Transcripts
1. Intro: Hey guys, this is after here. I'm a motion designer and I have more than three
years of experience. I have done many projects on what motion graphics and
character animation. In this course, you will
learn how to create this walk cycle from illustrating the character
to the final animation. All we need is Adobe
After Effects, DSP will create the character
enough to put itself. Then we will learn
about rigging, where we will use a plugin. Then finally, we will animate the character into a walk cycle. I will cover some of the
animation principles and tricks that I use while
doing character animation. Inside this course,
I have attached unnecessary files in the name of the resource folder with
the course project segment. That's going to go
and download them for better use of this course. By the end of the course, you will learn how to design a character rig
and animate them. Even if you're new to
the After Effects, the scores will
work for you too. So now let's just
jump into the course.
2. Head: Welcome to the first
session of our course. In this session, we
will be creating a character inside the
after-effects for the walk cycle. Before we start, make sure that you have
download that resource folder from the project segment
Open your After Effects. As a first step, we need to import the color palette here. Come to this project panel, just double-click it here. You can choose the
color palette. Jump back from the
resource folder. Now click it and
then choose Import. Be an imported the
color pallet inside. After Effects, we have to create a composition to
illustrate the character. Here you can see an
icon, just click it. Now we need to give
some information to the settings step,
mean the compulsions, character type, we can keep the same 19th,
20 cluster knitting. Frame rate, keep it as
24 frames per second. This is really important. If you keep it as something
else other than twentyfold, then it will be really difficult
to follow the animation. It keep it as 24
frames per second. The solution full. Hip, the duration less than
ten seconds. Now click Okay. The composition is
set as a first step, we need to input the
color palette instead of just select the color
palette and drag it here. Keep the car part at
the top left corner. Unlock the layer. We need to create a background
layer for decomposition. I click New solid. Use this color picker, pick the second color
from our color palette. Click Okay. Keep the solid layer
under the color palette. You can locate the Earth, but before that, we need
to rename the layer. To rename the layer, you just select the layer
and click Enter. Now we can rename it. I'm giving a name BG. Now lock it. Now fit other composition, a 100 percentage,
follow a better view. This baby can walk. But first we're going to create the head
followed character. To do that, we need to
select the ellipse tool. Come to the toolbar. Select this ellipse tool. Hold Shift and create
a small circle, similar to what I've done here. I want to center the anchor
point for the circle. Just center the anchor point. I'm using a free script, ankle point mover to
move the anchor points. It is a free script you can download easily on the Internet. Does not necessarily
to have the script, but you can save a lot
of time with this one. You can easily move the anchor point to the left,
to the right like this. But this tool, if you
don't have this one, set the anchor point tool from the toolbar manually and move
the anchor point like this. The Socolow is fine for me know, we have to change the
color of the soc, go to the fill, and pick the colors from
the color palette. Faster color. That is what we are
going to cube the skin. So use that for the circuit. Let's zoom in photo. A better understanding of the phrases greater we need
to give here to the face. Usually what people do
is they will just pick a tool and they will create a shape for the
head or something, whatever they wanted to do. This or they will just
keep adding the layers. This is something people
do as a beginner. This is not a
convenient process or workflow to follow as
a motion designer. It's fine if it is doing
the illustration alone. But as the most in designer, we will be animating
this layers and shapes. Lesser the layers. It will be better photos to animate and it'll be really
comfortable to walk. But that's how we are going to create all the shapes
inside a single layer. To do that, select
the current layer. They're tangled tool and
create a shape like this. Since fallen over here. We need to change the color of the hair. Since we created all the ship inside a single layer where you have to select a
particular shape and then change the color. Here I selected the
rectangle shape. Now I can choose the color
offered as a warning. This will not affect
other shapes. I'll select the layer itself
and changed the color. You can see it's
actually affecting both the shapes
inside the layers. Now setup a rectangle
shape and choose the fill. And the fourth declared
from the color palette. The Cloud for the hip. Now we have to modify the hair cost of Harrison
duck tangle shape. Let us see how we
can modify this to modify any shape visually
use the selection tool, the shortcut this week. You need to remember this
because we will be using the selection tool a lot
throughout the course. Just keep in mind, began
try to modify the shape. And you can see the shape
is not getting modified. Character can see
it's modifying in a different way or
not in a proper way. This is because it is a shape and it doesn't have any notes. Usually if you've ever
walked in Illustrator, you know that in each shape you will get a node and you can easily just edit that note to get the shape that you want. Similarly, we are going to give some nodes to the
ship so that we can easily do that computed the
rectangle shape. Open it. You can see rectangle path. Just right-click it, choose
convert to Bezier path. Now we can edit
the layers easily. Just moral, any notes and
you can see how it works. But still they need
accessible node strategy shapes
into complex forms. To do that, select the
rectangle shape in that layer. Go to the toolbar and select the Pen tool
and outcome here. Hold Alt. Click the node. You have to click it once. And you can see the shape by
just adjusting the notes. We need to press V to get the selection tool just to them, but only with the
selection tool you can edit the sheep so altered the shape to create the nodes and the selection
tools to alter the notes. These two will be
the ones mainly you should be kept in your mind to create the shapes
and natural effects. Then create a shape like this, just to make a smooth
bend that looks like hair falls from the top of
the head to the bottom. This looks good. We have graded the
backside of the hair. Now we need to create
the friend side of the hair that falls
on the friend. To draw the friend head. Just pick the pen tool
and select the same layer going purport to select the layer database you will
be periodic. Another layer. Once you've selected the layer, use the pen tool and
draw a semicircle. Just draw a semicircle
and hop circle like this. Since we have drawn
using Pen tool, you don't need to change
the path to be surpassed. It's already in a pot. And you will get
asked several nodes, not distant nodes of the
back and keep it like this. It looks good. This looks like a person's
head has a health view. If you want, you can
keep it like this, but I want to create a
round shape to the corner. So to do that, just go to the shape
clicked Add don't corners. You can see as soon as we added the rounded corners are
shaped, becomes rounded. If you want, you can
change the roundness which aiding the
radius of the shape. But don't do it too much. Just dennis, Frank. Then you'll be creating
a nose for the head. So select the layer to
pick the ellipse tool, hold Shift, and create
a small circle here. You can change the
color of the nose to the face color. Then fur die. I will select the
same layer and use the Ellipse tool and create
a small circle here. Give the color of the eye to
something like a dark gray. I want to increase
the size of the eye. You can see it if you
want to alter the shape, you can use the selection tool, but using it directly on a ship will affect the
symmetry of the ship. So instead, there is a need to change the shape correctly. Just go to the
shape in the layer. You can see chance for ellipse with the transform
tool you can scale, you can move, or you can
even move the anchor point. It's similar to the
whole layer properties. Increase the shape,
size a little. The head is done. Now, we
can go for the body layer. Before that Goldberger
to name the layer. When we create a layer
in After Effects, we need to name the layer. And that's really good habit
as a motion designer to select the layer and click
enter a name it as head. Lock it because we will not
be touching their dance off. Now, we need to
get other layers. I don't want to mess with
this layer by creating them.
3. Body and Legs: Let's zoom the comp. First, pick the pen tool and come here and draw a line for the neck and increase the
stroke width like this. In the same layer we're
going to create the top, similar to the head like Hobby created all the shapes
inside a single layer. Here also we're going to create all the shapes inside
of our body layer. So select the body layer, the pen tool, create a
ship exactly like this. Remove the stroke. Color of the top is the last color
from the color palette. You can take it from there and make sure that you have
kept the neck layer, say mass, the skin color of
not doing variable the sizes. Just skip doing can
always alter the shape. For the top period, alter the shape like
it's a human body. Since we created the
shape using a pen tool, you can easily alter the
shape using this nodes. But still we need accessible nodes like
we did follow him. To do that, just
pick the pen tool, hold Alt, and click the node. You will get the
assessable nodes, but don't create at the end. I just created to show you
come to the top of the ship and make this top two
notes into several notes. Let's edit the top. Make a small bend at the friend. In this same way, make
a bend in the back. At the top, I want
a striped lane. Let's just close the notes like the sudden make
it a straight line. This is fine. Now though, select the same layer and pick the rectangle tool and create
a shape like this under the top and change the color
of the shape to white color. Select the same layer, pick the ellipse tool and hold Shift and create a circle
like this unknown. We need to change the
color of the SOC. Changed the color of the
circle to red color. That is looked up color. Now I want to keep the circle
under the rectangle tool. To do that come to the layer. Here we can bring down the ellipse shape under
the rectangle shape. I feel like we can bring
it down the circle. Since they are brought
on the circle, you have to ship to
master rectangle. There should not be any
gap in between them. So come to the allyship and change the scale to
match with the rectangle. Since fine at the bottom. Now we need to make some adjustments at the top
of the rectangle shape. To edit the rectangle shape, we are going to change
the rectangle path and to preserve the car we did earlier. Now edit the rectangle
shape notes to match all the four corners and make sure that there is
no gap in between them. That's it. We have
created the body. It's a very simple structure. Just has a top hip
and the middle one. Now rename the latest body. Just click Enter
and you can rename it and keep the body
under the head layer. Now we have completed the body. If you see it, you can see the body is not temporally
aligned to the head. This will make loosed a balance between the character
head and the body. We're going to move the
board to the left a little bit so that we can make the
center alignment to the head. Now we can create the legs, but we have only little
space to create the legs. We can create the legs at this point that
we need to reduce the overall size
of the character to create another layer, just right-click,
New Null Object, rename the layers
character size control. No pattern the head and
body to the control. Now press S for scaling option. I'm trying to scale
down the character. I'm doing up to 8500. This move the character
to the center of the comp using the same control. I'm the morning the character
under the law port, so that we will get
space to draw the legs. I feel like we can reduce
the size of the character. I'm going to reduce it up to 70. Not we will get enough
space to draw the legs. Since have used the
controller to scale it down. It won't affect the proportion because we have scaled
down as a whole. Now I'm going to lock
the control layer. Now let's zoom it. Use a pen tool and
draw a line like this. An increase the stroke
width up to this much. Now we need to change the
stroke to a rounded one. Come to the Shape
Layer Properties. Stroke properties
change the line cap to round cap line joint.
We are around design. That's it. We already have
Typhon or character. We have to make sure
that one thing that is needed to make
Phil asked none. Otherwise, it will create a
problem in the animation. Name the layer is selected type. Move the anchor point
to the top corner. You can just pick
anchor point tool and then move the anchor
point to the top. I'm using anchor point mover
to make it to the top. Now, duplicate the layer
using control plus D. Press P for position. And what we don't, this is like the top foreignness
type minute to align these two layers properly
so that we can create a good record of it later to
make a perfect alignment, there is a trick that I use. Just press P for two layers. Opacity. Just reduce the opacity till you see the
overlap of both layers. Now align the leg with
the highlight this. You should see a circle
shape in between them. Renamed the latest left-click. Now we need to create
the left foot. Using the Pen Tool. Draw your food chip in
the layer like this. Under modal stroke width,
we don't need that. Fills a color with
the color option. Now change the color of
the foot. Let color. Since we have reduced opacity of the legs that is
in the wrong color. So just directly pick from the color palette,
the first color. Now I want to add the
round corners to the food. Go to the layer
shape properties. Round corners. Now we got round corners. Follow food. Select the pot. Underneath the foot
shape like this. I'm just making it
smaller and fruit. If you want, you can change the radius of the
rounded corners. For me, this is this looks fine. The left photo, Stan, now reading the
latest left foot, increase the opacity of the left eye and left
leg to a 100 again. Now I'm going to add a
shock to the character, like the character's
wearing a shot. It's very simple to do. Let's see that. Come to
the Layer Properties. We have a ship one, so just duplicate it by
pressing Control plus T, the shape to change the color of the stroke
to top red color. The line join to
the material join. Edit the stroke like this. Change the line cap to but kip. Bring up like this. Here we can see shape
one at the backside. We need to remove that
for this area alone. To do that, come to
ship one stroke, bring down the stroke. Since shaped blue is in front that shape to struggles
getting doubt. So don't worry about
that right now. We can bring it back again. Bring down the ship
one stroke like this. Bring back the
shape to stroke up. If you want to see whether
you're doing it right or not, just come to the body layer, reduce the opacity and see, This looks fine to me. Make the opacity to 100 again. We have the left side legs. Now we need to create
the right side legs. We don't have to create
that from scratch. We can just duplicate
the left side. Let's select all three layers, leg and foot and press control
plus D to duplicate it. Now, bring the duplicate
layers to the top. Rename the left to full
two to the right foot. Left leg. Right leg. Left tied to two. I want the left leg at the back. So bring down the left
side layers at the bottom. Both left and right side lake
layers are the same color. We might confuse ourselves
doing the animation, I'm going to change the
colors of the right side. We are brighter. One, select the right thigh and right leg. Change the stroke color to a third color from
the color palette. It'll select the foot layer and change the fill
to the same color. Finally, we need to change
the shape of the right thigh. Stroke color, boot
top red color. Select all the layers and
move to a little back. You can see the difference. This baby won't confuse ourselves
while do the animation.
4. Hands: Now we're going to create the
hands before the time where the lock all the layers because we don't want to mess
with other layers. We're going to create the
hand in a single layer. Usually the hand structure will start from this
point to this point. Use a pen tool, draw a line like this. Increase the stroke width to a relatable size and
change the stroke color to the skin color that
we have used earlier. Come to the leadership
properties. Stroke. Change the
line cap to round cap. Select the same layer. Select the ellipse tool
and draw a circle here. Remove the stroke.
We don't want that. Give the fill color to the
skin color that we're using. Come to the Layer Properties. Select the E-loop ship
Mobile to the center, and go to transform properties
and increase the size. Up to this much is fine. I want to bring down the
shape a little bit down. This looks good.
Usually this hand starts at the shoulder joint. Bring down the whole hand down. This point. The hand is done. Renamed the latest right-hand. Duplicate the sandwich
plus C control plus t. Rename that layer
has left hand, like we did for lecture. We are going to do brighter
color to the right-hand. Change the color of the
light hand stroke to the bright colors from
the color palette. The color of the E-loop
ship to move the left hand. You can see the difference. The left-hand should be
at the back of the body, so keep the left hand
later under the body. That's it. We have completed our
character illustration. If you reach this step along
with me, that's great. I have already addressed this character filing
the resource folder. You can check with that. In the next video on widths, we will start doing the
rigging and animation. Let's go for it.
5. Rigging: In this video, we
will do the rigging. Basically, rigging is setting up or character for animation. We don't need the
scatter size controller anymore, so just deleted. You can unlock all the layers. We don't need this color
palette to anymore. So diluted. First weekend pattern,
the head layer to the body pattern, the left hand to the body. Now right-hand pattern that
right hand to the body. We don't have to
parent the legs costs. We're going to read them
using a Duke plug-in. Before that we can set the
anchor point for the layers. Select the head layer,
pick the anchor point. Click the solo icon for the head layer so that we can view that late
alone in the comp. Move that anchor point to
the bottom edge like this. It does set full body. Now we'll select the
solo icon for body. Move the anchor point to
the bottom edge like this. The left-hand set it at the top. Same for the right-hand side
into that topic. Parenting. And anchor point is done. Depending on his legs, they're going to
break that using the Duke. Getting alone. I have already created
a customized workspace. I'm going to use that now. This is the layer that I
usually prefer for rugae. Here you can see
the Duke plugin. You can also create your
own customized layout. You can go to Window workspace. Here you can see
different Workspaces. Animation, standard motion
tracking, customized one, just arranged the
workspace manually once, just by dragging here and there. And save that acid
new workspace. That's how I created
this rigging layout. Let's come back to the session. If you don't have the
Duke plugging nauseous, it's available for download
on the internet for free, just downloaded
and installed with a lot of tutorials are
already available on the internet for
the installation or even available
on the website. You can just refer to them. Predator already installed them. That is so great.
Knowing that do plug it. Click this icon. We are in the structural panel. We are going to
read only the legs. So select the left structure. Because the left structure here, we're going to use
this for the left leg. So select all the left leg
layers at plus the solo icon. Now selected do collect structures and press
the solo icon. Now we need to place the
UK structures or no legs. Before that we need to know exactly where should we
place the structures. To do that, select
all left leg layers, T for opacity and reduce it
until you see the circle. Remember that we have done
it while doing the legs. Here you see we got some
points for sexual element. Keep the structure as I
do fast to another topic. Second circle at the
center of the circle. Fit structure, circle at
the fit intersection. Next one, keep it in
the middle of the foot. This one at the tip of the foot. The last one is for the hill. So keep that circle at the
heel point of the footer. If you're using Duik
for the first time, you have to know at this
point that you have to go from the top to bottom, not from bottom to
top with structures. Suppose if you fix a point here, I'm trying to move the
top structure like this. You will lose the bottom
point. This is wrong. Keep in mind that we always have to go from top to bottom. Now we have to pattern the lead layer to the
respect to structure. Parent the left to fool
to the foot structure, left leg to the cost structure, tied to the thigh structure. Select all the
structures here at the Duke we can see
auto Rick option. Click it. Now, Duke will do the magic and we'll do the
controls that you want. You can see a
controller for a photo. With this only we are going to create the posters
for the animation. Behold the controller
and move the leg. We can see, we can easily manipulate the
lamppost SAS we want. This is good. To do it correctly. We can manipulate the position
of the control. Just spray for position. Now do all the solo icons. Hide the structures and keep
the control alone visible. Change the opacity of
the legs back to a 100. Now you can clearly see
how the legs are movie. It's nice. It is the position
of the control that we are changing actually. The current alignment
of the foot. All you have to do is change the rotation of the controller. Press R for rotation and manipulate together.
They said pulses. Now we're going to do the
same for the right legs. If you want, you can
pause the video and do the right leg by yourself and
then you can see the video. But I'm going to select all the layers and
press the solo icon. Click the link
structure of the Duke. Because the structure
now it's reversed, so is rotating it
to get it right. The next step is
already saw opacity of the layers to get the
connecting points. Top to the top. Second to the middle circle. Third one to the food joint. Fourth word to the
mid of the food. Next one at the foot tip. Final one at the heel point. Select all the structures
and go to the auto Rick. Once you've got the controller, just remold the solar icons, hide all the structure layers. I forgot to parent the leg
layers to the structure. That is why we can't
access the controller. Pattern, the right foot to
foot to lead to the dial, to the type to increase the opacity of the
lip layers 200 back. Now we can get the control. The rigging is done now, mainly we need controls
for the animation. We won't be using the
structures and let layers. So we have to hide
them in the comp. It will be complex to
do that animation. Select the structures
and press the icon. Select the Shy
button at the top. In the same way we
are going to do this for the
balanced structures. I don't want the legs
structure layers hide them. While in the setup there is
a possibility of messing with origin layers and
structures to wipe them. List icon. We can see all the layers. Now lock all the layers. Press the button, remove the
lock for these layers alone, x sub for the BCCI. Since they're getting is done, we can go back to
our default layout. Still odd smallest
step of spending. If you select the
foot controller, you move the legs clearly
from the top point. But we can't as a whole
lecture type position, but that is necessary
for the animation. Visually in the walk cycle, we move the Tice front and
back according to the motion. We need to control for
the type of system. Unhide all the layers. You can see the Tye
structures here. This is what we
are going to use. Unhide it. Watertight
structures. Press the Shy button at the top. The model lock and make
the structures possible. Let this tie structures, we can move the legs from
their place like this. The fourth contour. If
you stretch it like this, you can see gaps
in between them. I want this come to
the effort controller. In this stretch,
remote auto stretch. Now there won't be any
gap while moving them. Do the same thing for
other foot control. This session come to an end. Now we will be doing a walk
cycle in the next video. Let's just go for it.
6. Walkcycle: In this session, we're going to do the walk cycle animation. We're not going to use the
character Calm for that. Come to the project panel. Duplicate the character, Comp, rename it as walk
cycle. Double-click it. This is variable
do the animation. This is to protect our
character illustration. Before they go into
the Animation. Let's see abort the walk cycle under key poses
for the animation. These are the key poses
for the walk cycle. You can get this image
from the source folder. We totally have five key poses. The first one on one
or the contact poses, the middle one, that is the
third one is a passing pose. Balanced two key
poses are really not necessarily for
initial walk cycle, because even without them, we can make a walk cycle, but having them will give
a dynamic and bone C Look. We're going to use that before anything when it
comes to animation, we must plan for two things that escape
ulcers and timing. The already have key poses. So we need to set the typing. Let's see about that. Faster posts at the 03 second
posts at the third frame, third posts at the sixth frame, then fourth posts
will be at the ninth. Three finally took the posts will be at the 12th of three. Our walk cycle total
timing is 1 second, that is 24 frames per second. The first defy key
poses that we are marked here is for
the faster hop cycle. For the next half cycle, it will repeat the same for the sixth posts will
be at the 15th frame, the seventh posts
there'll be a day 18 to frame than the eighth posts
will be at the 21st to frame. Finally, the ninth posts
will be at the 24th frame. We are just repeating, but
we have to swap the legs. We should not forget about that. Love coming to the
After Effects. Insert a walk cycle composition. We're going to set the map correspond each
respect to frame. Notice that the marker at 03, then I turned the fourth frame, that is 1 second, then set the marker
at 12 to frame. Then at the sixth frame. Then set the marker
at the third frame to frame and set it at the 18th to frame to frame. Then finally, let the paint. Now we have said that timing, we can start working
on animation, since there'll be using 1
second area photo animation, we can close the word
carrier up to 1 second, but coming to 1
second and press. Now we are going to
create key poses. Follow character at
the respective markers according to the reference. First come to the 0th frame. We're going to do
the fast equipoise as per the reference, select the body layer and
bend it forward like this. To do that, you can
press R for rotation. Just select the right
foot controller and press P for position and
move the leg backlight this select that tie to
press P for position. Back. Lit but top. And bring back the leg
a little bit back. Using the foot controller. Select the left thigh structure, whereas P for position and
move the leg friend like this. Select the left foot controller
and press P for position. And move the leg
friend like this. Press R for rotation, rotate the foot forward. Come to the right
foot controller that is full to controller, press R for rotation
and rotated down. Select the left hand. But as R for rotation
and rotate it backwards and press
P for position. Back. Select the
right hand layer, press R for rotation
at rotated forward. Press P for position. Move it. And the reason for
this hand movement is since the right leg
is at the back, replace light tan at the front and vice versa
for the left hand. Now we have set our key posts
for the first two frame. Before we proceed
for the next frame, we should set guidelines
for character to do that, press Control plus pick a guideline from the top
and keep it at the top of the head and pick
either guideline from the top and keep it at
the bottom of the foot. Now if you have to lock
the Skype so that we won't mess with them while
doing the animation. To do that, go to
View Log guides. Now we can move the guide. Now what does 03 in the
full two layers set a key frame by clicking the stopwatch icon of both
position and rotation. Then for the light, then
polypeptide to layer, select the stopwatch
off position. And then for the
foot control layer, select the stopwatch of
both position and rotation. Then pulled tight structural, press the stopwatch of position. Then for the right-hand side, the keyframes for both
position and rotation. Then for the head layer, press R for rotation and set
the keyframe for the body. Set a keyframe for the rotation. Press P for position, and set a keyframe
for the left-hand set a keyframe for both
position and rotation. Since the first
to fourth and the last pose similar to each other, come to the 24th. Set all the key frames
as earlier like this. Now I've come to the 12th free. We won't do any changes
to the body here. So let's keep the previous
keyframe itself for the body. Not even focus on
the leg movements. Select the type of
structure, mod friend. And bring a little bit down, same level to the left
and move the position of the foot to control and
bring the leg forward, just like the left leg, we're just reversing bootlegs. Now select the tight
and move it back. Press the foot control layer. Unmute the lip
backward like this. Rotate the foot down till
it meets a guideline. You can bring the
postion a little bit down and rotate the foot. Unmatched the guideline in food to move the little forward and bring
it down like this. For the type to bring the
position down to align with the left thigh and bring the food to position
down to avoid the bend. Now we can see the
legs are swapping. Now I've come to the right-hand
layer model position back under tilted backward.
From the left hand. Multiple ocean friend,
undertreated followed like this. If you play, you can
see both hands and legs are swapping for the head. The previous keyframe itself will take care of that rotation. Finally, as of now,
don't worry about it. I've come to the sixth frame. Select the food to layer. Bend the leg and keep
it in the middle. And rotate the foot like this. Come to foot layer. Rotate the foot to the stripe. Move the food to filter top
to match with the guidelines. Since they're getting a bent, it is nice to use
type positions. Come to the thigh,
move the position of port and not just the food
better taking it forward. I'll just do both die
and foot control. Pill you match the guideline. Come to a body layer. Asset is in the reference. We need to bring the body up. Put a little bit
about the guidelines. If you play, you can see
how the body and lip moves. The head layer set the
previous keyframe itself, come to the Type Tool and set the key frame, filling a gap. The 18th 234, the body layer, copy the keyframe of the sixth
frame and paste it here. It is similar to the
sixth keyframe pose, but only the legs are swapped. Select foot layer and
bend it in the middle. Rotate the foot like this. Keep it in the middle. For to make a
straight leg posts. Undertake the food
to the stripe. To make the leg upwards
multiples of the tight to put just the leg position and rotation to match
with the guideline. For the Thai layer, keep the current keyframe itself by clicking
the stopwatch. Play the animation.
You can see we already have a walk
cycle the test. But of course it's not perfect, but still we got to walk cycle. Usually people stop at this stage itself to
complete the walk cycle. But we will cover some of that bond steps to make it
perfect dynamic walk cycle. Now let's come back to
our walk cycle process. In the 18th frame. For the head layer, keep the same current keyframe itself by clicking the stopwatch icon off rotation data into
three minus ten. And I've come to
the third frame. Better reference image. First, we need to bring
down the body layer. So the body layer bring down the position under
the guideline like this. Select the foot control layer. Bend the legs.
Bend the left leg, undertake the food
to the straight. We need to test
the guidelines so the tile layer
down the position. Fourth control for
the type of ship. Come to foo2 and make
a bend in the legs. It's already fine just
to make it better. Create a keyframe at food to position because it's
better to avoid any gaps. Now we'll go for the 15th frame. It is similar to
the third frame, only the leg SAP. So copy the posture
of the body whom the third frame
and paste it here. 15th. For the food to control. Bend the legs, rotate
the foot to the stripe, come to title position, bringing down the position, and just elect to
the guidelines. For foot control. It's already in bend. Multiple, sit back a little. Rotate the foot to the
mesh with the guidelines. Play the animation.
You can already see the animation
shaping up bouncing outcome to the ninth three Asper the reference we need to
move the body upward. Come to the body layer. Deposition. Both the
guideline like this. Come to the foot controller, move back the lake. The free to the striped shirt
to match the guideline. Come to the food to control. Bend the legs, rotate the
foot to adjust the post. Set a keyframe for. Now I've come to
the 21st to frame. Since it is similar
to the ninth frame, copy the body
position keyframe of the ninth frame,
and paste it here. Come to the food to control. Move the legs back
and shorten the food. I just elect post till it
matches with the guidelines. Come to foot control, bend the legs and adjust
the foot rotation. Offset all the campuses. If you play the animation. We can see what our animation. But it's not perfect right now because it needs some
more adjustments. Let me get Voc on
the head rotation. Come to the sixth frame. The head forward like this. Copy this keyframe and
paste the 18th three. If you play against his head
movements but only a little. If you do some tilt, it should be visible clearly. Come to the 12th frame, the head backwards like this. Now copy this keyframe
and paste to the 03. Also paste that at the 243. That is one circuit.
Now play and see. Now we can see the difference. This is good. Now select all the keyframes. You can just select all the
layers by holding Shift. You can just hold the left
side of your most and drag it all over the
keyframes to select the top. Press F9 to easy ease
all the keyframes. This is just a smooth animation. If you planted animation, you can see the difference. Suddenly the walk cycle becomes a smoke
compared to earlier. Now we can hide that pie
structures are like controls. To suit the walk cycle better. We're going to make sure that the lead movements
are in circular. That is one of the
animation principle that any moment that happens in an animation should not
be in a straight line, but in a circular way. It will give a good dynamic
look to our animation. So I'll assume the leg area. First unhide the food to control and select the layer so that we can see their path. As I said earlier, you can see all the path lengths on strike. To make a circular path. Select the Pen tool, hold Alt, and click the point. You get to ask us notes or
you can make a circular path, do the same to all node points and make a circular
path like this. I believe this much is fine. Let me get to the animation. It's already coming.
Good. One, hide the foot control and set this all clear pot as we did
what food to curtain. Yes, this much is fine. Now play and see the animation. Now the lead moments are fine, but we need to take
care of the foot. We need to make sure that the food is at the ground level. That is at the guideline.
Starting from the 03, we need to check for the food. If you find any way the foot away from the daylight,
character it. This step is really important. It's just skip it. This stuff will create it very great balance
to the animation. Check for both food
and food to control. Since we have changed the path, we might see some differences.
So correct them all. Also make sure that
all four rotations and prop alignment with the legs have gotten them all. Let's see the animation. Yes, this is fine for legs. Now let's come to the hands. We're going to give some
nutrients to the hand movements. Go to the Effects Control
and search for CC bend. You can see an effect
called CC Bend. It just drag and drop
to the left hand layer. Also drop it at the
right hand layer. Select the right hand layer, press the solo icon. We have to fix the
starting point and the ending point
of the control. Come to the effects
control panel. You can see both
the start and end NSSE bended foot just by adjusting the starting particle to the control and the calm. Place the starting point
at the top of the hand. Placed endpoint at the very
bottom part of the cup. At the 0th frame set
a keyframe for bend. Come to the 12th keyframe. It guarantees of
disturbance at the layer to a wide debt and move
the starting point away from the top. It will solve the issue. Now change the bend
backwards like this. I'm keeping it up to 16. You can do the same. Come to 1 second, copy the keyframe of the
03 and paste it here. Now remove the solo icon, play and see that
animation genius are not really visible. We have touches that. So select all the keyframes
of the right-hand. Press F9 to easy ease it, come to 1 second and
bend it forward. I'm keeping up to minus 21. Copy the same and
paste to the 03. Is it counts the difference. And this is nice. To do the same for
the left hand. Select the solo icon. Place the starting point at the top ending point at the
very bottom of the comp. The 0th frame set a
keyframe for band. Do the same thing at 1 second. Come to the 12th frame. Bent it forward,
keeping up to minus 19. Now come to the 0th
frame backwards. Keep it like 13. Copy and paste a 1 second. If you play it down
to the animation coming in good shape. The only discrepant that we have this right leg at
body overlapping, you can easily clear them. All we have to do is select Place Linked layers
onto the body. Remove the Shy icon. Select all the three layers. At the body layer. Now again, press the Shy icon. Not play and see the animation. It's really perfect. It's really a good walk cycle. We have given so many
details inside them. We came to the end
of our course. Thanks for watching
till this point, guys. If you had a big enough,
this might look like a big time-consuming process. The whole walk cycle
animation, that believe me, once you start practicing
the walk cycle, it will hardly take five to ten minutes to
complete the whole walk cycle. Keep back building, and create
amazing things. Thank you.
Aarthi, Motion Graphics Designer
