Original subtitles

- [Instructor] But once the bag rotation master controller

and the route were done,

I've locked their transform channel

so that I was sure I would not edit them by mistake.

From there, I will select all the other controller

and get rid of all the keys but the very first one.

Since the bag deformations are very fast,

it's easier for me

to rework them from scratch

than trying to work from what we have locked before.

Whenever I want to create a pose,

I will make sure that the previous keyframe

is currently keyed.

This way I'm sure to avoid any undesired interpolations.

On frame 12, I will kind of sculpt the bag

as it receive the first jab

by pushing the tweaker controller,

and then a couple of frames later,

I will just console all the transforms

so that the bag recovers its shape.

Then a frame later, I will pull a bit the controller

that was hit by the punch

so that we get a very subtle shake feeling.

Then I will repeat the process for the next punch.

I will kill the controller on frame 16,

the frame prior to the hit or impact.

Then on frame 17, I will sculpt the bag

by pushing the tweaker bone

but also scaling them on one axis

and then scaling them down on the opposite axis.

I'm trying to preserve the volume of the bag.

From there, four frames later,

I will console all the transform.

And then I will refine the shape

of the bag frame by frame.

Since the hitting frame operate is short,

it's a very fast process.

Rebuilding the whole animation

for the whole bag took me about half an hour.

And then I've started over again

with the hook, sculpting the pose from scratch,

using the tweaker bones.

And as soon as I was done with the hook, guess what.

I did exactly the same thing with the kick.

I've exclusively started working

on those deformation frames,

using the tweaker bones,

and that's pretty important

because they are very easy to use

and to sculpt those specific impacts.

Then I start working using the blue controllers.

Those are the forward kinematic controllers

that will allow us to slightly bend the bag.

We could spend hours in the graph editor polishing

those controllers but instead,

I've kept the process as simple as possible,

keying as less frame as possible,

and letting Blender interpolate between those frames.

So I'm selecting all the controllers

from the one just upon the impact frame

toward the tip of the bag.

Then make sure that you are using individual origin

so that we will be able to bend all the controller at once.

And just bend the bag toward its previous position

as if it was dragging as less as possible.

If you bend it too much,

it won't look realistic

because it will look too smooth.

And from there, if you don't jump into the graph editor,

that's gonna be hard to make it look good.

And as soon as I reach the next impact frame,

I'm keying the frame before the impact

and then I'm slightly increasing the curvature

of the bag on the impact.

Then when the hook is about to happen,

this is the time where the bag is traveling the fastest.

So I will slightly bend it

toward again its previous position.

And this is how you create this subtle dragging,

almost for free.

The trick is to make sure that you manipulate all the bone

in the chain at the same time.

Since they have a parent and child relationship,

you rotate the parent that makes the child rotating too,

and then you apply on top of this a bit of rotation

on the child, et cetera, et cetera.

And it generates a slight bend in the bag

that looks very natural.

The only moment where I had to be a little more creative

was on the kick

where I've posed the bones frame by frame.

On the frame prior to the kick,

I've just made the whole bag dragging

and then on the impact,

I first made the top part of the bag

to rotate to the right behind the leg of the character,

while the lower part of the bag will be dragging.

So I will invert its rotation

and rotate it a big backward.

Since the bag is arriving very fast

and we're kicking it the opposite direction,

there is a lot of deformation in the bag.

Then as it is projected by the kick,

I will slightly bend it backward

toward its previous position

to make it drag a bit.

And finally, as it hits the ground,

I bend it toward its previous direction

so that it is dragging again,

and then I'll console the rotation a couple of frame after,

and convert all the landing keys

and the keys after to vector

so that I have a hard slap on the ground.

One final touch I've added

is that I've used the tweaker controller

to squash the bag on the ground.

In the end, it's barely noticeable

because I've kept it very subtle.

I selected all the tweaker bone,

inserted a keyframe on the key prior

to squash the back

so that I don't get any weird interpolation.

Then I've scaled them up a bit on the x and y-axis

and flatten it, scaling it down on the z-axis.

And then two or three frame later,

I've consoled any scale by pressing Alt + S.

One final detail I have revised

but I'm not sure I've captured it

is the rotation of the bag just after the right cross.

I've slightly lowered the level of rotation

of the bag so that it stays on screen

while we are rotating around the character.

This is typically the kind of detail

I wouldn't have taken care of a year ago, for example.

But it's very important

because it does improve the readability

of your animation.

But this is typically the kind of detail

that will bring you to professional level of animation

because it shows that you care for your audience

and make sure that they will get everything

about your animation.