All language subtitles for 07-06-Motion pose

- [Instructor] The first
pose we've been working on

was a static pose or a balanced pose.

In this new video I like
to tackle motion poses

and we will try to push it
to an extreme using smears

and rebel limbs.

So the first thing you need
to do and I truly advise you

to do it whatever your
animation level is to identify

the line of action on the pose.

Even if it seems very
obvious on this picture,

drawing this line will help
you whenever you are going

to build your pose
because it will be written

in your subconscious.

I know it is I'm the first to
rush into posing my character

whenever I'm starting a new
animation and this is not

the right way to do it.

But what I'm sure is that
whenever I do this work prior

to start posing my character,
I generally get a better

result.

Second thing I do is to
define the lines of interests.

In this case, we have a nice
angle with the right leg,

the left arm, and the overall
shape made by the connection

between the two arms and the baseball bat.

Then as in the previous video,
I will define the orientation

of the face, the torso, and
the hips of the character

by drawing lines on top of the character.

Again, this will really
improve my posing process

helping me reading the current
pose and the orientation

of the different features of the body.

So I will open my previous file,

I will duplicate the current
action and I will rename

it, pose number two,

I will get rid of all the key
frame on frame number two,

and then I will go on frame
zero, enter pose mode,

select all my controllers
and press Alt+R, Alt+G,

Alt+S to reset the
rotation scale and location

of all the controllers.

From there in the 2D editor,
I will open the new reference

picture.

Since this new picture is
not framed as the other,

we need to rework our camera,

the current camera as an
horizontal format while the new one

needs to be into a vertical format.

To change the format ratio of the camera

we need to go into our output properties,

scroll up till you reach the dimension tab

and replace the resolution
X by 1080 and Y by 1920.

From there, I will make
sure that I'm in object mode

and I will click on the outer
edge of the camera frame,

this will select the camera
and I can roughly reposition

it using our two rotating G to move.

Since the reference picture
has probably been taken

from afar, I will increase
the focal length to 60,

I guess a focal length of
80 or 90 would be better,

but for the time being
we will stick to these.

While our character has no baseball bat,

he's equipped with some weapons.

We can go towards the
visibility properties and enable

the two ended sword or long sword.

We can continue these as these
are some bad-ass baseball

bat and we now need to
enable it's rig layer.

By default these two ended
sword is parented to the right

hand, meaning that it will
follow any motion or movement

of the right hand.

If we head over the
weapons properties tab,

we can change the parenting
of the sword or of any

of the weapons of the character.

Changing the parent will
whether parent it to the right

hand, left hand, or give it no
parent so that we can move it

freely inward space where
we can definitely pose

our character using forward
kinematics for the arms.

Whenever we are manipulating an object,

we've both and in contact with it,

it's easier to have at least
one or both end set to inverse

kinematic.

So in the arm properties
panel, I will set the arm

fkik.l and .r to one so
that we switch to arm

inverse kinematic controllers.

From there, we can enable
the arm inverse kinematic

controllers layer and hide
the arm forward kinematically.

From there we can pose the
arm of our character by simply

selecting the end controller and moving it

and adjust the elbow orientation
using the pole target

exactly as we did with the feet.

There are a lot of animators
that prefer to use inverse

kinematic all the way from their arms.

I personally prefer forward
kinematic to build nice arcs,

but whenever I have
contacting pose with the hands

on the wall, on the ground,
or on an object like that,

I generally switch to inverse kinematic.

The first thing I will do is
press control tab to jump back

into object mode and I will
select the camera and hide it,

this way I can start working
in front orthographical view

without having the camera
object in the middle

of the screen.

As usual, I can always
start posing my character

with the center of gravity
or torso root controller.

As we have looped to
the reference picture,

our goal is to figure out
where the torso is pointing at.

Once I get a very basic
ID of my torso pose

we can pose the feet,
they are very important

since they are supporting
the weight of our character,

they will define its
balance and the orientation

of the hips.

When posing the feet, if you
have to rotate them forward

or backward, I advise you
to favorize the foot roll

controller, it has a pretty
natural behavior regarding

the posing of the character
and when animating it

it's easier than rotating
the feet and compensating

any contact.

Don't forget to pose the
toes of the character.

And before you focus on the whole leg,

just focus on the feet
orientation of the reference.

For the time being I'm just
roughly posing each controller

as seen in the previous
video you can hardly get

to the right pose or the right
position of each controller

in one shot, you need to refine
the pose of each controller

by going back and forth on
each of them one by one.

With the feet controllers
and the leg I can pose,

roughly post, I can go
ahead and work a bit more

onto the torso of the character.

I need to twist the torso even
more, twist a bit the chest

controller, make it lean to the side,

basically push the pose a little more.

Then I'm watching the head
orientation of the reference

picture and I'm trying too
match, rotating the neck

controller will offset the
head and then I can change

the orientation on the head
using the head controller.

As usual the shoulder are very
important because they will

shape the chest and the overall
silhouette of the character,

but they will also change
the behavior of the arms

especially when using inverse kinematic.

But before I even try
to refine the shoulders

I will position the
hands of the character.

You watch carefully the
reference, the right hand palm

is pointing up while the left
hand home is pointing down.

So I need to rotate the
right hand accordingly,

then I will position it
in front of the character

and roughly both in space.

Once I have a rough
pose for the right hand,

I will pose the left hand
and position it on the handle

of the sword.

Here you can see we have a
lot of tension into our arm,

and this is because we haven't
posed the shoulder yet.

We need to rotate the shoulder
inward to loosen the arm

and get a nice angle with the elbow.

Watch out for this nice
and smooth C-shape boat

by the shoulder line.

Whenever you are posing the elbow,

double check their position in space,

be aware whenever you are posing,

don't try to guess, just
watch the reference.

The left elbow is pointing to
the sky making a nice angle

with the shoulder while the
right elbow is pushed toward

the chest of the character.

A common mistake you need to
absolutely avoid is trying

to reach any weapon pose using
only the hand controller,

your hand have a pretty
limited range of rotation.

So you can't break the wrist
to orientate the plate,

but whenever you are manipulating
and object in your hand,

the way you move your finger
you open your palm or not

will change the orientation of the object.

So please move the object
using the object controller.

Getting back on to our
pose we can see that both

end are very close one to the other,

so I fix that and now I'm
rotating the shoulder so that

I can reach the same range
of motion or range of pose

as on the reference.

When I pose the hand, again
I try not to break the wrist

too much and if I need to
compensate the rotation

of the sword I will do it
using the sword controller.

Now that I have a roughly
posed both hand and I want

to move both of them or change
the orientation of the sword

at hands, I'm using the active
controller as the rotation

point or pivot points.

This way I can select
both hand controller,

make sure that I select last
or make active the right hand

controller, this way both end
rotating around the right hand

pivot point.

And since we are using inverse
kinematic, both end get

posed pretty natural,

and I can do the same process
by selecting both hands

and then selecting the torso
controller for example.

As I'm turning around my
pose to make sure it works

from every angle, I will
first select both end

and finally the torso controller.

And now whenever I move or
rotate the torso controller,

the ends follow, good practice
is to test the different

pivot points

so that you get familiar
with them and can switch

whenever you think it's
more relevant to pose faster

or with ease.

So as seen for the previous
pose, don't forget to turn

around your character and
make sure that the pose

works from any angle.

Now that I have a better
pose or at least a base pose,

I will go back to object
mode and they will unhide

the camera by pressing Alt+H.

With the camera selected, I
will go back onto the camera

properties and I will set
the focal length to 90

and now we have a way better
focal length that better match

the current reference picture.

With the focal length
corrected I will jump back

into pose mode, select
both end and finally select

the torso root controller
and I will tweak the pose

of my character to better
match or try to better match

the reference pose.

When you're watching your
reference, take one feature

like the elbow and try to
clearly identify its orientation.

My left elbow is currently pointing up

while on the reference it's pointing down,

so I will simply fix that by
rotating a bit the shoulder

controller and lowering the pole targets,

then I will control the other
elbow and make sure that

it doesn't clip too much
inside my character.

Another good practice
whenever you are watching

the reference is to draw straight lines,

to see the position for
example, of the head compared

to the foot or the left elbow
compared to the left foot,

I can see that I need to
push my left foot a little

on the outside.

So there are a lot of moment
where you won't be able

to perfectly match the reference
because the range of posing

of your character depend
on his proportions.

Our current character is more
elongated than the female

character on the reference for example,

so his arms are a little
longer and I have a lot of time

trying to perfectly match the
position of his harm compared

to the female character.

So your goal is trying to
match but not trying to match

at all costs, at some point
you need to figure out whether

the pose you have, but please you are not.

Again, animation is enough
form, so I can't teach you

the perfect way to pose
your character or tell you

this is or this kind of pose must be bad.

You are here to learn
all to bad a good pose,

not this specific pose.

And then you need to bring
your style to the pose,

again I'm comparing the
reference pose with my character

trying to find the right
balance or at least the right

momentum.

Here we don't need to get our
character perfectly balanced

since he's in motion, so its
center of gravity is moving

in space.

I could tweak this pose
forever, but for the time being

we are going to rapidly pose
the finger around the handle

of the weapon.

So I will pose each finger
one by one trying to match

a convincing pose, but
this is not the main focus

of this video, so I will just
let you with a time-lapse

where I'm posing those fingers.

Don't forget that you can also
find tweaking the position

of the feet and the position of the toes,

but we will work on and posing
in a dedicating the video,

for the time being I'll
see you in the next one

where we will push the current pose.

(upbeat music)