Original subtitles

- [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.