Now what we're going to do is we're going to go through
all of our in-betweens that we've added for anatomy.
We're going to draw the full body over them like we did for our key frames before.
What I've just done is I've gone through,
and this is our original first key frame.
I've gone through to the lower bits and I've just done the same contour outlines,
and I've cleaned it up a little bit as I've gone.
Now we have a little bit more of a layout for the entire body as we're going through.
That looks something like this.
One thing that I'm keeping in mind as I'm doing this is to follow our
reference arcs when I'm doing the in-betweens for these body parts.
As you can see, the bat follows
its own arc that was laid out by the key frames from before,
and the hand does as well.
If we play through, we can see that it still looks
pretty smooth with the motion of all of these elements
just because we're following our guides and we aren't going
too crazy and letting it pop around too much.
One thing to keep in mind as well,
while we're following these arcs is that when something is moving,
it's always going to have a little bit of drag and it's going to have
a little bit of inertia or resistance.
As you can see with the hand as it's swinging forward,
I'm having the wrist bend back a little bit because it's dragging and following.
It's not like leading with the fist because that will look a little strange.
Whenever something is moving forward,
say the hand that's a little limper,
I'm having it drag behind a little bit.
Once it gets to the top,
I'm having it tilt behind the motion and the rotation of the forearm a little bit.
It drags a little bit on the way back too,
and that way when we play through it,
it gives it a little bit extra flair and a little bit extra motion.
It's the same principle of the offset that we were doing before just applied to the hand.
I'm going to do the same thing with the foot.
In our key frames we had the toe pointing downwards for this cross position,
which is correct and is what you'll see in pretty much all of your walk reference,
unless somebody's walking strangely or tiptoeing or something.
As we're going forward, that's hosed down because
the foot is being dragged like we talked about the hand.
As it's coming forward,
I'm going to keep it pointing down with that drag a little bit more and
then it's just going to start pointing up as we hit the ground.
I don't want to have it pointing up too early because otherwise it looks a
little strange and it doesn't have
that nice drag and that nice offset that we're talking about.
When you have the forward motion of one foot,
the other foot is just sliding back as if we're on a treadmill or something.
That's just so that we can loop this animation,
so we aren't just animating them walking right off the frame.
You'll notice after our widest pose here,
as one foot comes forward,
we have our other foot settle,
and then just slide back as if they're on a treadmill.
Then by the time they've hit the next widest pose,
it's hit its endpoint and the side and it's going to come back.
This is a good time to go through and look at your footage reference if you had
one and see the basic principles of what's happening on the in-betweens.
We don't want to just stick to the rule of doing
perfect in-between frames for each frame between our key frames.
Because then it gets a little stiff,
and we don't get some of that nice personality and
the little extra touches and offset that make it feel a little more human.
As I'm going through and adding more of
the actual body around the anatomy base that we've drawn,
I want to make sure that it follows
the turns of the anatomy that we put so carefully in there,
so while I'm going through and I'm drawing these,
I'm making sure that when I do draw the in-between frames of the torso,
it is following the movement of the hips so that we don't get
too far off of our base and we get to keep that nice smooth movement that we locked in.
Now that we've laid in the basic anatomy and the groundwork for our next phases,
it's your turn to go through and add in
the basic shapes that we need in order to base our entire animation off of that.
Take your time with the section,
it's going to seem like a lot to begin with,
but once you get the basic principles down, you'll get the rest.
Next up we're going to refine our sketches a little bit,
add all the in-between frames,
and create our fully framed base animation.