 Welcome back to the Acche Analysis and Tips for Animators and today I'm going to take a look at the super creepy and awesome movie, His House. I got nine sequences that I want to talk about before I do. As always, hi, my name is JD. If you're new to this channel, I do acche analysis clips like these. I do animation analysis clips. I do rib reviews, product reviews, lectures, feedback, all kinds of things. This is YouTube. You know, this is the pitch. If you like this, subscribe if you want to. It helps my channel grow. And that is that for the pitch. But that's not always time. Let's go straight into the sequences. First up is this one with framing, kind of posture changes and all kinds of stuff that happens in here. So I want to go from the very beginning, right off the bat, like the busyness, right? There's all kinds of stuff there. There's just more busyness. It seems like they're not as alone as opposed to when you go to them, they're completely alone here. It just kind of reinforces that they're on their own, facing off all of these. The other thing that I also look at is just how they behave. They are very attentive. They're nervous because they are deciding basically about their life. And as we go on on purpose here, they show that kind of talking, they got food here, they're all kinds of stuff. And he's on his phone, I really paying attention. If you listen to this, I mean, if you watch movie this specific sound of all of that, once you get to this here, he tells them, you're actually good to go. And I want to look at the body posture change, right? Very rigid, very nervous, less stiff here, but still they're waiting to hear yes or no. And once they hear it, you can see the inhale. You can see the change in the hands. You can see they're starting to relax a little bit, shoulders go down, he even leans back a bit. They hold on to each other. There's a complete change in posture. And then you have that in contrast. This is really important to them. This is going to determine their life. And he's just kind of like, whatever, let me eat something here. So why am I showing this just because of contrast? Again, you can see how they are seated, how they are positioned within the sets, how they are alone, how the posture is changing depending on what they are saying. Just look at, if you have multiple characters in different status and power, dynamic changes, how you could re-emphasize that and kind of make that a bigger contrast in a scene. Now also, as he's telling them, well, this doesn't mean that you're not out of the woods and he tells them more conditions. You can see the contrast in the changes again, right? They're holding on, but then they realize, all right, well, I guess this is not exactly a little bit of a swallow there. And they're starting to tense up. So for you, it's also contrast, right? As you have change in contrast, you can see this here. And then something else happens. You can see again, the change again in posture. So think about that, how people are sitting or standing. And as they are processing information, hearing news, that could be good, that could be bad. Also here, I want to show just the contrast of the feet, how they're all different here. But again, just going back to how they look and how they behave, you can see this here, they're getting a lot more tense. They're paying attention, they're listening. You can see how now the good news has kind of gone away. They're still holding on to each other, but you realize, all right, back to being a bit more tense. And he's so listening to this, him as in him, that when he tells them, these are the rules, this is what you have to do. She is the one that kind of breaks that moment of, oh, okay. Yes, you can see how kind of she almost kind of not wakes herself up, but it's kind of like, okay, okay, well, we have to now and to now this is almost like, again, like an interrogation. And he's still completely like, okay, wait, this is not really the freedom that we hope for. You can see when she does it, how he kind of wakes up and goes, yes, yes, yes, and gets back into this again, little slight changes in the hands. But I thought there's a lot of really cool stuff there. Overall, those actors are fantastic and highly, highly recommend this movie. But a lot of all those little changes and postures and looks, all depending on how they feel and what they hear and how they're reacting to things. This clip I wanted to throw in there because they are in here. And I like this setup in your scene where if you are in a truck like this or a van or bus, whatever, look at how they bounce around. I just kind of like that as an overall secondary action as you do something. This is not, you know, this is just a general note. If you have them bounce around, you know, what if the character holds something to drink or there's a glass or something and the bounciness makes it difficult to drink. You could just use that for any type of things. I like this here as well in terms of they're moving. And then as they stop, you can see as they bounce around and they stop to have that and then stop and she looks over just that secondary action. Then the lack of it or it's stopping can be something you can use in your shop. Kind of the reemphasize this is a stop or they're happy that they're bound to get on this could be kids, then it stops. Maybe, oh, wait, why is it stopping? The kids would not be happy. I mean, and it's could be for adults or for kids. I just like this as a setup when you use your characters in a specific environment and that environment influences the characters. This one I want to throw in there was they always talk about being someone for the first time or not. So he is reading off the script as he's showing them the house. Not interested in not looking around, but they are here for the first time. They look around. You can see this here, examine the rooms. Looks over there. There are many, many shots after that, but you can see just kind of, all right, well, I guess this is where we're going to live. Again, this is more as the general note. They're trying things out. All of this would be different if this was their home and they had been here, you know, for many, many years. So just think about that. When you put a character in an environment, how do they react and act? You know, this I said is all the time, but I want to bring this up just because it comes up every now and then in movies. This would be a tough one to emulate in animation just because it's just so well acted. It's so tough to pull off, but I always liked this whole scene where so he's looked at the house, right? And he is happy that he has a house and he wants to have a moment by himself. Already that, I like how he closes the door because he puts his hand there in his fingers so that he can silently close the door. He doesn't want anybody to know that he's in here. Just the way he closes it up is already great. Then he finally looks out and realizes this is not our home. And he goes through all those emotions of sadness, but it's not just sadness, like happy sadness, but still there's just a lot of weight. You can see this here. He has to sit down. Then he changes back into laughing and then back into just the despair and then the hope and all of those things in there as he's finally his own home. Such a great moment. He's so good in this movie. And again, it's tough to pull off because you have to, you know, act it out yourself or find maybe this kind of reference, but then tweak it enough. But you're just interesting and also powerful to go through such sadness and then quick happiness and back into sadness just for something for you to think about as you do a emotional character test to potentially go in and out of really strong emotions. This one I want to bring in there just for character contrast. I love how she just has those really slow blinks. It's the contrast of a lot of nervous fidgeting, a lot of quick moves. And she's just very stoic. All right, just stick to the slow head turns while she's just a bit more, you can see a lot more eye dart. She's a bit more active. She's nervous. She wants to feel the moment with small talk and just look at, just from an animation point of view, the timing changes of just the looks, the darts, the blinks. She's very quiet. You can see there's a lot of quick things in the head, little quick facial expressions, movements in the body compared to her. Just very, very quiet. Not this very tragic reason why she's like that. There's a whole story that unfolds here. She explains that. But again, as you even scrub through this, you can see a lot of movement facially in the face compared to her. So that's something for you to think about. Again, slow blinks. Just how long you hold the closed lids. So if you have multiple characters, I always say if you got two at least, think about contrast. I mean, again, as always, there could be a reason why they would have to be the same. But if you have two characters, just could be more interesting just to add a bit of a change, a bit of a contrast, to re-emphasize something, right? To show power and show nervousness or whatever you want to do in your scene. But just think about contrast when you have multiple characters. This one is a longer sequence, but I want to look at a secondary action specifically of him eating. So he's very happy here. He's kind of like, I only taste metal. I'm like, yeah, you'll get used to it. So there's a lot of secondary stuff where he keeps on eating. And then as he says, well, we can create a family here. She's not quite on board yet. And she tells him a story that is fairly, fairly serious. And what I want to look at is this. For you, if you have a character to do something, right? In his case, he's eating. This could be your character painting the room, cleaning something up. And because you are, or your character is doing something all the time, when they stop, which you can see here, he starts to look at her more concentrated as she tells that story. And then he gets to this moment here, where he somewhat stops. He still has a little bit of food in there and has some movement, but there's a big difference between this moment and what he was doing before. So when you have secondary action, I mentioned this because you can do a lot of things where your character, like I said, is moving, is eating, is cleaning things out, whatever you want to do here. But when there's something really important coming from another character, be it off screen or on screen, and your character stops doing whatever they were doing, that stopping will push the contrast. There was something happening and it's suddenly nothing. And that will make this a bit more visible, more important to something to, to focus on if you add secondary action to your character. So it's not just, you know, two characters standing or sitting in an empty room doing nothing. This one, again, I'm kind of extrapolating was it's not quite what's going on in here, but the separation where she's alone kind of reveals that she's actually talking potentially to someone else, spoilers, maybe, but in this scene, there's a lot of, even though they're framed somewhat together, right? They're not really in frame together as a couple. This is like you're having dinner. This is like a communal thing. You're together with your wife, this could be your husband, your partner, your family, whatever it is, but it's always a bit framed in a separate way. They're never really together. Again, I might be reading too much into this. I just like this idea of them constantly separate here. And even at the end, you can see this as they come together, it's just their hands, but then she pulls it away and it's just, he's not in frame. It's just his arm. So just something for you to think about. Again, they're always separate. So if you have something where you put your characters in an environment where you think they would be together and they would be framed together, because it's a happy moment, but you constantly re-emphasize that they're separate, that could be underlining a certain tension that could be through the pantomime or the lip-sync, whatever you have. So maybe think about framing and just staging the characters to re-emphasize or to push a certain feeling in your scene. This one I want to point out just because of this. You know, if you watch my clips, I'm a big fan of props. He's asking him, you know, what are you doing? There's something wrong while you're not doing this. And he says, no, no, he's basically saying, well, it doesn't look like you are integrating well. He goes, no, no, no, I am. And because of that, he gets slightly frustrated. So look at what he's doing with his pen. Like, okay, okay. All right, all right. So this koopie, fidgeting, right? With the pen, this koopie, maybe, you know, holding it in the middle and kind of putting the pen left or right, that doing something with that, but it's just a different way of going, all right. Okay, well, let me explain this differently. And then he just leans back aside to maybe, you know, explain things in a different way. And he's just kind of pretending that everything is okay. But it's like that kind of interesting way of dealing with this and kind of showing off frustration in a different way. Again, you can do this by rearranging a keyboard, shuffling this around, closing this book. But if you have a pen, I thought this was a cool, a quick moment of something I did not expect there. And this one again is probably me reading into things, but he is pretending, you know, they're basically for context, they're coming in and they have to kind of inspect the house. They're realizing what is going on. Why did you make so many holes? And he's just like, what is going on here? And the way I'm seeing this is he's just kind of left alone. You can see this small in frame, not really comfortable with the way his feet are in the legs. But in a way, still he's sitting kind of pretending that he's comfortable, but he could be sitting in the middle, maybe legs a bit more comfortable, but he's kind of at the edge here, still making this not quite comfortable. Again, this could just be me, but I'm reading into this for this, all this destruction, he's small in frame, he's uncomfortable on the edge here, still pretending to be comfortable. So then he, you have this here, right? You got the moment of he's alone, facing all these two guys. And you can see looking left or right. And as we cut to the other moment here, you can see right to left. So this works as they kind of would talk to each other. But they are together in this space. And you can see the open space showing kind of the mayhem that has happened. And as he's telling them, this is not good, I'm going to have to report this. He says he's here, I have to report this. And he realized, whoa, wait, no, no, no, no. And now he gets up. This could be seen as potentially threatening or not. But it's, there is a difference of, I'm just going to pretend to casually sit. He's just going to ignore what I did here. So as he's threatening that, that somewhat pretend peaceful moment, now he gets up like, wait, wait, wait, wait, wait, wait, wait, wait. And now I got to do this. And now the other guy starts to take pictures. Then he starts walking towards him, just kind of look at the distance between the characters and getting up and how that changes kind of the feel of it. Even now, when you get to this, I'm definitely reading into this though, as they were standing here, let's go back, they were together. And there's a bit more open room. It's a bit more, maybe freedom or this or something for this character here to be a bit more comfortable with. And then as this happens, now he's here, maybe they have taken up more space and he's pushed to the corner. Again, I might be reading into this, but it's kind of like that set up the way this whole thing is staged. But then he pleads with them, so listen, I can do this, I can change all of that. Then he has a bit of a change of heart, because all right, well, I'll leave you along with a warning, it's going to be okay. And then you have his reaction like, wait, wait, hold on. And just as we think that it's going to be okay, the wife comes in and tells him about, did you tell him about the witch? I love his reactions in all of this. She tells him what's going on, how he's feeling. And I like this, I like this. Wait, why? Little things, the wheels are turning and there's a tiny bit of a move at the end. It's so tiny here in his eyebrows, right there. As he's telling him that how he was chasing and then, you know, smashing the walls. I just love his reactions. He continues on too, where it continues and he has this, did you really have to say this, that's going to get us into trouble? And he goes, oh boy, it looks at him and he has that, did I, did I hear this open mouth, just, you know, kind of less his moors thing. Anyway, to get a little combination of character staging, how they are, do you want to start a shot like this? I mean, even at the end, when she's done telling all of this and we end on him, it's kind of a bookend between these two, even though he's standing here, but he's still left alone with all the destruction and what he has done and the consequences. But I kind of think about that. If you have multiple characters and how do you want to stage him, it's important that they are together. Is there an importance to leaving a little room? Will it change if there are suddenly a bit more separated here, having less room? Something to think about as you have multiple characters and environments. There's definitely a lot more to this movie, but also more spoilers than I want to show too much. It's a really cool movie. If you've seen it, let me know in the comments and curious what you think. I thought it was really, really cool. Not like shocking or frightening, like in terms of like a super scary movie, but it has really good sound design and just the atmosphere and the story behind it behind the characters was really, really neat. Anyway, speaking of neat, if you thought that this was neat and he wrote me to help you with your shots, you know, the pitch at the end, I have workshops and you can sign up at any time. You can start at any time. Link in the description for all the information. You know the workshops are always open and I'm here to help you if you need any help. Other than that, thank you for watching. As always, thank you for taking the time and having patience to watch until the very end. And as always, the end pitch. If you like this and you don't want to miss any of my uploads, you can subscribe and hit the bell button so you don't miss any of my uploads because I do upload a lot. And that is that. That's the end of the clip. Thank you for watching and I'll see you in my next upload.