In the world of realism, I find diving in is the best way to go. Block in some strong poses as quickly as possible and define the most important actions in the shot. You want to make sure you lead the audience‚Äôs eye to the focal points, otherwise the shot becomes unclear and muddy. So, for a shot on Spider-Man 2 where Spider-Man and Doc Ock are falling and fighting, I choreographed the shot so it revolved around three or four very specific events. I knew for instance that they were in the midst of a battle to the death and it had to be violent.   But if I‚Äôm not careful, the punches and kicks could all get lost if I don‚Äôt highlight them with clear silhouettes. So step number one was make sure the big moments of the fight were clear. I animated a simple translation as they fell down the building and animated some very clean poses along the way. I made use of contrasting poses as much as possible. So a reverse C shape on Spider-Man rearing back for his punch, then a C curve for the strike. Those shapes were posed to camera to get the most impact.