All language subtitles for 08-10-03 Polishing hook part 03

- [Instructor] With our center of gravity

and our feet polished,

it's gonna be way he's
yours to now polish the hips

of the character.

To get rid of any visual noise,

I will ID arms of the
character using the rig UI.

So let's expose the hips rotation curve.

And keep in mind that the
hips can either be pushed

by the supporting leg or
lead the leg, pulling it.

For example, on the
section of the animation,

as the weight is totally
shifting toward the right leg,

the hips will raise toward the right leg,

because they are pushed by the right leg.

And our goal is not to
know which curve to use,

but to figure it out based
on the character motion.

The weight is on the right leg,

so I need to slightly raise
the hips toward the right.

I'm testing different curve.

The Y rotation curve seems to be the one

that will do what I need.

And I tweak this curve rig-wise.

Most of the motion of the
torso of our character

is generated by the torso
root or center of gravity.

So most of the time,

once the center of gravity is polished,

polishing the hips is mostly
smoothing out the curve,

so that we don't get harsh
angles or distorted torso shape.

And then I tend to rotate a little more

to chest controller
than the hips controller

As you can see, I'm pushing and pulling

along the way of the curve,

so that I get smoother transition

from one extreme to the other.

On frame 47, I will push down a bit

the Z quaternion curve,

because it will make the hips
to twist a little further

into the punch.

Since the hips are leading the punch,

it's where the energy come from.

We do need just after the impact them

to slightly overshoot.

And then I'm realigning the
hips with the rest of the body,

so that I don't get a too distorted trunk.

This little push on frame 47
will create a slight overshoot,

and that will better sell the impact,

because we will have a slight
glitch into the hips rotation

just after he hit the bag.

And since the hips are pulling the leg,

I will propagate a bit
the slight overshoot

into the left knee, by
playing with the pull target.

We can see the pull target
shifting after frame 47

to the left, but I will
just pull a bit the curve

on frame 50 and 52 to
create a slight overshoot

toward the inside.

As the hips rotate, the
knee is pulled inside,

overshoot a bit, and then
get back into its position

on frame 58.

(air whooshes)

Polishing the chest will be
mostly about making it drag.

A lot of the force in boxing
comes from way you deal

with your center of gravity,

so basically how you move
your feet and your hips.

Having a strong upper body
is really a secondary factor

to the power of your punch.

This is why we can make it drag it,

because this is not the primary force

into the punching motion.

The twisting of our character chest is led

by the Z quaternion curve.

So that our character
torso root is twisting

toward the left, I will
make the chest drag

by inputting a bit of delay
into the Z quaternion curve,

meaning that I will
offset any extreme pose,

and I will push the curve
toward its previous value.

This is a very easy
method that you can use

whenever you're trying to
achieve a dragging motion,

whether it's the finger,
a pony tail, or whatever.

You just delay the keys of the controller

based on their position in the chain.

The closer they get to
the tip of the chain,

the further you will offset the keys,

and I will apply this
concept to different degrees

for the chest.

The more strength the character
will put into his punch,

meaning that he will contract
all the muscle of his torso,

the tighter will be the dragging.

So I may not offset by your
key, every pose of the chest,

but rather have a rise to
previous pose, and then overshoot.

For example, here, I will
push up the Z quaternion curve

on frame 44 and 45,

but then I will push it down
to create the overshoot.

Pushing up the curve create
the drags into the twist.

Pushing it down create the overshoot

and sell more power to the hook.

Now you have to be careful

not to smooth out the motion too much.

A good way to input a bit of
texture and impact to the hook

is to use the location of the chest.

As the character is moving up very fast,

I will pull the chest down.

I will squash it onto the hips,

but then as the character hit the bag,

I will slightly pull the chest the back.

So I will make it drag a bit.

And just after the impact,
I will push it forward.

So basically you move the
chest opposite to the punch,

and then you move it toward the punch.

It will feels like the chest
of the character is bouncing

due to the impact of the hook.

Don't hesitate to push
this pose further away,

pushing forward over one frame,

and recovering over two or three frames.

(air whooshes)

From there, polishing the neck

and the head is pretty straightforward.

I'm using the tweaker bone
at the base of the head

to calculate the motion path.

And from there, I will walk as we did

in the previous segment of this animation.

We are going to make the
neck dragging compound

to the chest.

Since the neck is following the rotation

of the chest controller-wise,

the element of work to polish those curve

won't be that big, but just for our eyes,

it will beat the previous pose

by pushing the value of the curve

toward its previous value
or offsetting in in time

by one frame.

Then track your arcs.

You can see here, I have a very clean arc

made by the pace of the head.

And since the head comes from the left,

I'm tweaking the value of the curve,

so that the head move
a bit more to the left

during this transition move.

And then as it hits the next pose,

I will make it overshoot
a bit, one or two frame,

after it hits the extreme pose.

Technically, I don't have that much tricks

to teach you here,

but to watch the motion path

and make sure you create
as smooth arc as possible.

It's exactly the same
method as what we did before

for the arms.

We were tracking the elbows,

and then playing with the
rotation curve of the upper arm.

We were modifying the
shape of the motion path.

At no point was I focusing
on the graph (indistinct),

but mostly on the arcs made by the elbow.

At this stage, it's tweaking
each pose frame by frame,

whether you're doing these
for the rough editorial

or directly in the 3D
view port doesn't matter,

but your arcs must be super clean.

For example, here, as
the torso is rotating

toward the right, I will
rotate the neck to the left,

so that it is dragging.

And then after the impact,

I've pushed the neck to the right,

so that I get a nice overshoot

and we feel like the head has
a lot of weight and momentum.

And as I feel up here
with the result here,

I will do exactly the
same thing with the head.

Instead of tracking the base of the neck,

I may track with the top of the
head or the tip of the nose.

From there, you will see

that it's very, very straightforward.

When the head is raising,

I will lower the chin a bit.

When the head is getting down,

I will raise the chin a bit.

When the head is turning to the right,

I will make the nose drag to the left.

So we are repeating the
same method over and over

along the whole animation.

There is just a moment with
the specific controller

where we are going to
break the rules in the way

to create more impact.

If you remember, when we
were watching the reference

of Liam Harrison throwing a big hook,

there is a lot of rotation in
his head during the impact,

and this is what I want to reproduce here.

And they want to get that
into my animation too.

But instead of having
a recoil in the head,

I want to hold during the drag,

and then move it away as fast as possible.

To do so, I will create a little plateau

with the Z quaternion rotation.

This way the head is looking
at the punch, so it dragging.

And on the next frame, I
will push the curve way down,

so that it rotate the opposite way.

And it creates a very
impactful rotation of the head

just after the punch.

From there, I will smooth the curve,

so that the character is out of this pose.

From there, it was all about
adding some extra detail

to the animation of the torso.

First I've checked the pose of the head

from the camera angle.

And then using its location,

so moving the head in space,

I've exaggerated a bit the impact.

Then I've used the tweaker controller

to add a very slight
stretching to the head

whenever it's moving super fast in screen

on this specific frame,.

As for the arm, this will
fake the motion blur.

Then I will play with the
tweaker controller of the torso.

I will select them all,

and they will insert a key
frame on every single frame

during the hook

This way, I'm sure that those controller

won't interpolate from
one frame to the other.

And from there, I will
use those controller

for two main reason.

First, I want to slightly
reshape my character,

so that there is not that
much breaks in his silhouette,

and this way, I offer better
support to his line of action,

but I will also use them to create a bit

of a shaking his body
whenever he hit with the hook.

On frame 48, I will
select the tweaker bone

in the middle of the spine
between the hips and the chest,

and I will push it forward.

This is subtle details that
will bring a little more impact

to the current animation

as if the body of the character
was projected forward,

because of the momentum of the strike.