Cartoon Animation Course - Animating a Walk 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. My name is OP. I'm an anime in the video games industry. I worked on a range of AAA titles on Heavenly Sword, motor stoma, apocalypse, Harry Potter, the Born conspiracy, and a series of lego games. And this class is all about animating a walk cycle on the spot. And we're going to be using these gear for eggs by pro rigs, which I've spoken about before. We were doing a whole lot of animation series with these rigs. And we're going to have a lot of fun doing these animations. So it doesn't matter if you're a beginner or experienced, like we say, we can all learn from everyone and take something out of it that would help us in our animation journey, our workflow, and any other techniques we want to learn. This class will cover a vanilla walk, which we'll do on the spot. And this can then be edited and played around with the timing to how you want. It will do the same as always. We'll contact poses, parsing position's high positions, those positions. And then we'll show how to cite for everything and make it look all seamless. Will also play around with the face a little, just to get a bit of a face animated, just bring a little bit of life. And then we'll use the hair to add secondary motion just to give the character a bit more alive with. So get your maya Blender max, whatever you're comfortable with it does allow. Principles are the same. And let's get these models and less start animating. So here we go. Let's start animating all the mess that up. 2. Where To Download ProRigs: Guys, this is a quick video or where you can get your ribs from. So I'm using these bricks. Now, there is a fee to this as $20 a month, which is about 16 per month. But for that much, and the characters you're getting, all the characters are getting, again, all of these characters with the right support. Even get pickers like for the rig. You get the scripts, everything license is well-worth it. All of these characters look heavy, light, athletic, bigger, fatter characters, robots. It's definitely worth it. I'm going to be animating with these now, the feature film rigs. So they're really good to invest in 16 pound a month, $20 a month. There's nothing really got you get older support you want, you can cancel the subscription when you want. All right, guys, this is a quick video where you can get the rigs or you can just go to free rigs and use any other rig. But I just for you anatomy along with the civil irregular can go and get these rigs. So great rigs. And I'll see you in the course. 3. First Pass Blocking Poses: Okay, Okay, What's up, guys? Let's do this new rig here. So first I'm going to do is get to these controls and change the arms to FK. They should move with school. Alright guys, so let's get this book reference. This one area. So contact, step down, frame. So basically every free, free friends were doing it. We're going to follow this more or less similar to what we're looking for. All right guys, so first things, first, contact pose. So this will be back. And then we'll have a foot roll here, which is kind of a little bit. And then we want to use this inside controls and bring it down a bit. If we bring the character down a bit and move it back a bit, and move that one forward with a road going up. Okay. We don't lock it out. We want to keep your bit bent. Okay, so that's the starting pose. Normally I do it in the sidebar there. So that looks pretty cool to me. Then I could move this back a bit, move it back a bit, then I might roll it a little bit more. Okay, so I just select all the keys and key. Then we'll go to number 44 is going to have a step. So this is going to be zero. And then what else is going to happen? We'll move it to call a duty on the spot. Will move it back. So the foot is perpendicular line or the leg is at a right angle. And then we'll come down. Because obviously it's coming down. And then the next foot, it's starting to come off the ground. So we'll just roll it a bit more. Notice. And then I'll just select everything in here. The other thing we need to do is we might want to do now is just select the hips. And we obviously want to rotate it, leaning fluid like that. Because that's going forward. The leading for It's gonna be the one where the hips are going to be going forward as well. When you when you're when your left leg over your right leg is going forward, that the hips are going towards that way as well. And then that way you're going to list leading that actual foot That's going forward. So what we'll do now for the sake of just blocking and stuff, delete these keys here. So we'll just put it in constant. So it's like there's this pose to pose. So we can clearly get them specifically sculpted by all these poses. Then we've got the passing pose. So the passing pose is basically this foot comes back in the middle. And I haven't got a picker, which I should have put us. Alright. And then this comes straight but not it's not locked. Not like that. Yeah. So there's a little bend. And the passing position here comes forward up. Here. Here is kind of like kind of like this. I guess we could rotate the toe is low to report that coming up. So we'll do this key everything here. And then number ten will be slightly higher hips. And this comes back. As it comes back. There'll be a slight list, add a slight, slight rotation to that. And this foot coming forward, that will be more like this. Looking at the reference. And the toe is more coming down as well. Just kill that. Then we can also come in here, make sure everything's constant. Sometimes it doesn't go constant. Meyer just plays around like that. So we come here. Now what I do here is I normally copy. If we go to those of us who are doing this, but I just get the legs. Basically duplicate the legs unparallel. So it's outside. And then I'll get everything. And then unselect. Let's get the legs, put it in a layer just for temporary. So I don't select it. Basically, I'll just copy and paste the first pose. And I know it's wrong. In terms of position. They're all you're doing now is you get in that leg and you're moving it here. Also the foot role is the other way is just roughly kinda match up. That's all you're doing. Then you get the other the other leg and just move it back. So you just roughly trying to turn to move it back here and you can move the hips down just to match. It doesn't have to be exact, just roughly. Then you can delete that little guide. And then you got a little cycle there. So what I'll do here, this is all step here, step. So you've got that. Now. The same thing again, all we're doing is the other side will get the hair and then will zero out, bring it back. Bring the weight down on the character. Foot roll. Just coming up. Key everything there. Move to the next one. The next one is gonna be the policy positions. So he'll be up. Should come in the middle. Player, hey, can we just rotate? Rotate this. So this is a positive position, which we could have like that. You started to see it's kind of moving. We're getting the poses in there, sorry. So it's free. Free. Okay. Again, it's going to be slightly higher head policy position. This leg comes back. So we're going to pass the pass in position. And we're just going to add a little bit of a low enough that the dust ben, Ben's, they're a bit because we don't want it to lock out than we could with policy layer. And the same here, we just bringing this back here. Then we'll just add a little bit with TO flop, to flop. And then at the end is quite easy. All you have to do is copy and paste the first pose to the last place. Then you can step it all that was blind. And then yeah, we got a little cycle there. You've got the older main steps in and then obviously we're going to have to polish this a lot more. But at least we've got the steps in. No. So now what we can do, we can come in here, put the rotation here in wire eight, and we can do that at the end as well. And in the middle, we'll do it to minus eight because we need that. Then if we come into the graph editor here, you can see in the middle here. So what we can, if we start moving these points down to just so we can get a little idea of how the rotations would work. This is a smooths out and stepped a bit more. You might have to polish that the mobile least we've got that happening. Okay, And the other thing we can do is while we're here is when we step memo misstep, come up, the weight goes on the side. Naturally. It goes naturally the way it's gonna go on this leg because all the way is on this leg. So we move, we just move the x slightly, then we come back the other way. So if we go here, we can see the x value is minus. Let's put minus three just to make it easier. On the other side, we can put three. And then if we go to the translation here, we can see the ordinate. We can just stop, stop moving these and trying to start smoothing it out in blocked. And you'll see here, just start going like side-to-side. So that's a good kind of a good practice because if I didn't bring this all down, what happens is then we're going to start splitting so we flatten them succeed. So it's this easy. And then we can go into middle and Spline them. So I'll press Alt. Alt F is a shortcut I have for flattening or lever script or link for script for that. So it's a shortcuts I use. You can go right into here, spline and flat book. Normally I move the keys down so that when I do spline, It's not as much work. It's like it's just basically this flattening exploding. But it will put it back to here. And that's it. So we've got our basic blocking. And I would say the only thing I would say is you see this pole vectors. You just want to make sure these are always straight. So we can go through each one. Just making sure that they're facing straight because that will cause a lot of snapping. Okay. All right. Let's do that the same as the first. Alright. Okay. Or I guess we blocked out and then we'll start we'll start doing the OH, what we can do is also block out. So we've got this. So each time it comes up, there's a C-shape in the character that you want, and I'll show you what I mean. Let's do this now. So it's kinda like this, okay, they will come the other way. And we'll do the same thing because it's taken the weight. And then we can always turn this down. See each, each time there's a step. The overall body, there's gonna be a C. And this way, this is what, this shape is. What's going to show the, whoops, it's going to show the weight change. So we put them in. Now also while we're here, we go to the style. And what we can do is we'll have the shoulders opposing. So it's this way. Not too much. We don't want too much. So let's see what does that minus, minus tenure, just to make it easier. And in the middle it will be ten. Again, we go into the graph editor you can see. So if I look now, if you look now at the animation and you play it blocky. So what does blocky? Because these are smoothed out. We could just start moving these out. That is then the solid. But you can do it in supply and you'd have to do it. You don't have to do it now. Same thing here, you see here. So we'll just quickly, let's quickly to smooth this out there find. And then we've got quickly save this before we lose it. We got that and then that one. Actually let me just zoom out. So I'd have to keep bringing. So if we look here, same thing or we're doing this smoothing out slowly will leave the middle one where it is. We just roughly it's not like we're just roughly do it. That one is and then this one is all of the words is roughly roughly getting them ready. And then the last one here, we'll just get this. It will just make it look smoothly and blocking. So there's a bit of a movement. So we can always tweak that the C-shaped hips or in the chest surgery. Then we could ahead layer probably. Right guys. I'll see you in the next video. We're going to be spliting, flattening out, explaining, just working on the legs a bit more time to get it a bit more smooth. And then we'll start doing the normal stuff, polishing, adding the little fun details right at the end of this little mini course on how to do a book. All right guys. See you in the next video. 4. Second Pass Splining: Alright, alright, my lovely friend. So now we are going to be planning. So we'll do we'll just grab everything. I'm just grabbing everything. And I'm ready to come in here. Let's get all the keys inside, but not the outside one's right. And let's just go to, I'll use these keys are now got my shortcut, but is this has got two flat. Okay, now we go to flat and then what I want I normally do is select I don't select the fee. I just liked the top area. And then I'll select everything in-between. And I go to spline because we want that we want the feet to be flat because they are on the ground, right? So that's an easy way off. So that does to avoid the floating. So if we look now, so you can see the feet are just flat, is flat on the floor. The knife I did spline look over happened. If I supply and all this result. Given example. You can see us moving up. It's moving up. It's just all a bit flatten this works. He's not too bad. It's not too bad. Not too bad. No money supply. They can go through the ground, but I take that back. But we're going to end up flattening these anyway. So what we'll do, we'll just undo that, flatten it. Okay, so you can see it's not too bad. Not too bad. All right. So we'll do that. First thing I like to do is just come in here. When you cycle. I like to actually know what let's bring it all under cycle. Yeah, that's fine. It doesn't matter me. Okay. So let me see if we look here. We can see the cycle here is pretty cool. So we can just start just matching these upper layer or have to spend too much time. But we're just going through the ups and downs of the hips. And we'll sort this out later. So all the values up as cool rotations, then we can go to the rotation bit. Let me select everything here again. Because this sector all again. Let's display any old line. Yeah, and then we'll cycle, cycle these two icons. There are two psychologic can see cycling this way and that way. All right, so we've got a cycle. Now we can go down in e.g. get the hips. You can see here, flatten these because we want it to be a nice cycle coming in and out. Okay? And then we can just clean it up a bit, but we can always play around with the later rotation there. Then we get the rotation underneath. Just get them slightly lined up. It's all lined up. Then we're going to be playing around with these values more and more as we start refining. But we're just trying to clean up. So we just cleaning up these values. So this looks me. Alright, same hair. Got all this. Alright. We've got this one. Yes, fine. Cool to us, which is roughly trying to just clean up. Get it all a little bit smoother. Okay, now you see we're starting to see this data happening. Smooth this out. This is the pole vectors. As you can see, your cycle, this one is all nice and smooth. Smooth this out too. Just want to start matching the tangent seen as important in games cycling, you have to match the tangents. Otherwise it's not gonna be. Alright. We've got all that happening. Let's check out the feet. Let's flatten these. So let's check the fee out. All right, For some reason, Let's delete these keys here. Yeah, we don't need x yet. We could do that later. And of course, we can select tool in between the spline that out S, but you can go here and press Play and we just wanted to come in and smooth this out. Let's check out the foot roll. All right. Let's just move that and the toe area as well. So when you get these all smoothed out, spline, again, that'll why those values are coming there. We can flatten that because that's going to be on the floor. Cycle. This flattened these n keys so it's moved. Goes smoothly. As fine foot roll again, we can flat, flat and this, we can play around with that cycle. There's, Let's make sure these cycles are smooth there. Okay? So we've got that all smooth. And you can immediately see the fee bit more smoother there. You see that as a few things we can start playing with. You will gain they're getting this slowly. Yeah. Okay. Now, let's have a look at this. We've got the feet here. Alright, and that's the foot roll. So when the foot comes down, we want it to snap. So here we want it to go down, snap and embark. And even here we might want to put it down a little bit. Then it goes up. Then it bows. We might want to push that up a bit. This bit here in my wallet, just smooth that out. Yeah, so we're getting a bit more smoother then I'll see we can see a little bit of a stock. Actually that one's mood. We're looking at this one. This one is coming back as cycling, quite nice. Academic get the toes. And the toes we're going to rotate in x. So let's have a look as it comes in. We'll put the top. So I'll just copy that to the end because that's going to match them. And then as it comes down, we'll keep it there, but we're going to slap it on the next one because the heel comes down first and then the toes. But in fact, now we'll leave it like that, which is designed like that. In fact, we can go down flat, completely flat. Let's copy that. Let's make it completely flat, completely flat. And then what we can do is here, we'll just copy this value all the way across here because this part here is when it's on it's on the floor and we want it to stay the same. So we've got a little bit of a flop on it as it comes up. Hey, we want it to go already, going back, back. Yes, fine. You get that little floppy. See that? That first seems alright. So what we'll do, we'll go back here to the other foot. And same thing. If we look here, Come here. It comes up. Okay, That's fine. Fine. And then when you come check this out, When you come here, it goes up. And then we wanna do, we wanna get that? It's got the foot control. So this top first. So we worry about the foot layer. Can you see it's going up and then down. So we want to come here. And let's check out the full row there. Okay, So what we'll do, let's make the ends. We're gonna make them a bit higher right now this because this loss per se. Okay, It's a bit of a lot there. I reckon. We should have done, sorry, rookie mistake. Let's check out the hips first. Gotta make sure. Stupid me. The hips have to be right. Alright, silly me. Let's check on our hips values. Okay, So here we go. Once we get this right, then we can work on the feet. Apologies for that. So let's see. Let's do the hips first. Comes down, then up, down. Okay, I see what it is. So what we'll do, we'll copy this value. And we want to make it the same here. So make sure that's the same value. Because we got it as I said. Okay. I don't know what's happened there. Copy Man, maya doesn't copy from Panther. This next one. I think we bought it up a bit too much, so we want to bring that down as well. Cycle, nice cycle going there. This is the start position. And this has to be the same as the middle pose. The opposite way. Down positions need to be the same. Exact cycle. Yeah, that's better. All right, so we've got that working as fine. Cycling. Okay, that last foot is cool. So you can see that this foot here is topping. So what we'll do is have a look at that one. Right? You see what's happening here? So what we wanna do is just lift this up a bit. And then we can a little bit of a stop there. We'll work that out. I think that's the x, this one yet. So we'll do keys dot, dot moving. We move this up. Move this up slightly so it's moving. Getting there slowly. But is a little bit more. Cycling. Cycling. Gain this slowly. Now, let's check out the foot room, foot road. Coming back. We can bring this down a bit. It hey, cyclists. That's fine. Check out the foot roll now so called this isn't an easy Nazi, that's what's happening. It does, it does. What is a slow? If you see here, does it ease in and ease out? So we want to cycle this. Move this up a bit. Move this down a bit. Now the star into starting to cycle a bit more, right? That's what it was trying to match these tangents up nicely. So there isn't a little delay. Just move this down. Let's see. Is there a stretch there? Yeah, there's a bit of a stretch there. So what we wanna do is just slightly bend. Bending. You get into more of a cycle then I'll see. Yeah, that's it. So you're getting that hips working. You go. That's better, isn't it? Then we can start working from the hips and the shoulders and the arms. Then we can start adding the other mechanics. Okay? So that's what we'll do. So we've dealt with sorted out the hips and the legs. And we can do a bit more detail to the legs as to later on when we polish, but at least, at least as smooth as cycling smoothly, right? It's moving nicely as what we want. And then the knees are fine. And his hips and his hip controls here we can always, we have this nice Control Z that we can use to control. Don't think we'll need them, but we'll see we can always try and finish them. Alright guys. So the next video we'll start working on the arms. And then we will work on the head. So bit by bit, we'll break it down slowly. So a step-by-step guide. So I'll see you in the next video. 5. Animating Arms And Head Part 1: Alright, alright guys, so we've got it all working pretty clean white. Then we can stop policy in the legs a bit more. Let's go in now and do a bit. So if we go to Animation, visualize quite editable motion trail and let's check this trailer. But look, when we get here, straightens a little bit of a pop their assets, we just need to pose a little bit. Okay, that's fine. So let's check out the overall trajectory. Kami, we couldn't even lift the hair a bit, to be honest. Just to get a nice curve. I would even rotate this down a bit just on the floor. Well, one thing we need to do is when it hits the floor, zero that out. In fact, we need to push it in a bit more. And then what we'll do, we'll come here. We'll just copy this to the rest of the keys because that's going to be on the floor remaining fluoride. So it should stay flat. Yeah. You see it stays flat. And then we'd get their copy that to the stock. So it's the same. Okay. So now you can do, you can come in one by one here. And just each frame, you can just try and line up. It's coming off the floor. Yeah, that's it. Okay. So we've got that work in which is cool, we can do the same. So let's, let's delete that motion trail and do the same for the other one. Just doing it as we go this one look for outbound. Know maybe we could have it coming up tonight. This down. To be honest, that was the right now that it's getting a bit straight there, isn't it? Here? We can do it lists like this. If you notice that leg straightening. My roll it a little. Yeah, that's better. Okay. So we've wrapped around their cool that all we're gonna do now. Go to the Start. We'll just bring this up and let's bring the x-axis down to say what, -75. And then let's bring this one down as well to minus five, okay, So we've got it all down there. Now what you notice is going to pop because your kid, you just need to select select those. And as you can see here, it's going to delete everything in-between. The end frame is will select the hip, the risks, and the forearms and do the same thing. Just delete everything. Except for the first key. Select all the controls. Just delete everything. So it's all clean. You're working with something clean and the shoulders cleaner. Now. We've got rotation in the shoulders. What we're doing, we're just pulling these back a bit so that it rotates bit later. Yeah. Rotates later. I would the hips as well. Even the hips. Now we'll come back here. I'm just putting this back, pointer back. So slightly more. Taking a bit more time. That's fine. Feels better. Then what we do, the arm, this controller. This is Omega symbol, right? Okay, You can use that. Awesome. So what we'll do, we'll just do a simple forward here, which is 12. So let's do minus ten. Then copy that to the end. And then we come to the middle. And then we just did ten here. And if we look at our graph editor, will just flatten everything can cycle. Yeah, it's very simple here. Alright, so if we look at this now, is called a simple. What we can do is just add a little bit of rotation in the shoulders does not be too much, let's say minus five. Again, middle, click to 25, go into middle, and then do five. And again in the graph, we're just going to flatten everything. So we select everything, go to flatten and makes recycling, which it is. We got a little bit of movement. Then we can also turn down the blue axis, this one. So we just come up here, select everything. Go to the middle hip, press R for scale and press middle, middle. Click this scale down. If we look here, it's not moving as much so we can scale that down a bit more. So we'll just scale down. And also, you know what, let's scale it down. So we've got a middle here and scale down. If you don't go to the middle. So I'll show you if you don't go to the middle and scale. Now roughly here, you all scared equally if you go here to this point here, it's going to scale from that point, but we don't want that. We want to scale it evenly. If we scale in, we always dotted around the middle and then you can sue other points later. Okay. Now you've done that. Yeah, that's better. Maybe that's a bit too much to so let's get it back up the scale it back up slowly. We can always play with that. However you want it, you can play with that. But again, coming back here, Let's start with rotations. Again, minus ten, which is ten. Copy to the middle, minus ten. And make sure you just flatten and cycle. Okay? So we've got both arms working. And then I'll add the shoulders or which will be minus five. It will be five. And then minus five. At the end, we will put five and then we just keyed up. And then we'll cycle that in the graph editor planning cycle. Again, flatten cycle on the other screen. Sorry guys. So we've got a good timing happening there right now. What we're gonna do, you've got these hands here. 6. Animating Arms And Head Part 2: So what we'll do, we'll just get these hands and go to curl. Because we just want to relax them. That one. Then we want to bring the terms and slightly and just have them a bit more relaxed. Here. We just want them inside more relaxed, the better. This feels a bit more natural like that. Then what we'll do, we'll get the forearm. And we'll just move this up a bit. Middle click X equals minus ten, minus ten. And then let's copy that to the end. And obviously the middle, we've got ten. We can extend that if we want it. Alright, that's cool. And then we'll, we'll do the same thing, the graph editor, cycle it. And then what we're gonna do is offset in these, but we're just getting the keys. And at the moment, same thing with the hand. The hand will, the risks, the risk goes forward slightly. We'll try not to over-exaggerate. It will just make it a bit subtle. We don't want to over-exaggerate. Again, same thing in the graph editor. Select everything, flatten it, cycle it. Then what we can do is, okay, what we'll do now, we will offset this by one and then the rest by two. So second everything 12. Now we'll have a look. Have a look without the controls. Much loose, right? It's loose, which is what we want. Okay. Now I'm just thinking about maybe rotating, bringing it closer. It intersecting the trousers. Okay, that's fine. You could even in the little hair coming out and then coming in, see how that looks as an intersecting lowest seems fine. Okay, now what you can do, we can probably offset this a little bit more. So if we come reflect the wrist, the forearm, maybe move it another another frame. Okay. It's made this little frame. And then maybe the wrist. We can do with the wrist is choose the wrist. We could even move this up, see how it looks. So we're moving it up and just trying to get a bit more of the graph, you see that there's a bit more drug happening there. So that feels a bit better, right? And now what you can do, you can click on that down all the way to the fingers and the thumb. And the finger and extension of the hand, which I'll show you. So there's really good control there. So if we check out base, because this base, or see this one, this is really good because you can add drags. Show you what I mean. To click Go here. We can drag it forward, middle click to the end, and then drag it back. You see that happening? Now all you have to do is go into your graph editor. Same thing, flattened. We can go 1234. Let's see how much four is. Yeah, we can do one more. Start creating that. Maybe even more and more. And if you really want to go more into it, you could slip the fingers and drag those, but we can keep it like this. And then the thumb, the thumb is the same. We can get the farmer here. Actually, let's see, is there a thumb control to the thumb? We can use this instead. So we see this. We can just rotate, maybe rotate it going up. Now that middle click that and then go back. And then we can also, again in the graph editor, I think we offset that by six, so we can go 123456 and that will follow with the pump. Then if it doesn't show as much, we can lift this, lift these up. Communist shared because it will lift these up as much. So it will look now, C is a bit more. We can drag this down, maybe tone it down, so you can always turn it down. So that's okay, that will work. But we can tell it that we can also use the other controls is all down copying. Use that output for this. You can do that in access to much is too much. We don't want that much. So what we'll do with tone that down here, because I've done doesn't move that much. Okay. Maybe animation is different, you know, same thing on the other side. Yeah, so we do we've got we've got that. We've got the form. Again. We want to move it back slightly right? Keyframe that. And in food, this is minus ten. That is 1010. The same thing with the wrist. Combat with the wrist. Are we adding five? Copy that to the end, then go to the middle minus five. And then you could even do the base metal clip to the end and then forward. And then the thumb is the same. In the middle, is gonna be forward slightly, and then back on the base. So we've got everything there. So all we got to do now, it's coming to the golf editor and move this by one. Move this by one to flattening them. Then we've got a control here for the base, base way that one now 123. And then the thumb is that 123. Starting to get it done. And then you can start offset in a bit more. Might want to offset the wrist and the hand. Then this another two. The thumb and other to gain a little bit of a drag their hands. Then you can start playing more with the fingers. That's the arms done. So you've got the arm. What we'll do here, we'll add up the rotation. We'll add a rotation. Well, let's see here. We could add it in. Here. We can have it come out slightly. So at least it's not intersection intersecting the trousers, Diego. We've got a bit of a cycle. They're going. Then. Now that we've got the arms all working. Well, just do the head. Excuse me. So we'll do the head now. Yeah. So you've got the neck here. So when you walk has the head comes down, bring the head down slightly. And then the high point. We'll just slightly rotate the head up, just creating that. And then down here. So it's a bit exaggerated the right. But we can always turn that now that would do. This is all zeros. So we can get rid of these middle ones. Copy this over here. Copy these values. So they both equal opened down. And then we'll flatten that. Then we can just have a look. Right now what we can do it just tone that. We can just scale that down a bit. Because we want the head to be moving, but very subtle. If you look at their head hair, same thing, right? We want, we want it to be moving. But let's keep it subtle. So let's copy these values. Same thing. Those inner values, because the descender flatten everything out. Make sure the tangents are matching. Scale that down a bit. Neck is alright, let's offset, offset 12. So it's starting to get a little bit of a movement in the head. And then what we can do here is we look at the overall posture of the, of the walk is going down there, right? Let's let's try and polish this, oversee this. Going down. Maybe he doesn't have to go as down. See that? Alright. And then what we could do is you can start. We've got our happening in the next next video, we'll just start working on polishing a slightly changing the pose. And then we'll do a bit of the volume on the face. What we'll do, we'll add a bit more volume, you see? And on the head here, we will add a bit of overlap to all this just to bring it alive. Bit of movement in the air, eyes as well. All right guys. So that's this planning and getting all the arms working. Yeah. Alright. We'll see you in the next video. 7. Polishing Part 1: Alright guys, so now in the next video, we're going to polish. So let's check this out. So what we'll do now, I might even pose them a bit differently. So if we look at the lower rotation to select the free Control Z rotations. And let's go to all the rotations. So we've got all the rotations here. I just want to lean him. Fluids, rotate him just a little bit lighter. So it's a little bit of an arch. Also. See this, okay? This control, and then we've got this one. This one. Okay, what's this? This is moving. If we needed that control. Yeah, we didn't need that. That was an extra control put in there. That's alright, That's what a rotation which is fine. What we need now is rotation in this one, okay? So we can rotate this torso as well. Slightly forward. Because remember the walkers are controlled for. So we want to do even the head. If we got the head x's, x is in the head, which are these? We want these to lean in. Food is low. Okay, now we can just maybe slightly move this a bit more. I just wanted to be a bit more balanced. Okay? Okay, that's cool. And we just wanted to look slightly down. And then we can delete the rest of the keys that it's kinda looking down. Okay, now let's polish this. So let's look at these, this volume. Okay, so we've got this. This is just going to add a little bit of movement to give that volume. As it comes down. Slightly. Let's delete everything in the middle air. As it comes down. Impact, then compress, impact, then backup. Okay, Let's check that out. If we look at this. Okay, That's fine. So we can do, we can zero these out and add that value here. We want to equal distribution. We can delete these middle bits. Copy this value here again with just equal in everything out. Make us all the tangents are matched. So there's a little bit there. Can you see a little bit of movement there? We can always turn that down. There is too much. And then what we're gonna do, we can go to the same one. Well really what we can do, we can go to the first one is what? The translation too, Let's get this. So let's zero this out. Copy that. So the values are similar actually. Let's make a lesser value equals the most subtle. A bits match the tangents. Okay? Let's have a look. Yeah, very subtle there, right? So what we can do, we can more or less a play blast. Don't want that. Not bad. Play blast. We wanna do is copy. Let's try and copy this to the top one. Let's see if that works. Doesn't spell it out. Okay, that does it. And then let's copy that to the top one. Now we wanna do want to offset these. What we'll do. Again, the graph editor, we've got the second one. And we'll just offset this by 12. And then we'll offset the top one by 1234. Yeah, So we wanna, wanna get that bit of volume there. Can you see that? It's a bit of a volume there right now? It's a bit I think we can do what we can do is maybe offset it by one. So let's bring it back one. And it's been that back by one. So I'm just bringing it back into the graph editor by one like this. Okay? Okay. Okay, It's a bit too much. So that's fine. All we're doing there now, now that we've got all the movement in, this is the beauty of it. What we can do now, we can just come in here, select these two because they're starting at zero. We can just select them all, go to hair, scale in this area and scale it down. Same thing with the top one. Get the parameters that I've animation on it. Select everything, scale it down middle, click and press the button. And scale this down. I selected everything present on the keyboard. Sorry, I'm selecting just these two. Select everything, all the key back, press Shift and middle mouse button. Find a spot. Then press Shift, middle button. You can press shift as all. It's the middle button and then drag it downwards. Then that will create. Okay, that's too much. You're going to just go to play around. I'll go back and I will scale it up slowly. That's what it is. It's just going up and down, getting a feel. Okay. Getting a feel for it. Then you go from there. All right. That feels a little bit better. A little bit better. I might add some more on the top one. The top one. Okay. A little bit there, right? Yeah, I can feel a bit there. Okay. I said it too much. Right there, right. You can see a little bit there. What else we can? The other thing we can do is maybe slightly open the mouth for a bit. 8. Polishing Part 2: Too much. And then in the middle, have it have it cleared? So slightly. So what we can do with habit, slightly open but it's moving. So if we go here, we can slightly moving a little bit. Maybe, maybe have it where I want it to be really subtle easily. I'm just bringing this all in. I've got that working and then you can start in the middle. We can start doing is let me come here. We can just add a blink. Yeah, Just to make it interesting. And then these cheek, again, these two is we can select the actually we can do, we can select these. And then we can just go down and back up. Hi point. And then down. In backup. Then we have that there. Make sure these are matching. We can go in and really polished he's but you've got that little bit of movement then. We can offset that to you can, it's endless. You can go in and place all these little things. All we're doing now with the ears will grab this. Would be like impact. And then impact. A bit too much oily will delete. Let's delete this whole thing is neutral and we'll just fine to Al-Qaeda. And here we'll just add a little bit of movement and it will copy that to 19. So there's a little bit of movement. Doesn't have to be too much. Okay? And then we've got this here, here. So what happens when there's an impact? Moves forward? Delete that, will delete all of this have to do straight ahead. So impact and then back and then impact food. So we just got a simple thing like this here and then we can always turn it down, flattened out. And to be honest, we could do this. We could basically key all of it. So if we delete it, delete these, select this to select the bottom one and this key where you keep all the first one. So you know, you've got an indicator. If we come in, we can be like, alright, comes forward and then forward again. Same thing with this one. Forward. Food. So you've already got that. Now what you can do is just select all of these. Go into your graph editor flattened cycle. If you want to tone down, you can turn down this offset. So let's do 12.1, 234. You got that happening. And then you can come in here and just tone it down. You can turn it out from zero here because that's where it's starting at zero. So you can do it from the tone dispelled. You got that happening. The movement. And then last but not least, the main hair so we can delete everything. Same thing here. You're impact. Impact. Then it's the same position as the same as the first impact pack. And then impact. You've got that. And then you can just tell him that down. Down. Couldn't even offset it one to one. Then you can try and tone it up. See, move it back. Okay. Okay. Let's see, we can do it by one school and then tone it up. Turn it down a bit. Das better. You're going a little bit of movement in their head. They're little bit. If you really want to go to town, you can start working with the face. You know, like even here with the face, we had those keyframes we put here. We have a look in the Gulf area. Again, the bottom ones air to zero them out. And then the top one you could match these. And of course the bottom you can match this. Delete these middle ones match anymore, yeah, translations. So we can just roughly match these. Dilute the middle ones roughly match these. You can go back and add the values if you want. This one to. This one is fine. We can just add this add values. So you just go in and add in the values. Same thing here. This matching kind of match the tangents. Then you can just save is going up and down too much. You can offset these. What we can do here is offset it by one too, because the top ones are moving. The top one there. Again, you can play around with this as much as you want. Make sure that tangent, and then you can go in and all its detail and just get it right. How you want to, so many things you can do. You might even want to do the nose. But all in all, that's how you animate characters. The head a bit more volume than it. But that's how you animate a character on the spot. So yeah. Hope you enjoyed this tutorial. I'm gonna be doing another one with the other characters because I find these characters really fun. You can actually drag, then you can start editing the torso, timing. You can stretch everything's make it slower, faster, however you want. All right guys. I'll see you in next video and next tutorial. See you later. 9. Conclusion: All right guys, congratulations, you've made it to the end of the course and you have learned how to do an animated walk on the spot and cycle that seamlessly added a bit of overlap, bit of facial animation just to get more aliveness and believability into the character. We use the fingers, we add a little offset to the arm just to get that nice looseness in the arms. So hopefully you can take these techniques and put them in your other works. Whether it's cartoony, whether it's realistic, the principles are the same, okay, Now, if you want to see more, just check out my Fundamentals. I've got a whole lot of classes on Skillshare or categorized. You've got the fundamentals section, then you have the cartoony than the video game series. And then there's also editing as well as miniature painting as well. I do but a miniature paintings, so I use the airbrush so you can check them all out. It's great. You guys are supported me. I'm going to keep putting out these videos with this pro rigs. We're gonna do other ones as well, like exercises of getting off a chair, just basic principle exercises which are very important. Weight shift and stuff which you can put into your work. And we'll move on to more creative stuff as well, which later on the year will do as well. I also got a YouTube channel where I share a lot of my fitness journey, my book reviews, I share tutorials on there, but I also do critiques for animation in a review animation TV shows and games, video games, what have you so you can check me out. There's a lot of content on there. You can check me out on there as well and support me. Okay, guys, remember most importantly, have fun, enjoy the process. Get out, do some exercise, get out in nature. Look after your body, look off to your mind to come back to the screen and animate. And most of all, stay healthy. 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.