In this lesson, we're going to polish up the walk cycle, so if we take a look what we currently have.
Remember, if we want to really evaluate this walk cycle, we want to exclude this last key frame here.
Right.
Because that's the same as this one.
And so when it loops back through, it's going to play that key frame twice.
It's going to play it here and it's going to play there.
So if we want to loop this back, we need to exclude one of those key frames.
I'm just going to go to frame thirty nine.
So now when we look it back, it's actually only playing that key frame once, playing the first one.
So currently what we have, we have both arms working and you know, a few more things we could do to
polish this up even more.
So let's take a look at that.
Let's take a look at the spine real quick.
Let's take a look at the Z, because currently, you know, you have to think of everything is in three
three axes we're animating in 3D.
So we want to make sure everything is twisting on all axes and working in every way.
So we haven't animated this direction much.
So let's just do a very subtle rotate Z here.
And I'm going to go to the Rotate Z Space Bar here on the graph here so I can make sure I'm selecting
only the rotate Zs of these three spine joints.
So I'm command clicking them from here and now.
When we go, I want to make sure that it's leaning to one side or the other.
So let's scroll through and see which so it should basically, you know, compress on this side, on
this screen left side.
So in here, let's go to frame five and let's just compress this side down.
Just a touch.
And then.
So now.
It's getting compressed on that side and it's coming up and now it's falling down on this side, so
many keyframe here and I want to keep this side slightly compressed.
So I'm going to drag all these keyframes up just a little bit.
And now it's coming back to neutral as it's falling down.
And when it hits the ground, it's going to start compressing on that side as well.
Someone had a keyframe here on 25, and I'm going to compress that side down and I'm going to try to
do the same values.
At point seven, I click this and go down to zero point eight, seven ish, and then I'm going to select
this keyframe and bring it up.
And so now we can see that it's kind of rotating on that side as well, maybe to a little bit more on
both these and.
So now we can see it's got a little bit of rotation is probably too much.
Every time I do this, you know, I tend to take things a little too far and scale back.
Cool, so we're adding just a little a little touch of very, very small changes so we can do the same
thing, we can drag the wrists, you know, so when the risk is going forward or when the arm is going
for, the risk should drag backwards and just do a slight drag here as it drags back and it catches
up.
And I mean, I leave it dragging back here until it gets all the way to the front.
And then I'm going to have it rotate forward here on frame 30.
So now when it goes forward, it's going to rotate forward.
It's very small change, but it's just going to all those little things add up.
And again, I want to, you know, drag it on the way back.
And I want to carry that change through to its sister frame there at the beginning so we can kind of
see this kind of dragging motion with the wrist now.
Right.
Maybe a little.
A little too much.
A little too fast.
But I kind of like it and adds just that much more to the animation.
So we're going to do that to this side as well.
So now we have both a risk kind of moving and in a way that's dragging a little bit.
And again, maybe that's a little exaggerated, but that's OK.
And then the other thing we can do is we can take a look at the head, the head.
We haven't animated it all yet.
So as the body goes up right here, so I'm frame five, let's to keep him on frame one and then frame
five.
So it starts to go up.
We can drag the head down just a little bit.
Still going up to frame 10.
And then on frame 15, it's coming down so we can bring the head back up again.
The same thing through frame 20.
And then it's going to hit the bottom here, and so it'll start to drag down again and through frame
30 and then we can just copy this first frame back.
Let us there see this little kind of maybe had Bob here.
It's very small, very, very subtle here.
But you can kind of see this head barbel.
It just adds so much like just just that tiny little thing.
It's almost hard to see from a distance.
But like that makes everything feel connected from the feet all the way to the top of the head.
Everything needs all that energy needs to carry through.
So when it goes up, that should have a little tilt down and you can do the same thing to the to the
rotate.
Remember, we do that with the spine.
So when it goes to this side, we can have the head drag this way.
Right.
So that's dragging that way.
It's trying to stay where it was.
All things in motion tend to stay in motion and they try to stay where they were.
So now when it gets to that side now, it can swing over and kind of rotate to that side.
And now it goes back to almost natural's, maybe leave it over there, just a touch, and now when it
goes to neutral here, it's going to hit this side, try to stay over there.
And it's going to swing over from 30 to go back to that side, maybe try to stay over there just a little
bit longer.
So now we kind of have a little bit ahead, but it might be too much, but I kind of like it.
It gives it a lot more life.
And with it being a skeleton, you know, things maybe move a little bit looser than if it had muscle
and everything, connecting it together so you can get away with a little bit more.
So the other thing we could do is we could do the same thing on the compression of the chest and we
could do a rotate X compression.
So when it goes up here on frame five to 10, we could rotate this down.
And then it'll go up.
All right, I'll get straight again as it's coming down, we're going to leave this up and then it compresses
at the bottom.
So it compresses down just a little bit.
And you can tell I'm just doing the smallest changes are not a ton here, right?
It's just the smallest changes.
I'm a minimalist.
Drag this to the end and I'm getting shifted just to keep the rotations member if we do shift and shift
w so it looks like we maybe want a little too far with that so we can go into the graph editor and spaceborne
here and grab the rotate axis and then we can kind of see where we went too far, possibly just grab
those extremes and just kind of scale them in a little bit some of the space bar that back out and hit
play.
So it feels a lot better than when we started, right?
There's a lot more going on and again, we could refine this further and further.
It's really how far you want to take these walk cycles and give it personality.
Right.
So this is kind of a generic walk cycle that we've gone through.
And you kind of got the idea of what to look out for.
Right.
The feet should be pushing off into the hips and the hips should be trying to lift the leg forward.
And the next step and just the main takeaway I want you to take away from this is to start to think
about the mechanics of how things move and why they move that way and what's driving what, you know,
like hopefully you've discovered some new things in this little section here about the walk cycle,
the fact that, you know, you're falling every step and so you need to lean for just a little bit.
And we could probably even do that even more on this.
Just lean everything for just a touch.
Right.
You know, all those kind of biomechanics things we need to start thinking about.
And because when we do more complex motions, we need to understand how the body works and how forces
work on each other and how that carries through the body.
So hopefully this was helpful to you.
And in the next lesson, I want to touch on a few more things with this, and I'll see you there.
Thanks for watching.