 All right, welcome back to another animation analysis and this time for something else. I will be analyzing my own Kind of this is the new trailer for the Star Wars squadron here This is the whole thing want to go through but this time I want to just point out what I did and what kind of the work is that you do on a project like that because there's Some stuff that I worked on and some stuff that I kind of just polish or tweaked Maybe that is of interest for anybody watching this and of course it will also be somewhat of a reaction Because come on in Star Wars and it's awesome One of those rare upside down shots Star Wars usually has a up and a down chips Don't really turn around it is not Star Trek at least a new Jada Star Trek's or any of the space movies that Has obviously in space. There's nothing down, but in Star Wars there is so there's something new Lots of lots of actions. It's awesome. I love it already I'm a big fan of Star Wars in general still and flying Flying animating X-Wings and animating TIE fighters. It's just so much fun I don't know who I made it this but always feel bad when you have that many ships That's always a pain. You got all the flight pass or however that the animator animated this but lots of cool work It's always kind of need to almost see into the cockpit But even though it's tiny you still have to animate it's done double doing things That will potentially cross cut all the this blinking thing here is probably and if that's the hand to be honest or this turning on Well, I'm always a fan of this and as the franchise has evolved the VHS or whatever Scanline has changed to just some kind of flickering. Yeah. Yeah, we got the writing here. We got this here I'm so pumped for the game. I always wanted to have a Star Wars game in VR It's awesome. This seems simple. By the way, I didn't animate this But the constant movement and re-holding of the fingers and just the tightening and the shake on top of that Hopefully someone did animation layers or we have stacked rigs where we have multiple nodes But that looks simple, but it's a pain just because it's time-consuming to animate fingers like that The way I did these shots was either keyframe or we got mocap that was then tweaked again I did not shoot this but just as a I don't know if it's an FYI or something But if you do those type of shots sometimes you get mocap and it's not quite working because you have Notes or you need to tweak things and you start keyframing these but if someone is sitting in a cockpit It's usually not that complicated. You can do this by hand love all of this So good Reminding you of that's a shield reminding you of Rogue one Love that helmet still. I know it's nothing has animation This is just me commenting on what I'm seeing. Anyway, it's gonna take forever I'm gonna fast forward to the things that I did. Although come on. This is so cool Whoa, I love this. All right. So as this continues this guy realizes I am being abandoned and actually the first shot that I worked on is this and by worked on I mean I did almost nothing So we have this Gets hit and I remember on this one. I tweaked some camera stuff I tweaked position some debris this guy going through and ultimately where this gets hit I think it was a bit lower and then a bigger turn So that the camera has a bit more of as you can see this in the streaks Bit of my out of control feeling so that it matches a bit more of this That is super cool. I have to stop this. I know it not animation related, but this is super cool I love that close-up. I love all this happening and just that Refraction the flexion the colors all of this. I think this is a super cool shot Also kind of showing that in this trailer the rebels the technically good guys are a bit more faceless We don't really see the eyes. They're not really the the heroes in this trailer And I think that was the purpose behind is that we don't really see the eyes in this one That's why this guy gets the helmet takes the helmet off So we can actually identify and kind of Kind of go with this character as we can see the eyes and the other character is just kind of faceless in menace anyway Flies off. I'm a big fan of this this whole cat mouse thing with a more slower flying x-wing I think that's pretty cool. That's rarely seen. They usually fly by fairly fast. I'm always a big fan of that. That's cool It's cool with the lights too. It's really neat. By the way, I haven't animated this So far Animated whoever's watching this is going really really but come on love this So love that we're keeping this type of color the engines. Nothing has changed. It's very cool See that don't see the eyes. We don't really want to identify with this nicely done here and Fingers tightening of this all pain That's cool. Love that love that we can see inside. I'm still a massive fan of the design x-wings the type deceptors regular type fighters cool stuff now as we are Exiting this moment here. It gets closer to what I actually Animated and touched. Yes. This is I can go up here. What? This is halfway through And I haven't done much. I can't remember. I don't think I did this to be honest After a while, it's also blur of the things that you touched But I don't think so. That's cool. Nope. I didn't do this. I didn't do that. That's cool I love how we are switching to also by the way, this is cool Also clever because you have to kind of look at screen direction kind of looks right to left and The other one still kind of disappears right to left we are flying Right to left and as we want to change direction Now you're going from right to left a little bit to behind right now We're switching to left and right or left to right And then see that now we're flying left to right even something like this You always kind of to pay attention even though it's just one type out of one x-wing. You don't want to keep You know keep the screen direction clear not confuse the audience again, not that you're super confused I mean, you know who's who but just in case I This is the worst animation analysis in history. I don't think I touched this one. I touched so many up towards the end Not this for sure. This is cool. I love all the tech here the display all of that Really nice looking those old old school buttons and switch rules Whenever you see this up close, that's really neat. I hope that this was clear to the audience that he hacked this thing to turn around to then go back and Attack the x-wing and This one. Oh wait. I actually I think I made it the shot. Here we go. This one Did I do this one? I know this is the best the best Animation analysis. This was fairly recent and I already can't remember. I can't remember if I touched this I can't remember if I touched this this all of these might have been The way this works I came on the show a bit later and then you sometimes need to do just camera changes We need to have a nice review of this Maybe this might have been lower with a bit more of the sky and it's not clear enough this I Got mocap and then it was no good because Sometimes you get you know, you got the chair and whatever mocap actor and then you got these guys To hold sometimes it's a bit too close too far and then it starts to kind of pull the arms This guy left my cape is they want to constrain them to these and sometimes that stuff just gets too weird And you want to adjust to the chair and some adjustment here and then the spine and at the end It just all gets tweaked and it's also short, right? So if you go back, this is very short This is so short that I scrubbed Passed it all right way past it So that was a shot that was done I hand but even something short You want to have a little bit on there a little bit of compression on the fingers You can see it's blurry But I tried to put in compression on the thumbs and you do all this in a certain view to make sure things are Correct there and then it's out of frame and you can't see it. Sometimes you do work You think it's gonna be awesome, even if it's detail work, but you can't really see anything but you also don't want to Distract from things. You don't have all kinds of hand movements things But again fairly simple. You don't want to over correct too much You also want to make sure that it doesn't keep on moving with the controls Otherwise the ship would be in a different position All that stuff seems small, but you do want to look at continuity and how how they move here That's very cool that I Don't what did I do in this one basically calming down of the camera again? I inherited the shot from someone who did awesome work And if I say someone a lot of it has been done by Scott Benza who is a beast a beast He does so much good work But I think it was a bit more making sure that it the camera is really tight and it looks like it is attached to the wing But not too loose, but still also making sure that all of that is visible. So this will be a typical Kind of touch up polish fixes inheriting from someone making sure everything's correct to push through renders Same with this one. This was fairly done in that stage It was just kind of camera adjustment to make me sure that the ship leads the camera breaking frame And adjusting the type of role if you need it This is a shot that animated from scratch. So what you do here is that you basically have assets for Clouds every that works again, I don't I can you know dive all secrets and things that we do this But generally speaking so I don't get fired either you have a card. That's a 2d card. Sometimes you have volumetric Smoke sometimes it'll clowns or sometimes you have spheres. However, you can do this So we understand the camera move and the speed of things and then You can put this on a flight path and then we just fly to surround Sometimes the flight path you don't want to go too crazy with the curve and then the ship does weird stuff So sometimes you just leave it flying and any type of movement where I have it here It's just animated on the control so the ship goes off the path Still the path is there to fly straight in for the speed the miles per hour But you can just kind of do something Where you do that and then of course, this is all CG so you have to do the camera as well and These are all animated laser blasts. I can say this because there wasn't making off This is public. They talked about this. These are called pews So we animate these we can select the controls and say peep you and then it shoots at the same time And then of course because it saw wars you have to make sure that the firing pattern is correct So for x-wings, am I shooting here? I am shooting here It starts here and then it crosses down and then up and then crosses over it is rare I believe episode six has only two shots of an x-wing Flying all four at the same time So even though saw wars has gone through a couple different versions and looks and more handheld and more classic We still try to keep things the way they are with tie fighters It's usually two sometimes one these are a bit more all over the place But we want to keep the x-wing firing pattern Fairly consistent same thing here. So CG ship CG camera This shot as well and since it's back to back It's I can just plug this in and have those laser blasts come in into this shot Same thing on a path flying off the path camera adjustments To make sure it's framing, but not too clean you want the ship to lead and sometimes break frame But I like this and then you also you want to make sure that if you do animate ships like this Let's see if I have this in here talking out of my buti t is that when they're on a path What you don't want to do is start translating ships over either x-wings or tie fighters They start with a rotation with the roll So first it rolls and that almost pulls the ship over into a translate And then it would roll kind of roll to stop that trend that you would keep transiting a little bit and then it translates back Into that same thing with this you can't just suddenly translate the ship over it would start with a roll And sometimes it's tricky because the length of the shot you have to almost at the same time But you do want to try to rotate first Then go into a translate Even that it was a bit of an arc not too straight and then there's still momentum There's still inertia and in this case gravity as well here in the atmosphere and the planet So as it rolls you want to overshoot a bit with a slight Correction you can see this and then you want to make sure that as you stop that you don't stop here Because that's a weird tangent So try to keep it so that there's a clear gap here then you can overshoot enough So again, it doesn't overshoot to here but here So there's a bit of an overlap for nicest silhouette and so on and so on so you go back These are kind of the things that I think about in terms of path and overshoot and keeping Weights and with these guys I treat these separately as Tie fighters to me tie fighters are kind of just the grunts. They just fly around time receptors There are just a bit more specialized so to me out of that, you know, that's canon and that's how you're supposed to do it That's how I approach the ships. This will be a bit faster and a bit more precise They're a bit more the elite pilots that can fly a bit more Precisely this the only thing I touched was this coming down into a clear view Coming out making sure this really passes camera It's like camera move following this year again. This was already done by someone This was just touch-ups, but that's what you do in a show This is why I'm doing this animation analysis is not to go frame by frame on things But I mean I ain't going for my frame but can't explain and if you are in a show It's not just I do everything and it's mine but you do things where you inherit a shot and you have to make sure that you can work within someone else's file and That was sims But you have that general piece that you animate going back and then That's one that I did Camera I think was already there if I remember, but you adjust the camera a little bit little tiny tweaks, but body motion and face Was by hand and you have you can barely see this sometimes It's a bummer because of the lighting but it's more real I mean it's not saying it looks wrong, but you dialed in those shapes You can see those neck shapes as it tightens And you have to be careful that then it doesn't go through the straps here Nostrils all this kind of stuff you don't quite see but you want to put in flares. You want to start putting in a bit more asymmetry Not super cartoony, but it is human and organic. So you want to change your shapes just the time I put in the slight rotation in that job it There I say I did animate all the eyes and you can't see it Yeah, you can't see it there was a bit of a flare and then a squint and I believe this is one of the first shots That I did and and I did not know that this is going to be rendered so we don't see the eyes So it's the faceless adversary. So I put in all the animation and then I was told oh by the way You don't really see the eyes But then again, I still would have put something in there because you never know you never know what you see You don't want the character to be cross-eyed. You just never know what's going on I love this though. Love the reflection here Then you got your compressions if you do facial stuff like that you put up the jaw But then you start going into compression of lips here compression of that This will push up the shapes here. It starts to push up the nostrils and it's not quite visible But I did put that in there when you start clenching Into this you get a jaw clench as that goes in you have a shape that goes out And sometimes this is later on when the guy doesn't have them at the helmet on you have temple You have clenched at the temple goes out tiny stuff again And you might not really see it But the hope is always that you feel it that you put in all of this that you don't just animate jaw close But you do really animate all the extra shapes everywhere to make this fleshy and organic I did not touch this Did not touch this is almost like but to is it but to one from galaxies edge to the planet did not touch this Did I do this no? Maybe I Did a couple with this I? Sure remember They're very uneventful. It's one of those things where you just put compression on the fingers This is why it looks somewhat familiar then you want to make sure that because the hands are constrained to this I think I really did this one Sorry if I didn't do this and I'm saying I did to ever animated this But you want to make sure that generally you don't have the arm and then you forget that there's a constraint and then you got the wrist Broken you mean you got an arm like this wrist broken because it's attached to this here if that makes sense So as you go forward, you're gonna have to detach the constraint or animate on top of that So didn't start animating the fingers. So it's bit of a tighter grip stuff like that did not do this wall That's cool Let's go forward No did not do this one, but Touch this guy. This was super simple. I think literally the only thing I did was changing the pews in the firing Pattern I believe making sure that it goes through I remember dressing this guy so it goes through the cockpit Maybe Maybe fly pattern on this a bit. I know it sounds ridiculous But just want to always make sure that things are clear and sometimes shots are longer too I can't remember this one was started already This was the basic blocking was there of this but these guys going out I can remember these were sim that the end and this being pulled out I didn't do anything on the body animation. The only thing that I tweaked here Fingers just in case to offset things and making sure that it wraps around so it's not cheated Compression thing and then adding all the shapes so the tension Kind of tweaking just the face again basic face up was there But just adding ah you can see it the smoke takes it out Oh, I put all kind of tension shapes in there in here all that you can see the shapes here putting all that in there and Then because the One points and go back here and go scroll back. There was the note since we have Bam a hole is in the window. Well, this ship travels really fast speed And we wanted to have something where by we that's the royal we were told that it would be good to You know the wind comes in and the character gets affected by the winds at the speed that this tie fire I tend to set this flying. I mean he will go free probably couldn't keep his eyes open But that's the cinematic conceit. So in here what I added again Offsets was a bit picture approach. I've done a little bit know a little offset in this Shapes you got all the shapes here and then getting into a blink And I think this one out Maybe you wanted to blinks more and start cutting things out. It's not super blinky But you started to think about well, what is the wind going to do and then sim adds the magic and stuff flying around Again, I did a bunch of those I might have done this I think I did this one. I probably did this one and not the one before to be honest because I remember Wanting to keep this in here how we frame this we see a little bit So you want to keep part of that facial shape in there again This is the reality for production where you might do something like a bigger shot that I did later on and then You do smaller shots like these but just because they're smaller You still got to pay attention. Is that the same mouth shape as this at the end? Do we want to frame this a little bit here? Where do we cut this off just by the nose by the not just the lips the chin It's like that you still have to think about of course the compression on the fingers and something that even if it's short You want to make sure that all that stuff is in there even if it's not Super readable this one. I think again, maybe I know I did a lot of firing patterns So in the in the basic blocking these were just all fours For timing and I know I went into a bunch of these shots to put in the firing pattern So I would probably say in this one firing pattern and you start animating by hand So, you know that you want this you want that to go You know, this is gonna cause a reflection certain lighting elements. You want to put that in there? Yeah, I think I did this one one two crossover. Yeah, I did this guy in terms of firing pattern Some adjustment on the ship anim. There wasn't too much time. It's fairly fast and slidey But sometimes you just have a short shot and you got a cram all that information in This one I did not do it's cool to see that up close though I mean, this is cool. That's what they were talking about where you have the light coming in and then it needs to adjust Facing suggest to the temporary blindness. I think that's pretty cool It's cool that they put that in there this one I adjusted the camera bit fly pattern a bit but again inherited from the basic block was already there So this is one of those really new touch-ups making sure that it's visible and you want to make sure that everything is there Not too far apart, but still always there same thing with this basic I think this was just settling the ship in so it doesn't overshoot too much again polish movies was already done I think a lot of these towards the end were done by Scopenza VFX soup Adam soup. Sorry Adam soup on a lot of Transformers movies He does on blue skull island fantastic work. It's not the best animators that I'll am this guy I think the hat mo cap was kind of ridiculous because of the placement It's just on the hands and then the lip sync starts early. You want to kind of exaggerate because it's small I still did the eyes and you want to get into the sounds which I will not turn on here Although maybe copyright strike on sound here Wars over Wars over imp. So even though it's cut off and we animate with handles So this would continue in the dialogue, but of course in the edit it's cut shorter But I did this and then this one is probably the one that I like the most Where I did a lot of I think again We had some mo cap and a blue this all the way because I wanted to match it with the head So head turns body stuff again, this is small and subtle But I wanted to add the little bumps You know those reactions Even if you have a bit of a body reaction that there's a little bit of bump in the head But not too much because we're getting closer to the face You don't to move the body around too much and this was just fun I like stuff like that when it's really up close facial stuff key framing the blinks the reactions You know, it's kind of turned away again because of the winds and then he hears the imp thing He wants to look over just a bit and then he has that. All right. Well if you say this I'm going to concentrate. So I wanted that facial look to be different than this It's a small shot, but I do think about those things. This is a certain state of mind This is a certain state of mind almost a bit more I think at one point I had a smile in there and that was kind of nixed But I wanted to almost like it's a it's a challenge. Oh really. All right. Let's see how this goes I think that's why I had a smile in there first, but and then goes back into All right, let's do this and you get again asymmetry you dial in all the shapes the shapes here Here's the jaw clenched you get that kind of out there and I might have even put in This might be the temple the temple shape where if you if you clench your jaw You will notice how this protrudes out doubt all that all those things in Oh, I think this might have been the second shot. I worked on this was just the camera adjustment To make sure that it goes from low to highs like simple stuff. I think this is fairly it didn't touch this Oh, I animated this guy too Yeah, a compression on these guys And the same thing on the face squinty stuff and then Getting in there and leading with the body This one I did not touch this one. I touched mainly placement again. This was already there. This was I think just camera Lowering the path so that the the water Path was here. I think before that when I got it was like this again This is super minimal stuff But again, I want to do this animation. I'll just kind of explain how this works What what do you get as an animator? Sometimes it's you know, bigger things where where I have a lot of fun where it It's stuff like this Ah big hero shot I like this is real meaty things and it's a lot of fun to put in those shapes And then right next to that you do a shot like this one where you basically just adjust things that you got from someone else That's cool though. Look at that. That's very cool Didn't do this. They got all the wetness on the window. You got to think about all of that And I did this I think again It was just an adjustment for the camera or making sure that it really goes towards this I think reducing some of the roll I can't remember. Yeah. Yeah, something at the end where he wanted to start Although here's the picky thing. This might have been tweaked or me not Tweaked enough or part of the handles I can't remember but if you look at this, right? You got a rotation in this technically that should be more pushing on that controller Or unless you're saying it's pushing this way. I don't I'm looking at stuff like that. I didn't do the shot. I'm gonna blame someone else Did not touch this one did not touch this one. That's cool Do I love how it's losing energy and it knows this up and you got that wiggle? That's cool. I love that detail whoever animated this thumbs up. I love this That's so cool. That's also cool. I love this when you got the the shakiness It starts to stop and go And in the same thing in the body realizes, all right That's it for me. That's a wrap I am down Did not do this. I did Parts of this right? I did touch this guy. What did I do? Oh, I think feet and arms or something internal touch-ups I think there was something where you wanted Movement as we get there And not so it doesn't look like the guy is dead So I think that was it and a little bit of extra breathing and some movement and some tiny things but not for final This was then taken over by someone else. I think again, that's like might as well talk about that, right? So that's you get shots that have been started by someone and you inherit it And then you make tweaks and then you got to move on to another shot And then someone else going to take the shot and finish it So it's tricky in terms of ownership. So that's something That you just have to be conscious about and remember what you did what you touched and what someone else did And then not be a turret and claim that I did everything I think this one I did something maybe It's one I can't remember again lots of little shots And then you get screwed onto another show and then it goes on and blah, blah, blah, blah And Star Wars Squadrons, that's it again, not exactly a uh frame by frame. This is the arc in the line of action I don't want to talk about again the shots that I did stuff that I touched stuff that I That I finished and not and kind of talk about the realities of working on a show when you get Different types of shots you share shots and you do things on your own Maybe that is of interest or not. I don't know but might as well post it Let me know in the comments and stuff like that is actually Interesting, maybe I can grab some other shots that are in trailers from other movies that worked on And I sick kind of the stuff uh that I did. All right. Well, that's it If that is of interest to you, you know my spiel. I do other things than this I don't just do animation analysis. I do arc analysis and lectures and rig reviews You know that stuff and if you don't know it browse around my channel Feel free to check it out and also subscribe If it's something that you like and you don't want to miss my uploads And that is that enough rambling as I am popping through the whole thing here and And you know my shot. I will say tata and see you until my next upload