Original subtitles

- [Instructor] We are hitting the final part

of our polishing stage,

where we are going to polish the kick.

At this stage, you should already have guessed that

we are going to start with

the torso route controller of our character.

The first thing that might be a bit disturbing is that

since our character has rotated in space during the hook,

the side to side motion of his center of gravity

is no longer driven by the X location,

but the Y location curve.

This is because our torso controller

is aligned with world space.

So as our character is rotated by more or less 90 degrees,

its local left to right motion is now aligned with

the world space forward and backward motion.

As usual, you don't need to think about all of this.

The important thing is just to test the curve,

see how your character behave and start from there.

As we did before,

I'm moving the center of gravity of the character

based on the steps it's taking.

I'm pushing the center of gravity on the left leg,

whenever the character is freeing his right foot

to be able to pull it back.

And then we have this micro anticipation before

the jump into the switch.

The weight of the character is shifting upon the right leg.

And we are holding don't pose for a couple of frames.

Then as our character is jumping,

the value of the Z curve is raising pretty fast.

And since our character has no more contact with the ground,

I'm making the Y curve almost linear

because our character is not able

to apply any forces to accelerate

on its X or Y axis while in the air.

When your character is airborn,

The only axis that gets a lot of variation is the Z axis,

the up and down.

As the lens, the reason micro anticipation,

so a little down pose over fret 74.

From there, I will give a quick polish to

the X location curve of our character.

Remember that the feet travels faster

than the center of gravity.

So when the character is stepping back,

I will hold his center of gravity upon the left foot until

the right foot reaches its contact pose.

And then the center of gravity travels

toward the right foot

and as I did before with the Y location curve,

during the jump, I will make the curve more linear

by simply removing the unnecessary keys.

Once I got the satisfying arc for the jump of the character,

I will try to push him back and down as far as possible

to contrast with the position whenever it's kicking.

From there, I didn't have that much work

regarding the kick itself

because it was already polished a lot

during the blocking stage, since we have animate it on once.

So from there,

I will be mainly working on the step back of the character.

And as usual,

I will make sure that the center of gravity of my character

is aligned with the contacting foot

and that the weight shifts

upon the new contacting foot

as soon as the current foot contact the ground.

So first the foot contact the ground

then the center of gravity shift toward the foot

and to be able to move the food, the character need

to raise his center of gravity.

So the center of gravity will both shift to what the

supporting leg and raise while the opposite foot

is moving to its next contact pose.

And as it reaches its next contact pose,

the center of gravity start to get down

and toward this new contact pose.

Very common mistake is to move

the center of gravity in sync with the foot.

As explained before, the center of gravity and

the feet don't move at the same speed

because at some point the center of gravity

needs to be supported by the foot

and at some point the center of gravity

needs to free the foot so that it can move.

So just try to keep this in mind,

this mechanism where the center of gravity will shift

towards the available foot,

the ones that doesn't move anymore.

When it comes to rotation,

as soon as the character is pulling back,

I am making the torso drag in a bit

so that I will rotate it toward its previous position.

When the character is moving back,

I will make him slightly leaning forward.

Compared to what has been outputted

from the detailed blocking,

I'm not touching the curve that much.

It's mostly about revising a bit,

the timing of the rotation of the character,

then reworking his current poses.

And you can notice that I generally have a very smooth curve

with some plateau whenever the character is moving his foot.

And then the little acceleration of twist

as soon as the foot has reached its contact pose as for the

X and Y location, whenever the character is jumping,

he will have a hard time to create any variation in its

rotation speed while airborn.

To be able to accelerate or

decelerate, you need to apply forces.

And if your body is not in contact with a surface,

you can't push to create this force.

This is why my curves get small linear

on during the jump.

From there, I will walk on the rotation

as I did on the location.

I will try to push the extreme of the anticipation

as far as possible so that I get a very strong contrast

compared to the kick release.

So I'm leaning the character back

and twisting toward its left leg

and then I will twist the body toward the right leg

and lean the character into the kick.

Then when the character is coming back into idle,

I'm mainly tweaking and smoothing the existing curve,

making sure that the body is dragging

as the foot reaches its contact pose,

and then the body catch up.

Exactly as we did for the location.

As usual, I will provide you a slow paced time-lapse

so that you can watch it almost real time.

Note that entire of the animation, I've given me like

five or six additional frame, just to ease into the idle,

instead of having art stop,

I will deal with almost all the controller this way,

creating some kind of moving old until the last frame.

He will be easing into his final post

and that should look right.