 Welcome back to another animation analysis clip and this time we're not looking at a trailer we're looking at an animated sequence animated by Deepak Dinesh and if you're here for the first time feel free to browse around my channel I post all kinds of things like animation analysis and lectures and news and all kinds of things so if this is something that you like feel free to subscribe so you don't miss any of my uploads but first let's go back and watch the whole thing with sound all right now if you're wondering why am i picking this clip it's because of very self-serving and self-indulgent reasons but he tagged me on his twitter post here saying that he made this clip based on my fna lectures and that's why i want to take a look at this clip here and point out the things that i like so first off right off the bat what i like about this is that this could be a really good piece for your demoral starter so let's pretend let's go back here pretend this is not fading out as much you could have something where you actually tilt up a lot more and that plane is not actually in frame yet so basically all you have is this background so imagine you would have the name of the animator the year the title character animator that's all you would need like whatever starting intro title card you have for your reel then this could be over black or whatever color or over this background let's pretend it's over another color then this background would slowly fade in and we would have that gradient but none of this and not the plane then this slowly comes into the shop because we're tilting down and then the plane comes in and then that's the beginning so it's basically you have your title card beginning of the reel and then that leads into the shop i think that could be a really good transition from a title card to your first shot we have a environment clue where we are okay it's the airport just in case you don't know it is the airport and it shows us we got two characters we know where they are it gives us a bit of a context it's an establishing shot but right off the bat and this is why i like this we are seeing this character walking grabbing i love this too that he grabs the car up there the van puts the foot up there and gets in and you got the weights and this all the while this character is getting in this bit less body mechanics wise but right off the bat we are seeing okay this animator can animate because you got body mechanics you got a change of the body mechanics you got influence on the car this already tells me okay okay the timings good the mechanics are good this is not something that the recruiter whoever needs to turn off right off the bat but then the clever thing is that bam we're cutting to a somewhat mid shot of the character so it's kind of like your classic waist up for a lip sync shop but that's okay because he has started with the full body mechanic shot to show off okay i can do more than just this type of thing or we don't really show the weight the other thing that's really cool is that as he continues he's good continuity between the two shots you see the weight boom as he gets into the van here i love all of that here but you get good back and forth between the two characters that's very clear where to look you have some detail with the bottle so you can really start putting in a bit more detail work in with props with fingers general motion with the body you can see here as he goes back and forth again this all influences the van you have detail work on stuff like this that i always love and speak of which when he gets going here before we go into the body mechanics and lip sync of the actual piece here i love this i love that he's grabbing this but he has to look where it is see that he's grabbing this it's not quite working it's some good secondary action some business there was he just got a van it might not be super familiar with it i like this i like that little detail of it's not super clean how he grabs this it gives him something to do let's go back here i'll love all this and in terms of the lip sync it's not just them sitting being all still and doing nothing i like again like i said the business that he has he has the business here as he says something he leans in wants to be engaged sure it's a character he kind of yeah yeah of course no problem so he has that type of lean back and then going forward and like that little camaraderie here you can see they're friends all of that tells us more about those two characters and the cool thing too is that after seeing all of this seeing a bit more detail you can still cut and punch in to a bit more focused lip sync for both characters so now you can cut between the two to really focus on details whatever props you have whatever you do something else right whatever shot you would have with props or no props but it's a good change into where it's a bit more nuanced also the lip sync the content of what he's saying adds for a bit more nuance in the emotions like this didn't work out this didn't work out and also a reaction shot to that he doesn't have to say anything but he can still react to what he's listening to but he's always really good and you can continue that for comedy so as he continues as this escalates into his situation is getting worse and worse and worse you can just have that as a storytelling comedy pose like this alone on the real wouldn't be that impressive but this works in the sequence because it's a reaction to what he's saying here and it kind of reflects what the audience is going through as well as i'm listening to is going really wow that's really bad and that's exactly this reaction now let's go back as he gets ready grabs the steering wheel turns on the van you can see even a little detail here stuff starts to move monomonomonomonomon everything here continues on then he's got that bigger wheel of hey but i got the van and then we cut back into a wider shot so we're done with the more close-up lip sync nice nice frame here we're done with the close-up and now we can finish it off with a okay both characters in frame the punchline is done they're getting ready to exit and go and even this here an exaggerated lean of that van going this way and then fade out to the end of the shot so short and sweet but so much that i like and it's it's i mean like i said it's very self-indulgent it's very tailored towards me but i love an entrance like this giving you an establishing shot this gives you the opportunity to include a text whatever on the title this could be for your demo whatever you want you start off right off the bat with bottom mechanics you don't start on a close-up where we don't quite know can you do bottom mechanics can you do weight shifts can you just wait in general so that is taken care of you got good interaction with a set or a prop whatever you want to call that then it continues into more of a close-up shot where you can see a bit more interaction a bit more detailed animation and you want to see more then you have a bit more secondary interaction and action of the character with the prop and the set then you can go into close-ups for more acting and close-up facial animation and reactions and then we finish off with this we can see both of them and it's a nice comfortable exit of both of them that is my recap and that is just a shot i really like his overall well constructed really well animated and if something that you are looking for in terms of reference of what could i do what could i do in terms of a cool lip sync shot that would be my recommendation i'll put a link to his twitter in the description for free to check out his account look at what he has done on vimeo lots of great work and as always you know i have workshops so also that is in the description if you want me to help you with the shots to have a shot like this that's as awesome as this one you can sign up at any time and if you don't want to miss these types of animation analysis clips feel free to subscribe as i said before so you don't miss any of my uploads thank you for watching until the very end and i will see you in my next clip