So in this lesson, let's make some offsets so that it doesn't look as robotic, because right now,
each time the foot hits the ground, the arm is that it's kind of furthest extreme.
And we don't have a ton of breakdowns yet for the arm.
So we can do the ladies.
We can also, again, every time I look at this, these frickin knee pops annoy me.
So there's probably not going to be a time where I'm ever, like, so super satisfied with the animation
that I'm not going to, like, see something that I'm going to want to fix.
And that's animation for you.
So.
We do the same thing here because that knee pop is it's happening at the back of this stride, just
like the other one should start to bend there and stay forward.
So let's maybe do a linear here.
See, that doesn't help.
I think that's maybe what was messing it up is that it was kind of easing into the foot roll.
And it should kind of bounce out of it.
I think that's maybe the issue here as well.
So let's go down to the foot roll, isolate that and let's make that be linear and this won't be linear.
And now let's play those back as well.
Cool.
I think we can maybe carry these roles through just a little bit here.
But wrong one.
Now, we don't have a we don't have a breakdown here, so we can just make one ourselves and just delay
that.
Foot roll a little bit.
The same thing for this side when it gets back to this end, we don't want to just totally bounce off,
so let's bring this one down.
So, again, let's look at the upper body, we can make offsets here now, so let's think about what
we're doing when this arm is coming forward.
We I think we should still have it coming forward a little bit.
The arm should kind of be a little bit behind the lower body.
So let's bring this arm forward more and rotate that and maybe bring it in towards the body a little
bit.
And for this one, maybe let's bring the arm back.
So delay it going forward.
I'm going to middle mouse, drag that to the last frame as well.
So now we have the arm kind of continuing forward after the foot lands.
And I think it's going maybe a little too far and fast.
And one thing I like to do, if that's the case, is just middle mouse drag from a frame above it are
like ahead of it.
And so I know it's going to take that's a smaller value.
And again, because this is a cycle, we need to make these tangents a spline tangent.
OK.
And when you do the same thing on the back side, right, that the kind of swing should happen after
the foot is taken off here.
So let's bring that back and then let's go to frame 20 and bring this for just a touch.
And we can always, you know, get the fingers and hands in a better spot.
But even just that offset makes that feel a little bit better now, right?
And the last thing I would say is this is kind of far out to the side.
It's going to translate X, just bring that back, see if the we need to bring that way back in.
And it's just getting too far from the body, from the body there.
Even just grab all this stuff and bring it in.
Something that needs to be that far away from the body.
So you can see just what that a little bit of offset does, because we've done this this hand, but
not the other hand, so it just kind of prevents it from looking too robotic.
Right, and the other thing we can do is kind of loosen up the shoulders, let's get the shoulders involved,
so let's sort of keyframe here and on 20 and see what we need to do.
Let's have the shoulders lead.
The shoulders are already coming back on in between breakdown on frame 10 and they'll start to go forward
as the hand is still going back.
And then on frame 30, they'll be forward kind of leading the hand and then on frame 40, we'll just
copy that.
And we will probably need to make these spline again, since it's a cycle, as we have learned over
and over again.
So now the shoulder is getting involved a little bit and I think the hand is maybe going a little fast
towards the end back here.
So, again, I'm just going to middle mouse drag something in front of it so I can watch it happen in
the graph better.
So I'm grabbing like frame 23, middle mouse trying at twenty five and it should just reduce and kind
of, you know, calm down those values and see them kind of bounce to something a little more reasonable.
So, again, it's maybe looking a little fast, we can just do that again, bring frame 23 and bring
it down frame 23, bring it down until we kind of get what we like.
I think the same thing is happening here, so we just bring that back and, you know, with a walk,
again, it's very subtle.
It's not like these offsets have to be very huge.
And again, I think the spine is maybe still too big so we can go to the rotate Zeze here and then we
can middle mouse drag with our bring those down just to touch, you know, again, with with a walk
in general, you're not making a huge effort.
So all these changes don't have to be massive.
Right.
And I think I'm going to incorporate the Rotate Z here.
So I'd like to isolate that and kind of see what we're actually doing here when we're rotating it back.
It should be down.
Let's see.
This should be down here, see if that's down, yeah, this one's down.
So let's bring this down.
Oops.
And then when it's coming forward, it should be up here and maybe down again, there are starting to
go down.
So, you know, in general, I think this is a decent spot and make those be spline.
So you kind of see the shoulder working a lot better, you can hopefully see that on your monitor like
that, a little bit of difference.
Just getting the shoulder incorporated loosens everything up.
Even with a simple rig like this, it makes a huge, huge difference and maybe is too much right now.
But it kind of proves the point of just.
It looks so much better to have that shoulder involved than than not, so I'm going to grab everything
and again scale everything down to the zero value here just to make it maybe not as obvious.
One thing I like to do when I'm animating is, you know, go big, make big changes, and then you can
always scale it back, know you're not married to any of these so you can make them work for you.
I don't like this POV, we look in this angle, you can see this left knee pop right there.
And I think it's sad that we did the linear thing here and we left it that way.
So.
Anyway, you get the idea.
So I think the other thing that maybe is too much is the side to side motion.
Now that we have the upper body involved, we can go to translate X and we can bring this back down
as well.
She's going to delete these key frames that we don't need here.
And I'm going to grab these extremes.
I'm going to bring them and scale them back down to zero hour towards zero, not all the way, maybe
half of what they were.
And this is where you start to really massage your animations, right?
Nothing is going to be perfect the first time you try it.
And so you need to be patient.
Animation has a lot to do with patients.
So in the next lesson, we're going to kind of finish this up.
And I would encourage you to do this other arm, set the offsets on the other arm.
I'm not going to spend the time this lesson to do that and do this other shoulder.
And we're really getting in a pretty good spot with this.
I would go ahead and pose out the fingers as well to make them be in a more relaxed position.
And in the next lesson, we will maybe get a little head Bob going and a little more motion in the spine,
possibly.
But yeah, this is looking pretty good seeing the next lesson.