Now that our character is walking in space, we can now kind of reanalyze what's not working and how
we can make this even better.
And for me, what's not working still are some of the steps.
So we can make edits to just that first cycle.
And of course, because it's a cycle, it'll work for the rest of the animation so we can make these
changes pretty quickly now that we can see them clearly and that we just have one cycle to fix.
So one thing that I don't really like right now is the fact that the knees are still slightly bent on
the.
Kind of contact poses here, the legs should be pretty straight here, and I think part of that is because
the foot is getting maybe here a little late.
It should get there a little sooner, that the foot is maybe traveling a little slow through this gate.
So what we can do is we can hold the foot back longer and we can get it to the front sooner.
So to do that, let's take a look at this first step and we can see that the foot just starts to slide
along the toe.
And really, when we are walking, we're pushing off with the foot so that this leg gets really straight
so that we can push off with it.
So we need to keep this foot back, at least for maybe let's try to frames.
So I'm just going to drag this back and I'm going to toggle with the greater than less than symbols.
And we can see that if I hold my cursor here, we can see that it's pretty close.
Maybe I could drag it back even further and we can lock out the knee.
And that's OK, because what we're going to do is also increase the foot roll a little bit.
So I'm also going to increase the foot roll.
So now the knee is no longer kind of getting locked out.
And what we can see is that we might need to push this next keyframe down or we could delete it altogether.
It?
S here and keyframe everything.
And then just delete this one so we can see is we are also getting tricked by one of these fun little
Maya things where so I have this foot roll selected, so I deleted this key frame, but it's still popping
here.
So that's telling me that there's keys elsewhere.
So if we look here, we can see we actually only to leave the foot roll.
So again, that is this little tricky thing here.
If you.
Right.
Click on any of these, you can see it's sinking the timeline display with what we have selected here.
So if I select something else now, we can see there's actually a keyframe down here, but if I select
the foot roll, there isn't.
So either you need to remember that or you can just select everything here to make sure that you're
getting all of the keys.
And now we can delete that and it should pop back.
So now let's play that and we can see that the foot is definitely traveling a lot faster now.
And I think we could even get away with a little more.
Foot roll here, so let's just increase the foot roll and let's also decrease the rotate X, so we'll
keep that down and then we'll keep the translator Y down as well, because we don't want that to lift
off the ground just yet.
I think that's already looking a little bit better.
Let's actually bring the roll all the way up so that we can kind of fill that push off through the whole
step.
So the other thing I noticed is it kind of stops here, right?
We get to this frame three and it just kind of hits this pose and the foot stays in this pose the entire
way.
So we can adjust that a little bit.
And let's go into the graph editor and see what's happening.
Maybe we need an extra little keyframe here to keep the foot roll going.
So it doesn't appear like it just kind of stops there.
So I'm just going to grab this tangent handle.
So this curve continues past that key frame.
Right.
So now it doesn't feel like it like hits a wall here as much, whereas before it the roll immediately
stopped on this key frame.
Now it continues for another frame before going back to neutral.
So that already feels a lot better to me.
So we can do that to the other side.
And I will see you in one second while I do that.
So now let's take a look at this other foot and make sure it's doing the same kind of thing that we
want.
Yeah, it looks way better, man.
It just looks so much better.
And sometimes you have to put the character in this mode to be able to see these types of things, because
when they're walking on the spot, it's sometimes hard to see and hard to fix.
A little bit already look so much better.
It's almost hard to see other things that's wrong with it now because that fixed so much, that was
wrong with it.
So the other little thing I want to fix real quick is the hell bent.
This knee is on the extension here.
Normally when we're walking this leg, it's pretty straight right at the contact pose.
But what's what's difficult walk cycles, which, you know, if you've watched this far that, you know,
is dealing with the knee pops.
And when you get the leg straight, you're in your knee pop territory.
So it's definitely something to keep a lookout for.
So let's let's approach this and see what we can do to try to fix that.
I think one of the things we can do is bring the foot out sooner to that kind of end pose where it's
going to be.
I think the other thing that we could do is maybe lift up the torso.
So it'll kind of bring that we're going to translate.
Why not bring this most bottom keyframe?
We'll just drag it up.
And what I'm looking at here is this knee right now, someone hit W and I'm going to shift middle mouse
drag and I'll watch that knee as it gets straighter and straighter.
And I want to be a pretty straight.
It looks a lot better.
We're going to deal with now is all these knee pops.
And that's OK because now we can go back in and maybe translate this up a little bit.
All right, so now that knee pop is getting we're getting rid of that hip hop and.
The only thing is, you know, it looks a little goofy that this is going up, so I think that the thing
we could do is actually use the foot roll and have the highest foot roll actually be over here instead.
So let's try that.
And let's have a foot roll go down a lot sooner.
So where we did have it, it's now going down a lot quicker.
Yeah, that already looks a lot better, so the foot is traveling a lot faster than we had it originally
and.
I think we just need the foot roll to be a little bit higher so we don't get this knee pop on this frame
or we just move this one over.
So let's take a look at the knees now.
It's definitely hyperextend in here.
So now let's just bring up the foot roll so the knee is no longer popping and do the same thing for
the next frame to shift middle mouse dragging.
To keep the leg kind of straight here, at least for two frames.
And maybe I'm going to hit another keyframe here on the foot roll and bring it down some, let's keep
this leg kind of straight through here.
So now when we toggle through, that looks so much better, I can already tell, oh, my God, that
looks better.
This might just be my eye, you know, I'm sure hopefully, you know, you'll you'll be able to see
it in your own animation.
When you stare at this stuff long enough, you can see these differences and maybe we can even see it
between the left and right leg.
Let's take a look at how much better you can tell how much better this leg that we worked on is for
the plant contact.
See how this other leg is staying bent the whole time and the other one is getting straight, and how
much better that straight leg feels?
It just feels way more natural.
So let's just do that for this other side and I'll see you in the next lesson.
All right.
Thanks for watching by.