 Welcome back, it is Thursday and that means acting analysis, animators, and today I'm going to take a look at season one of Limetown. It's an interesting show, kind of, I don't want to say X-Files, but something with the mystery with a town where people disappear, it's on Facebook, it's pretty cool. If you watch it, comment, let me know. I'm very curious what you think about the show and if you've watched the show at all since it's on Facebook. But anyway, I grabbed a couple scenes, of course I want to talk about them. Let's get to it. First sequence that I want to take a look at is this, where they are in an interrogation type of thing and she's the main character. They are listening to him and they're waiting for him to make a mistake. And the thing that I want to talk about is this moment here. So whenever he's being asked a question, you have the lawyer here telling him, wait, hold on, hold on, hold on, and he's doing a thing where they can't lip read and everything. And I thought there was a cool moment of, he tells him all of this and it cuts to this. All of this. It's an interesting setup for you in terms of animation. Again, you could have, I mean, this would be a pantomime, right? You can always have lip sync where you can almost copy this where a character, they're talking, they're doing something, then it cuts through this or this is purely you in terms of a pantomime. You will just decide the setting or do something different. But what I like about this is that it's pretend you do this, this action of him coming closer, frame like this. And I like this, I like his reaction. He listens to the things. You can see this, you can see the IDARTS all through here. You got the blinks and IDARTS, his processing, his processing. What he's listening to, he's got already some sort of reaction to the content. And then he does this. You can see how long he looks. He's annoyed. He looks over, really, really. That's what I'm going to say. And then look at this. Eyebrows up. And just that, you don't see the mouth. You actually only see one eye, but you have the eyebrows going up. You have that, yeah, yeah, it's okay. And it's an interesting combination of a pantomime reaction to what he's saying. So you got a reaction in that face. And then you got more just eye and eyebrow acting. It's really just very minimal. But I thought it was interesting and cool setup. And then he has this thing, he reveals, and that could be maybe potentially a funny reveal to I don't know what it is. And then he says this thing here of yes, I was there, whatever he says in the scene here. But I thought that's an interesting setup. You want to do something where your acting really turns into just eyebrows and head nods, because this is hiding the character. And then you can intrigue the audience by that reaction. Like, you know, you don't know what that character is saying, but this crazy reaction could make everything a bit more interesting. And by crazy, look at this. It's almost like energy fills anyway. But I thought this was pretty cool. Cool reaction, interesting setup, hiding your character and all of this that's all just in the face. You don't see any hands except this one. But it's all in your shoulder and head and facial acting in terms of reactions. I thought it's a very cool example of something you could potentially use in your shop. Next up is this where it's again, it's really interrogation. But spoiler, this is her mother. She comes in and basically tells her, you got to stop. This is not good. I will kill you. I will kill everybody else. Spoiler, if you continue with this. But the cool thing is that she reacted in an honest way, like, how dare you tell me how to live my life and all that good stuff. Now, here's the twist. When she says this, she continues in her tone. Wow, we're going to do this to you and blah, blah, blah, blah, blah. While she's writing, you're already thinking, weird, she has got that same tone. But what is she doing this? Then of course, close up, they are listening and she goes, wait, what? And this is a cool moment too of now it's all unspoken. This would be all you in your pantomime acting. It's like, wait a minute. And then for the audience to reveal, there is a wire, there's an earpiece. And then she realizes, okay, hold on, this is totally different. What is going on? And she has to readjust. And that's your, in a way, your gear change assignment. But I thought it's a cool moment. Okay, I got to reassess the situation. Let me just pretend to follow along, and then keep writing and kind of do that game of kind of like, externalized subtext. So they're saying one thing, but they're meaning something else. So now they're communicating like that with this, while saying something else, and especially in the tone of voice, it's not really in the body in the face, because no one's watching them. But it's something just purely in the voice. And this continues on until the end where again, she tells her blah, blah, blah, blah. And it's that moment here when she gets up and everybody knows they're listening. And she has that moment of I got to reconnect with my daughter. And she tells her, I'm so sorry. And then has that moment. And again, I thought this would be an interesting setup, not that you have to copy this one to one, but something where there's subtext, but you actually really show it, you show that, hmm, we have to act in a certain way. But technically, we really actually mean this, this is our true emotion. But because someone is listening, we have to kind of pretend and follow along. I thought this could be an interesting setup for your shot as well. Next up is this shot. And if you follow my channel, you know, I am a massive fan of sets and how the sets have influences on the characters. And I like this, actually, I don't even know why she does this in the scene. And if she can remember if he says something, but she has that reaction of what's going on here. And then continues in the scene continues there. But what I like about this is again, is a it's something that is off screen. So you leave it up to the imagination of the audience, this could be kind of funny in terms of pushing a certain idea. This could be something because of he says something, watch out, watch where you walk. But I like that they are aware of the environment. As always, I'm a big fan of what I call situational awareness. And I'm totally making up those words, I don't know if they mean anything, but that's what I call it. But I like this idea. And again, you can take this and push it. This could be something where now in the background, you see creatures walking and running away and jumping away. And this could be something where it says, watch out where you walk, we're not alone. Whatever the line is, right? But then you can act, reach your animation, you can do something. And this is almost like an anticipation to the reveal, being out there where the character looks first as an audience, you go, what's going to happen. And then it's up to you can do something funny. This could be whatever it is, right? But I kind of like that setup as a general setup with multiple characters, they walk and talk, camera follows, and the character is aware of what's going on around that. I know it's very specific to me, but I just I just like that. Speaking of sets and unspoken things, I love this setup here. A animation was interesting because you got your profile set up and you can do all kinds of contrasty things in terms of posture and one could be hunched over. So one could be straight or here, whatever you want to do. But the setup here is that she doesn't want to be here anymore, because I got to get out of here. And I like this here, I like, from here on, I mean, I like to set up as well, but he still wants to talk to her and I like this, you don't see her face. So this could be something for you as an exercise or a shot where it's all about the lip sync or maybe just pantomime of one character, you don't have to do the face here, you have less to animate, but you still have body interaction, there's still something that's from the animation point of view complex. And I like this idea, and I'm going to push the idea here was it's not really in the shot because he wants to keep talking, but she pulls away is that's enough. She doesn't say it, but visually, the kid that's enough. But he just looks down and is more in his world of, ah man, but what if you have potentially a wider view, maybe you don't have to see more, but you can imagine they're in a public place. And he can't get up after hold on to her even more or make a scene, because there are people around that and it's not, it's not the place. Maybe that is like the conflict or the double conflict, he wants to reach her somehow emotionally or whatever it is and can, that's already a problem and a frustration, it's something for you acting wise that could be really cool. And on top of that, he can't go too far in his acting in terms of an outburst and getting up and yelling or running after whatever it is, because of the surrounding people are watching me, I have to kind of refrain from all doing all of this, because of maybe the image I need to retain, it could be a politician, it could be someone in power, someone who doesn't want to look weak, whatever it is. But I thought that's kind of cool. You have a your acting bits and the the animation thing of that's complicated with the setup and constraints and you know, the power and all that stuff of holding and restraints and all of that. From an animation point of view, that's kind of cool. And on top of that, you have the added thing of the set and the environment, whoever is around that will force a certain behavior in that character because they don't want to be seen as whatever it is XYZ. So I thought that whole kind of setup was neat. And lastly, something totally different. I am a big fan, I don't even know who this actress is. I need to look her up on IMDb because I'm a big fan of how she is in the scene. And the thing is that she tells her something, right? And she goes, no, and I love this right there. And it's basically this. This is her state of mind, right? Eyebrows up and like, yeah, no, this is not going to happen. But she has that she has that look and that with the eyebrows happening already here. Look at this and it's like this long anticipation where you have mouth opening, that facial shape is already there and it carries over all the way into this. And this is almost like the with the nod, the affirmation, the confirmation of yeah, that's what I really want to tell you. But mentally, it feels like she's already there. She's already there by doing this. And I like that because it's the thing of you don't have to do your lip sync and your facial shapes and your jaw, whatever you have, when the lip sync starts, it's totally okay to anticipate a later emotion or later words way ahead. So like the classic example of someone saying no, is you don't have to do no, you can do no, where you mentally, the character is already saying it, it's already in that face and everything going and then you say no, and then you do the actual lip sync of being in sync with the audio. But I thought that's kind of cool. That's a cool example of how far you can push this and do something where it's a more interesting beginning to then the actual setup or delivery of the line and kind of add something a bit more interesting to your performance. Speaking of interesting with my little segue that I'm trying to get in there, if you think that is interesting to you and you want to apply all this to your shots, all those examples of a set and lip sync and whatever you have there, you think that's cool. I want to put that in my shot and maybe I need help. Here I am arrogantly saying that I do have workshops. If you're going to work with me and I can help you with your shots, link in description, you have all the information about my workshops, you can sign up at any time that we can work together on your shots to make them even more awesome. Speaking of awesome, if you're still watching until the very end, you are awesome. I appreciate this. Thank you so much. And as always, if you feel like that's cool and you want to be more up to it on my uploads, hit the subscribe button, hit that bell button, as well as you get all the notifications for all of my uploads. And that is it from me. Thank you so much. Like and subscribe, you know that whole thing. But thank you for potentially considering that. And I will see you in my next clip.