Original subtitles

Hello and welcome to this chapter, so in this chapter we are going to start animating our

character as we essentially got done with the rigging and weight painting the items,

the body, everything and it's ready for animation.

Before we get into that though I noticed a tiny error with the rig that I just want to

correct and it's something to do with the fact that when we move the main control here

we get this kind of double translation on the wrists and they start floating away.

And that's because they are parented to the master control and the item bones are also

parented to the master control.

And I think the best way of solving it right now is to select the IK handles and the item

bones, go into edit mode and unparent them, so Alt P and then clear parent.

So now that we moved this they just kind of stick in place.

This could also be done for the feet potentially but I think for what we want to do this is

the best solution right now.

Another issue we were having or that I found was that when copying kind of movements from

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one bone to the other item bone then it wasn't being translated properly and essentially

it was because the orientation on this one we had set it to be different than the other

one so that the sword would be upright in this hand during rigging.

But that wasn't right because then the stuff couldn't be copied between bones.

Essentially the result we wanted was that I wanted to be able to copy this here with

Ctrl C, go into the other bone, hitting Ctrl Shift V and then it should do the same thing

and it wasn't before.

So I fixed that essentially by going into edit mode and selecting the item bone, armature

and just hitting symmetrize then that bone became the mirror version of the other one

which is the behavior you would want.

But it does mean that when you go into the sword and then you go to the constraints here

and you say R.item then it flips and he's holding it the wrong way and you can't just

rotate the bone in there but you can rotate the sword or something like that.

So just something to keep in mind that there might be a little bit of imperfectness there

and that's just a compromise.

There's all kinds of solutions you could do in order to deal with it.

But I think this is the simplest solution right now.

I'm also going to take the sword and put it in the back scabbard instead.

As the run cycle I want to do it's not really going to involve the sword at all but we're

going to make it so that you could potentially use the sword in the animation if you want to.

So with that out of the way I think we got everything and we're more or less ready to animate.

So in order to have less clutter when we're actually animating we're going to hide some

things out here.

So we want to be doing both a run cycle and then an attack animation and for the run cycle

the cloth will really get in the way to begin with.

So we're going to hide the cloth and we're going to hide the bones associated with the cloth here.

So all these bones here just have a little bit less clutter and like that we're going

to hide those.

So that's pretty good.

And then the bones themselves I'm going to set them to stick instead like this and then

it's a little bit clearer.

Okay cool.

And we're going to be doing a full run cycle.

So now when you're doing a run cycle I'm going to be doing a run cycle for essentially a

game so the characters can be running in place kind of like on a treadmill.

And to better understand what's happening in a run cycle I like to break it down.

Break it down into different keyframes which is how we're going to be dealing with the

run cycle.

So I've done that in 2D actually for myself.

I copied some existing ones of these run cycle breakdowns from other animators and then I

kind of made my own version.

And I made my own version just because when I do something in 2D the information sticks

a little bit better than when just doing it in 3D.

It's kind of like writing information down then you remember it a little bit better.

And it's a bit like that for me with 2D.

Now I just have this handy chart that breaks down the entire movement for each of the key

poses.

And the way we're going to go about this is we're going to make each of these key poses

for the character and then we're going to deal with the timing and stuff afterwards

because that's also going to teach us a little bit about like how some of this stuff works

in relationship to each other.

So there's essentially five poses, the passing pose, the up pose, the float pose, the contact

and the planting pose.

This is also called the down pose sometimes.

And I've given them my own names just so I have a concept of like how they function.

And essentially only those five poses and then the next cycle are the same poses but

flipped like mirrored over.

So that's why that mirroring functionality in 3D was pretty essential.

So I kind of made this cycle just like drawing them next to each other like this and then

I tried putting them together as an animation just to see if it kind of worked and it kind

of did.

It created a somewhat fluid animation of a guy running forward.

The head is quite erratic but we can definitely solve that out in 2D.

And again, this wasn't meant to be an animation.

It was just meant to be a, you know, I just literally took these drawings and put them

together and then it kind of worked out.

So I think that's where the information can be really helpful.

I find that if I can do something in 2D, I can usually do it in 3D as well.

Okay, going back there.

So that's kind of, those are the poses that we are going to be dealing with.

So I'm going to bring up this one on my right side here so I can always look at that.

And then I'm going to create a new viewport from this one.

I'm going to turn off stuff like this and set this to just so I can see it from the

side so I have something to match up with.

I'm going to put this on my left monitor just as a constant reference as I'm moving stuff

around over here.

So in order to animate here in Blender, I'm going to be turning on auto-keying.

And auto-keying is going to just mean that every time I move a bone, a key will be set.

So if I move it over here, then a key will be set over there.

And so on and so forth.

I'm going to select all my bones here and just delete all the keys.

So we've got a completely clean model here.

So we're essentially just going to start here on frame 0 and then we're going to check out

each of the five poses and just create those up until frame 4, I guess it would be.

Frame 4.

And then we're going to mirror some stuff over.

So let's create the first one here on frame 0.

So this will be the passing pose and we've got a little bit of a forward tilting pelvis

here.

Always good to start with the pelvis.

Something like that.

I'm also going to move the eyes out just so that that works like this.

Then we're going to move the body forward a little bit.

And then the whole pelvis thing down.

And then moving this out here, etc.

And then moving this up here.

And mind you, I'm looking at the reference on my right here to make sure that I'm doing

stuff the way I want it to be done.

Like that here.

Maybe a little bit further down.

Something like that.

And then we want to bring the arms in.

And you can do the arms before and after, it doesn't really matter.

But I'm kind of just relying on a good reference right now.

So I'm just going to do the arms straight away just so I get the feeling of the whole

motion.

But you can totally do the legs and the body kind of first as a unit and then make the

arms work secondarily.

But I like doing it this way.

So I'm going to bring in the arms here and just pose them in a way that makes sense.

And here the scabbard is kind of getting in the way.

So I want to move the scabbard out a little bit out of the way here.

So I'm going to just pose it a little bit differently.

Maybe something like that.

Something like that.

And that's just going to be there on frame zero.

Then we're going to move the arms into place.

And here, before I move this one, and that's the IK handle, but that one is attached to

this one.

So what I actually want to do is I want to animate my arms with using this one instead

of these ones.

I could do these ones, but then if I ever wanted to attach just an item to the run cycle

I'd already done, then I wouldn't be able to do that in the neat way that we had before.

So in order not to use these ones, I'm going to just hide them.

So I don't animate on those ones, and then I'll just animate these ones.

And then I'm going to move this one in here, maybe something like this.

And then I'm going to take the elbows here and just move them backwards, also the other

one like that.

Then I'm going to grab this one and set that to be somewhere around here, a little bit

closer.

And then we can already start doing just a little bit of twisting of the shoulders here,

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moving them back and forth.

And here we kind of have like our first pose-ish thing.

But then what I want to do is I want to rebalance it a little bit.

So it's important to look at the front balance of the character also.

Here what's happening with the pelvis is that the character needs to make space for the

incoming leg sliding underneath him.

So we're going to tilt the pelvis a little bit to the left, so there's more space underneath

here for that leg swinging in.

And then this one will come in to kind of balance it, so it's a bit more in the middle

to balance it out.

And the torso will counterbalance it, so it'll counterbalance that way.

The torso will be twisting with the arms a little bit, so twisting this way.

And the pelvis will be doing the opposite motion, like that, a little bit like that.

And then we're back to middle-ish, just tiny movements for now.

And so it's a lot of things at once, but try it out.

So those are the things you need to worry about.

Okay, so we've got that first frame-ish, and then we're going to move on to the next one.

So now I'm on frame one here, and I'm going to be doing the up pose, which is the one

we have right here, right, this one, where we're pushing ourselves up, and the character

is going to be at their highest, something like that.

And we're going to be stepping off our toes, so we have a little bit more leeway here.

And I think now that I've bended the toes, the toes will also be bent in the next one,

so I'm just going to Alt-R those ones, so now the toes are there.

Then we're going to bring this pelvis up as much as possible.

We've got that going on there, and the leg is really going to shoot forward here quite a lot.

And we need to bring the knee forward as well, and bring this one also in there.

And then this one comes something like that.

And then we are going to make even more space for our leg here.

I'm going to swing the pelvis out there.

This one's going to go the other way, and come back into the middle here, something like that.

We've got our leg there, and then we've got our arms that are also going to start really

coming forward here.

Coming forward here, bring in the elbow a little bit maybe.

Bring the shoulder forward a little bit, take the other shoulder, bring that one back.

Take this one and swing this one.

We're starting to see this one on the other side here, so that's pretty good.

I could probably swing this one back even more.

Something along those lines here, and I'm also still checking the silhouette over here.

That's kind of my reference for everything.

Okay, then I got that.

That there, that seems pretty good.

See if I can stretch this one.

Okay, that's where the leg starts to break, so I'm going to keep it there for now.

That also looks not too bad.

So we've got this kind of, and the character starting to push themselves upwards,

getting ready for that floating stage.

So we're going to go to the next one here.

Then here we have our floating pose, and here the pelvis is actually going to come down

a little bit, and the pelvis is going to start normalizing a little bit already here.

So we're going to start bringing this one back a little bit, or actually maybe still

keep a little bit of an extreme.

That's up to you.

And then we can do the opposite with this one here, showing more of the back.

That could also look pretty good, actually.

Yeah, let's do that.

Let's make it really extreme.

Bringing the shoulder back here, then the arms come back.

And here I'm just doing the arms first, just because I felt like it.

Nothing, no secret there.

There, and then something like that, kind of.

And then the head, I can see, is really wanting to come out.

So I'm going to put that back in here, something like that.

Just checking from the previous pose, I can see the pelvis is turning, but then I want

to bring it down just a little bit for that floating stage.

You could also do the opposite, where the floating is kind of your highest, and you

get this very jumpy run.

But I'm doing this one right now.

And then this one shoots out here.

Then we're getting this kind of a pose.

I could bring up the arm even higher here.

Just for getting something like that.

It's also pretty cool, seeing it from the side here.

Definitely getting a lot of energy put into that.

Nice.

So we're kind of seeing that bum, push, float, bum, push, float, boink, boink.

And then we're going to move on to the next frame here.

And there we're going to get the contact pose, and that's this one here, right?

We're going to be meeting the ground, so our character is landing again.

And here we're starting to swing the leg back.

So the red leg here, the right leg is coming back under.

So now we want to start bringing the pelvis back a little bit.

So we're going to bring it back just a little bit here, and then swinging it upwards a little

Just a little bit here, and then swinging it upwards a little bit.

That also means swinging this one back a little bit, and then bringing it back.

Then we bring the head back also, like that.

And the arms are going to start coming back in.

Swinging in like that.

And the pose, the feet here, they're going to start meeting the ground.

And we're going to be landing a little bit more here.

So I'm going to bring it very close to the ground, like so.

And then this one comes in, does something like this.

We're swinging it in there.

Let's see how far down we can go with this.

Actually, a fair bit.

Like that.

I can actually bring it all the way down like this.

That's pretty cool.

Then I can get the arms in here.

Arms can start swinging in again, like that.

And this one can start coming closer to the chest here.

Pretty good.

Maybe this one can be a little bit more like that.

And then we see kind of that.

So the boing, push, float, land, and the arms are doing their things.

Yeah, exactly.

Push, float, land.

That's kind of what we're going for.

Then we're getting into the plant phase where we're stabilizing the character again.

So we need to bring this in.

And this is where the character is going to be at their lowest,

not mentally, but physically.

So we're going to bring that down a little bit here.

Sliding in the foot.

And then bringing this leg in.

It's going to take a little bit of time for this leg to come forward.

That's fine.

Like so.

And we need to start making room in the pelvis for these things here.

Bringing this back here, something like that.

Bringing in this leg for the middle here.

And then correcting the torso.

These ones are definitely coming back now.

And bringing that in.

Let's see here.

Something along those lines.

Bring in the head like this.

Something along those lines.

And let's see here.

So we are pushing, making contact, going inwards, going inwards, going inwards.

Like that.

Maybe we could even make the chest fall over a little bit.

And then I can correct itself.

And I can come down a little bit here, I think.

Like that.

There.

And then the arms, of course, they start swinging in a little bit more.

Bring in the arm here.

Something like that.

And then this arm comes maybe down here.

So it really takes a swing back here, the arm.

Let's see here.

So then we have this one coming in like that.

That makes sense.

Something along those lines.

And here I kind of want to compare to what we did on the first frame.

In the first frame, the arm is here.

So that means that maybe this one is a little bit higher up.

Something like that.

Okay.

Oh, that was the wrong frame.

I'm just going to move that over there.

Okay, there we go.

So that's the past down pose here.

And then this one is going to put on five.

So I'm going to move that inwards.

There we go.

So this is essentially our first little step.

So flying, contact, settling.

And then now, as our run cycle kind of breakdown dictates,

we are actually returning to the same pose as we had in the beginning,

but mirrored, right?

Flipped essentially.

And that's where we can use our little trick here.

So we are going to grab everything.

Actually, we're just going to grab the first pose.

Right now.

So I'm going to select everything in the viewport here.

Double tap A.

Hit control C, right?

And then go to control, go to five here and hit control shift V.

So that essentially flipped it, which is what we wanted with one error, right?

With one error.

And that is that the scabbard kind of is not really lining up.

So we're going to deselect those.

Yeah, deselect those.

Hit control and go to zero.

Hit control C and go to control shift V.

Then we get that flipped.

But you will notice that probably it's not exactly the same.

Oh, actually it is.

It's just that the head is a little bit wonky on both of them, actually.

So it's okay.

So it's exactly lined up.

That's great.

So I can see that the head for some reason is a little bit wonky here.

So that's because we probably started twisting the torso.

So I'm going to go over here to the previous frames.

And just correct the head here.

Like that.

Go back to the previous.

There we go.

And then we have that one that's still flipped.

So I'm going to go back to frame zero.

Select everything except for the scabbard.

Like that.

Control C.

And then back to frame five here.

Control shift V.

And there we go.

And there you can see that kind of becomes a full step here.

If I do this and then just like bum, bum, bum, bum, bum, right?

And that's the passing pose there where we start going up again.

And we're repeating that cycle, right?

So in order to fulfill the cycle, all we have to do right now

is actually grab all of it.

So grab everything in the dope sheet here in the timeline, right?

So I'm going to grab all these nodes.

And then except for the scabbard here.

There we go.

Grab all these nodes.

Double tap A.

Hit control C.

And then I'm going to be on five.

And hit control shift V.

That takes all the nodes and flips them for the next couple of frames.

Like that.

So here we actually have a front cycle.

So we've got the passing pose, the up pose, the floating pose,

contact, down or resting.

Or plant, actually.

Plant, that's what I call it.

Then passing pose again, but now with the other leg.

Then we've got the up pose.

We've got the floating pose, the contact pose,

the plant pose, and the passing pose again in the end there.

So if I set my time range to 10 right now and I just play through this,

we actually got a very fast run, right?

So this guy is speeding away there.

But essentially it's a run, right?

And it kind of works, right?

It's not ideal, but it's very close to final actually.

Because all we have to do now is do a little bit of tweaking

with the timing, right?

So from kind of what I expect timing-wise, I'm gonna zoom in here.

I would want this to probably be a 16 frame cycle.

But this all depends on what you want, of course.

So I'm gonna say 16.

And then I'm gonna go back here.

And then I find that having some of these poses

be resting for a little bit longer to really work out.

So I think something like this pose here could use some spacing after it

because that's quite a big leap there.

Done, done.

And if we take that here, do some spacing there.

So I just select all the nodes here, right?

Then we got that.

Then this is kind of giving us a little bit more time here in the air.

And then we're snapping back in.

And then also we can show the rest here.

So on this one, or actually also on the up pose,

that also seems to give a nice like jumpy, a little bit of a jumpy run.

So on this pose here, that could also get to.

So I'm gonna just move that one over.

So that one is doing that.

So that the floating pose really becomes quite a lot.

And then we're switching in between those two.

And then I'm gonna go over here on this one.

Also space that out with two, 10.

Also space that one out with two.

And then maybe a last one, as far as I remember,

there's these two, then the switching stage here.

And then that stage with the pass,

which maybe is not necessary for exactly the thing we're doing here.

That's actually kind of interesting.

So we are doing that there.

Then we have that one there.

I might try setting this to 14 and just see what we get.

Then we actually get this.

And that actually, that has quite a lot of bounce and feel.

The way that it runs here, that actually works pretty well,

especially from up here.

It's a little bit Terminator, like in how he's running.

It's a little bit stiff,

but it's also definitely serviceable and working.

And the head there, we got that.

It looks very determined the way the guy is running here.

And that's also absolutely fine.

Let's see here.

Can we do anything to make it a little bit less stiff?

So maybe it's the timing.

Maybe it's just that it could use a little bit more time in certain frames.

So we could say that like,

so the floating does seem pretty good here.

So we're getting a lot of floating time there.

And then we're switching that over pretty fast.

And that floating time,

maybe even more floating time would be interesting.

So I'm going to take this pose here and just give it that.

And take this one and give it that.

And then I'm going to set this to 16.

So you can really play around with your things in that sense.

Now you get this kind of more bouncy run,

where he's really taking every stride really seriously

and running quite distinctly.

That can also look really good.

I'm actually getting a little bit of shake on the scabbard also.

That actually doesn't look too bad.

And that's just from it being attached to the pelvis.

But it does create quite a nice motion.

But he's obviously clipping with the scabbard quite a lot.

So if we jump into the scabbard here,

we could put the scabbard somewhere else.

I can see it's gotten some key frames here.

I'm just going to delete all the key frames on it.

And just try turning this somewhere slightly different.

It's a little bit unruly, this scabbard here.

But maybe we can find a spot where he's not clipping as much.

We can put it lower down here.

And let's see if we rotate it upwards a little bit like that.

Are we clipping with it a lot here?

Well, we're definitely still clipping with it.

Well, that is a gamey thing, right?

Having stuff clip.

It really has to sit a lot further up for it to make sense.

But I kind of decided that it had to be here.

It's a little bit of a shame having it clip in the way that it's clipping.

We can also bring it in on this side here.

Let's see what we're getting with that.

Let's see if we're having the leg clip here.

Whoa, what's going on here?

Okay, so that's not what I was thinking.

It's a little bit of a hiccup.

There we go.

Let's see if we had that there.

Let's try...

Then what do we have it clipping?

Do we have it clipping on the leg here?

Yeah, a little bit on the leg there.

But then we could say that we want it to be there.

But then here we're going to maybe move it up a little bit.

And it's almost like it's on the wrong side.

I guess it would be the same on the other side.

It wouldn't make a difference.

Then we can make it come out there a little bit.

So here it's kind of just floating a little bit.

And then coming back.

Okay, so it's glitching back there.

But then if I take this one here, put it here.

I'll take that one, put this one in the middle.

Then it's just floating around there a little bit.

So that almost looks like a little bit of secondary motion.

The way it's bouncing around on his back there as he's running.

And it's not clipping super much with the leg right now.

He would cut himself on the sword, but that's also fine.

Let's see here if we can...

So here he's coming down.

And then I want maybe the sword to have some secondary downwards motion here.

So I can bring that down there.

And then maybe around here.

It could be there.

This one here could also come down a little bit.

And then here you would see the sword kind of bouncing around.

And that actually works pretty well when I'm seeing it from here.

And from the side, then it's bouncing around a little bit.

And that looks kind of fun.

Not perfect, but definitely workable.

Okay, brilliant.

Now we got that.

I think we basically got our movement down.

But I just want to correct some stuff with the fingers here.

So with the fingers, we haven't done any animation on the fingers yet.

So I'm going to go back to zero.

Just hit this here.

I'm going to do a bit more of a fist.

Something like this here.

Grabbing all these fingers.

I'm going to individual.

We set to individual.

And then curling all the fingers in here.

Oh, are we missing some?

Nope.

Oh, okay.

It's because we got this one also.

Like this.

A bit more fist like.

Or something.

Like that.

And then.

It's not going to be a perfect thumb here, but.

Something along those lines.

That definitely looks a little bit better.

And then I can take all these fingers here and just say.

You know, take them all.

Not that one.

I will also that one.

Yeah, like that.

And I'll just delete everything here.

Set in a location rotation scale on I.

And then we're going to say copy.

I'm going to hit control shift V.

And then we get the fist on the other one as well.

And then that should stick for the entire run cycle here.

Except over there.

Oh, that's probably because there's an extra.

A little bit of animation there.

I'm gonna select these here.

Yeah.

So we've got some animation on these ones.

They select all these.

And then we just got.

Oh, I select that one as well.

There we go.

Then I can select, delete these ones.

Then we should have just fists running here.

Exactly.

And if you really wanted to.

You can now take the sword.

If we're going to object mode.

Take the sword here.

Go over to.

I'm just going to delete.

Go over to this one and set this to item.

Right.

And then now it's kind of running with a sword.

You know, you could put anything there.

You could also try.

Rotating this one to like this.

And then you have a guy running with a sword like that.

Which, you know, that also works.

But I'm going to keep it on the scabbard slot.

It definitely makes it a lot easier to not have it on the back.

But there's a look to it.

I think it's great.

Okay, cool.

So we got that settled with the animation itself.

That was fairly not much of a hassle.

And if you wanted to, you could come in and try.

And adding some variation to the run cycle.

Just making everything a little bit more snappy here and there.

Just play with the timing.

See what you get.

Now we want to bring in the cloth.

So that's going to be a little bit more tricky here.

I'm going to go into the rig.

And then I'm going to unhide everything here.

And I'm also just going to press control S here for saving.

So with the rig here, we could essentially hide everything but the cloth.

Because the cloth is actually the only thing we want to really animate right now.

And I think we got a lot of stuff working against us.

We got the scabbard.

That's definitely going to stab into the cloth a lot.

So we might figure something out for that one there.

So let's see here.

I'm going to take all this stuff.

Maybe I'm going to go over to this one and select the items only.

Then I'm going to hit control shift I.

Control I, sorry, for inverting the selection.

And just press H.

Then I'm only seeing this stuff.

And then I could hide everything that I don't need to watch right now.

That is this stuff.

Then I'm only seeing the cloth.

And then let's unhide the cloth here.

And there we got it.

And we have to start figuring this cloth out.

And hopefully we can do some stuff where we also mirror the action a little bit.

But let's take it one frame at a time here.

So first we're doing this one.

And here we got some stuff.

I'm going to go frame zero actually.

That's where we're starting.

And it would be interesting to be able to move this in a way where the other stuff follows.

Now there's no IK on it.

But if you go over to the pose tool, the tools, there's this option called auto IK.

And auto IK kind of means that everything behaves a little bit differently.

So that is quite interesting.

Let's see here.

Maybe.

And then you can scroll the mouse wheel.

And then it'll affect multiple or less chains essentially.

Super interesting feature for doing quick variations like this.

So we got that there.

Then we got this here.

Just moving that out.

And then we got this one.

Maybe it's something like that.

Yeah.

Maybe moving it to the side a little bit here.

Like that.

And you know just slowly figuring out what works and what doesn't.

Maybe this one can move forward.

Okay.

Something like that.

And we have some clipping here.

But I'm going to be kind to myself and just not think about that as.

Oh, we could actually almost do that.

That is interesting.

I might try.

I might try here.

Let's see.

Okay.

So that's the first pose we got here.

Then we got the next one.

Then we got the next one.

And this one is pushing the cloth upwards with the left leg there.

So let's get the cloth moving upwards here.

So I'm going to place this.

Place that.

Place that.

And that's going to be pushing the leg a little bit like that.

And then this one is going to be.

And you can see how having more controls of the cloth would definitely assist

in animations like this.

But that's kind of what we got now.

And maybe I can just move this one over a little bit.

That one's going to be very tricky too.

I don't think we're going to be able to deal with that one super nicely.

I would need some additional controls.

And then I can move that one back a little bit here.

Also do a little bit of this stuff.

Just to see.

Let's see what we got here.

Like that.

Oh, that's the wrong one we're doing.

Oh, and the leg pushes even more through there.

That's great.

Let's try.

Let's try.

Let's see how much we can salvage.

Maybe it's something where we're getting this up.

I would really need more control of the cloth here.

But this is kind of the idea.

I was definitely also expecting that this would become a problem.

And that's really why I would want to sim it traditionally.

And maybe just not designing a character like this,

where the animation like this is going to be really not great.

Let's see here.

So we get that kind of motion.

So we have this one here.

So maybe that one is a little bit too.

Close to that one.

I get that one there.

Yeah, so that's moving out the cloth there.

That's pretty good.

And then here, I need even more of this stuff here.

Flaring out.

And this is just getting very impossible right now.

But let's try it.

Why not?

Try something like that.

And you could come in with a blend shape or something like that,

if you really wanted to.

Okay.

And then we're moving here, there.

So let's see.

We got this movement here.

Then we can bring this up a little bit.

And then this stuff as well.

Like so.

So I'm not talking as much here,

because I'm definitely concentrating a lot more on getting this looking right.

I have not done nearly as many of these as I've done run cycles.

Let's see here.

And I don't really have a guide for exactly how the cloth should be.

And I'm also checking what's happening over here,

and just like how it looks.

And it looks kind of okay.

But yeah.

Let's see.

So we got that.

So we got that going on there.

Flip.

Definitely some cloth.

And let's see.

And then we got to five here.

And here we want...

Maybe we can even get some stuff where it doesn't come back as quickly as the other stuff.

So it has a little bit of secondary action.

Like that.

Like that.

And still that thigh popping out.

That will be my Everest.

I should definitely have thought about that in a slightly different way.

Okay.

So now...

And then we're essentially back to the norm there.

So what I want to do here...

I'm going to take all of these and just hit I, location, rotation,

so that it's settled there.

And then I can essentially delete these ones.

Or can I actually?

What frame do we have here?

We got this.

We got that.

And then over here, we're going to go back to this one.

So I might take all of my frames and place them mirrored over here.

Ctrl Shift V.

And then let's see how that looks.

So it's not going to look exactly the same here.

Actually, not at all, because it tried mirroring these ones.

So that's not ideal.

Maybe I just take the side ones to begin with.

They should be mirrorable, because they have some stuff going on there.

So let's go to 8.

Ctrl Shift V.

Then, yeah, they're mirrored like that.

That's giving me something.

Then I might take just those, all these ones, and delete here.

Ctrl Shift V.

There.

So then they're at least following the stuff a little bit.

And then here, we are, maybe we can just copy exactly what the back ones are doing.

For the front and the back.

We didn't do too much here.

For the front and the back, we didn't do too much sideways motion.

We can always counteract that.

So let's try getting that here, which we'll see.

Ctrl V.

And then we have a base, at least, to work from.

So we get this there.

That's coming in.

Pushing out again.

And then we need it to rest back to this one.

So let's grab the first pose here of everything.

Put that there.

And then we got something.

So definitely here with the front leg, it's flashing a lot.

I think for the side, it looks a little bit more fine.

Noticing the leg, but not too much here.

So let's see.

I'm getting, okay.

So there I'm getting a leg break.

So I want to fix that one.

I think that one was the one that was, that's the one that's causing the most kind of issue here.

Something like that.

And then the foot here also, definitely.

Like that, bringing that in like that.

Then just cycling through these here, seeing what we're getting.

Something's happening there with the leg.

Let's see if we can get that kind of raised out there.

That's pretty good.

And then we're getting that coming in.

Okay.

So now we're getting that flipped motion where this one's also really kicking out again,

where maybe it doesn't need to.

Right.

So let's see here.

But the backside might be fine to kick out a little bit.

So there it's okay.

So let's see what the front here.

So we're getting into the second where the leg is coming here there.

Then this one definitely doesn't need to do all this stuff here.

It can come down a little bit.

It can kind of just do like that.

And then this one is doing this here.

It doesn't need to.

It can actually just float on top here a little bit.

And then maybe even do something where it just drags.

And then here it's also getting kind of crazy.

So let's try just this entire chain here.

Let's just delete those keyframes there.

Let's delete the keyframes there and see what it.

So then it's kind of pushing it out and it's pushing it a lot out right here.

So there that's pretty extreme.

So maybe we can settle that one in a little bit.

And the thigh is definitely still being fun.

We're getting this one that was also kind of fun.

And it's a little bit better for sure with the one.

But this one is kind of just glitching out once in a while.

And it is moving around quite a lot.

More than I would probably like.

So it's the whole motion is just a bit too much.

Then it's doing that.

So this jump is very big.

That jump right there.

But the leg is also really insisting that it needs to be there.

Maybe we can get it on the side here a bit more.

And maybe that'll help it.

Kind of like that.

Oh yeah, now something is happening a little bit here.

We're going to get some slight folds here.

It's not.

Okay.

Okay.

This is doing something.

Because it's shape wise it's not as crazy.

And then we get a crazier shape there.

So let's bring that one in.

I think I found a method to the madness.

Or at least managing the madness a little bit here.

Let's see if we got that one.

I could just rotate that out a little bit.

Rotate this one out.

There, yeah.

Okay.

And then this one here.

Like that.

Like.

Let's see here.

Like that here.

Let's try getting this in.

It is.

And I think a lot of game animation is like that.

You gotta make it work with what you have, right?

And here I don't have a lot.

It's still glitching out a little bit.

Especially around.

So I think it's just because that thing is popping in and out.

So we got that motion there.

And I think that one there could definitely get the previous one a little bit more here.

Do that.

And then this one is really popping out again.

And then I'm looking a lot at the silhouette.

Like what is that one doing?

And then it's suddenly moving really rapidly over there.

So that one right there.

That one's really causing a lot of headache.

Something like that.

So it doesn't look too bad.

Right, and from the side it kind of has a somewhat natural fold.

But the biggest one is kind of.

Okay, then that one comes out like that.

And it kind of just looks like it's popping out.

So it might just make that less extreme.

Because that seems like that's what it needs.

Okay, it's also coming from this one.

So if this one just goes over here.

And just goes like that.

Goes like that.

And then the next one could then do something like that.

Oh, that looks a little bit better.

Nice.

It definitely looks like some kind of cloth that is happening there.

And it is clipping a little bit with the sword, of course.

But it's somewhat serviceable.

And we could probably work out a way where the stuff would clip a little bit less with everything.

But this is a character running.

Cool.

I think I'm going to call it there for the run animation.

I don't want to spend too much more time fixing the cloth.

But that's essentially how that would be done.

And that marks the end for this chapter.

And then the next chapter, we're going to tackle the slash animation.

And it's going to be a little bit similar to this process.

So, yeah.