 Welcome back to another acting analysis and tips for animators and today I'm going to continue the series of Killing Eve. This is now season two and we're going to cover episode one. And it's going to go over a lot of body mechanics and pantomime and just kind of more body type of language stuff. So I'm very excited to cover that and let's go. And even though I say let's go, we're not going right away. But as always, I want to say hi to those people who are new to the channel. My name is JD and I do acting analysis clips like these. I do animation analysis clips, I do lectures, feedback and do a bunch of stuff. This is the time where I put in all my thumbnails and I'll tell you about the channel and you can browse around, you can subscribe if you want to. That's something of interest and that is the pitch as always. Now let's go. And the first clip that I want to use here is that she just heard good news from her who lied about it, the spoiler. But what I'm talking about is contact. This is another clip later on about contact. But when you have something like this where someone puts the hand on there, it's tricky because it's not just the one, two frame contact thing where you can kind of do even a little bit of IK or just FK a couple of frames and match it. This is full on contact that holds and then you got contact here with the cheek, the chin and more here. You got compression. You got a character. This one's being the driver of this one. So a lot of movement, a lot of complicated stuff in terms of body mechanics. That is interesting to animate. It's interesting to do on top of that. I think about she is surprised about the hug and you can see this by this expression. And then after a while, she actually gets somewhat annoyed. And as it continues on, you can see it here thing. Oh, really? And then she realized, I quit still something from her. I'm happy. I love this progression just facially. So when you have something like this and this is for a class and maybe the assignment is just, you know, complicated body mechanics or contact, you could do something like this. It's still cut off here. So you don't have to worry about the hips and the legs and the feet and all that stuff. But this is already very complicated from a technical point of view. And then on top of that, you could add the added layer of this. So it's not just body mechanics, but you see kind of a progression of a character facially. So you kind of sneak in some pantomime and thought process in there. And speaking of pantomime, here's another one. This would be a classic what's in the box. So I a long time ago had a shot where it was a box. The box gets opened by a character and the character reacts to it in whatever ways. And this is kind of the same thing. The what's in the box is this. She is taking the bandage and the band aids and everything off the kid and she is having these type of reactions here. So this is not so much in terms of look at the acting, even though it's funny. It's more as an idea. So if you have a what's in the box shot and I'm going to scrub through some of these more, you know, horrific makeup examples here. Think about this. So this could be the example. So someone's opening something and it's potentially not good to look at. So you got these type of reactions. She does have, you know, some audio to some lip sync, but in terms of just pantomime. So you can do a lot with just that in here. Yeah. And you can I mean, you could add lip sync. You can also have just this person talking like in his case. He asked, is it really bad? It may be your assignment would be, well, let's not make it that complicated. Let's not add lip sync. Let's just keep it in terms of reaction. So your lip sync is actually just coming from him, which would be a blurred foreground. And your assignment from the animation point of view is purely reactionary. Right. So you don't do what she does here. It's purely pantomime in terms of visually how she'll react to what she see. And you can see all kinds of stuff here. And she explains stuff to him. Even then you got this reaction here. I think an example like this or just that type of assignment of what's in the box as in a character is reacting to something that the audience is not seeing. So we're not showing these type of images here that I'm blurring out. That would be a really interesting thing to to animate. So kind of think about the progression of maybe the character is kind of somewhat disgusted and then shocked. And it may be towards the end, almost, I don't know, maybe angry or interested. I think this type of assignment gives you a lot of room in terms of pantomime choices and kind of thought process of this character. And again, sticking with contact, here's another one. So by the way, I love how she kind of goes and stops and it's just so excited about seeing her friend. But it's this. So again, you have a moment where this is happening. And again, this is very complicated. You got contact with the head, the arms, the shoulder, the pressure there, the compression here, the IK hands. You got finger compressions and you got, you know, you got to think in terms of who is stronger. Are they kind of swaying back and forth? Is someone driving the action? Again, this is fairly complicated in terms of body mechanics. Even something like this where she would hold on and it goes down. All that is prolonged contact. And this is, you know, not easy to do on top of that. You could do something if the assignment that you're doing, if you're student watching this, you could do something where you could extend the assignment. So as always, if this is your timeline, imagine you're extending your timeline left and right and you're doing something like this. Again, this is a full body mechanic shot here, impressive to see, but it's kind of the anticipation of, ooh, I'm happy to see my friend or even something like this when they do those arms. Hey, and this is just a slight moment of pause. I think this would be a great moment to add before you do purely mechanical technical things, which you should do because it's difficult to do and you need to practice this. And even at the end, when she says your hair smells fantastic, I love this little interaction here and that just that little, oh, you're too kind with that little cheeky bit here. I think this is really cute and this could be an added thing. So once you're done with this, you can just add this at the end as a little button. Just kind of gives us more of an insight in terms of their relationship and how they relate to each other. I think it's really cute. And again, kind of an expansion of I'm doing, you know, this is like your box of body mechanics, but on top of that, I'm adding more layers of character and pantomime and interest. So it's not just purely movement and technical things. This one is not about mechanics. It is more about listening. We're back to those two characters and she is very brutal throughout the show in terms of her actions, but in terms of how honest she is and she just tells the kid that, you know, your outlook is not so good and he starts to cry in the background here. And her reaction is this, like, ah, he keeps crying. Again, her reaction really do you really have to cry? Her face is so good. She's so good in the whole show. Love that. You got that eye roll. And then she finally decides, all right, maybe I should go over there and comfort him. And it's kind of the physical thing of I'm getting closer to the person. So I'm not that, you know, if there's no physical distance and kind of almost relating being on the same level. I'm sitting like you, you know, let's just, you know, empathy there. And then she says something. Why am I showing you this? Because this could be again, your, your technical physical assignments of a walk, including a turn and then a sit down and a sit down on something squishy. Right. Because you can always think in terms of what are the physical properties of, of whatever object the character is interacting with. This could be concrete she's sitting on. This could be a rolling chair that would move around. In this case, it's a very soft mattress. Again, interesting to do in other mechanics, but this to me would be the added thing of maybe you have lip sync here on top of your mechanics and she's really say happy and encouraging is very positive in terms of the audio and you could start the shop like this. Not only do you have the beginning of a close-up so you can show off your facial acting skills, but it's also different subtext. Actually, she doesn't really want to do it. She's really annoyed, but I guess she has to do it anyway. So in a way, the body language is not going to be completely honest, right? The face can lie, but the body will tell you the truth. So as she goes over, the body will still have somewhat slumped over, kind of reluctant, I guess I need to help you while the audio in the face is lying. And you know, she's just being kind to the character there or whatever you want to do in your case. So this is kind of the extra level once you're past the bottom mechanics was for anybody who studies animation. Again, this is kind of an example for new animators who might need some ideas and some help for the shots. So as you go through your your animation journey of learning, you know, bouncing balls and body mechanics, you really have to master those. But once you're past that, once you're really comfortable with the body mechanics, that's when I would do something like this. So do your mechanics. They're complicated, impressive to watch. You can show off your animation skills on your reel. And then on top of that, what is the character? What is their personality? And if there's something where we can watch something that's beyond movement, where you go, oh, that was funny. That was cute. That was sad. Just something, an extra level of character personality and straight up segue into my workshops. If you want me to help you to add those ideas and character ideas and personality traits to your mechanic shop. You know the pitch. It's time for my workshops. Link description and all the information you can sign up at any time. The workshops are open for everybody at any point. And speaking of time, as always, that's the end of my clip. Thank you for watching till the very end. I really appreciate it. And that is that on my end. If by now you like things, you want to subscribe, feel free. That would be awesome. And if not, maybe you watch the next clip and I will try to convince you the next time. But that is that on my end. Thank you for watching and I'll see you in my next upload.