 Welcome back to another analysis and today I want to take a look at the sea beast coming out on Netflix. But actually, let's go back to the beginning here right off the bat. I'm in just because I love water stuff. I love. Well, this is not a creature. It's alluded to, but I love big creatures. The sense of scale difference is really great. And there's some really cool stuff in there. And just quickly, to me, when I look at this and what this analysis and what these are, if a new student watches this, like, that's a great way for me in terms of showing weight. You can see how the character leans back first and then has that that pull with the body to then pull down with the arm. So a lot of times, I'm guilty of this, too. I assign weight assignments to students and it doesn't always have to be, you know, a character empty scene, there's a box and a character lifts the box up. It can also be a pulling scene. There are different types of weight. So I think this just quick. I think this is a great example. You don't have to do three characters, but you can show just one and the mechanics of that. Let's grab forward just a bit. Again, I love seeing this only because, you know, you would think that maybe characters this tall. So I love seeing kind of like journey to the center of the earth type stuff. I just that I'm already in. This could be, again, interesting in terms of body mechanics, just going up. It doesn't have to be a ladder. I like that this is not super tight. You know, it's not like a static ladder. So there's some movements which will kind of change up some of the leg positions, even arm positions. So just again, that as an idea, that could be a cool exercise for students to have someone climb up a, you know, a loose rope type of thing. This as always, little reminders of finger animation. I always look at that. It's little changes of details. You can see how there's a slight change here. Someone comes out. How there's a cool quick adjustment to hold that, that just, I mean, you know, forget the rest, simplify and maybe simplify just like this. This could be an interesting way. I like that the pinkies down here, just practicing finger animation because that is a pain. That is going to be joint by joint. You might have a picker where you can, you know, say multiple things, but it's just very time consuming. Finger animation is going to be time consuming and just the pain to do. So as an exercise, always worth doing. Let's go forward here. And I am already more in animation wise, not huge, but I just like seeing this. I like seeing this as the creature design in ginormous water. And you can also use this, you know, as an exercise, you could do something where what if you can almost reverse it? What if you have this, you can almost put the creature in here as a little side gag and then that I like that reveal of what did I just see? But for you in your shot, you could have something really interesting in here. Of course, there will be some compositing issues. Then you have to track it and blah, blah, blah. But what if your shot is this, you don't see much of the body, but you can still have some nice finger animation, little detail there. And it's mostly a reaction. You can go from something where maybe there's a bigger squint. I'm just saying this because of an exercise, right? You push the facial expressions, bigger squints, maybe there's some blinking into a holy moly second shot, something huge, something weird, something crazy, big mechanics or robot. So you can kind of squeeze in two connected shots while showing something totally different. I think that could be an interesting shot approach for students. Anyway, let's continue on. This will be your close up facial shot. This will be your creature landing shot, which reminds me I did the pigeon landing. That's always worth doing. Well, let's go to this. This was the first one where I thought this is really interesting where I love how it comes up. You have that main motion and then you have that. You got that little, so cool. The sense of weight and just that extra motion in there. Very cool. Nice silhouette. Love all this here. All the birds going out. I think that's super cool. This was the second shot in terms of holy macro. What a mechanic shot. Love all this. But the thing that I love about this is that besides the free fall, right? And you can do some big arm swings, legs and arms. That's a nice hand post. Despite the blur, look at that. All really nice. The cool thing is this. So there's force, there's weight going this way. And it's being stopped by this hand holding arms. It's going to stretch out the arm. Then it's going to stretch out the arm and the shoulder. And then it's going to stop all of this because you can, you know, dislocate the shoulder. I mean, you could, but, you know, it will stop. And that will mean that the legs will snap back. And then after that, the arm and the rest will swing while this is your pivot. I think that is super cool. As a student, very complex, but worth considering. I wouldn't add all of this because that's a huge pain in the butt is so much work at the same time. Same thing here. Fall that gets stopped by this, like different ways of someone's weight and momentum and, you know, direction being stopped by an object. But I think this is really cool. Watch this in real time again. And I love that snap. And then that nice sort of the timing of that. Very cool. Nice, simpler shape there. I think that's pretty cool. Got your, too bad it's cut. Cool creature shot with impact. Can't really look at this more. You're getting more glimpses of what the world is. I'm going to scrub a bit forward. Not that you want to do this. This will probably be the intern shot. All right. We got 40 characters. All right. We want them all posed out. We want blinks on all of them. That would hopefully not be the note. It's cool, though. I like seeing this. This is cool. This was another one where I thought, oh, okay, okay. What are the fingers doing? Because it's not your lift where your arms are below, right? And around it where someone might have the face squished, the cheek squished, trying to lift it, pivoting that way, which could be a cool way to do it. It's pretty difficult. Where's the other arm? Do we see another arm below? No, it seems like one arm here, the other arm on the other side. And then you have to push in. Try that at home. That's not that easy. But what I was looking at, are we going to see the tension in the fingers? And we are, because they're tight here. They're straight. And then, see this? You can see, I'm exaggerating, but you can see that bend a bit less in the thumb. But the thumb is doing something, but you can see the tension in there. So that's something you think about in terms of your weight assignment variation, right? Could be something where it's not just from below, but you press your hands, but definitely show what is going on in terms of the force. It's a cute pose reveal. We got some more close-up-ish facial stuff. I'm going to scrub through some of this, even though it's awesome looking. This was cool too. That was the next one, right? Watch this. And then this and then that. Not long. How long is this? We are going from, should I count? I'm not going to count. I'm going to bore you with counting. But this starts at frame 10.19 for me. And done. 10.19 to 10.73, about two and a half seconds. It's something like that, maybe two seconds. Not long, but look what you can do, right? You have a really nice, strong line of action with, you know, the counterweight so that she doesn't fall over. It's good for balance. Then you have the big swing out with a really nice line of action. Love this here. It starts here, then this goes back, which goes up here. And you could change this where the characters may be not as strong, meaning this will shoot, buckle here, the elbow, go back. But then the recoil is so strong that it's going to move that R, maybe even further back, shoulder goes up with more impact on the chest. Just to kind of push the mechanics as a student shop, but I love this and I love this ready, just letting it go. I love that you can see the fingers open and go slightly off with a slight weight on the fingers. Then you imagine if you have something really heavy on your fingers and the weight goes off, your fingers are going to snap back a bit. I love that. That's their nice finger poses into the next focus. Right. So now you have overlapping actions where this is action one, two. And this is a different action. You got a big change of posture, right? Versus let's go back versus this open pose where we're more. Let's go back into a bit more scrunch together. Begin to see a patient into, that is awesome. I love this into this cool pose too. And of course you can do some tail creaturey stuff to journals. You know, composition is cool, but that could be an interesting action within two seconds, right? You got two different body mechanics, including some cool personality type of thing and then I think that's pretty cool. Be a great assignment. Again, two seconds is not long. There I say, I would also do this, by the way, an exercise like this, a prop. How do you show the weight of this going into wood? How since it's hanging on attached, you're going to have some impact and some wobble, then you can have another piece where this goes through this into the wall, which means there won't be any wobble. It's going to pin it to the wall. You know, it's worth animating props and properties of props in terms of the weight, the wood, blah, blah, blah, blah, all that stuff. Don't just stick to characters. I think that's really important. Let's continue on. We got some cool facial moments. There's a cool here, this one. That, I love it. Hey, the water, the renders, big creatures, sense of scale. I'm so in. That's cool. That was the next one. Now you might say, JD, I can't do water sim. Yeah, neither can I. I know that's not the point. The point is that someone is struggling in an element that is, I would say unfamiliar. It's clearly a pirate. There's no water, but it's not something that everybody's good at. There's this massive, you know, maybe the pressure of the creature going up and all this, the fear of getting swallowed. All of that is cool. So you could do maybe just a plane, take your vertices and move them up and down and that's kind of that. Maybe some bubbles, like some spheres just hint at the nature of what this character is in and then just concentrate on, it's too short. On this, the struggle of this, I think that's pretty cool. Then you could push this where you could have mouth closed, big, like cheek shapes, opening, you know, that you can do a bunch of stuff. And he has a bit more of a more out of control way. He rolls to the side. And again, look at how short the shot is. It's so short and you could combine it from this into actually this. And then you have a cool push off. Then you could show, again, properties of a much bigger character, how those elements of the job will clang together, maybe open up a bit, there's some rattle or something. It's not long. I mean, what is this? Maybe just from here on, come on, it's like two, three seconds. There's so much you can climb into those seconds in terms of just an exercise. Also, you don't have to see the rest of the body and the legs. So you can kind of play with the transparency and opacity of your water, mud, whatever you have here. Anyway, I thought that was pretty cool. It was a cool idea for a shot. This is cute too. I always love this again because of scale difference. And you can shoot reference for this. You can see your own kids. You can see kids online, like whatever, you know, you want to observe kids. And that's going to be something you can reference easily and act things out for yourself with the contrast of some smaller also. We're the creature where you have more cartoony freedom. I think that as a shot idea, I already like. And I think this is really fun that it goes around there. So then you can play with a reaction. So as a student, I wouldn't cut out here and I will play with the big freak reaction or you go against the grain where she has this, but then goes into a big smile, leans forward and pets the creature. You know, you can just play against expectations. That is also cool in terms of weight. Again, we talked about weight before. It doesn't have to be a box lift. It can be something heavy, cool, clean pose on to like landing onto someone who then has to deal with that weight and just the impact and the bounciness, right? Watch this. Pretty cool. And you can still put some acting in there, some cool performance poses. And then I love the contrast of this further out, wide, probably, you know, squatty and then into this. Everything is straight, feet together. Might have been fun to put the, the feet up, toes curled, but everything is tighter. That's why I would say the feet up. And then you have, you know, punctuated by all the arrows again, which could be fun in terms of props, but you can do the impact, the wobble. How long is this? Just both of them actually, right? If you just do two, three, four again, you mean it's so short, but you can do so much in there in terms of weight and then contrast and comedy. So it's not just, was the concern is always that as a student, you go, all right, this idiot Swiss teacher gave me a way to Simon, right? Where's the fun in that? Well, then you do something like this. You can still play with expressions. You don't have some pantomime acting, big contrast for comedy. You can still make these entertaining for yourself. So that the exercise is not boring. This was another one, just in terms of a shot. I love this. I wonder how brutal it's going to be. Imagine cuts open slides down, cuts open, all of this. And then little creatures come out. Anyway, let's go forward here. That's, I think that was mostly that this, I thought kind of cool only because I'm always a big fan of either it's a prop on a surface or a character on a surface where you as an animator have to tell the audience, what is that going to be slippery, sticky, rattly, bumpy? How is it going to affect the character? I think that you might think, well, you just pull the character down, you know, you know, from eight to be on a constraint, maybe, and then some poses. Sure. But I think there's some more, it's just more to it where you can do something where what if, what if, right? You got some moss and algae and some something. Maybe this has been in the water as well. So you got some, some watery, planty stuff. And this is the wet wood. So you have the character sliding down. And when it hits this section, the feet will get stuck. He might buckle up and then fall over. You can show us an animated, the transition, the change between slippery surface to something else. And I think that's cool. That's cool to animate. So neat, neat, broad poses. Love that. And I think that's that. We're in the water. Creature shows up title. Actually, I like this too, where again, just into a reaction, and then we can see what's going on. I like just this idea. If you would take this out as a shot, this doesn't have to be water, right? This could be land. Where what if, what if the kid is an old, I was going to say, plays with the Game Boy. That's how old I am. There's a steam deck. Okay. Maybe the kid can afford a steam deck. Anyway, a portable, a switch, whatever, right? Kid plays with this head down, looks up, and then has this reaction and maybe even drops the handheld. So that could be your mid-waste up close up acting. And you go, huh, what did the kid see? And this could actually be maybe in a bus or something. I don't know, or maybe just on a bench cut to this. And there's another person and you got lip sync or pantomime, but it's maybe even more blurred out. So you don't really have to worry about the lip sync too much. And that person is just there to kind of react, but it's all about maybe a ginormous robot stomping through the city. And you have, you know, some destruction, something as a student might be too much, but could be kind of fun. Stomps through the camera pans with it. There's more stuff happening. And then maybe you can go crazy and there's a, you know, Kaiju creature fighting a robot Pacific rim style while the parent is going, what's going on? You know, maybe, maybe the parent or all the brothers headphones on. That's why they don't hear what's going on so that it makes more sense for this character to not react to anything behind this, like this character, which he does here. I actually love this. I love this reaction. Okay. And I think that's that, right? We got this man. This could be another cool mechanic shot, right? This guy handing, holding on to this, the sliding plus holding on to someone else, the mechanics of dangling and swinging. I know to me, this is the, the mechanics trailer. There's a lot of cool stuff in there in terms of just short ideas for students. It's pretty cool to allow this creature. Anyway, that is that. So hopefully helpful for shot ideas and a little body mechanics reconstruction. And I am definitely looking forward to this movie. And that's it from me. So thanks for watching. And hopefully I'll see you in my next upload.