In this lesson, let's continue to break down this walk cycle so we can see that we have some keyframes
over here and we have a big gap here where there are no keyframe.
So when in doubt, you can always go to the middle keyframe or set a metal keyframe between two large
distances between keys and then evaluate what's wrong with it and fix it on that keyframe.
And you can break it down in half again and do the same thing until you get to the previous key frame
that you know is correct.
So that's one way to kind of breakdown animation into pieces and not get overwhelmed with, you know,
what do I do next?
I'm not sure what to do next.
Well, you know what?
Go in between those two key frames and start setting keys.
So the one thing we need to look at first is the fact that we might not have keys on every key frame.
So we want to make sure that when we select everything shifts like the locator off.
And let me just turn off the joints and the geometry selection up there and dislike the locator.
I just want to make sure I have a key on everything on frame 10 and a key on everything on frame 20.
Same thing on 30 and 40.
So I'm just going through and hitting s on those when I go to 15.
I know that there's a landmark here and there's a landmark here so that if I start making some any changes
on the screen 15, it's not going to be trying to interpolate from the first frame all the way through
to this frame will have a landmark key frame here.
OK, so we take a look at this.
Like I said, this is going to be the middle key frame.
And again, so I can select everything, deselect, select the shift, select the locator deselected
and s I can already see that, you know, this is wrong, that the heel should still be on the ground
so I can go here and hit zero.
So I know that's right now.
And the other thing I need to look at is the fact that this foot is starting to get a little wonky.
Right.
The distance it's off of the ground is quite a bit and its position is a little weird because we have
an image of the foot roll and we've animated this rotate X.
So we know that on this key frame we have foot roll initiated and we have rotate x our kind of combating
each other.
So I'm going to create these panels again.
Go Layout's two panes stacked and I'm going to bring in the graph editor.
And what we can do is we can kind of force this to be what we want it to be, right.
We know you want this foot roll to be what takes over, but we don't want to take over just yet.
This it's kind of still be flat footed a little bit as it transitions into that role.
And this foot is way too high off the ground.
So let's bring this down a little bit and let's bring back this rotation.
Just a touch.
So it's still dragging across the ground pretty closely.
OK, so now we can see that in this transition, this toe is just grazing the top of the ground and
it could even maybe do a better job here and stay a little bit closer to the ground.
Because if you remember, humans try to walk as efficiently as possible, if we're talking about a kind
of a generic walk so that foot should not go very far off the ground tool.
So now we can see that we've created a pretty decent breakdown for that frame and that little section
of this walk.
We also have to keep in mind that we animated the rotate why, but it looks like we also left out the
ROTC on the other side.
So we need to go down here and kind of mirror this.
This is one thing that we forgot to do on this side.
So if we look at frame 10, this is very ---eyed to the side as it tries to lift up this hip, this
hip rises.
So we need to do the same thing on frame 30 here.
So let's take a look at this frame is nine.
So let's go to nine down here.
We have negative eight, negative nine ish.
And so now that's also going to affect our keyframes and how this is animated.
She can delete that key frame so I can kind of smoothly go in between each other.
And same thing that we saw on the translate of the Kong back and forth.
If we looked at this as Infinity got a curse post infinity cycle, there's no reason that these curves
should slow down at this kind of middle junction here.
They should stay consistent so we can go to a spline tangent and the curve.
So now I can see that this continues nice and smooth through the cycle.
Cool.
So now let's play this back and see what else we need to be fixing.
We need to do this for this other pose down here.
We see 30 to 40 to 35 and do the same thing.
So let's keep the heel in the ground, will go to zero that out and then we will fix this and we will
zero out the roll.
And that's actually pretty good.
I think I want to bring the center of gravity down, just touch so that this leg doesn't get hyperextended.
Do the same thing for its sister over here.
That's brother sister, keyframe twin, I guess I should say, and make sure that the center of gravity
is doing the right thing.
And now let's take a look at this.
It's already looking a lot better.
We do have some props on these transitions so we can do is go in here and fix those with the foot roll.
So if we think about a foot roll, it's kind of like a bouncing ball.
The foot roll shouldn't necessarily slow down.
So let's make that to be a linear tangent.
So it comes in very fast.
So it does that.
We might have it fixed in EPOP force, let's make that linear, rather, and so now it's coming in straight.
I can see it kind of bends here and then it gets straight and it bends again.
So we want to fix that.
And there's a couple different ways we could do that.
I think the easiest might be with the center of gravity.
Let's just fix this tangent here and go back to Spline on that.
We had kind of done something a little different there.
So let's maybe bring this down just a touch.
And basically, there's no right way to go about doing this.
But what I what catches my eye is what I'm trying to fix are these little knee pops.
And right now, it's looking a lot better.
When I see that knee not get so straight here, I'm going to bring that back.
That translate.
Why back down?
And I think even there, it's getting to.
Right, I want it to be consistent, it pops here to bend and then it should stay there or go further.
So I think we do need to bring this down even more or even our changes tangent handle.
Right.
We can do that as well.
So now it bends.
Yeah, we really need this to go down more.
Just bring this back down as we did originally in previous lesson.
So now we can see this cycle over here and where my cursor is and it's dragging down and now the knee
doesn't pop as much and now we can do the same thing for this side.
And we can see that he kind of gets a little straight here so we can drag this down and adjust this
curve as well.
So I want to make sure that this leg is also getting pretty straight so we can maybe bring back the
translate Z a little bit here.
So just like we're going forward with that, we could also bring it back.
So on this frame.
Let's see if we can't bring the translator back.
Almost like an equal distance of this value, so we have a point three, so this will be like point
to something.
So now we have it goes backwards, now it goes forwards.
And that's looking pretty good, and now it definitely gets straight here, so let's see if we have
translate Z in the right spot.
And after this frame, we wanted to keep it going down, if we remember right, so here is going to
be the equivalent of this frame so we can actually just hit command, see, and we could go four frames
forward from frame twenty one to three, four and pace that.
All right.
So now we have the equivalent on that frame.
So now that definitely helps out that knee part, but it looks like it's getting a little too straight
there so we could even bring this foot roll up just a touch and that'll help in the knee a little bit.
We can also make sure, I suspect, that this translate why maybe isn't as far as knees go, you have
negative 14, that's negative 14, and you bring it down just a little bit more.
Let's go to translate X here and for the Kog and make sure that that is right.
Yeah, that's on zero.
And it looks like this didn't take from the previous lesson, so I'm just going to make sure that's
correct.
And now we can see that.
This kind of surges forward here, you make sure that the the foot itself on the translator is doing
what it should do.
It looks like it is.
And the foot roll is doing what it is.
It looks like maybe here is the problem.
Let's see, let's scrub through here.
I mean, it's not super far off, but it should be doing.
But you can see where this the knee, if we if we take, you know, one one thing I like to do is to
turn on this kind of field chart.
So we click this little button here.
We get a grid.
So if we move our camera with a position, this kind of crosshairs to be wherever we want it to be.
And so we can kind of see and screen space, where does that nego doing what it should do, see how
it goes straight and then it goes down and then it goes for its surges forward there.
That's what I'm trying.
That's what's catching my eye and I'm trying to prevent.
So if we look at the other leg, let's see if the other leg does.
It goes forward, it goes down.
And then for it's not as bad, really kind of has a much better motion there.
So it's really just this other knee.
We need to figure out why is that happening?
I think what it is, is this let's take a look at the two foot rolls so we can isolate those in the
graph.
Editor.
I'm going to roll here and roll there.
So, yeah, they look they definitely look different.
And we can see that, OK, at this stage of the game for this foot is right almost to 20.
So we know the equivalent of that for this other foot as far as that this frame over here.
So.
It's this one, so it should be going up there, so for this one over here, it should be doing the
same thing and it pretty much is, which is what's confusing.
Why is this not behaving the way I want it to?
And I think what we need to do is just.
Make this work for us and bring this foot roll down, see how that's straightening out the knee.
I think that's going to be their best bet.
Let's get a keyframe here and then let's go forward and set it to be what we want it to over here.
So now it keeps it from popping the knee a little bit.
Cool.
So it's sort of looking a lot better in terms of field guide there, aren't we, to play back?
And you can see from the first lesson to now, we have made a huge, huge improvement.
And again, like, look at the hips, right.
It's swaying side to side.
The weight is being transferred properly to each foot.
The other thing we could do on these feet is we can actually bring them to the center right.
So when we're walking, we actually have our weight more over the center.
So let's look at that.
Let's go to translate X, we notes translate X because of this red arrow here.
And when the foot is moving, when it's on the ground, rather, it should be a little closer to the
middle.
OK, so let's just grab everything and bring it closer to the middle.
All right.
Because that's where our center of gravity is.
Our center gravity should be trying to get over our foot and our foot should be trying to get under
our center of gravity.
So it's kind of a team effort there between those two things.
So I just moved I selected all the key frames and I middle mouse drag them.
So now all the animations getting moved over, OK, and I want to go all the way to the middle.
We can see the grid here, which is this little button.
We can see this line is the middle.
And I want to go all the way to the middle with it so we can just make sure we're not just on the other
side of the middle.
And then we can figure out when is it off of the ground.
Which is over here and now on this in between, which will be maybe frame 30 ish, we can move it over
to the side, back to where it was.
So let's go to frame 25, hit a key frame.
And that's kind of the last point where it lifts off the ground and then we can move this back over.
So it gives room for this foot to to be in the middle when it's at its turn.
So then it goes back towards the middle where it's going to land again.
Cool.
So it's the same thing for the side.
I'll take translate X and we'll just grab everything and get to where it's on the ground actually.
And let's just move it towards the center.
And then when it's off the ground, let's just move that keyframe, which will be looks like in here
frame tends to keep him, you know, I'm always doing the middle part, right, like one to 10.
So I'm going to five and hitting key, which is kind of like the one of the last points.
It's off the ground back here.
I guess not really.
Like, if we look at from this other side, it could even start moving to, you know, we can even just
delete that and oops, I mean, hit delete without selecting a key frame there.
I'm going to actually go right click delete on from the timeline and now we can drag this over.
So it's out of the way.
You can see how now the the feet are running into each other.
So we need to make sure that this is kind of clearing that foot.
And now when it goes back towards the middle, we can actually bring that keyframe back up.
So we're only only worried about contacts.
As soon as this contacts the ground, it should not translate side to side anymore.
Right.
So it's the same thing.
Make sure we're getting it at the right point on this side.
So it's got to translate X and.
Yeah, and here I think we can get rid of this key frame and then now it goes to the front.
As soon as it lands then we'll be good call.
And let's take a look at that.
So it's looking a lot better.
So we can see to that it looks like this is maybe snapping a little bit so we can bring this down and
just kind of massage the stuff, you know, we don't want to ever have any pops be the most distracting
thing about a walk.
So let's just go through this.
And again.
Kind of imagine what should really be happening here.
And once we get the body going, well, we can further refine this as well.
I think we might want the role to start happening maybe a little bit here so we can drag the foot roll
down.
That'll help that from.
Snapping too much,
and if I ever affect a key frame on the end, I need to do it at the beginning as well, because this
is the cycle, right?
These are the two key frames.
If we move one, it will break the cycle because it's going to these should be the same keys, because
as we play through, it's going to loop back to that key frame.
If those don't match up, it's going to break the cycle.
So we can just adjust that a bit.
And that's negative 30.
I just want to make sure that I'm in the ballpark.
That's the negative 28.
So it's pretty, pretty close.
Yeah, so now we have a walk cycle of the legs of the skeleton and the next lesson, we are going to
turn on the upper body and make that work force and we can further refine this a little bit.
It looks like we still have some knee pops, which is the bane of any animator's existence.
And if you do much animation, you will be fixing knee pops for quite some time.
But, yeah, we'll continue to refine this now with the upper body in the next lesson.
Thanks for watching.