten it here. Bring this down a bit. Bring that up a bit, clean these curves up a bit, Then then we'll start playing around with the because you can see when he lands. It's a bit more we could move it a bit more like this, so it's more smoother. But we can always polish that, do that when we polish. And we're going to make it cycle a bit more smoothly. At the moment it's diplning, we're trying to do. I obviously hear rotation, same thing, we're just going through, then we're just cleaning these up a bit. Yeah. Then you can see a bit of flick at the end, we're going to smooth all that out. We're just get in the s blinding done at the moment. Arms we can do later as well. We can do a layer approach. You can do together or later. It doesn't matter anyway you like. Then let's check out all these other controls. We've got this control layer. This is a ill control. It goes and then from there, flat, that's perfect. All this other stuff, we haven't got let me get the other control. Same thing. Flatten flatten all of this. We can also make this the same as well. This is going to be the same value as this because the foot is still on the floor. Oh, sorry, this is the wrong one. What am I doing? I thought this was we can leave it there and then the next one, I guess we could have it going down like that. Up, we want it like that. We want that cover shape. Then we go to translate. See here, you can see. When I'm doing it, it's stopping a bit. You see how that foot is stopping. That's because of this bit. When we come here and we go here, I guess we could leave that where it is, and then the next one, we can push that back a bit, so pushing back. And then we can just cycle that bottom bit. We're getting that's pretty cool, but again, there's a big pop at the end and there. So we'll add a few more key frames in here to make that go smoothly. But we're going to do that at the end. We're just trying to get all of this working blind. Front looks all right. Let's check out the po vectors. P vectors. Let's check this out. Just make sure these are cycled. Then we come in. That's fine. Coming up. Just want to make sure they're following the same path. Cycle this. That seems fine. This seems all right too. This is fine. That is not the same as the end of that, so we'll just copy that over. I just want to see how the Here you see. We'll just bring it out. And that seems to be following. Yeah, the knees are not popping that that's wicked. That's fine. Bring that down. And then out slightly at the knees. That's fine. That's working. And we can always match these at the end. That's fine. I left foot, let's go back to this left foot here. We missed out the ball roll. Yeah. Flatten anything that's overshooting, just flatten those, because then that's basically making it go past the floor or past this pose. We don't need that now. But for example, we come here, and we go this foot. Let's put that a zero after the contact, zero. There's a bit more of a slap happening. Okay. All right. Let's see how was looking. That's all moving out. Getting that motion, the ss in the back happening there. The compression is It's there slightly. I think we'll add more compression. When we polish, we'll start adding a bit more compression like this, that will add a bit more of a weight to the character. Then obviously, we'll start working on the neck and the arms. But we're getting the mechanics right first. As you can see, step, we could, if you wanted to, just exaggerate this more to the side. Let's go to six. Let's go to minus six and six. O. Okay, let's check this out. Yeah. So there's a bit more of the sideways. Bang goes weight shift. We get here has bang bang, weight shift. Yeah. Yeah, that's it. We can see it the shifting on both sides. We're looking for that. Then we can start offsetting. Let let me check this out. Let's check these values out. They look. This one and this one, they all. This is fine. We can do, get rid of these. We don't need those. They make much difference and that we can get rid of that. We've got this happening now. We got the compression stretch. Compression stretch. That's cool. That rotation We've got that working. We've got it all blind, seems to be smooth, working all right. Then this top view as well seems. You've got that side to side movement happening and the impact. I'm just thinking about this impact on the hips. Now, what you could do is we delete this. That's the same thing. We'll keep it there, we'll keep it like that. Up in the air, he's not going to be too much in the air because it's a heavy character. We'll leave it that, we're spling that out. That's all spin the head staff will check that out later. In fact let's go in here. Let's check out. Is that the rotation? Yeah. Let's put in just Let's check on the side view. Let's leave the head view it is x, and as it comes down, take the impact. Take the impact and up. Wait, take the impact. And then up. Yeah, we can add a little bit in there, a little bit of head movement in there just to get it in so that the whole body is connected working properly. Arms we can sort out after. But, guys, that's basically the spling, we're just sorting the curves out, getting the curves and the hips working properly. Then now we've got a basis and we're getting more clean animation. We'll start adding layers and we'll start bringing this character really to life, with all the weights, the skin, jiggling, all of the stuff that brings all the fun stuff, that brings everything to life. But we still got a lot of work to do. We're going to polish it a bit more. Well, come out of sorry slining. I think the next stage we'll do we're kind of just tracking arcs, polishing a bit more, as well. And then the very last video will be where we add those fingers, skin, jiggle, facial expressions here and all this kind of stuff. I'm really looking forward to that. I'm having fun with this rig. This really cool rig. And we yeah, we'll see you in the next video, my friends. Take care. 6. Animating The Arms Part 1: All right, guys, welcome back, welcome back. So starting with the shoulder. Obviously, wants to be opposing, so we're going to have this going back. Let's push this back a bit. Let's try and push the poses first. Remember the arm the shoulder is driving the arm and everything. Yes, it's all coming from the shoulder. Even when you punch man, you get in that power through the ser, the transfer the energy is transferring all the way down to the fist. Let's get this before we start, I know what we'll do. Let's these hands out. Let's get all these controls. I like about these controls, man. You can select the and you don't have to worry about selecting anything else. The sticking out in space, which is nice. Let's just get a simple fist, sometimes I test just to see how we do it, and then we put it back. All right. Let's just get it roughly like this on top. That's fine. A guy. The other thing we'll do is actually, let me just select all of this. The good thing is you can select all of this and de select the list that wrist. Now we've got keys everywhere. Obviously, let's just delete these, so we want that to just stay the same. We can add a little bit movement. You want to see it, but I guess it's something that just looks believable, so we can add that later. I will do the same here, go to frame one, select everything. In fact. Let me see if I rotate. We could do that. O should bring this out. Bring it across. Yeah. That's fine. We've got a bit of a really, we want that thumb to be over that. That's fine. We'll just roughly leave it like that for now and the other one is a bit more that way to that here. Select everything. Well you can select the wrist to key everything, and again, delete the rest of the keys. You've got a still working on this. Actually, you know what? Let's get all of these controls on the arms and the wrist on this side too. And let's delete everything. We've got a clean clean set of clean slate as they say. Now, let's pose this arm here. We want it to obviously be like a pushing energy, so the fore arm will keep in that direction. It's just one axis right. It can't go that way that way. And this is the one where we can move around. We can move it back a bit down. And want to get shape. It's going to be let's keep it a bit lower like that. That's pretty cool. Suits the character. I don't want to break the rig but the skinning and everything. I don't want to do it too much. That's a nice little angle there we got and then we can refine it later. We just I believe this is all keyed, but we'll kay, delete these here. In this one, we're just doing the opposite. We're just going forward. As come as it comes forward, it slightly up so we know we can do it slightly up. And we'll just bend this. That's it. See how that looks. Might want to rotate this a bit more outward. That's better, isn't it? Bring it in a bit. Have this risk to going up of it. Says that, have. Two going two. That's pretty cool, isn't it? Move it outward like this. Move this one outward slightly. That's better isn't it a bit out. We could sort the fingers. We could sort these out later, but Yeah, I guess we could move these out as well. Yeah. Yeah, we can position that later, but we can do that. Boring me that thumb, but we'll sort it out later. What's this I sort this out. This habit. Let me zero this out. See how it looks. Let's just do it like that. That's fine. Yeah. That's it. Happy with that. This one to, let's zero this out. And then we'll just bring it back. Across. Yeah, that's fine, it goes across, isn't it? We just want to make it across like this. Yeah. Yeah. Okay. That isn't it the thumb It comes over the top one comes over the top one, right. We'll leave it like that. We've got this pose this and the wrist. We'll key that at the start. That's all keyed. Now, what we'll do? We've got those control selected, we'll select all of these ones, and we'll just copy that to the end, 24 is the same. And then when we get to 12, basically doing the opposite. This is going to come forward. This shoulder comes forward and rises. Then this comes forward as all, maybe slightly up. Move this up. Okay. So we've got that kind of pose happening. What's that one? That one is out a bit more, isn't it? That's all. That's out a bit more. He's out there. Yeah, similar. Then this one, we push him back. We want to push it back. So we get in that kind of curve. We'll get in the polishing. We'll do a figure eight kind of push happening right. Sorry, arc going on. Then we bring this back. Let's go back to the other one. What's this look like? Then we'll just try and match it and then this we'll bring back, and then here we can bring it in I guess because it's a bit inward, isn't it? There. Then we compare it to that, it's a bit more in, isn't it? We can bring it in a bit that a bit more inside. As you can see there, the tricep tricep. We're just trying to work out the negative spaces at the end. I know you can copy it, but I do it. We've got a little movement going on there, which is not fully cycled yet. That's something we can work with. Now, the other thing we can do is this is also. Now we want to do. Let's get all these controls again, the arm ones. There is a picker for this rig, but the controls are good to get. So we've got all our controls here. What we'll do, We'll just cycle and then we'll flatten it cycles nicely. If we look now, it's just cycling a bit more smoothly. What we'll do now, we'll leave the shoulders where they are. But let's go to the lower ones here. Actually, let's select both, so we'll select left and right controls, and we'll just select everything and move it one. Move it. There's no snapping. Where is the snapping? We I want to snap. Keys 7. Animating The Arms Part 2: All right, guys, we found it. I was this snap time snap on add it off for some reason. We do Move this by one. We could move it two, but let's move it by one. Let's see how that looks. Move that by one, two, then the wrist, we can move by three. You're off in each one as you go, one, two, three. Let's have a look. There's a little bit of an offset there. We're getting it. Now what we can do, we can select everything. Select everything here, or the control right to the wrist. If we get everything and move that by one. And move it by another. We can see there's a bit of an offset more of an offset p. Let's leave it up there. What we can do now, we can try and offset. Let's get the fore arms, and let's offset those by one, and then let's get the wrist and offset those by another one. We're just trying to go back and forth and check it out, have a look, see what works. We've left arm and shoulder and you can start seeing there's a bit happening in the wrist there now, isn't it? All right. So there's a little bit of that. Bird of that movement. Now we can push it a bit more if you want. You've got this stuff happening here, which is fine on the shoulder. But what we can do. Now that we've got it all working, we can even start, for example, push this back a bit more. That's. If we come in here to the, we could rotate a bit. Have you look at it. Actually, that pace is right. You're keeping it. Yeah, I think that's all right. You can see the shoulder moving first, driving it. That's fine. Let's play with this. Let's check this out. Here, I think here what we could do in the middle, we could even try and rotate it in a bit. Yeah. It looks a bit more. Obviously, these are being offset. What you can do is you can come in here. That's the red ones. And go in here and you can be like t's move it in. Let's move it in a bit and maybe even Yeah. There too, I think, here. I think we can move this in a bit about that. Move it in and in here. Maybe up. Now, we'll keep that down. Better. Yeah. You're getting a bit more. Maybe it's a bit Let you bring up slightly. Because it's normally quite narrow, isn't it when you're running. You do I'm just thinking maybe you do need it in a bit. That's in. And when you come here in the middle, you could Yeah, there's a bit more, that seems a bit better. Even here, you come here to the end. The rotation bring it in a bit. All right. Let's bring it in. Yeah, bring it in a bit as better. Bring this down a bit. You could even bring this down a bit, go. Bring bring these down a bit. We bring in this one that is. So we bring this down as well as he's coming up, you're raising it as you're coming down, the sh comes down, right? A right. Let's check it. You know what? You could even start exaggerating with the graph editor. As he's coming back, we can have him going back a bit. So it's just got a bit more of that. Maybe not too much because you don't as better. You got that You got that happening there and then you could even start trying to offset. You get what's that? We're looking at the y here. Here what you can do. As it's playing, you could be getting a bit of a drag in there, then you can be push it down a bit more? How's it? Starting to get that bit of that drag coming through, isn't it? L? So it's a bit of weight to that, is it, isn't it? And you can do the same on the other side. So when you go on the other side, then you can just play around with these values. But you don't want it too much. You want to keep you want to keep in the speed of the run as well. So again, graph editor will get this as it's moving, you can move this up. Then as it's coming back, we go about moving it back. That might be a bit too much. We can always tone that down. Then as a to it's always good to. That seems right. Then we can get the wrist, same thing with the wrist. Start offsetting that. The rest Actually, what we'll do because I ain't got no keys on this one. Move it back to zero. Was five. Move all the keys back to zero. Let me just come here on the th and how? We wanted it going back going back like that. And then this was forward. That's fine and then copy that over. Then we cycle that so we've got keys on it now, and then we move that one, two, three, four, five, and I believe it's the green one. Then what we can do here, we can start playing and seeing how that's a bit too much. We can raise it up, go to the top, raise that up, have a look. You can exaggerate that as much as you want to see it feels, obviously. You might want to leave it like that, so we could have a little bit on there. We look at this run now. There you go, it's got a bit of momentum going on it now. We've got the arms working. So it's going we can refine it a bit more when it comes here. You could even narrow bring the arms in. But you know what? That's okay. There's so many variations you can do. This is just a vanilla run we're doing just to see the mechanics. But yes. It's pretty coos hips. Everything seems to be working all right. All right, guys, so that's the arms and we'll start. What we'll do. I know you've got these fingers and everything that we're going to s out. But But yeah, that's the arms, and then we'll start working and then later on when we get into the polishing, we can polish it a bit more, get the arm shapes we can bring these again, like we're saying when this arm comes here. We could start bring. If we don't like this shape, we can even start bringing the arms in if we want. We can keep it a bit tight. Bring the arm in, or even rotate it. Even here. We could be like this. Then we can start, but we can start messing with that, but this is fine, man, how it is. If you want, you could even rotate this up. Have a look at this. There's so many variables. Then if you come back, we could even and push it back. You could even do it like that, push it even more back. There's so much you can do, and then we can sort at the forearm as order. But at the moment, we'll just leave it. Yeah, that's fine. We'll leave it like that, a little run. Then we can sort out the elbows later, bring them in because yeah, I think maybe upper torso so big, thought it. But it shouldn't be a problem. We can sort that out. We can start checking out the arc and everything in the next video. Y, that's how you're blocking the arms and get all that working popin offsite inside slightly, and then we'll start checking out the arc in the shoulder, getting figurate. All right guys, 8. Leg Polish 1: Hi, everyone, and welcome to the next part of this run. We'll go in the side view here. And what I'll do? Let me just turn off the grid here. H better. So we've got a clear view, or what's going on? Put the mic around here. Me. All right. First thing we're going to do. We're in animation. Let's get our edible motion troll. All right. You see the curve there? Not looking too pretty, is it, but we'll sort that out. Normally, I go for each frame and just key it, make it all nice. You'd have to do every frame but This is polishing now. This is a contact and you've noticed it slightly bent. I don't do it too straight because then it creates the pop in the leg. I try what you do trying to do here? I, keep it slightly bent. We're trying to do here. We're trying to just even out the spacing. You can see from the points, the spacing. From there to there, I might just start moving these keys around. I just come try and make it a bit more just a bit more even We could come here. We it really flips out is there. You see that big jump? That's massive. From here, we could push it back. We could start pushing it back a bit now, trying to get then we come here. And then here. We'll push forward. Then we can adjust this to get a nice curve. And start bringing this one in a bit. Yeah. So we're just starting to get it. I mean, this, we could, I guess, let's this out. It's coming I would say here, the ball roll, we could zero that out, rotate. Bring that in. Then down. Could even Let's check this ball room. Hill. That might be better we get the hill. Actually, let's start that again from there. Bring it in slightly. Let's play with the ball here a bit. I'm not really happy with that pull happening. So what we'll do. From here, we'll just have it up. Let's check out. Let's check out the curves. The curves are not looking good. A. So we come here. This is fine. I'm just thinking, maybe we could break the tangent. Yeah, that's better. Have this coming forward. Yeah, I got a bit of a curve happening there. I'm just thinking here. Then it comes up. A bit of a foot roll. Yeah, we'll just zero that out. Even, that was a bit of a foot that. What's this what's going on? Yeah, we just rotate that we just ended up rotating that. You getting a bit of a cycle there. Now it's happening. It's a bit like smooth there, isn't it? Then when you get there, when we get to the front, what we could do with this one is just move this one in a bit. We don't have to have it all the way. And then this could be the same, bring it in a bit. Bring Yeah, bring that in space this space it out a bit. Goes pushing off, pushing off. Then we can also do what's this ons. What we'll do we'll get. This is the toe, so the tos will still be up, and then that goes down over z that happens after to zero. Then bit of a curve there as it comes up. You can start pushing it back a bit. Even here, we could have it going back, still dragging. Still dragging. There you get in that little. Even here, you could even have it still pushing off. Then it flaps. There you see it flaps. I would even calm that down a little bit. So you getting that weight shift, and we'll do the same on the other side. We'll get this motion control motion handle. Then we could even just go on the other side and copy the motion handle so. We can get this and just do the same thing, visualize, and you can see there, it's done the same thing. What we'll do. We can just sort that out, bring that down. You can bring that down. Bring it down like that to that point there. Copy that to the end. Then the next point, we could bring it bring it up here. Oh, let's just Let's go away. Well, let me delete. Okay. And better. The hell up and there. This has matched this up, so it's roughly the same. Okay, that's fine. That's fine. That's fine. That's fine. All right. We could sort that out later that stuff. Then we come in here. E get these little things done. And the next one. Forward there. All right. So we roughly got it how we want it. And then what else? I guess here we could do what we did with the other one like that. We want the foot to shoot off. So We've more or less got a similar cycle happening, but we'll just polish it now. Let's see what's wrong here. As it comes back, I reckon the f zero that. And, zero that. Then we can just move it in a bit. And then we'll saw out all of the curves. You can see the curves of bit mess there, but that's okay. I can bring that in a bit. 9. Leg Polish 2: Copy that to the start. So up too much there. Let's go to the grapher it and check it out. Flatten that. I need to make it shoot up like that. Then we've got this happening. Maybe it needs to be easing Yeah. Okay. Check out. Okay. We've got a bit of a cycle there. Copy that to the start. This out. All right skin there. Need to s. I don't like this stretch, man. I too much. It's the only thing. Yeah, that stretch is too much. But The the think that. Let's check out this. Yeah, there is a nice curve at the back then. That's what we're trying to get. All right. Let's do it. So we go back here again. So we're just trying to get a curve going like this. Let's cycle that All right, get in there, get in there slowly. Get in there. Just need to find the spacing. W, that's too much. We need to delete this, delete this. From here to here, there's got to be a nice curve. Let's check out the curve. That's it. Man, why don't I just do that in the first place? A Okay, so we got that working, which is cool. I'm just thinking maybe it'll be A, let's do the tos now. Got the in the end right. So this is going to be back. Copy that. And zero that. And then when it comes back. Here, we can just make sure it's still on the ground. It's kind of coming off. And then still then it's off. Okay, and the other one, let's check out. Yeah, that's it. I think here, when you get there, you still want it up and then zero. Okay. Even here. Copy that 100. And you can tone that down heavy you what? Okay, let's check this out. Let's just move just move I'm just moving this curve down, and then that represents Obviously represents that. Okay. Maybe we'll rotate that a bit more. Key that the start here. So there's a bit of a Then out, maybe we want to move this forward a bit. Okay, so we got that working, we got the legs working. There's just a little jiggle there. Let's check the curves. Something don't feel right. Th it might be. Let's flattens out. C. Let's have a Okay. Let's see. There's a bit of a insistent knee locking there. Is doing it for me. I looking. I doesn't feel right. What if we zero that out the ball? Does better. So now we finally got it priming. It's smoother now. It just feels it's actually of So you get that push push. And then you got that classic line of action going down here. You got that classic. And that pose. That's what we're looking for. Okay. So we got that working. All right let's check out. Let's check out the arms. Normally, with the arms, I'll select the wrist and do a visualization. And that's looking pretty good. Se you've got nice curves happening so we can chill with the arms. We can make some of the arms are figure eights, but these seem. They're clears. We'd have to really worry about that. Alright, guys, so we've got that. Oh, sorry. So we've got that all working. The arms and legs, so it's all polished. 10. Animating Muscle Jiggle: We don't need those. On. We've got this is for the body right. When there's a bit of an impact. Okay, that's cool. We've got it here to let's get these. And back. Let's select all of these key at the start at the end. Impact over i and then copy the first frame to the second. And copy the first frame here. Then down and then copy that middle frame so it down up. Okay there. Let's see. Let's bring it down as much as we can. You can feel a little bit there, right? There's a bit of volume squash. Maybe we could make this a bit higher. Copy that to the end and copy it in the middle. And copy it, this. You can feel that maybe not as much here, but that's it, maybe you feel it you're feeling it a little bit more. It's just something there that wouldn't be there otherwise. Now what you can do, you can start I know, get and maybe coming to your graph makes cycle and offset that by one cycle this. T offset that by two, one, two, then the bottom one, two, three, one, two, three, cycle that. Then you're just getting that bit of an offset. Nothing is moving at the same time and you're getting that bit of that volume. You can tone down that. First one, if you want, if you think it's too much. You can always turn that down in the chest. I think it's. And the back two, you can just play around with that. Obviously, you've got the legs as well. I The legs can be the same. Let's see. Adding a bit of volume. You've got the leg key. You could even raise it up slightly key to the end, and I guess key in the middle. Impact. And then copy that first key impact reset. Copy that impact. And then copy that pose over reset. I don't know. I guess it's something you don't feel, but you see, right? So buttock. Maybe it's still going up and then it comes down. Yeah, so there's a bh. It goes up. If we look at that, you can see that. There's a bit more volume to the butt there. It's going up. That's the same thing with this one. It's a good control here. Key hair. Let's go. Naturally, the butt is going to be in the air there. And. Landed. Copy that middle pose to 18. You'll get in that little bit of a movement there. Also with the legs, same thing here. Grab these legs, then you can add a bit of movement. Especially here. Key that. So it's coming back up. So you've got something like you just got some volume in there, right? 11. Animating The Hair: The last thing is these controls at the top. They move rotate. What we'll do, we're just going to rotate. What we do I delete everything. And then we'll just come in here and we'll be when it lands, when it lands. We'll have it go up a bit, copy that to the end and when it lands, it comes down and then in the middle, we can bring it back to 12, and then when it lands in the mile, and then, so you get in that. Movement there. Now the thing is because we've keyed everything, this is a quick way of just getting some bit of overlap, flatten all of this, and next cycle. This is one way you probably have to go in and refine, but move that by one, select the next control down, move that by one, two, get the next control, move that by one, two, three, and then the last control, we're going to move that by one, two, three, four. Now you should get a bit of a offset. Yeah, you'll get a bit of an offset. Then you can select them all and do an overall offset. You see the all offset from each other. As it is playing, we could be like move it again. Move it again. Move it again. I would say there. Select everything, you can even scale it a bit. O blim mass too much. We can't scale that, what if I did this, move this? You can start adding some more volume What should I say? There, that's it. And then you might want to start offsetting that a bit more. Okay. And then just check that out. Yeah, there's a bit of a hang time there, right? Then it's coming down. 12. Animating The Knees Jolt: H and then with the legs, you can even here, it's coming straight down. You can add a bit of arc to it as well. What I mean by that is here. So if you go to visible motion trail top view, the, as it's coming here, you could do the foots coming back and then it comes out and then comes back in, so it is arc to it. You can add that to when it's coming back. This is all straight here. But this is a vanilla run. But normally you would add it. There's a little arc coming in. If you want to go a little bit further, you see the get rid of this motion trail. You've got the knee controls here. You can do when it lands, you can key and then rock and then it rocks back. There's a rock back, and then you can do the same on the other side, get the knee. Again, it comes a lands rock lands, rock, and then back. I just creates that bit of pressure that have you can tone it down a bit. I actually let's go back here and let's do that. From there, I would say when it comes up here. You could even just do like a little curve. Yeah. You can add a little curve like that going up, and when you do that coming up, you could even start rotating the leg out and you can just polish it so many ways you can just polish it a lot more. But the knee jolts are there to just give the cheat code for doing adding a bit of weight. We've got the perspective view here. And then you've got the side view. That's what you're looking for lines. You're looking for those lines of actions like that. There. You see that, you're looking for that classic run going down, coming forward, overall triangle shape. That's what you're looking for. Then you can just keep polishing it as much as you want and then is the front view. You've got the weight shifts happening there left and right, and in the top here. All right, guys, all right, my friends. 13. Animating The Face: So on the face, Okay. Face we go. On always stay on. Yeah. What we'll do? We'll just have at the start, we could have key frame here. As he's running, so when he steps, there's a little bit of a stop and then c out and then cush back in. Move that zero to 12. I move 12 to six, make sure that's matching. Maybe it should be open, maybe it should be open. Yeah. Pen down. We'll just copy these over here, so we get in the same cycle. And then copy that last pose to 24. If we look now, we know there's a bit of a breathing, if you like. Then you can always come in and be as too much. You can always tone it down, tone it down a bit. You can always come back in a. Maybe move this up a bit. B too much, that's better I like a little bit of breathing there. I play around, man, you can get your desired effect, you have to play around with it a lot more. You know what? I'll just cycle that and offset it by one. It just happens after the fall. The same thing with, for example, you got the eyebrows. You could do the same thing one trick that I do is. You got this, or did we do? This jaw line. I'll just copy this. You could even delete these actually. Yeah. You could copy those. We come back here and copy it. And go to the eyebrows and in the y direction. We just key at the start. If we come here, y direction, just paste, and we can just cycle that. If you look now, way too much. What we do, we just tone it down, select everything, move it up. That's it. You can see there yet, you can move it up. You move it to zero, but it's probably going to be a lot going down, so you just bring it a little bit. But you can see it's matching with the jaw. When it's an impact, and then you can also delay that by one. It happens. If you really want to, you can see it's adding a little bit more life, lovely textures on this model. Then if you want to even go further, you can select all the. If you select this, it adds a bit of squash. Bit of volume. That's what we want. We'll just get all of these. Again, key, y. If we go one, two, three, paste, it's going to be all messed up because it's not a one cycle this, move it up. Now if we move this point down, we can see how much is down. Is it down quite a bit? Have a look, play, see it feel. I think we can bring it up a little bit. Let's move it all the way down and see how it looks extreme. We'll bring it up. Bring it up a little bit more. I like that man. Let's go back up there. It's giving it a bit of effort, isn't it? Then what you can do, you can offset the bottom one, select everything, offset it by one, then get the bottom control, offset that by one, two, one, two, one, two, it. That will give you an overlap. If we look now, there's a bit of a delay. Overlap. And then what you can do. If you still think it's too much, just come in here, grab it all, actually just grab the bottom, and then bring it up a little bit and now have a look. It's still there, but it's I think that's just about right, not too much. That's how you do. Let's see what else we go. We've got some other things that you can really go in and start playing around with everything. But what we can do, let's see. Same thing. We can get key hair come in here paste. Move this up to one cycle. This will probably be extreme too, so bring it up a bit. But you're, you're just adding to it, and then you can cycle and offset that by one. Then it's just that little bit more believability that's in there that wouldn't be there otherwise. Then you can go in and start working with all of these cheek muscles, which we can do as well, if we select these. Key, and then I don't know which one is it. Y, one, two, three, same thing here, just paste, make sure it's cycled, move it up, and you a as well as probably really extreme when it comes down. Then we've got the ability to bring it up there. Then you can just play around with it's a detail that wouldn't be there, wouldn't be there otherwise. Again, bring it up. You can cycle this. And then see how low it is there. And then you can even offset this by one, one, and then this by two. One, two, do the same on the other side, offset that by one. You're just getting a bit more one, two, just going at one after the other. And y, you can play that. Oh. 14. Conclusion: Okay, guys, so congratulations. You have just finished doing an animation for a run. And in this course, we have learned about blocking all the poses, contact, high pose, low pose, taking the weight side to side, where the weight is on the character. And also, at the end, we've really tried to polish the whole character and use the controls on the rig in terms of the muscle gigs, jiggling, sorry, and also and you got the hair as well. So this tutorial is all about adding that extra detail, which you know about to bring your polish up to the next level, you know. Polishing isn't so much going into the graph editor and polishing the curves. It's more to do with, you know, adding that little bit of chest breathing and then adding that extra detail in the fingers in the jiggle as we did, and also the hair and the facial, you know, little movements. You know, that is the level of polish you're talking about where you're bringing the normal blocking to a kind of just pushing it up a little bit more. So there's something there that wouldn't be there otherwise, when you look at all the subtle squashes and stretches. Okay, guys, so, I'll see you in the next class. I've got other classes on here. You can check them out on Skillshare, and I'll see you in the next classes. So see later, happy animating, stay consistent, persistent and disciplined as well, and go out for a walk and get away from the screen as well. But you can also check me out on YouTube. I've got tutorials on there as well, where I help people out, and I just put tutorials out there. And also advice on fitness and creating habits and productivity and all that kind of jazz. Alright, guys, so enjoy your animation journey, and most importantly, have fun. 15. Maya Animation Mastery: Hi, everyone. Congratulations. This is just something after the conclusion that I just wanted to put into all my courses. If you're really serious about leveling up your animations, I have a brand new course that you can enroll in. It's called Maya Animation Master. This course, I've redone it with four K Good Audio, came out in January 2024. And this course is designed in a way how I would have liked to be taught animation when I started. So It basically gets rid of all the pain pain pressure points that I had when I started animation. So I want to get rid of those frustrations and give you a direct line to what that aha moment was for me when my mentor Steve Gagnon Kati taught me about animation. Something just clicked, and I teach that in the course. So if you're interested in enrolling, you can go to the about me page where I'll have a link there called My Animation Mastery, and you can go through the webinar. Then the course breakdown. You can check that out. And then if you decide, you can enroll, if not, that's fine. There's a private Facebook group. There's a link in there about me for that as well. You can join that where we get feedback, and there's a nice community there. And also, when you enroll, there's a private Myers Mya animation Mastery inner circle group where it's just exclusive for students where we give feedback. So, have a look at that webinar and let me know your thoughts as well. If not, you can join the Facebook group to the private group. Obviously, the inner Coco group is for people who have enrolled, students who have enrolled, but check it out, and it's just for leveling up, and really, it's got all the theory and practical, heavy on the practical stuff, video game stuff. If you want to learn about how to get a shot from reference to blocking to splinding, to polished, show real level. It goes through all of that. And also, I talk a lot about networking and how to get jobs and context that I have within the industry that I can ph your work out there so at least it's in the right hands and people can see and at least consider you for applications. F of my students who have already got jobs in the industry going through the course, so have a look at it. And yeah, let me know your thoughts. So enjoy your animation journey, stay healthy, and I'll see you around. I'll be around on the Internet on YouTube and a giving tutorials as usual. I'll see you later.