 All right, let's check this out comes in it looks around Worried way it's here. It's great. I know this was my idea, but Actually people like this because it it tells us more about how he feels because he goes to the back of it cool Watch out. We are looking here and then across the cuts Looking here. I think you could easily have his body here So it matches across to cut a bit more and then when he sits back down I'm assuming he sits back down. See then he can still move his room back and he ends up here Which is then a more balanced composition because he gives him more room here because he's looking this way That's good. Yeah, it's gonna be great. I like it. I like it a lot. It's really cool And then in your in your blocking too When you start with this how fast this door opens how he comes in like what comes in first Is it gonna be his leg his arm his head peeking in all that is gonna tell us something about his state of mind How he closes this is he just I mean you're telling me already looking back, but you know imagine he would just walk and then you know, like there are different things where how many times has it been in a church does he walk and Keep his hand behind him to kind of make sure he closes softly But that means it's almost like he knows how to walk through a door like this Which you know again story telling wise is he coming back to a church or is this kind of the first time for him? If it's kind of the first time this is kind of neat because he has to kind of look how he closes Is he gonna let it bang? He's gonna let it, you know, is he gonna make sure that it closes softly? Which I'm assuming that's what you're gonna do Which is cool and then that's cool. All that is cool, too and even here like That little swing I know I don't know your intention right now in this but it's could be neat where he might almost feel the back of Of that thing here like he's trying to like he's he's looking this way But he brings his arm back and almost kind of taps his hand to kind of feel where is it? All right, he kind of wants to blindly sit down like it reaches arm out to hold But he doesn't quite know where it is like little details like that, which will also make some frail And you can always do that and then stop and move on to this arm, which is fine, too And then what I said here Yeah, that's kind of thoughts and then you're asking about just for starting blocking being efficient to me the way I do it is I Do you know imagine I'm gonna bring this down here Imagine this is my Maya timeline. I said a key roughly every four it's pretend this is four frames every four frames I said a key and I key the whole character except hands and facial stuff So I got my major poses, you know, however, whatever you're doing if that's your your passing or if you know If someone's jumping and you got a squash and then you got your full extension and you got your squash at the top Whatever it is. I do my major poses that kind of tell the story of course depending on your actions You might have obviously a lot more Poses, you know, not that broad, but I don't really care about timing as much I mean I kind of make sure that after four frames that's where the body will be after four frames It will be here, but then I move these guys around in the timeline So that ends up being going from every four frames to you know, this might be Might be like that You know, this might be this might be my timeline at the end so that I'm doing Roughly the timing that I like so after the main pose I go, okay This is kind of timing now this moves the way I want it and it kind of works for me and then I go layered So then I concentrate. Okay, let's do the root first Make sure everything works with the roots and then the chest and then the head so that because the root is going to influence Everything else in on your rig So once I fix that it's going to be much easier to fix this So I go big big body parts first right and then this and then arms and legs if you do a walk which you do here I would probably do this Conjunction with that and then the chest but I always kind of go back and forth between feet and roots because of You know and then just something I would see the pelvis as well for weight shifts, but I can whoops I kind of go through that I kind of set the main timing and then I shift around the These guys in a timeline to get my main Movement and timing right and then I go layered and I go body part by body part just to make sure And that has served me pretty well so far in terms of blocking and being efficient because by keying everything like this and Moving just those main keys and because the whole body is keyed It's very fast. I can make very quick changes If I move for instance this key over to be here, but then the pose is kind of weird I just adjust the pose on this right if I need more drag or more offset already put this all in my main blocking I don't do drag overlap and stuff in the layer path. It was all in the first pass Especially offsets because why not? I mean, I don't need to wait. I know what needs to be offset So that has helped me pretty well and obviously shooting reference or finding reference We're just making sure that you know what you're doing not going blindly in it every time I just start a shot without a plan I'm definitely not as efficient as I would be if I had a planned out and then for ultimate efficiency For something like this. I would set up my camera. I will find a bench Act exactly this one out right you want to shoot your reference to look like it's exactly like a shot a camera angle Why is prop wise and I would sit down and do all the acting I will bring this footage into Maya Right and basically rotoscope this whole thing and it sounds like blasphemy But basically that way I know is the acting going to work with my rig the scale of my rig with my camera angle and my set And I notice within five minutes because again, I just gonna rotoscope everything every four frames every three frames But then when you're done, it's gonna rotoscope So then what I do is I go you know when you shoot reference or whatever and you do thumbnails to look at the best poses I basically do this but because I have everything keyed out. I start deleting things so I go I like this pose. I like this pose. I like this pose and I start deleting everything in between And maybe at some point I like like a specific head move exactly the way I rotoscoped it and I must so I might keep a lot more keys and Then once I have you know, usually I delete like seven percent And then I go in and put in offsets and key frame and do the proper easins and outs But that is when I'm in big crunch at work I I do that because it's you're never gonna end up being Using the rotoscope stuff but for blocking I mean I basically block stuff out in five ten minutes and it's or yeah I mean depending on your on your complexity and how many characters you have But if you just if you have your footage and you copy your footage take a couple keys out spline and you go like yeah That could work. It's gonna look like ass, but it gives you a pretty good idea of your acting choices applied to this ring You know the size of the head eye line and everything that's gonna work out And then you can start going back in there and re key frame for proper Looks in our sense. No, I hope that makes sense. If not, you can always All right All right, there's an email you can sign up you can start whenever you want You can submit whatever you want you get 16 submissions either way a like and subscribe would be awesome. All right. Thank you