WEBVTT 00:00.360 --> 00:04.470 Let's get started with creating a walk cycle with our Bones character. 00:04.740 --> 00:08.430 But first, let's talk a little bit about what we're going to do with the walk cycle and want to walk 00:08.430 --> 00:14.790 cycle consists of if you were to see your best friend walking at a distance and you could barely make 00:14.790 --> 00:21.420 them out, you would probably know it's your best friend or relative or whoever, because a walk cycle 00:21.420 --> 00:23.220 is very specific to each person. 00:23.550 --> 00:28.560 As subtle as it may be, everyone has little differences to their walk cycle. 00:28.570 --> 00:34.920 So as generic and boring is as animating a walk may seem to some people, it can actually be very, 00:34.920 --> 00:41.120 very telling about their character, their mood, what type of person they are and their age. 00:41.130 --> 00:42.630 It could be all these types of things. 00:42.960 --> 00:45.960 So we're going to focus on kind of a more basic one to start with. 00:46.200 --> 00:50.250 But also just keep in mind that you can add a lot of character to a walk cycle. 00:50.460 --> 00:55.560 If you need any motivation or examples of this, just take a look at Kevin Perry's one hundred different 00:55.560 --> 00:56.640 types of walks. 00:57.000 --> 01:00.210 He starts out with a generic, but then does a lot of different types. 01:00.630 --> 01:08.550 So definitely go through here and see kind of all of these different different kinds. 01:08.550 --> 01:12.870 They're pretty exaggerated, but the general idea is one foot in front of the other. 01:13.020 --> 01:17.940 So let's take a look at this in Photoshop real quick, where we can kind of break it down even more 01:17.940 --> 01:18.480 simply. 01:18.810 --> 01:24.270 So we have basically two poses we're going to focus on first in this lesson, which is what's called 01:24.270 --> 01:27.450 the contact pose and the passing position. 01:27.900 --> 01:32.400 So we have contact passing, contact passing, and it's going to switch legs. 01:32.700 --> 01:37.170 And if we just switch these layers on and off, it almost looks like this drawing is walking even with 01:37.170 --> 01:39.330 just two drawings and two poses. 01:39.570 --> 01:41.970 So that shows you how important these poses are. 01:42.270 --> 01:46.740 And poses like this are called can be called several different things. 01:47.070 --> 01:49.140 They could be called key poses. 01:49.800 --> 01:53.820 So these could be kind of the main poses. 01:54.210 --> 02:03.060 They could also be considered the extreme poses, meaning these are the furthest that the person travels. 02:03.420 --> 02:06.870 So they extend their legs at the extreme here. 02:06.870 --> 02:10.080 This is the extreme distance that this foot travels this way. 02:10.770 --> 02:14.670 It could also, you know, the extreme of the height. 02:14.910 --> 02:20.280 So if we look at the contact and passing position, we can see that the top of the center of gravity 02:20.280 --> 02:25.710 of the hips here are passing this horizon here, set by the contact. 02:26.490 --> 02:31.890 The contact is lower and in the passing it goes higher because the leg is getting straight and it's 02:31.890 --> 02:33.570 right underneath the hips. 02:33.870 --> 02:36.720 So we need to start to begin to think about the biomechanics of this. 02:37.080 --> 02:39.180 Why does a walk look the way it does? 02:39.420 --> 02:45.780 And this really gets to the heart of animation, which is observation and using reference. 02:46.290 --> 02:51.630 And don't just think that when you become an animator that you just make all of this stuff up in your 02:51.630 --> 02:51.870 head. 02:52.260 --> 02:56.070 You really need to look at reference, how you walk, film yourself. 02:56.460 --> 03:03.090 You look at other people walking, look at your favorite movies or characters of people, but use reference, 03:03.930 --> 03:09.330 preferably not animated reference, so that you kind of get the original source and you don't get someone 03:09.330 --> 03:10.650 else's interpretation of it. 03:10.980 --> 03:15.900 So I always look at reference and, you know, we're going to start without it because I don't want 03:15.900 --> 03:18.420 us to overanalyze reference and get hung up on that. 03:18.750 --> 03:24.180 But definitely know that, you know, these things are all rooted in biomechanics and how things actually 03:24.180 --> 03:25.590 move and work. 03:26.100 --> 03:30.660 So let's jump into Miah and start with this scene. 03:30.660 --> 03:31.740 Ten Walk Cycle. 03:31.740 --> 03:32.370 Start here. 03:33.000 --> 03:36.270 What I'm going to do first is hide everything that we're not going to need. 03:36.540 --> 03:44.490 So I'm going to go to Windows and go to outliner and I'm a hide the hat and I'm going to select everything 03:45.810 --> 03:46.830 above the waist. 03:48.640 --> 03:52.900 And put it in its own display layer over here and just hit the visibility off. 03:52.930 --> 03:55.760 So now all we have are the legs cool. 03:56.200 --> 03:58.180 So let's start with the contact poses. 03:58.720 --> 04:06.010 I will first grab one of the legs and just drag it forward, drag the other one back. 04:06.790 --> 04:11.620 And when we're doing this, we want to make sure that we're doing it at a specific distance. 04:11.620 --> 04:17.890 So let's say something like eight here and maybe a little further back on that one, maybe like maybe 04:17.890 --> 04:18.810 like negative nine. 04:19.690 --> 04:23.020 And now we need to drag the center of gravity down. 04:23.650 --> 04:26.920 But, you know, people don't walk like this when we walk. 04:26.920 --> 04:33.520 We actually try to keep our foot on the ground as long as possible so we can push off with our back 04:33.520 --> 04:33.930 foot. 04:34.330 --> 04:39.060 So I'm going to use the roll here to indicate that. 04:39.730 --> 04:44.110 And then on this, we do a heel to toe motion on the front foot, right. 04:44.440 --> 04:49.280 Our heel strikes first and then it goes to toe when we're walking someone to put it in the heel position. 04:49.720 --> 04:53.680 So now that means we didn't have to pull our center of gravity down that far. 04:54.010 --> 04:55.180 Just bring this back up. 04:56.230 --> 05:01.300 Another little thing to think about is the fact that our hips rotate. 05:01.510 --> 05:01.900 Right. 05:02.200 --> 05:03.910 They don't just stay straight here. 05:04.240 --> 05:08.740 When we are reaching forward with a foot, we actually do so with our hips as well. 05:08.740 --> 05:10.490 So you reach forward with the hips. 05:10.490 --> 05:14.610 So let's bring the hips around so that they're reaching with that front leg. 05:15.460 --> 05:20.590 That means we can bring up the center of gravity even more to try to straighten these legs out. 05:26.410 --> 05:30.700 I'm just going to bring this foot roll back maybe a little bit so that leg gets a little straighter 05:31.420 --> 05:35.350 and I'm just going to bring this toe up just a little bit. 05:36.580 --> 05:39.970 So now we have our first pose. 05:40.540 --> 05:43.510 So I'm going to select all of the controls. 05:43.510 --> 05:46.900 But first, I'm going to make sure that I'm not selecting any geometry. 05:46.900 --> 05:53.020 So I'm a click this little geometry button and click the joint button here so that I know I'm only selecting 05:53.350 --> 05:55.090 locators and curves. 05:55.450 --> 05:58.810 Someone had s on my keyboard to set a key frame of frame one. 05:59.250 --> 06:04.420 I'm going to decrease the time line here a little bit so we can focus in on fewer frames. 06:04.810 --> 06:12.520 I'm going to go forward to, let's say, frame 20 and I'm just going to reduce this down to 40. 06:13.150 --> 06:15.230 So let's set a key frame on all of these as well. 06:15.850 --> 06:17.640 And now let's reverse this. 06:17.650 --> 06:19.210 So let's bring this foot back. 06:19.630 --> 06:24.730 And this is why we had exact numbers here so that we can kind of match them on either side. 06:25.340 --> 06:27.280 So I'm just going to look at this other foot. 06:27.280 --> 06:28.720 It's negative 27 seven. 06:29.840 --> 06:30.760 It's going to go negative. 06:30.760 --> 06:31.780 Twenty seven. 06:37.100 --> 06:44.570 And I'm going to take this toe control to zero, so it's back on the ground, then I'm going to reverse 06:44.570 --> 06:50.450 this rotation to negative fourteen point whatever, does it really have to be exact? 06:50.450 --> 06:50.900 Exact. 06:50.900 --> 06:53.870 But just to kind of give us an idea that they're in the same ballpark. 06:54.340 --> 06:55.220 This was eight. 06:55.700 --> 07:01.550 And let's go jump back to this frame so we can see what the role was, was pretty much 20 there. 07:01.550 --> 07:03.230 So we can say 20. 07:05.360 --> 07:05.810 Cool. 07:05.810 --> 07:11.960 So now we have our two contact poses just for one leg, because remember, this is going to need to 07:11.960 --> 07:12.830 happen more than once. 07:12.840 --> 07:16.580 So we have this one leg and it looks not very impressive right now. 07:16.970 --> 07:17.960 But this is animation. 07:17.960 --> 07:21.130 You know, you need to get comfortable with seeing things not perfect. 07:21.530 --> 07:22.730 I know that's one thing. 07:22.730 --> 07:28.430 When I started drawing that kept me from being very good at drawing because I wouldn't want to continue 07:28.670 --> 07:32.350 past seeing like a bad, you know, draft of a drawing. 07:32.600 --> 07:34.520 So that's going to happen in animation. 07:34.520 --> 07:35.540 Just like in anything else. 07:35.540 --> 07:38.420 You have to start with the basics and build a foundation. 07:38.720 --> 07:42.380 So let's continue to refine this animation to make it look even better. 07:42.740 --> 07:46.700 Let's go to frame ten, which is right in the middle of what we've already done, and make our passing 07:46.700 --> 07:53.360 position so we can bring up the leg that should be passing and we want to rotate the foot down just 07:53.360 --> 08:01.610 a little bit so that the toe is just barely off the ground, because as humans, we are kind of lazy 08:01.610 --> 08:03.410 and we also want to be efficient. 08:03.410 --> 08:07.160 So we don't want to bring the leg all the way up here to walk every time. 08:07.160 --> 08:12.910 That I would definitely be a unique walk, but it's not typical of what most walks are. 08:13.340 --> 08:18.050 So the other thing we need to do is make sure this is flat on the ground. 08:18.290 --> 08:24.020 So let's make the foot be zero and let's bring up the center of gravity. 08:24.020 --> 08:28.490 So the leg is straight, as we saw in the Photoshop kind of drawing I was doing earlier. 08:29.210 --> 08:32.510 Let's bring this up maybe a little bit more and rotate the foot back down. 08:34.340 --> 08:40.820 So the other thing we need to do is because this is on one leg now, we need to shift the weight over, 08:40.820 --> 08:45.130 because if we look at the center of gravity, it's not under where the foot is. 08:45.140 --> 08:49.960 So we need to make sure always that the center of gravity is being held up by something. 08:50.000 --> 08:56.150 So let's push this over so that now the center of gravity is a little more supported by the foot that's 08:56.150 --> 08:57.050 still on the ground. 08:57.440 --> 09:05.060 The other thing we can do is we can lift up the hips because the body is trying to lift this foot off 09:05.060 --> 09:08.660 the ground and the hips are trying to assist. 09:08.660 --> 09:13.180 It is trying to lift this leg and this foot off the ground so it can push it forward. 09:13.640 --> 09:20.180 So now that means we can bring the center of gravity even higher, try to straighten out that leg that's 09:20.180 --> 09:20.780 on the ground. 09:22.340 --> 09:30.290 So now, if we were just to look at these three poses and play them back, I'm just going to select 09:30.290 --> 09:37.400 all the curves, deselect the locator here and put them on their own layer and hit P here so it dislikes 09:37.400 --> 09:37.520 it. 09:37.520 --> 09:40.960 So it will won't show the curves on playback. 09:40.960 --> 09:47.360 And I'm going to start to name these so that we won't lose track of what they are, let's say upper 09:47.360 --> 09:47.780 body. 09:50.530 --> 09:54.340 I'll say lower Condes. 09:56.580 --> 09:56.940 Cool. 09:57.150 --> 10:03.900 Now, let's play this back, so we basically have one stride of a walk here and it still could use a 10:03.900 --> 10:08.250 lot of work, but you kind of get the idea of where this is going. 10:08.550 --> 10:12.570 So let's do this for the other side, the next lesson, and we'll go a little quicker and then we'll 10:12.690 --> 10:20.190 continue to refine and add better timing and spacing and maybe go into the graph editor a little bit. 10:20.490 --> 10:22.200 Thanks for watching and I'll see in the next lesson.