Week 8 – Walk and Run Animation Cycle

Unit 2.1 Advanced and Experimental 3D Computer Animation Techniques – Project 1, week 8.

Reference for theoretics in dog movements (Lyon, 1968)

The animation overall consists of a walk-cycle, run-cycle, then acting/purposeful movements. On top of that, I will try to add moments where the character looks full of the appropriate emotions e.g. fear, hesitation and anxiety. A moment when the puppy falls or trips whilst running away would also be great. While I am explaining this in a simple way, this is only the beginning summary, before I delve into the details.

1. Walk-cycle

The timing of the footsteps in a quadruped walk cycle is important, as described in figure 2. I used this source as a reference and guide to the timing of the steps, although it was still quite difficult.

The way that I understood and analysed the timing, was that the walk-cycles should be separate. I made a few rules for myself. Firstly, plan or animate the timing of the front legs first. Then the back legs should be ahead of the front legs in terms of position (I am not sure about that last sentence, different sources show the back legs lagging rather than moving ahead first). This is the golden rule in quadruped walk cycles: that when the front leg is in the contact post, the back leg should be in the passing pose. (This tip helped me incredibly well when animating).

What I have learned from the video above:

• Head bobs up the same time as the hips, while the shoulders are down.
• Timing of the legs.
• Timing of the shoulders.
• Bob/curl of the tail whilst walking.

Leg movement timing = Back right foot steps – Front left shortly follows. Then Back left foot steps – Front right shortly follows. (I practiced this myself on all fours). There is a shorter timing gap between the front and back feet then there is between the two front feet.

A key method when researching that I have found is to think of the front and back legs as two different walk cycles until you put them together (makes it easier to think about it).

My Notes – Walk Cycle Version 1

Reference footage of canine walk cycle animations aided in my design of this sprite sheet (references can be found further down).

Animation Experiment Outcome

When using my figure 3 sprite sheet as a reference, this test was a fail. The dog’s step timing similar to a humans rather than a quadruped. I believe that and the theoretics I stated before were wrong. I did not follow the ‘quadruped locomotive’ video reference method closely enough. When the back leg steps forward, the front leg on the same side should be nearly coming off the ground, nearing the end of the step. To put simply the back and front legs on the same should be together at a certain point.

This is the correct way (image below).

Walk Cycle Version 2

Within the second walk cycle version experiment, I implemented the image above and the ‘quadruped locomotive’ method closely. I implemented the visuals of motion trails to help reposition the key frames and match the first and last keys on each foot on half of the animation (between frames 1-11).

The motion path curves on each paw fit together like a puzzle between frames 1-11. Then, in fames 11-21, the same animations in frames 1-11 are repeated on opposite paws.

I believe that the timing of the key frames, or speed of movement shown in the key frames, should be even when the paws are on the ground. I experimented further by having the second and second to last key frames of when the paws are on the ground closer to the extreme pose. As you can see in the image above and the diagram below.

Controls used to Animate

Professional say not to animate with all of the controls, just because they are there. Therefore, I animated only the essential parts of the body for the walk cycle. Also, considering I plan to add further animation and performance aspects after I complete the walk and run cycles, parts of the body, such as the face, were not necessary to animate at this time. Parts animated:

• Key poses. Blocking and spline.
• Feet using IK handles.
• Toe bend on the extremes and passing poses.
• Hips and chest.
• The middle spine had slight movements to fit with the body’s movements.
• Tail.
• Neck and head.
• Pole vectors

Tail Animation

With the tail animation issues, timing was the main problem. Within most of my attempts, the tail appeared to be moving backwards, curling up the wrong way. I made various experiments on how to animate it. These included animating according to the sprite sheet guidelines for a walk cycle and moving the tail as a follow through animation following the hips. After watching some reference footage of dogs walk cycles once again, I considered the fact that most of the tail doesn’t have to move, only the base (and perhaps a slight curl in and out. I can simply shape the tail in an upwards curl and animate the tail swaying up and down using two controls at the base of the tail. Additionally, the reference videos indicated more about the timing, that the tail may drop when one leg hip drops.

Or at least have subtler movements for the walk cycle and more dynamic movements for the run cycle.

Walk Cycle Improvements/ Feedback (from myself and others)

• Limb positions too exaggerated. Decrease the distance between the extremes.
• The limbs are too thick, it is hard to make it looks good/work with.
• head bobs up and down too much, not natural.
• Back legs look strange.
• Weight painting in some places does not look good.
• I only added an up and down motion to the tail, I believe that I should add a swaying sideways movements to improve it.
• I used the reference sprite sheet, in which the animation lasted 21 frames. My animation seems quite fast. I plan to make my character’s movements slower to show hesitation and anxiety. Therefore, it is justifiable to say that I should slow my walk cycle animation down. To see if it would look better slowed down, and to test the speed at which I will use the animation before I move on in my project.

Self Review

• I tried to maintain arc movement shapes with all of the moving compartments.
• I added follow through to the tail, finally made the animation look somewhat decent. I remain steadfast in the opinion that the tail animation could be improved.
• The paw step movements were visually improved with the bending of the toes at appropriate positions.
• The animation feels clunky and unnatural. I am unsure how to improve this except decrease the extents of the animation frames (move less), and deduce the distance between step extreme poses.

After I completed the animation and made play blasts for each view, I wanted to see how the walk cycle would look when it wasn’t at a stand still. To my dismay, there is an issue with the timing when the foot is on the ground. (See play blast in figure 13) It seems as though it is not moving on the ground correctly, the speed is off. Perhaps my previous diagram about the motion trail frame spacing edits was wrong. I will space them evenly again to see the difference if makes. If this doesn’t work, then I will have to try and adjust the foot steps to the sprite reference sheet. Another issue, may ne that I need small footsteps.

Additionally, I have realised that I technically made a straight ahead walk cycle with version 2. Since, I followed the figure 2 chronologically. As opposed to making the poses in the correct order. I now realise after reading Richard William’s book (mentioned next) that with the order of animating the poses first, I would not have had the problem of foot placement on the ground. This is due to the order being the extremes first, meaning that the distance is determined to be equal from the start and you simply edit the raised foot positions, their X or Z translation, if at all.

Walk Cycle Version 3

There are certain animation aspects which should be further considered, therefore, I will be animating another version. I have delved into the world of Richard Williams ‘The Animator’s Survival kit’ once again (Williams, 2009), in order to establish necessary animation principles in my walk cycle.

Things to reconsider about how I animate in terms of performance (based on research through Richard Williams’ book):

• Timid character = small, slow, light steps.
• The sway of the body should not be too extreme, nor the bobbing of the hips, chest or head.
• Frame number determines the speed of walk and type of walk or run.

Speed/Beat of Walk

The circled options, in figure 9, are the selections I wish to experiment with in terms of speed and timing of the steps. Although, I currently plan of alternating the frame count per steps (like in the diagram above) in order to produce a variation for performance purposes. I will do this by extending the frame time slider in Maya.

Frame Timing

I reanalysed figure 2 further and noticed that all other poses for the right and left legs were the same except the contact poses which were offset by 1. An in between is in place while the other has a contact pose.

The sequence of poses goes like this: Contact, down, pass, up, (hold) and contact. Meaning that the leg slowed a little as it is reaching its backwards extreme pose. Whilst the legs back the same poses in the same places, the extremes are in opposite positions. While this is a good method to create more realism in animation. I am feel as though I am not capable of doing this yet, working out the complexity of where to start both legs animations, even though both must start at frame 1. For now I can simply start the legs walk cycles

Therefore, my frame walk cycle should look like my diagram above that shows the 32 frame animation with the 5 standard poses. I can still produce the same result by manipulating the graph editor curves slightly. My animation guide should look like this (see fig 12):

Changes to the Animation in Version 3

• Hips moved up a bit (back legs are less squashed).
• Hip, chest and head bob up and down is more careful.
• Toes are curled and the paws are adjusted accordingly- more realistic canine foot position.
• Step extreme poses are less exaggerated.
• Step walk cycle frame timing is adjusted to be slower, his reflects on how careful the character’s steps are. Also, this gives me time to animate more performance aspects.

Play Blast Walk Cycle

In the end I made the run cycle 10 seconds long, any faster and it looked too fast. Although, I must consider how the animation will appear slightly slower when in a rendered video (that is how it is for me at least).

Review of the Walk-Cycle So Far

I have made much progress from where I started. I have been able to enforce animation principles that I have identified within references and theoretics, and made a walk-cycle animation. It appropriately fits the criteria of requirements that I need it to for my animation. I adjusted the timing and frame positioning when slowing it down. The animation does consist of some imperfections however. In my earlier progress play blasts (see fig 11), when the animation was faster, you were able to see heavy popping in the scapula. I have improved this in figure 12. I will continue to work on the walk-cycle further when I import it into my scene. That way I can adjust it with the background and other animations in place.

2. Run-Cycle

Video References

Sprite References

Play Blasts

Improvements needed:

• Ear animation timing.
• Move the back legs in wards when they move forward.

Video and Animation References

Dog Walk Cycle Animation Reference – 24fps – YouTube

Jackie on the treadmill in slow motion–part 1 – YouTube

Dog WalkCycle and RunCycle Reference – YouTube

Animated Cat Low Poly – YouTube

dog walk cycle | Animation | char_animo – YouTube

Live Stream – 4 Legged Animation Demo – YouTube

Wolf Walk Cycle Animation – YouTube

Dog Ear Position Psychology

Cause for Positions Through Behavioural Reasoning

Information sourced from (Dog Ear Positions Chart – What Does Your Dog’s Ear Position Mean?, 2021).

• Neutral Position= Default placement.
• Pricked up and forward= Attentive, not in am alarmed manner. More to show excitement, enthusiasm, and playfulness.
• Alert straight up= Alert.
• Dropped back= Friendly, ready to play. If dog is wagging tail as well, then the dog wants to play.
• Extremely pinned ears= Feels in danger, threatened or frightened.
• Ear changing positions= Confused.

Visual Positions

References

Arcsoft Animations, 2020. Cartoon Dog Run Cycle Step by Step 2D Animation Process. Available at: <https://www.youtube.com/watch?v=Ba9YVVP0Kik> [Accessed 28 March 2022].

Camporota, A., 2019. Dog walk cycle: Step by Step. Available at: <https://www.youtube.com/watch?v=coFiisOyW0Y> [Accessed 27 March 2022].

Dog Food Smart. 2021. Dog Ear Positions Chart – What Does Your Dog’s Ear Position Mean?. [online] Available at: <https://dogfoodsmart.com/dog-ear-positions-chart/#:~:text=Dog%20Ear%20Positions%20Chart%20%20%20%20Dog,for%20a%20walk%20%202%20more%20rows%20> [Accessed 28 April 2022].

Hasegawa, M., Ohtani, N. and Ohta, M., 2014. Dogs’ Body Language Relevant to Learning Achievement. Animals, [online] 4(1), pp.45-58. Available at: <https://www.mdpi.com/2076-2615/4/1/45/htm> [Accessed 28 April 2022].

K, M., 2020. Autodesk Maya 2020. Animating dog walk cycle.. Available at: <https://www.youtube.com/watch?v=Ln9lqEM-2bM> [Accessed 27 February 2022].

Lyon, M., 1968. The dog in action. New York: Orange Judd Publishing Company. inc.

MSC Art, 2020. Quadruped Locomotion. Available at: <https://www.youtube.com/watch?v=tLrRlXxM5Yw> [Accessed 27 March 2022].

StageOfMagic, 2016. Dog Run Cycle. Available at: <https://www.youtube.com/watch?v=_pHhkhF3kQs> [Accessed 28 March 2022].

WallsHeaven.com, n.d. Lioness Run cycle animation sequence Wall mural. [image] Available at: <https://www.wallsheaven.com/wall-murals/lioness-run-cycle-animation-sequence-E315221303> [Accessed 28 March 2022].

Weirdlandtv.tumblr.com. n.d. Tumblr. [online] Available at: <https://weirdlandtv.tumblr.com/post/159977680325/embed> [Accessed 28 March 2022].

Williams, R., 2009. The Animator’s Survival Kit Expanded Edition. London: Faber & Faber Limited, pp.106-110, 315-370.