This tutorial is sponsored by 3d.sk Human photo references for 3d artists and game developers check them out by using the link in the video description below Hey there beautiful people The objective of this tutorial is to create a walk cycle like the one if I just press play There we go. Like the one that you can see on screen here. So there we go We've got a walk cycle. There's a couple of steps that are being looped constantly So our objectives for this tutorial are to learn about all the different poses that make up a walk cycle as Well as learning about the timing that's needed to make a convincing walk cycle as well As for the technical side of things we'll also be learning about auto key Which is a great time-saving thing that you can do in Maya I will also be learning how to copy and paste poses from one keyframe to another Again, because that'll help us save a lot of time when things are being repeated as always I'm uploading this tutorial in two versions So there's the long version which you're currently watching where all the different steps are cut together into one long video The other version is the shorter version if you prefer that that is each video is its own separate video That'll be put together in a playlist and that breaks it down a little bit more If you want that one check the description below and you'll be able to switch over to that version As well as the tutorial videos There's also a written guide which is already available to my patrons If you would also like it then you need to become a patron too So follow the link in the video description and you'll be able to see my patreon campaign and join up if you want to Okay, that's the introduction out of the way. So in the next step We will look at gathering some reference material before we get underway So I'll see you in the next step. Hi there Welcome to step one of the walk cycle tutorial So the first thing that we need to do in this step is get hold of the rig that we're using So the rig that I've just shown you in the example is this happy guy and he is called ultimate walker And I will show you where he lives on the internet. So if we go to This website here So this is CG meetup net and I'll put the exact link in the video description But you can see on this page which was written by a Jason So I'm going to assume that Jason is the guy that created these rigs and their ace You can see he's got loads of different character rigs here that are really good for learning animation And if scroll down a little bit, you'll find ultimate walker and it tells you what its features are and they're all important Thing is this download button here. So make sure you download it Which I have already done. So if you have a look here, I have downloaded walker So we'll just open that up Okay, so this is what it looks like once you get him open with no animation on him or anything So here he is handsome chap. So he's quite a simplified rig. He hasn't got arms or a head He doesn't need them because he's just we're just learning the kind of mechanics of getting the legs animated in this video So that's that's kind of all we need Okay, so in addition to the rig that we've got we also need some reference stuff So if we go back out to the Internet's high Internet's And I'm going to be looking for some video reference first of all and I'm going to be using 3d dot sk We've kindly agreed to sponsor this tutorial. So thank you very much for that And it's just as well really because I'm using their their video reference. So What I'm going to do first of all is find a walk cycle a video walk cycle that I like the look of So to do that, I'm going to go in here now The first thing I'm going to change is a clothes type because you see there's a nude thing here And if I was to leave that as anything there would be so so much nudity So we'll just go for casual clothes. I think in this instance We're going to have a look in the video section and I want walking video And I'm also going to change the search for two videos here. And then when I click on search Here we go. And I actually want to use this first one So she's just going to walk across I think and there's also one where she walks forward as well So we'll just go for this First one here make sure it opens up alright, and this is what I want it to be Yeah, so that's just kind of showing how she walks like that. So I'd highly recommend doing that because What I've done is I've broken this down a little bit So if we have a look here, I've actually taken the video and I've broken it down into the poses And you can see I've also assigned some frame numbers to them Which I'll talk about how I did that shortly, but you can see we've got each of the poses So this one here is the first contact pose On the the good thing about kind of getting video reference when you break it down is you can see all the different things that change So I think if it's the first time you've done a walk cycle You'd maybe fall into the trap of thinking it's just the legs that you need to move Which is not the case you actually need to be moving More than that and you see in this example here if we look at where the hip is over here And in fact that's Just Yep, you can see it's more this this bit here and This bit you can see that this is kind of facing forward Whereas over here that bit of the hip has gone so The actual hips are rotating as well, which is something that you really need to look at As well as that you can kind of get a feel for what the shape of the kind of legs is In each frame so you can see that one like that is not quite the the feet are up in the air so That's worth looking at and on this one here We can kind of get up from the hips and we see there's a bend but the toes are lifting So we're going to get that kind of that shape there where there's still something in contact with the floor so breaking these down and Having a look kind of what's happening on on each frame is a really good way to do things and I would highly recommend going to somewhere like 3d.sk for their reference video or Filming yourself doing the movements that you're looking at because your animation will be a lot stronger Because you've taken the time to do that. This is what it looks like from the side If we have a look at the front as well, we can also see some important stuff So we saw that the hips are kind of rotating backwards and forwards, but they also rotate up and down So if we look here So she's got her right leg down And this leg is contacting but you can see the hips are kind of going down in that direction And then once you swap legs So once this one here is the one that's forward you can see that the hips the rotation of them has changed So when we're animating this we also need to be aware of this and put some rotation into the hips and here Although it's not perfectly straight. It kind of should be so you can see that The rotation of the hips is happening all the way through and that's something that we need to get into the animation as well That is what this video reference can be really critical for for really getting that understanding of what's happening So in addition to that You can see here. I've got these frame numbers and These are very specific frame numbers. We're going to be animating this on 12s Which is animation speak for the kind of speed that we're going to be doing so that's two steps per second So we're going to have left foot forward right foot forward and that's going to happen in one second And where I've got these frame timings from is from a book would you believe? So I want to show you this book because it's ace this one here. There you go. Can you see it? There it is. This is called the animators survival kit and If there was a Bible for animation, it would be this it is Oh good and I will try and show you what I'll do is think I'll overlay some video over this section So you can see what I'm looking at But you've got the the different Posers here have been laid out but more importantly on the other page The frame timings are there so you can see that the first contact has been put on frame one And the last contact is put on frame 13 and that's for one step So we know that we are going to double that so that we can have two steps It shows where the passing pose should be and whether the up and down poses should be and this book is Phenomenal so what I'm going to do is I'm going to link to this book because if you want to be an animator You should own this book. It should be with you at all times To give you an idea of kind of the depth that it goes into there's about a hundred pages covering walk cycles It then moves on to runs and stuff like that. So it's ridiculously good for the fundamentals So I'll put a link below to somewhere that you can buy the book probably Amazon And if I can figure it out it it might be a Referable link so I might get a kickback if I can work out I'd set that up But I should probably state that now just in case I do get that set up. Yeah, check this book out This is where I'm getting the timings from for this walk cycle So I'm using a lot of a lot of reference material to get this this working So I've got video reference. I'm also looking at the animation guide in this book. I'm getting frame timings And it's all going to come together in the next step when we start putting the contact poses in with that said The next thing that we need to look at let's go back into Maya We just want to get Maya set up for creating this animation So the first thing I'm going to do is kind of change my workspace So up in the top corner was set to Maya classic, which is great for most things But I want a little bit more on screen. I'm just going to kind of change the layout So I'm going to drop this down and go to animation which is the one at the bottom and You'll see this changes a few things now We've got this is a a graph editor down the bottom, which is really good and we'll use the graph editor later on And we've also got this here, but I don't want this So I'm going to tap spacebar and it should put me into the four view which it does That's exactly what I want and then I'm going to pull this down Because I only want two of you so I've got my perspective you over here and this is the top view Which is not actually what I want So I'm just going to change this panel to orthographic side and this is the view I want So I'm just going to zoom in a little bit on this because I'll do most of the animation in the orthographic views So this is what I want to see here is just kind of a preview purposes, but this this one here is the important view Okay, so I've got that set up. The next thing I want to do is go into the the settings So let's click on this little chap down here. I love this guy. It looks like he's being attacked by a cog I was chasing me. No So here he is right, so I'm just going to change that to start at one like that and We also want to make sure that the playback speed is on real time 24 frames per second So that's what I'm going for So we'll leave that one there. I Also want to change something else. I'm going to go to the animation settings here And we're looking at the default in and out tangent and what tangents are are the shape of your animation curves And we'll cover this a little bit later. So at the moment, they're set to auto I don't like leaving it auto because then I feel like I'm not in control So I'm going to change this to being a spline Which I'm quite comfortable with I may well change them away from being spline when I'm making the tweaks later But I'm gonna have them at spline now because I'm comfortable with it. So we'll click on Save Okay, so that's basically Maya setup for this animation There's one more thing we need to do. So I'm starting at frame one, but I need to end at frame 25 So I'm just gonna tap 25 in this box and press enter So we're going from 1 to 25 which will allow me to put in the timings That I just kind of showed you. Okay, so before we can actually get any animation done We're gonna turn on one last thing. This is called auto key and it's amazing. So it lives here This little icon just here. There you go auto keyframe toggle. We click on that You see it stays on and what this does on frame one in the next step We're gonna set keys on everything. So all the controllers And then whenever we move on to another frame and change anything what will happen is it will automatically drop a keyframe on there For us, which is a ridiculously good time saver. It can also keep your graphs a little bit neater as well So we need to have that on right. We're now ready to move on to the next step and start doing some animation So the next step, we're gonna set up the first contact pose, which will be on frame one So make sure that you've got all your settings like I've got Check out the animated survival kit and also have a look at 3d.sk for some reference stuff And I will see you in the next step where we'll get the first pose put together Okay, here we go. It's time to get some animation done The first thing we'll do is set up the first contact pose and the reason it's called a contact pose Is because it's from when the foot that was at the back that's just been raised contacts with the floor again So if we have a look in my little series of images that were used earlier It's when this foot here at the back has been so you can see it's been raised It's passed and then here it's contacting with the ground again. So that is a contact pose So we're going to create the first of these So let's get into it So the first thing we're going to do is we're going to do some work on the hip controller We're also going to make sure that the playhead is on frame one Right, so what I'll do first of all is just move this down a bit And I'll also move it forward The reason I'm moving it down Is because we want to give some sort of freedom so the legs can move around And the reason I'm moving it forward Is because I want to create the illusion the feeling of momentum So I want it to look like the character's leaning forward to further the kind of feeling of him leaning forward I'm also going to rotate him a little bit as well Just so that he's kind of leaning into this walk Right, I also want to do a little bit more work on these hips before I do that I kind of need to know Which leg is going forward and which leg is going back So I'm going to select the right leg first And I'm just going to move it forward a little bit And then I'll select the left leg and I'll move that backwards And I'm moving the right leg forward just because that's the one I prefer to move I don't know why just I think it's because it's the one nearest to me Okay, so now I know which is going forward and which is going back I can rotate the hips a little bit further so I'll select my hips controller again And what I'm going to do now is rotate so that the hip Of the foot that's going forward is also facing forward a little bit. So leaning into it So I'm just going to do that a little bit Just leaning in bringing that hip forward And what it also does I want it to look like weights being transferred as well So I'm going to just drop that hip a little bit to make it look like the weight is kind of going through that leg So I'm just going to bring that down a touch as well So I'm fairly happy with the hips there So what I want to do now is work on getting the legs set up on this pose So I'm going to concentrate on the foot leg first And what I'll do first of all, you just move as far forward as I can without overextending the knee, which I think is about there But what I want is kind of let's just go back to my image I want to raise it up off the ground a bit like I've got going on there So to do that I'm going to introduce you to the extra controls on this rig So if you look in the channel box Along with being able to access your translate and rotate values as you can with kind of any object in Maya There are also these extra character animation controls and the one that we want in this case is the foot roll controller So I'm making sure I've got the foot selected that I want to work on I'm going to left click on this foot roll control here and then using my middle mouse button I'm just going to click and drag Either left or right until I get kind of what I want So you can see now that that's raising the foot, which is what I want So I'm going to raise it to about that sort of angle. I think And what that also does it means I can move the foot a little bit further forward as well So it's given me a little bit more to work with So I'm going to move it to there. I think I've actually kind of overextended that a little bit on the foot roll So I'm just going to rain that in a little bit And just bring that back Yeah, I'm happy with that So what I'm also going to do is work on the back foot. So I select that one and similar to what I just did on the The front foot I'm going to take it as far back as I can without overextending it. So it's about there But what I want to do now is create kind of a tiptoe sort of effect So I don't know if I drew that on my image Um, but what I'm looking for we'll draw this on now Is this leg that's coming down Is kind of contacting the floor, but then you've got a little bit of a change in the the foot there So that is what I'm going to try and create with this foot. So to do that I'm going to select both the foot roll And holding control on my keyboard. I'm going to select the foot brake as well And then with my middle mouse button, I'm just going to drag until I get um A foot position that I like and again, you can see that's given me a little bit of freedom to be able to move that foot further back Which I'm going to take And give me something like that um Okay, so that is the beginnings of The walk cycle. So this is the the first contact pose And I'm pretty happy with that. So I think what I'll do now is I'll key this pose So in order to do that what I need to do is Drag a box. So I'm going to click and drag To get a marquee selection of all the controllers You can see that they're all highlighted here And then on frame one.  We've got some red lines here We've got a red line down here and if I select any of the controllers You can see that there you go. Everything's keyed same on this one Same on the hips. Everything's now keyed brilliant But what we also need to keep in mind is this is a walk cycle And for a cycle to work the First frame and the last frame need to be identical being similar is no good. They have to be 100 identical So to ensure that we that's what we get We're going to make sure we've got all the controllers selected and we're going to go to frame 25 And then we're going to press s again And that just ensures that those two frames are going to be exactly the same thing Right, so that wraps up the first contact pose. Whoo Uh, what we're going to do in the next step is we're going to set up the second contact pose where we reverse the leg positions And reverse the rotation on the hips Right so far so good So what we're going to do now is create the second contact pose where the leg position will be reversed And for that we need to be on frame 13 because that's in between 1 and 25 And as I said earlier, we're going to be animating this on 12s So, um, you know, we started on frame one 12 frames later is frame 13. So that's where we need to be And to get this started what we're going to do Is make sure we've got all the controllers selected and we're just going to set a key On 13 so now we've got three keyframes that are all identical But now we've got that done What we're going to do is make sure that we invert some of these things So I'm going to select my hips controller And I'm going to invert some of the rotate values, but what I'm not going to rotate Is the one for the they're leaning forward So I can see that that's controlled by this red line Which this here tells me is my x Um axis so if I just do that you can see rotate x is moving So I'm going to leave that alone because I want it to stay rotating forward all the time So what I want to do is reverse rotate y and rotate z So to reverse that So rotate y for instance is set to 11.354 So I'm just going to put a minus Before that and that will give me the opposite value. It'll rotate it That much in the opposite direction The same for rotate z so that's set to minus 5.559. So I'm going to remove the minus And what that has done for me on frame 13 is now given the opposite effect on the hip controller The next thing to do is to get the uh The legs swapped over because you can see now that we've made the changes to the hips The legs have gone a bit crazy. So they're going to need some help So in order to do that, I'm going to go to frame one And I'm going to start with the right leg first So this one here, so I'm going to get that and I'm going to copy the values On to the other leg on frame 13. So I'm going to right click on my My timeline on frame one and I'm going to copy And then what I'm going to do is go to frame 13 And on the other leg, which is right here. I'm going to right click paste and paste And you can see they are now both in the same position So with that leg still Select us. So now it's the front leg. I'm going to go back to frame one And I'm going to copy the values from here And then I'm going to just select the left leg again go back to frame 13 and I'm going to paste those values over And there you go. So that has now created Another contact pose, but everything is now kind of switched So if we play that You can see looks a bit wrong at this stage, but we've got the hips rotating We've got the kind of hips moving backwards and forwards as well. So that's working well and the legs are going backwards and forwards So what we're going to do in the next step is we'll set up our first passing pose. You still with me? Good, right. So now what we'll do is the first passing pose So if we go back to my little Plan that went for here. We can see that the passing pose is going to happen in between One and 13 which puts it at frame seven So let's go to frame seven, which is right here And we need to do some work on this So what we'll do first of all is work out what we're going to do with each foot So we're going to work on the back foot first the one that is actually passing So I'm going to make sure that I select that and when I go to frame seven I still know which is which So the first thing I'm going to do is remove the footbreak Which sounds like a really good way for your car to roll down a hill, doesn't it? Wordplay okay, so remove the footbreak set that to zero I'm also Going to change the foot roll. So I'm just going to click on that a middle mouse button and what I want to do Is I'm just going to turn this around So that it's kind of pointing straight down Now this will look very much like I'm ripping my leg off But I'm going to repair that by changing the position as well So something like that I think for now So that'll do for that foot just for the time being so it's just raised a little bit off the ground Um, and then I'm going to select the standing foot And from this one I'm going to remove both the foot roll And the footbreak There we go and that kind of puts that nicely standing on the ground So the last thing for me to do now Is I'm just going to select the hips and move that up so that He gets a little higher Like that. Right. So that pose I'm actually pretty happy with So you can see because We've got auto key turned on I've got uh keyframes already on seven because of the changes I made Yay, so that saved a bit of time. So that set up the first passing pose In the next step we'll be setting up the second passing pose where we need to reverse everything Right, so we've now got three solid poses. We're going to add the fourth Which is going to be the reverse passing pose So this is going to happen between 13 and 25 And my basic understanding of maths tells me that that should be frame 19 Right here now. We don't actually want to do much thinking here All we're going to do is copy and paste the values from frame 7 onto 19, but onto the opposite foot So we'll do that first of all. So what I'll do is I'm going to select the Left foot I think I'll start with and I'm going to copy the values From frame 7 then I'm going to move to frame 19 I'm going to set the right foot, which is my red controller I'm going to right click on 19, paste and paste And you can see that has now taken the pose From frame 7 Okay, so with the right foot still selected. I'm going to go to frame 7 I'm going to copy the values from there And then what I'll do is change to the left foot. I'm going to go to frame 19 Right click and paste those values in there And hopefully that will work, but it hasn't And I will show you why So I'm just going to undo that step. I'm going to go back to frame 7 so you can see I'm actually wanting to copy Everything from here, but not everything has got keyset on it. If we look at the other foot This has got translate values keyed As well as the foot But this one does not So the way that we're going to make sure that it copies everything properly Is we're just going to set a key just on this foot before we copy it. So I'll press s on my keyboard You see now everything goes red Now I'm going to copy that And when I move to frame 19 And switch feet If gibbers loves me I will be able to paste that over Which it has so now when I click between 7 and 19 They look identical Over here anyway other than the fact that they've swapped to legs There's one one more thing that we need to change though If you look when I'm clicking between them Whilst the feet position is kind of staying consistent the height is changing Now we can't just copy and paste the keyframe for the hips because we've got other rotation things going on So what we're going to do is just go to frame 7 and I'm going to look at my translate y value Which is set to 0.076 and I'm just going to put that On here as well, so minus 0.076 Which is what it should be And that now has key for me because I've got auto key turned on and when I'm flicking between them That works a blooming treat Okay, so let's play that and see what we're we're doing And you can see now that we've got those passing poses in He's starting to look a lot more like a walk cycle So that is the two passing poses done in the next step. We're going to do the first down pose Okay, we're doing very well so far. So we're going to continue with this Magnificent progress we're making by getting this down pose sword So let's go back to my reference video that I've cut down And this one here is the down pose. This is what we're going for and see the timer here is frame 4. So Let's let's get this one sorted So on frame 4 what we're going to do is Yeah, definitely some work needed on frame 4. This this does not look good Right, so we're going to move to frame 4 and the first thing I'm going to do is just move the hips down slightly Okay, the reason it's called the down pose is because things move down a little bit Okay, then I'm going to select the front foot, which is the right foot This is the one that's coming backwards and I'm going to remove from this the foot roll So I'm going to set that to zero And you see that plants it firmly on the ground, which is what we want. We want now that that foot is Is connected with the ground properly Okay, then I'm going to select the back foot And from this one we're going to take off the foot brake Uh, and that should kind of Straighten the foot out Because there's no tip toe, you know, there's no bending the toe happening now The next thing we want to do is place that foot back on the ground because it shouldn't be raising yet This is the the down pose is where you kind of build your momentum. So you're pushing off with that back foot So to do that, we're just going to set the translate y value of this foot to zero And you can see that puts it back in contact with the ground Okay, the last thing I want to do is I want it to kind of look like this back foot is pushing off So you can see here Kind of the main Contact point of the foot is just where this this part of the foot is here And that's just before this line. So on frame four I want to just push this back a little bit So that's kind of the same the same area. You know, just hopefully a lot of that that's pushing off Which is what we're going for So that there is our first down pose complete So what we'll be doing in the next step if you've noticed a pattern yet is we'll be putting in the reverse down pose What we'll do in this step then is we will now Mirror the down pose that we created in the last step onto the the opposite feet a little bit further on So you can see that we did our last down pose on frame four Which to kind of work out that's three frames after our contact pose So the next time that we're three frames after a contact pose is at frame 16 So it's 16 where we'll put our next down pose So the first thing I want to do is just copy the information from one foot to the other Like we did with the previous steps So I'm going to start with Yeah, we'll go left foot first. So I'm going to copy the values here And then I'm going to go to frame 16 Select the right foot And I'm going to paste that on there And I'm just going to check to see if I like that um That looks right. I think when I drop the hips, I think that's going to match up properly So what we're also going to do is With the Right foot selected we're going to go to frame four now I'm going to copy that And then go to frame 16 again change feet And then I'm going to paste Okay, and then I'm just going to flick between four and 16 and They're not exactly right So what we're going to do is just Mirror the the y value of the hips and hope that sorts it out. So we'll go to frame four And we can see that set to minus zero point one eight five So we'll go to 16 And change that to minus zero point one eight five That has definitely had an effect We'll see if it's the right effect No, that's definitely not what I wanted it to be So what we're going to do then is select both feet on frame four And we're going to key everything press s And now we're going to copy those values over again, and it should work So we'll start again with the left foot So I'm going to copy that And then I'll switch to the right foot go to frame 16 and we'll paste that in That looks better I'm going to keep that foot selected go to frame four copy the values Switch to the other foot back to 16 and then paste Okay, and that now looks a lot better. So if I now flick between these two again They look identical, but I've swapped the value onto different feet So that is now two down poses complete So let's play that And it's starting to come together You can see now that it's got a little bit of A bit of swagger. I think he's got swag Um And a lot of the key poses are now working together So now that our two down poses are complete In the next step, we will create the first up pose Okay, so what we need to do now is get the first up pose created Right. So as you can see this walk cycle is coming together So they're making a change every three frames So if we have a look here, we've got one for seven and the next thing that we need to look at It's creating a pose on frame 10 and you can see this is our up pose So that's what we're going to create. So let's move to frame 10 Okay, the kind of distinguishing thing about an up pose is that everything is at the highest point in the walk cycle So the way that we're going to do that is we're going to start by moving the hips up I'm going to go as high as we can Without breaking anything So then what we'll do is we'll work on the front foot a little bit So the first thing I'll do is remove the foot break because we don't need any of that So I'm going to set that to zero And then what I'll do is I'm just going to move it back a little bit Just to create this sort of shape that I want And I'm going to change the foot roll Just so that it's kind of facing that way and then just a little bit more Positioning work needs to happen here. So I'm just going to make sure that's raised up ever so slightly. Yeah So that's the kind of shape that I want to go for um on the front leg On the back leg though, I'm just going to increase the foot roll and the foot break a little bit Because what that will do is it'll allow me to Raise the hips up a little bit more Without overextending anything So I think that is what I'm going to go with for my up pose so With that pose done what we're going to do is just select both feet and we're just going to press s To set keys and everything just to rule out any of the problems that we've had in previous steps Um, and then in the next step, we're going to create the second up pose Okay, so it's time to get the last pose done. So we are so close to finishing. It's so exciting right So we're going to do the second Up pose which kind of just means that we have to reverse everything around on frame 22 So the first thing I want to do for this one Is I'm actually just going to copy the values over from the hips first So on frame 10, I can see that my translate y is minus 0.033 So I'm going to go to frame 22 And I'm just going to set that to be the same value And that's a good start Okay, now what I need to do is reverse what's happening on the legs So because I keyed them already it shouldn't give me any problems So I'm going to start with the left leg and I'm going to copy the values from frame 10 I'm then going to switch to the right leg And then on frame 22, I'm going to paste that over Lovely Right now with the right leg selected. I'm going to go to frame 10 Copy the values there. Select the left leg go to 22 and paste them in Boom, all right, let's just flick between 10 and 22 and make sure that they look similar Okay, so that's looking nice So what I need to do now Is test this Okay, so this is the basis of our Walk cycle And it's already not bad But in the next step, we're just going to polish this by using the graph editor There are a couple of areas I can see if you look closely you can see that the feet are raising at certain points So we'll look at repairing that in the next step Right now that the walk cycle is basically finished what we need to do now is have a proper look at it And make sure that we iron out any issues So if we have a look at our walk cycle as it stands particularly what's happening with the feet So as I scroll through let's watch this front foot and as it comes back There it's okay, but it's there. It's raising up off the ground Which shouldn't really happen there. It's all kinds of wonky Um, and then somewhere it's raising off the ground there. That is well up in the air So there's definitely some issues that we need to address So I'm going to start with this foot. So I think what I'm going to do is I'm going to select everything in here I'm going to press a I'm select all my tangents all my lines I'm going to set them all to spline because it appears that they didn't stay that way I think that's going to give me a much smoother Um, a much smoother curve Yeah, so that foot I'm actually kind of happier. So there are a few places now where I need to go back in and make repairs But I think for the whole the whole thing I'm going to select every single thing Hang on So let's select everything in here Make sure I can see everything select all those curves. I'm just going to change them all to spline Yeah, so that's a few changes that have been made there Right, let's see what that gives us Yeah, so already that's much better and I just need to make a few tweaks So Let's go back to this back foot and I can see that this issue here Um, where the foot in fact, I know this one the foot wobbles There we go. So I need to sort that one out. So I'm going to select these two I'm going to set that to linear and that'll give me a nice straight line That'll keep that foot planted Yep I love the same issue on this spot over here So let's set that to linear Okay, let's play that back And see what that looks like now From the front that looks kind of tidy. Let's just turn the curves off Okay So through playing with the graph editor, there are definitely some more improvements that could be made to this But I think for now, I'm happy enough with that. So there we go Right, so that brings us to the end of this tutorial I hope you've learned something obviously in this one. We've only done a walk cycle on the legs If you would like to see a full body walk cycle Then make sure you like this video hit the subscribe button And leave a comment telling me that that's what you want to see if you want the full body Tutorial then say hey Shane, where's the full body tutorial? And when I find time that'll be something that I'll add to my list of tutorials to make If you have any problems with this or if you need help Then once a month I have video chats with my paging supporters So they bring me problems. They ask me questions and I help them solve them Send me files, etc. So if you'd like that kind of support Then consider checking out the link below the video checking out my patreon campaign And maybe supporting me there And that way you'll get access to me a much more one-to-one than simply through the youtube comments And I'll be able to help you out there as well as that you will get the Hand out the the written version of this exercise Which I will make available to all my patrons. I want to say thanks to 3d.sk for sponsoring this video You really should go and check out their reference video section As well as their reference image as well. There's some really good stuff on there the 3d Capture stuff that they're doing is ridiculously good and that's something I want to play within the future Maybe I'll rig one of those characters up for for a tutorial, but you should definitely check out Their site because it's really good and one last thing if you're watching this video because you're getting into animation Then you really need to make sure you understand the fundamentals. So for god's sake buy this book. It's such a good book So it's by Richard Williams. It's called the animator survival kit. I will have a link in the video description Check it out. It'll be the best book you've ever bought. I promise Okay, so that's me finished. Thanks for watching this one and I will see you in the next one


Human impact on the environment, human impact on the environment or anthropogenic impact on the environment includes changes to biophysical environments and ecosystems, biodiversity, and natural resources caused directly or indirectly by humans, including global warming, environmental degradation such as ocean acidification, mass extinction and biodiversity loss, ecological crisis, and ecological collapse, modifying the environment to fit the needs of society is causing severe effects, which become worse as the problem of human overpopulation continues.  Some of the problems, including global warming and biodiversity loss hose an existential risk to the human race, and overpopulation causes those problems. The term anthropogenic death zignates an effect or object resulting from human activity. The term was first used in the technical sense by Russian geologist Lexik Poflov, and it was first used in English by British ecologist Arthur Tansley in reference to human influences on climax plant communities. The atmospheric scientist Paul Krusen introduced the term anthroposm in the mid-1970s. The term is sometimes used in the context of pollution emissions that are produced from human activity but also applies broadly to all major human impacts on the environment.


So here we are in our lecture one. We're just going to introduce SMPI. I'm using the ipython notebook here, which is probably the best thing since chocolate cake. And probably stands in my mind equal to the brilliance of SMPI, really combining the notebook and SMPI. It doesn't get much better than this. Fantastic work by all involved, certainly. So SMPI stands for symbolic computation of mathematical objects in Python. Of course, it's a computer algebra system. It's written in Python, and so it does not depend on any other Python library. So what you do is take mathematical objects, and you can represent them exactly. Let's just skip down right to the first example. Here's normal Python. I'm going to import math and then have math dot square root of 8. And when I run that, of course, I get the numerical representation as a few decimal points here, 2.8282. But we all know we can simplify this. So here we go. Let's try the exact same thing, but in SMPI. So I'm going to import SMPI as SYM. Now, I think most of the things you'll see, people will just suggest import from SMPI import everything, the star. Can't really use SMPI because that's usually for PSYPIE. But this is just to get your namespaces right. So in this instance, I'm just going to use import SMPI as SYM. So if I now have the square root of 8, let's run that. And lo and behold, we get something that's much more used to us. It's 2 times the square root of 2, so we've actually simplified that. 2 times the square root of 2 looks a bit better mathematically than 2.82847, etc. So that is what a computer algebra system does in short. So let's expand this to a bit of rational numbers. Here, I'm going to use the variable R1, and I'm going to call it SYM. So SMPI dot rational 4.5. So that would be the numerator and that would be the denominator. And I'm also going to have a second variable, R2 here, and that will just be a different rational if I run that. Nothing's going to happen. We're just storing the results into those two variables. I now have a print command. The first rational is colon, and then we're going to print out and see what it looks like. If I run that, I see the first rational is 4 over 5. 4 divided by 5. The division indicator there. If I run the second one, we're going to get 5 over 4. There was my numerator, there's my denominator, and that is what it's going to do. Now we can add these two together, and that's what makes life very fantastic. Now I'm going to get those results. Now, unfortunately with these cells, you can only execute one of these CARES computer algebra system commands at a time. So let's run there. We can see the addition of these two rationals is 41 over 20. So you've got the common denominator of 20, between the 5 and the 4, and that is what you're going to have. Lastly, we can also divide it, and I'll get a proper answer of 16 over 25. Now that looks beautiful, but what if I want to use symbols?  So I can have my variables to find the symbols in Sympi. I can still assign a variable and then have a symbol to that. But I can also change that variable into a symbol itself. Let's have a look. I have x comma y equals, and here's your keyword, symbols. So it's Sympi dot symbols. Then I'm going to have x and y. Now they should not be that comma in there. You just leave it as such, and it's got to be in the same order because it's going to map this x to a symbol x instead of a variable. And this symbol y, this variable y to this symbol y. So I'm just equating this, mapping this symbol, this variable to a symbol. Then we're going to have two expressions, expression 1 and 2. Those are just variable names, and now it's going to be y plus 2 times x. Now, I have not defined or given y a value or x a value. As I would have to do in Python, I would have had to say y equals 1 and x equals 4, and then execute this now, get an answer, but now I have to find them as place all the symbols as the symbols. And there's my expression 2, 2 times x plus y. So you see these two are exactly the same. And to get more than one of these, well, I'm not really executing anything. All I'm going to do is just to print these two, the values of these two variables. So there we go. I have 2 times x plus y. So I didn't calculate anything. It kept them as symbols as a computer algebra system. And look at the order. It's keeping x and then y. It's got nothing to do with the order in which I defined these. In other words, let's try that. I can have y and x, and then just map them to the same thing. Otherwise, things can become a bit hairy. I can do this, and if I execute it now, I'm still going to have it in that order. It's written in the Python, the Sympi library that I'm going to have x as before, y. As well, there are various rules as to what goes, and before what, and you get used to it. Now, the beauty of this, I can also do simple calculations with this. So if I have expression 1, that's 2 times x plus y, and I subtract x from that. So it's 2x minus x. Or I take expression 2, which is 2x plus y, and I add 1 to it. So look what happens. This is beautiful. So I had 2x minus x. That just leaves me an x. So the system actually did that calculation for me, and now I have 2 times x plus y plus 1 for expression 2, to which I've added 1. So that works quite well. Now remember, not all expressions are simplified in this order. The default is this factorized view, and you can expand and factor various expressions, and we'll have a look at that. Let's just look at this one. So x times expression 1 is going to leave it as x times 2x plus y. It's not going to say 2x squared plus xy. It's going to leave it in this factorized form. Okay, so yeah indeed, we're going to try this expanded and factorized view. So yeah, I have this expression 1 times x.  Sympy, my reference there, sym.expand. Let's see what happens there. So it's now going to distribute that x in. It's going to expand now. I suppose some of these keywords can not be so clearly meaning, but expand means it's going to distribute that x in, so it's going to be 2x squared plus xy. And if I have this 2x squared plus xy, I can also factorize it. So I'm going to have sympy.factor, and if I run that, lo and behold, it's going to take out the common factor of x, and I'm left with 2x plus y. So that's a short introduction to sympy. In lecture 2, we'll move on to something a bit more advanced. See you then.


The purpose of this study is to evaluate the need for orthodontic treatment among students in a high school in Tehran. This article was authored by Safavi Sahib Muhammad Reza, Sephardiri Ali Akbar, Nori Mathab, and others.


This video will talk about polynomial functions and the attributes of their graphs. So here we have a function, they want us to say to the degree, figure out what the N behavior would be, and tell them what the Y intercept is. So degree. Remember add those exponents and that will tell you the degree of this polynomial. So one plus three plus one is going to be five and then they want to know the N behavior. Well it's an odd degree and A is less than zero here because we've got this negative going on here. So that means it's going to start and then negative X's is going to start and the positive Y's are starting at positive infinity and it's going to go end being down at negative infinity. Remember these are the opposite. As X gets very small, Y gets very large. As X gets very large, Y gets very small. And then they want us to do the Y intercept. Well hopefully we've done enough of these that you remember that X equals zero. So we're really saying the opposite of zero plus one times zero minus two cubed times five times zero minus three. So we have a negative and then this is just going to be one. This is negative two cubed and this is really just negative three because five times zero is zero. So negative one times negative two cubed is going to be negative eight and then times negative three. Well negative times a negative here is going to give me positive eight times negative three which is going to be negative 24. Zero negative 24. Okay so now we have to we want to use some of this all together. Which graph matches the function? So X plus one quantity squared. Let's talk about the degree. The degree is going to be two plus one plus one to four. So that means that both ends have to go the same direction.  So A isn't going to work. B would. C doesn't because those are opposites and D would. So I only have these two that I have to worry about right now anyway. I've narrowed it down. Now what are my zeroes? My zeroes here are at negative one and it should be bouncing. And we have a negative three and that one should be going through. And then we have it at positive two and that one should be going through. T banks through and B means bounce. So at negative one it bounces right here and it doesn't bounce here. So I'm thinking it's B but let's make sure everything else works. X plus three goes through and that would be at negative three and it goes through. And at negative or positive two it goes through. So this is definitely going to be B. Let's look at this next one. The degree X I've got two plus one more is three plus two more is going to be five. And it's a A is greater than zero. So that means that we're going to have a down up situation. So down up is A and down up is C but it's not B and it's not D. So I've got these two to consider. Now we look at the zeroes. We have negative one and it's an even exponent so it's going to bounce. We've got negative three but it's an odd exponent so it goes through. And then we have two with an even exponent so it's going to bounce. Let's start at negative three. It should go through at negative three. It does for both of them. Negative one. This one looks like it went changed directions and this one looks like it bounced. So I'm thinking C. Keep going at two. It should also bounce and it doesn't bounce up here at A but it does at two down here. So we would say that this one is going to be C. Then it says assume that A is one so we don't have to worry about the A's. Write the function for the graph D in the same form, factored form. I've got that X plus three at negative three and it bounced so we'll say that's squared. And then we've got our X plus one to be that negative one and it goes through so we'll just leave it as one factor. And then we've got our X minus two at positive two and it also goes through so this would be a possible function. And I say possible because we're just thinking the minimum degree and those kinds of things. Now let's go the other way. Knowing what we have here let's sketch. So the degree here is three plus one so the degree is equal to four. A is greater than one so that means that we're going to have in behaviors that are up in both directions. The X intercepts are the zeros so let's figure those out. If I have three X minus four equals zero and X is going to be equal to four thirds. And if I have X plus one equals zero then X is going to be equal to negative one. That's my other zero or X intercept. And then the Y intercept I'll do it in a different color. But remember that's just going to be three times zero minus four times zero plus one quantity cubed. This is negative four times positive one cubed which is just one. So the Y intercept is going to be at zero negative four. And then we've done the zeros in our multiplicities. We can do that when we're graphing. So I'm going to graph. Here's my axes and I have X intercept at one and one third. So it goes somewhere around here. And I've got another X intercept at negative one. So it goes here. A Y intercept at negative four. So it goes right here. And I know I've got to start up and go through this negative one because this is an odd degree. And I have to go through my Y intercept and I also have to go through that four thirds. So start up and then go down to my graph and then it's going to go up and something like this. This is not a parabola. This is just a real rough sketch of what it looks like but this is not a parabola. Don't think that. Because of the way these were situated and then my other one was farther over it actually gave me a little bit different kind of graph.


The final item of business is members' business debate on motion 13890 in the name of Oliver Mundell on the cycle to circuits to mark the 30th anniversary of the Locker Bay disaster. This debate will be concluded without any questions being put and I would ask those members who wish to speak in the debate to press the request to speak buttons. I call on Oliver Mundell to open the debate. Thank you, Presiding Officer. Thirty years ago, on the shortest and darkest day, Pan Am flight 103 left Heathrow airport for New York. Shortly after crossing into Scottish air space and gaining clearance for the trip over the Atlantic, flight 103 exploded over the Locker Bay area, killing 243 passengers, 16 crew and 11 on the ground. For many of the victims' families and those in the town who were caught up in the events and aftermath of 21 December 1988, there is before Locker Bay and there is after Locker Bay. Born almost a day to the year later, I, like an ever-growing number of people, have only ever known one Locker Bay. I could not be more proud of my association with the town. It may be full of characters, as some American visitors have pointed out, but better characters you would be hard pushed to find. Locker Bay, more than anything, has heart. A quiet determination to move forward and make the best of things. Friendly, open and welcoming, partly because it is and partly because it has had to be. The words penned about gentle Locker Bay in On Eagles Wings, written by the mother of one of the victims, are too painful to quote here today, but they are worth reading and reflecting upon. They capture the complicated relationship between the victims on the ground and those in the air. Everyone thinks that they know Locker Bay, but until you have stood in the high street and watched life go on as normal, almost as if nothing had happened, it is impossible to understand the achievement.  However, it has not come without a cost. The scars are not far beneath the surface. Visually, Locker Bay is healed, but emotionally for many the subject is still raw. The same grit, determination and complexity can be found in America and beyond, where the families and institutions and individuals have kept in memory alive but also focused on the future. Indeed, for many on both sides of the Atlantic, perhaps the only universally positive thing to come from the disaster is the strong bonds and connections that have been formed. Arguably, the link between Locker Bay academy and Syracuse University in upstate New York embodies this best and is the most tangible link for many. In the aftermath of Pan Am 103, Syracuse University, as an institution, promised that it would not forget its students and pledged to honour its memory through learning and teaching, so that tragedies such as Pan Am 103 would not be repeated. The 35 remembrance scholars and two Locker Bay scholars who study at Syracuse every year are one of the ways that the university strives to fulfil their promise to remember all victims, including 35 of their own students. Through those scholarships, students are encouraged to exchange ideas and to educate themselves and others about the effect of terrorism. Thirty years on, the university has not only held true to that promise, it has opened the doors to the families and communities of all 270 victims, holding an annual remembrance week in October, and it has built up an extensive archive, helping to capture an important moment in our collective history. The success of those programmes cannot be denied and they have inspired and brought out the best in human nature. To paraphrase the words of a former student, the network of Locker Bay and Rembrans scholars have now gone on to become global advocates, educators, activists, Government officials, scientists, entrepreneurs and entertainers, all the while embodying the spirit of those lost on Pan Am 103. Of course, everyone involved with or touched by the events of 1988 wish that they were not involved, but together our communities have rediscovered the best in human nature, recognising that we are both unintended victims. That said, like many people living locally, I still want the past to say in the past. To remember yes, but at the same time for people and the town to have the chance to move forward. That remains my view, but through this project I have realised that there will be no closure. After 30 years, those events cannot be wished away. It is easy to think that there is nothing we can do or to try and sidestep the issues that I so nearly did when Colin Dorans first got in touch. However, in the midst of the Rembrans scholarship programme, there is some good advice for us all—look back and act forward. That for me is what the cycle to Syracuse is all about. In 1988 a journey began that was not completed. Thirty years on, the cycle to Syracuse intends to continue that journey. It aims to complete the 3,238 miles between Lockerbie and the university in Upstate New York, which lost 35 of its finest students. That is a memorial tour by the community in Lockerbie on behalf of the whole town to demonstrate our on-going support for the families and friends of all the victims of the Lockerbie bombing. In resuming this journey, we remember those who lost and those who were affected in the aftermath, the response of the townspeople and the thousands who came to help. However, it is not just about reflecting or dwelling on the past, it is about constructing a better future. The aim is to focus on the on-going relationship between Lockerbie and Syracuse University today, to celebrate the hundreds of bonds that have emerged and will endure forever. The symbolism of the journey is undeniable. Completing the journey, linking together our communities, creating new connections, turning words into action and sometimes the need just to go through the motions. Most importantly, it is an excuse to talk and reflect. Even the gift of the crook that was made by the Lockerbie men's shed from wood source from the Tundergarth area, where the nose cone of the plain fell, has deep meaning. For me, though, the most significant message has come from seeing more than 1,600 pupils from the Lockerbie academy catchment take part in this initiative, using pupil power to get the team across the Atlantic ocean. Their excitement at being involved alone makes the whole thing worthwhile. Even as primary civins, there are a number of young people already planning on becoming the Syracuse scholars of the future. There is, too, the possibility that they will benefit from the funds raised by local charity Soul Soup from the journey who plan to enhance mental health support at Lockerbie academy. Of course, at the heart of this project is an incredible team, and I am delighted that they can join us in the gallery. At the helm is organiser Colin, who was amongst the first police on the scene in 1988, as an 18-year-old rookie policeman. He had a vision and determination to turn that idea into reality and has a close connection to Syracuse, where his son was a Lockerbie scholar. Next up is Paul, a serving firefighter in the Lockerbie crew. Paul is the joker in the deck, and I am sure that his sense of humour will come in handy in the home street. Heavy, who joined mountain rescue workers scouring the hills in the aftermath of the disaster, shows that age is no barrier, and he is the local favourite to be first over the finishing line. Brian, who is the headteacher at Lockerbie academy and new to cycling, is certainly leading by example. He also represents the wider community and its successful changing of the guard at the school. David completes the team. Maybe it is his paramedic training, but he is the one who looks after everyone else, thoughtful and reflective. In my constituency office, we think of them a bit like a boy band. We have nicknamed them the mammals, short for middle-aged men in Lycra. I am presiding, if you look up to the gallery, you will see that that description is, of course, more generous to some members of the team than to others. In a few weeks' time, I look forward to performing my own role as one of the backing dancers and joining the chair of Lockerbie community council, Jan Andrews, on a tandem for the final miles into Syracuse. Although thousands of miles away, to me, that seemed more realistic than joining the Fecan Flyers and community riders on the 70 miles from Lockerbie to Edinburgh Castle. The joy here is that there really is something for everyone in this initiative, and the core team has a grateful community behind them, both at home and abroad. That is why, in conclusion, I simply want to say thank you and wish the team and all those involved in the cycle the best of luck. Before we move on to the open debate, can I ask those in the gallery to make that the last time that they cheer, hiss, boot or other rise? We now move to the open debate. Speeches of around four minutes, please. Joan McAlpine, followed by Finlay Carson. Can I start by congratulating Oliver Mundell for securing this very important debate? Can I also congratulate him on the timing of the debate? The 30th anniversary of the Lockerbie disaster is more than two months away, but by drawing Parliament's attention to the Cycle to Syracuse memorial tour now, more people will be able to follow the cyclists on their epic journey, and it gives plenty of time to donate to the just giving page that they have set up to support Soul Soup. The attack on Pan Am 1 flight 103 in 1988 was a terrible act of violence, the worst mass murder Scotland has ever experienced. 259 passengers and crew aboard the plane and 11 more people on the ground lost their lives in the most awful way and we must never forget that. I was privileged to attend the 25th anniversary commemoration in Lockerbie and meet some of the relatives of those murdered on the plane who had travelled across the world. What struck me when I spoke to them and Oliver Mundell has already alluded to this was the very special place that they had in their hearts for the town of Lockerbie and its people. Despite the shock and the scale of the disaster, the town's people showed so much humanity at the time, helping to recover the dead in their possessions and assisting the emergency services, opening their homes and their hearts to the families. That has continued, of course. Long after the wreckage was cleared away with the support of the people of Lockerbie, it continued to give the bereaved and special relationships that they have formed with those across the world, not least Syracuse University, which lost 35 young students. The Cycles and Initiative, which is typical of that Lockerbie spirit, completes the journey home, those young people from Syracuse never finished. It is a deeply appropriate response, I think, because it involves the four emergency services that dealt with the aftermath of the bombing in the most professional way that night. It is also very appropriate that it includes the headteacher of Lockerbie academy, a school that, as Oliver Mundell has said, has formed such a strong bond with Syracuse because of the scholars that it sends every year, a programme that has been in the past supported by both the Scottish and the UK Governments. Many pupils of the academy and the surrounding schools are, as Oliver Mundell has said, completing the journey virtually, which is marvellous. I would also like Oliver Mundell to pay tribute to the other community organisations that are supporting the cycle in different ways, including the Lockerbie men's shed and the Fechin flyers. It is also very fitting that they will be joined by local cyclists on the way to Edinburgh Castle and by numerous international friends as they complete the journey to New York State, making it both a local and a global commemoration. I am particularly pleased to see that the fundraising will benefit SoulSoup, a mental health charity for 12 to 15-year-olds in Dumfries and Galloway. I was privileged to attend the opening of SoulSoup a few years ago and have seen at first hand the invaluable support that it offers in a very friendly and informal environment, which is very much led by the young people themselves. It is a fantastic charity to be benefiting from that. Thirty years after the Lockerbie disaster, we are all far more aware of how adverse childhood experiences can affect the mental health of teenagers and young adults throughout their lives. I know from speaking to some local people who were children or teenagers at the time of the Lockerbie disaster that the trauma of the experiences at that time have left lasting scars. That is why I wanted to finish by mentioning another commemoration initiative proposed by some of those who were directly affected by the disaster when they were young and who contacted me earlier this week. Local environmental artist and curator John Hogarth and John Wallace, a filmmaker and former Syracuse scholar, both experienced the disaster that night. John is a child and John is a young art school student home for Christmas. They hoped to conduct and film a peace prayer walk at dawn on the morning of the commemoration. The proposed walk is at Burnsworth Hill, a very special and spiritual local landmark close to the place where the cockpit landed and with a 360-degree view of the landscape where so many souls came to rest. The proposed prayer walk would be interfaith and non-denominational, and walkers would carry flags from around the world to reflect the diversity of the people on the plane. The artists are in discussion with the Allenton world peace sanctuary near and free to discuss how best to organise any walk as sensitively as possible. I know that they are speaking to members of the local community as well. Although it is early days, I want to wish them well in their endeavours. In the meantime, I am delighted to express my support for Cycle to Circus Lockerbie memorial tour, which is already well underway and will involve so many people from Scotland and around the world between now and the 21st of December. I thank Oliver Mundell for bringing this important debate to the chamber this evening on a subject that I know is important to many of my colleagues and, of course, to many of my constituents. Each year, there are private events that take place in Dumfries and Galloway and across the USA to remember most of which we will be unaware of as we go about our daily lives. Thirty years on, for me, as someone who was living in Dumfries and Galloway the night of the 21st of December 1988, it will be a night that will always stay with me. I just turned 21 and I clearly remember the evening arriving in the King's Arms after an evening with the young farmers and we were met by the news that a plane had crashed in Lockerbie. We all thought that it was a joke and then the picture started to come through and the questions were asked, was it a low-flying military jet, as we often experienced, but it soon became apparent that it was much greater than that. I remember sitting up throughout the night with a good friend, Deein Lindsay, trying in vain to get through to his brother, who lived near Sherwood Crescent. All the telephone lines were down and that brought the horror home. It really was a disaster unfolding in front of our eyes and there were no mobile phones and I remember the tension of the lack of news coming through. We know now that it was not a military jet or a simple plane crash. It was Pan Am flight 103, a transatlantic flight from Frankfurt to Detroit via London and New York, brought down by a terrorist bomb, killing all 259 on board at an 11 on the ground. It had a huge impact on the people right across from Frees and Galloway, with few families not touched by the event. Willie Johnstone, a BBC reporter with Radio Solway, who has just retired after 35 years, arrived on the scene only hours after the explosion. His contribution is still clear in my mind. As well as telling the news of what happened in the aftermath, he also had the voice that provided a vital information link between the authorities and the community. My cousin Gordon McKnight, who I know joined the police force just shortly before Colin did, was only four months in the job when he was stationed in the initial mortuary in the town hall, travelling 86 miles from Stranraer on a daily basis for a 16-hour shift, a hugely traumatic eye opener for a young cop who had only seen a few bodies before then. He became the area inspector for Lockerbie area and, 27 years after the events, the memories of those dark days are still very much there. The local police force, the smallest in Scotland, the local community, local authority, emergency services and support workers made a huge effort on the ground, which I know will never be forgotten by the families hit by this tragedy. Colin Dorans was on-site as a policeman 30 years ago. At that time, he was the youngest policeman in the whole of Scotland. As referred, Colin has taken the lead in the cycle to Syracuse. This is a community initiative instigated by the people in services in Lockerbie to remember all those who were lost and to honour the response of the community and emergency services and to show support for all those who suffered and the times that followed. To mark this 30th anniversary, four emergency service cyclists and the head teacher of Lockerbie academy will complete that journey that the 35 Syracuse students never completed. The challenge over 3,238 miles from here in Scotland and across in the United States will finish at Syracuse University. It will help funds to raise funds for soul soup, a charity based in the region doing excellent work for people with mental health problems. It is challenges and fundraising ideas such as those that are the positive legacy from such a horrendous event. It is about people coming together and helping those in the greatest need. I know where epitomises that spirit better than in Lockerbie and across in Fwcengalloway, yet again we have people going above and beyond to help other individuals. I would like to wish the cycling team the very best of success in their cycle ride and I would encourage everyone to get behind such a wonderful cause. As Oliver said, the motto goes forward Lockerbie. Christine Grahame, followed by Colin Smyth. Thank you, Deputy Presiding Officer. Let me declare an interest as a member of the Justice for McGrachie campaign. I congratulate Oliver Mundell on securing this debate and welcome his so-called Syracuse team to the gallery. It is important to recall that dreadful night nearly 30 years ago, with the death of so many, the young students who will be commemorated in that cycle journey with lives ending so tragically, but now the cycle is taking it to the destination they never reached. It also reminds us of, as has been said, the Lockerbie residents, 11 of whom also died that night, and the actions of the professionals who, through their sensitivity and kindness then and over the years, have created a bond across oceans with the families and friends of those who were killed that night. Lockerbie, like Aberfan and Dunblane before it, never wanted to be in the headlines as a graveyard for so many, yet it has dealt with that atrocity with grace and dignity. It should not have been Lockerbie, of course. The delay in Flight Pan Am 103 meant the bomb, which is probably timed to detonate over the sea without evidential trace, did so over acres of bleak winter Scottish countryside. Although I have nothing but admiration for the Lockerbie community, I feel that no line can be drawn under that night until the conviction of Abdul Basri al-Maghrahi is finally and fully tried on a last appeal. You will recall that a second appeal on a referral from the criminal cases review commission was abandoned by Maghrahi in my view to secure his transfer from Greenock to Libya to be with his family as he succumbed to terminal cancer, evidence to this day that has not been heard. I met him three times and at my last meeting with him he made it clear that it was not for himself but his family that he wished his name cleared. He did not want the name Maghrahi to forever be part of the Lockerbie atrocity. At this moment, a third application for review is in process with the Scottish Criminal Cases Review Commission, lodged by his family. I have been told by it that it has passed stage 1. In other words, the commission has accepted his reasons for abandoning that second appeal. In other words, as he thought it would help secure release. It is now at stage 2. That is the substance of the grounds for a new appeal that is being considered. It hopes to report by the summer of 2019. In the meantime, the separate police-led sandwood inquiry into the actions of police, prosecutors and forensic officials at the time, which is investigating claims of attempts to revert the course of justice prior to the campsize trial, is yet to complete and be sent to the Crown Office. Started in 2014, the pronouncements of its imminent conclusion have been much postponed. While the SCCRC could conclude its findings without that report, there is no doubt in my mind that it will be difficult for the commission to fully conclude without it. Sandwood's slow progress to be kind gives concern because, 30 years on, that justice delayed is justice denied for the people of Lockerbie, the Syracuse students, every one of the 270 who died and their families and friends, and perhaps even the McRahey family. I call Colin Smyth, followed by Emma Harper. Thank you, Presiding Officer. I begin by declaring an interest as my wife is a teacher at Lockerbie academy. I also add my thanks to Oliver Mundell for his motion, which reflects on the tragic events of 30 years ago on 21 December 1988, when 259 passengers and crew, along with 11 residents of Lockerbie, lost their lives in the bombing of Pan Am 103. The motion rightly urges us to recognise the truly humbling response of the community and emergency services to that tragedy at the time and since. Like others who live in Dumfrieshire, I have met many of those people who did indeed respond at the time. My then neighbour, who was a nurse and who responded to the messages that flashed up on our TV screens on border TV that evening, asked all medical professionals to report to Dumfries and Galloway royal infirmary, but, given the finality of events, sadly, there were no survivors there for her to treat. The family friend, who was a council catering worker at the time, helped to feed hundreds and hundreds of rescue workers over many long days and long evenings. The local newspaper photographer, whose home overlooked Lockerbie and his photographs appeared with no personal gain to him on the front pages of newspapers across the world the following day. We could go on and on about the remarkable people at the sharp end of the response to the Lockerbie bombing from the community and emergency services, many of whom worked tirelessly for days on end trying to cope and helping others to cope with the magnitude of the destruction that they faced. It is right that we recognise them and the organisers of the Cycle to Syracuse are to be congratulated for doing just that as they embark on their 3,238 miles to Syracuse University, involving the community, in particular, hundreds of young people every step or should I say every pedal along the way. Remembering and paying appropriate tribute is what the people of Lockerbie have always done. When you visit the town itself, you will see that the peaceful memorials to those who lost their lives located in Sherwood Crescent, Rosebank Crescent and the Memorial Garden and Drive Stale Cemetery. In 2003, the former caretaker house at the entrance to the cemetery was developed into a visitor centre by the community to provide a space for visitors to reflect but also for exhibitions to chart in the proud history of Lockerbie. Volunteers at the centre have played a quiet but important role in helping those who lost loved ones to grieve, find peace but also explore Lockerbie and the surrounding areas. In the town hall in the centre of Lockerbie, you will also see another memorial, the dramatic stained glass window that depicts the flags of the 21 countries who lost citizens in the bombing. However, it is not just about physical memorials. As we have already heard, the lasting legacy has formed through the Syracuse scholarship that was created between Lockerbie academy and Syracuse university who lost 35 of its students in the bombing. The scholarship allows two students every year from the academy to spend a year at Syracuse before they begin their university studies. In addition to the two Lockerbie scholars who this year are Joe Holland and Harriet Graham, there are also 35 remembrance scholars who study at Syracuse university every year. In 2003, the then rector of Lockerbie academy, Graham Herbert, was recognised at Syracuse university with the Chancellor's Medal for Outstanding Service and this year his successor, Brian Asher, will be one of the five who cycle from Lockerbie to Syracuse. Add in another fitting legacy by raising money to provide vital mental health counselling services for local young people. It is worth reflecting on the fact that the outward-looking international focus of the Towns academy and young people goes beyond those strong links that were fostered by the tragedy of 30 years ago. Next year, the academy will celebrate a decade of its strong partnership with the Thawallee primary school in the Melangea district of Malawi, which has included raising funds for the development of a Mary's meal feeding station at the school and the setting up of a scholarship programme to support a number of pupils at Thawallee through to secondary education. For 30 years, young people have also been at the heart of the development of the wonderful Estregg reserve on the edge of the town by the Lockerbie wildlife trust, led by former principal teacher of biology at the academy, Jim Ray, who for two decades taught students biology at the reserve. Lockerbie is also famous internationally for its love of culling as a home of one of Scotland's oldest culling ranks, giving rise to world and European champions and Olympians of all ages. I make those points because, although it is so important to reflect on the tragic loss of the Maid of the Seas over Lockerbie in 1988, which will of course always be part of the town's story, we should also recognise that, 30 years on, there is so much that is positive to reflect on about the town of Lockerbie, which is a vibrant, proud and forward-looking community. In the meantime, I wish all those involved in the cycle to Syracuse all the best and good luck. The last of the open debate contributions is from Emma Harper. Thank you, Presiding Officer. First of all, I would like to congratulate Oliver Mundell for bringing forward this motion this evening, the cycle to Syracuse, to mark the 30th anniversary of the Lockerbie disaster. I cannot believe that its 30th year anniversary, since Pan Am Flight 103 crashed on the town of Lockerbie and in the surrounding fields on December 21, just before Christmas in 1988. Oliver Mundell's motion and indeed his speech shows that, while we remember and reflect, we can still look forward. I would like to acknowledge the cycle charity ride by the team, the Lockerbie Memorial Tour, 2018, from Lockerbie to Syracuse, which includes members of Echelffecan-based cycling club, the Fecan Flyers. It is worth noting that many children will perform the virtual cycle ride, as Oliver Mundell and Joan McAlpine have mentioned. That is testament to the resilience that occurs following adversity. Oliver's motion mentions the police, ambulance, fire service and mountain rescue that were all involved. I commend all the emergency services personnel for current work and previously who took part on that night and in the subsequent hours, days and weeks following the UK's worst terrorist air disaster. That was an extremely tough time for many. Last year, I heard particular detail from one of the fire and rescue service personnel who attended that night and on the following days, as he chose to share his very personal, often quite emotional, recollection with me. While reflecting on the event myself, I thought about tragedies and disasters that occur across the world and we often hear where people state exactly where they were when they heard about a particular event, the exact moment. That had me thinking this weekend a lot in fact about where I was 30 years ago at the time of this disaster. A couple of points that I have been reflecting on was that one was from a dairy farmer and one was from me the nurse. The dairyman was my dad. He said that he was checking a coo out in the field that was about to have a calf out in the front field and he heard what he described as a boom or a low sound described as maybe an explosion. Our family home is actually quite a few miles from Tundra, Gareth and Lockerby. It is about almost eight miles, but could my dad actually have heard the bomb go off from eight miles away? Just after 7.30 p.m. on that night, I received a phone call from my flat from the operating theatre manager. I was walking distance to the Royal Infirmary. We needed to come in, the manager said. There has been a major trauma, a disaster. The hospital disaster plan has been activated. We do not know what is going on yet, but it may be a plane crash, it may be military. My role was to help set up the operating rooms, theatre 1 for trauma, theatre 2 for trauma, theatre 3 for orthopedic trauma, theatre 4 for minor injuries and suturing cuts and wounds. We were told to prepare and expect many trauma patients and cases. We set up, we got the rooms ready, we waited and waited. The trauma did not come. Hundreds were dead. Later we heard that 270 people lost their lives that night. That experience of preparation was calm, organised and methodical. It helped me years later when the massive Northridge earthquake happened in 1994. I, as a young new migrant to the USA, was able to work with professionals from perhaps 21 countries, which is similar to the 21 countries where people lost their lives. I was able to work with professionals to care for the victims of that disaster. A comment about the Shepard's Crook, which will make its way to the Remembrance Service at Syracuse University by members of the core cycling team marking the 2018 Remembrance Week. I love the fact that wood sourced from tundra garth has been made into the Shepard's Crook by members of Lockerbie's Men's Shed. The bike ride, the Shepard's Crook, is so symbolic and so human and so important. I recognise and acknowledge the role that Syracuse University plays in providing a focal point for many families who were affected, maintaining an archive and continued fostering of links with the town of Lockerbie and the Lockerbie academy, which has been mentioned. I look back and act forward. The motto of the scholarship remembrance programme is fantastic. The town's motto, forward looking, has been mentioned by others as well. Those are apt terms for us to think about after 30 years. Finally, once again, I thank Oliver Mundell for bringing this important debate to chamber today and again I echo his words. I call Ash Denham to respond to the debate. I would like to add my thanks also to Oliver Mundell for securing this debate and for what was a very moving speech on his part, I thought, and to wish you well with your tandem ride when it approaches. Also, for providing Parliament the opportunity this evening to pass on our best wishes to those who will be taking part in the Lockerbie memorial tour later this month. I would also like to add my voice as well to welcoming the team to the gallery this evening. It has been a very good debate this evening, a very thoughtful debate with thoughtful contributions from all the members across the chamber, so I thank them all for taking part in this evening. As we have heard, this event is marking the 30th anniversary of the bombing of Pan Am flight 103, which remains the worst terrorist attack ever perpetrated in Scotland. 243 passengers, 16 crew and 11 people on the ground were murdered on 21 December 1988. It is important that we do not forget the pain and suffering of the families and friends of those who died that night. Presiding officer, the town of Lockerbie will never forget what happened that faithful evening. The memorial, the remembrance garden, the stained glass windows at the town hall stand as a tribute to those who were killed in this incomprehensible atrocity. Throughout what was a hugely complicated and traumatic investigation and trial, the families and friends of those who died carried themselves with great resilience and also great dignity. People from across the world were affected by this tragedy. The passenger list included people from 21 different countries, and as our 30th anniversary approaches, our thoughts are with them also. Many of those who were on board were heading back to the United States to celebrate Christmas with their families, and members will be aware that the Lockerbie bombing claimed the lives of 35 students from Syracuse University as we have heard this evening. That is 35 young lives who were cut short in their prime. Out of this horrific tragedy has come an outward facing spirit of friendship and companionship by the people of Lockerbie. The six volunteers that are taking part in the US leg of the cycle challenge will ride from the Lockerbie care in Arlington National Cemetery to Syracuse University and arrive in time to join the university's annual remembrance ceremony. That reflects the close links that have been formed between the town of Lockerbie and Syracuse University and continue to this day. In the aftermath of the Lockerbie bombing, the Lockerbie Syracuse Trust was established, and each year it gives two students from Lockerbie academy the opportunity to attend Syracuse University for one academic year. Syracuse University and the Lockerbie Syracuse Scholarship Trust meet the costs of their attendance jointly. Since it was established in 1990, 58 students from Lockerbie academy have spent a year at Syracuse University giving those students an opportunity to extend their academic education, experience what life is like in another country and to develop their self-confidence and independence. All of the things that those 35 Syracuse students had been doing before their lives were taken on that fateful night. The motto of Syracuse Remembrance week is, think back, act forward, as we have heard this evening. The Lockerbie memorial challenge is acting forward by raising money to help young people closer to home. The money raise will go to support SoulSoup, a mental health charity based in the Dumfries and Galloway area. Statistics published recently in the Scottish health survey found that 21 per cent of young people aged 16 to 24 reported that they had self-harmed. That only highlights the importance of providing support to young people who are experiencing mental health difficulties. SoulSoup works in the Dumfries area to provide free counselling and support to young people in the region who may be in need of help, who might need somebody to talk to, who might need to be referred to a specialist counselling or treatment service or who might need advice and guidance as they navigate their way through the stresses and strains of growing up. The aim of the challenge is to provide sufficient funding to help place a dedicated SoulSoup worker at Lockerbie academy to serve the school and the youth of the local Lockerbie community. I would also like to highlight the contribution that is being made by the school children who are helping to meet the challenge of cycling the total distance of 3,238 miles between Lockerbie and Syracuse. Of course, you cannot cycle across the Atlantic Ocean, so the first part of the challenge has involved children from 12 local schools on their own bikes or on exercise bikes at schools. They are seeking to complete the 2,568-mile combined cycle at events that began in September and will conclude with an event at Lockerbie academy on 10 October. I wish the best of luck to all those who are participating in the Lockerbie memorial tour. On 13 October, the team will set off from Lockerbie academy to ride to Edinburgh castle, accompanied by other cyclists from Lockerbie and members of the Echo Feckin base cycle club, the Feckin Flyers. When they reach the castle, there will be a reception to welcome them and others who have helped in organising the event in which the Cabinet Secretary for Justice will also be attending. I hope that the weather holds good for them on that day and that they have a southerly wind to help them on their way up to the castle, because that could be quite a difficult part. In the spirit that has been formed from adversity and those taking part are truly thinking back, acting forward in a very inspiring manner. That concludes the debate and this meeting is closed.