lateral walk loop


SPEED VIDEO: “walk loop”
Key poses and intercalations.
How to animate a walk cycle in traditional animation frame by frame.

This is an excerpt from the last scene of a new cashback savings project.
the clip is a second animation with an increased speed of about 10,000%.
The animation is performed in the traditional frame-by-frame animation technique in step to one. The processing is classic: first, the preparation of the key poses and then the intercalations between them at various speeds.
The protagonist leaves the scene in two complete steps.
It is possible to see how hair dynamics are different and follow their own life of animation. This to have a more realistic and fluid result.
Finally, we can see the complete onion skin in the timeline, to see the movement of the animation in the visual field space.

Initially, the character must be subdivided according to the animation that concerns it.
In this case, the subdivision requires the separation of limbs, hair, and props (animated scenographic element). Once the separation of the character has been chosen as if it were a puppet, it is recomposed on stage following the various levels, the elements behind in the lower levels, the elements above it in the upper levels. For convenience, the animators rename the various levels with the right names.

An important element for a successful walk is the gait that characterizes our character. In this video the protagonist is a girl who loves shopping, the speed is cadenced and the posture is straight on the axis, with no backward or forward unbalance.

The technique to animate a walk that restores to the eye of the spectator a good illusion of movement must have at least 17 frames.
In this scene, the frames are 20 per step to give the protagonist a more proud and at the same time feminine character.

In key poses, the body configuration is very highlighted. For example, in the first frame, the left leg has the tip towards the ground while the heel is rising. Consequently, the right foot has the heel on the ground and points it to the sky. In this way, even if not consciously, the viewer perceives that he is within an already started step.
The bust of the protagonist in the first key pose is lowered towards the ground, while in the number four key pose the bust rises to give momentum to the leg that has risen above the ground.

Once the main key poses have been made, intercalations can be started.

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