Let's make the flight even faster just to see how it looks. I don't want it to be Superman speed, but it should look like a heavy alien robot flying and landing. No, I playing it back here. See now the handbook needs a bit of timing changer. Actually, let me go ahead and create a key here for the actual slow pose. And move the key and move the fall key.

Even closer to falling down. Yeah. Let's go ahead and play it back. We need to smooth out this curves in the graph editor here, selecting everything and out of tangent. Cool. The speed needs a lot of work, but we'll come to that in a moment.

Right now remember, I told you earlier the animation data saved to the proxy will also be saved in the real model. So let's go ahead and check that out. Okay, very cool. Okay, but important possible to scrub in my laptop here. Okay, maybe, maybe we should take a playlist to see if it works. I mean, it'll be the same as the proxy.

But you know, let's go ahead and check it anyways. While the playblast is rendering, I'm going to pause the video and come back when it's done. Oh, there you go. Where the right track people needs a lot of work, but on the right track. on playing bag, we can see that it requires a lot of time and finessing and some of the pose modifications as well. Playing a couple of times, we'll put the emotion in your head so you can remember and visualize what needs to be changed and what kind of speed are we talking here?

Let's take other proxy models since it's practically impossible for me to move the mesh here. Okay, I'm going to add some more poses. Before we start with the second part of the shot, which is the action part, I'll go ahead and add some nice overshoot to the character came down with so much force and waited obviously will have some kind of reaction to his movement. So let's add that. Let's move the hand up and rotate the palms. As you can see, we were having quite a trouble here fixing the fk arm to the ground.

Well, so we always have to counter animate fk arms when it comes to contacting something. But we're not going to worry about that will change it to ik whenever we get a chance. But right now let's go ahead Select the curves and change it to step mode so that we can continue on with our with our keys. Let's go ahead and create a camera, you know like a director's point of view. Name it main cam and try to position the camera right in front of him where we will use the resolution gate. Alright, he's in the corner let's on the resolution gate here and let's move the camera just a bit.

Just to put him inside the back a little bit. A little more back. We want the whole action to be captured in the camera. Maybe later on The camera animation will also change. But right now I'm just going to keep a fixed camera here. And I'm going to change the resolution from 640 to 720 P. Alright, let's play it back.

As you can see the camera kind of gives us some of the nice pose arcs. Right about here. This is the curve that we're talking about. You see that? All right. Okay, let's go ahead and lock the camera here since we're not going to move this Alright, that looks cool.

Now I will have these three views here. One will be the perspective where I can move around. One will be the graph editor and one will be the camera view where I can play back and see if everything is looking good. Now that we have our initial stuff figured out, we need to move on to our second second part of the shot, which is the run and the hack and slash basically the action part, which will be a little bit complex compared to the ones we did so we're going to take help the internet. Well, you can pose and record yourself and try to extract a thumbnail from the poses you want, but I'm going to use the internet as I might get some better poses or might get some you know, something more useful. So Alright, let's uh, let's try something you know, running pose and go to images.

Let's find something more relevant like running and sebacean pose. All right, here we are. Most of the drawings here are off legendary cartoons and they're amazing character posing this would definitely help us understand the type of pose we want realistic or not poses always remain the same. It's just the level of exaggeration that occurs. But there's always exceptions to the rule when characters are deform completely to bring the candidate vector. But that's not you know, restricted 2d itself.

3D also does that, but we're not going to go into that realm, completely different. Let's grow up up here and check out some poses here right now, I kind of need this one here. This one looks like the one we need after he, you know, tries to run kind of like the anticipation pose for the run. And this is the starting of the run pose here. Something that we want and this is the start with run pose. So these are some of the good drawings that we can use to To help make our shot better, that's why I like the internet.

So much stuff and resources available out there. So let's go ahead and try to get one of those poses the anticipation posed before the run cycles, basically the down pose where he he kind of pushes himself to get up. Like from the setting pose to the run pose. The Arc will be like a you you as an alphabet, you kind of like a nice curve. You'll see that in a moment. Okay, let's move the hand a little bit.

As you can see, we were getting real close to getting one of those around. must put the left hand here down bed so that we can see that he's trying to leave the ground. The left to left hands will be contacting the ground so he needs to kind of have a contact after the pose. All right. This is gonna be the pose that we have here. And this post is basically the one that we have like this.

This is the curvier and the last that we need for the center here, the breakdown post is going to be like an opposite, like a opposite curve you something like this. Which mean he's forcing himself to get up from the ground. When we see people starting to run from a ground pose, you actually see them pushing forward. Giving it thrust in the ground to get up. So that's that's the pose we want here. Let's fix the pose here a little bit.

Alright, that looks cool. Okay, time to create the next pose. Now. This will basically be the run start pose. I know you must be thinking why not the earlier pose? Well, that pose is going change a lot later.

And I need to start posed to determine how much of a change we need for the earlier one, because that that pose will change. That pose will probably you know, have its CEO g control way down in the Y axes.