- [Voiceover] If you're doing this course, I assume you know all the basic fundamentals of walk cycles. Contact, low point, pass and high point, all that good stuff. I do want to flag one issue and that is the fact that throughout this course, I will be using the word frame and frames per second to mean 24 frames per second and this is to stay consistent with the existing textbooks by people like Richard Williams and Eric Goldberg and all those great books. So, I'm making you this visual to show you the translation of numbers. If you ever get confused or puzzled, you know you'll be able to know what I mean when I'm talking about six frames.
When I say six frames, I mean these six frames. If you're on 30, you might want to pat at the seven, that kind of thing. So, a typical walk cycle here on 24 FPS on the top, classic, you can't go wrong with that, and if you want to vary your timing to make them seem heavy or light, you'd have these kind of frame numbers and if you're on 30 frames per second, they translate into these three slots here. These aren't the only ones. There are so many different ways of varying this or making these walks longer and shorter, of course. I'm simply showing you this to give you the general idea that for example, ya know, the frame on a light walk, this frame eight would be six on 24, that kind of thing, just be aware of it.
If you are working on 18 frames per second, you have to make your own slide rule because I can't make a gazillion of these, but I think 99% of the people out there would be on 24 or 30 FPS. So, with that, I think we're ready to roll.
- Animating male and female walks
- Changing weight and body type
- Breaking joints for flexibility
- Creating an attitude contact pose
- Animating a jog or run in 10, 8, or 6 frames