 Welcome back to Anak analysis and tips for animators. And today I'm going to take a look at the show severance, which is fantastic. It's going to be episode seven specifically. And I'm going to cover things like character contrast, a movement, lenses, prop usage, thought process, a bunch of stuff. So let's go. Like I said, this is episode seven. So it's going to be more towards the end ish spoilery. I'm trying to stay away from spoilers, but just throwing it out there. It's towards the end. But before I do, hi, my name is JD. And I do Anak analysis clips like these. I do animation analysis clips. I do animation lectures, reviews. I do a bunch of stuff. This is the pitch as always at the beginning. That's the channel. What this is about. Maybe you like anyone to subscribe with you on and stick with it. If not, maybe I'll see you one of my future uploads. But let's get to the first shot. Okay, I lied. This is actually my episode one, but I want to show you this just because of contrast. So for you as an animator, my big thing is always character posing. It's not your rig, right? You get in your T pose. That's my rig and you bring those arms down and then you start animating. You have to think in terms of what is the mood of the character? Are they happy? Sad? Do they love their job or not? And all that is going to inform the movement, the attitude, the pose, you know, that stuff. And I love the contrast and just kind of how he walks. You can see this here. He has his head slightly back and like, oh, what is this? Eyes slightly closed. There's no real enthusiasm in anything that he does. He's just slightly depressed. You can see this, the head is still. He's always kind of this certain tilt to it. And you can see that in his facial expressions. Look at that walk. I love that he's slightly hunched over, hands back here. There's just a certain factor to it is that head tilt is always a bit of a gravity or something influencing the character. And I love the change here. Again, you can see the and then this happens, the switch inside the elevator. And you can look at the face. Look at how the face changes right there. So if you go from here to here, you can see he is straight. The face is thinner. So we're going from a long lens where everything is flatter. The face is flatter. Maybe I want to, it's fatter, but there's a certain to it. So now the lens is much wider and it shortens everything. And you can see that there's something when you have lens changes and I can blend that in how the face gets flattened. So I love that. This is just flatter and with that expression and then more active, straight head thinner. Everything just feels a bit more. Okay, I'm ready to go. And you can see this here in his walk. It's a bit more pep in the step. You can see this here. Okay, what's around here? And I'm showing all this just because it's really important in your animation to really think about that. Those were two really, but it's really important just because when you do pose out your character, think about what your character feels at that moment. There might be a gradual change throughout the scene, but the character is going to start somewhere. And again, don't go into I'm just going to grab my rig. It's are animating. Take that first frame and pose out your character really make it. It's easy hunched over like this or is she more like that? It's just something where it's that first frame tells us about the state of mind and the personality of the character. And then you have room to grow and go somewhere. And I love that in the show that every time we see the audience in the innings, if you know the show, there's a whole attitude change, the speed of it, how they sit, how they walk so well done. And just in terms of posing, it's great for animators. Now, you know, I like props. I'm going to go straight into this. He has to find something and he is wearing a tie. And what I noticed here when I saw this dangling, right? Oh, is this going to go into the toilet? But no, what he does here, it's slightly off screen, but not quite, but he's putting his tie behind his back. So as he has this, you can see the ties back here and he does it again, he was it might have fallen. He finds what he needs to find spoiler. And then as he goes up, he puts the tie back down. Now, why do I like this? It's not just that you have something to animate in terms of, you know, a couple of joints here and it's dangling. It's some drag and overlap and follow through and all that stuff. To me, this is actually more into secondary action and just something where the character who is getting close to the toilet is aware that this might fall into it and get wet. So he moves the tie back. And to me, this goes into the character being aware of their surroundings. Again, props for me is not just that to pension up that you just hold this, but there's a reason for that. You can show is the person nervous. So they constantly tapping and using this maybe nibbling at it. I don't know. It's there for me as an extension to the character. And if you have something where a character goes into room as always say for the first time or not, all those actions will be different. So for him to go in there and then lean down. If you are not moving the tie, which you could absolutely and the tie gets wet. Maybe that's a story point. Maybe your character is not quite aware of things not being careful, kind of clumsy. And then character leans down ties. When it comes back up, maybe that as a surprise, he goes back up and you can see the tie is wet. And now that's something in your shop. How is the character dealing with this? Is he hiding it inside the shirt? Is he, you know, kind of wants to take the liquid out here and then, oh, it's dirty puts in so many things you can do now because of his non-awareness and the tie being wet. That's not maybe the conflict in your shop. And as a viewer, that's interesting to see. How is the character going to deal with this? So for me, again, props are super important. You can use that to showcase fine tuning, polishing things like a tie and hair or hat or something. But I always think beyond that. Why do you have a prop and what kind of prop and then use that prop to tell us something more about the character is the character clumsy or not. And I will always point out props because I love it because it's just, it's an extra business and it can add a symmetry, right? What if he has to hold it back there and do something always like this? There's always something that will change your posing and the character choices, which I think will go beyond the default ideas and make your real stand out because it's a new different and creative choice. This goes into thought. So for the first time, kind of spoiler, this character waits for him and he is slightly confused. You can see this here. He has that moment of just the eye dart over what is going on looks back at him. Okay. And then they keep going and then as he goes forward, he's asking what's going on. He tells him there's a new security protocol and he has to guide the way and you can see here the confusion on his face. But what I love here is that lead the way. Now look at his face. Little look there. Huh, really? Okay. I guess I'll walk and the awesome part about this is that this that he's here and tells him to lead the way because this is of this new security protocol is new to him. So he has to process this, right? He hears all this, gets into his ear, has to process that, has to think about it and then he makes the choice and starts walking. And even through there, you can see some slightly confused and I'm mentioning this because a lot of times students rush through thought process where it feels like you're actor in your scene or maybe you shot reference and you're remembering all the beats. You're literally going through a checklist. One, two, three. It's basically I come out. I say something. I hear it. I walk. But if you do this, the character is going to feel like a robot comes out and walk versus what's going on. Really? Okay. I guess. And then you move and it's just it will give us time to read the face of the character and it will make the character come alive because the character is thinking, processing and then making a decision. So for me, as I always say, I'm paraphrasing what acting is reacting. It's so important your animation to let your character think and breathe and make choices and not rush through that process. And I know it might be tricky because as an animator, you might want to just animate. You don't want to just do nothing because it's like time is money. This is a demo reel. I want to show off. I can animate, but I would say give it some time. It's okay for the character to do nothing and just think so we can just see this go and look at the eyes and see what the character is thinking. This one and I love that this baby has this face. This is a prop, by the way. This is more about subtext and again, props revealing character. I don't want to say too much, but there's a lot going on with this character and she is not quite what she's pretending to be here. So she shows off how to breastfeed. Okay. Okay. Okay. It seems all nice. And when she's done, watch what she does. She goes, okay, now your turn and you're not going to handle a baby by grabbing the arm, having this dangle and throw it there onto the couch. And I love it is that she doesn't really care. And this is kind of a quick reveal of I don't really care. I'm just kind of pretending. Now in this show, because she has, you know, a different role and I can say too much, there's so much subtext going on and I cut this out later on, but there are many, many moments where she is just staring and looking at her to see what she says, how she reacts if she can get something out of her. It's really cool. Watch her specifically for the subtext stuff in that sequence. So again, the usage of prop reveals something more about the character. And this is why I love talking about props and using props. This is definitely a spoiler. So spoiler warning, but I love this setup. You can maybe kind of see, but this is the character, right? The outline and he's been talking to this character. Now a new character comes in and it's, you know, it's not a good character about this, right? But I love this setup that we are showing now two points of interest. This person doesn't know that this person is here, but this person heard that this person came in. So this is already a really interesting relationship. As it continues though, you can see that we're hiding this other character nicely done with the composition here and he sees what's going on. Who are you? And that character tells him a lie and out of nervousness, he looks at the other character and this character now notices that and goes, oh, are you talking to someone over there? Just that idea that we have set this up to the audience. What's going on here? And now for you as an animator, you can play with this. You can have some movement here. Maybe it's a hand coming in. You make this a bit more obvious. You can have the character step away from this, pretending that he is alone, right? Separating himself from this wall. So there's just a clean silhouette of, oh, no, I'm alone here. There's no one there or you have the character go to the right and it gets closer to the wall almost as if he's protecting the other character that's hitting it. There's so much you can do after this setup. I love this. And then of course, now as a bigger spoiler, this happens at the end. So through all of this, you can in a way stall and then have the surprise of then this character come into frame. It doesn't have to be this. It can be something else, but this could be a long lead up after this introduction to have you care to come in and do something there. And this could be a birthday party, a surprise party or something. That to me is really interesting. Something I would love to one point steal and change it up. This is not a full on stealing, but I really like that setup and I can relate it into some complex pantomiming and guessing game for the audience. Cause you're waiting for the other character to figure out what the other character is. Maybe you're waiting for the other character to come out and there's just so much that happens again. This is just negative to the show. There's so much that goes on with setup because there is a separation between a character at working at home anyway. Watch the show. It's awesome. Comedy. If you've seen it and if you liked it or not, I love the show within the first shot. I loved it. Just to set up the composition, the colors, the music so good. Speaking of so good, if you thought that this was so good and you want me to help you with your shots to make you just even more awesome. I have workshops. This is the pitch at the end, but you can sign up. You can start at any point whenever you want. We can chat about things and I can help you talk about acting choices and a bunch of stuff. So let me help you. If you want, you can email me and link in the description with all information as always. And that's it for the clip. If you're still watching, thank you so much for your patience. Appreciate that you stay until the very end and hopefully maybe you like this. Now you subscribe so you don't want to miss any of those future uploads. And if not, maybe I'll convince you later on until you up to you. But that's it for me. Thank you for watching. I'll see you in my next upload.