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- [Instructor] We are almost done
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with our detailed blocking.
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At this stage,
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I am still searching for big changes
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in the character pose momentum.
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I check the poses I have
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to see if they all communicate
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the changes or forces or
momentum in the character body.
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After the right cross,
there are two motions -
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The one where the character
is pulling his right arm back,
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and then where it is
anticipating the hook,
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pulling his left arm back.
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This is also the moment
where the character
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is transferring his
weight onto the left leg.
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As he does through those two poses,
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the motion is pretty linear.
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And every part of the chest
are moving at the same speed.
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So the pose I'd like to add
is the entering V8 pose.
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Where the chest will
drag compared to the hips
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and the arms will drag too.
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Toward the lower part of the body twisting
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toward the left leg.
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The upper part of the
body is dragging a bit
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and so does the arms
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before diving into the next pose.
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So in the end, this is not
a very complicated pose.
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We will favorize the next pose
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with the root of the character
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as the weight is shifting pretty
quickly onto the left leg,
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but then you will rotate the
chest toward the previous pose.
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And since the arms are dragging,
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you will rotate them even
more toward the previous pose.
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The trick is to track
the path of your elbows,
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make sure that you twist
the chest a little backward
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as it is dragging.
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And from there, track the left arm joints
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and make sure that they are dragging
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into the hook anticipation.
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As our character's recovering
from the hook and step back
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before the switch kick,
there is no anticipation
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between this settle pose
and the start of the jumping
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into the switch kick.
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Since it's a very fast
transition into the switch kick,
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we just need a micro anticipation.
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So it will be a down pose that will occur
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over a couple of frames only
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and that will have a very small amplitude.
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It will just create an extra little motion
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that will make the jumping to read better.
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When you create an anticipation,
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it's both for your
character to gather energy,
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but also for your audience
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to have the time to prepare
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for the next move.
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This is a pose that will be
relatively easy to create.
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We just need to pull back a bit
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to center of gravity, lower it,
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and also move it a bit
toward the right leg.
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And since the center of
gravity is moving down,
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we will slightly raise the arms.
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Raise the head.
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Make every features of the body
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that are further away
from the center of gravity
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to drag a bit.
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The almost last pose
we are going to create
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is the smear pose during the hook.
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As explained during the posing chapter,
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this is an exaggeration pose
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that will fake the motion blur
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whenever we have a very fast motion.
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The shape of the arms are here
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to support the flow of the hook.
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This is why from top view
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it becomes an elliptic shape
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so that it better communicates
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the twisting of the body during the hook.
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To pose the center of
gravity and the chest,
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I'm using the breakdowner
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and I am favorizing the next pose.
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The Impact Pose.
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Because the center of gravity in the chest
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are currently leading the
motion compared to the arms.
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They are pulling the shoulders
and pulling the arms.
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So we need to favorize the
center of gravity in the chest
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toward the next pose,
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while the arms will be dragging.
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So the method to create those mills
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is to first create a natural pose,
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the pose that your character
would have in real life
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whenever he is throwing the punch.
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And once you have the
right angle for the arm,
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you can start pulling
the tweaker controller
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to create a nice C
curve toward the target.
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The most important
thing when you are doing
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this kind of a smear pose
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is to make sure that you foresee
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the path of the elbow and the wrist,
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and you make sure that you
align the arm along this path.
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So it's very important to
rotate around your character
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and jump between the
previous and next pose.
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Once you've done the left arm,
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work on the right arm and don't forget
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that why we are creating
an exaggerated pose,
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you should still pose the shoulders
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to better position the arms
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and also keep a believable pose,
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a believable flow into your pose.
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Finally, don't forget to
check the feet movement.
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Whenever you are birding a strong pose
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for a part of the body,
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like the arms in this case,
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we often forget to move the head,
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move the feet, move the knees,
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or move the hips.
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So it's important not to over-focus
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on one part on the character.
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But since the kick is also a
very fast circular movement,
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we will create a smear
for this motion too.
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As for the hook,
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I am first posing the center of gravity,
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using the breakdowner, and
then tweaking its position.
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The center of gravity and the
hips are leading the motion
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and the foot is supposed to drag a lot.
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Spacing-wise, when you're
making a striking motion,
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you want to ease out of the anticipation.
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So have a close spacing in
the beginning of the motion,
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and then it accelerates before the impact.
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The spacing between the impact
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and the previous frame
should be the biggest.
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I'm using the same principle
as for the previous pose.
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I first bird a believable pose
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or realistic pose, let's say.
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Be extra careful
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with the center of gravity,
hips, and chest position.
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While during the first punch,
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the momentum of our
character was out of balance
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as he was punching forward.
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In this case, he's spinning
around his right foot.
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So your character must feel
balanced during this kick.
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Plus, the hips and the chest
are leading the motion.
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So if you don't get them right,
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it will be harder then to get
the arms and the legs right.
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Remember that this kind of pose
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is made to support the flow of the motion.
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So try to bird your arc
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around the path
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that the knee and the ankle
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or the knee and the foot would take
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to get to the target.
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So make sure you refine your smear frame
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so that you don't get any
weird angle on the leg.
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Try to smooth it as possible
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based on the rate possibilities.
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Then since this part of
the animation is very fast,
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I advise you to bird the previous pose.
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The one where the foot is just taking off.
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Use the breakdowner and align the foot
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with the motion path
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or the path you think it will take
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to get to its target.
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During this pose, the feet and the torso
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are easing out from the previous pose.
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Remember that you should
favorize the previous pose
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as the feet is accelerating.
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So it starts slow and
then go faster and faster
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and travel more and more further away
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from its starting point.
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With all the poses we have created,
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we should have enough
information to go into sparring.
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But before, we should
fine tweak the timing
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of our animation.
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So we'll do this in the next video.
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