Unit 4 : Horse Run

In Unit 4, we are to understand the cycle of a quadruped run or in this case a gallop. After creating and understanding a horse trot, we can naturally flow into the next momentum of a horse and as we are using the same rig, making it easier to produce because of that previous knowledge of the rig. Though this next unit did not come without challenges, I feel that I have grasped this cycle and the dynamics of this animal. I have learnt a lot of new things in this unit which has allowed me to widen my skills and increase my confidence in my work since the beginning of this course. 

I first began by following the theory and tutorials given by Alex Williams and understanding the momentum and timings of this specific motion as it is a lot quicker than trotting, therefore only being on a 12-frame cycle. Additionally, this type of "run" is specific to this animal and its gait and will help to define distinctive quadruped runs by their characteristics, as well as creating individualism and realism in my work. I also believe it's important to understand the anatomical structure of a horse and what sets it apart. I furthered my research by watching a video of a horse galloping in slow motion which was clear and effective, showcased by Discover Magazine (2009), titled "Galloping Horse in Super Slow Motion." This greatly assisted in examining the horse for my animation and gave me a clear understanding of the power and energy this animal exhibits in motion. As well as using the thumbnails provided of a 12-frame cycle, I did also refer to The Animator’s Survival Kit: Dialogue, Directing, Acting and Animal Action (Williams, 2021, p.37), where the cycle depicted has more keyframes and detail, due to it being a 2D animation but the principle is the same. One thing to note is that the spine of a horse is less flexible than other animals (Williams, 2021), therefore the mass of the body is more solid and more visible motions of the body are in place the faster the horse moves. This also creates a rocking motion of the body and head of the horse to create speed and power the horse needs from the lack of spine flexibility. I did also refer to my previous research on horses to confirm how the muscles, ligaments, and weight affect the horse, specifically the fetlock joint that takes the weight and force of the horse when it makes contact with the ground (The Mane Quest, 2024b).

Key poses from my own animation

Additionally, whilst studying the key movements of this motion I noticed how it differed to the trot cycle. The whole gallop from start to end has no repetitive pattern of the legs,, whereas in a trot the parallel legs were in opposition with each other but the same action. The run or gallop has a four-beat rhythm to it, and then the horse is suspended in the air (The Mane Quest, 2024b), I feel this is eveidentin my work and looking at the key poses image above. The legs in a gallop are moving in individual cycles and at only one point are the back two legs in contact with the ground in their own cycles before one of them lifts off in the next frame. I thought this was interesting as the other types of cycles (walk, trot) have repetitive patterns of motion allowing animating to be easier and clearer, but a galloping cycle meant detail and precision on every frame had to be exact and carefully placed. This did naturally lead me to further research and looking at the photography and discovery of the characteristics of a horse trot captured by Eadweard Muybridge in 1878. He photographed a horse galloping in a series of photos in order to prove the horse's legs come off the ground at the same time (Singer, 2002), Muybridge then went around showcasing animal locomotion on a zoetrope, which is still a relevant reference to this day and he is seen as a pioneer of motion. I found this very informative in my own work, to really understand the speed, energy and gait of this locomotion.

I first approached this animation with the legs/hooves. I typically find it easier to start with the legs as they are creating the locomotion and the parts that define it. However, upon reflection, I believe it would've been better and provided a more improved workflow to place the body in position first. The body has less movement and a more solid form due to the anatomical structure and inflexible spine. It also breaks down the overall positions the horse needs to be in, thus making it clearer for the positioning of the legs and creating a more effective workflow. There are 4 main positions for the body of the horse in this motion, which are stretched, chest down and pelvis up, compressed, chest up and pelvis down. This made it easy to focus on and execute. The legs, however, were more complicated on each frame, which made remembering which hoof needed to move harder. For example, and without making it sound too complicated, on frame 1 the two back legs are in full contact with the ground, and the two front legs are in the air with the right leg bent and the left leg straight and about to land. Then in the next main pose (frame 3), the back left leg is in the air, the back right leg is still in contact, the front left leg has made contact, and the front right leg is stretched out. It was a lot to think about for each pose.

As I was familiar with the rig, it didn't take long to know which controls would work for this cycle. I used the main hoof controls for the positioning and (just like the other controls) had them on an animation layer with stepped tangents. Even though I felt confident in executing this animation and felt I had thorough knowledge, I did take a longer amount of time to clarify each frame. I wanted it to be exact to the thumbnails and references; otherwise, without it, it wouldn't showcase this fast, energetic motion well enough. I also knew at this stage I would have to eventually go back and refine these positions once I had added in detail from other controls that would affect these main hoof controls. When I finished this first initial stage of the legs, I moved onto the body and head, creating that alternating rocking motion, and as the shoulders go up, the head/neck comes down, showcasing that steady momentum in the head. I then directed my attention to the tail and the overlapping action. Admittedly, this part took some time to create and understand as the references show little detail of the tail. I used my prior knowledge of animating tails to add some natural motion and fluidity, which helps create realism. 

Once I felt this stage was clear and a strong base for the animation, I moved on to the detail. I changed the tangents from stepped to curve to now see how each joint moves into the next, as I know some odd rotations and "wiggles" can occur even if the keyframes are correct. I took care and time to smooth and analyse each curve on each translation/rotation. I particularly wanted to make sure there was a constant flow of movement when the legs make contact with the ground. Even though the motion is fast, it is still noticeable if the legs "slide". The next stage was to add the detail of the muscles and joints where needed. For example, in this specific rig there are limitations on what the controls can do. There were points where even though the hoof was in the correct position, the thigh would be too far forward and the mesh would cut into each other. Luckily there was a control to move the thigh and I was able to get clear accurate shapes.

There were other controls that I used as well such as the hips and shoulders to show the natural rotation of the bones and joints. I also used the blend shape controls on the hoof to angle the bottom joint of the leg more precisely, which I also think helped show the power of the horse. I also encountered a challenge of the rig breaking. There were some positions of the leg that caused the mesh and joints to twist, even if I needed the leg in that position. Therefore, I had to explore other various controls on the leg to untwist it and have it looking natural too. This was a complicated element of creating this animation as it took more time to have to add the keyframes and different controls that are on that singular frame.

I repeatedly replayed the animation, making adjustments and refinements until I was satisfied with the final result. I also included small details like blinking eyes, moving the mouth, swaying ears, and flaring nostrils. In the previous animation of a trot, I aimed to explore more of the rig's controls, so I dedicated time to do that in this exercise.​​

Furthermore, I would like to highlight how this exercise connects to my prior research in the games industry from the previous trot cycle. Mastering this gait demonstrates an understanding of horses, allowing them to be incorporated into a virtual and interactive environment, which provides various features for players to engage with and experience.

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The Final animation

This is the final animation with an added background, texture, and lighting. One of my original ideas for the background was to have this free-roaming horse gallop majestically in a meadow. But I couldn't find an accessible model online, and as I was being time-conscious, I used this model of a rocky terrain (TurboSquid) that had a clear path in the center of it. I then duplicated and layered the model to my advantage to make it seem like a scene with some distance and depth. Then I created a yellow-blue sky with a yellow-tinted light to keep in style with the rocky terrain. I thought this would resemble a western-like story (without the cowboys) of a horse escaping off to the horizon for a taste of freedom. The horse's majestic gallop really evokes the sense of freedom and power, and I wanted to capture it in this way and to show the horse is not running away from something but simply running without a specific destination, being free in the moment.

To improve the animation, the horse definitely needs to display more power in its legs. With the background added, the overall energy seems to lack, so I would exaggerate the leg movements to create a more energetic effect by having them hit the ground harder. The front legs could come up higher, so the motion down is faster, and the back legs could also come up high when off the ground for the same result. I've also noticed some stiffness in the shoulders, and since that area of the horse's body is quite solid, I was initially hesitant to focus on it too much. However, upon reflection, I've come to understand that small adjustments are necessary for that area to improve the natural motion of the body. Furthermore, I believe I could spend more time to improve the tail's fluidity.

​I am pleased with the overall quality of the animation and have a solid understanding of the dynamics and fundamentals of a gallop. I am confident that I have accurately represented each core shape and position to effectively convey a sense of realism.

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Reflections and Refinements

The final rendered animation of a horse running

Upon reviewing my work, I am pleased with the results of this cycle. I believe it is one of my most accomplished animations, supported by extensive research, which enabled me to execute it with confidence. Transitioning from never having animated a horse before this module to creating a run cycle with passion and assurance has significantly enhanced my skills and abilities. I decided to show different angles of this run and then the final video to it is clear of what I animated, before seeing the final shot with the moving camera that might make it hard to see the detail and key poses.