Original subtitles

- I will show you a quick method

to double-check your timing.

First we will check with root motion

and then without root motion.

I've already made a quick timing pass

in the previous video without explaining it,

because it wasn't very good.

The idea was just to check

the follow of the different poses

but you don't need to work on timing for this.

Now is the timing path

before I switch to spline.

So to check it,

since I have root motion

I've kept my root activated,

and I will now simply use my quick favorite menu

to calculate the motion path of the root bone

setting it from frame zero to frame 12.

This way I will be able to see

the spacing of my root bone

between the different poses we have created.

And since the root bone is supposed to have a linear motion

since we are doing a cycle,

I can try to make the spacing match the timing.

If we have a loop to the spacing

between frame three and frame five,

we can see that the position of

the root bone hasn't changed that much.

It means that since we have a linear interpolation,

those two keyframes should be very close,

one to the other.

So I will offset the frame five onto frame four.

Now if I keep this mindset to analyze my spacing

I can see that from frame zero to frame one,

I have a pretty large spacing

and I have the same spacing

between frame one and frame three.

So I have the same spacing

between those two poses

or almost the same spacing

but the timing is different.

The first one is on one frame,

the second one on two frames.

So I will offset my keyframes

from frame three to frame two.

So in the end I am animating

in those first four poses onwards.

And during the polishing stage

I will be able to revise a bit

the spacing between the different part of the body.

From there I can evaluate

the distance between the frame seven and the frame 10,

and the frame three and the frame seven.

And the spacing is quite the same as

between frame zero and frame two,

so timing-wise I think that I should have two frames

between my airborne pose

and the contacting poses.

So I will move my airborne pose

from frame seven to frame five,

and then I should be moving

frame 10, 11, and 12

on frame seven or frame eight.

Again the timing and spacing of

the animation will be refined during

the polishing stage in spline modes,

but this is a good way

if you can't feel your timing to check it out.

Try to make it logical.

And it does show case again

that having a detailed blocking

can really help the animation process.

If you have animated your character

without moving the root bone

then use the features of your character

that are contacting the tree trunk

to guess the spacing.

When I check the back-right foot of my character,

I have the same spacing

between frame zero and one

and between frame one and three.

So I can choose to move the pose number three

onto frame number two.

And when I see the different of spacing

between the current pose and the next one,

it's even smaller so this change of position

should happen within one frame,

even less than one frame

so I will move it onto frame three.

Then I want my character to float a bit

so I will keep in airborne for two frames,

for example, I can track

the front hands to see the different of spacing

between those two frames,

and I believe that this airborne position will be

the extreme so it will be quite of right in

the middle of the jump,

so I can move frame 10

and all the next poses

onto frame seven.

So in the end, during our blocking stage

we have created almost a pose for each frame,

and this is because we are working

on the fast motion animation.

And this will happen when you work on combat animation

for example, where your character

change poses very fast.

You can't keep an empty frame

if there is a lot movement that happen in this frame,

you will have to detail your blocking.

The good news here is that

it's going to be way easier to polish this animation.