All language subtitles for 08-05-02 Blocking breakdowns part02

- [Instructor] As I'm
starting a new pose, as usual,

I will insert a key frame
on all the controllers

for both the bag and the character.

The pose I'm going to create,

is the overshoot after the right cross.

Since it is performed just
after the right cross,

we can start by posing the bag.

I've just swing the bag,
using the main controller.

I'm resetting the pose of
all the other controller.

Then I will select the wall
forward kinematic chain,

the blue controller, and
slightly bend the bag.

The idea is to swing the bag
in reaction to the punch,

so try to align its orientation
with the previous pose

of the punch. The process
to create the overshoot

is pretty straightforward.

You just have to push further
any pose you've picked.

The chest was twisting, I twisted more.

I've pushed the center of gravity forward

and move it a bit to the
left onto the supporting leg.

I'm spreading the left arm
that was swinging back.

So basically I'm pushing
the whole line of action.

Guarding the right arm, I'm
slightly bending it inward.

The fun fact about this pose is that

I haven't kept it in the end,
but because it looks like

the character is losing balance,

and I was having a hard time to transition

into the next pose. So
it doesn't mean that

this pose doesn't work,
but it doesn't sell

what I want to do with the character.

And as explained many time before,

as being a creative process,

animation is not a linear workflow,

so you may change your mind along the way.

That's perfectly fine.

Now comes the time where we
are going to build the pose

just after the hook.

It is the moment where
I need the character

to rotate around his left
foot and put his right foot

behind, as being his real
leg, before performing

the switch kick. Before I
start working on the character,

I'm posing the bag exactly as
I did for the previous pose.

And then comes the painful
moment where we don't have any

reference for the next poses
into the rest pose of God pose.

And this is the time where
you have to leave your chair,

in the best case, shoot
your own reference and,

or at least try to the
mimic the move in front of

a big mirror or in front
of nothing, and try to feel

how your body's moving. Super
important, as an animator,

to try to act what you are animating.

When doing crazy combat move,
we do know that we can't

do exactly the same, but just
do it at a very slow pace.

Just take the pose and
transition into the other pose

and your body will do the rest.

I'm certainly not as impressive
as the guy on the reference,

but I do get enough information,
at least some information,

in order to perform the next
move and to pose my character.

I'm swinging back with my
left arm after the hook.

My feet are rotating, but they
are not changing location.

There is then a weight
transfer upon my left leg

while I'm rotating the right shoulder,

so my whole chest toward
the next contact pose.

The right foot will
contact first, and then the

center of gravity will catch
up. While rotating, my weight

is mostly on the left leg,
and then, I can go into

the switch kick. So from there,
I can go back into Blender

and start working on my pose.

We need to mostly shift the
weight upon the left leg.

As I did many time before I
will console any transform

on both the hips and the chest.

As explained before learning wise,

it's better to start your
new pose from scratch,

and it's also a good way to
avoid to inherit mistakes

from the previous pose.
Adding a quick look

to the reference pose I've
attached, we can clearly see

the line of action has a S shape.

The supporting leg is pushing the hips up,

and the hips are leading the rotation.

So the hips are twisted
more than the shoulders

or the chest. Now, I like to
focus on some artistic choice.

On the reference, we can
see that I'm lifting my

right foot pretty high.
While on the reference pose,

I've decided to make tip of
the toes sliding on the ground,

as if my character was ice skating.

So I've straightened a bit
the leg, and I make the toes

drag on the ground. This
is creating a nice flow

to the silhouette of the
character, but also to the move.

I will be able to create
a nice arc using the foot.

Instead of pulling the arm
back in guard, I've decided

to make them drag more. This
will create a larger arc

whenever I will be pulling
the arm, and they will form

an elliptic shape, so the
whole pose is supporting

or drawing the rotation of the character.

And this is all I generally
build my pose to get

very smooth motion. I try
to respect the physicality

of the motion, placing
the center of gravity upon

the supporting foot. I respect
the chest and hips shape,

but as soon as I can, I
try to create some kind of

choreographing motion, meaning that

I will pose the arms and the
legs as if the character was

totally mastering what he's
doing and trying to input

a bit of beauty in his movement.

From the previous pose, we
can settle into the next pose.

The right foot has reach
its final position and is

flatten on the ground. Now
the center of gravity is

on the right foot. It's no
longer on the left foot.

The chest is twisted backward,
so the right shoulder

is in the back while it was
dragging in the previous pose.

The left fist is forward
while the right fist

is a little backward. If we
compare the previous pose

and the current pose from the
top view, we can clearly see

the twisting or rotation
of the upper body,

leading into a big contrast
regarding the arm poses.

The current pose is pretty
close to the ideal pose

of the character, but the
center of gravity is slightly

lower, so the character looks
a little heavier on his feet.

Both feet are flattened on
the ground, and the character

makes a nice C shape from
a profile. This is a good

anticipation pose for the
next move. To jump into the

switch kick, the character
is gathering energy.

This is why we have lowered
its center of gravity.

And it does a bit of a
squat stance with his legs.

Think of the spine as a spring.
If you bend it in a way,

when you will release
the force, it will bend

the other way. From there, I just need to

tweak the position of the
arms to match the reference

I've attached. Don't
worry if you weren't able

to follow along with this
video. The idea is to highlight

the important point you have
to look after, and then I will

provide you a slow-paced
time lapse, so that you can

see the whole process.