 Welcome back to another animation analysis. And today I'm going to take a look at dualists. This has been on my list for a long time I'm catching up on all those trailers and I know some people have commented that this is a Animation analysis slash a reaction and yes, it will be analysis, but come on I have to lead with come on that reason why I'm picking this is because I just love the look of it That's the first thing just even that already that opening the good composition the colors everything is already very cool And then this kicks in and this is throughout the whole trailer and I just love that a color is the combination the typeface The everything's just really really well presented. It's just so well done And let's go in there and you have that little almost that big rich pieces a bit more highlighted This is all a bit darker and then in here boom You got the first explosion and it leads into this already that just the look of all of this It's just that very painterly Non-cg look and then you got your first animation. This is your prop animation here Nothing huge to analyze but what I like about this is that as it goes through it still has Pieces of the fire there So if you ever are animating prop pieces or anything that has an environment being you know, whatever you have rain Whatever this case is fire think about how that influences your pieces or a character going through and you can use that to your advantage and animate it but you got All kind of things is still going on here and Then we see the introduction of the character, but again the look is super cool Love that too Just the framing of this with the darker color and muted and colder with this blazing fire in the middle And then the character comes in and then we get to see a good look on how the character is Rendered as well and come on. I know this is going to be on one of those come on Cool elements here too in terms of how the character is glowing the textures the painterly look of this You got your slight opening a bit wider on the eye and a bit wider on a Eyebrow here so it gives you that a little bit of a everything is kind of opening up looking of this way But again, just even that frame alone. It's just very very cool And since this is very 2d elementy style, I'm gonna look at That just those one frame elements look at that That's very cool I see a lot of people's first animation that they post on LinkedIn or Twitter They're adding 2d effects or a 3d. That's kind of stylized to be looking like this. It's very cool As he exits you can see a little bit of Drag on the hair look at that put it in real time. Oh Cool. Yeah, not too much. It's not too wavy a lot of times in movies The the hair sim is always very wavy and soft and and very silky and ever feels like is this greasy or thicker hair or Whatever, you know, the character would be exposed to whatever environments and that would affect the cloth the hair and everything Sometimes sim is a bit too soft and this is across all companies including where I work It's just kind of the thing that they do not always a big fan. But anyway, continue with awesome effects nice snappy moments here of Of the animation like that the eyebrows are leading Then you got that snap done with the head still affects the hair But you can still see there's it's not stylized in a sense where The animation is minimal. There's still a lot of detail work You can see in the shapes of how the cheeks are relaxing The amount of movement that you have in the skin all around And even this here, it's very subtle move in the skin here in the lids Very cool still fairly soft It does it does go back and forth between software animation or software as in spliny and smooth to more Stepped and spider-versey Also cool here if you look at that transition here. I put in my onion skinning Resting on him and as he remembers what's going on look at that. Oh cool Super clean match so that the eye doesn't have to go. Whoa somewhere else is completely destroyed to third. It's a nice transition and Into that run and they were getting those speed lines But again, I'm not super after saying verse in terms of colors I can't tell you all the science behind it and how people react to warm and cold and everything But I'm looking at this and it's just really cool. That's that's my scientific knowledge thing that I have here, but I just love That is the blend of the soft out of focus warm a look nice contrast for the character But he got the highlights here of the light and still with that glow in here It's very cool. I mean that's good. You just be a painting I'm a big fan of styles like this in terms of animation now. We get to see the first actually Character coming in here looking at nice jumpy animation, but you got so very clean Silhouette here of the shapes good that as the arm goes up Leading out with the character out of focus in the foreground here still got your speed lines there That's cool, too. I love that. Just a little Accentuated by the sound if you watch this, I'll put the card up here with the original link the full link to the trailer You can hear the the sound of this Love how it comes out fully focused on the character That's every time I look at this you have to think about when does the character blink I mean if you do if you watch my animation Alice's and especially acting Alice's I was big in terms of I focus blinks and how long how long do the blink and it you can see Despite the action and coming sideways. There's no blink. There's no darting. It's just a complete focus on where the character is This is cool though getting into this and you can see the That'll push out on the head as it hits the wall Nice long enough overlap to sell the weight. Let's watch this in real time. Oh, oh, it's nice. Yeah, you feel that That rhythm of hitting this and then the recovery and then The speed here for the continuing of the of the run so it's not a How I then immediately running there's just enough weight and it sells how heavy the character is You know all your prop animation always a big fan of it's still very clean It's always very clear in terms of what is going on And even if you have elements in front of the character, you still have a color silhouette You got some highlights here again. Everything's very nicely presented It's great to With those stretch a little bit here Nice the highlight here just everything's just I love looking at just every frame of this trailer I know this is the reaction part of it, but So cool You can see how he starts to gain and so losing the amount of space that the character has So the characters not the character the care the camera is not tracking where we have a certain amount of room here And it starts to diminish will giving us the sense of closing in and here the characters in the lead and fairly comfortable So you give it this enough room here your speed lines again, and you got in the silhouette the character in the back Oh, look at that. Come on That's cool just enough to really read Look at that. That's cool. Oh nice hand pose your triangular hand pose all very Clean not too complicated, but still with enough offsets So for anybody animating quick runs, it's still you know at this point You're gonna go in there frame by frame and pose out fingers. You can see this here Really nicely done clean silhouette. It's all very clear And then we get a better look at the character with the nice turn the nice clean soft edge there on the drag Cool, look at that. That's cool. How she grabs that Comes out and then we get into I just love this character with the Text type faces nice nice clean silhouette could exaggerate the lens. There's got a bigger into small I'm just a big fan of this and even on that slow motion. You got that still moving I miss the big fan And that's cool too as she gets into this and Throws a knife here. It's cool that it actually disturbs the text as well and look at that back into a clean pose Come on. How can you not go through this frame by frame nice drag there too? It's also neat how these guys just hover All she has to do is kind of holds on to her She doesn't have to hold on to the knives. It's very cool again clean. I love that to that expression just for that Look at that. Come on That's cool. That's a cool frame Going out going back into him running Don't be super picky. No one will ever see this I'd imagine you're holding this and you have that moment of oh, I gotta get over there I would have been cool to have potentially more relaxed finger pose and then it's tighter Just for the tension just for that moment. It must be a more Tension moment there because of that sudden danger Getting there at least there It's very cool Look at that Just the painterly aspect of all of this that's cool to all very clean here. Oh, I love this too. Watch this just a little Cool, man, it's just over one frame Yeah, I just has that little Yeah, you bear I mean if you I Don't think I would see this if I wouldn't frame through it You can see the tension detail in every frame. You got a slight drag here and stretchiness the face gets a bit thinner through here Still very clean. You got the highlights there Just give you a nice clean silhouette when it's in front of the body and then back into Nice face really nice clean eyebrow shape to still got your asymmetry in The face it's almost like it's preparing for that push Against the face that's cool to look at that just here. We still have a clean Frame on the eye. That's cool. Look at that. This is really stuff that you can only see frame by frame It gets there hits the gun But it never really covers the face. Just keep it clean. You got the immediate change in the face for the reaction And then with that that's cool too with that dragon and bomb. Let's go over shoot in the face Yeah, three-point highlight there. Watch this in real time. Let's go back and Yeah, really nice rhythm Yeah, you have that one two and then it will pause one two pause bigger one and then So cool As you're looking at just checking here Fairly straight to camera, but it's a kind of salvage that it goes right to left and she goes left to right So and she brings it back. This is left to right It's cool, too Come on. Every frame is cool Like I said, she goes right to left You're a tiny bit of creature animation here that frame to I mean, this is really that whole trailer The design of this Comes in That's cool, too. I love that too a couple things here You got your clean silhouette as you come in You got your compression Before you push off you always have a full extension on the push off most of the times in a landing as well Very cool. Now once we get into a clean silhouette for a color so that's too dark in front of light It's all clean. You got your 2d effect here. I mean, it's good pcg, but looks 2d Nice with the push off. I've been almost cool to have a bit of debris Dragging there, but I love this how in midair she goes Hey, there we go What I was talking about here. You got it right here. That's cool. I love that too that this speed that What she does here does affect the environment you can see it here Like I mean, this is what couple frames and then we cut out before it comes in is a tiny but whoever did this Bravo I love that So cool even have this little effect here So many details That's cool too cloth deformation just on that grabs that Let me just check something a Often neglected in student work there. I say shoulder animation So as you bring this in you really want to bring a you want to bring in the chest because that whole arm is Really going around it to grab the knife and the shoulder of course gets pulled with it here And then as it pulls back you can see how far the shoulder goes back Into all of this you got all of that here pulling the shoulder back and doing another wire rotation in the chest Don't forget that cut to this nicely silhouette it That's cool even that here's You'd see this here We still understand what's going on it's definitely helped on the sound design it can either It's also cool that it's not actually in focus. We still want to keep it here and here and this is your Target here. That's cool. Oh Come on. Oh Come on. I got to go for my friend. Oh, it's got a nice drag on the fingers and the wrist And that's that's the arc. That's the path of it. So it drags Following that path and then look at that. That's your beautiful hand pose offset. Look at that. Oh Oh cool. It goes around it. It's really frame by frame Into this That's cool, but you still see the head so well done. Oh, that's cool too. I love that. I know side skippy Into this leaning first with that and then going into this And then of course that type of thing that size to a little streak Into that No text here, but I should be cutting into the next shot. That's cool to look at Yeah, definitely my frame here. We still have a good sense of these are the fingers You can't really see my yellow on yellow here That's cool, too. Look at that so much work Nice curvature here, you can really sense that flow and then that little arc there at the end. That's cool little tiny details there Look at that even this here you got your clean silhouette got negative space here at the nice flow in your body And even ends and then ends with a little different facial expression, but look at the fire here. Come on Slight animation in the hair. So cool. Love the colors and all this. I'm also a big fan of orange I mean, this is very much to my liking here. Oh, that's cool cool angle on her always very clean And it's nicely done because we see what's going on. We got the speed lines at the speed lines Well blur the speed is there the poses are clean But the focus is in the middle brightest point is in the middle because we have this coming in Just really cool in terms of leading the audience Down to even this here has different changes will stretch Into that. Wow, that's cool, too. You can see even in this you get a little watch your face That little moment there to still not got to do something realize what's going on not super faced by it And then has that a little That's cool again all super even this here even this hand Nice hand pose. I was a big fan of hand poses and they're clean nice little slight overlap or not Hindering any view of the face This is starting to kick in here Nice highlights there. It's just really nicely done. It's cool, too This might sometimes be in danger of not understanding what the shapes are so the lighting is going to help understanding that bend Over the knee. That's cool, too Foreground action Massive drag on the finger Getting ready and if you look here, you still see him silhouetted here the highlight over the higher with the brighter background That's cool, too. I Mean come on if you watch this and you don't feel like you want to animate. I don't want to tell you I Look at these frames. Oh, I want to do an animation. I want to put in some 2d effects I want to do all that kind of stuff here Really nice strong poses very spider-man-y Nice timing to on the stretcher and Again not poppy in a sense of ooh that feels odd. Just there's enough Stylization but still enough weight in there. It's cool, too Oh, she has that hang time and then as it goes down, you can see it bends the arms more Because ah, oh, that's so cool highlight really beautiful poses. You got that nice curved line Fully stretch on all of this and then bam Compression there cool the effect on this that landing broke this You can see here coming in even if it's somewhat off-screen shadow comes in Ready to go. Oh, you know, I love this interaction with the set It's as if you see her going up pushes this out the eye goes here It kind of leads the audience into this the camera as well for this character Look at it's everything points towards that in case you're missing it got your speed lines pointing at him nice phrase Cool like how it's ready. It finishes on the eyebrows. Just look at your hair animation there Look at that little Prop details how it opens I already did the lighting on this and everything hats off. Come on speaking of which Every frame of painting Yep, that's a channel Cool cool cool That all of that gets affected by just a little compression picky picky what I've been cool to feel a Squishiness just a little squish in the skin and in the shape there being super picky here That's cool too. Look at that tough to do those shots There I say I have my fair share of shots where sometimes you have a shot You know could be a certain amount of frames and then for editing purposes So we call handles so it could be four eight twelve depending what you have and sometimes you might have like a six frame shot And twelve frames of handles. It's been a long time. I think we're usually on four eight frame usually eight But sometimes a long time ago used to have 12, but I remember having a shot like this It's ridiculous where you have to do so much pre-roll and post-roll and make everything Workable especially if there is sim so having short shots Sometimes you feel like ah, that's just a couple frames. That can be really really difficult to make it read So going through this for my frame cool. You go invert it Frame there and all that is still very clear that in terms of those shapes the dragon the hair you understand The turn or watches in real-time how it's not confusing Just enough to feel that And to read the face and to read how eyes closed open mouth all this feels Where it's not tense not in control. So it's like oh, she got hit. It's very cool get to this here Nice, but she's still able to grab the bag. That's cool Grabbing this with Somewhat like I don't say out of control like that's oh she got hit not too much force in this arm And it's this arm that does everything with a slight stretch there and just like with her knife So you can see how hand is here, but that gets affected actually before she grabs it You can see the grab happens here Very cool Stretch in the prop look at that again one frame stretch Always clean in terms of the legs So even something like this and that's for people watching when you have anything with overlapping limbs I mentioned that to my students a lot where hey, this is cool for color So where it still reads as an arm But when you have a passing frame like this You want to be careful that you don't have too much where that leg might be here in the foot back here So you just have a clump and then one foot. So this is still clear as two legs still clear Even this is clear. Even though it starts overlap here. It's still clear and then we're free So that's where go impact as well. You see that compression on the legs To the effect nice drag on the legs. Come on. It's like every frame. It's just so well done here. Oh Oh Prop interaction. I know this is a big. Oh nice. She's protected here just in terms of that pose Nice actually my frame is slightly out here. Let me bring this in here So see the face. It's cool. She bounces off. You got that drag in the head It's also cool how things are not always perfectly framed. Let's go back here and watch this Yeah, it's neat. I was a big fan of that too where it just feels a bit more I would say realistic just because it is also stylized, but I like I'm very picky about camera work And I like that sometimes you just need to have things that are just not beautifully composed Because they still come in and then end up being nicely staged. It's all very clear again. The silhouette is clear The effects are clear. That's in the foreground. It's an important point of the story here But still that little moment of not super perfect framing. I'm a big fan of that You can see here how the animation slightly changes gets a bit more smooth less stepped around twos So it's a bit more details like when when he was at the beginning here around the wall Let me go back here. You can see here how this was a bit smoother now We're back to her kind of the same thing Nicely done though. Nice subtle animation with just little you can see as you hit shapes again for anybody doing facial animation You don't want to hit shapes and just bam, you know, like almost Steppy on something smooth like this you want to be careful that you ease into those and still have a little bit of a hold You can see how those corners still expand Just enough you still have lit animation on the eyes Changes in the eyebrows almost a little bit of a squash and then an extension school Slight hair animation Nice contact to here on the fingers as the shoulder drops. It's not slidey Clean silhouette just in case you want to make it super clear. Soo fairly centered. It's nice Put your speed lines again Big actions you're gonna have clear silhouette Falling this nice with the drag. That's cool. I love this. Yeah, starting you up. You round the shapes in your body We have a camera shake to as that element comes closer. Oh Fan of leading to this and then That focus that's all my old cool things that it's not, you know, sometimes when again I'm leaning on to like student work here when sometimes characters get up, right? And you might have not super control of your I box your eyes look down and that she does this Maybe it looks even further down. That's the heck goes up now finally the eyes look here And that's what I always point out. You got to think about eye direction. What is the focus of the character? Well, I mean, there's the back. She needs the back There's the focus of the pending danger and the character coming towards her She never loses focus even on the head. That's this low the body this low You still have the eyes. It gives it that very intense look here clean silhouette on the hands and arms Swing to that. Come on. So cool gaining again giving that sense of speed and Gaining on the camera. You can see here. This is getting closer. Whoa It's cool to the reflection to I mean, come on that frame again. Just love that our directions great such a fan of this. Oh Quick move. That's always a moment for frame by frame for fingers. Come on every frame. It's a different hand pose Cool, even then even when you start to cover Almost right. You still have eyes. You still have at least one eye You still can was it's a close-up thing? You do want to focus on the face and the emotion there and the action the strain and it's never confusing. It's great Got your clean posing again. Everything about nice Oh Takes it Again nice way to Just enough just enough frames you're holding on to this Before the overlap moving down and the sliding down of the body Let's go frame by frame just quickly. It's want to see from my own satisfaction here. Oh nice overlapping stuff here So cool nice look at that all clean Do I know harping on fingers, but come on. It's neat. Ah, and then we're back Back to the bag. This is your weapon handling. You know it. I was gonna look and it's there Just tiny bit. Ah, here it is He got the squeezing as you push this in this was talking about when the fingers then trigger being cool to see some Squeeze or some change there and it's right there Even tiny stuff like that It's gonna be a stronger grip Put this in and you want to push and click that in that's gonna be a stronger because there's there's movement here Basically, right you move this up There's gonna be more movements and this gun might be looser in the hand if you don't grip it stronger So now that this goes up you can see it here. Well, I got a grip it stronger So this is the changing animation there picky picky picky, but I love it Love that thumb whoever animated this put that in there. It's great Nice and we're back to this moment here from the beginning These are your head accents and how he leads into that moment with that turn continues into this Again still nice, you know, there's so much room here that it has to change of this So that type of framing we're we're getting so edgy and we're moving this way We're losing comfortable room here that you're feeling like while you're telling me something by giving this more more room and Yep character looks over Yes, you have a focus change and yes, you have the color change so we know to look here But still the characters will emphasize is that by looking over this way and you have that kind of opening again And just in case even though it's blurry Double move here. Wow. Yeah, it's a lot of work Yeah, I got your thoughts here to your thought process characters thinking I mean, you know whoever watches this and it's familiar with this or Obviously the person who animated this but again, this is for students wherever is watching this at this moment You have to think about is she just Transfixed by the fire is she in shock or not or is she assessing the situation and thinking about what could I do? And that's why she has those looks All of that all that tells you that there's thought process Yeah, it's cool now compared to him. She's listening and then he has that it's a stare It's very short though But he if this would be long and probably just be listening and then he got that just for that change of way or Wait that reaction you can see again Nicely done how much of the skin Gets deformed on that squeeze Always got your asymmetry even if it's subtle Just have a slight change in all the shapes See it goes in and out. It's really nice Nice, that's cool, too And this is a good thing for timing to if you watch this right You have a lot of movement the body body was left and right the head moves And then you got that moment of contrast for seriousness He says I got this right watch this Just hits that moment, but you still got asymmetry It's all appealing in the shapes Then of course, you got the awesomeness of the 2D effects again going in there And I love that little little sniffy moment You can still see I would love to see why frame on shade it to see the topology and see how much Gets affected by this if you frame through all of that All that goes in there. You can see the structure is still there. It's not all you know rubbery This is loose. This goes up of the muscles, but this is still strong You still got the bone and then the cartilage there that would be strong or this is your soft part of the face You know then relaxes on to this side and as always head accents and head moves I love that it leads that turn with the head very determined As he goes and looks over there and leads with the head Into that turn. That's cool Nice that's also cool for contrast where it's not just one move and then hold We just has that one little thing watch the end look and right there just a little Little change looking over That's cool. Of course this with this gives you a nice color silhouette dark and light But it's cool. I love this very clean Even like the magazine clip here all that is clean a little bit of negative space there Actually, it's not it's part of the fire. What anyway, it still adds to it. It's very cool. Oh Something to go frame my frame. I'm curious how this gets effect. Let me see. We got this here. Oh nice. That's cool You know like that's cool frame to go in there. You stir up stop That's cool Very clean all is oh You got the text again Come on. Oh, it's watches in real-time. Hold on and Well, you'll camera shake to watch this again Ready and Pam Nice get a little bit of a change there as he turns around Just enough you can see for contrast how this face opens up for surprise Hold on. This is for something for overlap and follow-through. Let's see care to comes in Clean it's also very confident there eyes closed Clean look she stops we've got a little bit of a stretch time We've a stretch there and then as the body stops you can look at the framing here if I go Let me pick you if you have that line of the head, right? Bam fairly stops on the same frame, but in order to make this not harsh and poppy you can see all of that that drags Continues so that gives you that a little bit of a softness even here in the in all of this So you can have Quick harsh stops, but when you have overlapping actions like this, it will help you soften this But you can still see on what the gun is doing you still have Nice little moment relaxation. This is not harsh. I mean like this is a stronger structure that can stop On a dime, but this is looser, right? So if your body here in the in the arm and the gun if this stops It's still gonna have a bit of a looser moment. This is not as strong And you can see this here as the body stops its overlaps and you have that slightly looser It's cool Like that, too, you know, you know, it's you know when I look at this She changes that pose was taken. That's your pose. That's a little different pose You might even argue those pose and a sub pose But even that that means that on that change the muscles will tighten There might be a little more of an intention intention tension in this you can see this how She squeezed a little bit more and in that it's just appropriate to make that little hand change there Just a slight change of focus into that And then we got cool titles cool designs Lauren there's your title here, but we're not done yet Because you think he's dead This appears in response. Whoa, that's cool. Come on. Come on. Come on. I gotta look at this frame by frame You'll lens flare depending on what kind of lens you have different type of flares. They're not round That's cool. That's cool, too. How the legs are not there just yet starts with this and then fades out Finish is there and then whoo, that's cool comes from the middle out. Come on again I mean you see this. I just want to go and animate this. I Can't have stuff to do today But it's cool Nice to with the more relaxed poses as he's somewhat tired shoulders down. That's also cool watches in real-time that Just that little loose arm Then he goes back straight back in there a little bit tighter hands All right, you wouldn't be that relaxed because now he's tightening up shoulders go up forward everything is a bit tighter So you see that in the hand pose as well Good contrast to in how he does this right in terms of that loose hand It's cool to that actually stays until here then this hand different hand pose Into this just a bit short coming again different hand pose Into more of a kind of bottom ish of that finger swipe watches again. It's for contrast. It's always different and And then that that's cool. Yeah every move especially if you have a repetitive movements like this the wiping you have to think about Well, I gotta make this different a little contrast there nice little Tilt in the head there, but even this you can see how much This little stretchiness little squashiness little change in the face shapes in the face structure just a bit Nice to hear how eyes go up and then the eyebrows finished that moment for the surprise Very cool and Reveal oh, come on So cool That's really neat. Let's go back to the beginning here. Ta ta ta. Ta ta ta Sly change there Then we're getting into the end frame. So nice nice post it or two Come on everything about this is super cool that's it for my Subjective view all of this whoever did this Fantastic work. It's really really cool. Can't wait to see more. I would love to see a whole movie in this style, of course Such a fan. Come on. It's just really really cool. Anyway, that's it for my analysis Feel free to look in the description playlist for more animation analysis work And if you like this feel free to subscribe and hit that bell button Of course, you know the spiel at the end all the YouTube stuff But feel free to look around and do all kind of stuff in terms of acting analysis and animation analysis and lectures and Reviews all kinds of things look around if you like it feel free to subscribe as I said and follow all the other uploads That I have and that's it. So long one. Thank you for watching. Thank you for your patience for watching this until the very end