 This tutorial is sponsored by 3d.sk Human photo references for 3d artists and game developers check them out by using the link in the video description below Hey there beautiful people The objective of this tutorial is to create a walk cycle like the one if I just press play There we go. Like the one that you can see on screen here. So there we go We've got a walk cycle. There's a couple of steps that are being looped constantly So our objectives for this tutorial are to learn about all the different poses that make up a walk cycle as Well as learning about the timing that's needed to make a convincing walk cycle as well As for the technical side of things we'll also be learning about auto key Which is a great time-saving thing that you can do in Maya I will also be learning how to copy and paste poses from one keyframe to another Again, because that'll help us save a lot of time when things are being repeated as always I'm uploading this tutorial in two versions So there's the long version which you're currently watching where all the different steps are cut together into one long video The other version is the shorter version if you prefer that that is each video is its own separate video That'll be put together in a playlist and that breaks it down a little bit more If you want that one check the description below and you'll be able to switch over to that version As well as the tutorial videos There's also a written guide which is already available to my patrons If you would also like it then you need to become a patron too So follow the link in the video description and you'll be able to see my patreon campaign and join up if you want to Okay, that's the introduction out of the way. So in the next step We will look at gathering some reference material before we get underway So I'll see you in the next step. Hi there Welcome to step one of the walk cycle tutorial So the first thing that we need to do in this step is get hold of the rig that we're using So the rig that I've just shown you in the example is this happy guy and he is called ultimate walker And I will show you where he lives on the internet. So if we go to This website here So this is CG meetup net and I'll put the exact link in the video description But you can see on this page which was written by a Jason So I'm going to assume that Jason is the guy that created these rigs and their ace You can see he's got loads of different character rigs here that are really good for learning animation And if scroll down a little bit, you'll find ultimate walker and it tells you what its features are and they're all important Thing is this download button here. So make sure you download it Which I have already done. So if you have a look here, I have downloaded walker So we'll just open that up Okay, so this is what it looks like once you get him open with no animation on him or anything So here he is handsome chap. So he's quite a simplified rig. He hasn't got arms or a head He doesn't need them because he's just we're just learning the kind of mechanics of getting the legs animated in this video So that's that's kind of all we need Okay, so in addition to the rig that we've got we also need some reference stuff So if we go back out to the Internet's high Internet's And I'm going to be looking for some video reference first of all and I'm going to be using 3d dot sk We've kindly agreed to sponsor this tutorial. So thank you very much for that And it's just as well really because I'm using their their video reference. So What I'm going to do first of all is find a walk cycle a video walk cycle that I like the look of So to do that, I'm going to go in here now The first thing I'm going to change is a clothes type because you see there's a nude thing here And if I was to leave that as anything there would be so so much nudity So we'll just go for casual clothes. I think in this instance We're going to have a look in the video section and I want walking video And I'm also going to change the search for two videos here. And then when I click on search Here we go. And I actually want to use this first one So she's just going to walk across I think and there's also one where she walks forward as well So we'll just go for this First one here make sure it opens up alright, and this is what I want it to be Yeah, so that's just kind of showing how she walks like that. So I'd highly recommend doing that because What I've done is I've broken this down a little bit So if we have a look here, I've actually taken the video and I've broken it down into the poses And you can see I've also assigned some frame numbers to them Which I'll talk about how I did that shortly, but you can see we've got each of the poses So this one here is the first contact pose On the the good thing about kind of getting video reference when you break it down is you can see all the different things that change So I think if it's the first time you've done a walk cycle You'd maybe fall into the trap of thinking it's just the legs that you need to move Which is not the case you actually need to be moving More than that and you see in this example here if we look at where the hip is over here And in fact that's Just Yep, you can see it's more this this bit here and This bit you can see that this is kind of facing forward Whereas over here that bit of the hip has gone so The actual hips are rotating as well, which is something that you really need to look at As well as that you can kind of get a feel for what the shape of the kind of legs is In each frame so you can see that one like that is not quite the the feet are up in the air so That's worth looking at and on this one here We can kind of get up from the hips and we see there's a bend but the toes are lifting So we're going to get that kind of that shape there where there's still something in contact with the floor so breaking these down and Having a look kind of what's happening on on each frame is a really good way to do things and I would highly recommend going to somewhere like 3d.sk for their reference video or Filming yourself doing the movements that you're looking at because your animation will be a lot stronger Because you've taken the time to do that. This is what it looks like from the side If we have a look at the front as well, we can also see some important stuff So we saw that the hips are kind of rotating backwards and forwards, but they also rotate up and down So if we look here So she's got her right leg down And this leg is contacting but you can see the hips are kind of going down in that direction And then once you swap legs So once this one here is the one that's forward you can see that the hips the rotation of them has changed So when we're animating this we also need to be aware of this and put some rotation into the hips and here Although it's not perfectly straight. It kind of should be so you can see that The rotation of the hips is happening all the way through and that's something that we need to get into the animation as well That is what this video reference can be really critical for for really getting that understanding of what's happening So in addition to that You can see here. I've got these frame numbers and These are very specific frame numbers. We're going to be animating this on 12s Which is animation speak for the kind of speed that we're going to be doing so that's two steps per second So we're going to have left foot forward right foot forward and that's going to happen in one second And where I've got these frame timings from is from a book would you believe? So I want to show you this book because it's ace this one here. There you go. Can you see it? There it is. This is called the animators survival kit and If there was a Bible for animation, it would be this it is Oh good and I will try and show you what I'll do is think I'll overlay some video over this section So you can see what I'm looking at But you've got the the different Posers here have been laid out but more importantly on the other page The frame timings are there so you can see that the first contact has been put on frame one And the last contact is put on frame 13 and that's for one step So we know that we are going to double that so that we can have two steps It shows where the passing pose should be and whether the up and down poses should be and this book is Phenomenal so what I'm going to do is I'm going to link to this book because if you want to be an animator You should own this book. It should be with you at all times To give you an idea of kind of the depth that it goes into there's about a hundred pages covering walk cycles It then moves on to runs and stuff like that. So it's ridiculously good for the fundamentals So I'll put a link below to somewhere that you can buy the book probably Amazon And if I can figure it out it it might be a Referable link so I might get a kickback if I can work out I'd set that up But I should probably state that now just in case I do get that set up. Yeah, check this book out This is where I'm getting the timings from for this walk cycle So I'm using a lot of a lot of reference material to get this this working So I've got video reference. I'm also looking at the animation guide in this book. I'm getting frame timings And it's all going to come together in the next step when we start putting the contact poses in with that said The next thing that we need to look at let's go back into Maya We just want to get Maya set up for creating this animation So the first thing I'm going to do is kind of change my workspace So up in the top corner was set to Maya classic, which is great for most things But I want a little bit more on screen. I'm just going to kind of change the layout So I'm going to drop this down and go to animation which is the one at the bottom and You'll see this changes a few things now We've got this is a a graph editor down the bottom, which is really good and we'll use the graph editor later on And we've also got this here, but I don't want this So I'm going to tap spacebar and it should put me into the four view which it does That's exactly what I want and then I'm going to pull this down Because I only want two of you so I've got my perspective you over here and this is the top view Which is not actually what I want So I'm just going to change this panel to orthographic side and this is the view I want So I'm just going to zoom in a little bit on this because I'll do most of the animation in the orthographic views So this is what I want to see here is just kind of a preview purposes, but this this one here is the important view Okay, so I've got that set up. The next thing I want to do is go into the the settings So let's click on this little chap down here. I love this guy. It looks like he's being attacked by a cog I was chasing me. No So here he is right, so I'm just going to change that to start at one like that and We also want to make sure that the playback speed is on real time 24 frames per second So that's what I'm going for So we'll leave that one there. I Also want to change something else. I'm going to go to the animation settings here And we're looking at the default in and out tangent and what tangents are are the shape of your animation curves And we'll cover this a little bit later. So at the moment, they're set to auto I don't like leaving it auto because then I feel like I'm not in control So I'm going to change this to being a spline Which I'm quite comfortable with I may well change them away from being spline when I'm making the tweaks later But I'm gonna have them at spline now because I'm comfortable with it. So we'll click on Save Okay, so that's basically Maya setup for this animation There's one more thing we need to do. So I'm starting at frame one, but I need to end at frame 25 So I'm just gonna tap 25 in this box and press enter So we're going from 1 to 25 which will allow me to put in the timings That I just kind of showed you. Okay, so before we can actually get any animation done We're gonna turn on one last thing. This is called auto key and it's amazing. So it lives here This little icon just here. There you go auto keyframe toggle. We click on that You see it stays on and what this does on frame one in the next step We're gonna set keys on everything. So all the controllers And then whenever we move on to another frame and change anything what will happen is it will automatically drop a keyframe on there For us, which is a ridiculously good time saver. It can also keep your graphs a little bit neater as well So we need to have that on right. We're now ready to move on to the next step and start doing some animation So the next step, we're gonna set up the first contact pose, which will be on frame one So make sure that you've got all your settings like I've got Check out the animated survival kit and also have a look at 3d.sk for some reference stuff And I will see you in the next step where we'll get the first pose put together Okay, here we go. It's time to get some animation done The first thing we'll do is set up the first contact pose and the reason it's called a contact pose Is because it's from when the foot that was at the back that's just been raised contacts with the floor again So if we have a look in my little series of images that were used earlier It's when this foot here at the back has been so you can see it's been raised It's passed and then here it's contacting with the ground again. So that is a contact pose So we're going to create the first of these So let's get into it So the first thing we're going to do is we're going to do some work on the hip controller We're also going to make sure that the playhead is on frame one Right, so what I'll do first of all is just move this down a bit And I'll also move it forward The reason I'm moving it down Is because we want to give some sort of freedom so the legs can move around And the reason I'm moving it forward Is because I want to create the illusion the feeling of momentum So I want it to look like the character's leaning forward to further the kind of feeling of him leaning forward I'm also going to rotate him a little bit as well Just so that he's kind of leaning into this walk Right, I also want to do a little bit more work on these hips before I do that I kind of need to know Which leg is going forward and which leg is going back So I'm going to select the right leg first And I'm just going to move it forward a little bit And then I'll select the left leg and I'll move that backwards And I'm moving the right leg forward just because that's the one I prefer to move I don't know why just I think it's because it's the one nearest to me Okay, so now I know which is going forward and which is going back I can rotate the hips a little bit further so I'll select my hips controller again And what I'm going to do now is rotate so that the hip Of the foot that's going forward is also facing forward a little bit. So leaning into it So I'm just going to do that a little bit Just leaning in bringing that hip forward And what it also does I want it to look like weights being transferred as well So I'm going to just drop that hip a little bit to make it look like the weight is kind of going through that leg So I'm just going to bring that down a touch as well So I'm fairly happy with the hips there So what I want to do now is work on getting the legs set up on this pose So I'm going to concentrate on the foot leg first And what I'll do first of all, you just move as far forward as I can without overextending the knee, which I think is about there But what I want is kind of let's just go back to my image I want to raise it up off the ground a bit like I've got going on there So to do that I'm going to introduce you to the extra controls on this rig So if you look in the channel box Along with being able to access your translate and rotate values as you can with kind of any object in Maya There are also these extra character animation controls and the one that we want in this case is the foot roll controller So I'm making sure I've got the foot selected that I want to work on I'm going to left click on this foot roll control here and then using my middle mouse button I'm just going to click and drag Either left or right until I get kind of what I want So you can see now that that's raising the foot, which is what I want So I'm going to raise it to about that sort of angle. I think And what that also does it means I can move the foot a little bit further forward as well So it's given me a little bit more to work with So I'm going to move it to there. I think I've actually kind of overextended that a little bit on the foot roll So I'm just going to rain that in a little bit And just bring that back Yeah, I'm happy with that So what I'm also going to do is work on the back foot. So I select that one and similar to what I just did on the The front foot I'm going to take it as far back as I can without overextending it. So it's about there But what I want to do now is create kind of a tiptoe sort of effect So I don't know if I drew that on my image Um, but what I'm looking for we'll draw this on now Is this leg that's coming down Is kind of contacting the floor, but then you've got a little bit of a change in the the foot there So that is what I'm going to try and create with this foot. So to do that I'm going to select both the foot roll And holding control on my keyboard. I'm going to select the foot brake as well And then with my middle mouse button, I'm just going to drag until I get um A foot position that I like and again, you can see that's given me a little bit of freedom to be able to move that foot further back Which I'm going to take And give me something like that um Okay, so that is the beginnings of The walk cycle. So this is the the first contact pose And I'm pretty happy with that. So I think what I'll do now is I'll key this pose So in order to do that what I need to do is Drag a box. So I'm going to click and drag To get a marquee selection of all the controllers You can see that they're all highlighted here And then on frame one. I'm going to press s on my keyboard And that keys everything so you can see straight away. We've got some red lines here We've got a red line down here and if I select any of the controllers You can see that there you go. Everything's keyed same on this one Same on the hips. Everything's now keyed brilliant But what we also need to keep in mind is this is a walk cycle And for a cycle to work the First frame and the last frame need to be identical being similar is no good. They have to be 100 identical So to ensure that we that's what we get We're going to make sure we've got all the controllers selected and we're going to go to frame 25 And then we're going to press s again And that just ensures that those two frames are going to be exactly the same thing Right, so that wraps up the first contact pose. Whoo Uh, what we're going to do in the next step is we're going to set up the second contact pose where we reverse the leg positions And reverse the rotation on the hips Right so far so good So what we're going to do now is create the second contact pose where the leg position will be reversed And for that we need to be on frame 13 because that's in between 1 and 25 And as I said earlier, we're going to be animating this on 12s So, um, you know, we started on frame one 12 frames later is frame 13. So that's where we need to be And to get this started what we're going to do Is make sure we've got all the controllers selected and we're just going to set a key On 13 so now we've got three keyframes that are all identical But now we've got that done What we're going to do is make sure that we invert some of these things So I'm going to select my hips controller And I'm going to invert some of the rotate values, but what I'm not going to rotate Is the one for the they're leaning forward So I can see that that's controlled by this red line Which this here tells me is my x Um axis so if I just do that you can see rotate x is moving So I'm going to leave that alone because I want it to stay rotating forward all the time So what I want to do is reverse rotate y and rotate z So to reverse that So rotate y for instance is set to 11.354 So I'm just going to put a minus Before that and that will give me the opposite value. It'll rotate it That much in the opposite direction The same for rotate z so that's set to minus 5.559. So I'm going to remove the minus And what that has done for me on frame 13 is now given the opposite effect on the hip controller The next thing to do is to get the uh The legs swapped over because you can see now that we've made the changes to the hips The legs have gone a bit crazy. So they're going to need some help So in order to do that, I'm going to go to frame one And I'm going to start with the right leg first So this one here, so I'm going to get that and I'm going to copy the values On to the other leg on frame 13. So I'm going to right click on my My timeline on frame one and I'm going to copy And then what I'm going to do is go to frame 13 And on the other leg, which is right here. I'm going to right click paste and paste And you can see they are now both in the same position So with that leg still Select us. So now it's the front leg. I'm going to go back to frame one And I'm going to copy the values from here And then I'm going to just select the left leg again go back to frame 13 and I'm going to paste those values over And there you go. So that has now created Another contact pose, but everything is now kind of switched So if we play that You can see looks a bit wrong at this stage, but we've got the hips rotating We've got the kind of hips moving backwards and forwards as well. So that's working well and the legs are going backwards and forwards So what we're going to do in the next step is we'll set up our first passing pose. You still with me? Good, right. So now what we'll do is the first passing pose So if we go back to my little Plan that went for here. We can see that the passing pose is going to happen in between One and 13 which puts it at frame seven So let's go to frame seven, which is right here And we need to do some work on this So what we'll do first of all is work out what we're going to do with each foot So we're going to work on the back foot first the one that is actually passing So I'm going to make sure that I select that and when I go to frame seven I still know which is which So the first thing I'm going to do is remove the footbreak Which sounds like a really good way for your car to roll down a hill, doesn't it? Wordplay okay, so remove the footbreak set that to zero I'm also Going to change the foot roll. So I'm just going to click on that a middle mouse button and what I want to do Is I'm just going to turn this around So that it's kind of pointing straight down Now this will look very much like I'm ripping my leg off But I'm going to repair that by changing the position as well So something like that I think for now So that'll do for that foot just for the time being so it's just raised a little bit off the ground Um, and then I'm going to select the standing foot And from this one I'm going to remove both the foot roll And the footbreak There we go and that kind of puts that nicely standing on the ground So the last thing for me to do now Is I'm just going to select the hips and move that up so that He gets a little higher Like that. Right. So that pose I'm actually pretty happy with So you can see because We've got auto key turned on I've got uh keyframes already on seven because of the changes I made Yay, so that saved a bit of time. So that set up the first passing pose In the next step we'll be setting up the second passing pose where we need to reverse everything Right, so we've now got three solid poses. We're going to add the fourth Which is going to be the reverse passing pose So this is going to happen between 13 and 25 And my basic understanding of maths tells me that that should be frame 19 Right here now. We don't actually want to do much thinking here All we're going to do is copy and paste the values from frame 7 onto 19, but onto the opposite foot So we'll do that first of all. So what I'll do is I'm going to select the Left foot I think I'll start with and I'm going to copy the values From frame 7 then I'm going to move to frame 19 I'm going to set the right foot, which is my red controller I'm going to right click on 19, paste and paste And you can see that has now taken the pose From frame 7 Okay, so with the right foot still selected. I'm going to go to frame 7 I'm going to copy the values from there And then what I'll do is change to the left foot. I'm going to go to frame 19 Right click and paste those values in there And hopefully that will work, but it hasn't And I will show you why So I'm just going to undo that step. I'm going to go back to frame 7 so you can see I'm actually wanting to copy Everything from here, but not everything has got keyset on it. If we look at the other foot This has got translate values keyed As well as the foot But this one does not So the way that we're going to make sure that it copies everything properly Is we're just going to set a key just on this foot before we copy it. So I'll press s on my keyboard You see now everything goes red Now I'm going to copy that And when I move to frame 19 And switch feet If gibbers loves me I will be able to paste that over Which it has so now when I click between 7 and 19 They look identical Over here anyway other than the fact that they've swapped to legs There's one one more thing that we need to change though If you look when I'm clicking between them Whilst the feet position is kind of staying consistent the height is changing Now we can't just copy and paste the keyframe for the hips because we've got other rotation things going on So what we're going to do is just go to frame 7 and I'm going to look at my translate y value Which is set to 0.076 and I'm just going to put that On here as well, so minus 0.076 Which is what it should be And that now has key for me because I've got auto key turned on and when I'm flicking between them That works a blooming treat Okay, so let's play that and see what we're we're doing And you can see now that we've got those passing poses in He's starting to look a lot more like a walk cycle So that is the two passing poses done in the next step. We're going to do the first down pose Okay, we're doing very well so far. So we're going to continue with this Magnificent progress we're making by getting this down pose sword So let's go back to my reference video that I've cut down And this one here is the down pose. This is what we're going for and see the timer here is frame 4. So Let's let's get this one sorted So on frame 4 what we're going to do is Yeah, definitely some work needed on frame 4. This this does not look good Right, so we're going to move to frame 4 and the first thing I'm going to do is just move the hips down slightly Okay, the reason it's called the down pose is because things move down a little bit Okay, then I'm going to select the front foot, which is the right foot This is the one that's coming backwards and I'm going to remove from this the foot roll So I'm going to set that to zero And you see that plants it firmly on the ground, which is what we want. We want now that that foot is Is connected with the ground properly Okay, then I'm going to select the back foot And from this one we're going to take off the foot brake Uh, and that should kind of Straighten the foot out Because there's no tip toe, you know, there's no bending the toe happening now The next thing we want to do is place that foot back on the ground because it shouldn't be raising yet This is the the down pose is where you kind of build your momentum. So you're pushing off with that back foot So to do that, we're just going to set the translate y value of this foot to zero And you can see that puts it back in contact with the ground Okay, the last thing I want to do is I want it to kind of look like this back foot is pushing off So you can see here Kind of the main Contact point of the foot is just where this this part of the foot is here And that's just before this line. So on frame four I want to just push this back a little bit So that's kind of the same the same area. You know, just hopefully a lot of that that's pushing off Which is what we're going for So that there is our first down pose complete So what we'll be doing in the next step if you've noticed a pattern yet is we'll be putting in the reverse down pose What we'll do in this step then is we will now Mirror the down pose that we created in the last step onto the the opposite feet a little bit further on So you can see that we did our last down pose on frame four Which to kind of work out that's three frames after our contact pose So the next time that we're three frames after a contact pose is at frame 16 So it's 16 where we'll put our next down pose So the first thing I want to do is just copy the information from one foot to the other Like we did with the previous steps So I'm going to start with Yeah, we'll go left foot first. So I'm going to copy the values here And then I'm going to go to frame 16 Select the right foot And I'm going to paste that on there And I'm just going to check to see if I like that um That looks right. I think when I drop the hips, I think that's going to match up properly So what we're also going to do is With the Right foot selected we're going to go to frame four now I'm going to copy that And then go to frame 16 again change feet And then I'm going to paste Okay, and then I'm just going to flick between four and 16 and They're not exactly right So what we're going to do is just Mirror the the y value of the hips and hope that sorts it out. So we'll go to frame four And we can see that set to minus zero point one eight five So we'll go to 16 And change that to minus zero point one eight five That has definitely had an effect We'll see if it's the right effect No, that's definitely not what I wanted it to be So what we're going to do then is select both feet on frame four And we're going to key everything press s And now we're going to copy those values over again, and it should work So we'll start again with the left foot So I'm going to copy that And then I'll switch to the right foot go to frame 16 and we'll paste that in That looks better I'm going to keep that foot selected go to frame four copy the values Switch to the other foot back to 16 and then paste Okay, and that now looks a lot better. So if I now flick between these two again They look identical, but I've swapped the value onto different feet So that is now two down poses complete So let's play that And it's starting to come together You can see now that it's got a little bit of A bit of swagger. I think he's got swag Um And a lot of the key poses are now working together So now that our two down poses are complete In the next step, we will create the first up pose Okay, so what we need to do now is get the first up pose created Right. So as you can see this walk cycle is coming together So they're making a change every three frames So if we have a look here, we've got one for seven and the next thing that we need to look at It's creating a pose on frame 10 and you can see this is our up pose So that's what we're going to create. So let's move to frame 10 Okay, the kind of distinguishing thing about an up pose is that everything is at the highest point in the walk cycle So the way that we're going to do that is we're going to start by moving the hips up I'm going to go as high as we can Without breaking anything So then what we'll do is we'll work on the front foot a little bit So the first thing I'll do is remove the foot break because we don't need any of that So I'm going to set that to zero And then what I'll do is I'm just going to move it back a little bit Just to create this sort of shape that I want And I'm going to change the foot roll Just so that it's kind of facing that way and then just a little bit more Positioning work needs to happen here. So I'm just going to make sure that's raised up ever so slightly. Yeah So that's the kind of shape that I want to go for um on the front leg On the back leg though, I'm just going to increase the foot roll and the foot break a little bit Because what that will do is it'll allow me to Raise the hips up a little bit more Without overextending anything So I think that is what I'm going to go with for my up pose so With that pose done what we're going to do is just select both feet and we're just going to press s To set keys and everything just to rule out any of the problems that we've had in previous steps Um, and then in the next step, we're going to create the second up pose Okay, so it's time to get the last pose done. So we are so close to finishing. It's so exciting right So we're going to do the second Up pose which kind of just means that we have to reverse everything around on frame 22 So the first thing I want to do for this one Is I'm actually just going to copy the values over from the hips first So on frame 10, I can see that my translate y is minus 0.033 So I'm going to go to frame 22 And I'm just going to set that to be the same value And that's a good start Okay, now what I need to do is reverse what's happening on the legs So because I keyed them already it shouldn't give me any problems So I'm going to start with the left leg and I'm going to copy the values from frame 10 I'm then going to switch to the right leg And then on frame 22, I'm going to paste that over Lovely Right now with the right leg selected. I'm going to go to frame 10 Copy the values there. Select the left leg go to 22 and paste them in Boom, all right, let's just flick between 10 and 22 and make sure that they look similar Okay, so that's looking nice So what I need to do now Is test this Okay, so this is the basis of our Walk cycle And it's already not bad But in the next step, we're just going to polish this by using the graph editor There are a couple of areas I can see if you look closely you can see that the feet are raising at certain points So we'll look at repairing that in the next step Right now that the walk cycle is basically finished what we need to do now is have a proper look at it And make sure that we iron out any issues So if we have a look at our walk cycle as it stands particularly what's happening with the feet So as I scroll through let's watch this front foot and as it comes back There it's okay, but it's there. It's raising up off the ground Which shouldn't really happen there. It's all kinds of wonky Um, and then somewhere it's raising off the ground there. That is well up in the air So there's definitely some issues that we need to address So I'm going to start with this foot. So I think what I'm going to do is I'm going to select everything in here I'm going to press a I'm select all my tangents all my lines I'm going to set them all to spline because it appears that they didn't stay that way I think that's going to give me a much smoother Um, a much smoother curve Yeah, so that foot I'm actually kind of happier. So there are a few places now where I need to go back in and make repairs But I think for the whole the whole thing I'm going to select every single thing Hang on So let's select everything in here Make sure I can see everything select all those curves. I'm just going to change them all to spline Yeah, so that's a few changes that have been made there Right, let's see what that gives us Yeah, so already that's much better and I just need to make a few tweaks So Let's go back to this back foot and I can see that this issue here Um, where the foot in fact, I know this one the foot wobbles There we go. So I need to sort that one out. So I'm going to select these two I'm going to set that to linear and that'll give me a nice straight line That'll keep that foot planted Yep I love the same issue on this spot over here So let's set that to linear Okay, let's play that back And see what that looks like now From the front that looks kind of tidy. Let's just turn the curves off Okay So through playing with the graph editor, there are definitely some more improvements that could be made to this But I think for now, I'm happy enough with that. So there we go Right, so that brings us to the end of this tutorial I hope you've learned something obviously in this one. We've only done a walk cycle on the legs If you would like to see a full body walk cycle Then make sure you like this video hit the subscribe button And leave a comment telling me that that's what you want to see if you want the full body Tutorial then say hey Shane, where's the full body tutorial? And when I find time that'll be something that I'll add to my list of tutorials to make If you have any problems with this or if you need help Then once a month I have video chats with my paging supporters So they bring me problems. They ask me questions and I help them solve them Send me files, etc. So if you'd like that kind of support Then consider checking out the link below the video checking out my patreon campaign And maybe supporting me there And that way you'll get access to me a much more one-to-one than simply through the youtube comments And I'll be able to help you out there as well as that you will get the Hand out the the written version of this exercise Which I will make available to all my patrons. I want to say thanks to 3d.sk for sponsoring this video You really should go and check out their reference video section As well as their reference image as well. There's some really good stuff on there the 3d Capture stuff that they're doing is ridiculously good and that's something I want to play within the future Maybe I'll rig one of those characters up for for a tutorial, but you should definitely check out Their site because it's really good and one last thing if you're watching this video because you're getting into animation Then you really need to make sure you understand the fundamentals. So for god's sake buy this book. It's such a good book So it's by Richard Williams. It's called the animator survival kit. I will have a link in the video description Check it out. It'll be the best book you've ever bought. I promise Okay, so that's me finished. Thanks for watching this one and I will see you in the next one