My second blocking pass covered the entire shot and introduced two big ideas:
Flipping his gun into the sky and throwing air punches
Balancing on his head before flopping to the ground
These choices were crucial because I needed to further emphasize George’s confidence before humbling him. The more I could push his outrageous behavior, the funnier the gun misfire would be to my mom (obviously my main target audience).
Originally I thought George might spin the gun on his fingertips, but his hand barely has any geometry and that action wasn’t interesting. The gun flip and air punches were not only unexpected and funny, they also heightened his physical motions right before the shot’s exaggerated climax.
And, to be honest, standing next to my desk punching the air and making strange noises was super fun—even if it didn’t impress my French bulldog roommate.
Other changes in this blocking pass include a muzzle flash and better clarity for the gun recoil, more attention to George’s movement in screen space (composition isn’t just for layout!), additional breakdowns, and a few poses to describe the ending.
I knew from the beginning that I wanted George to land on his head. The suit felt so awkwardly top-heavy that his most vulnerable position was directly upside down; if I could get him there and force him to balance precariously for a second or two before crashing down, the ending would be a lot funnier.
The pose from 305–320 was incredibly unappealing and I couldn’t find a good solution during this pass. Broken gun constraints were distracting, but the flexibility to quickly change ideas was more important at this part of the process.
What about the odd splining of the hips—why so soon? I knew the stepped/splined combination would look weird, but the stumble was so physically driven that I wanted to work out the hips first and let everything else ride on top. In the second half of the shot, George was completely out of control and a layered approach made sense (even if it didn’t look good yet).