Body Movement Series - Animating a Heavy Run Cycle On the Spot

1. Introduction: Animation to me is all about getting out of the world of reality and going into the deep, imaginative worlds of our minds. Welcome guys, my name is OP. I'm a Senior Animator in the video games industry. I worked on a range of AAA titles, Heavenly Sword, motor storm, apocalypse, Harry Potter, the bone conspiracy, and a series of lego games. And in this class we're gonna be continuing the body movement series. We'll be animating a run, particularly different kind of run, a heavy run. So we have this giant character from pro rigs, great rig. We'll be using that to just show a bit of white. And again, I'll be using pro rigs which are great, absolutely brilliant order body series, cartoony series. We'll be done with these. So it doesn't matter if you're a beginner, intermediate or advanced. Hopefully we can all learn something from each other. I take away something that we can put into our workflow. This class, we'll cover a heavy run and we will start with blocking, then what spline. And then we'll start polishing. And then when we start using the extra controls are on the rig, e.g. the squash and stretch on the head, the body to give that actually jiggle extra weight that we can put on a little squash and stretch on the head to just give it that bit more volume. So I'm very excited to start this heavy run. It's been a while since I've done one of these. So it's exciting. New rig. So get your maya Blender max wherever you use it. Again, as I've stressed, it doesn't matter what it is, what software the concepts are the same, the principles of animation. So I'm excited. I hope you're excited. So come along and animate with me. And let's start animating. 2. Blocking Part 1: We will start the run and m. So I've got some references always. We're going to use this run as a reference or disorder. Now this is going to be a heavy one, so we'll stop blocking this out one by one. Okay, first pose, we're just going to block. Let's check out the first put the grid on hammer. First pose. Is alright, this leg is forward. This one is back. We will roll it to pivot. We'll roll it back like this and move it up. Toes, pretty background is higher. And obviously this one, the foot control. This is the contact pose. Is easily see this miss want to have it exactly straight, but we want it also to be leaning forward slightly. Bring this back one that overall shape. Now we're going to make this one a little bit, going to be a little bit slower. So let's check out the side view here. Key everything within it. We did it to 40 frames here, so we'll do it. We'll do it on the spot as well. Then we'll come to four. Again. We'll bring this down. We can see the next pose is contact. Zero that out. Then we'll bring it back Here. It comes down. The bend is what we want, right? The bend will happen calmed down a bit because it's quite heavy. And then that last one comes forward will kill that. One thing we'll do here is let's get the hips. Let's go back to frame one. Let's lead with the hips. So what is that? 30 here? Which means we need to move this forward a bit because the hips are leading. And also we want to, because the last, the leg at the back is in the air, want to rotate in the z. So we can put that at ten. Okay? Then next pose is fine. We'll just kill that contact. And then they're going to have to pass in position. The contact pose. You can move them. Then the next pose it comes up. Oh, actually axis is, you see it? It's referencing why this says, take fat man running on six. Well, he's not, he's an athletic man. So what we'll do, let's check out. No, I will go for normal. We'll do we'll go for normal run. So what we'll do, we'll go for something like this. Then we'll work with that. Let's get this one cycle and this one here. So we'll use this key pose, comes down and then pushes off. So it's coming down there. Than this. This leg comes back, foot roll. This one goes forward. Obviously the foot roll. So now we can start bringing this foot roll back. 00 the terms have this coming forward. Foot roll it. This is the total area here. We can bring that down. Bring this up, bring this one back. After passing out there, isn't it? Well, I think we'll do zero that out. And that full-grown can go wrong here. Or we can do this TO spin toe pivot. Let's try that. You know what that is, right? Pole vector since tip. To come out and delete the next two frames. Still doing it. Alright, let's keep it simple with zero these out. Zero this out. Bring this back, rotate it like this. This is use this as a rotator. Just make more sense to just do like this. Zero this out. Basically zero the foot rolls out. And then pass in position that you go. And zero this out. We'll do it this way. Get more smoother than this control will just keep it a bit more down. As it is in here. It's going down the push, Mexico, clear everything. Then the next one is the most important one, right? Two comes up and it both feet off the ground. Sudden that's way here. Then we can rotate that back. Might even take the foot roll of that that goes back. In this goes forward. I caught that shape. You want that nice shape? Too much stress, stretch slowly but it goes down, it goes down, up, up. And then this is the highest point. So we can go a bit higher. Yeah, that's fine. Also, while we're here, let's change this. Let's go back to zero. Get both of these zeros. The IK go into your graph editor. Just delete the T is after that. Otherwise going to switch back to IK, least as moon. So we've got that first bit going. And I'm going to block this. Go into here and just go to stepped. So we block it all. We've got that. And then we want to put basically want to do it. One way I do this, which is a bit, we go to Mesh. I duplicate that mesh, take it out Control P is out of the hierarchy. Then just select that for now, let me select that mesh. Quite a layer, put it in the layer, just get rid of it. For now. What I do is select everything. Make sure these are all keyed. Middle click, bring it to 17. And then what you wanna do is if you reveal the mesh, you want to do it the opposite way, right? So just use it as a guide, really. Excuse me. But just use that poses a guide. Put it in here that is not going to be exactly the same, but you can refine it after it and bring it up. Was it for you? Then delete that mesh so you've got like a guide. And then remember, we're talking about rotation in the hips. We want to do it the other way now because it's leading. And we want the back hips to be up because that leg is up in the air. K. And then we can go. That's fine. There's a contact there. But we want y to be zero. I want it to be down. And we want to move this leg down just so that that front leg starts bending. This seems cool. Okay, and then what we'll do is select everything here. And then again, 21. Same thing we're doing. We're coming in here. We're going to impact position. So what we'll do with zero out, bring it back. E comes down, pass in position, down. Everything here. Next, next pose is the one way pushes off. So it comes back here. The foot roll here pushes off. Obviously it's gonna go higher. And then bring this forward. The foot roll off, then bring it forward. Rotate. So it's kind of getting ready. Just either we look at the other one too. So it does come out a bit more. Look at that pose. And also the back is cool. We can see all that. Then we go to that key pose where we come up, we get rid of the role here. Comes up. There's a push there. You know what? I think this one could be a bit down a bit. Then it comes up. So we've got that. And obviously we want to go higher. The highest point. I'm grabbing everything or does it go back and make sure everything is Quito, every control. That's just an old habit. I have. An arc can go back and delete. And I'll also come in here and make sure everything's blocked. So now if we look now, That's it and a way to just get that first pose, copy it to the next four frames. If you go to 3033 and if we have a look, should cycle, you got yourselves a blocked in slow pace. But we want it like that. Right. So we're getting that legs blocked in. So that's the legs done. Then we'll move on to I'll do the torso, the side-to-side movement in the next video. And then we'll keep breaking it down just systematically so it's a bit more clearer. So we do one thing at a time. All right, guys. I'll see you in the next video. 3. Blocking Part 2: All right guys, next step, next step. Let's do this. So we've got this blocking going on here. Now, what we'll do as we know, we go to the front view here. Now, when the foot lands, land, take the weight. So the body is going to naturally go that way, right? Land take the weight. Then we come up land, take the weight. Now we're going to go this way, right? Okay, You can see that side-to-side now, we can smooth that side-to-side out. Weird if we go in there, you see that these are all stepped. So if we move this down like this with just basically creating a more smoother stepped e.g. because if I supplying this, if you look now for supplying it, see, it's going like that. And that's all you're doing is just smooth it out by equally trying to space these out. The spacing, ok. Now if we look now, be a bit more smooth. Alright, It's blocky, but Let's move on. So if we come back here, let's look at the value of x. Let's do that as minus three, just to make it easier and then do that as three. And now we can play. We can always reduce that. Excuse me. We could always reduced, actually, let's reduce it to minus two. Should be a bit more. Yeah, that's better. But also omega here. The body has a spine, sorry, that goes like that. And then, then obviously on the other side, you got that C shape, very subtle going like that. So we can add those in. So if you come in here, this is the bottom control. Become a good start to rotate, rotate, rotate, right? And then the other two mechanisms become a omega two. So let's put in five here just to simplify things and put in, what's this one? Minus three, minus three, and then a cop one minus five. So now if we go here, we go back the opposing side. So what's that gonna be? It's gonna be minus five. Minus five, and then the next one is going to be minus three. So we go back here. Minus three. And then I think the last one was five. Yeah, so that's minus five will put five there. Okay, So then we've got that kind of happening there. But also look at the top. We look at this shoulders, we want it opposite way yet. So we're going to do it that way. And just for the simplicity will be -20. And then we'll go to the last and obviously -20 and the last and the middle, we'll do 20. And now if we look at that, again, what we can do is we can come in here, joined in it as far as we can come in here. As you can see, we'll do the same thing we did with the x-axis to smooth this stuff out. Just to give it that smoothness. We could do the same here with the y. Bring this down. So it just gives that bit of a smooth smoothness in the blocking as we say, right? And then we'll go down here on the hips, will do the same thing here. I believe this year. We took out the other axis is all fine. And then we'll move on to the next one. Next controller. You can do the same thing here too. You can lift these up. I believe. Something like that. Because we've got that also couldn't play this system moving now they're nicely. Okay. And then then just noticed something on this blocking hair. To see the second part. Okay, this pulse in position. Let's check out the up and down. On here, we want to copy this value. This is for the hips. Copy these values, make sure they equal top ones to just a cycle is, and it's being equal. No, real cycles in real life are equal. This is just you do it. There's always a minute difference. Okay, We'll have a little bit of a then. This one none too happy with this. Better. The knee was mesial up. When we come up here. You see this bit high up. That's better actually because the news, and then I want the knee to week, we can do this later at the end. But dinosaur, these nice outlets. So these Neizha first, let's check, Let's go through each frame. And we basically want the knee to follow. The toe does more or less to the rule that I don't like rules. I don't like saying rules, but it works, I guess you could say along this side. Let's take a look. The knees out facing. Yes. Okay. We can always readjust that. But we'll get into that. Feel. And that's what we're looking for. We're just doing that. So we've just added the torso area. We're just trying to get that twist opposing to the legs. Yeah. We're getting the we've got the Zeldin and we've got the y likeness of the Alaska is the wise and is it going? Yeah. Why? Because sometime the X is contained in Maya. But yeah, we're trying to get that twist happening in the torso. Omega, this omega, the hips going one way and the square root we automatically the bone in the middle. We'll create that twist. But you want to just refine it and we just gained as little C shapes each time there's a step in. So step, remember land, which shift will land first, you learn first and you shift the weight. The weight shifts this way because that's the leg is just stepped on and Danny is transferring the energy to the other side. It's all about energy transfer rate. Okay guys, so this is a simple step. For the next stage. Step-by-step, we'll start doing the arms Next and everything else to the policy. So I'll see you in the next video. 4. Blocking Arms: All right guys, let's get those arms blocked in. So what we'll do here, it's called Bill shoulder control element. So let's move this a bit. Let's bring this in. Also. Lets current leaves all the way. And the thumb. Yes, Let's do that. On this slide too. Could thumb curve, bring it in. That's fine. It's intersect in a bit, but it doesn't keep it out. Bring it in. Bring this down. This may be narrower. Keep it a bit down the road. Okay. And then this one, move the shoulder back. Get this thing down. Alright. Good to me. Maybe go back a bit more too much. Okay, I will do what is key everything. Go to the end frame here. So both sides. This is going to happen because excuse me, going to happen because we had the arms out and we can get everything. We just select all the controls. Then you just delete everything in between. There you see, and it's all constant. So now it will just color. Then we will do contact and contact here. And in here we're just flipping it going back. So we bring this back, also, will bring this back. Bring this one forward. So we just bringing this up a bit. Okay. Alright. Now what we'll do, we'll just keep it up. And I'm here with just a block, press block. Just call those basic poses and you can see there these are blocked. Blocked. The shoulders moving. Alright, might be the IK. Let's have a look at the icky. This middle bit. Yeah, it was happening or not, right? Is it this yeah, that's better. You want to refine this more. You can just come in here. Can be alright. Come in. As it's coming back. Comes forward. And dragging. Comes forward. Maybe knew what drag. Then you've got more. We can do it, you need to block this. We block it. And obviously we'll work on that. This is just a little guide getting all these little things that I don't know what these are because go to Mr. key there. So you're getting the arm's going the other side. We still have to do that side, but you've got one side. You don't have to block in loudest. You could. That's just one side is showing you the other side what I'll do. I'll leave it how it is and we'll just plan it later. But that's just one way you can just block it in if you want. We'll probably adjust that anyway. But that's how you blocked the arms. And I'll see you in the next video. 5. Splining: Okay guys, So let's try and let's clean this up a bit. Let's see what's happening. We're getting that impact coming in on the feet. I take this. If we go back to the rotation, you can rotate it a bit low. Evenness, grabbed everything. Even. Make it a little quicker. Okay. That's not much in it. Let's see. We could add a little rotation. We go here on the Y ten. Then we could add minus ten, sorry ten at the end modelling. And then minus ten in the middle. Let's check that out in a graph. So we can go a little bit of rotation there. Maybe we can turn that down a little bit. Bring it down a little bit. Yeah, so there's a little bit of rotation in there. And then of course there's took out the shoulders. Naturally. This has flattened, this all I just go feeling we can push this back over. This. We can also flatten. You can even rotate this back. Delete this, move this a bit back. Officer layer. I would keep this backup still like that. Yeah. And even on the other arm, control f, sorry, f or flattened here. And even here I would delete everything. Here, just have a carry on. We can, once we offset that, add a bit more. You gain that. You get a heavy feeling. We don't need that. We can copy that to the n so it matches this. This matches as fine shoulder is, we'll do this. How can we get that? Okay. Now what would the arms, what we can do is we can, we can start offset into becoming an artist, offset this by one and the wrist by 12. And then even could even move that down as losses given that little bit of a UK in that little wave. Now, you might not want to do too much, but still nice. There is the same with this. We can offset this by one. Offset young one too little bit happening. Move this back a bit. Thump. She got that. You've got a long straight and that's why you feel that impact in their head down. And then really this should be down. So if we go to zero, now you get also we could, you know, the down pose here. We have a bit more down. Creating that bouncing bouncing ball. Yeah, okay. So we got that working. So let's take a look. You know what this one does form could be backup that could come in a bit more. The other one. So we could bring that in and rest bring this rest in a bit more. I was going to bring it down. There's better. Then we can change. Coupled with heavy jogged is. But you see it's, the timing is a bit more and is less space in the impact is more on the legs. And then we'll start working with the lead. And the other stuff would post up polishing a bit more. So in the meantime, yeah. I'll see you in the next video with probably some other stuff. 6. Polishing Part 1: All right guys, we're going to polish now yet. So we'll select this control and we'll go to our normal emotional control. Emotion trail. It's not showing that because we have to go to show and motion trails and they equal. Alright, so let's set this up. So now we can start going frame by frame and really just trying to get the arcs right because we've done all the older Polish in the other pods. Okay, So comes down here. We could even move this back a bit. Spacing seems alright. Pretty evil. Comes up. It comes up. Let's try and get this shape a bit more nice. Triangular shape we want is the overall body. Comes back down. Here. I was thinking more like this. Then here would be a bit more back. Here. We could even have it come up. Maybe. We just want to get these nice arcs. You go coming down. And an air you might want to. Let's see how that looks in this move. Now also, you can check out six. From the arc is light here on the front. You can bring it in a bit straighter. Sometimes you can have a bit of an arc of him coming up. We've got that one done. So let's then I'll just go into my Explorer here and I can delete that handle. If you have too many handles on, and it's a complex move, it can slow down meiosis. Good to delete these motion trails. Let's check the other one. Same thing. This one looks cool. Need to clean up a little comeback here again, we can break this down. Basically do similar to what we did in the last one. Come back here. Put this up a bit of the ground. Then the low bit on COVID. Push this back. Middle of it, get the spacing a bit. Or even. Oh, okay. Maybe there actually it was the highest and we want it. We think get away with that. Let's try and move this here a bit and copy that to the end. We want that. We want it to be. Nice curve, right? You've filled up push off the back. You can really stretch there. You can feel that push. I don't know if we see as much on the other side. Yes, You see we could put try and put it in on the other side. Maybe have it down a bit more. Let's see. Yeah. It is more of a push. Yeah, yeah, that's cool. Alright, so we've got that word that impact going. Then the next thing could do is select the wrist. Same thing, checkout. Is it a figure-eight? Mainly you want to you want a bit of a figure-eight, the c. So that's cool. I mean, a lot of this is offset. So we can clean up the front bit, but set these at the moment so we don't have to really clean those cool. We could bring it back a bit more. It's pretty cool. Ok, now, we don't have to really worry about that. But yeah, that's it. That's in a nutshell. How you do how you do a heavy ish run. You can play around with the timing. You can make it longer, select everything, make it longer or shorter. But here's just, the main thing was when the hips land, there's that real fall. Then I recover and is sharp four because like we said, like I was mentioning with a heavy characters is less time in the air. Like characters, more time near. The idea to sell the weight is impact when it lands and the feeling that is carrying a lot of mass, heavy-duty, pulling all that energy. I would see an excuse. 7. Polishing Part 2: Okay guys, so we've got this working. Let's check out the, okay, So what we can do, we've got these controls and we can play with these. Let's delete this. And you know what? Let's have a look. These controls because every little helps, right? Alright, we'll just leave it in a bit more. Copy that to the end. Lean this way here. Checkout. Flatten that in cyclic K. Can we translate? Okay? So we can do here. When it comes down. It can compress a little bit. And then we can do here is come up, impact, then comes down. We'll look it up. We'll just give it that little bit more. If you want. Go hire. Excuse me. Hi, it's great in that little bit of more volume, which is pretty cool weather. And also we might do is we could go down and move it, rotate it down as well. And it comes up, go up, then down, then up. What we might do here with the app in the Gulf area. Much this okay, Let's check that. Yes, he's adding more. You're getting more of their involvement in the upper. Which is cool. And then we can start using this. Okay, That's the second one, right? Doesn't rotate or rotate. That's going to be more translates. Okay, what we'll do, we'll delete everything in-between. Again, impact slightly down. Up. Impact Theory is slightly down. And we can check that out. The x. Okay, that's cool. And then the head, of course, with the head, what we'll do is delete this, will start up a bit. And then obviously lands impact. And then it comes up land impact. Okay. Just tone it down a bit because it was a bit too much to look at it. Now, we told you to or just want a little movement right? Now what we'll do is when that first one we did. So we can do, we've got a second one. Just select everything, move it by one, this offset it. Then we'll go to this one, select everything, move it by one. Oh sorry, I moved up by another one. That moved up by two. Then this one will move that by 3123. Oh, yes, of course, we don't want that one too. Okay. So it is set in a little offset. Just makes the head have a little bit more weight. The neck and everything is a bit more. Then you can turn that down if it was too much for you, but I think that adds a bit of weight to it. Other things you can do is e.g. you've got the knees here. Okay? Now what we can do with these needs, we can bring them in like this. Just line them up. Let's leave this, whatever we're going to do when there's an impact like this key, key before and then our key with the impact. Then I will move it, move it back. You'd get a bit of a G2. See, you get a jitter. And you can kind of tone it down however you want in here. But that's what you're looking for because any land is like we want that jitter to sell, sell the way out. So this one was in, in there. You see again that little weight. I'll just save this number. Save your work. Always. I'm saving this for you guys. Please excuse my cough. It's been going around everywhere. Lord help. Getting that movement. Then other policy and things you can do. Let me just take this off. There is a bit of a heavy Ban. Ben. Ben. Yeah. So what we could do, you see these you see here and you've got this control their stomach and lower area. Now, what we can do, we can select all because a cycle we can select all of them. And we can delete everything in between. We can do the same thing. We find out where the impact is intact. Then down slightly, not too much because I do too much. Then halfway is up here. So we'll just put a keyframe there. We know it's halfway and then just copy the first cadet up, again, down, up. And then we can go into our graph, flattened the entities, cycle it. Then. Let's play it out. Okay? Now what we can do is try and scale it to say if the scalar, scalar a block, that's too much, you could do shoulders. That's even too much lira. We got out that yet. Now, the bottom one, the top is going to stay at. Here's the second one. We can move it. One, whoops, one. And then the top one, we can move it free. So we'll go 123. And then we can go back into this first value below. Alright, learns their races there. We can manually raise it down. And then we can just get we can just do that. Let's have a look now. We could do the same for the bottom one. Scala. Have a look at a little bit more fleshiness to it. If we check this out. This adds a bit more volume. Then if you want, you could you could offset. There, you see you'll get a bit of a chest, offset them so you can move it back a little bit of a chest. There. You can see the SEC is just landing as he learns. So yeah, that's, that's how you do a walk with a weight, variable weight. And snapping onto the other thing we can do, which I don't know how I forgot. Yeah, make sure is that weight transfer happening on the side to the other thing we can do, which I didn't do is debit the feet. So we call this the toe control. Can't forget this. Man. Here. You could even have it slightly back, even slightly back. And it comes up land. And then the hero lines first here, first, this right here, first, hinterlands. Then you come here, you can make those minor changes where like this. Come here, we can make that zero. So it's going along flat. As you can see, it pushes off. Then you can start. Then you can maybe push it back like that. Then then you see you get that flop. To flop too much. You could do a little bit. Depends on your liking. Again, other to delete everything. So come up and zero that out. Up to there. Keep that toe on the floor still. It comes up. And then drag drag that back. Drag it back slightly. And then you can copy that N1 to distort the c. That should be all right, Mr. Yeah, that's just walk with a bill weight playing with a Tommie Moore. 26 frames. You could put it into iframes if you want, depending on the character. But this is just like trying to show that it's a bit of effort. And then as you can see when the character is running, the important things, we will look at the back. This model is pretty good, but you can see. And then obviously the other way, you're getting that nice, you get that nice line coming through the body. As we are looking for before the twist. You know, it's just a twist. Cope. Well, gardener is Coke's group with a twist. But yeah, I hope you enjoyed this one. I enjoyed this volume, so I'm indifferent, nice character in a pro rigs congruent with prolegs. They are amazing. I just got an email from them for a grid updates, so they regularly update, which is brilliant. So check check him out. Definitely definitely worth that 18 or do I pay what, 16 pound a month for them? Definitely worth it when you get older support everything, great models to whole load of moles. Alright guys, so I will see you in the next video. 8. Squash And Stretch on the Head : The other thing we can do is if we look at the head control, you can see here there's a head size, boring, different control there. But we're going to look at this squash and stretch, squash and stretch it just to add a little bit more volume to the head. So pick go into hair squash and stretch. There's no keys area. We're just going to come in and be like, Let's do a sly stretch at number one. And then when you land, still a bit of a stretch and then squash, not too much. I don't know why it flips locked up. That's fine. Squash and then hold it there and then squash, squash it down. There is backup. We'll get to that low 0.93 at the end for him. Okay? Okay, so we've got this question of course is structured here. Now we can play around with just cycle these nicely. So you can see a little bit of volume there is covered. So we can kind of play around with these values. Make it bigger. Let's always try to exaggerate before you know, that's too much, but maybe a little bit higher. Okay. For some reason it doesn't like it. Okay, What we could do, concentrate on the stretch that will leave the squash. How is it going to cost too much? So let's see this. You can actually add a bit of volume there. That's too much. So we do it, We just tone it down a little bit more. Because still see the volume, okay, there. Now what you can do now is you could also offset it by one. So it just happened. Let's try to make it a bit higher. Just happens after the land was happening anyway, I have to learn, but we are just delaying a little bit more. So you can play around with that control. See how that looks. See there's a little bit that wouldn't that wouldn't necessarily be there. And that's when you start polishing, when you just try to add a little bit more extra breathing, extra heads scores for volume and weight. Sorry, volume and weight. And it's just given that extra that wouldn't be there if you just animate it and left it at that last part you did before, obviously doing this polish pass. It just brings it up a notch little bit, these little details. And then we could go even further and start animating slightly the fingers. If you want to go into more detail, just have them moving a bit. But normally they're quiet, dropped anyway. In a fist when you're when you're doing when you do the run. This green. Anyway, just wanted to show you that you can add a little bit more squashing their head. Just to give the animation that little bit of something else that would have been otherwise. 9. Conclusion: All right guys, congratulations. You now know how to do a run with adding a bit of weight to the character and volume. We also learned about how to block each pose mix. We've got the solid poses and first time we played around with the timing, obviously with the Run being heaviest a bit longer. And then we looked at the extra controls that could enhance the way or give the illusion of weight, which would be a bit of squash and stretch in their head, as well as the chest. The overlap of the chest secondary motion, if you like, it is continuing after the character falls down, looking at the hips, the hips impact. And we'll use the trajectories and spacing, breaking the handles and the graph editor, how to make basically using the bouncing ball concept of coming in and really like hitting an impacting and also the feet as they come down, same as the bouncing ball in a snap. Got that nice arc, going quickly down, slapping down, and then coming back to getting that stump and weight really. The other thing on the rig that could have helped would have been a bit more squash and stretch controls. Because as you land, there could have been a bit of squash and then they're released. So that adds the illusion of weight as well, but some are exam them, some rigs note. And again, we can take this vanilla run and we can edit here, we can start using different emotional states. We can see if a character is heavy and happy or sad, or excited or surprise or running from something I personality to the run. So you can play around with the timing as well. So you can take this rig and take this animation and really just push it to other different types of states that the character might be and that you want to be in writing. Because after all, you are animating and don't forget put your projects on in the project section. We're all together as a community to help each other out. And I'm trying to uplift each other and get better at animating together all on the rise. In the meantime, after this course, you could check out the other courses. Our goal as Co-Chair, my fundamentals, which is absolute route to animation, the root teachings. Once you grasp those delicate, start doing the video games, cartoony series, the body movements series, as well as a couple of classes in there. This one including getting up from the chair. So there's loads you can learn from there and also implemented to your actual projects wherever you're doing in your animation field, studying or even in your professional field. And also I have a YouTube channel where I share my tutorials. I also share my fitness journey on there where I've done an update on where I'm at with that, as well as also giving feedback to TV series, TV shows, animations, animation films out there, breaking down the scenes. And also, I am avid war hammer Games Workshop fan. So I also paint miniatures and airbrush and as a side hobby for me. Alright guys, lastly and most importantly, have fun. Be kind, enjoy animating. Don't just sit on the screen, get out, walk liver bit, and then put it back into work as we do as data matrix. Alright guys, so take care and I'll see you in the next class. 10. 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.