Original subtitles

- In this video, we will start to Detailing our Blocking.

It currently looked like that

and our goal is to add as many poses as possible

to avoid any interpretation of the Blocking.

Here you can see the result of this Detailed Blocking

or Blocking plus.

Your objective when you're doing the Blocking plus

or Detailed Blocking is to spot any big changes

in the silhouette or pose of your character

and create an intermediate pose or a transition pose.

This is also the moment where you will lock the anticipation

and your overshoot.

So, that when you will switch into Spline,

you will have as less floating and timing issue compared

to the Blocking as possible.

The first pose I'm going to work on is the overshoot

of the right cross.

The current post we are seeing is the extreme we have built

during the Blocking stage and here is you overshoot.

I'm extending the whole body on one frame.

I'm creating this pose one frame after the extreme.

It'll create a visual pop that will better sell

the speed of the punch.

It's a pretty easy pose to achieve.

Just twist a bit more the chest, align the hips,

move the torso controller forward and then extend the arm.

But we can lean a bit more the head into the shot

and spread the left arm backward

as it was swinging in the previous post.

From there it's all about exaggeration.

Take the chest controller and move it on the y-axis.

Don't rotate it but currently change its location

and do the same with the arm.

I'm taking each controller and I'm moving them forward

on their local Y-axis.

When you're pushing the pose or you are pushing the rig,

it might generate some visual artifact,

especially regarding the deformation of the chest.

This is the time where you can use

the torso three controller, move them and scale them a bit

to fix the shape of the torso and its silhouette.

As explained in the previous chapter,

I was not really satisfied with the frame 21.

Because it feels like the character is falling forward.

So, I've decided to remove this pose

and we will create a better pose later on.

Before I delete the key frame,

I will simply move them away at the end of the animation

so, that I can watch the animation without this pose

and then put it back in if needed.

Or if I want I can switch the poses

by simply moving the key frame in and out

and play the animation and choose the one I prefer.

Once my choice is made,

I can get rid of the pose I don't need anymore.

The next pose I need to build

is the Transition into the hook anticipation.

So, basically at the end of the right cross,

the right foot is catching up

and our characters need to pull its right arm

back into it's guard.

The center of gravity is still mainly supported

by the left foot but it's shifting towards the right foot.

As I often do whenever I am building a pose

that is very different from the previous one,

I will cancel the rotation on the chest hips

and even on the center of gravity or torso root controller.

I've also canceled the old transform on the neck,

on the head, on the shoulders and the arms.

But if we have a look at the reference pose,

we can see that the center of gravity is mostly

upon the left leg.

While the hips are mostly pointing forward,

the chest is slightly dragging and so does the right arm.

So, it's a bit extended Transitioning

into the hook anticipation.

We will sure need additional poses

to Detail this Transition,

but it already improve a lot the readability

of the animation.

Make sure that the top of the body's delayed

compared to the hips

so, that the chest and the arms are dragging a bit.

Since we have a foot position change

between the current pose and the hook anticipation,

I you advise you to create the pose where the foot

is currently contacting with its new location.

During the Blocking stage, you should create a pose

each time a foot is contacting the ground.

So, what I will do is that on the anticipation pose

with the foot controller selected,

I will press Ctrl+C to copy its pose.

Since this is the moment

where the foot is contacting the ground,

I will make sure that it touches it with its inner edge,

and they will slightly raise the tip of the toes

and rotate the toes backwards.

But whenever you're trying to raise a leg,

your center of gravity will shift toward the supporting leg.

So, I've pushed the center of gravity on to the right foot.

Finally, our character was still pulling his right arm back

and his left arm in front.

So, the chest will be slightly rotating backward

and the left arm is raised near the temples

of the character in guard.

Whenever you think you're done with a pose,

don't forget to scrub through your animation

and see how it flows between the previous and the next one.

You will most likely feel the need

to whether fix the pose you're working on

or rework the previous or next pose.

The pose you will have the clearer will be the flow

of your animation.

So, you will not surely retract the arcs of the ends

of the head of the chest of your character

and maybe fine tune the different poses

so, that those arc currently looks good.

As you can see, I have a big gap

between the current anticipation of the hook

and the hook itself.

To better sell the power of the hook,

I want this long anticipation.

So, we need to hold the current pose

and so, we will create a moving hold.

So, basically it's a pose that is very close to what we have

on the frame 35, but I'm just pushing it a little more.

Animation wise, it will look as if we were holding

the pose 35 for five frames,

but our character will still be moving.

This why we called this a moving hold.

Also, they really help to lock your anticipation.

So, that whenever we will switch to spline

our character won't be transitioning from the anticipation

directly into the hook in a slow motion,

but he will hold the current anticipation

and rapidly transition into the hook.

Note that there is a difference between this

and an overshoot.

Here I am not making the arms dragging

instead I'm contracting them.

So, I'm slightly closing the shape on the arms.

It's not a reaction to the momentum of the previous pose.

At some point, don't forget to also pose the bag.

The most important poses are the poses

where the bag is in contact with your character.

If the other poses are not right, that's not a big deal.

We will be able to almost animate them in straightforward

once we have polished our character animation.

It will be way easier to play with the curve

to get our pendulum right than trying to block it.

But if you are motivated,

I advise you to try to block the motion of the back.

At least that's a good training because you will have to try

to figure out the position of the bag in space,

based on the pose of your character

and the timing between one punch and the next, for example.

Also it will improve your Blocking readability.

But again, this is not mandatory

if you're not comfortable with this.