All language subtitles for 08-07-02 Detailed blocking part 02

- [Narrator] Here we go again.

Let's add even more
details to our blocking.

On the video reference, there
is the killer- (cut off)

Whenever Liam Arison is throwing his hook,

I'm kind of shaking in his left shoulder

in his chest, and in his head.

it looks like the recoil of a shotgun

or something like that.

To build this effect
I will need two poses,

one overshoot of the whole torso

we have the left arm will stay still

and then a second pose
where the whole body

will be pushed backward by

the force applied to the bag by

the left arm.

So basically what we need to do

is create an overshoot
for the whole torso,

push it further forward

twist model chest
controller, rotate the head

and the neck to the
right open the right arm,

and then contrapose the left shoulder

and hold left arm controller

as if there were some kind of recoil.

And try to keep the fist
in the same position

World-space-wise as the previous pose.

Even if it's hidden by the bag,

you can squash a bit the fist too.

Maybe we will be able to try

some little tricks to better

sell the impact during
the polishing stage.

From there when I'm looking at the motion

of the bag, it seems that

its trajectory is not really good.

And since this is an impact frame,

I will give it some love and

spend a bit of time to reshape

the bag and better align it

with the punch. As usual,

after we have reviewed all the poses,

I will provide you a slow paced

timelapse so that you can

follow along all the manipulation

I'm doing. Just to note,

don't forget to slightly

change the position of the feet.

The next pose we are going to build

is the actual recoil after the punch.

As seen on the reference

in the beginning of this video,

just after the impact, the chest,

the center of gravity and the hips

are twisting to the left.

It's a pretty subtle change compared

to the previous pose.

All the location and rotation

of the torso is going the

opposite way compared with
the previous pose. So,

it's very important to add another pose,

like the bounce in your bouncing ball

while the location of
the ball doesn't change,

its shape and the momentum of the ball

is completely changing.

So you need to block this. If you will

whenever the momentum or the energy

of the current motion

is brutally changing direction,

you should always block those poses.

Getting this pose right

is a lot about the amount
of twisting you input

into the chest and the center of gravity.

Then you can find tweaks,

the shoulders position,
the angle made by the arms,

et cetera. I've decided to keep the armor

pretty angular into a closed stance

So that it really sells the fact that

our character is fully contracted.

If our character was more relaxed,

I will loosen a bit the arms

and I will open them a bit more.

Since this pose occurs after the hit,

don't hesitate to push the heavy bag away

from the character.

The further it is, the more powerful

will the hook feel.

If you can bend, a bit, the bag

towards the point it came from.

This will bring a bit
of overlapping motions

that will make it look a little more

organic.

(wind wooshing)

I previously explain you

that you should always lock the poses

when the feet are getting
in contact with the

ground. Well, I also advise you

to block the poses

whenever the feet are leaving the ground.

For the switch of the switch kick,

we have the previous pose

with both feet on the ground,

and then we have the
pose where both feet have

left the ground.

So we currently need to block the pose

where the character is

pushing into the jump
and still has one foot

on the ground.

As we watch the reference,

we can see it's a pretty quick jump.

And the right foot is the
last to leave the ground.

The goal of this jump is not to

get as high as possible
or to cover distance.

It's all about repositioning
the feet so that the kicking

leg is in the back and
have more range to move

towards the targets.

So don't push the center
of gravity too high.

You can push it a bit to the front

and a bit to the left
since the whole weight

was on top of the right foot
and now the right foot is

pushing. So the center of gravity

will slightly shift towards the front,

but also so toward the left.

Then as the character is rising,

you can drop a bit the arms.

(wind wooshing)

Same concept comes for the next pose.

After the jump,

our character doesn't contact the ground

with both feet at the same time.

So we do need to build the pose

where the first feet is

contacting the ground.

And as I double check the reference,

we can see that the left
foot is the first to land.

So this is what I'm going to build.

But pose wise and motion wise,

I feel like the kick and the switch from

Liam Arison on the left look way more

badass.

As he lands almost into
his anticipation position

and throw the kick right away.

I may not be super objective since I love

his style.

To get the left foot in
the correct position,

I will simply select it.

Then go to the pose where it's in contact

with the ground, copy
the pose and paste it

on the previous frame.

Since this is the contact pose,

I will raise the toes so
that on the next frame,

they will slap on the ground

creating a nice overlapping motion.

To find the pose of the torso

controller, I will use the breakdowner

so I will press shift-E

and I will use a value around 60%

and I will repeat the
process with the foot,

the hips, and the chest.

The value of the breakdowner is

not the important point.

- Plus this will change
depending on the timing

of animation, if you have
the same pose as I have,

or not, and from one
controller to the other,

the timing won't be the same.

So the use of the
breakdowner and the value

of the breakdowner will change.

- Your job is to watch the reference

and understand which part

of the body is arriving
first in the next pose

and use the breakdowner accordingly,

the transition between the landing pose

and the kick and the moment

the kick is being released is very short.

So I've dealt with the next pose exactly

as I will do with a

bouncing ball. As I am finishing

to build the pose before the anticipation

of the kick,

I will consider the next frame

as the contact pose with

both feet contacting the ground.

Then we can consider the next pose

as the ball squashing on

the ground before jumping back.

So I will squash the body of my character

by slightly lowering
its' center of gravity,

before he rise again into the kick.

The difference between the two pose

will be very subtle.

My goal here is to create some kind of

moving hold as we did

for the anticipation of the hook.

But this time the transition
will be very short,

like one or two frames!

So I won't be building a moving hold

with a lot of amplitudes.

I will simply slightly
lower the center of gravity

slightly twist the character,

maybe push a bit the arms inward

before the release.

A bit, as if I was creating an overshoot

of the previous pose.

The goal is not truly to guide my posing,

but mostly to lock my timing.

And when I will switch to spline,

there won't be any surprises regarding

the timing of this part of the animation,

since I'm animating "on ones".

So I have a key frame on
every single frame here,

but it doesn't mean that I won't have to

rework those poses

during the polishing stage
with the graph editor.