 Welcome back to Acti Analysis for Animators and today I'm going to take a look at the movie Bombshell. We're going to look at five sequences but before that, hi my name is JD and I have a channel that covers Acti Analysis clips like these, Animation Analysis clips, Animation Lectures, Rig Reviews, Product Reviews and Animation News all kind of things so if that is of interest to you, subscribe and hit the bell button so you don't miss any of those uploads. Now let's go straight to the sequences. First up we have this where it is about character introduction and prop handling with characters. So my thing here is that this could be an interesting way of introducing your character where you have a couple of your walk cycles or just one and this could be someone very relaxed in the walk. This could be someone limping because of an injury. This could be all kinds of walks where either it's a specific walk like a very relaxed walk and then the reveal is that the character is relaxed and you play into that or you change the expectations and you have a specific walk. This could be labor to relax whatever you can find and then as we go up we actually reveal something that is the opposite of what we thought we're going to see based on the walk. Then moving forward I like this here so she has this she's got this prop here and then hands it off to that person and there's a couple things here. Look at how she's not quite looking she's very concerned about her upset stomach and it's this kind of blind look she has a quick little look here this could be more about the hallway less about her and then you can see how she looks at it you realize I gotta take this takes it a specific way so these are all different character cues like that like that expression the way she holds this the way she's not looking the way she's still focused on this all of that can tell us a lot about the characters their relationship and can create certain tensions or certain dynamics within the sequence next up is this very long sequence in the elevator this is all about character dynamics and how you interact and kind of look at other people so you have this is a very long sequence about mistrust and just the power struggles and everything but if you have a shot that's completely independent of you know what the subject matters of this movie you can play it with outside characters nervous different headspace concerns and bystanders I mean if you want to animate four characters but this could be something where you have out of focus and they're just there as a keep alive and you play up the relationship between these two now as this progresses you have a couple close-ups where she's concerned she doesn't quite look but then she does actually and as this changes now you have moments where you could play it where these characters leave and that can play into ignoring this character into relief where maybe finally they can talk or they can start fighting or whatever you want to do or like in here you start another relationship where a third character comes in and you got that reaction of interesting and then you have the change in them everybody gets a bit more comfortable there's some polite nods she realizes they're all going to the same floor and then it continues with certain looks you have this that already just in the posing how the hands are how the faces are you can do all kinds of things with again one two three characters there's two characters multiple characters characters that have to react to each other like here or maybe again foreground characters that are there to kind of potentially shield characters or it's like a visual division so this character is here and the other ones out of focus are there to kind of create a wall for whatever storytelling purpose you need or have but I think an elevator and the confined space is a really interesting and a good set piece to create conflict or comic relief or all kinds of situations where your characters can't escape they have to interact they have to react to whatever's going on within that box next up in this sequence here we have the character here coming in unplugging those microphones and I kind of like that idea because it's it tells us how much she trusts this to be on or not if someone is listening how secure the room is and again this is something that is non-verbal and if you as you know I'm a big fan of props and sets so if you have that that tells us a lot about the character just by doing this so whatever you have whatever line or being pantomime or whatever characters are I think this is a good reminder of what do you have in your scene that can tell us more about the character this is not just a move for body mechanics sake this is something that tells us more about how she thinks what is going on in this room how safe it is and what she needs to do to have a private conversation next up is this long sequence and this already cracks me up I love that I love how high the shoulders are and how just slumped he is and you got the food there it's just that expression it's just so good just in general in terms of posing and you have your just the contrast in how these characters are presented that's first of all already something that I really really like but in this there's a discussion about what he thinks and he starts to have some rather unique ideas of what is going to happen to him she has that reaction to like what am I listening to and it's mainly about what he thinks like he said he thinks he's going to be killed by someone and I like how she has that look like yeah and then it looks over and then it's this and it's basically the point here is that you have a character this could be your lip sync you could have two characters talking this could be something where it's an action it's could be pantomime or one or two characters doing something and it's all about how you end the scene with a reaction and I love that that long drawn out and just that change so you have if you just look at him he has the overhead that asymmetrical pose there you get all of that and then as you realize what he just heard you can see how the head goes up and you have that little nervous tapping a little blink and a little bit of a look as they as their eyes meet and of course she has a bigger reaction in terms of okay and then looking over to see what he thinks but I always like that where you take a shot and just kind of extend it a bit longer if you can through audio if there's something where it doesn't have you know lip sync that suddenly ends and then there's silence and you add something else so just for presentation wise a fine room tone or something to continue the audio but I like this idea that it's not just audio is done lip sync is done and your shot is done you're adding one more thing to add you know a specific thing of humor or you know outrage or something confusion that can add something that is purely based on your performance that's something that you do that's outside of the lip sync where you can add any type of pantomime reaction and thought process they like that too after they meet you okay and you have that reaction so good last up is this where she gets into the room and tells people all right well I need the room to be private and they have to get out and he has his reaction so why am I showing you this I'm showing this because of how she enters the room just that I mean you can see in the previous sequences and if you watch a movie there's a certain personality to her and she has a certain amount of energy so when she comes in here and it's slow one two three and you can see that that stop that long inhale right you anticipate the lip sync by opening the mouth so the mouth doesn't have to move only when the lip sync is starting when the audio is starting so you have all of those cues and then and then she says all that and you can see the swing the the loose swing on her arm clearly something is not good something is not positive something is going on and this is just always a big reminder of whatever you have in your character anything that moves will tell us something about a state of mind of the character be it a swing how long you hold the blink how lumped over the character is is it a you know quick sign filled style coming in fast or is it a slow so it's just a reminder that whatever you have in your scene anything that moves again will tell us something about the state of mind of the character be it the emotion the urgency the actions whatever you do be in control of those frames and be mindful that the speed will really change your perception and and how the the audience perceives the character in your acting choices speaking of choice you can make a choice to sign up for my workshops if you feel like what you heard here is interesting and you want to use that for your shots you know will work with me and you want me to help you with your shots again link description for my workshops you can sign up at any time speak of time if you're still watching this till the very end as always thank you so much for sticking to it and generally if you don't want to miss anything feel free to subscribe and hit the bell button and you don't miss any of my uploads and that is it from me I will say thank you for watching and I will see you in my next clip