 Welcome back it is Thursday that means acting analysis for animators and today I want to take another look at ER and it's going to be as always the Carter show. That's right in all of my ER clips Carter is everywhere because he covers so much in terms of acting in lip-sync and pantomime and prop interaction so much good stuff but instead of talking let's show it and in this case you have these two doctors doing a very complicated procedure and this is all about Carter checking and reacting to what they're saying and there are so many things that you can apply taking this shot so he makes a little joke right and you can see how Carter reacts to that joke with a little bounciness but he keeps looking because he really wants Benton's approval he wants to look at is this doctor also laughing is this appropriate to laugh and what I'm taking out of this is that A I mean you can have something where they're doing something very serious and you can have a character laughing maybe in an inappropriate way maybe these characters are stopping what they're doing looking back and again it's all about this character that way you also have interesting framing where this character is in the middle taking up all the focus there or you can take something where they're actually talking about something really really boring or this could be some boring secondary action or this could be parents I don't know the baby and diapers and this character is trying to do something and maybe you know you can be gross and there's pee coming up oh it's probably yellow as well and this is why this character is laughing anyway you can continue on but there are many many ways where you can take interesting dialogue that they're talking and have this character react to this or you can use really boring dialogue because you kind of ran out of dialogue maybe you have a clip but it's not that interesting so maybe you can use that clip but it's all about a background character listening and reacting to what those two or one character is or saying but you know what I mean right and this continues on with this sequence right he looks over and he looks over and you can have this thing go right there as he goes down he's on his toes to check so there's a lot of mimicking and this continues on where he actually tells Benton that he's lucky to have Carter and look and look at Carter's reaction was he says yeah I guess sometimes I'm lucky you know it's not that bad you can see oh oh it talks about me oh yeah oh good I'm happy happy what I love with two is that they have a mask I mean he has to do everything through eyes and body language and this could be something again that you could take this could be uh I don't know maybe they're painters and they gotta have masks with paints and again because of that it's all about the eyes and body pantomime but I love his little reaction there and he continues on where actually he asks Benton if he wants to finish this procedure but what I love about this is watch his face so watch him nodding do you want to continue and he even starts in this shot in the background he is already saying yes because he wants him to be successful to do this as well and you can see he he is already nodding and going yeah yeah come on come on do it and yes he does it and they're all excited and he tells him come on Carter get in and help me out but I love this I love that you can take a conversation again between two characters that seem to be the main characters but it's all about this and it could be again him reacting or anticipating and he's already kind of anticipating what he is going to do next up is a fantastic sequence and it's basically just one long shot it isn't the cut with a close-up and a close-up but other than that I mean this could have been all filmed in one take and there's so much to unpack here so basically there are little things everywhere so you have this main character in a specific pose obviously you want to start with a strong pose that kind of gives us the whole idea of the shot it's almost like you're what I talked before in the previous clip your default pose your default pose shouldn't be your t-pose character almost done and that's it no your character is in a specific state of mind emotional state of mind or whatever it is and that is your beginning pose and this could be whatever it is right but think about if I pause on this frame in my shot does this body language already tell us what the character is feeling of course there is hopefully going to be a change within your shot where that body language and the post changes but at the very beginning if you start the shot is the pose of one character multiple characters are the pose of all those characters telling us what is going on in the scene in terms of emotional state or whatever it is right so again I love that it starts like this and then you have this intro am with Carter just scaring Benton but he is doing something that's potentially illegal his checking documents he's not supposed to so you can see his scramble and he's immediately covering this and then kind of yeah okay I'm gonna get busy and he says I'm sorry that I scared you like you know I wasn't scared but he is so focused on this that whenever Carter talks Benton is not really looking so he goes off hey I did this this this and this for you am I you know okay to go home and he does this awesome Benton with like yeah whatever whatever and it's his kind of half almost off skin gesture stuff that I love where the focus is here but it's not you know it's still silhouetted it's still clear but it's just something that an actor did that you happen just to kind of catch in there in your framing but again look at this there's no eye contact but he he wants to focus on this he doesn't care what he is doing now he apologizes for something he did before and this is the only time he actually looks because I mean they do like each other and you know he wants to acknowledge this yeah no it's fine but you can see the constant moving in the chair that and the shoulders this is content yeah yeah whatever whatever I want to continue on but he does ask him at the end hey did you do this and he says yes he did but he lied and he knows that he lies and the watch Benton here is yeah yeah waiting waiting yeah I knew this and I love this I love that it says this up and down yeah I'm waiting one two three in that reaction yeah I knew he didn't do this and he tells him yeah I know I call them and he has that quick little look does he actually look at him I think he does right here and then it says awesome wave off I love that gesture looks down yeah I'm done with you but what's also cool with this is that you have him tells him yeah yeah yeah and then he goes oh yeah yeah I did this and again you can push this where you make it clear that he is potentially lying right then you have this big exit and now it's the patient knowing he's gonna come back and I love this that he could go back with maybe it can go out sorry with um maybe he's angry like of course I did this and then the contrast comes in right away with a very no I'm sorry I did not do this so him exiting and coming back in is a big opportunity for contrast where he knows okay yes I'm sorry I didn't do this and then you can again play off between these two because he knows that he didn't do this anyway there's a lot of stuff now even then I love the ending because you might think boom that's the end but even though it's pretend that's the end of the lip sync you can still have this so Benton doesn't want to be disturbed does this extra thing closes this and it gets back in this is also interesting from a bottom mechanics point of view you have a chair with wheels the way gets in there right it doesn't have to get up you can wheels himself over so if you have extra sound in your in your lip sync that's just you know adding the ambient stuff of I don't maybe there's a window there's stuff happening outside you can continue this shot and add one more thing that tells us something about the character but also breaks it up from just being like this right this is basically how he's always in the shot and by having him do this you do break the spatial relationship there's more usage of space you change the silhouette it gives a bit more full body almost you don't see the legs but again different types of mechanics rolling you get up and kind of lean over so again this could be something for contrast you're stuck with this character sitting for lip sync but at the end you're adding this with some interesting new movement that still tells us something about the character and last one is again Carter and Benton as they go out and Carter is presenting there's something that is pretty common this is something that you can check on your own if you are in a group of people you can observe other people but sometimes you will do this as well when I learn about this sometimes I catch myself doing this and what is this it's that if a person you're talking to is in a specific pose in this case they're crossing arms and you agree with that person there's a big chance that you will actually mimic that pose so you're probably if someone is standing or sitting and then start to cross their legs and you're watching this person you might even cross their legs and mimic that same pose this is something that is common that you can observe going back to the shot you can see Benton does this all the time he has his arms crossed and Carter really wants to be like him he wants his approval and I like even the setup of this it's almost like a mirror they're both profile and you can see they're doing the same thing I'm assuming that that was intentional I could be completely wrong as always with anything that I say here I'm reading into this but anyway I like the setup and I like that it shows this that if the camera changes around to be framed like this for this moment where they want to be or he wants to be again just like Benton and this continues on throughout the whole shot where they continue crossed and crossed but also like again the setup of the camera turning giving us now a front view and a profile view and giving us the option for this character to exit this way and the character to exit this way just a bit more dynamic in terms of camera language there but it's not tacking something you need to do but I do like this I do like that idea of this character miming this character and it presented like that to really be a visual mirror boom you survived another er acting analysis and again I have so much more but as always I'm going to do this maybe once a month or every two months I don't want to flood this whole channel with just er stuff but I do have a specific playlist just before er but anyway as always this is a longer clip and if you watch this whole thing till the very end I do appreciate it and if you haven't subscribed yet subscribe and hit the bell button because I do upload almost every day exit weekends so if you don't want to miss any of this stuff subscribe and hit that bell button also if you feel like this is helpful and you want me to help you with your shots in terms of what I talk about in terms of body mechanics or this in terms of acting analysis stuff you can sign up for my workshops my workshops are open all the info is in the FAQ and email as well so if you want to join just let me know and you can sign up but that's it that's it for another er and I will see you in my next clip probably tomorrow