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Animating a walk: Arm motion

From: Character Animation Fundamentals with Maya

Video: Animating a walk: Arm motion

So now that I have the spine animated, I want to go ahead and animate the arms. We are working our way up the body. So in order to do that, we need to kind of get those arms into place first of all. So first thing I am going to do is just go ahead and select the shoulders and I'm going to go ahead and rotate each shoulder down, somewhere around, in this particular case around 80 degrees. So what I'm doing here is I am just kind of positioning the shoulder so that they kind of just hang naturally. Now once I do that, you can see I have a quick playback and those arms, they are in a natural position, but they're certainly not moving in a natural way.

Animating a walk: Arm motion

So now that I have the spine animated, I want to go ahead and animate the arms. We are working our way up the body. So in order to do that, we need to kind of get those arms into place first of all. So first thing I am going to do is just go ahead and select the shoulders and I'm going to go ahead and rotate each shoulder down, somewhere around, in this particular case around 80 degrees. So what I'm doing here is I am just kind of positioning the shoulder so that they kind of just hang naturally. Now once I do that, you can see I have a quick playback and those arms, they are in a natural position, but they're certainly not moving in a natural way.

So we can correct that by putting in some poses. So the first thing I am going to do is just focus on this left arm. So let's go ahead and just get the motion for that and then we can worry about the right arm later. So at Frame 1 we have the extended position. That means that the left foot is back, which means that the left shoulder and the left arm are going to be forward. So I'm going to go ahead and rotate that shoulder forward.

I am going to go ahead and move that elbow forward as well. I want kind of a natural bend here, and then also I want to make sure that we get that hand and the elbow in front of the body just a little bit. In fact, I am going to go ahead and take this wrist and bend it just a little bit as well. I want to make sure that I set keyframes for the elbow and the wrist and just select the joints of the hand and go ahead and just rotate those into kind of just a natural position.

So that's my first position of the walk, and again I want to kind of just get that hand in a nice place here. So make sure I set keyframes for the wrist and the elbow and then let's go ahead to the other side, which is opposite extended position. In this case it's at Frame 17. And now I am going to go ahead and rotate everything into place. So first thing I am going to do is rotate that shoulder back and then rotate the elbow back as well.

Now I don't want to rotate this elbow so that it's straight. I want to make sure that I have a little bit of a bend to it. In this case I want to make sure that that hand and the elbow is almost beyond the back of the body. Now this is just kind of a nice visual cue. When you have the hand here, you don't really have much of a silhouette. If you push it out, you are going to get a much better silhouette. So I am kind of just wanting to get a little bit of space there so that we have some sort of silhouette. I don't want that elbow to bend too much.

I want to make sure I have a little of a bend there. So now I should have keyframes for everything there and now I've got this first half of the walk. But again he takes another step and he moves forward, which means that I have to duplicate the pose of Frame 1 at the end, at Frame 33. So all I have to do for that, I have to select the shoulder, the elbow and the wrist, just go to that first frame, copy those keyframes, and paste them.

So now I should have a little bit more flexibility in the character. Now this doesn't look too bad, but the elbow definitely looks frozen. So what we can do is give some secondary motion there. And what's happening is that the shoulder is rotating back. Now the hand is a pretty big mass and it wants to stay in position. So to counteract this backward rotation, we're going to actually rotate the elbow in the opposite direction and hopefully that will kind of give us the impression that we have a little bit more weight in the hand.

So I am going to go ahead and select this elbow and we are going to go in to this recall position, somewhere Frame 5, and I'm going to rotate the elbow forward. Now again, what I'm doing is I am increasing this angle and what this does is it gives a little bit of drag to that hand. Now one thing I want to make sure about is that the hand actually does move a little bit.

If I rotate this too much, the angle of this hand or actually the position of this hand is not going to change enough to give me a sense that it's moving. So if I rotate this elbow too much, this hand will actually appear like it's moving backwards. I want to make sure that I get that hand constantly moving in a direction, so the hand is moving just a little bit more slowly at first. Then it's straightens out and now we've got almost the opposite situation.

So from this second extended position, as that arm moves forward, again we are going to get a little bit of drag. So I've got this shoulder moving forward. The hand kind of wants to stay where it was, which means that the elbow needs to rotate in the opposite direction as well. So what we can do is just as we goes into the second recall position, I am just going to go ahead and rotate that elbow out just a little bit, straighten it out.

Now this should give us a pretty decent motion. So that gives us a little bit more flexibility with the elbow and the hand. Now if I want, I can go through one more time and actually play with the wrist. So as it passes the body, I want to make sure that that wrist doesn't kind of cut through or the hand doesn't cut through. Okay, it looks good and then if I want I could also do a little bit more secondary motion with this wrist, so as it comes through, I can kind of curve this a little bit, just to kind of give a little bit more of kind of a curve here, and then I will need to make sure I straighten that out, and then as it moves forward I can kind of drag that back just a little bit.

Again, you don't want to break that wrist, because wrist really doesn't move that far back. And there we go. Let's go ahead and play that again. And that looks pretty good. So all we have to do now is do the exact same thing on the opposite side for the other arm. Now I don't want to bore you with animating that second arm, because it's really is just the same procedure, just mirrored on the opposite side. So let's go ahead and just take a look at that. I have gone ahead and animated the right arm and it's pretty much the same.

So now we've got both sides of the character animating and we've got most of the walk done, except for the head. So let's go ahead and move on to that.

Show transcript

This video is part of

Image for Character Animation Fundamentals with Maya
Character Animation Fundamentals with Maya

65 video lessons · 10015 viewers

George Maestri
Author

 
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  1. 22m 18s
    1. Introduction
      1m 10s
    2. Using the exercise files
      1m 8s
    3. Character rig overview: Simple character
      6m 19s
    4. Character rig overview: Full character
      7m 30s
    5. Using other rigs
      48s
    6. Using screen drawing tools for Windows
      3m 9s
    7. Using screen drawing tools for the Mac
      2m 14s
  2. 23m 47s
    1. Creating strong poses
      3m 27s
    2. Creating custom MEL scripts to help pose characters
      4m 39s
    3. Using layers to select characters
      1m 10s
    4. Learning the basics of posing characters
      10m 7s
    5. Creating stock poses
      4m 24s
  3. 25m 11s
    1. Understanding forces and character motion
      2m 13s
    2. Understanding drag
      5m 51s
    3. Working with secondary motion
      5m 33s
    4. Bringing the character to life
      4m 21s
    5. Refining the animation
      7m 13s
  4. 39m 30s
    1. Keyframing initial poses
      4m 21s
    2. Creating the blocking pass
      7m 42s
    3. Moving holds
      5m 27s
    4. Animating weight shift
      4m 21s
    5. Animating pose to pose transitions
      7m 46s
    6. Animating a wave
      9m 53s
  5. 42m 15s
    1. Analyzing a walk
      5m 43s
    2. Setting up a character for a basic walk
      1m 22s
    3. Animating a walk: The feet
      5m 55s
    4. Animating a walk: The lower body
      8m 23s
    5. Animating a walk: Making the cycle symmetrical
      3m 10s
    6. Animating a walk: Working with the spine
      5m 59s
    7. Animating a walk: Arm motion
      7m 28s
    8. Animating a walk: The head
      4m 15s
  6. 24m 15s
    1. The importance of the passing position
      4m 52s
    2. Working with foot placement
      3m 50s
    3. Adding character to a walk: Contact position
      5m 10s
    4. Adding character to a walk: Passing position
      3m 20s
    5. Adding character to a walk: Finalizing
      7m 3s
  7. 52m 27s
    1. A run in four poses
      2m 39s
    2. Animating a run: The first pose
      4m 31s
    3. Animating a run: The second pose
      7m 17s
    4. Animating a run: Mirroring the basic poses
      10m 59s
    5. Animating a run: Hip and foot motion
      5m 12s
    6. Animating a run: The upper body
      5m 2s
    7. Animating a run: Left arm motion
      5m 31s
    8. Animating a run: Right arm motion
      4m 39s
    9. Animating a run: Cycling the animation
      6m 37s
  8. 1h 20m
    1. Animating blinks
      7m 56s
    2. Animating changes in eye direction
      5m 6s
    3. Animating a head turn
      4m 35s
    4. Working with audio
      3m 38s
    5. Overview of mouth controls
      2m 44s
    6. Animating vowels
      15m 14s
    7. Animating consonants: B, D, and G
      7m 2s
    8. Animating consonants: F, M, and S
      8m 22s
    9. Animating lip sync: Assigning phonemes
      10m 43s
    10. Animating lip sync: The head
      9m 44s
    11. Animating lip sync: The body
      5m 10s
  9. 55m 55s
    1. Creating the main poses
      4m 18s
    2. Blocking poses to dialogue
      7m 1s
    3. In-between blocking pass
      3m 27s
    4. Animating moving holds
      5m 19s
    5. Creating weight
      6m 19s
    6. Adding secondary motion
      10m 0s
    7. Animating dialogue
      8m 12s
    8. Finalizing the animation
      11m 19s
  10. 24s
    1. Goodbye
      24s

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