All language subtitles for 08-07-01 Detailed blocking part 01

- 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.