Video Games Course - Animating An In Game Walk

1. Introduction to the Class: God's work because there's video games animation course. And in this lesson we will be animating the walk and adding a walk cycle, how we do it in game. Now, walks are very much like controlled for and they wanted a difficult things to do in animation because it involves everything, involves weight shift, involves posing. Everything's moving into the tool. So the hips, you just got to make sure everything is moving right and the mechanics are working right in. The hips are going, the leg is going forward. The leading hips are going in the right direction and not the opposite direction. Shoulders are going opposite as well. Arms you have as well. So there is a simple process to do this, even though people say walks and difficult they are, but there's a simple way of breaking it down. And that's what I will be showing you through the years that I've worked in industry and learn of other people, they different workflows. This workflow is kind of broken down into a simpler form. So you can think of walks in a simple way without getting too overwhelmed, without further to do. Again as we did in the class, we're going to block spline and polish and bring it up to that notch. And then we'll conclude on this class as well. So without further to do, get your rigs, you'd have to use this one, as I will mention, you can get anyone you want. The concept is the same. Again, the principle is applied at the same. Come along and animate with me, have fun, enjoy the process as well. And take your time step-by-step animation takes time. So really take, don't be overwhelmed. Take, take your time. Take the steps slowly in if you have to pause and just really think about the poses and stuff in the class to do that, do it, do what you have to at your own pace. And just enjoy and make sure you having fun while you're doing it. That's the maintain guys without further to just dive into the next lesson. And I'll see you in that. 2. Tangent Matching: Hey guys, Before we start, this is something that's very, very, very important in the video game industry, or when you're doing any kinds of cycles and walks is the tangents. So what do I mean by the tangents on it? I'll show you what I mean matching the tangent. When you first do a cycle and new limit blocking and we're doing everything and you cycle. What happens is we need to cycle all our animations. Let's, for example, just have this on constant for now. Just for example. Normally you will find a lot that's when it's not cycled, which won't be, it'll be like this. Soon as you add cycle. If you look at this tangent hair, going ease in and ease and now it's going to cycle back here. You're going to get a easing ISA. Then it's going to ease in, ease out while it's playing an animation. You will find at the end, there'll be a little slightly or delay them back speed, back to the speed. Lay back to speak. You will thinking about what's that? What that is always very likely to be is that your candidates are matching. What you do is just select the tangent and you move in them like this. See when you move them, you see it changes here. You're moving them down. It is matching, that's all you're doing. You're matching so smooth, it goes next post-sale. You'll find this a lot in our idle. All of the series of in-game clauses I'm doing will all have this because I keep talking about it. You start it, start coming. Second nature is so important because a lot of times when genius go in, the fall, victim to this, when they got their first job and they're thinking once the cycle not work. And in my experience, the teachers might be more better now showing that, but I never got this first slide. So this is very important. So this is just a quick video that we will be doing this on everything. On the torso, the hips, torso, head, everything, arms, making sure everything is matching. Just right. So just as a quick video, I wanted to show you on tangents, really important. And we're gonna talk more about that as we do the clauses. Okay, I'll see you in the next video. 3. Blocking Part 1: Okay guys, so you already got everything set up. This is the blocking. Now we're going to block it all like all familiar. If you've done my run class, we're just going to go and block in order solid poses again, we're gonna get the reference because I always use reference. Amo was a heavily stressed out, get your reference. We will just basically put in the solid poses, block it all in, and then we'll go on from there. So without further ado, let's dive in and let's check out this first lesson in this walk series. All right guys, Let's thought business. First of all going to do is get reference. I've got these four key poses that will be used to stop. And we'll just use these to block out every day, right? Loaded in the rig. Again, what I'll do, I'll just flip this water facing that way. I just like it like that. But you can have it how you want. Let's check it out. Let's go here. Flip the only yes. Let's check our reference. I've got my reference here and the other monitor. What does it say? Okay. Now you can see the hips are leading here, which is right. Kinda last one we did the run. There was the opposite way, which is wrong. That reference, although it was wrong, we, we knew what we were doing, so we just changed it. This default default light in it. Okay, so that leg is coming out. First thing I'll do is I'll select the foot controls. Put in stretch to tell you. I just put the timeline to 0 here. We will get light from 0. Then this front leg is coming forward. This back leg is behind. So we know how that is. Alright, cool. At least we know we will start right here. If you look just above the cortex, just going to rotate this up slightly. Move this back. This one is forward. We're going to roll it, will use this control to just roll it up. That's gonna be that slightly straight and this is slightly banked. Okay, fine. What we'll do, we'll add a rotation in the hips. We add this rotation in the hips. So we'll stop. Do it so it's a bit noticeable. So let us say 1010, okay, We'll just straighten this a bit. Just have to readjust once you do that. See if we rotate this down slightly, but alright, so we've got that pose and we could, while we're here. Why don't we rotate? Oops, oops, my life just spelled it. Distill down to light. Nevermind. It is okay. Right. So we've got that. What we do, we rotate their hips a bit. If we rotate the torso, the torso we're gonna do because the hips are opposing this way. We're going to slowly start twisting this one. This way we call, this is to synthesize, sorry, we can have this opposing the other way, so we're going to bring this around that way. What I mean by that is we're gonna basically rotate the torso separate. But all we didn't do a little work on the bottom. So this one, I'm going to slightly rotate that way. This one a little bit more. In this one, automatically. With the arms, we can just put these down. Just rotate this down. We'll do with these. We just relax them a little bit like this and a bit, a bit relaxed instead of straight, right? We're just relax them on the side. That's fine. Task we can move them this stretch. Okay, Good to know. Okay, So if intersecting fruit, what we could do could slightly move the arms, these arms out. Just slightly, just for this animation. You can do the same the other way. Just so there's a little bit of a gap right in between. Then we can rotate this down. That'll do nicely. Then we look at the reference, is you can kind of slightly and then move this back. Move this back a bit because posing leg, right. So we just keep polio slight bend in it as well. We could always policies levels is just trying to just get the posing again opposing leg forward. And then we just wanted to add that there, like that. Go walk pose there. What we'll do with this key order this at the start. Then we move to the next frame. We want to make sure that everything is That's better. Blank there. The hill. Makes sense constant. Could you just want to get pose to pose to pose down? We've got that. Next poses. We know this is gonna land flat. 0 that out. You can see here is flat and the knee bends. So we know that it's going to go forward. But we also know there's a slightly bend. But not to food right around here. This foot is starting to come off the ground. So we'll just rotate this. We can do, we can lift it up slightly, fluid around like that. Now, select everything will key that didn't go to the next frame. The next frame is the highest point in the walk, which is the passing pose. This one a will do that. So as we come, so what happens is as we come up, this lecture ends up. And we move this up. Like so, rotate this. Then we will take you just get the toe control here, which will then rotate back. Getting that. We've got that we're just using the hips, we're just working on hips and legs at the moment. Nothing else. Want to get those mechanics and weight shift work in populate then. Because if that foundation isn't right, there's no point carrying on. Thus the halfway position. That's not sorry, that's not the highest point. That's the halfway position. So even here, the leg is still a bit still a bit down. Still a bit down. And the next one dots where the leg is straight. That's where the leg the back leg is straight and higher. But there's also a slight rotation in just about to leave the ground. We've got that happening. That's pretty cool. They're a little bit bent and then this foot comes forward and then rotate the toe area to flopping like that. Keep it a bit low, lower. We can always swap the highlighter. But yeah, that's more or less what we're looking at. And if we just keep everything on there, make sure everything is blocked because it's a bit of supplying. They're just do that and just move this mike bit closer. Okay, So we've done that. Then the next pose is gonna be the contact, but the opposite way. So that's the start one. Next one is gonna be the other way, right? So what we're going to do, we want to select the control and the hill. And let's just 0 that out for now. Okay, this is your own repo that didn't work. 0 and the translation, This shouldn't be no translation on the class. Shouldn't be transitioning, that should be rotation on this last one, we got that. This is wrong, this 0, this out. Shouldn't be a translation on that. It should be forward like this. And it should be able to rotation. 4. Blocking Part 2: Hey, can do with hair is delete this. Fine? Yes, it looks all right. Next one, That's the contact here. What we do to y 0, that the whole foot stack with tos 0 that almost like the hill one here and 0 that it's flat. Now, what we wanna do want to move this forward a bit. And then the last controller day we'll rotate that was caught in contact ground, let's say because we want it I'm gonna move it forward. We want to have it a bit lower. And I move it forward a bit contact. And at the same time we want to rotate this lightly off. That's it. Now what we're gonna do in the middle here is we want to oppose the hips now. So we've got the hips here which is ten, we want to do is minus ten. The other way. Then the control above that, the hips, actually it's not DAs that hips. Edit. Redo. This one we want to minus 7, just take the minus of the star. And it will go the opposite way. Just take the minus of the mid torso. I go the opposite way. Then lastly, the top bit, which will go the other way. You've got an opposing way. And then you just come back. Readjust the legs of whom maybe move this forward or higher. The contact is straight, straight there. Alright, selected from day, give that a key. Just make sure it's constant. Let's check it out. Let's see, see this changing there. All right, now we'll just knock out the other poses. So we come here because we've done the other ones. It's the same thing. Just opposing, come in, 0 this out. Move the hips fluid. We want a bit of a bend coming down. But we want we don't want the need to go to forward. And in here we want to rotate. Just rotate like this. Then we'll just keep everything here. Go to the next thing, Eighteen. Eighteen, contact. Let me call that pose. Then we've got the parsing. Okay. Guys, the dough just went. Daughter's baby seat. But anyway, let's carry on. We've got that step in there. So what we'll do, we'll come back in again with just constantly get constant. So we've got this one here. Comes down here, cool, then pass in position. So contact, contact pose, downward pose, parsing position. So what we want to do in a position that we want this front leg to be a bit straight. Not exactly. The hips, a little bit back. We'll push. Bringing this forward. This hill. Get the toes. Push this back. Bring this up a bit slightly higher. Coming through like this. Give that a key, key everything there comes up there. Next one is the high position. Here we just move just going forward a bit, a bit higher. Rotate this hill slightly. Leg isn't purely straight. Don't want that. Move this forward. Reset the hill, 0, reset, reset the code. This is what I normally do to 0. Everything out. When we come, hey, look, we can rotate this down. Hey, we've got a bit of that going on. Key everything. Again, when you key it in my spline. So just go to constant. In the last pose is what we did with the run. We copy the first pose. So let's uncheck the geo here. We can select the geo, take the curves off. You've got to start. We're going to do, we're going to select everything. You can outline, select everything. Get rid of these lifespan. Select everything, press Control D. And then control shift P. Anything comes out with that group, and then Control G. If you don't press control G, You can't rotate, you can't transact, see this gizmos gray. If you group it, then you can move it. Now what we're gonna do now is we're going to go to the end here. Alright, let's check this loss with it. So round about day. If I just put in wireframe, let me put it in wireframe, you can get it exactly. Match it around this. We just want to get our data. We can sort it out later. Cool. So we've got it there. Now what we do is we go back to the start to show our controls. Select all the controls. Literally all you're doing. Now, make sure everything is keyed. Middle click on your mouse, drag it all the way to the end. 24, let go and press S. That's all we need to do. It we'll copy the Posey is copied exactly. Now what you need to do is select the fee, shift, select the feet controls, and the torso. That's it. If you want, you can go into wire-frame and literally just move in it too much. Let's move this in and let's try and get a match. It fits. That's pretty cool. That's pretty cool. Then when you go back, you can delete this group where you made the GEO and input your geo here to Oregon. You don't select it. Now if you just play it, you go. You've got that little bit of a blocked out walk happening, right? Sit. And then if you have a look at a stop start pose is opposite. And that's what's like that in the middle one is the opposite way. The torso is happening in our school. And what we'll do now, we'll just go through the keys. Let's check this out when we get to the next contact pose, which is contact pose one, that's just the next contact pose in middle. Yet, what we want to do, we want to rotate this fluid, this fluid to right, and we want to just for the hand back a bit is still kind of dragging. And in this shoulder we want to do backwards. Backwards like that. This Go back. Have this fluid, maybe. We might want to just straighten this up and you have this forward a bit. So we've got that happening, right? We've got opposing you've got that in there. We'll do we just select we do. Go back here now, we'll just work on the arms. Let's look at this as referenced. The second pose. The first pose is like this. The second pose. What's happening? The arms are going back a bit more. This is going back a bit. Then starting to come forward. You can break the joints here a bit. Keep it a bit. Maybe here to have it back and get here. Coming up. Just, just want to get an idea as it comes back. 5. Blocking Part 3: This one out later. We don't need to really go into it. We can do that later though. We can just just want Middle, start, middle, and end. But we'll do that later. If anybody would like block happening, conduct myself. We just got that little bit of movement happening and we can do the same on the other side, I guess. Block this out. Just starting to come back here. Still back. Still slightly back. It comes forward. You've got a little blocking up knee. We can work on the other stuff later. But all in all that's basically we're just blocking in the walk there. The other thing we want to do and that's not forget, of course we want to go into the hips. Remember, step contact, stepped weight shift. The weight will be on this leg. So we're just exaggerate it a bit more, but we can turn it down, contact, step, weight shift, and then back that way. Then we can sort these knees and everything out. I mean, we can do it now if you want more out this year as well. But we can always do this in punishing. This is just a bit rocky, but there's a way you can sort that out. If you come in. You can see, you can see the highest and that's all you're doing is just blocking out in blocky, just going step. That's why it's called stepped, right? So if we do this, not this, you'd see It's like equal. Now when you do it now you can see it's kind of just going like it's cleaned up basically, isn't it last what you're trying to do? Anything else? So that's the blocking guys. Then obviously against blinding polishing will do all that. But get a sorted blocking in, make sure all the contact pose and everything working well. We can do is while we're in here, see the forward is pretty constant, so that's cool. When we find it, we'll just make that linear. So it's moving forward constantly. We might need to make some adjustments and let them explain it. But that's naturally we have to do that. We saw at the shoulder and torso. All right guys. That's blocking and then we'll move on to coming out into explaining. Save, don't forget to save your stuff. I'll see you in the next video. 6. Splining Part 1: Okay guys, you got this sorted, dropping down. You're happy with it is perfect. And it feels good. The beats feel good, the mechanics feel good. Now it's time to move over to splicing where we might change the timing to because you now is the time and can get effected or we might keep it, we might lack the timing got how it is because it has a walk and we'll start just cleaning up the curves, flattening out the curves and the fear, the fee on sliding. Without further ado, let's dive straight in and let's go to lesson one and supply in this book. Alright guys, time to supplying it out. Let's go here. Our graph at it up here. And we'll just stop. What I tend to do is with the feet. The feet, I just select everything and a flattening is this because then they planted, you see, then the rest, the top, I'll just go to this plane. You can see little rocky, but all the worry is meant to be. Okay, so let's sort this out. First thing I do, try and slow the center of gravity out the hips. So let's check this out. All right, pretty much I just delete everything here and make sure that's linear. Spline flat, it'll be easy, ease out so it'd be slowly like this. We want it to be constant. So always put that as linear code up and down happening there. We've taught that out to down, down, down, down. You can see the poses are a bit messed up there, right? We'll sort that out side-to-side. I tend to just delete, delete these, flattened these. I'm pressing Alt F, but you can press that. That's my shortcut. Check out my previous course on doing those shortcuts. I might do a video on that. Actually. You guys have got the shortcuts as well. Good. Getting that side-to-side movement to trying to clear up the torso area as well. Was happening yet. Limited. Select the middle, select this middle one here. Just delete this and delete this. We just want that at the moment. Flatten that same thing here. Delete, delete the key. We just want three keys, right? Rotation like that. That's what we're trying to get. The same with the chest as well. Delete, delete, and then flatten these. I'm gonna flatten these because when you cycle is continuing, but we'll cycle later. For now, just flattened to just select a location. Go here flat. If you look now, smoothing right side to side. Still a bit rocky. Let's check this out. If we put this on Slack. Yeah. We've got this is the highest point. Then it comes down and this is the highest point. So these two values, we want to make the similar. So we'll just copy this and paste it on the next high-value, down, the down pose. So that's the down pose. Value is 0. And then we go up, down pose. That down poses a bit more. We can do, we'll copy this and put it here. Make that the same nice up-and-down happening. And then when it comes down and it goes up there. And then when this comes down, goes up here, we can get this. Let's do it the same as this. Let's bring it down. And in this pose is the same as that and this is the same as that. So we've got a bit of a cycle there. Clean these up limited resolved there, but we'll do it now anyway. We've got same rhythm happening. What we'll do, we'll just go back to these rotations. Hip rotations, you can see here phosphate rock Enos is happening. So we'll just do the same thing, F flat and this, and you'll see a lot more smoother. Remember the hips? That's looking a bit more smoother, man, that's cool. Then will go for the legs, the legs up a bit. Let's check this out. You could see was a bit jittery. Just want me to flatten these. I'll select these and I'll go here, flattened or sorry, explain. Then you can do remember I'm doing it quickly because I've got a shortcut for flat and explained alt F is flat out, S is a supply. And so these shortcuts will help you a lot with your workflow. Again, Control S. We can do some animation on the axis layer. We're just sorting out the legs at the moment. And that's fine. Is this when the legs in the air yet, so we might have a little rise here. Then. We'll just do that. Excuse me. Will do that. All right. Now what we'll do, we'll go back and we'll concentrate on the hill. So let's check the heel out. We'll just rotate that just clean in your curves up. More like smooth. It should just be on the axis here and then the toes. Let's check the toe control. Same thing. So we're keeping it very simple, which is the key, right? Keep everything simple. The point you've done that, get the toe as well to straighten that out. Also, this is fine and this is fine as well. That's fine. I think what we can do, we can even rotten even raise this. What would be better to move this forward? Actually, we just copy the last pose, last value, the other keys copy and put it on here. So it all stays in one place. Going back there. Why is that going back? This should not be no translation on that. I don't know why there is just clearing that up. Here. I think there's a translation somewhere. Yes. We want to delete all of this. We don't want no movement on there. Yeah, that's better. We can sort that out from there. We'd go to sometimes controls, weird out-of-control just will do and move this forward to a straight. Because we want this to be straight. What we'll do in the end, we'll just move it forward a bit. Move the pose forward a bit. Just trying to get the leg old smooth first. Then we'll work on the other stuff later. And as you can see, this control, there's a translation. One of these controls as well, I think moving forward. I'm not sure how that happened. Is this all right? This is all right. There is a value on that. Yeah, that should be all 0. You see? That should be 0. Which means we just have to move this food, this is Z. So we come here, we can select everything and move it forward. And then obviously a pool. You can see here, there's a pool which is basically because of this. You just need to put a little bit of rotation here. Bring into pulled out, they go. This is the kind of things you need to just adjust when you're splicing. That's all. All right. What we'll do this. We'll just bring this. Yeah, we've been that up that up a little. Come here. Fine. And then we've got the toes, which is fine. Front foot heel is fine too. The rotations are on there. The main the foot is in the box. That's what we want. Sometimes that can happen is end up moving another control. But this is how you clean up. Thus working. Here, we could rotate this. Actually we burn, not rotate that. What we'll do, we'll just bring it down a bit. When we bring it down. Bringing the other down position down to we want to do at the end and this end pose we will do like before. We'll go to our geo. We can select it. I'll just delete the gateway to the keys. So that's the stop position. Duplicate that. And then press Shift P. Shift P. Do that again. Do I duplicated? 7. Splining Part 2: Then Shift P brings everything out and then group it, because then you can move it will go to the end. And we'll just move it. Move it here. We're going to solve the view. Match the back pose off in the back poses the same yet now we know where we need the front posts to be. We'll get the controls back and just move this matches. And then we'll also move the hips as well. We'll get the hips. One way you can do is come in here and just move this up. The way I like to go in and do it manually so it matches more control like that. Roughly around like that. Seems good to me. Now that we've got that we can delete that group. Start to see there's a contact. Now this contact, we'll look at this slightly. Just move it back slightly. Might have to just end up around. Probably have to do so. That's fine. Still going in a straight direction is still this little bit of change, but that's fine. Sometimes you go to make some adjustment. I'm just thinking, is this going to low so we can do bring it up a bit. Then. Maybe this, maybe we can bring it back down. Let's check the y and put that both the same back leg stretches and right controls. Just move this back a bit so it's a bit bent. That would be the best solution. You see there? Yeah, that's better rule I did. I'll just move this back downward and upward. Move it back a bit. That seems to slow down. I think this is to further up. We'll do that leg is to further up. So we'll bring it back around like dot. And then we'll move the hips up, up a bit more. The highest point. Better. Move that up a bit much those liabilities get that value and paste it there. What we can do with the hill, we can stop moving from one. This one. We can stop rising. So it bends a bit. Shut down the conductor. Then what we'll do, we'll save. Remember to save. Let's check the shoulders up now. We're just going to basically delete. Doing is deleting these in-between frames. That's all we're doing. And flattening this because it's going to cycle. Same thing with Same thing here. We'll delete these, this and just flatten that. We can polish that after. Want to push that up a bit. Then the forehand and the same thing, delete, delete forward here too. So it's coming down. We can delete that and delete that. And then what we'll do is copy the end pose. We would oppose Mr. same. We're just working with that at the moment and we can polish it later. We're just trying to get it nice and smooth. Delete all of these. This flattened that the shoulder, the arm. Same thing. Delete. It flattened because we're going to cycle that. Then forearm is the same. We'll delete all the in-betweens. You just got f3 keys on the basically the hand as well. F3 keys in which flatten that was blind it all out. Have to worry about. Something else you might want to do is for example, say if you've got this control here, was gone. The hips, the hips are ten in the middle, the minus ten and then ten. So we know that's cool. Let's check out the lower hip. We go here, seven, go to the end. It says 7.3, go into middle seven, that's fine. We just want to see that these are opposing 6.196 line in the middle is 6.9 minus and it also talk with minus 9.669. That's fine. That's fine. I will sort that out later, but at least we've got every list the mechanics are working properly. We know, isn't it? Then if this leg is coming up to highlight this, we start lowering it. In the polish phase. We've got it Was Blind out. We could make it a bit more faster or slower with the timing, but not a bad place. That's exploring done. The next video we'll move on to is polishing. And then we'll refine it and then we'll do another phase. We will add animation to the bandana and the belt just to police get secondary movement gained and the fingers just to add that little bit more detail. And the foot kind of overlapping just to add a little bit more and a little bit of knee-jerk as well with the, with the vectors here. I'll catch you in the next video. 8. Polishing Part 1: Now this will not get into a bit more subtler there. Then if we come here, seems fine. And if this little bit of like for example here, the foot is going down to slightly just move it up off the ground so the code doesn't look like it's going through the floor. In the same thing we can do with this one. So for example, with a contact is here on the other frame. Now the next frame, we want the hill, we want, sorry, the end-bit here to be the rock, to be 0. Contact tau. Then we get ditto with key. We just had the hill kid then move that one frame forward only to sort the toe out first. Let's sort the toes out. Anyway. Keep it off the ground there, comes there. Keep that off because the toe is still pushing them the flu, that's fine. We could push it forward a bit more as it comes here is flopping. And then as it comes, it's going up. And then it goes up. Then it goes because the heel first lens, then the toe, right? So we'll select this 0, this. We've got that happening. Again. Maybe too much. Then we get the control hair. Even if that is too much. Which I don't think it was downloadable file. We've got that. We've got the legs working. Okay, The legs are working there. Now what we can do is if we go to the torso and be like, You know what? I wanted to break this up a bit. So let's say, let's move this one frame. Then this go up to the next one. And let's move that one to the next one. We're going to move that one to three. We just wanted to delay a bit more of a delay. Even with the top one, we could even delay that a bit more. So move it in another frame. Kind of getting, kind of breaking up, getting that opposing, you get into real opposing. You've got this. Then you've got the hips this way. You go, you got this way. And then that way, which is what you want opposing. Now what we'll do is you've got the shoulder here. We've got the shoulder. There's already remember the previous one. We were already sorted out. Same thing. What we're doing. Leave the shoulder is get the arm. Same thing. Move it one, get the forearm. Move that one to get the hand. Move that one to three. Let's see. Now it can do is you can get the forearm and be like, alright, as the body comes back, let me see. So that's the form. We can select everything below. Alright, let's move the arm back. We want a bit more. That movement we can do is we can select the middle bit and below or at the middle bit here. We want the arm to go forward a bit more. Now if we play, you've got that kind of move forward. Loosening up slowly, but then with the wrist you can be the same thing. All right. The rest is still going to follow through backwards. Let's move the arm. Let's break the rest of it. Maybe that might be too much. We can move this up a bit. And in here we can select everything, but if that's moving back too much, we just move it forward a bit. And then the forward one is too much. Now, what we can do for select everything and move it one more frame and see how that looks. That's looking good. We can do to go even more further. We can go like if we select the hands, what we can do with their hands is we can even let slightly move it back. Key frame to the end, go to the middle, slightly move them forward. Now this is like it's not normal, but in animation it will just add a bit. So we've got open selected, all we need to do is delete these middle frames. Yeah, that's honestly what we need to do now we've got it cycled already. We can select the first controller here. This one. Alright, let's move this one. So let's put this dot 12345, and then we'll move this 123, 456. If we check this out, there's a little bit of that wave going on there, right? We can move this one frame or the fingertips. Maybe a lot, another framework. Then we can let the one previous to that move that one frame forward is what we didn't do that one, that one frame forward there. Then we can be like, alright, let's look at, let's look at a start on this. We want it to bend a bit more back to the middle. Just slightly bend forward a bit. And then the next one is the same thing we selecting, going to distort and below. Alright, let's select everything. Depends a bit back. Come to the middle bit fluid. What happens is you start getting that kind of wavy effect. For the hands. You don't have to flop it that much. You can tone it down. This is just an example, but we'll do that. What we'll do, we'll just tone it down a bit because that is a bit too much. Then you can play around with it and the same thing with the thumb, it's going to add a bit of movement. You know, it's alive and it's just not static. So we go same. We'll do, we'll just add a bit going in slightly keyframe that at the end, middle click, and slight movement going forward. And again in the graph editor, you just delete the in-betweens, flattened the end curves. So it's a nice cycle. Then we'll just select, will know, slept this. Go back here. Slightly food. Fine. And then what we can do here is we can just offset this one to here. We can be like or it just comes forward a bit more. There's a little bit of movement there. If you want, if you want to just add a bit. Same thing we'll do on the other side, exactly the same thing. And I'll show you quickly. The cough controller here. We're just getting that middle frame. The middle controller, the shoulder LEA is One, One, Two, and the hand is 1233. There you go. And then obviously we select multiplet, that's fine. And then this control, and this control. I'll just quickly do forward hair and then do a backward like this. And then just over here, we'll just quickly delete. Then flatten this. And always come in here. We'll just come get the rotation. Instead. Consider the ego. Pretty exaggerated, but 1234. Then the next one, we can always tone it down. So that's the next one will be 12345. So if we look at this, putting exaggerate, it is this. We might even be honest. What we can do with this is the x. What will do the X, Y, Y, Y. Straighten it a bit so we can see it. You can see that's quite a lot. And it's not really in sync. That's it will be having, so it out this, so let's check out this. What we need to do this forearm. We need to just bring this back like this and then start. We need to bring it up. That's what we need to do. And then when we come into the middle here, just need to bring the leg back. Little Swain may want to just offset the abit more, which means the wrist we need to. 9. Polishing Part 2: This needs to be forward. This needs to come back. That's what we need. This offset that by one. So you've got a little, there you go. That's what we're trying to get. You know, what would this shoulder here? You can even we're talking about an animation where you break the joint so you could come here and just breaking. When you break it, you get that floppiness. But for now, for this example, keeping it real. It's good to then with this, what we can do, because this is waving quite a bit. We can just turn this down. We can just tone this down as well. We maybe offset this one more. Tone it down. So we just tone all of this down. The other selection here we can tell you that we can select everything, go to R and go to the middle Shift middle button, and just tone it like that. Okay, so now if we have a look in that pauses gone as well, there is a cycle. That's your work, That's your work with the arms, just little vanilla walk. That will always come into a bit more, but we can turn that down, but that's basically the walk. Now what we can do, checkout this. Go back to the graph. Let's check this out because it's rocking going on. See what's happening there. This middle cycle, this. Okay, So what we'll do, let's delete everything here. Let's go fresh one by one. You can do is select both of these pole vectors, go in the middle here and delete everything. We know the front and side frame and friends are the same. Now let's have a look at the work. Nice, neat changing. The other thing we can do is if we mute, go to 0 and mute selected. Okay guys, so what we'll do now that we've got that unmuted, which is fine. Select the foot. Now let's check this out here. Let's add a bit. Oh, we want to add a bit of the foot is indeed. Let's add a bit of sideways movement to AAC. So if we go to Animation, create a double motion. If we look at the top, there's a OK. What we want. It's a bit more natural than straight. We can do. To make it a bit more. Sometimes you can say Go to the rotation. You can add a rotation. Okay. I didn't rotation outward slightly just to make the walk a bit more natural. If we go to the other side, same thing. Just delete the emotion trail. Even if we go to the other side. All right. Where does the way is it with the foot comes off the ground. That's where you want to stop moving it slightly. Moving it just before it lands. Just before it lands. This is the X. So as it lands, which is 0, That's fine and flat and that could then it's locked. You see? Yeah, that makes sense. Now if we go back to the motion trail and the top view, same thing. Put in wireframe if you properly, then you can just go frame by frame. This frame, maybe move it a bit more. You want a bit more of a curve in the air. Not too much the subtle, subtle differences that will add all the more to your animation and anomic come to the end. We can go again to the y. We can move it forward slightly laptop, all the keys up, sorry. Then you decide how you want it. Slightly outward right in the middle, which is fine. And then what we can do, you can unmute dot go to 0, unmute. Let me check that out. It just creates a bit more, it's a bit more natural. Now what we want to do is we want to sort thy head out. Let's check the neck. Neck is fine. That's fine. What we can do with the neck is keep that straight. Let's get the next tray and delete all the keys up to that code. We don't need to worry about that. Now with the head. We just want a little bit of up and down happening. Rule, sorry about that. With the head. Let's just start frame. Just go to the y-hat and we just move it straight. We could even have a slightly down. And then we'll just delete all of the other keys. Middle click to the n So we know both, both poses and lost are the same. Then what I'll do is I'll just go into front view actually, let's go prospective. Go halfway and have a look halfway because that's what the other contact is and I'll just straighten it. Then come like halfway there. Straighten there. Then 18, roughly halfway, straighten it to straighten. Start a bit more. System at Rome. Rome on the keyframe bunch showing something's wrong. That's better. Check out the tangents when we match those. Okay, let's see how this is. Delete that. Let's see Let's see if we can. Because the neck these are not connected, right? You know what? Let's check this out. There's some settings. Stiff, stiff because sometimes you have an inherent in inherent. Yeah, I think stretchy volume follow follow. I think that's the one we don't want to follow. Let's check out following the stiff one. Well, let's see how this is. Stiff. Is ten. Good to play around with these. What is this? Actually? Let's check this out. This mute, this not following. Good to play around with that. This put that back to ten. Stiff, stiff. Let's put that at 0. This out. We'll go back and we go to ten. What is the head doing? Still moving. What's volume? Let's checkout volume. Sometimes it's good to check out these settings. Follow, okay, now what we need to do, let's do that. That will be we'll get that. Let's check out the head in. I don't think it makes much difference factor being missed, so we can put that back. It's ten. Let's just rotate. We'll do the old school rotate old school way. And just we rotate y. That's cool. We got to kind of do going forward a bit. What we might do is to slightly up, down, up. 10. Polishing Part 3: Much these tangents make sure that we match this. Actually, let's delete this x flattened this first delete these middle and slightly higher mass better. We'll just do that little subtle movements. Movement. Fine. You know what, We'll add a bit of movement. We'll just follow. This way, will make it follow because then it looks a bit broken. Even with the Sicilian, even with the neck. What we'll do, we'll have it slightly following one after the other. Then it just looks a bit broken. Okay? Now what we can do, we can just publish a bit more by basically these bandana and belt. We can do all that in the next one. Just polish that bring you up a bit more. But that's more or less planning polishing would get in a narrow we're doing on the spot. You could be like select it on mute or unmute story or unmute, Sorry, that's it. Yeah. You want to just publish a bit more? Select the foot. Go to visualization. And here you can check out, see how the curves are. These curves pretty cool, smooth. That's not right, Is something wrong there? What we'll do, let's check this out. You see a little glitch lot that I looked at the foot. The end, end pose is not matching. So all you do is this one. Yeah. One way you can do is just your geo. If you if you select your leg, Hey, just select over this duplicate, like we said before, duplicate shift P. Shift P brings everything out and then Control G group, right? And then let's just go to the end here. Select the control wireframe, and just move it so it matches. There are other ways as well. For now we'll just leave it. Delete that group, have a look, see how it is. Nice cycle. The only thing I would say is kind of there's a delay in that hill. Because of this C, We didn't match the tangent. Then it kind of does that, you see? And what we can do, I think is a bit more up, up, up here. That's fine. Maybe we can move, move the ends up as well. Then this is slightly up. Come back here and be like, That's fine. Fine. Delete the middle one here. Would keep that. Actually that was better. I feel better. I think this we could just slightly having coming off. That might make the difference there. Yeah. That's making a bit more difference. Nice one. Okay, so that's that's done there. Then here you've got your vanilla hook. And then in the next video we'll just publish the belt. Will do what we do with those. A bit of movement. It's not intercepting. It'll sell movements. So we'll see you in the next week. Of course we forgot. Don't forget to add delete. Let me just quickly do a delete this because it's going in the middle. Go to the anterior, and the middle, back. Then all you're doing is this makes sure so flat. Select the second 1, first 1, and then just go for two and automatically creates an overlap. And then what you can do when you go to the start, just be like, Okay, reform to go out a bit, then come in. That might be too much, but you get the, you know what I mean? You would just try to add a bit of the secondary some movement on. You could also, because of walk is a controlled fall. You can get the hips in the x to select everything. You can slightly slightly tilt. Okay guys, so what we'll do here, we've got the walk going. So what we'll do with this, select this control here. We just move it forward a bit. First. It's like out here in the open. This one is all right. We'll do one thing at a time. So let's get this, delete everything, go to the middle, next contact and have this behind like that. We can have it up. Just literally got literally got free movements on it right? Now, when we come down, what we can do is we can do here is if we just straighten this, you know what, Let's straighten this because of gravity. This doesn't make sense to me. If it's straight like this, that makes more sense to me. Which is hanging down. That makes more sense to me. Even like this. Now, if we select, select all of these controls and you can see we've added, concluded at the end. This control to what we need to do is just middle-class. We can just bring this back. And even here, which is not intersecting. Yeah, you can even get away with that. Not intersecting. You add in a bit of movement there, which is cool. Same thing with the other side. We can just go to the Start Here, delete everything in the middle and the graph editor. Let's bring it in. Okay guys, so we've got that guy, so we've added that up and down. Let's see. We can adjust. Intersecting. It is bringing it out. Same thing with the other side. You get all the controls. Just delete everything in between. So we're working on a clean these controls a little while where Hey, delete that. Then you know what, we'll just go straight ahead. So we'll come in and be like, alright, it's still going forward a bit. And then back. Let me get the next one. We'll all right. 11. Polishing Part 4: Still forward. Then back. A bit more fluid keydown. Have that forward a bit. The End key that they start as. As it comes back, we're bringing it back. Still dragging. They're getting that bit over wave, wave effect. To bring it up. Again, we want to go, could come down intersecting, hey, right, okay, so it can do intersecting, they would grab this smooth, it will maybe move this up. Slightly tricky one, right? But you're just trying to add movement. But also we want to add movement. We want to add movement sideways to write all about one axis. Flip it at the end. You just tone that down, bring it in a bit. Middle, click that at the NCR that cycles. That last one. Would've been moved that back. Keyframe that to the end. See how that feels. Good. Okay guys, Let's keep this simple. We're coming to the middle Tesco to select both of these. Slept 1 first, I should see rotate the middle kicked up to the end. Don't the middle intersecting? Whereas intersecting. Move that fluid there. Right? So maybe we can use the second one. Okay, Well, that makes sense. Makes sense to me because it's hitting the leg, isn't it? So up comes back. It makes sense. Keyframe bacteria. Yes. Again, we're going straight ahead. Middle, click that to the end. These ones are a bit tough on. We can do that. Go forward, we comes back. Then a bit more. Then you might want to store it back, forward, back, forward Keith, and out to the end, copy it to the end. That kick. We're getting with a wave effect kind of comes. This goes back. You see, you're getting that little in the end. What feels right? Then there's a bill intersects there. So then what you can do, you can slowly just go frame by frame. He's kicking it. So that's what happens. Same with the other one can come in here. First frame, middle frame. Seems this one. We get all these controls here. Delete those. Let's see if we move these up. All those offset that by one by one to set this up. Due, the straight ahead comes in. As it comes in, goes back keyframe that to the end. Then we get the end frame, hair back. Keyframe. Still dragging. Going forward, delete the middle frame there. We've got that nice little motion going. Intersect though, which is about the, what we can do, we can adjust. You can just get you get the idea. You're just trying to add a bit of movement. That kind of wave of wave effect you can see happening there. You can offset a bit more if you fill out That's still the same. You can go in and then obviously cycle the tangents like we talked about. And then you can start like offset in 12. Maybe that will add a bit more of a drag. As you can see there, there's a bit of a drug their same age. And you do the same for the front because the front, I mean, it's going that way. I guess you could offset it a bit. The same thing with the bandana, same principle. Okay guys, hope that little polished session just makes things a bit clearer. You can keep it simple. Start frame and frame. That wave going, then work down same thing as it's the same thing we're doing here when we're working with the hips first, then we're working our way up. Same thing with this same principle, simple. 12. Polishing Part 5: Our guys a quick way to quickly animate. So bandana is like for example, when I select this control here, mark a bit, Steve. All right, guys, so this is a quick way of animating something that really quickly at its flight, roughly quickly, but you can get a good effect. Instead of animating eaten every single axis, what you can do is, what we'll do is quickly coming. I'll show you. We'll do is select the first two of these axes. Rotate. You can select all of them and rotate them like that you see, by selecting this yellow bead will do go into side to side view. We're just going to literally bring this out a bit later so we can see it. Put the copy of the same care at the end and in halfway through we'll just come down a bit. It's just that so you can see it away from the geometry. Now what we're gonna do, we'll just make sure everything's flat. And we'll cycle this. Let's put everything on cycle. All I'm gonna do now is I'm going to select, select, Select, select all the remaining joints apart from the top two that we've animated. Put a keyframe at the start, poking fun at the end. Excuse me. In the middle, we're just going to rotate up. I'll exaggerate it a bit so that we can properly see the movement. Actually know, you know what gonna be down, That's it. Down, That's it. With this cycle, this. And make sure we select everything is flat. Mixer all both ends up flat so that the cycle will be smooth. Now, all you're doing is very simple. All you're doing is you're selecting the second joint and you're just moving it by one. Then go to the third set on both sides. You're moving that by 212 by pressing Shift and middle button on your mouse. And then next one selected 123, and then the last 112341234. And now if we just take a look, you'll see that it's kind of offset, but it's still not what we can do. Now. We can go in one-by-one. So for example, say if I go into, go into the first set and I'm going alright. The wise, these are the ones that are, if I select all of these, press rotate and go in the middle, I can make them bigger. There you see? Another thing to do actually would be better is if I select one. And I'm like, let me go back here. Let me move this, these two up a bit. When I get to the middle and move this down here, exaggerate in the movement. They do the same for the next one. So you go, Why is the one with the most movement? So we come in here. We know this one's doubted, this one's going to be up. Just move this accordingly. Then the next one. We'll just go back to his thought here and better. Alright, let's push this up a bit. Let's check that middle key. Push it down. Push this up a bit. Starting to get a bit more. Just key, we didn't key. The last one is we just kinda middle key there. Here. We can just have it keyed up like this. We can rotate like this. This way. Cycle that too. Now if we go to the style we want to do here is offset this, 11234. Actually select these. And I have got it on there. We can do this one straight ahead, so we'll just delete everything. Put key at the start here at the end. Let's see this. Move this back. And then fluid backup. That's fine. We've got that working. So we've got that working way. Guilty thing with this I would say is dx. Going on what this out. Bring it in a bit. That's fine. We can move that around a bit. What we'll do. Okay guys, this is a quick, very quick way of doing overlapping animation really quickly. So for example, let's take the bandana here. The rope, normally I would select here and rotate individuals. It really quickly you can select the control. You'll notice that there's this yellow box there. You can move it, move it all, all of the axes. That's what we'll do. We'll just quickly do this. We'll knock this one out quick. We'll just select this and I'll show you a quick. You can do this at the start. Let's just have the bandanna as we can see it. So it's clear, right? And then women in a halfway through, we'll just have it come down a bit. We know it's moving clearly. Now straight away you can see all you need to do. Everything's kid. They decided to go to cycle cycle, so we know everything's cycled. Now, all you're doing is you're working down the chain. So we'll select the next two. Again key at the start, key at the end. And it rotates in. At the start. We were to rotate out. We've got that movement going yet. Again, key, L. Key makes sure all the curves are matching nicely. Yes. Then we'll go down. What we'll do. Let me just select all of these keys. What I'll do, select this key and let me delete everything first. Okay, So let me, let me just rotate this key, a key at the end and in the middle, which is push it in a bit. We've got a movement happening, they're intersecting. Yeah. Let me do just come in here and move it out. All right, so now what we want to do, cycling, these are cycling. Now. We need to cycle all of these. What we'll do is select everything, okay? Just go to cycle. Cycle, right? So everything, select everything, go to flat, existing flat. Okay, so we've got this animation we can work with. Now, all we're doing literally get work down the chain. So we've got those two. Let's go one to offset it by two. The next two, offset by that, by 41234, next to offset that by 6123456. And the next one, Let's offset that by 812345678. Okay, so now there's a bit of a flow happening there you can see. But it's still not how we want it. All right. What we can do, we can start working on, say for example, the third one down on one of these. And let's look at, let's look at the biggest change is this one. We can do is we can come here, we can come to the first frame here and be like, alright, let's push it out a bit. And let's push this back a bit. Let's see how that looks. Then you can start playing around. I see you starting to see a bit of that. Again, you can tell the accidentally when you select this, when you select the Catarrhini, select this. You can see this is yellow, sorry, green. The green one, it turns yellow. So you know that once it's in this way, it's going that way. So you know, that's the one you want to edit. What you do, you come here to the first frame and you're like, alright, let's push it down a bit because it's going that way in the middle. Let's push it out. And then you start to see that change happening. And then that's all you're doing. A government coming in pushing the axis which is rotated in that direction you want to go. Here, we know that one. We can come to the start even though it's offset because he's upset her, you could still come in. You can still control the curves. And you can see, you see they're starting to get that overlap. You could push it even more like you're starting to get that overlap. Obviously they're both at the same time by little trick with that, I'll show you how to sort that out. And the same thing we're doing the other side. So you come down here. And then it's the same thing. Just move all of this up, move this down. Basically you're just exaggerating the move a bit more. The axis, it's all there for, you know, these are going up because it's. 13. Polishing Part 6: Pass, this is gonna go up here, this is going down. Same thing with this. Down. Select all of these and just make sure you have cycle, cycle, cycle there and flatten the solution. So you can see that. Then you can come to the last one and be like, All right, I want to exaggerate this a bit more. And when it's coming down, I want to exaggerate that a bit more. And then also with the second one, you're going to just come in here. Move. Maya crashed. Please tell me my husband crashed. It goes out to restart Maya there, but we will prosper. Not gonna mess ourselves. Basically what I was doing was we've, we've animated. So everything's moving in the same right? As you can see. Now we just want to go back here again. Let's come into the graph editor here. Let me just move this here so it's clear. We want to do is want to exaggerate the up and down. So we'll just make it go up there and bring this down a bit. Doing that. Same with the next controller would just making it go a bit more further than we originally planned. The last bit as well. Not too much with just playing around just to see. That's going to intersect where within what you can do is you can always play around with that and have a guess. The start position a bit higher if you like, you could start at higher it, but you can do that to have you like. Now what we want to do here is we've got, we want to start offset in these a bit more. So select the third control and move it by one. Let's move this one by one. And S means that last one by one, the OD been moved, but we'll move them a bit more as well. Grab a look, a bit more, a bit more. Let's undo that. Bring the controls back. Move this forward a bit more, a bit more of a delay there. Now, let's move this a couple of rings. Now we're starting to see again a bit of a delay there, right? Then the same thing I'm gonna do with the other side. If we select these, slip, this one, that one and that one is check this out. Alright, these are offsets. You can see the offset might want to just offset this one. We want to offset this. This hasn't been offset. Starting to get a bit coming there. You just have to go back and forth and just start moving. This right now they're both moving at the same time. The point I was trying to say is like, if you select all of these controls here, there will be an offset. As you can see, they're going forward, forward, forward. But we're gonna do now is I'm going to grab all of them. And because when you play it now is open at the same time, this side and this side and disallowed credit symptom. You want to offset it slightly so you can press Shift middle button and move it forward until there's a bit of an offset like this. You'll see us that's coming down, That's going up. So that just breaks it up even more and makes it a little bit more organic, you see? Because it was happening at the same time. It wasn't as loose. But now you can see it's all happening at the same time. Then you can play around at top, top bits as well. Have them move. That. We could move this one a bit more. I think we come in and I could be like, let me move this up a bit more. When you come in, down, up, down a bit more. That might make it a bit more. Just play around with those curves until you get it to an organic fuel, how you want it. But that's just a quick way of doing some quick movement and overlap just to add a bit more believability. Guys. A senior next video. 14. Conclusion: Okay, guys, so you have now completed I'm so happy you completed a walk. You can check it out, see how it looks. Vanilla walk. The reason why it's a basic mechanic Manila walk is that now we can do, you can take that walk, select the hips or the torso, or the first three tosses it and rotate it forward. You can have like a sidewalk or you can rotate your backup just by rotating, selecting the axes and just what x-axis and rotate it up, it down. You could have the arms slouching down so you can play around with all the different poses and get an emotion that you want to animate. So for example, you could pick, pick some words are good example is you could pick sad, happy, emotional, arrogant, confidence, surprised, shocked, Kind. You can pick all these words, emotions, and an animate that, alright, make the character of intact, sad. Bring the shoulders down, habit, walk, stretched at timing. So it's slow. This depressed as well. I was happy, upbeat quick. You could do all these different types of variations just with this vanilla walk or scrap it do from stock, do another walk. Started off in a happy pose and then start the walk like that. This, you've got the pose ready. You notice having pose and then dance, start building the hips and the feet like we did in this lesson. Use the same principles in this lesson, but have different poses. And dense star animating the hips and the feet are so many variations you can do. All in all, a walk is a controlled fall. You're catching yourself, you're moving your weight shift MS. For everything in it. Keep practicing, keep packs in different emotions, different personalities, bring that out in a walk. Because if you can bring out a personality in a walk, walk has everything. So you, you're pretty solid if you can do that. So keep practicing and animation takes time. Don't be disheartened. Hard work. You need to do. You need to get feedback of the right people. You need to be open. You need to let go of your ego and just keep improving. Lock that by getting feedback of people who are more experienced than you. I was around people who are better than me. He had more, more experienced than me. And that's how you lift yourself up and you become slowly get to that level as just takes a bit of time, bit of practice, but stick with it. And don't be disheartened just because one little thing isn't working. You got to just keep going and keep pushing through. Guys. I hope you enjoyed this lesson. The next ones are coming as well. You've got the video games animation series and jumps. We're gonna do attacks when they do take hits. And we'll add a lot more gonna, we're gonna do a whole lot. It's about seven classes I have on this series. All right, guys. So keep an eye out, Skillshare off it. Every seven days we can put a new class out, so that's my plan. Every seven days, submit another class. All right guys, take care, Have fun, enjoy animating. Remember, make the process fund that's I'm trying to do. I'm trying to simplify these methods so that you can have fun while you're learning. And I hope it's coming through like that. Any feedback, any discussions you can post it in the discussion area in Skillshare. And I'll ask, I'll be around the community. You can ask questions. I'm always hey guys until next time. Happy animating. Take care. 15. Maya Animation Mastery: Hi, everyone. Congratulations. This is just something after the conclusion that I just wanted to put into all my courses. If you're really serious about leveling up your animations, I have a brand new course that you can enroll in. It's called Maya Animation Master. This course, I've redone it with four K Good Audio, came out in January 2024. And this course is designed in a way how I would have liked to be taught animation when I started. So It basically gets rid of all the pain pain pressure points that I had when I started animation. So I want to get rid of those frustrations and give you a direct line to what that aha moment was for me when my mentor Steve Gagnon Kati taught me about animation. Something just clicked, and I teach that in the course. So if you're interested in enrolling, you can go to the about me page where I'll have a link there called My Animation Mastery, and you can go through the webinar. Then the course breakdown. You can check that out. And then if you decide, you can enroll, if not, that's fine. There's a private Facebook group. There's a link in there about me for that as well. You can join that where we get feedback, and there's a nice community there. And also, when you enroll, there's a private Myers Mya animation Mastery inner circle group where it's just exclusive for students where we give feedback. So, have a look at that webinar and let me know your thoughts as well. If not, you can join the Facebook group to the private group. Obviously, the inner Coco group is for people who have enrolled, students who have enrolled, but check it out, and it's just for leveling up, and really, it's got all the theory and practical, heavy on the practical stuff, video game stuff. If you want to learn about how to get a shot from reference to blocking to splinding, to polished, show real level. It goes through all of that. And also, I talk a lot about networking and how to get jobs and context that I have within the industry that I can ph your work out there so at least it's in the right hands and people can see and at least consider you for applications. F of my students who have already got jobs in the industry going through the course, so have a look at it. And yeah, let me know your thoughts. So enjoy your animation journey, stay healthy, and I'll see you around. I'll be around on the Internet on YouTube and a giving tutorials as usual. I'll see you later.