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- [Instructor] If you've
watched the previous chapter,
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it's no surprise for you that
the first thing we need to do
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is search for references.
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This video, I will show
you what I'm looking for
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in my references and how I
use them to plan my animation.
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I'm convinced that we are in
the golden era of learning,
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or there is a bunch of stupid
things on the internet,
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and you can waste your whole
life watching funny cats
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and stuff like that.
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Nowadays, you can find tutorials
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for almost everything in life.
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You won't necessarily get good
references from tutorials,
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but you can learn a lot about
the purpose of a stance,
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the purpose of a footwork,
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how the body's supposed to be moved
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to land an accurate
switch kick, for example.
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Watching this kind of video
would bring your attention
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to small details, whether they
are cultural or technical.
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And those little details
will bring believability
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and authenticity to your animation.
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So it's always a good move
to mix your references
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with watching tutorials.
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And you should not limit you
references to real life videos.
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You can use drawings,
you can use video games,
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you can use movies.
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One of the most important thing
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is that you enjoy the
reference you've taken
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because whatever is appealing
to you in this video,
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it will stimulate you to put
them into your own animation.
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Finally, when it comes
to real life references,
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try to find the references
from the master on their art.
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Since I want to do a Muay Thai combo,
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I'm watching for references
featuring the masters
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at this art, like Saenchai,
Jacquot, Liam Harrison,
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or Jonathan Haggerty.
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Then you need to plan your own animation.
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If you are working in the movie industry,
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you will probably have a
storyboard or an animatic.
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If you're working for games,
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you will probably have a list of moves
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provided by the game designers.
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And if you are working for yourself,
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then you can choose whatever
kind of move you want to do.
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But I advise you to do a
minimum of planning ahead
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and then edit your references accordingly.
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In my case, I want to
do a left jab, a cross,
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followed by a powerful hook,
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and then going into a switch kick.
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It's a pretty common combo
in kickboxing and Muay Thai
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and, animation wise, it's interesting
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because the first two
punches are straight,
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then the second draw a nice curve,
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and the last move draw
an even bigger curve.
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So we will have a nice contrast in shapes.
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I've gathered multiple
references from different people
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doing the same move.
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And then using a video editing software,
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you can use a Blender, for example,
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I make sure I'm syncing
all the videos together.
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And I use the extreme to do it.
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In this case, the different hits
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of the punches and the kick.
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Finally, don't hesitate
to rework the timing
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of your references until
you get a nice rhythm.
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You can slow some parts,
accelerate other, or just cut in.
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No, listen to the hits on the reference.
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(men yell)
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Now, what I will do is
that I will cut the sound
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and only keep the impact.
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(punches thwap)
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(men yell)
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And it goes like, pum-pum, pum, pum.
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So while I was looking
for contrast in the motion
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of the reference, there is
also contrast in the rhythm.
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And if at some point you
have some linear reason
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into your reference, use video editing
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to get to a mock contrasted rhythm.
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And the best way to do it
is to do it with your mouth.
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Make the sound and the
rhythm with your mouth,
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tum, tum, tum, tum,
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and change it to ta-tum, tum, tum.
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Once you find a good rhythm,
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just edit your references
and go to the next step.
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With my reference exported,
the first thing I do
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is that I load it into
SimSketch or Keyframe Pro.
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From there, I will
scrub through the video.
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And I need to identify the
golden poses or the extreme.
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I'm looking at the poses
where the character
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are the most impactful.
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So it's generally the moment
where they hit the bag
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or just one frame after,
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as the punch goes a bit through the bag.
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For those first punches,
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this is the moment where the
body is fully in extension.
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And I will then do the same with the hook
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and the kick.
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Then I will try to spot
the contrasting poses.
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In this case, the
anticipation for the hook
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and the anticipation for the kicks.
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Once I spot them, we
can analyze those poses.
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So, as we did in the previous chapter,
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the first thing I'm looking
at are the line of action.
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On the idle stance,
the weight is generally
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on the rear foot so that
they can block incoming kicks
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with the front leg or the front shin.
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Which means the line of
action will generally go
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through the punching fist and
the real leg that is pushing.
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On the hook, the energy generally come
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from the front leg and the hips.
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And finally, on the kick,
it's quite easier to identify
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by just watching the
silhouette of the character.
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One goes from the pushing foot
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and the other on the swinging leg.
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From there, I will be looking
at the secondary shape
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exactly as we did during
the previous chapter.
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They generally help to
define the silhouette
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of the character once we have
defined the line of action.
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From there, I will go more into detail
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and I will try to define
the orientation of the chest
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using the shoulder line,
the orientation of the hips,
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and the orientation of
the head using the eyes.
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I'm also drawing lines
on the tip of the feet
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so is that I can remember
that I need to double check
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the orientation of the feet.
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It's super important.
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It's super important to pay
extra attention to the feet
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because they will directly
influence the hips' orientation.
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And we need an extra attention
for this specific animation
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because footwork in combat
sport is super important,
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as it delivers power and balance
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and so it will bring
believability to your animation.
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So once you've done this
for your golden poses,
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you will have to do it for
the breakdowns, et cetera.
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So now that know my reference workflow,
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let's jump into the next video where we
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will start blocking our animation,
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using the key poses we have defined here.
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