Base Poses 03
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Learn more from the full courseLearn Character Animation for Games using Maya
Using Maya, learn to create a walk and run cycle, hit reaction animations, a simple traversal animation, and more!
04:40:46 of on-demand video • Updated September 2016
- Learn the basics of Character Animation for games
- Learn how to create a walk cycle, run cycle, hit reaction, and traversal animations
- Learn to create animations from scratch, using references, or a combination of both
English [Auto] OK I think that's a pretty decent second post for this. I'm just going to kind of window drag my curves here and then just make sure I have a key set. So I've got my first pose a second post set. That's a pretty big contrast I think you know once we start scaling some keys and after we clean it up we'll feel will feel quite a bit of impact on that pop right there on that initial frame. So let's go ahead and move onto the next one. So frame 28 is our next phrase for you. So twenty eight and then what we also do is just move this down to to 15. So we're just going to have to work within this range here. So again going back to observing the feet it looks like the right foot may begin to kind of lean a bit in the direction that we're going to be going. Actually now that I look at this knee I kind of want to move this on frame 15 as well. So back on 28 so make sure you have a key set there. OK. And then we know we've got our foot that lifts up off the ground. So looks like it pretty much just moves up and back. About maybe a third of a foot. This is we're kind of gets tricky as you begin to analyze your reference. You know what I'll do kind of like how is similar I did with the hips when I figured out how much it was moving you know on the horizontal axis. I'll also do that when I'm kind of figuring up foot placements because you know obviously when these feet move they don't move along a single axis as we kind of saw on the walk in the run cycle just a been unnatural for them to do that. And obviously when there's a move like this they're not just going to move straight back so I'll kind of you know analyze how high they go based upon their own height and then maybe how far back they go it looks like you know in the last few frames the he'll like starts to drive back. So if I were to kind of bring this foot up here and then maybe I would zero out all of these since you know the foot's in the air now. But I believe it looks like the toes are pointing down a bit. Now don't worry about all this motion that's kind of going on you know with the toes or the heel lifts off and the toes kind of come up and you have that rotations that kind of snap at the end that's all stuff that we're going to be cleaning up inside of the next phase. So we're going to set my standard handles to step through a quick look to the front view and that's ok from my heel and side from my foot. And I may be going in my side view and then move it back a bit maybe a third of a foot and then now the hips hips looked like they've rotated some more you know back in here to account for the fact that he's kind of being knocked off balance. And as I scrub through here you'll see that I've got it looks like the hips kind of push out and then move back in. Out and back and so maybe I don't know maybe I'll just adjust it a little bit on the X but the primary is probably going to be on the actual Z here as it gets pushed back. So one thing to consider is you know that we had a foot and a pretty good position. You know look at what you think the angle of this leg would be and that'll kind of help you determine how far back you should push. The hips. So you know it's probably not much more than a right angle or a little bit more open may push those hips up that way. It's kind of crazy to see all the motion that can happen within about 15 frames here but how little of a motion can happen on some of these controllers as a result. So one thing that I probably want to do is really make sure that he's off balance in this pose. Might actually take the foot with it. So looks like the rotation for the torso on the Y is pretty close to being the same. Probably change it looks like he got a little bit of an overlap that goes in the right direction middes kind of turnout. So I will probably just kind of push it a little bit and then envisioning this arc you know is probably still very much in this back direction. But it looks like you know the there's kind of this curve that would be happening through the neck and down through the spine. It looks like we went from a very very much a curve that we're kind of lean back to one that lean forward so that's the z axis here. And just to make it a bit easier I'm just going to kind of zero that out. Again you don't when you're zeroing these out you don't have to zero out all the channels. You know sometimes you can to zero out the ones that you think it's going to be easier to manipulate manipulate. I'm sorry and I might want to actually push the rotation of the torso a bit more it looks like we're seeing a bit more of a side here and kind of begin to just pull this into place. Now the torso is very the back is very straight but we don't really want to have that we want to try and push this as much as possible. Maybe center out the hips again it looks like the head is starting to come back around a bit you know from that extreme pose throw that out. Or maybe I'll just do you know sometimes what I'll also do is rather than to zero it out I'll do OK maybe I think it's half way in between. But how do you exactly find half way between by just trying to rotate it manually. Well you can just do the you know times equals and not put 0.5 in there and sometimes i'll give me a pretty good starting point it looks like the headstall you know looking up a little bit and over to the side but it's definitely less extreme and it was so let's say maybe I'm starting to look at the position on the ground that I'm going to maybe actually end up coming in contact with. And again since the difference in poses between 15 and 28 are pretty fairly extreme for the arm. This might be another good case where I can just zero a lot these control handles. I'm 28 and then just you know I reset it manually and it looks like the right arm is again still pretty close to what it was. Test that out suit to look like a you wrote it out. You bring that down there and kind of pull this hand down a bit. Straighten out this wrist is going to select all the controls here. You sure have a key set and then go through and just kind of scrub through here. You kind of see that I'm beginning to kind of piece together the essential key frames that we kind of called out in the beginning here and just kind of trying to mimic what we see the reference doing while kind of pushing these poses a bit like go ahead and add a little bit more back on that just to kind of keep some momentum going. Maybe even get some momentum going with that frame back kind of get a little bit stronger of a line of action for this frame right here. You know I think this is a fairly pretty good post here. You know we've got a pretty strong line of action that comes down to character right here. And then if you look in this other side view you've actually got another one that kind of runs down this way. That's a pretty good example of what you're going to want to try and do as you begin to step through these poses here and what am going to do from here is just go ahead and jump through to the very end as I kind of block out the remaining six poses or so. But as you guys kind of block this out just continue to follow the same process that I did for all of these just kind of you know figuring out what your spacing is for each curve or each control handle. And then you know kind of making sure that the you know working back and forth you know kind of like I did here where I'll just kind of set a few poses and then go back and make some adjustments as I kind of slowly work my way towards the end of the animation to make sure that you know again each pose is strong each line of action is strong and the distance he's going to move back is is appropriate for the size of the character and the scene or the size of the limbs and then you know the gate that he's going to have because of his you know leg that maybe a little shorter than mine here. So just kind of making sure everything looks good for this character so I'll see you guys in a second. And then of course this scene filed the blocked version will be saved inside the source file so if you guys wanted to just kind of pick up there that would be fine as well so I'll see you guys in just a second. OK. So here we are we've got the full animation blocked out. Now if I scrub through this you'll see that I've got all my main poses that I kind of called out earlier that are all keyed and then one thing that I did towards the end that I think worth noting is usually when you have an animation like this that's going into a game you're going to want it to start and stop on the same frame or the same pose. So what I did here is rather than have to try and recreate that pose I just copied it back using the middle mouse button and set a key for all those. And then as I was kind of spacing out my keys here I just made sure that you know the last step of the right foot ended up being at the final position based upon you know the spacing that I needed as I kind of walk through this here and that the final spacing and position of the remainder of the frames for these control curves were indeed the exact same as the start frame. So here we go we've got our blocked out animation and then now from here we can kind of begin to break this down into smaller segments and smooth out this whole animation to kind of represent what this reference video does.