Focus on 1 7 13 19 25
Smallest amount of key frames to make it as smooth as possible.
Timing of legs, then timing of arms, and then in between.

Use Animators Handbook
Strike first pose at 1 'contact pose'
Upright post, front foot flat on floor at 7 'pass pose'
At the start we're only after the pass and contact.
Tilt weight onto foot as the transfer is to the ground. Slighty to one side to keep balance. Make sure the pose is right from the front.
Naturally counter balance, center of gravity should be in the center.

If the timing is out in the first place, any subsequent performance is useless.

As we walk our fleet angle outwards for a smoother avoidance of the ground, makesure you offset your fleet as you walk slightly.

Cut and paste using the grease pencil tool to work out your timing and speed for weight.

I'm kind of at a loss, I reduced  my textures from 3000x2000 and 5000x3000 down to 1920x1280, yet the render time is still huge.

I lowered the render quality.

Reduced the render size.

But still the render time is huge. Is it purely the MIA-X material and the relfective chrome effect? I'm not sure.


Update:

I went back to Increment save 142 instead of 143 or 144 and the render time was incredibly different at a LARGER render size..

What characters did Friz Freleng create?

My favourite character in the Looney Tunes world was Sylvester the Cat, Friz gave life to this character, along with Bugs Bunny, Porky Pig, Tweety Bird, Yosemite Sam and Speedy Gonzales.

What studios did Friz Freleng work for?

Friz began his career at United Film Ad Service around 1923.  Friz then waited til 1927 and moved to California to join the Walt Disney Studio. He then left with some colleagues to create an animatoin around the character 'Bosko', whilst they were trying to sell it, Friz worked briefly for Mintz Krazy Kat Cartoons comic studio. He was then picked up by Leon Schlesinger to work in his studio to produce content for Warner Brothers.

Friz then began work to fix cartoons directed by Tom Palmer, which Warner Brothers had rejected. Friz Freleng became Schlesinger's top director.

1937 Friz joined MGM to director for their new studio, but happily returned to Warner Brothers when his contracted ended in 1939.

Friz left Warner Brothers in 1962, months before the studio closed to join Hanna-Barbera. After the close, Freleng and his old boss rented out the same place to create cartoons, forming DePatie-Freleng enterprises. When Warner Brothers reopened their cartoon devision, it was DePatie-Freleng which was actually producing the content. DePatie-Freleng continued  on until they were sold to Marvel Comics. By now Friz had joined Warner Brothers as a producer.