Original subtitles

- [Instructor] We still have a couple of breakdowns

to add to our current animation,

but before we do so I'd like to give myself

some space on the action editor.

As explained before, for the time being,

I'm not working on the timing

of my animation, only the poses.

So I want to move all the poses of my character

and the punching bag every five frames.

So instead of working on the action of the character

and the action of the bag separately,

I will switch to the dope sheet.

The dope sheet will expose me all the keys frame available

in the actual blender scene.

If I collapse the action details in the dope sheet,

we can see that both the Trident and punching bag armature

are listed in the dope sheet, along with their own actions.

And since we were posing those two in sync,

their key frame are aligned.

So by clicking the summary key,

I can select all the keys for both the action

and offset them in time.

From there, back onto my current animation,

I will select the summary keys

and position them every five frames.

This is a good moment to review the different poses

and see how they flow one with the other.

And this is generally the time

where I find tweak some of the poses.

I may push them a little more.

You may spot weird poses of the shoulder

or the shape of the arms or the position

of the center of gravity compared

to the previous or next pose.

Since it's a creative process,

it's sometimes hard to clearly explain what I'm doing

because it's a lot about feeling.

And when you scrub through your different poses,

you may feel that something is wrong or that something

could be improving the flow of your poses,

and the blocking stage is the moment to do it.

The next breakdown I'm going to do is the jump

during the switch for the switch kick.

I'm going to do a pose where are both feet are in the air.

Depending on the reference and watching

distance might be more or less opened.

Liam Narissan on the left side has a crazy open stance

because he's going to throw a very powerful kick.

There a very quick and subtle moment during the switch

where the body is making a C shape toward the left shoulder.

And then as a spring, the body bent the opposite way,

and this is what I want to achieve with this breakdown pose.

I'm not sure if it's super accurate,

but it does seem to work.

And if it doesn't work in the end,

I can change it to later on.

One super important detail that I want you to spot

before posing your character

is the position of the right foot.

Look, how much it is open to the outside

whenever it hits the ground.

With this position, as soon as the left foot

will leave the ground, the hips will naturally twist

towards the right foot, increasing the power of the kick.

So when I'm posing the right foot I make sure that,

even in the air, it starts to open a bit.

The foot doesn't rotate when it hits the ground,

but just before, when it is in the air.

Keeping the right foot pretty flat

while the left foot will land on its tip.

So I make sure that the tip of the left foot

is pointing toward its landing zone.

The left arm is raising, the right arm is dropping.

So I make a bit the forearm dragging,

meaning that the left arm will be slightly straighter

while the right arm will be slightly bent.

Finally, I've exaggerated the C shape of the torso,

maybe a bit too much.

I will see that later on.

For the next pose.

I wanted to create the overshoot

just after the leg hit the bag.

At this point, the leg is almost straight

as the kicker is trying to get through the bag

or through the pose.

What's interesting is that at this very stage,

the hips already start to twist backwards

and then the shoulders will follow.

And if you watch the right heel,

it seems it's hitting a wall.

This is also a moment where I am going to build

a little smear on the left leg.

Using the tweaker bone, I slightly the break the joint

to bend it into a knock that is the opposite direction

a leg normally bend.

While the body of our character

is not supposed to move that much,

this recreate a nice contrast in the shapes of the leg

and will better communicate the strength of the impact.

As it is an overshoot,

I want to push for one beat and then we need to twist it

back a little bit in reaction to the impact with the bag.

We need to do the same with the hips

and the chest controller.

This is the time where the right foot

hit its extreme toward the target,

so I rotate it a bit to the left.

Since the left arm was swinging back,

I will rotate it a bit backward.

And since the right arm was rotating forward,

I will rotate eat a little more forward.

Regarding the left leg, I want to exaggerate its pose,

so I will push the left foot controller

further away from the hips.

I've also repositioned the pull target

to make sure that the knee's not flipping.

It's totally fine to have some stretching in the leg,

because whenever we are building a smear frame,

it won't last more than one or two frames.

If you were supposed to feel this beyond, not see it.

You want to the knock that will

wrap around the punching bag,

so I'm even rotating the toes in this direction.

I've enabled the trochlear of the leg in the read UI.

And from there, I will move them one by one

to shape the leg into a knock.

Start with the new controller,

as it allows you to bend the knee backward

and then use the smaller tweaker bone

to create a the arc with the sheen of the character.

As I was building the pose and rotating

a lot around my character,

I've noticed that the punching bag was not reacting

in the right direction.

Eventually, I fixed this by reworking

all the pose after the kick.

Slowly but surely, and even without working on the timing,

our animation flow is getting better and better.

The very last pose I've created for this breakdown stage

is the transition into idle.

It's the moment where the left leg is dropping,

almost straight, into a nice arc.

All the weight is on the right foot

and counter balancing the left leg.

So the body is creating a nice C shape to the right.

This is not a very difficult pose to build

since it's really flowing between

the kicking pose and the next pose.

Don't forget to also rework the bag

and move some of these poses.

It doesn't matter if you have a hard time with the bag.

The most important pose are the contact pose

with the character.

If at this stage, you have a hard time figuring out

all the poses of the bag, that's not a problem.

For the time being, keep the poses of the bag

and the character synchronized.

When we will on the timing of the character,

it will be easier to figure out the timing for the bag too.

Regarding the current pose, to be honest,

I don't really know what to say

since it's a pretty simple pose.

You have the reference,

just try your best to fit what you are seeing.

In the next video we are going to give

a first pass to the timing of our blocking.