So we need a transition post here, right after this post. Let's go ahead and fix his leg a little bit, put it down, rotate it. And also the hips need a little bit of twist, just like that. Very cool. Also make sure to watch videos of Run Cycle on YouTube to understand the mechanics of it, how a body would react, rotate with respect to the legs and hands would rotate with respect to the body, etc. This is the shot this is the key that we that we need pose.

And this is also the post that we made here. So we kind of have it right now, but we're going to polish on it. Always try to keep some ups and downs or offsets and key because that brings variation and makes the animation even more natural, very important part. Alright, let's go ahead and check out the, the animation. Till now let's go ahead and set our camera view and hit Play button. Alright, that looks about right.

But I think the timing steel needs to be fixed it's currently very very slow. So let's go ahead and do that. I'm gonna select all these keys and bring them you know, scale them down to a point where I think you No, I have to keep doing it until I get to a certain point of speed. Oh, this looks good. I bring them closer. Yeah, this this looks quite fine to me.

Okay, Alright, let's go ahead and create another pose. This will be another main pose for it. You have to check 360 degree for it. And you also have to check from all angles angles, you know, like playing one playing each key one by one like this scrubbing through if it's looking right. Anyways on his left leg, he's body would totally put the weight on it. So you should all remember that.

Use nice roll here on leg. I'll make sure your legs are not sliding and all that. But right now the poses are important. So I'm working on move the hands back and move the right hand low pro here. Rotate the hand top. All right.

Use a lot of reference during and creating a lot run cycles like this to really, really important. You see that that's, that's not matching right now. So we kind of need a, you know, like a breakdown In between between the two two main contact poses. Go ahead and check it out. All right, that looks pretty cool. Let's go ahead and check it out from a different camera here.

Very cool. Let's go ahead and take playblast pretty simple default playblast Alright, here we go. Looks pretty good. With all the other poses till the end I think it will look good. It will look the way that I want it to create Taking a playblast with the high res model here just to see if it's looking good. It's exactly the way I want it to land.

Perfect. Now we have to figure out the way he would hack and slash through the crowd of enemies coming at him. That'll be this next part of the tutorial here. We'll get that right in a moment. Okay, all right. How about we see it in action in a textured mode?

Feel of it. All right, here we go, pressing six. And let's go ahead and take a play last. Okay, here we go. Is this looking good or what? Let's go ahead and work on the proxy mode.

All right, now I'm going to go ahead and move this leg here but because we need to connect for the jump pose, to the Connect pose here and then we have this direct you know, like a Like a contact pose, main pose here and we kind of need a in between something like this rolling lag little bit. This little bit of nuances are very, very important to fix. You can see it from the side, left side of the perspective window. It kind of helps that way. gotta close to the ground actually is to jump post content closes the one this down post here whoops pull this up love it right now visualizing all this stuff up what will happen next and all that But it's always better to come prepared with a storyboard in case of a real production studio. The animator will be given a storyboard to look into, from where he or she can start acting out his or her shots and, and using those references, he or she can start to work on it.

All the poses won't be there on the storyboard take help from but with the storyboard of the script, you'll get an idea of what's going to happen in the shot. And accordingly, you will act and take half of this footage that you recorded during your animation. while focusing on how natural the pose should be, you can go ahead and add some exaggeration to it. exaggeration is always fun when use within limitations, but that's also not necessary. Same as in the case of animation. Manning all this delays in the hand here all right, that looks quite okay.

Moved in a little bit far right here. Cuz the z axis needs to you know have a linear linear curve in the in the graph editor like a uniform curve. All right now from this pose here, he'll, he'll leave forward for the hack and slash action part of the shot. So, so let me illustrate all that for you. I'll show you what to achieve and what not to. Let me show you first what not to achieve.

Okay, scrubbing through. Please don't mind my mouse drawings. I hope you can understand the sketches I'm trying to show here. This is the something that you don't want to achieve here with the pointy end on top and the eyes looking down. So just like the illustration, this pose wouldn't look any good for this animation. So we're not going to use that.

Instead, we're going to try to get something like this. the pointy end of the spear would aim directly At the enemy where our eyes are aiming at and have this nice curve to the body with the spine curve to it. So here's how the line would go if we had to, you know, put a trail for the keys scrubbing through now checking it from the camera itself and need to play it back to see if everything is going fine. But I think we still need some timing fixes for it. playing it again. Okay selecting all that and shifting the key of France so that I can get a very tight, you know, Run Cycle fast and tight Run Cycle, which will be really good because he, you know, he dashes into the scene so he's not gonna slow down and I he's in full motion right now.

He's in full force and he's focused to destroy the enemy. So he will come in full force and full speed, so we need to make sure that that happens, you know. We'll work on my run cycles, even later during the blocking plus poses. And also the Polish Polish pass. Yeah. Go ahead and take a playblast with major high rez Okay, that looks pretty fine.

Now continuing now we'll be continuing to work on this till we get to the blocking plus phase after this. But yeah, a little bit left, like the for example, the hack and slash part is left so we need to figure that out. So this is basically the curve that's going to happen, you know all right.