Basically the CLG controlling so we fix right here and also was fine this part is pretty much 70 80% floaty right now so I need to totally fix this. For this kind of body mechanics we can easily take camera and recorder jump movements from Point A to Point B. By that way too, we can get which leg, you know, leaves the ground first and which leg plans and why it does what it does. So we can totally understand physics behind the motion that's happening right here. And if we can, if you can go ahead and record the whole, you know, like the flying and then I mean, obviously not flying but the land pose, at least, you can like take an anticipation and take that jump into that sitting stance that we have here, right after landing. And then you can run and do that hack and slash motion and recorded that that would be even, even much much better.
Then drawing thumbnails, and I just have this basic, pretty basic idea of I have what I want, because I probably might have seen this action happening somewhere in movies or you know, like, maybe in any Hollywood feature film, if you see some character flying and landing, you would probably see some similar action happening there when they fly and land. So the mechanics is kind of the same. It's just a story that what you want to tell you, like for this shot, I wanted to tell that he would fly and land and then you know, hit two of his enemies from the left to the right, and then you just slow down and walk away to do whatever he wants to do next. So yeah, right now fixing the To control for the for the walk cycle or for the slow Run Cycle that we have here.
When you're, you know, when you're running and you want to stop from the run, what do you have to do is you have to put your put the whole weight and the weight of your body, behind your legs, like from the CG control to your upper body would go exactly behind. exactly opposite to what it was while you were running. When you run, you make your body come forward. Which kind of adds to that force, you know, like the whole thing, the momentum and the force they're running. But when you try to stop yourself from running, you do exactly the opposite. You put your body behind.
So exactly, that's what you know. We're going to do here for him to kind of settle down and slowly come to that pose here. We have to make his body go behind, like the whole CLG thing needs to go totally behind. Right now just focus on the landing. The timing is pretty off so that needs to be fixed as well. I'm trying to make like, make two keys not appeared the same So okay.
All right. Much better than what we had before. A bit of bloatedness has been removed as well from this timing and the key shifting. Now I have to change some of the poses here. You can go ahead and do it with the curve or you can go ahead and you know, like pose it yourself. Inside the key.
What I'm going to do is I'm going to use this deformer which is like a key a farmer or curved a farmer. And you can actually select like a little A lot of keys and then smoothly give a transition from one place to another one key to another. It's pretty helpful. Okay, now that that looks pretty good. Let me play it a couple of times here so that I can understand the motion and see what things see all the things that needs to be fixed. Right.
Okay. You see this leg is way behind right now. And we're having Pretty similar poses. So that's what I need to change here. Similar placement for the leg, so I need to change that. Okay.
Go ahead and smooth this out the whole thing. So you actually worked on the whole thing for once. So let me go ahead and smooth it out. We definitely have a lot of things to fix though. But we're just working on it. Piece by piece.
It's like a puzzle. Actually not a puzzle, you know what to do, but you know, you have to solve it like, piece by piece like part by part here and the timeline. Okay. Okay. When we scrub through here we can see like a bit of bloatedness going on straw still around. But we're going to work on that a bit later.
Right now I'm just gonna go ahead and see how this is looking much better than before. I think it's time we introduce the spear to this character at that spear and because we have to also animate the spear into his hand that's why there are two controls here, one to peronists and the other to move independently. So I'm going to do is go ahead and roughly kind of determine a position where the spear would be in his hand. Okay. Yeah, I think that looks cool. Now what I need to do is kind of place it in his hand nicely.
Rotate this part here. Make it a nice hold here to the spear. Don't worry if it's penetrating or anything like that. Because I'm not so much worried about all this. The main action should come out nicely so but obviously if you're working on your showreel, and all that production works