So now that we have the lower body in a pretty good spot, let's turn on the upper body.
So we have this display layer that we created earlier in the scene and now we can see the visibility
and turn that back on.
So let's take a look at the upper body now that we just have it turned on and see what we have left
to do, which is maybe quite a lot.
So it's actually not looking terrible.
It looks like he's on a tightrope or something, but yeah, we can make this look a lot better.
So let's go to put the cons on their own visibility layer.
So I'm going to turn off joints and select geometry there.
I'm going to go select just the cons and I'm going to go make my own display layer and I'm going to
say Upper Conn's.
And now that's saved, I can hit the peace so that when we play back, those will also turn off.
And I can kind of analyze a little better what's going on, so any time that we walk, our upper half
kind of counteracts the lower half.
So if the right foot's going for the left hand is going forward and vice versa.
So we can adjust that.
And as I'm looking at this, I can see already see that, you know, we have maybe a couple of spots
that we can adjust the lower body, which any time I animate, I'm always kind of back and forth on
stuff.
You know, I never I never just assume something is done.
I always want to play with that thing.
All right.
Well, what if I did this and then see how that works?
And again, that's you know, this was the neep hotfix we did earlier.
And I'm just afraid that we maybe took it too far.
Or that the we need to go down for less frames, which I think is really the case.
Yeah, I think that's really what needs to happen is that this.
Little debt needs to be a much shorter than what we had originally set it aside.
So let's do the same thing here.
Let's bring that up and then translate that down a little bit.
Get this tangent going down.
And let's look at those knee pops a little bit.
It just keeps the body more upright, you know, when you're walking kind of casually, you don't want
to pretend like, you know, you're having a lot of effort.
It's taking a lot of effort to walk.
So it's good to try to keep somewhat of a consistent, you know, translate why.
So, again.
Just looking at these knee pops as kind of a good indication of like, is this actually, you know,
going the right way that I want it to?
OK, so I promise we'll work and work on the upper body.
OK, so now we can see that we have everything on lower body working.
So what I'd like to do is work from the bottom up.
And for our case earlier, that was the feet up and now we've done that.
Now it's the spine, the spine.
The next thing you need to work on.
So what we can do is go through and set a key frame where we know the keys need to be.
You know, we have these kind of extreme poses we've already set, which are on one, 10, 20 and 30
and 40.
So basically every 10 frames.
Right.
If you remember where the cog is, we see 20, 30, 40, and the breakdowns are on the in-between frames.
So we can go ahead and set those keys so we know are we at least need to have keyframes there and now
we can just kind of play off the animation we've already done.
Like I said, if the lower half has the right LFA for it, we know the right arm needs go for it.
So the body would be twisting that way.
And it looks like we don't have this arm set properly to follow.
So let me just go to follow the chest.
And now when we rotate the spine, that arm should go forward and it does.
And it's always a fun thing about making a rig when things work properly.
So we have this rotation.
So now we know we need to do the opposite for these other sides.
So I'm going to rotate this way and I'm going to minimize drag to the first frame again.
You know, these need to match.
So any time we do a change to one, we need to change the other.
So now we basically have this kind of swinging motion for the upper body.
And the next thing we can do is bring the hands down and we can do the same thing.
Let's first get the first frame done before we go through and make a bunch of poses are a bunch of keys
so we can just bring this arm down kind of naturally to the side.
And it should be behind us because it's the foot on its side is forward so that we can get a frame 10
or rather frame 20.
And we know this hand should be forward a little bit.
And I'm just also rotating the hand so the forearm and the hand are kind of in a straight line.
And we can bring this for a little bit.
We can also adjust the pull vector here.
So I set a key there.
I'm going to set a key on frame one, bring this out just to touch the same thing from frame twenty.
Just bring this elbow out just a little bit and now we can do the same thing for, you know, this end
frame lets middle mouse drag that to forty.
Now let's bring down this hand and we know this needs to be forward because the opposite foot is forward.
So the opposite hand should be going forward.
Again, we need to bring out this pull vector to keep the elbow out and make sure we're setting keyframes
on everything and that our arm poses aren't too extreme.
Remember, it's a walk, not a run.
So the arms aren't doing a ton of work.
We just want to have them down by the side.
And being a bit natural here is natural, I guess, as a skeleton is going to be.
And again, any time I make a change to one end, I need to make it to the other.
So I'm going to set those keys there, going to go to the middle key frame and I'm going to bring this
one back because its leg, its sides of that leg is now forward.
The other thing I can do a course is adjust these shoulders.
But, you know, the main thing that's going to do a lot of the movement are the hand.
I like cons and so I can adjust those.
So now let's play this back and we can see that it's doing pretty good.
We have kind of this natural walk motion happening.
The only thing is this head is kind of rotating with the spine.
So instead of following the body, I can say follow the world.
And so it's going to snap the head forward.
So now when we play, the head should stay looking forward when the rest of the body is, you know,
rotating around with the spine.
So depending on how you want this walk to look, we can continue to adjust this and refine it.
So I think for one thing, I think the rotation on the spine is a little too much.
So now that we have that set, we can always dial it back in the graph editor.
So let's go to the rotate wise, which is pretty clearly these.
And with these selected, I'm going to hold my cursor around zero.
Right.
We know this is the default value I'm going to hit are to pull up scale.
Now my shift middle mouse drag this so that it scales all the keys back down to the default.
And one thing I can do to kind of see where I came from is hit the buffer.
Herve's, which is this little button right here, buffer curves snapshot, so I click that and I start
making changes to the curves.
We can see where we left off so we can see what's the what's the change that we made here.
Right.
So we we can tell, you know, maybe we went too far.
But I think for us, I think dialing it back a little bit is probably the right thing to do because
we are walking again.
You're not making a huge, huge effort.
OK, the other thing to think about is when we're walking that we don't walk totally straight up and
down again.
Think about walking as you're falling forward.
So we need to have a slight lean forward to our walk.
So for us to do that, I want to do that for the entire thing.
So I'm going to go to the rotate acts of the Kohji and I'm just going to grab everything and I'm going
to rotate him for just a touch.
And then the other thing I might do is grab all the translate zis and I might grab, drag them for just
a touch and I think we may be missing some animation here that we didn't carry through on these breakdowns.
So let's think about what we're doing and translate then.
It's going forward now.
This is going forward in the back and now it's going forward again.
Now it's going back.
And I think the breakdown that we missed here is just this back.
And we didn't have this kind of mirrored through.
And again, because of the cycle, we need to get these splines to be straight so that they're carrying
through each other again.
We can see that if we go to curves and we go to post Infinity Cycle now, we can see that these curves
should be kind of flowing into each other.
I mean, just the tangents that we need as well.
So now it's spacebar here and kind of look at what we're doing.
So we have a slight rotation.
Lean forward because the character should be, you know, leaning forward and moving forward.
So they're constantly kind of falling forward and the feet are what's catching you.
So the other thing we can do in the next lessons is to offset some of the animation so it's not as robotic
as it looks right now.
So in the next lesson, let's further refine this and make some more improvements to the walk cycle.
Thanks for watching.