 Welcome back to another animation analysis and this time I'm going to take a look at this clip here I'm not going to spoil the ending, but this is from sprite fright. You can check it out here I'm going to put the link in the description and there's a bunch to check out They have a blog with a lot of information as well. You can see this here You got the production log a bunch of really cool stuff in it They can check it out on twitter They post a bunch of stuff here every now and then people have a showcase of it and the official blender account as well Overall all super cute now. I'm going to play some full I got this from twitter a while back. There was no sound So you're gonna have to listen to my voice here as I'm going through this here But there's so much in there that I love and I just had this in my q-nail yesterday I talked to q-nail to my students about the shot and all the different things that was really really well done about it And you got to watch the whole thing because at the very end Oh Oh so brutal what What So good. All right I wanted to bring this up here instead of either a trailer or something else or my act analysis clips on Thursdays Because I like this for multiple reasons. I'm a massive fan when you have an intro in a shot This could be an intro showing kind of an establishing shot in terms of the environments because of the title I'll get to that later But also in terms of character intro how this character gets introduced is really cute right off the bat Super cute with the eating and then how this character comes in where it's the legs only But let's go one by one. I like this just because it would work as a demaryl opener. So imagine you have your name Character animator and I'll put in the year So, you know when this is from and maybe you're you're one primary contact information So the one that you will always check and then at the end of the reel You have more, you know linked in emails, whatever you need But I would just keep it short so that we know Quickly who it is and what we're looking at and they get straight to the shot So technically this whole thing here to me would be too long for demaryl But I like the idea of it. So if you can do something like this, but that's shorter Then I would go without I like this too in terms of seeing the overall landscape and then having forward element Wipe through so you can kind of cheat the cut into this which seems to be a different shot So I like this idea as well. So you can do something where it's you could even be this With the title and then go straight into this But you know give it it maybe two three seconds and you can fade out your title Then we get into that I mean you can also do something where it's maybe more complicated where you have this because it's nicely composed You got the lower element here and then as we go down You can sneak in a little bird Some other creatures obviously all really well done Which is the the open every demaryl is really well done animation But you kind of sneak in a bunch of different things. This could be a squirrel a bird Maybe they're fighting maybe they're doing something There's have to be a fight, but you know something where right off the bat You got a lot of really cool body mechanics just to keep the interest going But then you have this And I love the shot in terms of composition just the elements here of the set I love the organic look to it all of that full ground elements all that is really cool and We are introducing a creature because a lot of times in demaryls It's the humans the humans either full body Maybe go straight into an acting piece where it's usually you waste up and you got all you're acting But this is cool I love that we're going straight to a creature because it's just not Seen that often in demaryls, especially when you go for feature demaryls And I'm talking about students not in terms of professionals who have that for movies So it's a cool thing to introduce and right off the bat. I love you look at his eyes It's over It's really cute shapes there And how he eats that get a nice little Home arc and going into this just love the shapes And there's love that a little smacking how he goes forward a little bit So that right off the bat is really really fun to watch So I'm already in the other thing that's also really cool is that the character is technically not technically But the character is looking Left or right So traditionally, let's say in western storytelling when a hero shows up We don't know if this is here. I'm just generalizing here The main character would look left or right like a hero walks left or right It may be at the end of the movie the end of the journey right to left or a hero left to right The villain antagonist right to left. It's kind of a classic thing Compositionally you would put this character into the thirds if I can sloppily draw these crazy thirds But they would be around here so that the character has room It feels comfortable. It doesn't feel claustrophobic. There's just enough room here The character doesn't have as much room as in the back So what this tells me that there's something going to happen here and I like this So you have this as a cool intro. We're seeing a character I'm interested. Oh, that's cute. That's a cute animation. Wait, I think there's even something Like like little bits and pieces falling. I love all this all attention to detail But then also going. Oh, okay. Well, something's going to happen here Because of the composition something needs to be introduced going to fall down walk in come out of the ground I don't know but now this is for me an anticipation because of the composition because it's staged here and Yep, this character comes in and this is where I get I go. Ah, this is cool Because it's not your typical full body where we see the whole thing. It's legs first So you get to see the boots we talk about that later in terms of what the shoes But you get to see a different kind of mechanics of a walk in and then getting on their knees So it's already beyond the just standing there acting where a lot of students don't Have the characters move around because I kill eggs is difficult the way shifts and walking around Depth of the scene all that stuff you the characters are usually stuck So that's also cool way that You are kind of stuck in this But at least it's a bit more interesting in terms of mechanics because the character gets on their knee And then on top of that we have props here We got props here there's stuff here. You got the hair You got props in terms of holding this so I'm already for me personally I'm already in going. Ooh, that's interesting. I like all that extra detail But you get to see already a very cute appealing character And you can see the shapes you can go frame through I'll stretch there. You got a nice arc. So right off the bat. It's nicely animated now even without the sound if you watch this You can see this here with that tilt from this To this it feels like oh, she's interested. She's investigating. That's why maybe she has this for taking notes Oh, okay. Maybe she is I love this that the outfit looks super cute But this feels also like who aren't you cute? I don't know what she's saying, but it feels like Oh, look at you. Are you so cute? Whatever she says here and then she's got this moment And again, it reads really clearly that she goes from this And I love the look back Look at this nail. Hold on I love all this right you got enough beads where it reads clearly of Hey, something just happened to come up behind me And you got that little stare of what was that and then looking back with again with a nice arc changing the whole body here and she goes very well for it and Realizes something there again. It's a very clear beat from Looking at this you got your eye darts. You got really nice head accents as well. Not just the shift But the little heads and bobs even this here that it'll up with the eyebrows and then And then oh, I love this here too that little shake in the head Huh, and then she's going to write something down and it's also cool that she gets to this She's ready to write that down and puts the pencil to the paper while still being in this thought And then gets into this and it's not just looking down. It has a bit of a body up over An arc into this and I love that little cute scribble The nice little hold really nice hand pose as well And even mechanics wise right she's leaning on this here And then when she gets up it's going forward here. She's got that little Lean back she goes back here. So she's more balanced in order to get up here and then bringing the weight back onto the elbow It's just so really well done I love this then after all of this we get to a second really interesting body mechanics because she Came down but obviously she has to get back up again So we get to see how again she shuffles around puts the knee Here for for the support and then the leg here for balance Because she's going to go over the leg And you can see a bit of a push-off in here with the arm And then the walk out On top of that just as the detail this is with like a hard surface somewhat soft here But it's a boot and then later on we see I don't talk about this later We get to see tennis shoes and then we get to see these kind of boots here Just visually it's interesting too. Each character is kind of different. So I'm a big fan of contrast as well So just having that in terms of just how they're dressed and what they're doing here is great Now if you look at this here and you can see the compression and the the tongue I think as they call it go forward It would be great to have a bit more compression and squash in here But I believe in the tweet and I I need to find the original tweet where God is from This is not final final But still it already has enough detail And if you animate this as you put all the weight on this it would be nice to go down a little bit further Have a bit of a widening of all of this so this can you can really push this in many ways now But let's get to the the snail in the room at the elephant in the room This is all super cute. She was super cute again You got the dangling props All of this I love all that detail and you think that's it We're done with the shot Again, I love how he's got that tiny little smile Let me give back to eating this and here are the couple things here So first of all, we see another character going, okay Well, something else is going to happen And then we have this it's something that I talk to my students a lot is the the interrupt its action So here we've been introduced to the character eating and you can see the opening of the mouth And going forward and eating we know that this and this that's the relationship That's what they're going to do. So when we get back to this we go, okay, he's going to continue this. So now Snail opens the mouth We think that's the next action and then bam gets interrupted by this violence Bam Smashing of the foot love the props here, of course And this is something where you would go if you look at Roger Rabbit when you have the That's like you need this long dissipation, but then it gets interrupted. So we talked about this in previous acting analysis clips So in a character, let's say two characters are here. I think there was one in Sinister one of the horror movies. I gotta I gotta find it. I'll blend it in where there's a cop Arms down and Ethan Hawke wants to shake hands and this is the expectation you bring up the hand to shake hands And it's kind of the setup and that's the payoff or the other character's going to do the same thing But then it kept it didn't so it's kind of like you start an action And as an audience you expect well, this is what's going to happen to have a and we know Logically b is going to happen and it's great when you don't do that when you set up the audience of a Started and I know you're all waiting for b But I'm going to cut this short with something else and that is what's happening here You go like, oh, that's cute. Bam I love the spacing of it too Bam And then we have that and not it's not just done. It's not just oh, I smush this little guy. No, no, no It's the the second punch line It's like it's like you have a pose and then the sub pose like you have a moment But you tweak that same moment a little slight little slight tweak there It's the same thing here It's like you have your main punch line or smack line or whatever Stump line and then you continue with oh, you're already shocked But then you continue with hard bits of the shell the slime. I love also just the look of this and how it breaks up And then that's it and then the other character comes in there are so Many awesome elements in this in terms of scene introduction that you could use for your real potentially Love the setup and there's the look of it. Then you have a really cute character to creature animation Really appealing you think in terms of composition. Okay, we're expecting something here Which then happens different kind of body mechanics really cute and appealing Acting again, I don't hear the sound but it's gonna be super cute. I'm sure the personality is already The personality is already really super cute I love of course the extra details in terms of props and hair for detail And then the crazy payoff of this With the extra detail at the end So there's so much to love in this shot This would be such a great real opener and for any students watching That's what I would recommend in terms of just complexity because creature animation is really difficult But here the snail is not doing much. You can still have a little bit of movement there It's not just in here, right? You still got the squishiness of the whole body. You see the slight turn It's really appealing. You can have your arcs. You can still do something really cute And it's not really demanding in terms of creature animation But it gives you contrast there's contrast in scale, right big and small and you have that cute little contact there They have something to play off of each other. It's kind of a cute little two character piece And of course all the complicated body mechanics here and then with a punchline at the end where Even though this was already super cute. You think, oh, that's the end of the shot You end with a really oh reaction And then either you cut to the next shot This could potentially the end of your reel you go at whoa, and then you got your name and credit It just leaves elastic impression. So I think all in all overall it's just so well done And I love it. That's it for my interpretation I of course, this is all very subjective in terms of how I see those things and blah, blah, blah, blah But I like what I'm seeing as always I'm going to take this and learn from this and obviously tweak it But use this on my own like I love this intro. I love that we are Giving spacey for that intro. I would love to use that in my own shot one of these days It's just so great to learn from and that is that all right So hopefully that was helpful, entertaining, educational, I don't know whatever it was You can always comment. Let me know what you thought about this I thought let's switch it up with a kind of a shock critique of an animation And that is that and if you like it, feel free to subscribe I'll do more stuff like this and you won't miss any of my uploads And uh, yeah, that's it. That is the end. Thank you for watching and hopefully I'll see you in my next clip