 Welcome back to another animation analysis, and this time I'm going to take a look at Spider-Man across the Spider-Verse part 1. This is the teaser trailer, which is of course awesome, and I thought, really, I don't know, teaser, it's very short. I really need to look at it. I'm going to wait till the next full trailer, maybe, but then I looked at things, and I went, nope, no, no, no, I want to take a look at this. Mainly because of head accents. I know this is maybe a weird thing to focus on, but obviously there's a bunch of really cool stuff in here. And at the same time, something that I always harp about to my students is just head accents, so you don't have, you know, body mechanics, doing something where, you know, the head and the body are doing one thing, then you just kind of add some lip-sync, and that's it. There's no connection to this, and there's no inflection, there's no personality, because you're not having anything in terms of a visual cue or freedom. It's kind of the accents and how the head moves in combination with the lip-sync, and what they're thinking, and so on. So, as I want to go back here to the very beginning, also this is cool. Why? Because in another dimension, I love this. Like, where are we at? Is that the current dimension? Is this already another one? Is that a multiverse? But then we're going back, I don't know. I love it. Now, going back to the head accents here. If you watch this here, and there's sound, just that. I'm sure you can get demonetized by just using that sound clip. But it's already hard enough to add accents that kind of work in terms of lip-sync, but this is so in sync with the music. And I love this, that it's just, like, he has, even as the sound goes up, you have that in here. It is laying down, you have, like, an implied head move up with the eyebrows. And it's kind of throwback to the first one, with him drawing, listening to the music. I love that we start there, and it's already, with the detail, look at this here, corner moving over, it's all very, very subtle. Massive, massive fan of this. All of this here. It's really just in sync with the music. And then you have a little bit of, as if he was singing this on his own. I don't know, maybe it's a weird thing to focus on right off the bat, but this is super cool. I love it. And actually, you never animate it, a character who is bobbing to music or being fully in sync with music. And I can tell you, I just, I tried it once, a long time ago. It's harder than you think to stay in there. But, we're getting already into the awesome looking style that the first movie has been famous for. This is cool. I love this here. Then you can see him kind of waking up from here in his name. I love these two here. It starts to outline him here. You can hear Miles, comes off screen here. And that's great too. That could be a great assignment for a class. You know, you're in one certain state listening to something or just daydreaming or just being kind of in a different headspace and then having an outside stimulus by a voice. Let's say, right? In this case, it's a voice, could be anything. And how does your character transition from being in that one headspace into the other? And you can see this with that little, this goes up first, knitting really here, eye blink or opening of the eye. And still kind of being, not sleepy, but kind of wake yourself up with some blinks. And you can see that bigger blink here. A bit sharper. And I love this too with the lead with the eyebrow, bringing the head up into, I'm now looking at this. And even then it takes a while to see, come back, process and then react into that. So great. And I say it's so great just because this is not easy to do. And it's so something that I would prefer students would do instead of doing crazy body mechanics, crazy stuff. Start with this in terms of a what we call a gear change. So it'd be like a gear change assignment. And then watch her head. This, just that. It's kind of tied into the jaw down, jaw down brings the head down, but it's kind of like, hey, got a minute? It's a little thing that this is still influenced by the rest here. And then you got your bigger kind of body mechanics shot there. But this to me already, like you start with this and you got your hex head accent to whatever you're listening to. And then you have, huh, even that a sleepy head accent, which is the part of the lip sync, but just everything is in the heads to me in this trailer, until of course the crazy town in the second part here. And just that. So many times you see this missing in soon shots. So students watching this do not underestimate the combination of like an inquisitive head tilt or just a change from even this to this, how much that adds to the shot. And then of course we got the more complicated things of this here going into a one frame change to going from this to that. There's some other ones where we go. We're back on twos. Some crazy, crazy big post changes from one frame to the next. It totally works too. It's great. But even here when he goes out into, whoa, over there, you have a little bit of overshoot and settle. So it doesn't move and pop over there with the sticky, right? It has just enough of a loose feel. So we're still within the land of twos, but still just every now and then go back into a little bit on ones or just having enough settled to give this weight in overshoot. This is great too. There, a little dart looking at the underwear and then having that, wait a minute, am I seeing my underwear and then having that take, right? You got your squash in, I cannot squash in a way with compression here, but then already stretching the head into that. It's great. This to me is great in terms of face mask and mouse shapes. Again, look at when he says Gwen, right? That, just that move forward. It's like, oh, wait a minute. Gwen, just that again. It's that extra accent going forward. What are you doing here? It's great, but he's already kind of stuck in this. There's not much else he can do. He wants to hold on to this because it's floating around. So you want to bring in a little bit of a bigger accent. You can do that in the head. This is something I want to go through on my own too. This would take a five hour analysis to go through all the different shapes and it's almost like that corner, like that asymmetry. It's great. And then he got stuff like this when she comes in and you have that, what is this, one frame? A little bit of a, what is she doing? Bam, the hair comes in. Look at this, but I love that. This is also the reason why I wanted to go through this frame by frame. Every single frame art directed, beginning to arcane style. Hey poses, still look at this. Just leading enough, right? Because you don't quite know what's going on. A lot of shapes, a lot of colors, but you have that big silhouette coming in, just leading this for enough frames. And then coming in with a really nice line of action through that, really anticipating this and leading with that, right? And then bam, coming down. But nice lines there too, really nice hand poses. And despite it being a big move, she's very relaxed in her head as well. I love all this. And then enough bounce, right? Just have enough weight. Because even if you have something like this, you gotta be very careful to not, like I said before, stop on a dime and give this like some linear keys. Just give this enough mass and fleshiness. And also it's a bouncy bed. And then you have a lot of mechanics on him here reacting. Again with hen accents, right? How did you get? So even with all of this, you could go stiff and he's afraid. Like, oh, how did you get here? But even then you have just enough of life here. I'm just a massive fan of head accents. And this could be tied to jaw moving. This could be tied to your audio. And then you kind of tone it down a little bit. Great stuff there. This too in terms of a quick grab with the lean and you can look at how loose the rest of the body is. So good. And again, watch this. How have you been? He says you have you been just a little bit. Have you been? And it's a bit in the body and a little bit in the head up. I love this. Love those tiny subtle accents. But then it's also cool how it can get away with a lot more minimal movement, right? When you have that big move to a student, I would say you got involved that lower part in the chest. But given that it's on twos and just kind of push moments, you can get away with just that little and it's kind of cool because it's it really focuses by having just that moving. It really brings everything into this focus before he reacts with the whole body to grab this. That's great too. Look at that. It'll squish on the plushie here to grab it. Look at that. So great. And then you can see here one of these when it's this pose pop into this. It's a massive change. But it totally works too just because you have such a big move over one frame and then it doesn't lock. It still has a little compression, right? You go back and you squish out and then you come back. It will be settled. The last settle being the head. So watch this again. Let's do it with the sound too. Get the sound on. Then you can look at her. I should keep saying exhale, right? Then it gets into a bit more on ones a little bit on the body and just it's a long story. She kind of leads with this and then the head because it's not just having head accents when the sound is happening, but you have to also think in terms of, okay, is it am I leading with the head? Am I leading with the body? Am I then following and then leading with the head? I know it's all random words. I'm throwing it out there, but as soon when you watch this, I would really look at when a body parts moving and which ones are not. What is leading? What is there for silhouette? What is there for line of action? But when it comes to performance, it doesn't always have to be we're talking. So then the eyes have to move first or the jaw has to move first because we're talking. It could just be eyes closed, leading with the shoulder and then moving over and opening the eyes. It's great. It's so great. Even this year, I don't know if it's freaking out or like simple poses, but I just like that pose. I like the asymmetry. I like how she gets into this nice hand poses there into then moving. She has to move up here. It's almost like she can pull that leg up using this to give room for this leg to come out into that. It's in a way. This is your standing up assignment, but in a very interesting way. I love that even this year as she gets up and then stays on that leg for a turn into the passing. And that's it. So great. And also in terms of screen direction, like we're here. The eye follows here. And as we cut, we're back to this. And then that move brings it over to here. And then this arm brings it over to where we have to look at this here. I'm sure there are a bunch of, I don't know, Mitchell's versus machines or something somewhere hidden references. I don't know. But this is a great example of leading the eye, right? You stay here and we don't do something right over there. It's a nice flow there. There's so much to look at. I would love to animate all of this. I know, I know, props, but I love animating props. So just enough hair movement to give this enough life without being all flowy and silky. This is great too. Something I should have never done is keeping the head really, not locked, but there's a lot of weight on this and you still talk so that your accent is really, and the head is really pushed with the jaw as it goes down. It's going to hit that hand. So then as the jaw goes down and contacts that hand, it kind of pushes the skull up a bit. Watch him. Just a bit. It's actually mostly lower. So it kind of doesn't do what I say, but that's what I would do if you had a full shot like that. Oh, but then I love all the texture work in this, of course. This is so fast. Look at this frame by frame. We're going from here. It's a clean though. Like a good read. Clean as in, it's a clean read in terms of silhouette. You got your negative space. Big postion. Look at this from here to here with the clothes that was in the real time. And just reads well enough. Look at this. It reads well enough to do. Pam. I'm going to hold this. I need to grab this and then I'm going to close this. A clean beat. So cute how those arms come. Grab. Oh, yes. Then we're in the land of multiples. She has actually one when she gets a G out of the window. Just one leg there. It's great. It just to me, it feels like Spider-Verse. First one, even in this one. I'm getting out of the bed to grab this, to throw it out. I feel like all the mechanics shot in that movie in this trailer, are just really interesting in terms of just the posing. Look at this. Hand pose. How he has to look. How he gets up into like all scrunched here. Into a big as you patient into that. Just the way he does that leg up into like who throws like this straight up like that. And it's already off the hand. Your lines here. One frame pop there. I know to me, like the body mechanics are always super interesting. And how he goes seamlessly from this into that leg going forward into this on the bed. And even then he sees there's more. You can see that change through there. Look at this. Leg changes while this is kind of staying there into this is so great. I know this is one of those analysis where I just go frame by frame go. This is so great, but it is so great. This is something I really need to go on my own and have another rig in there. Put this in Maya and then replicate it. Like when, when do they move? Like how long do they hold one frame or not? Even again, back to head accents with her, right? Watch her. Even just that right has a little bit of a move up and a slight roll. And then back onto no, it's a bit more scrunched together with the head bringing it down. And then still she's aware of things that noise that she looks back there. But it's simple. You might think this is really simple, but it's not. It just adds enough life with that move and over and then down. You can see how the head goes down to the right. And this is something I mentioned a lot to the students to just not do a one axis change. Right? It doesn't always have to be all of them, especially in a style like this, where you can get away with help poses and things like this, where it's more locked. But you do want to engage multiple axes and not just stay in one. It just gives you enough organic feel that it's, you know, not robotic clean. Hand poses. Come on. Nice. Come on. Oh, I love how this stays put. These are the lines. You can really see how long we hold the frame, frame, frame. And then off. Beautiful hand poses. Really just frame by frame through all the awesomeness. That too, like the holds and the weight. That's a great pose. Me? Me? No, never. So good. And here I thought I should not look at this frame by frame. Let's see here. So she zoops that in here, even this here. Probably all controlled frame by frame, animated. No sin there. This is great too. Just a little bit. I know it's like one of the silly things, but you have a shot like this. Right? You want to continue with a little bit of motion, but that's matching the energy and also how she feels. You know, this wouldn't be like a sharp little thumb push. I don't know, it seems silly to mention, but it is important. Even if something like that, you got to think about all of this. I love all that. I know silly. Every frame is great. Nice hand pose. That's nice. Oh, her health look. Oh, great weight too. Like that would be, even this would be a great assignment. I'm really torturing my students by pairing the shots down to something very, very short. But you look at this, you've got the weight on the shoulder, you have a nice line of action with the weight on this. And then you've got the deflation here and then the swing with the arm. Right? So watch this and boom, boom. But there's just enough weight. You buy the mechanics and you have a little bit of a pendulum swing with that arm, but it's still personality driven as in, oh man. So you have really nice texture in the timing of how that head drops, because it's not just a physical drop in terms of physics and timing. It's a bit held and then it goes into a stronger drop. But it's still, you can see how the head is going a little bit this way, because that arm swing is going to pull the body over. So everything has that overriding move this way. And that's it. This should be an assignment for students instead of doing a 20 second crazy town, two lip sync assignment. That's just so much work. This is great. I love this. Ready? That actually reminds me. Hold on. Cameron, a few things shot and go forward and this. So when the newspaper goes up here, watch this here, this section. Always love that. Always show this to my students, where you can do all the awesome stuff in here. I love the sense of timing and the weight of this. Anyway, slight reminder when you watch this here. And love this though. Love that it grabs it without looking. Also still clean though. That's the patient and grab. And then you got this here, a little tiny detail, but you grab it and you compress because you're just going to hold on to this. So that magazine is going to go, the sketchbook is going to go down just enough. And then she can let go and we buy the weight there. And he pulls it faster. And then you have a bit of a drag in this corner. See that? How that kind of stays put. It's also on her a little bit. So good. I love her turn. Even this here, that slight little head tilt over as she looks at him. Then a little bit more. Ah, look at that. Just a little bit of up and over. Just that little two. It'll add that to the eyebrow accent just to have the head up a bit. And I'm nerding out on this, but I'm telling you these are all little things that are missing in soon shots. So students, watch this. Just enough. Such a great attitude. And then how long she looks with a really nice turn. Into that. Feeling that change in the hips. And then as the route goes up on that move over, even here, you can feel up and down. So good. It's a long shot too. So much to look at. That's great too. The complexity of this here. The weight on this. Then the relaxation of that. And then coming up here with the rhythm. Watch how he goes up. Holds a bit and takes that step. Up and go. This too. I know I'm nerding out, but the rhythm of this hand. Hold and down. There's a lot of, sort of a little pattern of hold, go. Hold, go. It's like this shot. Hold on. It's another older shot that I shot my students all the time, but it's kind of the hold down. And he has it later on as well. Hold down. Hold down. Like that type of thing, just you see that a lot. It's kind of that specific rhythm of, because you don't want it to be even like this. You have a bit of a up and down. Hold and down. Watch this. That's great. Subtle, but I'm telling you, just get a little extra texture in your timing. This is great. I was actually looking at this before. How we go from clean pose, a lot of asymmetry, really nice hand pose. Pop into this. Look at that. Nice clean pose. Nice look there. Twist and turn. And then how we do is sit down over two frames. And then slight compression in the shoulder, the chest down and the head. And then that's it. Watch this in real time. And this works. And you still have, if you look at the feet, they go out this way. You have a little bit of compression out, pushing out this way. But it's so limited in its essence, right? That's all you need. Nice hand poses there. Look at this. Nice finger grouping into that. And again, head accent ready. Just want to get out of here just a little down. That goes down with the eyebrows. And they're a lot smoother. And kind of back on once a little bit, a really nice asymmetry. You can still feel the squishiness. Even though I can limit it style, you still are limited as in like holding on twos and stuff. You don't get to do all the little details like on once, but you do feel it. I love this again. That little raise on the eyebrows and the lids, but it brings their head up again. I can tell you so many times, and it sounds very disparaging towards students. That's not how I mean it. I was going to say, a student would have just opened the eye and that's it without adding that extra feel in the head, which is normal. Like, you know, you go through your learning process and you're not thinking just yet about those details. All I'm saying is that as a student, watch these, analyze this, go frame by frame and look at what's happening as the eyebrow goes up. Because you can't know. You're a student. You're starting out new. You're learning already so much about body mechanics, and you're not there yet to think about all those details. But it's cool to observe. And I think it's just something you need to keep in mind as you're still learning the basics, right? As you go through things like this, standing up and all the details of the mechanics and balance and weights. And then as you move forward in your career and your journey as an animator, you can start thinking about all this little extra policy details. So if you're a student, you're going, man, why am I not thinking of all of this? Well, how can you? How can you? You're starting out. You have so much to learn. This is normal not to put that in there. But I think it's cool to just pay attention to it. That's what I was looking at before. Three legs right there. I love how each frame is just different. It's still super clean. But I love how slowly she goes back. So great. And that little look at the hand that goes up into a nice, just for a moment, silhouette with the light. Now those fingers. Look at that. That's a nice pose. That's just resting like spider, spider, hand, finger pose. It's still the very end. So great. Love this. So it's overexposed with the light into this. Even in here, this is why I'm doing it. Watch your head. She goes, is Spider-Man grounded? Just a little, little round turn. Oh, I love this. I know it's super weird. There's so much awesome stuff through there, where I'm scrubbing through like awesome stuff in terms of action. But I am nerding out. And of course, just the visuals of this. So good. Love that shot. Come on. Great silhouette. This too. Really? Come on. Oh, it's so good. Goes down with a little bit of an up at the end. And boop. This to me is just as important to be able to nail something like this. And, okay. Like what comes first, right? A little widening of, huh? Raising of eyebrows. This is like quintessential pantomime, right? You have nothing in the face besides eyes. I don't love this here. Just a little, the little looks. Wait, I guess. Oh, so good. So good. And then, then we're getting into Crazy Town. Like every frame of Crazy Town. I'm sorry to see the look of that. Always super clean poses. Great design. Let's grab forward a little bit here. Look at that. Something I read just yesterday. Apparently, so each universe can have its own different style. Look at this. What? Yeah, it's Crazy Town. A really nice flow in terms of action. Just that. Just holding it a little bit. Quiet and then into clean, clean pose for this. And then you got your camera on once, but you're actually on twos with a, what is this? That's my dog coming in. Even he's excited to see this. A stylized lens flare on the macro. Just so cool. That's something I need to go through again. I mean, this is already what it's like. Almost half an hour already. I'm just looking at what is scrambling, what is kind of holding. So you don't want just moving stuff all the time. That's great. So you can see that slight hold in this pose while the arms. Are doing their thing. Beautiful. Beautiful poses. Oh, I love this. Twirl around that. Actually with the foot, where is that? Oh, so great. All of this. All of these poses. Calm on. Beautiful. I love it. I mean, this is really, as I was watching this frame by frame before starting the recording, like, okay, well, this is basically that whole ending here. It's just frame by frame awesomeness. Then this guy too. The rhythm of this, of how he grabs them, let's play this here. All of this, right? You got the quick moment of whoosh, boom. Again, fast hold, fast down in all of this. Just reading just enough to see this here. It's great. You still, it's complicated. It's actiony, but you do feel that hold. That's great too. Just that impact there for boom. And with this, just enough of a hold, right? It's not too crazy to get contrast of this. Nice pose. Into, bam, to that contrast move there. Also a cool look here. There's so much stuff going on here. Still all reads. Oh, look at this beautiful changes in, oh, so good. I love this too. Again, how he reads well, the out of control moments, especially the big eyes there. Whoa. And then enough to read and looking back. And then for him to come in here. That's great. The whole of this here, right? You got that impact. And this is enough of how he leads. Calm on. Beautiful pose there. Into this. Look at that stretch. Everything is just stretch this way. And then look at this. How much he leads with this into that throw into this. Holy moly. That's the end. What is going on? So much awesome stuff. Yeah, clearly I'm smitten. I'm so smitten that I'm recording this on a Sunday, by the way. My, I don't do anything on weekends rule. Throwing out the window is a spider-verse because come on, it's awesome. Anyway, I'm going to stop. This is really, really long, but I love it. I love seeing all this hats off to everybody involved. And what I love especially, just when you thought this is so awesome, what we're getting to, we're getting to movies. I love it. There's so much to go through. Can't wait. October 7th. That's a long time to go through. Hopefully some more teasers and trailers till then. But this has everything that I love. Great posing, lots of great head accents, prop animation because I really like anime props. Nice subtle camera stuff that, or there's so much in there. It's so cool. Anyway, I'm going to leave it there. Watch this. If you're a student, go through this frame by frame, analyze everything. There's so much you can learn from this. Hell poses, the timing of this. And yeah, we'll leave it at that. It's great. Thanks for everybody involved for doing this. This is so cool. It's made my day yesterday and it's making my day right now. So I'm going to leave it at that. Thanks for watching. And maybe I'll see you in another clip or you can see me or hear me. Anyway, I'll leave it at that. Thanks.