Original subtitles

- Let's start the blocking of our walk cycle.

I will start where I've left in the last chapter

and I will create a new action.

So, I will go into Pose mode,

select my character,

and press this icon to duplicate the run cycle.

From there, I can rename it and click the shield icon

to make sure I won't lose this data

whenever I restart Blender.

Now I will select all the key frames

but the one on frame zero

and I will press X to delete them.

Now we need to make sure that we have clean channels.

Since we have worked in the graph editor on many curves,

I need to make sure that I reset those curves.

In my action editor,

I will press Control+Tab to switch to the graph editor,

and enable "show hidden."

I will then press Alt+H to make sure

that I reveal all the curves.

And from there, I will press A to select them all,

press the T key and switch everything to Bezier.

Then I will press the V key

and switch everything to Autoclamp.

Now, everything is reset.

If you have a look to the key frames,

we can see that they have a round shape,

meaning that they are all set to Autoclamp.

If I switched to Vector, for example,

they become square.

If I switch to Align,

they will have this kind of diamond shape.

Now, we need to reset the pose of our character

before we start working.

So, I will make sure

that I have all my controllers available.

And as you can see here, my UI didn't load,

So what I will do is open the text editor

and with trident rig script selected,

I will press the play button.

Now to make sure that

it automatically play whenever I reload the file,

I will go to Text, and enable Registered.

From there, in the rig UI,

I will enable all the layers and press A in the 3D view

to select all my controllers.

And I will press Alt+R, Alt+G and Alt+S

to reset the rotation scale and location

of all the controllers.

Once I'm done with that,

I can hide the controller we won't be using.

So we can hide the root,

the torso tweak from the time being,

all the face controller,

keep the leg I-case, keep the arm eighth-case.

While we will be using them, we can hide the hands.

And we will hide every weapons controllers.

I will just rotate a bit

the arm of the characters so that he looks

a bit more relaxed and we can get started.

The first pose we are going to build is the contact pose.

Let's have a quick look to the references

to spot the key features of this pose.

This is the moment where both feet are contacting the ground

and are further away, one from the other.

Both are on the extreme.

One on the heel, one on the toes.

The hips are slightly tilted up

from the back leg that is pushing.

The chest is slightly tilting the same way

as it is transitioning into the next pose

where we will have the contrapposto.

But it's twisted the opposite way

compared to the hips toward the front arm.

Toward the front arm,

the center of gravity is almost centered,

but it's a bit favorizing the back foot.

Note that the reference on the right is showing someone

with an athletic walk,

so the arm swing motion is a bit extreme.

We will keep our walk cycle a little more relaxed,

with less amplitude.

We will start our first pose by posing the feet.

You may choose to push

whether the left or right foot forward

and the other one backward.

Then we can use the role controller

to raise the toes for the front leg

and raise the heel for the back leg.

I will lower a bit the center of gravity

to make sure that the legs are not stretching.

Don't forget to pose the toes on the front foot

as they are dragging a bit before they contact the ground.

On this walk cycle animation,

I will try not to rotate on the side

or twist the torso root controller.

I will slightly rotate it forward

to give a more dynamic pose to our character.

But we will mainly use this root torso controller

for the up-and-down and side-to-side motion.

I have twisted the hips toward the front foot

and I'm twisting the chest toward the front arm.

Remember to pose the arms the opposite way as the foot.

When the left foot is forward, the right arm is forward.

Also remember that your elbow is supposed to rotate

only on its local Z axis.

You can't rotate your elbow around multiple axes.

So when it comes to posing the arm,

I mainly use the arm controller to orientate the arm.

Another thing to double check so that

we don't get the same problem as during the run cycle

is to make sure that both the neck and head

have their rotation fully disabled.

As usual, I'm showing the final pose

we are supposed to reach.

Don't forget to slightly shift the weight of the character

on its back leg by selecting the torso root controller

and slightly move it on the X axis.

Left to right motion will be more pronounced

on the walk cycle than on the run cycle.

Here you can see me fighting a bit with the pose

of the hips and the chest

because I wasn't looking at the reference.

So I was trying to set a contrapposto

while the chest should be almost horizontal.

The only contrapposto that occur

is the twisting.

I'm tweaking the pose

to make sure that my character look balanced.

Take the time to properly refine this pose,

because this is the one we are going to use

to build the other ones.

And it will communicate a lot about your character.

From there, I will re-enable the hand layer

and I will slightly pose the hands.

So I will build a default pose on one of the hand,

by slightly curving the palm controller and each finger

to make the hand pose a bit more relaxed.

Then I will select all the left hand controllers.

Press Control+C to copy the pose

and Control+Shift+V to paste it,

mirrored on the other side.

So as I explained before, after watching my references

I've decided to slightly realign the chest,

to have my shoulders more into

an horizontal line as on the reference.

Don't forget to double check the arm position,

the hands position, using the reference,

as this is the extreme pose for both arms.

Then you can push a little bit the feet toward the inside.

It will look a little more natural and less robotic.

The more you push the feet toward the inside

on a central line, the more feminine.

So if you were to animate a stereotyped sexy woman,

you would push the feet toward a central line.

This is the kind of pose you will see in a fashion show.

But it doesn't really fit our character

so let's cancel this and jump into the next video.