clean keys for the bump, plus rough tweens. All scratch time, and we still need to drop in the shadow work.

In-house sequence for use on the reel, and wherever else it seems appropriate.

Closing mockup showing how we transition to black.

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Explosion check

What could I possibly say? Nortega silliness. It makes for some fun loops if you fiddle with the frames.

Complete keys and rough tweens for the entire spot. The logo treatment at the end is a mockup, and we’re still lacking the rain of splinters around the middle, but principle animation is essentially complete, barring corrections.

Second round of keys. This cut also includes cleanup tweens for frames 001-035, and runs out to the bat inside the store (078). This does not include the layer of splinters that rain down during the hold at 51 (staring at the bat). We’re just over the halfway point, and we’ve got about five flex points to adjust timing if necessary.

Keys and rough tweens for frames 001-038. About the first quarter of the total, estimated. Normally we’d break keystests up by cut, but since this piece essentially has no cuts, we’ll be posting as we go.

Because of the rough nature of the “clean” keys, the rough tweens fit in more seamlessly than usual. Nevertheless there’s a lot of elements not included here, such as a thicker defining line, color, shadows, etc. This keystest only serves to test motion and timing.

More BG element linetests.

Added firing frames. Casings still to come.

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Casings added. Bodies next.

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Linestests for near BG characters falling to machinegun fire. With judicious timing these three can be doubled up for the half of the rotation that passes by before the transition.

Additional BG elements next.

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Secondary BG characters with limited animation. One final plate and perhaps a nice explosion will round out the BG elements.

big splat at the end of Punching Bag. There’s a mockup of 008, 009 and 010 after the jump so that you can see how the cuts splice together.

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most all the frames for c001, there’s a touch of tweens on the BagMonster towards the end but that’s about it. The transition FX aren’t in place, but the timing is set.

The full video at the beginning might have this playing a bit slow on some computers, at least at the beginning, but you can always click the GIF to view it in a window of its own, which can help if the framerate dips.

Punching Bag cut 006, with the full frames for Nike but the key frames for the BagMonster.

full lines for c003

linestest for c009, Nike’s POV punch into the BagMonster’s face.

Key frames and breakdowns for c005. It’d be nice to hold a little more at the end, but we’re right up against the 24f cut time.

key frames for c003, wherein Nike gets a faceful of breath that probably reeks of sweaty gym bathroom drains. Or so we’d imagine. Ah, Smellovision, when will your time come…

lines for c002, wherein the BagMonster™®©(j/k) strains the chains that hold it in place.

Cut 004 constitutes the longest single cut in the Punching Bag animatic.

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Updated with full sequence. Earlier partial cuts can be found after the jump.

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No tweens for this one, it’s set for the next phase.

Key frames for c007 of the Punching Bag spot. The sketch style is a bit more difficult to tween or hold but reflects the base for the unique style of the cut.