 All right, welcome back another animation analysis and this time it's going to be Toy Story 4 the full movie Now it's not gonna be two hours long But I want to pick out a couple scenes and sequences that I thought were super super cool Now I'm gonna start off at the beginning right off the bat Just because I love something like that when you have changes in the logo It has nothing to do with animation, but I love this also in a very subtle way You have the light is here and as it transitions you still have a bigger spot here But come on right off the bat the renders so good usually when I do a movie analysis It's just like half an hour of me going come on. Look at those renders, but come on look at those renders So good, but anyway So we're gonna take a look at this and a kind of the different properties of things and things that I like So for instance take this one one of the reasons why I like sets is because sets will give you different options to showcase Body mechanics and here's one right so you have this could have been a flat surface Someone running may be doing a jump or something like that from a side view static camera Which is a classic thing that you do for students, but let's pretend. There's a chair. There's a table There's this now. This is more complex because you have another character But look at what's going on here. You have the mechanics of a character getting up Then into a jump so that's one variation and then the jump is a different mechanic Also with this to push off with a little bit of extra animation there Which is always awesome then on top of that with another character pulling to the character up So you have a pull another weight mechanic now look at how long the shot is. Let's play this back again Bam bam done that is not long. There's no your 20 second shot that a lot of people do it doesn't take long But look at what you've shown Lots of different mechanics and different relationships there next up is this reaction here with What he's seeing this it's something else where I Often recommend the students that they should do short shots just practice things and this could be your Practice of a take where you see just that moment of what is there as you have a slight change in the eyebrow as well Then you have that little going back as you patient. You got shoulders going up You have a bit of a squash in the face And maybe a tiny bit of a stretch there squash Goes down the hat actually goes up this over one frame, but you see the enormous drag in the arms You don't want to cheat too much with the physics and then bam into this and even that is a massively fast Recoil over one frame, but I love that through all of this. You still have a very clear View of those arms under that hand It's great. And again this in real time. Watch this stick my scribbles off Short but it's something very very quick for you to practice and this goes back into you know My love for sets adding things where you can have that person hiding But it has to go over because it's somewhat rounded kind of just a different angle changes and Because of those changes in the surface and the way it goes around the corner Different opportunities for you to change things where it's not just sideways, but it goes then back Character does a change 90 degree and then into that look there Also, don't forget you push this back the hat is going to be pushed back against the wall And this is why I always recommend to add sets now that you have to make it super super complicated But it gives you all kinds of opportunities to have a bit more original or at least for you even yourself more interesting Mechanics with this term for instance, right afterwards. I thought this was kind of cool where I mean they're pretty far away You could technically make them this big so you could practice full volume mechanics You can do a run maybe did the run cycle you plug them in copy paste copy paste do some changes But I like about this is the contrast of you have far away characters and again probably for a real Bit bit closer. So there's a bit more to see but then What happens is this character comes in it's a surprise it takes away from the focus Because now we're in front of that element and they can go into To back into a full face animation where this could be long and it's could be with a lip sync This could just be pantomime, but I like that it gives you opportunity to do a full body mechanics showcase for your reel And then with a surprise moment a facial animation close-up moment there next up. We have this moment here where they say Operation pull toy it is one of the things that I'm a massive massive fan of head accents And it's look at what he first here where he has that little moment of Thought going up with a little bit of almost like a moving hold anticipation into the next turn And you can see this how he goes forward in operation pull Up and then toy one more thing and the same thing for her too as you go back And I mean he continues in that line here too as he keeps on talking It is one of the things where a lot of times we student work They do body mechanics and then there is that the facial aspect of the lip sync and it's you know It seems very separate they do an eyepass they do a mouth pass But if the jaw goes down and the specific energy where they yell or something It's not quite reflected in the head action with enough head accents too So I would always pay attention to that and it's lookable peep You can see that same thing on her. That's it's a lot subtle But even here you got it and says you got it woody You just to think about the the ups and downs of your audio of the energy Do you want to mimic the you got it woody now where you have kind of a that that and you want to do that in the head as Well, maybe completely copy paste the way forming away and then minimize it and maybe take one of them out from a contrast But I would think about that when you do head accents You have close-up animation this is wanted to add just because I love when you have Different properties of the toys, especially in those movies where like this character doesn't seem to be able to Bend their arms and you got a lot of the contrast and these little guys how they just they barely move and then with the barbies Where it's all very very straight love this It's just so cool. It's so much fun It's one of the things where they always talk about how you got to offset things But sometimes it's just also a lot of fun and has an extra Contrast of there. I'm all doing the whole action in sync Look at that. Sorry either go ahead and stop this look at that look at the renders I mean this movie especially towards the end just beautiful and this moment is something that we're actually a series of my channel I'll put in a card there how the environment can help your animation in terms of Reactions and more creativity. I mean they open the window and you see there's rain There's a lot of winds look at what happens to them. You see this blows back He has a wreck reaction there She has a reaction. He has a reaction if you have something like this a I mean this is besides a weight assignment Right where you lift this up. This gives you another opportunity for changes. Everybody is going to react differently to an outside force be a cold Wind I don't know rain or hail or whatever. It's all you imagine. There's fire here I mean to me that these are all opportunities again to do something different to add contrast to be more original But also from my very picky point of view you do open a window So there's you know a certain environmental Status going away inside and there's one outside your character would react if there's something different here than inside And this one where he goes down and he keeps running. This is something about contrast Technically you could do a cycle of this kind of strain run walk and would be this right going forward about watch How he runs or what he does goes forward and then does that it's very small but watch it again Right there It's one of the things that if you have a prolonged moment of repetitive action think about when you can put in contrast So instead of repeating itself. He has that little extra strain and jump Into that action there So that's something to pay attention to when you do have something where characters running walking or doing some of this repetitive So it doesn't become boring. It's not like oh that's just a cycle we just plugged in This could be a good opportunity for you to do something a bit more interesting with contrast I also love this here Just with the lighting and the silhouette I love this too with the stop that I love that pose how it's just so It goes up. Oh, it feels like even that is down with the raid. It's so good Now here's something else and again It's something else in my series where the environment can affect your animation in the thought process and also Body mechanics and character comes out and it's raining like crazy puts the hoodie on and here's the thing He has to hold this this already forces asymmetry in your posing There's a bit of a lean because of it as well because he doesn't want to bring the face up and have the rain in his in his face and you can see how with that run Arms together It just it would be a completely different run if it was really really hot and he would just be walking or running I don't also if it's if it's hailing the pain of it that would be different So once again if you have something like this and you put a character in environments Well, maybe make it rain or it's really hot or it's snowy or just windy And that will change the mechanics and the actions of your character and I'm focusing a lot on this whole beginning But there's so many awesome moments That doesn't want to point out. So for instance when she knows that someone is behind her like the pose doesn't change I love the tension detail where the eyes are still moving She still has all of that but nothing else is moving because she's a toy She can't there's a human behind her and I look when she touches her It goes back into well, that is the pose that the toy has and it stays Even through all of this This tiny tiny others love that stuff something else that was cool I actually cut that out as you can see the window is open and the parents come and shut that window in one quick swoop It goes bam and that closes this and he has to go back now Why am I saying this because I like the contrast of it was important to shut this window Because of the surprise moment and to add energy to the scene because of that quick surprise moment But look at the contrast when we have this here when they open the window watch this There see that you got that little Opens up and it's a fast moment slows down a bit. That's like very very tiny Change in the spacing stops a bit and then one more time To open it up even more Just because they are a not as strong like a human can bring this down much much easier way and a toy with less strength of course so there's that if you just want to be picky about this but again Just the way they open this there are many reasons why you would open or pull or do anything with an object and think about that too When your character let's go back here Alright, let's pretend the shot would be this where Someone closes a window. Well, think about who is that character? What's the strength of the character? What's the material is it easy to push or pull or whatever it is? But then think about the situation is it more important to close it slowly for whatever story point or quickly? You want to showcase that it is hard to open or to close and so on and so on So if you do add a character into a set think about who is the character? What what is their relationship to that set the scale the strength is there for the first time? But also storytelling wise is it important to open something quickly or to open this slowly? It's very picky, but I had to point that out. I thought it was very very cool It's a tiny little detail speak of a detail when you get to the sequence here I love that too besides the awesome renders where he is really leaning in because he wants to a Stay here, but he wants her to stay here and you can see that in her movement. See this She goes back. He goes forward. She goes back because she knows it's okay. It's okay to leave But he doesn't want to do that And I love that to watch this when you have her when he says her line and also this is very subtle when she goes But woody I'm not Andy's toy. I love that too is that it's It's almost like there's a resignation. There's a sadness, but it's like also a sigh But also let it go. It's okay, and I like that it ends with it's a very subtle, but watch how she goes down It's something but I love it. It's not like I'm not any story and she's up You know, I'm exactly not bouncing around or whatever it is, but it just adds a little Up and down so good. So good Same thing here Time for the next kid and everything is just slow and soft and down and almost retreating and I love this This is extremely subtle, but the posing on her face I don't know who I made it this but if you know or where if maybe the animators watching Who knows but so good. It's very subtle the slight head tilt and just the asymmetry in the face Just the way she has that with her look The posing of her eyes. Look at how much she turns and then brings up her eyes like this So cute with their face and also it's really cool that she says her line and It keeps their mouth open It's one of those things where again with students a lot of times they do lip sync and then they close back The mouth into a default pose Just tiny tiny things are very subtle. So good So subtle so so how she just looks with that pose just that little head nod That whole beginning sequence has so much awesomeness. Also this if you watch a movie is with a throwback of that towards the end Because he almost decides to go but he's Andy And also this here when she has that that look it guides the audience to Their cut to their I mean also cuts to join over his hands. How can you not look at those hands? But then I'm alone in this she has to go and now she gets closer Again so think about when you have two characters love this that he's alone and silhouetted But when you have two characters think about when it is okay to bring a character forward When is okay to retrieve the character? Why is it an emotional distance like in this case? She's okay to go and he needs to stay here Just think about the dynamics of what's the distance between two characters and two artists supposed to get closer Are they supposed to go away? All of these things you should think about even if it's on a subtle level. It's very cool Again, this is a few watched the ending that hat cheek ending Is in the ending as well. It's great though Man lots of subtle stuff with just tiny head moves tiny looks tiny changes in the eyebrows So good then I want to fast forward to this just a bit just because Usually again in for students It's recommended that the camera is locked and then just focus on whatever you animation you have in the scene because you should focus on Animation there's also camera work is difficult to do also especially to animate your own camera But what I want to show here is that once you do start somewhere this could be TV in a studio In a major feature studio or even smaller You're gonna have to deal with a character interacting in a set But also with a moving camera you have to be able to animate towards a moving camera This may sound simple, but I can tell you it's not Every now and then there's some things that happen with a camera that you really have to change your animation to make it work Well, look at this whole sequence. I love this again There's nothing specific in terms of animation, you know like spacing or whatever I want to point out but just the complexity of the shot also the length of the shot to animate the whole thing But probably in I'm assuming I'm assuming this would be cut up into separate shots Where with those blend points are right when the face gets close or and this happens with the wipe to the title It's probably been then another 90 minute could go in I would feel bad if someone had to animate the whole thing But this is Q2 in terms of even this if your animation is I want to show body mechanics. All right Well, have a character hold different things. It's not one object that might be separate things So a little bit of a readjustment and a re-grab could happen with a bit of a turn in their path So the animation is not someone walking straight is a slight turn to this and then a sit-down, right? So what if your animation assignment is a sit-down, which is a very common assignment And you can have all of this the sit-down incorporates this and then this piece which also moves Also cool transition, but this is fairly complicated to animate this whole thing at least you don't see the legs Feet it's a bit more forgiving, but this is an interesting sit-down assignment. I love it Bring back to this and again Same thing with this if this is your maybe an assignment is the weight assignment, right? So instead of a box lift it could be some something like this you could start the shot I'm gonna put something down and I'll play With this and you're gonna lift this up. It's not super heavy, but still I love this too this again This is why I love putting characters into an environment and with sets and set pieces where you could do something like this Just the cuteness of a character jumping landing onto this giving us different body mechanics and reactions of little bouncy This was not too much a roll over for contrast So good also clever wipe again again. This whole montage is so good I mean basically this whole movie you can just watch the whole thing in just every two seconds like so good So good, but I'm not gonna linger on this, but I do want to linger on this watch on the face. Watch your face This is super picky, but what's the light? You in what it's because there's a window this is sunlight and because of the clouds the sunlight is gonna change Even though this is the focus There's all that detail in there even in the lighting Come on, I love this. I love stuff like that next up is a small little mom But I love stuff like that too if you are already putting a character in the environment and with a little prop like this Ha be mindful of interactions. So as he goes forward look at this Straight into here and pushes the hat up. It's a tiny thing telling you I love stuff like that This I thought was really cool. Actually I have that noted somewhere I thought it was a West Wing episode where character has coffee a coffee mug a coffee cup and Needs to go through security and has to use something both hands So he puts actually the coffee mug and bites down on that edge to then use both arms But I thought this is you know a different application of the same idea Putting this in here and the lifting this and the detail that I thought was really cool Watch the weight of this tiny detail of all of it This is heavier than not that he thought but it's in a cool moment of this is not paper weight It gets off the edge. There's no support of the table and now look at this See that you got that drop and his leaning forward because of it in with a nice swing at the end very cool Now the introduction of sporky is also fantastic just in terms of material and contrast little wiggly arms So this to me This is why I love this franchise so is that each toy is made out of different materials So they all move differently and they all have a lot of different restrictions and it's so much fun to see this in the attention detail of this Sorry, this cracks me up. This is how he runs. Also when he picks him up. I Love this Because again the focus is here now love that whoever did this is thinking about that moment and he puts his arm down Oh, he cracks me up. I love it. But then he keeps on pulling for key here. Watch this Love this. Watch the feet Just a little little wiggle in there the the imperfections of the surface as it pulls So good. Also, just all those ideas of he's trying to get away holds him up I like holds him on the face there. It's around the cheeks a great little grabbing points And then look at the detail. It's all the way up, right feet are there and as he Sorry, it's cracks me up for key slides down And he got down with the mouth all the way up into the face So good also just the timing and the contrast of all that movement, right? And then you have that Look at that even that little thing. I love that little moment there when he exits and So good Again same thing with all of this The wiggling and then that pulling it must be so much fun to animate this and Keeping the properties of the material in mind and Same thing here. It doesn't just slide down and it has that Slightly in this way and then a faster drop will pause and then a drop again again Everything in service of contrast and just not even a linear and boring timing And even this even this he could just pull it up But no, he knows it's gonna slide down again. And what does he do? Pulls this out right there just to tighten this and because he tightens it It affects the body and the body has a bit of a move here left and right mostly left there And because of that it moves the eyes as well I mean you can go really frame by frame the attention to detail it might seem minor But I love all that stuff. It's just masterfully done next up in this I love that they put this on his feet. This is purely just for entertainment value I love I don't know who I made it this but whoever did this bravo. I love this. Come on. Look at this the sliding and because of the material you can Break technically the joints like that. Look at this the complexity of all this look at that the drag on that arm and Then the steadying all this beautiful pose and nice silhouette while he keeps going. It's great. I look at this He got that drag with a beautiful curve there same thing here and Then he got the delay on the legs and then they catch up That and then the contrast and the and the funny idea of how he goes forward Come on. It's so good. Holy macro. Whoever did this a raise give that person a raise So good All right, next up is this here again in terms of mechanics and it's a little bit of weight I think about you know, you have to show weight and something interesting in terms of mechanics Well, you got that a lip here. That's why I got this here So you got that moment where I can hold on to this and also put the foot on there And then you have holding on to this With a swing up with the foot pushing this in I love this. I love Woody's pose. It's a great those legs great goes back in there You can be a stretch on that arm pops goes in here and then watch this that little hold And then you got a little child opportunity for that head face there Oh that expression and then that exit now watches in real time, right? Let's go back Let's go back here. How far is here and you got go up? scramble in there Down that's it. It's not long. I mean, it's not 20 seconds 30 seconds And I'm guilty of this if I ever animate at home They're usually way too long and you can show off so much awesomeness In a fairly short amount of time with very interesting and complex mechanics because of the set because of that piece here That gives you that opportunity so cool now speaking of Surfers and sets not these are sets but it's a characters But look at this that goes back into just the fun of this franchise where you have just so many different properties of like more of a wooden Solid body and maybe hands, but the rest is very loose because of that puppet style. Look at this Sorry, I got a frame through this Leg poses so good So great and then a clear Moment on the face. It's just so good. You could really frame through that whole movie Just absolutely fantastic and then it goes back into just them just the zombie like nature How they swing those arms, but they still they all move differently and even detail like this this guy bam just a little Little bump in there This whole thing this whole sequence here goes in fantastic Production design environments and rendering so good This is cool too. We're just seeing Properties because of that that with a freaky face right into camera So good and same thing again with these characters because of how they're built Just the axes and how they can actually move but also wanted to show this is because it cracks me up But they're running joke that no one high fives him. Oh And he waits, but then watch this as they go. No, I cut it out. Oh Did I not do this? I did not do this. Oh, I thought I did this is moment where they talk and then They give More high fives and then he looks at woody woody doesn't do anything woody actually turns in his arm to slowly slowly Slowly goes down until he walks away. Oh, I thought I put that into my collection as well So good again, whoever I made it this man. This is so good crack me up Now this is something where It was back in that series about environments I think it was Stefan Schumacher shot where the kid was you got the ground and you got a pond or and then there's a log And a kid jumps up and word and jumps onto a rope swings and goes down my whole thing is how the The law because it's narrow because it's tilted gives you all kinds of between these four asymmetry and just different mechanics And this is the same thing here as this character lands You can see with this angled surface how the character has to get up It gives you immediately a symmetry more interesting posing but also because it's narrow and I would say slippery But look at woody here. Whoa ask that moment all of that. It's because of this So when you do have your character in a scene It's just to me more interesting to have to get to not be on a flat surface Everything's always on a flat surface again that being said there are beautiful shots where there's nothing there It's a flat surface and it's a character in empty scene doing beautiful animation But if you are putting in a set, I'm just saying think about the elevation of it the changes to surface Is that super slippy this could be ice or something else where again? It would change his body mechanics, but it just adds more detail and more contrast Speaking of contrast. I love this here, too. That whole sequence in the lighting I'm including this just because I'm an Erdem of Sowers You got this where they recreate the cantina scene because we are kind of in a cantina with music and it chops His arm off even have the Wilhelm scream arm is off again. Whoever came up with this idea nerd Nerd and I love it. This goes back into the material of the character, but I love this too where it's the staging He comes up and technically got the face and the camera looking up And you can see how the body is and with the head right you got the head and it looks like he's almost looking down Almost you can see this is definitely not looking up But it's just to make him look more heroic and then you cut to the next shot. Look at this I love this It's actually the reveal that he's small and he's down the head is till the back Which again is not in here and it's totally fine for cheats And this is something that if you do a shot, maybe that's something that you want to do as well Here you would animate and maybe it's like like here I can character introduction and you can build them up with a specific camera angle Whatever you want to do to make it with whatever a special feel and then you cut To this and now you can show a full body mechanics and they could do something else But you use this cut also for humor So it doesn't always have to be all about beautiful animation in one frame or one shot What about is there extra humor extra, you know You're your sense of humor in your sense of what this is this is how we do something dramatic or detaining or sad or funny Maybe it's through a cut and then the real that the reveal that this is actually the angle. This makes sense So maybe Think about that Maybe you're really really good at establishing shots and paint them off across multiple shots and within a sequence I love this too. How this bike moves All that wiggly stuff. Oh man, this is so good So good, then we have this one here now I thought this was cool too maybe trickier to pull off and I would I don't know if I'm super sure if that could be something for Your for your reel for students because I mean students would I can see them being Hesitant and then doing something like this. But what am I talking about? I'm talking about this where the focus is on this character and I'm including this here just because Yes, this person is talking and you have lip-sync, but you can push it They have to feel even more and make this even blurrier. So it's just there for context Here is the person saying something but the main focus is on this character and just listening and reacting I love this that you don't see them off You see nothing all you see eyes and eyebrows and the actions of head tilts and angles and changes But if you are new to lip-sync and you want to practice something like this, this could be your setup Could be looking someone like someone over a fence or a little kid over a bed frame I don't whatever you're doing or maybe a kitchen counter and maybe talking Hey, man, you should get those cookies and this is the kid. Oh, should I really go? I can't steal cookies and that's the content of the shop But you have somewhat lip-sync that's blurry So you don't really have to worry about all the fine detail of polish and now you can practice eyes and look at this Just the looks the darts Blinks Whitening also love this by the way just the properties of those eyes how they go up and then they have that little Little spring action there pouring just a bit again because of the properties of this of this doll So good, but tiny tiny stuff again blinks looks And even this when she would talk it just mainly sold through this and the shake in the head I think this could be an interesting setup for your shop Now moving on to this. This is interesting. This is not nothing where it does might help you But I think nowadays mocap is used more and more in shots But even in Cartoony work where I mean you have all of these characters, especially if you watch the movie towards the end There's a lot of people there. I mean they would be faster to add mocap in there and I'm there still cartoony I mean if you look at their movements It's all still very cartoony, but if you look at this character, I wonder if this was mocap This could absolutely be mocap and I'm very curious. Anybody knows comments, I'm very curious But to me for a production point of view make total sense shoots a mocap applied it to all those characters much faster then do another pass of Changing the timing a bit changing the posing gives us a bit more for cartoony feel so it's consistent, right? You don't want something super photo real the middle of something cartoony, but I think that will make a lot of sense production wise Also love this at the end just the reactions Subtle head turns, but this is because I kept recording so I'm gonna skip over this because it just makes me cry It's so sad, but it's so awesome But once again the subtleties of his looks and his head turns And with her and then throw back when he gets off of this you see the hands again But that's the end of what I'm gonna look at here So not too long. This is pretty long if you're still watching this you are a champ. You are a nerd I love it That being said if you feel like my nerding out for I don't know how long half an hour It's helpful and you want to use that in your shots You can of course sign up for my workshops. We can work together one-on-one You can sign up at any time all the information is in the description other than that I'm gonna let this play out and say thank you for watching