These body arcs are very important. These are kind of like a bridge between fluidity and blockiness. I mean, you say that if we fail to get these arcs correct, we might have a jerky result and advisors a fluid one. So always thing to keep in mind while posing him out. Looking at it 360 also helps you understand the posture and the way it's supposed to move. Always do that really important.

Move the head just a little bit. Always keep checking your poses 360 while creating shots like this, if the director changes the camera in the later part of the production, then it could create a problem if the animation doesn't look good from all 360. Normally the director won't change it. But it happens. So just something to keep in mind. Keep an eye on how I'm changing the poses while I go.

And what I'm trying to get here. It's basically a Run Cycle right after landing stance, and right after the run, he'll jump and swing his beer to hit it to the nearby enemies. Here we won't be animating enemies nearby but but yeah, you can go ahead and create a whole sequence where where your alien robot lands like this and you can add two three, you know enemies coming from the side and your spear hits, hits them with great impact. You can do that. That really look cool. Also, we have to keep an eye on the number of number of keyframes that we have.

We don't want to stretch it any longer. Or or make it you know, shorter. But it totally depends on the camera. review in case you have a long fight sequence. You can shift different cameras from different angles to give it a whole cinematic view. I mean, there is no hard and fast rule to this but but those are some things that I told you to make your shot look better.

And experiment with your camera views. Maybe you try to watch some action films and and try to read a camera sequence where there's like a nice action happening. Get inspired from all that it's really important. These all are part of the animation workflow. If you know what you're blocking out, you'll automatically visualize your and result long before you start your blocking. Plus, try to use as many pins principles you can pushing poses is also a very important part of the primary blocking phase.

All I'm trying to do here is get the poses right the poses I remember for the pictures we checked on the internet some parts are memories some parts visualization and most party provides ation provides ation helps in opening up your mind to a lot of new poses and creative things that can come up. Let me show you how this will happen this trajectory actually, okay not that high but somewhere down here. Yeah, definitely not that I. I liked it to make sure from all the angles so let's play through the camera here. The CG Nita for care even leg I shift some of the keys for the alien to take some time to get up from the land. And before he can actually start to run. Okay, so it looks like the forearm needs a little bit of work, it's not going back enough to kind of create the pressure, he needs to start the Run Cycle.

So needs to go back a little bit. As you can see, this kind of makes sense. All right, so he's gonna run off screen from here from the camera. Let me illustrate that with my amazing mouse going bilities here exit. Okay. So let's create the rest of the sequence.

Now, since it's a whole new sequence, we're gonna need multiple cameras here. Okay. Why don't we use for like 60% Now we're going to create another camera for another number of frames. Go ahead and name it whatever you want. And we're gonna name it here, but I put it here and let's go ahead and look through the camera, look through selected and just in a position it accordingly. Alright, that'll do for now, probably you will totally change the camera since I don't have a fixed storyboard for this.

And this is just a demonstration. But it's very important to have a storyboard of whatever you're trying to work. But for now, this camera will do just fine for the next set of keys. All right, let's go ahead and set a key at around 60 and go ahead and lock it. Steady camera, basically Also in camera one, we need to, we need to key that in 60 as well. Let's go ahead and do that.

And Oh, and one more thing. Remember when we work in production, there are different cameras for all different shots, never one camera, but you know, but we can also do this little trick where all those free shots of the secrets can be achieved with just one camera. And I can put a key at 59 one at 60. So it'll play the camera until 59 and then at 60 it'll change position. But I'm not gonna do this. I'm going to go ahead and use the normal camera like the one we had.

All right, let's move them up a little bit. Move the next key here. I'm gonna place the leg up front here down. So there'll be the contact pose for him and the back leg obviously is going to come up. Okay, looks quite plain from all the angles here. Let me exaggerate this pose your a bit, your arms may be a little bit more.

These are kind of important because it'll really add to the final result. Move the head a little bit down here. Oh, and the and the curves here. Let's, you know we have to make it you know, really lined up and look really good. Okay, that looks fine for now. Let's move on to the other camera here.

I changed the UI shader mode from shaded to wireframe on shaded so that we can see it more clearly. We'll add someone's leg attributes, like patrol and all that. Those are very important to. Okay, now a very important part people the hack and slash he's got, he said, not gonna keep running forever. These two steps are enough for him to get into the force for the hack. Let me go ahead and illustrate that for you.

Okay, here's the right leg and the left foot now will be up here so the only thing while taking off, he needs to focus is the taking off the end. Which obviously the y axis will be way up here and its line and his focus will be straight up you know, like straight up at this enemy with the spear on top of his head that will also be a very cool pose and it will be obviously rotating here it's like a swing kind of thing. So move down here and attack his enemy right into this head or something. Let's go ahead and check some of the images here the internet. Okay, looks like got some of these from here. quite few.

Yeah, this is one we use already.