 Welcome back to our animation analysis, and you know I had to take a look at Disney Pixar's light-ear, but let's get back to the beginning. There's some awesome stuff animation-wise towards the end, but at the beginning it's a lot of imagery, which is super cool. And right off the bat, we're getting into character, but I do want to look at that first one because I do love the widescreen aspect ratio. I love it, that's already great. Anything with space, shuttles, and lasers, and suits, and stuff like this, and robots, come on. That frame alone is basically, you open up my brain and you go, okay, what do you like? Suits? Stripes? It's almost like solo pants, sound solo pants. You got starfox-like ships, you have robots, come on, everything in here is what I love, but let's get back. This is already cool. I like that as an establishing shock, establishing the renders, and then right off the bat, we're getting into finger details. I also love this here. I love that. Even in a zipper, there is asymmetry in the suits telling you, attention to detail is great. If you have to see this here, you'll see what? He's never positive. He's zero positive. He's never happy, but that's great. I love this in terms of, it's already a really nice hand pose. I bet you can already see that it changes from slightly open here in the gap to pressure. You want to hold on because you're holding this tightly as you zip it up. And when you're done, you can see a slight relaxation in the fingers. I will never not look at fingers in feature animation. Just add attention to detail is great. And even as this stops, you see a bigger drop here in the elbow. It's tiny. I know this is tiny stuff. We're starting right off the bat with details, but I love this. I love all that detail stuff. Even here, when the buckle goes down, it's not in one axis. So you can look at this here. You can see how it goes down this way and then it moves over this way depending on, you know, it tightens. So it has a bit of a change. And even here, the detail on the finger staying there as that arm goes over, you can see the pressure in the thumb relaxing towards the end. I love this. You can see that shape here. Because once you're in such a close up shot, you got to do some detail stuff in order to stretch in this here in order to get, you know, like the, the money's worth of such a close up. Of course, I love this. I love orange. So that patch, I can assume they're going to sell this. Get a classic chin dimple here. You're really getting a better look at Buzz Lightyear. And you almost think that's, you know, the classic suit with the helmet, but no, no, no. But it's really cool though. I really like that look, the textures. I'm already, I'm already very in. And again, more hand details. I mean, this is getting into, I love this here, fingers in for your glove pulls out so it fits. And you can see the spread and extension and then relaxation coming back. I mean, that whole beginning is ready to tailor for me. You got the nice, they have the field here, awesome suits, finger detail animation. Come on. Cool walk. Walks are tough, but even in just this here, just seeing only that, you still get a nice sense of weight. There's a great back and forth with a little bit of rotation change. It's really cool. So in, so in. And then as always, my mind goes, okay, who had to animate everything? Or did someone do the hero characters, fix animators to the background people? You get cool things like vehicle. And you can see that little, this goes over, obviously little bump, right? It'll change this almost, I don't know why this went straight into Disneyland. When you got the trolley and you got this here. But anyway, you get the wobble in here and you can look at the people in there. Everything has a bit of a wobble. It's great. That being said, though, if this goes in, this character steps kind of to that hole, but doesn't really adjust. Or does he? I don't know. But lots of walks, lots of milling around. And you're getting a look at robots. More vehicles as well. It's cool. I love this too here. Hold on. Let's go back. Yeah, yeah. Ship's great. Yeah, it's great to see all of this here. I love all that. Almost thought to say by and large, but no, it's great. Cool too here. This, like all of this, this whole trailer, I love all the tech stuff with buttons and the, you know, the patches, the symbols, logos, all of that. So great. You got your wear and tear in the corners. So great. And then you get your that. This cracked me up because now they have added the Crystallic Fusion. That's great. Oh man. Love all this here. The funny thing is I would have, look at the floatiness of the crystal, right? Love all this. It goes forward, stops a bit, and it has a bit of up and down, including rotation. It's not just translate. So watch this. Just that. The way it floats is great. I know I'm learning out a really detailed stuff, but all of this, personally, I would have just as much fun animating all of this here as characters. I love this. It's great. That's cool here. We're getting a look at potential hyperdrive or turbo boost, whatever you call it, Ivan. Crazy Ivan. Are you doing a crazy Ivan? I don't know. Great though. Come on. All of this here. Love this. Love all of that. Yeah, yeah, that type of stuff. Come on. It's so great. Awesome looking ship. We're getting into a specific color pattern here to get the sleek version of the toy paper plastic version. So cool. I don't know why this gives me like massive, what is it, like interstellar, starfox, the right stuff. Love it. That's cool. Also the cool thing to see this later is the camera animation. It's all very subtle in terms of the drift, but you have a little bit of movement and handheld through there. It's a little shakiness. This must be plotting it out while he's in space, given the dark lighting and a little bit of a shake in there. That's just that's great though. I love all this here with the smoke. Anyway, let's get going. I couldn't have known this forever. This though, like this shakiness to me, just as awesome to animate as this. This is awesome. And then you get to this. Look at the ship when it stops, ready? Oh man, I love all this. So great. You got that extra clamps. And of course, the astronaut buzzes in there as well. Moving. Great. I love all this. All that hand detail stuff is so great. I love it. That's cool. You got to have a shot. You got to have an eyed art. It's great though. He's checking. Love all this. I know this whole thing is going to be just me saying love it, but I mean, I do. I love all this here. That you can't wait for the art of book when you just have all of this separately on one page. All of that. There's a great company. I can't remember what's the name. I'll blend it in. I'll google afterwards to see if they did all the, those type of graphic and stuff for Star Wars. And I love stuff like that. Great. Nice little detail. Just a little bit. You don't want it to die. You got a little bit of eye lid here. Come on. Come on. Right there. A little bit of that. All right. Very anxious about the start. Wonder why? Miss or Mrs. Hawthorne? I don't know why. Maybe is that, is that the first type of launch was this type of ship? Come on. Be great. That's great too. I love in, in all of this breathing here that it's only in the chest because maybe the helmet is attached like on the backside locked in. I mean, it'll kind of break his neck, but maybe it's more, you know, tightly fitted in here. So there's no room to move. It's only this great design though. This gives me, of course, Star Trek Devotion Picture or 2001 vibes. I love it. Oh, this here. All the machinery is great. 2022. All right. Yeah, yeah. That's great. Look at this here. All those effects are great. There's the animation. It's getting all more of the simpler side, but that's how it is. I've done a lot of ship animation. I know exactly how this goes. It's really cool though. I love all this here. Even you see the rings afterwards. Got the real ring motif everywhere. That's cool. This gives me there. I say attack of the clones vibes with the sandy dusty planet with this here. But anyway, oh, it is great. That is awesome. This is where I went. All right. We are in full interstellar mode or anything with the cameras attached. I mean, there are many movies before the stellar, but I love the camera shake. The camera is attached to the ship. Love the shakiness. The character, you can see that expression there. Holding on to things is so great. Love it. Awesome too. Shaking is in here. Again, I would have loved. I would have loved just to animate this. If you think in terms of character animation, there's really nothing in it, but I would love to do this. I love doing camera animation, little camera shake, the handheld, all those details. So cool. I love all this. I basically love animating everything there. I say that's not true. That's actually not true. I do not like animating details. I still don't. That's cool. And even this here. Flop, flop. Got to check this out. See the floppiness. I love it. Hyper launch. Okay. Call it hyper launch. But it's going to activate the turbo boost. I think Buzz has turbo boost or something. Look at this. Look at all of these here later. So cool. That's cool too. Look at the high frequency shake on the, on everything here. The helmet, the character as he gets going. Let me just look at the poses here. You can see how the pinky out. You get your anticipation compression there as you go into this. It's great. Oh, that little relaxation of the finger. I know I'm really focusing on fingers, but I do love it. And there's such a big thing in animation as a student where you might just do the arm and then focus hopefully on the mechanics of if I move the arm, let's pretend this guy's not strapped in a massive suit, but you move the arm down, which moves the shoulder, which in turn affects the chest and also the head and so on. A lot of times, and there I say, actually just went through a class where a big assignment was fingers. I could do a full finger pass and a lot of students didn't go in their frame by frame, just making sure the pose works. What is the tension? Like if you, if you hold on to something where it's a big arm move or the fingers going to tense up, are you going to curl? Is it going to be a couple of frames before this action and so on and so on? Once the action is done, do you relax? Do you go into a different pose? That type of attention to detail is really important for your final polish. And that's why I love seeing this. It's like you see this here, the thumb goes first before I relax. It still has a nice offset and grouping of the fingers. It's good stuff. I like it. I like it, especially here. You got your compression, the thumb telling you, and even that shakiness, this little thing here still moving. That's awesome. Look at this. That's your triple boost. Love all this. I love that he stays tense. This always reminds me actually exactly of an Iron Man 2 shot that I talk about to my students when pepper goes back, gets hit, and I'll blend that in as I'm talking here. And then she has that expression of pain because at that point in her career, her life, she's not used to action. Of course she would have a face of pain because it's in character. She's not Black Widow where she was brushed it off or he is tense here, but still focused. You know what I mean? So that's in character just like she was in character. So think about all that stuff and you have your moves and yeah, yeah, silhouette. Anyway, great stuff though. I don't mind. It gives me Star Fox vibes. That's cool. That's cool too. I like that. I like how it goes into that type of thing. See multiple faces here. This is your shield against the sun. Look at this here. And you know Eagle Moss. Come on, Eagle Moss team up. Have they teamed up with Disney Pixar? I don't know, but this is an Eagle Moss version. Come on, let's do it. This is all of the stuff that we would do that I used to do at work since I have changed now, but you got your flight path, toggling the flight path to get a bit of camera shake as we go by. Despite being in space, but that is Hollywood magic, right? It's the magic cam. That's cool too. Solar flares. Come on. That's cool too. This is your moment for silhouette, right? You want to turn your ship so you get a full silhouette like that. You don't want it to be flat. It's great. This is awesome though. Look at the shake in here. Telling you, watching this trailer, this is just every shot. It's what I love. I love all this. I love all the rattling and tension in there. Disney Pixar. Seeing more. Now, is that the robotic cat from before? Is that a real cat? Who's like a robot? It's super cute. It's great though. Again, love all this here. That, I hope, Disney merchandise is going to do this, because I do actually have a, I believe it's a Disneyland monorail t-shirt that's exactly like this. I think minus the white color, but it is gray and it has kind of faded out monorail things. So that would be cool. Infinity. That's cool. Come on. If that isn't Star Fox, is that Star Fox going through rings? Of course, you can say also a little boosters here. Then it's the prequel Star Wars. This goes through that one. That's cool. I like it. Looks awesome. And then, through all of this here, with two thirds into this, I already loved everything. All those moments here. I love this. And then, we get to this shot, not this one. We get to this one. And then it just blew my mind. I just love this. I love the combination of a human, robots, slightly dirty, mossy, wet, very Star Wars, they go well like. It pushes all the right buttons. I love, again, the wear and tear of the corners, as you would bump into things. Love the designs. Come on. It's so great. I was already in, but after that, I was so in. And then this kicked in. And this could basically be your X-wing right there. Come on. So cool. Still, massive Star Fox vibes. Love this here. Got your Star Command logo with the wings. So cool. And then we get this here. Talk about that later. Awesome. Could this almost be like the Black Hole? It's also this. Come on. They could totally fold it in. That's cool. Also love this here with the lighting for the silhouette. This here gives me massive Star Wars solo vibes. Man, just everything. This is so my thing. You know, every now and then you see a show, a trailer for a show that you didn't work on and you go, man, I'm jealous. I wish I had worked on this and this just every shot. Man, I wish I had done this. That's cool. Come on, Eagle Moss. Let's do it. Cool. This guy has some reason with the suit like this. Getting me frozen two vibes. Again, I had another trailer where it was all about vibes. It's cool though. Do love all that. Just great set design, production design here. All of this here. Great lenses. Love it. Uh-oh. We are in trouble, but this is cool too. Love this here. There's a moment of, watch this, this here. Right there. Like that little moment. Again, it's a short shot. Who knows how long this is in the movie, right? But you watch this. Just that, but you get all of this in here. The tension with the jaw and the teeth and then I got to do extra tension here and then getting back into this. So great. You got the shakiness in all of this here. So awesome. It's really, really cool. This cracked me up too. Out of that's intentional, what I'm reading into this, but I love that the wings open up just like the toy. The toy wings opening up. Maybe that's, is that the only nod to the, through the wings opening? It's so cool though. Love all this here. Planet again. I can't wait for making ups and art of books. Come on. Pixar doing sci-fi, going heavy into genre. I love it. Super cute. You knew that's going to be a toy. Cool look though overall. Just everything. This, if you take the cat away and you just look at this here, right? All of that gives me massive moon vibes. Watch the movie moon. Oh, so good. So good. This cracked me up too. Come on. You get this here. This is your classic. Oh, I gotta change colors for this here. Laser. That's your laser pose right there. I love it. Got to bring that in there. Little mechanical cat mouse here. This is cool though. Now we're getting into heavier actual animation here. Let me just look at this here. This is again for students. I love here that you get your full extension on your leg and he goes back and pushes this and he got still a very clean silhouette. And I love that there is enough time. You initiate a jump this way, right? So your momentum goes this way. Everything goes to the left. This continues. And as he lands, it takes a couple of frames until he goes forward because you're going to have a drop. This is going to compress. And then as he's going down, then that leg is going to push forward also to really nice pose. Without your line of action there. But you have to be careful. If you do something like this here, then you don't go to the right too soon because there's physically nothing that pushes this character this way. This leg has to push. So you have to wait a couple of frames until you can actually go this way. You have a nice little arc in that route with a nice little settle. Super nerdy, but love this. It's like pinky out with the highlight there. Great lighting. Clean silhouette. That's your color silhouette. It's great. Again, how short is this? Short. But it's great. I mean, if a student does a shot like this, I would go, it's great. It's a great way. Great silhouette. The mechanics work. Really nice timing. I love that he goes into, you almost expect a little like flailing of arms, but no, he goes into like this and you lead with that elbow into that. Look at this over one frame. It's great. So great. And if you have that as a student, that's an A. It looks awesome. So don't do 20 second clips. You can eat all they need this, but you also have the cat here. Watch this. Love that. That landing. Even a robot cat lands on its feet or paws. Yeah, yeah, yeah. Nice little cute compression there in the wings, in the wings, in the ears, tail, but you got that little hop down. And even on that landing again, you got a little compression head and tail. This is basically your bouncing ball with a really nice bounce at the end. That is true to the, the, not the texture, but the material, right? It doesn't bend. It's not organic. So again, you got a human and you got this with the more of an object bounce. Great. Two little things, contrast of size, telling your students to do something like this. Short, short, short, short. You don't need a massive amount of stuff, but I do want to look at this here. Yeah, yeah. Yeah. I love all this. I do love it. I love all those. Oh, that paint job and everything. I do love it. Okay. You got your hyper speed theory here. And then, and I know we saw the robot beforehand when you go through here, say, okay, cool, gonna have robots, but then you continue on. And this has me even more in and I'm going, okay, not that it's red and it's how, but I love it that we could potentially be in a wall universe. Maybe look at this here. Look at the robot. Do you feel the slight jitteriness? If you attract this, oh, by the way, look at this here. Let's reflect. Look at all this here. How about that? You got a slight change there, that render of that glass. Nerd. I love it. Also that extra rotation there. But anyway, this is not just, okay, let's rotate the character back. Here's the key. Here's the key is blind and that's it. Look at the little imperfections. I love it because this wheel, who knows, has, you know, wear and tear. There's something in here with the groove and in here. So as it rolls back, it's gonna have slight imperfections. Because again, we're looking at a, you know, fairly real, more realistic, naturalistic render. So your animation every now and then has to reflect that. Yes, you can go bigger in terms of something like this, right? But, you know, you got the more realistic things in terms of camera animation and just the weight of it. Like this whole camera language right now is still very, very grounded in reality. And this is why I love it. It's gonna be massive. Wally, you know, first half vibes, which is so cool. But then, right, you got that here and it really matches that world. Little imperfections. So students, you're animating a robot. Think, what is the robot made of? Like, how heavy is it? Does it have wheels? Is it something like tank treads, which definitely would have a little to it. What is the surface and so on? All that extra detail. I love it. Is this holding a Sharpie? It is because he was drawing this. I love it. Again, I'm solo pants. I love it. Great. People in there. Good stuff. Oh, we're getting into Could this be a three eyed green alien? I don't know what I love it. Patches, stickers. Great. This is also in terms of kind of prop animation, right? As this goes around, it's going to bump into this. This is looser. This is not part of the same suit as in like one thing. It's clipped on. It's a separate piece. So it's going to move that separately until it starts squeezing even more, which then starts to push up the chest. And this is pushing down that. It's great. Although tentacles, tails, that I would not have loved to animate. There I say, I'm just going to say it. This is also cool. As that hand goes out and the grip is here, it's going to initiate a rotation this way. And you can see that's what the helmet does. Even even this year's will animate it, right? In terms of the squeeze. And you got a slight reaction realizing, wait, something's off. You can even see a bit of a change in eye direction. You got all that squeeze and the whitening. And then you got your stretch pulled down. And then you got an extra prop animation. Again, students, don't do something long. And then you can have even like a little side character with the shoulder, a little slight reaction there. It's great. It's great stuff. She reminds me of someone. Who does she remind me of? Holy moly. I don't want to linger on this here, but this looks like a character from another Pixar movie. What is this? I don't know. I'll Google it or maybe blend it in. But this would be your weight assignment, right? Again, it doesn't have to be character holding a box and lifting it. Weight can also be shown through impact. Boom. You can see how as this stops and collapses, well, the head has to continue. But it's not going to be all floppy because you can see the tension in here. Like what is going on? I got rid of this. So the tension through the body is going to prevent the head from being all super floppy. It's fast. Look at it. Still enough detail of, bam, contact. And then because you kind of counter that move, there's less motion blur. So we can focus on really non blurry eyes. And then just enough moment of, oh, here's enough time for that moment to read. I got to do this. And then it pulls away. You can see how the eyebrows change just quickly. Whoa. And again, watch this in real time. Short, but awesome. It's really great. Yeah, we're not off like that. I love the sort of foot is in here, pushing this out a little bit to see more costumes is great. But it's also great. For me, a texture animation where this is more hard surface, right? So you can see all the bumpiness in here in the root, slight little shakiness as it goes forward. Again, it's just you have to think in terms of what is the property of the suit and what is the ground made of. And then as you pull, it's not just key key. And that's it. You got to think in terms of how it's how is this going to rattle? Imagine this goopy on snow where it might go into a little hole and bump out where they'd be on ice and just slippery through mud, all that stuff you got to think about. But also really great in terms of mechanics, showing the struggle and all of this here, holding on to that and then pulling back. And almost kind of like, I don't know, it's like a jujitsu move or something. I've no idea. But it's great. It's really, really cool in terms of a variation of body mechanics with weight. So this is why I love doing this, gives me ideas, gives me ideas to tell other students. So listen, your next shot, you do whatever you want, but consider something like this. This would be great to animate. And even if you have other characters, you can put them in in terms of context, right? They're still mostly loaded here. And this is empty. So there's more room to go this way. And you can just focus on a pose, gives you context. Everybody is kind of freaked out, but you can work on your posing. It's good stuff. Students, take note. That's all you need to do. Oh, oh, what do we have here? Is that the black sword? The light saber? Awesome. This is your burnt, what is it? Caterized, cauterized? I can't remember. English. Excuse me right now. Yeah, yeah. Come on, this here. You have to feel with all the lights. So cool. Creepy. This is cool too. I love seeing this here. All of that. Like any type of suit that still has lights on it. I love that in the Mandalorian. They have a lot of that in there. I love all this. Like the chunkiness. I love the chunkiness of this. The pants, the lights, the chunkiness of that. It's very retro. Still kind of toy-like. Great. Kind of your arm with the red laser. Getting into that mood here. Security. Love all this here. Come on. Art direction lighting is great. Same thing here. Only the cat. Even stuff like this here. This clips here. It's awesome. Got a little walk, but this is not the same shot afterwards. Or maybe somewhere. Caution. I don't know if it's in the same spot. This is cool. Why? Because we get our Z in here. Zirc. We got the whole purple thing. Okay. Are we going to see the Emperor? Who knows? Emperor Zirc. One like Cylon type thing. Maybe they moved after right. That would be awesome too. But you got your Z. Not a skirt, but you got the coloring. Awesome new ship design. Love all this here. Got your Elin writing. Elin. Not Elin, but Elin. It's great. And oh yes. You know I had to arrive at some point. Very cool though. I like that. Interpretation of the toy suit. It's great. You know the awesome thing about this here, I just noticed, is that a suit that's in storage, the gloves would just be spread out. They'd be solid. But even this suit has the pose of the hands. That's awesome. I love it. Oh, it's great. That's cool too. I'm telling you, I love all these patches and things. It's great. Very subtle in terms of your facial animation. The trail is not huge on like crazy mechanics in animation, but just enough to be awesome. Yeah, I get a full view of the suit here. So great with the visor. You can flip down. So cool. Yeah, I really love it. Like all that detail here in the fingers. Oh, not the fingers, but in the glove. Let me just look at this here. I love that too. That little slight turn in the head first. And then it goes into this. Again, not huge, huge, huge in animation in this teaser, but it's still overall so cool. And then we cut out. No, we do have compression in the fingers. It's kind of awesome that it kind of starts with hand animation. It bookends with hand animation. But this is great. I love this here. That it's so much like the toy. I'll put in, I'll find some photo and put that in there with the coloring, this on top, but it's a real suit. I know. I know it trades on nostalgia and you know, Toy Story is old and I'm old and I love all this, but this to me just hits all the right buttons. It's great. Nice grouping of fingers. Nice silhouette. And that's how we ended. So great. I'm so in. I'm really so in. Summer 22 can come soon enough. It's so cool. Anyway, that is that. As always, Crazy Town with my frame by frame analysis. I hope it wasn't too nerdy in terms of awesomeness. Come on. So cool. Yeah, it's really, really great. Love it all. That's it. I'll leave it at that. Thank you, everybody involved in making this movie happen. You just, you just make me happy. This is also great. Can't wait for the movie. That's it for me. I'll leave it at that. Thanks for watching and hopefully I'll see you another clip of mine.