So I told you earlier that I try to keep working on this poses but just in case if I need to make a mess, I will do that later. And since this is very important part of the workflow, it has to be done. I can make a pose but never say that he has the best pose and this poses what I was looking for now. I started with a very basic idea and worked my way through with a lot of trial and error. A preliminary research is always necessary and good otherwise, you know, without pre production it's almost impossible to start production because we're all in the learning process which never ends so when we stumble a ball we need to get up until it's done. You know, it's kind of like that for I mean, all the things also Yeah, take critic is like most important part.

Once you're satisfied with your shot or you need, you know, another set of eyes. So look at it and give you ideas. That's when you need the critic. While working on a shot, we keep looking at it for like days or you know, sometimes even months. So after some time we get adjusted to the movement of the timing and we can't figure out if you're doing it right. So it's always better to call someone and ask if this is right, or what changes should be made.

Not only then you get to come back and work on your favorite shots to make it better, but the final result looks even more awesome. Alright, that looks okay. This ball down pose or the ground Connect poses Way up high. So let's go ahead and open our graph editor. This is like the command center for our battle to get our animation done right. Very important panel.

Let's move the Y axes down a bit so that the last key connects to the ground. He's posed needs to connect to the ground and the last last frame here. Remember Select all the body controls here. As we need like a smooth arc, I know you must be thinking is a robot. Why do we need all these smooth our poses? That completely depends on director.

If he says that, okay, these are completely mechanical, then I would go and work on it keeping in mind that it's only a robot. Here I am the director. So I like to think that these alien robots or aliens, or their bodies are embedded armor, which kind of twists and turns so it's not completely mechanical, hence the answer to your question. So let's go ahead and pull this leg up a little bit because he's going to connect to the ground on the left leg. As I told you earlier this is the contact books to the ground. The next book be the The squash pose.

So let's put the hand a little bit up because he needs to stop himself using he's a fire thrusters, maybe fire thrusters, maybe you know, those things come in effect. So we'll just keep in mind that he uses some kind of thrusters to stop himself from the flight speed. And these breakdowns are really important. I'm kind of creating the poses in a better way so that I can get better breakdowns here. As you can see, here, the keys are pretty much in a random position and the timeline here. I was much worried about the timing, but until now because I need to, you know, start creating In the breakdown poses, and especially while creating those, I need to make sure that I get some kind of timing done right.

So let's move the flight keys a little bit closer so we can get a fast movement. I'm roughly checking the timing here. While I, you know, played a couple of times I would get an idea of the actual speed that I will require. actually kind of looks okay but obviously this is going to change a lot later. Okay, now we need to now I need to help off the 2d panel to check out the polls we talked about the landing stance. All right, zooming in here.

So as you can see here, this is the final pose that I'm planning to use for the landing. This is like the I've divided the whole animation into two parts like a flight and landing and then the action pose. So the poses here, you know, we're like the initial ideas, but later on After some research online, I found some better posts which would, you know, match the shot that I that I have in mind. Alright, I've captured this, the stance in my mind and now I will try to get that here in the character. Let's see how that goes. Don't worry if you don't hit it right away.

Working on poses might take longer than you thought it would. Sometimes even hours. But never, you know lose heart because animation is not something you do you know, in haste. It needs a lot of time you have to give time for animation. Take a lot of credits from others. Ask your friend and the poses right around you know, record yourself and try to get that pose in the character.

So now I'm just trying to get the, the pose that I have in mind, you know, the pose that I drew there with the help of the Almighty internet. Let's see, you know, since this is a proxy model, you sometimes it might be difficult to, you know, get to the actual pose. Because it is a, it is obviously made out of square blocks. So, it's a bit a bit difficult to get the right pose because we might not know how the, you know, how the actual robot would look if I pose the proxy model like this. But we'll keep looking at it. Let's rotate him up here a little bit.

Right now the hands are an fk. And I'm not worried about that the left hand should be an ik because he needs to connect to the grind and the hand is going to stay connected to the ground until he gets up. You know he needs to push himself up for the Run Cycle. But right now I'm not even worried about that. Right now I'm just worried about the poses that I if I if I'm getting it right or wrong. All right, now that looks like a pretty cool landing stance.

Now while in this pose, he's gonna hold us beer sideways. Let me illustrate that Something like this. The upper part would be, you know, the pointy end of the spear here. That actually looks like a pretty cool pose right there. Okay, before moving forward let's go ahead and select all the keys and fix some of the timing here. We know that the speed of flight will be more and the airports will slow down till he reaches the hang time.

So by the end of the hang time we start to see him fall quite passive, the ground is the hero post. Alright, that looks okay. Let's try to go ahead and play it back here. Nope. Let's shift the keys after the slowdown scrubbing through here I'm seeing from the profile. If everything looks right, I think we can move some of these poses a bit to the front as the speed is great, so there needs to be some sort of, you know, forward movement to it.

So, you know, let's go ahead and fix that. I'm going to select this slower control and move it forward, the contact pose here. And even this pose, I need to move a little forward. All right, let's go ahead and play it back. Okay. doesn't look that bad at all.

Yeah, everyone's once in a while. As I'm working in the blocking phase. I change it to from linear To spline, just to see how things are looking. Oh, whoops, we forgot to change the global control here. Let's go ahead and change that to our tangent. Art in and kind of changes the curves from step to a mix of spline and plateau.

Okay, that kind of looks interesting. But we definitely need to change the timing and all that