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- We will now start to polish the hook.
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And, as usual, I will
start with the center
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of gravity of my character
using the torso root controller.
4
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Our goal during the punching stage
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is to better sell or communicate
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what we have blocked out before.
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We need to bring as much
impact into the hook
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as possible and make sure
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that all our body mechanics are correct.
10
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As our character is recovering
from the right cross,
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there is a weight transfer
onto the right foot.
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I need to move the center
of gravity of the character
13
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toward the right leg.
14
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His weight will be supported
onto the right foot,
15
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and he will be able to move the left foot
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toward the next step.
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So I've lowered the value
of the X location curve
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until frame 31 as the character
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is making a step with the left foot.
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And once the left foot is in contact,
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I can transfer the weight
onto the left foot.
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Now, working with the Z curve,
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my goal is to create a
nice arch that will go down
24
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as the weight shifts toward the left leg.
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And then the character will raise a bit.
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When we watch the curve,
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we can clearly see the weight shifting
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toward the right foot
between frame 28 and 13,
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and then transitioning onto
the left foot until frame 38.
30
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While the character is
traveling to the left,
31
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the value of the X location is raising,
32
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he's lowering his center of gravity,
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so the value of the Z curve is going down
34
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and stabilize just before
this little drop here.
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This drop in the Z curve over two frames
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is micro-anticipation.
37
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On the timing, my character is easing
38
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into the anticipation on frame 42.
39
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And then, from frame 42 to
frame 45, is releasing the hook.
40
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Using this kind of moving hold
from frame 32 to frame 42,
41
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we have created a long and slow
anticipation into the hook.
42
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To break this anticipation
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and bring even more contrast to the hook,
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I will insert a key frame on frame 40,
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and then I will push the
anticipation pause on frame 42,
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meaning that I will lower
the center of gravity.
47
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And I will also rework a
bit the Y location curve
48
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so that the character is
pushing a bit backward.
49
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Basically, I am pushing the
curves the opposite direction
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than during the hook motion.
51
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This little extra anticipation
over one or two frame
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is called a micro-anticipation
and it's used a lot
53
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in cartoonish animation or game animation.
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From there, I will be working
on the Y location curve
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of the center of gravity.
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Here, I'm slightly
pushing the character back
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so that the left foot is not
supporting too much weight
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and can be raised and pushed
forward into the next step.
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Once it hits its contact point,
60
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I can shift the weight
onto this current foot.
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00:03:05,780 --> 00:03:08,670
Then I will ease backwards
for the moving hold
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of the anticipation until frame 40.
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00:03:11,900 --> 00:03:16,070
And from frame 40 to 42, I will
push the character backward
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a little faster so that we do
create the micro-anticipation
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we were talking about just before.
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During the hook motion,
I will tweak the curves
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frame by frame.
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00:03:27,570 --> 00:03:29,650
Whenever we have a very fast motion,
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00:03:29,650 --> 00:03:32,920
we have a lot of changes into
the pose of the character.
70
00:03:32,920 --> 00:03:36,330
That's pretty common to animate on ones,
71
00:03:36,330 --> 00:03:38,950
meaning that you will add a key frame
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or insert a key frame, every
frame, every one frame.
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In this case, I'm just
watching the arcs made
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00:03:46,240 --> 00:03:49,787
by the motion path of the center
of gravity of my character
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and I'm just pushing the different curve
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so that it creates a nicer arc.
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I have the pretty squared angle.
78
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Here, I'm just curving it into a C shape.
79
00:04:00,580 --> 00:04:04,003
From there, I will slightly
rework the X location curve
80
00:04:04,003 --> 00:04:08,270
so that the character
transition into the other shoot
81
00:04:08,270 --> 00:04:12,320
a little faster between
frame 46 and frame 48.
82
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Since we are the very detailed blocking
83
00:04:14,470 --> 00:04:16,410
of this parts of the animation,
84
00:04:16,410 --> 00:04:18,540
the polishing stage in this case
85
00:04:18,540 --> 00:04:21,230
is really about refining the arcs
86
00:04:21,230 --> 00:04:25,410
and the speed of the motion
over a couple of frames.
87
00:04:25,410 --> 00:04:28,740
I will repeat myself again,
but the more detailed
88
00:04:28,740 --> 00:04:31,690
is your blocking, the easier and faster
89
00:04:31,690 --> 00:04:35,300
will be your splining and polishing stage.
90
00:04:35,300 --> 00:04:38,300
As usual, once I'm done
with the location curve,
91
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I switch to the rotation curves.
92
00:04:40,520 --> 00:04:43,360
My goal as usual is to
bring contrast to the motion
93
00:04:43,360 --> 00:04:45,800
so, generally, when
you switch to splining,
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your curve will be smoothed
out, which is normal.
95
00:04:48,810 --> 00:04:50,580
Your job from there is to favorize
96
00:04:50,580 --> 00:04:53,230
whether the previous pose or the next one.
97
00:04:53,230 --> 00:04:55,480
Prior to the hook, I
will make the body drag.
98
00:04:55,480 --> 00:04:57,820
So when the character is going down,
99
00:04:57,820 --> 00:05:00,380
I will raise the upper part of the body
100
00:05:00,380 --> 00:05:02,900
by pushing the X rotation curve down.
101
00:05:02,900 --> 00:05:06,500
And then as you dive into the
anticipation for the hook,
102
00:05:06,500 --> 00:05:08,300
I will push the curve up.
103
00:05:08,300 --> 00:05:10,600
So, basically, I've created a drag
104
00:05:10,600 --> 00:05:12,560
and then a slight over shoot,
105
00:05:12,560 --> 00:05:15,080
and they will do the same
with the twisting motion.
106
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As he goes toward the anticipation,
107
00:05:17,360 --> 00:05:20,905
I will make the upper
body dragging by pushing
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the Z quaternion curve down.
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00:05:22,130 --> 00:05:25,720
And then, as his weight is
shifting upon his left foot
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and easing through
anticipation for the hook,
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I will push the Z quaternion curve up
112
00:05:31,180 --> 00:05:34,470
and they will do the same
with the Y quaternion curve.
113
00:05:34,470 --> 00:05:37,230
Again, your job is not to know by heart
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which curve does what, but
what the body should do.
115
00:05:40,860 --> 00:05:44,880
In this case, I want to drag
while I'm switching stance.
116
00:05:44,880 --> 00:05:47,440
And once I've reached the new stance,
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00:05:47,440 --> 00:05:49,446
I want to push the anticipation.
118
00:05:49,446 --> 00:05:52,350
So I need to figure out
which curve does what
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00:05:52,350 --> 00:05:55,260
by just clicking them and
watching my character.
120
00:05:55,260 --> 00:05:57,150
When I moved the Z quaternion curve,
121
00:05:57,150 --> 00:06:00,190
I can see that the torso of
my character is twisting,
122
00:06:00,190 --> 00:06:01,810
so I will work on that curve
123
00:06:01,810 --> 00:06:04,230
for this specific part on the animation.
124
00:06:04,230 --> 00:06:07,620
And since I want to put the
micro-anticipation as before,
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00:06:07,620 --> 00:06:09,510
between frame 14 and 42,
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00:06:09,510 --> 00:06:12,090
I will slightly erase
the Z quaternion curve,
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which make the character
twisting his body.
128
00:06:15,050 --> 00:06:18,210
Then we have this huge
drop into the curves
129
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that generate the twist
the opposite direction
130
00:06:21,190 --> 00:06:22,700
to perform the hook.
131
00:06:22,700 --> 00:06:25,760
What I will do from there is
create a slight over shoot
132
00:06:25,760 --> 00:06:29,490
by rotating the Z
quaternion curve angle down.
133
00:06:29,490 --> 00:06:31,800
This way, the torso will
continue rotating a bit
134
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just after the character hit the bag.
135
00:06:34,060 --> 00:06:36,480
This will bring more weight to the motion,
136
00:06:36,480 --> 00:06:39,320
while if we were to rotate
the body the opposite way,
137
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just after the hit, it
will make a bounce motion
138
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that will be perfect for a
light punch or a bouncing ball.
139
00:06:46,500 --> 00:06:49,410
Again, since we had a
very detailed blocking,
140
00:06:49,410 --> 00:06:51,170
pushing those curve is pretty easy
141
00:06:51,170 --> 00:06:53,768
and I'm not really modifying their shape,
142
00:06:53,768 --> 00:06:56,450
but just choosing
whether to push them down
143
00:06:56,450 --> 00:06:57,283
or push them up a bit
144
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to favorize the previews our next pose.
145
00:07:01,370 --> 00:07:03,900
For example, on the X rotation curve here,
146
00:07:03,900 --> 00:07:06,650
I'm pushing it down a
bit so I'm favorizing
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the previous pose where the character
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is leaning into the punch.
149
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And then, as he will be walking backward,
150
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I will push the curve a little up
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so that the body is dragging forward.
12321
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