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- [Instructor] Before we jump
into animating our character,
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we will go through a
little reference analysis.
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Here are a couple of
references you can use
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and that we are going to analyze.
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As usual, you will find a
link in the documentation.
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As for the run cycle, we can
identify specific key poses
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that we are going to block.
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The first one is the contact pose,
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where the front foot heel
is contacting the ground
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and the body starts to get lower.
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Then, a few frames later,
we have the down pose.
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This is the time where the back foot
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is about to leave the ground,
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and where the center of
gravity is at its lowest point.
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This is also the moment where
the weight is totally shifted
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onto the side of the
foot touching the ground.
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Next is the passing pose.
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Generally, the arms are
almost aligned with the body
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and the center of gravity is aligned
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with the supporting foot.
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The back foot is catching up
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just before the up pose, or pushing pose.
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This is the time where the
COG is at its highest point.
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The contacting foot heel
is starting to raise,
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while the opposite foot is
swinging forward pretty fast.
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And the center of gravity
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is starting to move toward
the next contact pose.
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And so the cycle repeat on the other side.
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So as for our run cycle,
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a classic walk cycle can be mirrored.
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As for the run cycle, we will have
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to nail the center of
gravity up-and-down motion,
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and also left-to-right motion.
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Let's have a look to the shoulder and hips
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of those walking characters.
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Let's start with the twisting motion
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on the rotation around the vertical axis.
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As for the run cycle, it's
pretty straightforward.
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The hips will twist
toward the leading foot.
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So on this contact pose,
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the hips are twisting toward the left foot
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and the shoulders are
twisting the opposite way.
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So we will find here a
lot of common mechanism
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that we add during the run cycle,
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and those mechanism will also apply
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whenever we are animating
other body mechanic.
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The other classic motion is
the leaning of the shoulder
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versus the leaning of the hips.
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If we have a look to the down pose,
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which is one of the most contrasted pose,
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the hips are raising
toward the contacting foot
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because the leg is pushing
to support the weight.
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And as seen during the run cycle,
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we have a contrapose here also,
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where the shoulder are
leaning the opposite way.
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When we were walking on
the run cycle animation,
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we have seen that the shoulder
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were kind of leading the animation,
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pulling the body forward and upward.
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Think of the walk cycle as a
controlled falling forward.
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We push our body forward, and
as we fall, our foot catch up.
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The arms are swinging in reaction;
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they are not leading the animation.
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And so we get a pendulum,
or swinging motion,
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back and forth, with an
easing on both extreme
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and a subtle drag of the hands.
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We will also have a bit of a
swinging motion in the feet,
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and as the feet contact the ground,
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it then move at constant speed.
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There is also a bit of
left-to-right motion on the feet
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where, during the passing pose,
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they get on the outside, and
during the contacting pose,
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they are a bit on the centered
line beneath the character.
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These are some of the basics
that we do need to nail
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when we are going to
(indistinct) our walk cycle.
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We could analyze those
references for a long time,
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but let's get into blocking our walk cycle
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and we'll get into detail
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whenever we are polishing
each part of the character.
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