Original subtitles

- [Instructor] We are almost done

with our detailed blocking.

At this stage,

I am still searching for big changes

in the character pose momentum.

I check the poses I have

to see if they all communicate

the changes or forces or momentum in the character body.

After the right cross, there are two motions -

The one where the character is pulling his right arm back,

and then where it is anticipating the hook,

pulling his left arm back.

This is also the moment where the character

is transferring his weight onto the left leg.

As he does through those two poses,

the motion is pretty linear.

And every part of the chest are moving at the same speed.

So the pose I'd like to add is the entering V8 pose.

Where the chest will drag compared to the hips

and the arms will drag too.

Toward the lower part of the body twisting

toward the left leg.

The upper part of the body is dragging a bit

and so does the arms

before diving into the next pose.

So in the end, this is not a very complicated pose.

We will favorize the next pose

with the root of the character

as the weight is shifting pretty quickly onto the left leg,

but then you will rotate the chest toward the previous pose.

And since the arms are dragging,

you will rotate them even more toward the previous pose.

The trick is to track the path of your elbows,

make sure that you twist the chest a little backward

as it is dragging.

And from there, track the left arm joints

and make sure that they are dragging

into the hook anticipation.

As our character's recovering from the hook and step back

before the switch kick, there is no anticipation

between this settle pose and the start of the jumping

into the switch kick.

Since it's a very fast transition into the switch kick,

we just need a micro anticipation.

So it will be a down pose that will occur

over a couple of frames only

and that will have a very small amplitude.

It will just create an extra little motion

that will make the jumping to read better.

When you create an anticipation,

it's both for your character to gather energy,

but also for your audience

to have the time to prepare

for the next move.

This is a pose that will be relatively easy to create.

We just need to pull back a bit

to center of gravity, lower it,

and also move it a bit toward the right leg.

And since the center of gravity is moving down,

we will slightly raise the arms.

Raise the head.

Make every features of the body

that are further away from the center of gravity

to drag a bit.

The almost last pose we are going to create

is the smear pose during the hook.

As explained during the posing chapter,

this is an exaggeration pose

that will fake the motion blur

whenever we have a very fast motion.

The shape of the arms are here

to support the flow of the hook.

This is why from top view

it becomes an elliptic shape

so that it better communicates

the twisting of the body during the hook.

To pose the center of gravity and the chest,

I'm using the breakdowner

and I am favorizing the next pose.

The Impact Pose.

Because the center of gravity in the chest

are currently leading the motion compared to the arms.

They are pulling the shoulders and pulling the arms.

So we need to favorize the center of gravity in the chest

toward the next pose,

while the arms will be dragging.

So the method to create those mills

is to first create a natural pose,

the pose that your character would have in real life

whenever he is throwing the punch.

And once you have the right angle for the arm,

you can start pulling the tweaker controller

to create a nice C curve toward the target.

The most important thing when you are doing

this kind of a smear pose

is to make sure that you foresee

the path of the elbow and the wrist,

and you make sure that you align the arm along this path.

So it's very important to rotate around your character

and jump between the previous and next pose.

Once you've done the left arm,

work on the right arm and don't forget

that why we are creating an exaggerated pose,

you should still pose the shoulders

to better position the arms

and also keep a believable pose,

a believable flow into your pose.

Finally, don't forget to check the feet movement.

Whenever you are birding a strong pose

for a part of the body,

like the arms in this case,

we often forget to move the head,

move the feet, move the knees,

or move the hips.

So it's important not to over-focus

on one part on the character.

But since the kick is also a very fast circular movement,

we will create a smear for this motion too.

As for the hook,

I am first posing the center of gravity,

using the breakdowner, and then tweaking its position.

The center of gravity and the hips are leading the motion

and the foot is supposed to drag a lot.

Spacing-wise, when you're making a striking motion,

you want to ease out of the anticipation.

So have a close spacing in the beginning of the motion,

and then it accelerates before the impact.

The spacing between the impact

and the previous frame should be the biggest.

I'm using the same principle as for the previous pose.

I first bird a believable pose

or realistic pose, let's say.

Be extra careful

with the center of gravity, hips, and chest position.

While during the first punch,

the momentum of our character was out of balance

as he was punching forward.

In this case, he's spinning around his right foot.

So your character must feel balanced during this kick.

Plus, the hips and the chest are leading the motion.

So if you don't get them right,

it will be harder then to get the arms and the legs right.

Remember that this kind of pose

is made to support the flow of the motion.

So try to bird your arc

around the path

that the knee and the ankle

or the knee and the foot would take

to get to the target.

So make sure you refine your smear frame

so that you don't get any weird angle on the leg.

Try to smooth it as possible

based on the rate possibilities.

Then since this part of the animation is very fast,

I advise you to bird the previous pose.

The one where the foot is just taking off.

Use the breakdowner and align the foot

with the motion path

or the path you think it will take

to get to its target.

During this pose, the feet and the torso

are easing out from the previous pose.

Remember that you should favorize the previous pose

as the feet is accelerating.

So it starts slow and then go faster and faster

and travel more and more further away

from its starting point.

With all the poses we have created,

we should have enough information to go into sparring.

But before, we should fine tweak the timing

of our animation.

So we'll do this in the next video.