Original subtitles

- [Instructor] Here is the final timing pass

for our blocking of the animation.

As explained before, there is no motion

between frame zero and frame five.

Those first frames are just here so that we can have a look

through the whole scene,

see our character in the fighting stance,

and start to think of what's going to happen.

From there, our character is easing into the first bench.

So, we first have three frames later, the anticipation,

with this moving forward and a bit downward.

A couple of frames later,

we have our contact pose and a couple of frames later,

the current jab, with another extended left arm

and a frame later, the same pose,

but with the arm back into position.

This little trick creates a more snappy impact.

Then we have a fast transition into the right cross.

On only two frames,

our character starts to swing it's right arm.

Two frames later,

we have the impact with the bag.

And one frame later, we get the overshoot.

So this time we create the overextension of the arm,

a frame after the impact.

so that there is more the sense of penetration

than just little snappy punch.

And it takes three more frames

for our character to recover

its normal body shape, let's say.

Then over five frames,

the right food is catching up and then pushing, in a way,

the left foot over two frames.

From there, our character is ready to go

into the anticipation of the hook.

So he will ease out into the anticipation.

So it will take five frames to get into the anticipation

and five additional frames of moving

all the weaving overshoot.

Or an exaggerated anticipation so that the hook will look

even more powerful.

From there over a couple of frames,

we have the fast swing, one from later, the impact,

two frame later the overshoot,

and on frame forty seven, the recoil.

On frame fifty,

we have the down pose after the hook,

then it takes six frame for the right foot to reach

its contact pose.

And from there five additional frames to get

into the down pose that will serve as the anticipation

before the switch kick.

From our micro-anticipation on frame sixty one,

our character will be pushing on two frames and will be

airborne on frame sixty six.

On there we are animating on once

the contacting of the left foot, then the right foot,

then a slight down pose.

From there, I want to build a strong easing of the foot.

So we have two frames for the foot to leave the ground.

And then it's animating on once until the impact on the bag.

The impact is put over all four frames,

so that our character is holding the pose

for a long time and need to look more impactful.

from there, the left foot is easing

into a drop to what it's contact pose

ten frames later on frame eight eight.

Six frame later on the right foot,

is contacting back,

before easing five frames later into the new idol pose.