 Welcome back to another acne analysis and tips for animators and today we're going to take a look at the oldie but classic Jurassic Park 3. Okay, maybe not as classic as the first one, but I was going through some notes and I wanted to go through some of the smaller notes and like older notes that I had in my long list of acne analysis clips. And it's time for Jurassic Park 3. I know it's old but there's a lot of fun stuff in there. And before I continue, hi my name is JD just in case you're new to this channel. I do acne analysis clips like these, I do animation analysis clips, I do reviews and rig reviews and feedbacks of all kinds of stuff. This is YouTube is the pitch meaning look around. If you like it, you can subscribe and hit that bell button. If you don't like it, don't subscribe totally up to you. But it helps with my channel growth and that is that for the pitch. Why waste more time? Let's go straight to the sequences and I'm going to start with a classic in terms of an entrance. Now this has actually been used now in terms of those stunt clips where they go back and then they come back and punch the camera and then the next person goes back. So this idea I would not do anymore. But I like the general thought of, I mean the idea as in someone getting punched and then going back. But I like the general thought of and I'm also, you know, if you're watching my channel, you know, I love entrances and intros and surprises and like that. But if you have anything like this, it could still be a stumble, a jump down or something, something that happens to a character because then this character comes in. And that's mostly what I want to look at is that this is your beginning where you can show off your body mechanics. And this is why this used to be interesting in terms of getting punched or some or stumbling. But now that it's been kind of done in all kinds of places, maybe think of a different idea. But I like the concept of character going this way, just in terms of screen direction, showing off all kinds of body mechanics so you can really show off your animation. Then a character comes in this way for contrast. And then it's just all about the face and potential lip sync or just pantomime. But it's a cool combination. And you can even keep it like that where you still continue with some form of pantomime while you continue here with some lip sync. So slightly overused by, not overused, but it's been done. So you might have to rethink the whole punch entrance. But as a general thought of a one, two construct of a scene staging, I still like it a lot. Next up with this one, which is super cartoony. We have this, I mean, again, this substitute for whatever you want to do. Like this could be a different character. This could be human or creature. This could be a big treat, whatever you want to do. But the idea is that something enters that freaks out the character. I do want to frame through this because holy moly, we are in cartoon land. You got a massive fantasy patient. Look at that. Shoulders are going up. It's getting ready for a stretch. Shoulders are going down. Holy moly. And look at that intensity in all of this. But anyway, the idea is that you could use something like this where something happens and goes, ah, and then you have that. And that's again, to me, interesting in terms of mechanics where a character, be it human or creature, whatever, is trapped and tangled, it could be something sticky, something with a net, whatever you have. But the idea of a character struggling against something that is just kind of flopping around is fun to me in terms of just animation mechanics and what you can do with this. She definitely continues on. That is some crazy long scene. But at the same time, it gives you lots of reference, right? Lots of reference of struggling, holding on either with the hand or it's stuck around the character and then the reaction when they're done. Like I'm done with this, with that little brush off. And then going away, still freaking out. So definitely in Cartoonland in this sequence, like I said, Jurassic Park 3, a classic Oldie but Goldie. Look at this floppy arms. I mean, this is just great reference. But again, as an idea, I think this could be interesting in terms of surprise moments, also for contrast, right? You're going from something somewhat neutral to which could be also full body to do like a full body pose or just facially. And that's why also to be interesting, you go almost full body, but you can show mechanics. Then you can show close up extreme facial animation back to more complicated mechanics here in an interesting, maybe five second long three shot sequence. Here's another one in terms of staging. This is classic Spielberg and there's so much I love about this. A in terms of you can show off close up facial pantom over their lips, right? You can always substitute lip sync or pantom whatever you want to do. But I like this where you have one character. It could be supporting character, whatever it is. Again, this could be human. This could be an animal, both animals. There's so much you can do with this. And then the change, them looking, we lose the eyes. So then the audience also goes over and follows that turn to this. Now we have body mechanics. You can do a cool walk or something like that. And then you got your facial either pantomime or lip sync. Always a big fan of gestures that are cut off. It's just kind of part of performance, but it's not super presentational. And then that classic setup here is so Spielberg and I love it. You got, that's a great pose to stop on. You got this character coming in. You can show off mechanics. These are here for context and staging and contrast imposing. Then you got this guy coming in here. Look at that. You follow him, you go down, you translate and tilt down and an end of the tilt for this. I just love all of that setup where you can show off so much in terms of whatever action in the background. Then just the pose. And then mechanics of a walk, kneel, plus the facial expression of whatever you want to do where the audience goes, what is he looking at? Or she, and then we go down and reveal. And that reveal could be tiny little creatures running around for more animation. I think that whole section here, I mean that whole beginning is cool too, but that whole section I think could be repurposed again as a springboard. Don't copy this. But you can add so much into this for really interesting and cool animation shot, which dare I say I'm going to use and copy and change, but I really, really like this. Then I want to do something similar in the future. This one is a bit long and we screw up through, but it's kind of the same idea, the contrast of someone observing, no pantomime, no lip syncing and it's all in the eyes in the face. Head tilt, starts, whatever you want to do, looking around and I love this. And again, you can choose something else, but I was a big fan when you have the audience and the character looking at what is going to happen. All of this, lots of close-up animation you could do and then that will change there. And then you got that reaction, it's very short, but kind of like, whoa, what happened? And then that reveal, there's lots of stuff you can do here in terms of pantomime and just reaction, really close-up facial acting. Then after that freak out, it's this that I like a lot, something is trying to get to someone or something else and it's stuck there. Now, I wouldn't really frame it like this for animation, it's because of silhouette, but this really illustrates what is going on and what prevents this creature from going through. But imagine it's potentially a bit more three-quarter and it's maybe on the other side so we can see the creature looking through, but this is really cool. In this case, it goes out and then the camera tracks over lots of cool stuff in the background. But again, take the idea of that. There's really a lot of really cool weight of a creature going forward and then stopping and just the effect of something that's stationary and can't move, how that affects the creature trying to push and just kind of the stop and go and impact on whatever, the muscles, the flesh, the body. I think that could be really cool mechanics. And then going forward is another moment that I really, really like is this. I love that slip too here. That's great. There's that at the end. Anyway, it goes forward here and then this. So they are trapped here. It's pushing and pushing and pushing. That's a cool weight assignment. So again, you can have like the contrast too of holding like this and then straight arms here, whatever creature this could be. I don't know, two creatures in the human pushing. Again, you can change this completely. But I like this idea and especially this. It's a cool angle. But this idea, this to me just looks like fun where you have two characters squished. You can have interaction, like, you know, facial shapes in there for the squish, kind of an overbearing shape here that overtakes the frame for the danger and lots of close up facial extreme acting and pantomime. That's for a fun shot. And it continues here with another idea of when it goes up and goes down. It was well too much if you haven't seen it yet. But I just like that whole setup of something where this is the actual framing where there's someone caught off, there's something overtaking the frame. But it tells us in this context of why are they freaking out and it gives you a cool kind of layered element of foreground and background and background. And just that, not just people acting where you do your animation where you freak out, but the combination of two. So you have contrast and potential pantomime. Again, the contact, the squishiness and all of that I think could be really interesting to animate. And it shows gets an older movie, but you can find things in all kinds of movies. Sometimes it's just kind of the main idea of a sequence, a moment, a move, an acting choice or an action. And you can take that and then completely change it, but still keep the essence of it. But then make it your own and make it as original as you can, which is always the hope of the series that you don't copy this, but it helps as a springboard for more ideas. And speaking of springboard for more ideas, if you feel like you got no ideas, thanks to that. And you want to work with me so I can help you make your shots more awesome. You know my pitch at the end. I have workshops and you got a link in the description with all information. My workshops are always open for sign up so you can start at any time. And speaking of time, thank you for watching until the very end. And if you want to see more of that, feel free to subscribe if you want. I upload almost every day. Weekends not really, other than that, mostly every day. That is that. Thank you for watching. Thank you for your patience. Thank you for always tuning in. And I will see you in my next clip.