 Welcome back to another animation analysis and today I'm going to take a look at the Valorant episode 2 cinematic called Retake and this is brought to you by Adam who asked for a review and analysis and actually I have other people who have asked for other things don't worry these are all coming I have a long list but this is also really cool if I don't want to take a look at myself so thank you Adam for pointing me towards that starts off with blood a language and violence but it also starts off with cool text I'm a big fan of this this is of course going to be a animation analysis and somewhat slash reaction since someone a long time ago commented that I'm also reacting to things but let me tell you as we go through this and all these two guys we go through the camera and then this happens here it's cool I love this and when I was looking at dualist I was also commenting on the 2d effects which I love in here and right off the bat what I love about this here is that all these shapes are different and they have paths that's the first thing I saw when I saw them watch this way they have a little pass all of that has a little bit of a swirl look at that that little guy here a little old thing that's super cool again visually looking very cool I love that painterly look and right off the bat we're starting here and you imagine you get that shot right hey your shot is an eye and you go really okay but then look at this it just has already that has just a couple frames here a little of a snappy action and then a look squint and a darts again it's really well done and you can't underestimate little small shots you're gonna do them really well and again going back into this here just every single detail I love this that on this POV of course this is what we're looking at and you can see a little bit of a that's because of that's the view there I love that we kind of I mean for me I'm looking at this here because it has the biggest contrast in terms of silhouette and then I'm seeing a big move down here so then the eye goes down here by the time we're here she brings it down the camera goes down as well to focus on this it's a small thing but again it's very clever I like it and then of course you've got the super cool renders that's all very cool this one would like about the shot too is that this is something I talk to my students a lot is that when you have a lip sync and if you watch my channel you're probably tired of me saying this but you want to be careful that you don't just have shapes here and nothing else is being influenced and I don't mean if you do a smile that it also brings up the cheeks you know the fleshiness of this and it's going to push the eyelids here anything here with the eyebrows when you talk it might bring down the nose tip but it's also head accents so when you have this here what's taking so long that's what he's saying right here you got that little bit of a fast the head turn and then on take a bit of a sharper head drop here and then this here it's just kind of his ah he's so annoyed you got the winding of the eyes and the eyebrows and with a rotation sideways roll on the head into long you can see that long even that the energy of that head turn here that mimics and kind of matches what he says here long so what's taking so long not that you have to do lip sync where everything you say is long and you adjust the head to match all of this no of course not but you can you can at least start with it and see where it goes but it definitely matches the intensity and energy of the voice I know we're barely started with the cinematic I'm already four minutes into this but this is just really really cool that's something that if you're watching this and your students really pay attention to what is the character saying what's the energy is it fast is it slow is it energetic is it sad and how can you emphasize that with the head so it doesn't feel like there's a disconnect between audio and the game like even with the body here that's really neat watchers over and over but I'm not even that here well physical things or as he pulls this has a bit of a change in the weapon back there and you can see how this goes down and kind of stops at the end but still takes the body down with it so this goes again to something that I talked to my students about a lot is that if you have an arm move it's going to influence the rest of the body it can't just be separate in this area and have no influence on the rest so really look at the bottom mechanics of this that's cool too by the way I have no idea I don't have time to play games anymore I have no idea what those characters are to me is always completely new like I don't know who this character is but this is cool I like that I like how it kind of starts in the shadow but it has brought a highlight to look at this here it's very cool also goes towards this also the line leads to that right subtle stuff but cool I like this here too it feels very consistent with the character especially this here ready and that visited that in the previous run as well but there's a lot of cool stuff I'm not going to go through everything frame by frame this would take forever but still great bottom mechanics little subtle hair animation which I like because it's not too silky and soft it kind of talks about the or talks about kind of showcases the texture and the thickness of it so it's kind of a big hitfall in hair simulation where the hair is just too flowy and soft I love this too how he activates the back with lean forward and then that twist there and change in the head she's a lot of cool stuff and then yeah yeah love all these effects here it's great so cool with the eyes look at that anyway let's continue on that's cool too come on I know it's everything is cool but look at that I mean just look at this love all this love all that the fire here and then let's go frame by frame here come on look at that every frame is riffing so cool love this here and then leads into that look at that nice line of action here a lot of energy in this and love height also has a path there it's into a great silhouette there's so much that's so cool here this is not just for you know for the channel for students to watch this this is for me I go through that stuff frame by frame and I take notes like okay what is what is so cool here like the energy she goes back again clean silhouette I like the streaks here also with the the lens it's so wide a bit of information there and here you know in the view here a lens like that it's just lots of little detail also here you can see when this body stops it doesn't just stop on a dime we have if this stops but this is going this way it's again something I talk a lot to students about is momentum and how you have to continue if this stops the rest has to continue to just give it some weight now you can make this a bit stiffer this could be a bit softer but you can't just have everything stop at the same time now I say this in the coupe a certain style it's very minimal and you could potentially get away with it but if it's not if it's that's the style you have to look at the weight and momentum and the continuation momentum and something stops and so on and so on cool details to here offset hand poses you got a reaction here on this you got awesome lighting so nice staging there for these two love that too that's cool I noticed that when I was watching this how you get seen he's got all that lighting there but then as it goes through it's almost like a it's like a separate frame here just that where you just have this here even though it's just it's part of the environment he's not in a separate environment it's almost feels very graphic novelly very cool that's cool too for contrast right it's not just a cycle kind of dips down to avoid this but it gives you a path it is more complexity in the animation that's cool too sorry I mean basically everything is cool I just like the like I said before to look of this because it still has complex renders and shading everything and cool lighting but still the painterly to the effect it's really neat that's cool too even this here simple thing but he'll look right get a dart over with the head to analyze you have to look at something right and then give it time for that information basically to come back so that whoever is watching this can process the information and then react again it seems simple but watch this in real time right goes forward see this huh just give it enough times otherwise it feels too mechanical or that the character is not thinking it's a simple thing but look first give it time for the character to process that information and then make the choice there it will detail stuff in the fingers here that's cool too rock focus here going into that of course being in snow you have a very clean silhouette that's cool I like that and this is really cool too again I don't know the characters I wasn't I wasn't aware of any of this and I really like that the idea of being it's you know invisible bubble then tearing open that world to come out of that that's really really cool all of that the eyes visible you don't hide them too much and of course lines lines all of that to this really really cool I'm always kind of looking at when you have a whatever like whatever prop you have anything that you interact with and you got a squeeze right you do something with it how much details the animator and how much am I putting into this and there is detail you got even the chamber turning reaction there too it's cool lots of cool stuff every frame one of that channel every frame is a painting every frame a painting it's basically that come on it's very cool nice silhouette too with a cool hand pose preparing this here into that launch that's super cool the thing is when I watch this I just want to stop doing what I'm doing which I can't I have a job but that's really cool I want to animate some 2D stuff next to CG stuff it's really neat you always talk about the rest of in terms of composition and you have thirds my crappily drawn thirds I mean there are different ways of splitting up your frame and then composing things but it's kind of a common thing but you can also have center frame like a lot of stuff to give it more importance is centered but then it also gives you then you know room for thirds again for this character but the more important thing is center that's totally fine too cool again you can see here character goes this way stops with this wants to change direction but the body here all that momentum and energy and flow that movement can't just change direction with this so this has to stop the rest of this is going this way this legs stopping the root here you got to give the root a couple frames to come to a stop and then all those muscles activate to push this way and at the same time all of this moving has to overlap drag a bit to go back into this and once you're around you know whatever is here right then there's enough energy well I push now and now I can snap back into this it's very cool so I need to oh it's tricky pushing off finger detail puts off you mean it's like it's not just it's not just a simple plant you got the angle right because it's angled this way it's not your default rotation the channel it goes down to has a bit of an angle and then as the body goes over you have to pivot off of here slide changes rotation there detail stuff but it's cool always cool hand poses let's see the finger details I'm always kind of looking at finger poses I'm a big fan of very detailed finger poses and you're not facial poses as well but that's not as great anytime there's a character with the tail I really look at that because I am really bad at animating tails there I said it it's official I am really bad it takes me forever oh that's cool to be honest I've watched his only ones and in my little brain I already forgot that moment that's cool look at that sorry I'm looking at all this because you got the details here you got the 2D effects but then you got the weight as this drops down but the rest doesn't doesn't snap like this it has to swing back right gets her off balance and oh it's that moment here so you got this is like the one of those times when I tell my students when you have something moving right you can't have a one frame direction change you have to look at your spacing so ease in and out you have to have arcs well unless there's an outside force so someone will push her or she or it or whatever character you have hits another object that will stop that and then you can have a one frame direction change but even then you're still gonna have the continuation for instance this right the head is not hitting this so the head is going to continue oh she takes it hard that's super cool I really like that as an ability to stop this with the timing that's your look at a moving hold right you still got the arc helped out by that 2D effect here and it continues to go up because you want to the energy is going this way so your whole is going to continue that way within a slight release as she comes down it's very cool even this here keeps having a little flap and then drag it's a bit of a stretcher in the head this is dragging lots of cool stuff enough weight to win the landing watch this just enough she is fast and she goes faster to right but to me doesn't betray the weight watch this again and it's great you got your impact of course all those elements she's stopping this is stopping was this non movable object is stopping all this but the rest continues feels like this whole cinematic is a lesson on bottom mechanics and momentum and weight and continuation of energy and all that there I say see what did I say same thing here right bit looser as you can see this moving so that impact and how he moves going to be a bit looser there also I don't have the sound on by the way just because of copyright reasons blah blah blah I'm gonna put on my own shout out to Epidemic Sound my Epidemic Sound my music on there but if you watch this I have the link in the description of the original trailer this sound design is really cool all of this ricochet things is great again look at that it really feels like all about that's great little moment there body mechanics no apologo no like an old apologo but you have the sliding and then because of that right it spreads out the legs great silhouette and then look at that the body still continues even though we're done here sliding body continues and then it settles you have a little bit of up and down you can see this here goes back for a small anticipation to then down in an arc always an arc to push off full extension on the leg ah so great this is really just animation one one such a lesson I love this so great sorry I'm learning out anybody watching this for the more in-depth analysis this is one of these my over the moon is more animation analysis more a pure form this is just me geeking out as well you can hear this but he has to put it from if I look there like this you can't underestimate props I'm a massive fan of props and also animating props I love animating stuff like that look at the timing of the roll and back right ready rip up even that has personality and well personality you know whatever personality this prop can have but contrast and timing it's not just roll roll roll stop and right because they're a little bit of of texture as we say in time we as in whatever the world we I learned texture from someone else who told me this is called texture but this is what I'm saying here great of course love this there's a great moment in terms of to the effect here later hold on that's great something else if you do it with this right you got that influence love this feels like this character is really part of this world that's also very clever just in terms of guiding the audience you get all covered right just him what gets revealed is this and it's not just a straight line it has a bit of a change again adding something a bit more of interest with a little bit of movement there it's very good of course you can re-emphasize that with a change of focus again same thing here right what is he looking at well let me show you the hand goes down to where I'm looking at papa revealing with a nice silhouette and a brighter point here what is important it's very cool nice too in terms of silhouette right this goes out revealing lots of empty space and compression in the fingers great great great this is the moment here that's cool really really like this going through the even this you know just how it takes part of the smoke so cool big fan I like that moment too where it's ever so slightly not in control I'm not saying I don't control like you know he's falling or something but he's like took a bit oh okay all right let me get back into this it's small but it gives him a bit of a layer of he's not constantly you mean in control and he can do everything without any problems great timing too of that that swing here watch this great to love this just to hold the pose of the snappiness great stuff here great hand pose look at that as he goes back right fingers out and then in because of that hole that she kind of pulls in the fingers nice that's very cool a double spear here and then hold hold hold right you can see the the the hair looking out for that hold everything continues that motion right one this way one this way on that moving hold into this clean silhouette from the snow nice weight too I mean obviously it's going to have a nice weight they all know what they're doing this is just me going I like this this looks cool I need to look at this and study this also great continuation of layers this coming in giving us enough room for the next layer next layer from cool designs pushed all of this look at that into this of this right shoe comes down pushes out that smoke this is more like an appreciation video of 2d effects oh look at that just as I said so cool every single frame is cool and even then right contrast they're not moving the same it's just enough offset let's say focus on him back center that's that's the thing right as we started they're looking at something and bam it's almost like here this is it center this is of importance bam back this is of importance that's cool too I love this too because the thing is usually you want to keep the face usually I know it's not really a hard rule but you know you want to read the the emotion and what's going on in the character but at this point this is more important so let's cover the face but even then so it has one eye there but that is the important part with a little bit of an eye feel very cool nicely done again with the dragging the fingers right out and it drags this way also the effects you knew this a little bit of overshoot and even the all of this goes off and off this way because everything has a really good sense of weight just as I said even this doesn't just stick there it has a little ring a little bounce it's very cool again give you character enough time to think it's not just up down and going into whatever movement it has a what's there oh okay let me do this give you character time to think same thing again right give you enough time there's no one here huh don't rush through that moment the character has to do this and then uh oh also cool surprise there ready and that's got all this love all that creeps over the fist great silhouette too color so cool sorry I have to frame my frame through this what is going on here awesome curvature here and that horizon look at that that is cool into this clean silhouette look at that again he stops right but the effects continue you still got that momentum energy continuing always a nice finger pose hand pose always seeing one eye at least and then that moment great little detail in the pupils iris moment there that such great stuff and and you think someone's gonna happen and it is not but it is I'll also like this too like we're concentrated on this we don't want to be distracted by someone coming in here or here or jump I mean you could I guess jump in after a certain point but you want to give this in a breathing room and then when we're done casually revealing as another guy again very clever in terms of staging a great walk I love that a bit of a surprise down there a bit of awareness of the environment reacting to this even this here look at that it's not just a foot plant and then that's it see this we're leaning over here a bit of a movement here going up pretty moment to a lot of very clean silhouettes when they draw their guns big perspective changes oh it really just wants me to go I want to animate this 2d frame by frame loops kind of effects I think also so cool clean silhouette for anybody watches why does he keep saying clean silhouette it's because a lot of times when I critique things especially with the students we talk about silhouette where an arm would be you know really you know imagine that elbow is here where you don't quite understand the structure of the arm it kind of obscures the head here or whatever you can do to make a silhouette less clear this is just a really clean silhouette all of this is really clean it's very important to that when you watch this that everything reads again it's great reveal a surprise reveal of this but then when you think wait did he just do that what just happened and then you can see here also hit it again this is the cinematic about weight bottom mechanics and weight look at this you got a drop that your kneecap if you ever drop on a kneecap that hurts this is a hard surface she's not landing on some soft snow or sand or falling into water this is hard on hard surface so as this will have to stop there's no real ease in you're gonna have a one frame direction change in the route you can see if you track this then it's okay that's okay to have that one frame direction change because again this stops nothing's going to buckle with your thigh here oh and then you're gonna have the impact in this suddenly snapping down a bit faster right head having a better a better a bigger impact watch this in real time here hold on rewinding too far here and ready ready oh yeah you can feel all of that that harsh impact and then bit softer because she's landing this it's a bit more softer with the belly the chest and the head all that you still got some hard moments pushing the boots but it totally works great that he appears in that pose the way he like wait again enough time and don't rush through this right wait what and then reaction let's do it again i know the silhouette top of the nice triangular hand pose very calm keeps it very clean i feel bad for anybody i to make this anytime you see finger detail stuff anyway like oh it's just taking so long and that's it even that here right it's not just a cycle but he listens shrug off to the side even at the end as we pull out right we're gonna pull out the camera because we're telling people this is it we're done so some detail really nice background painting there unless this is all geometry and flatten i don't think so i hope not i don't know i have no idea i'm just guessing this is probably a painting this is the map texture on 3d and then that is that again listen to this the link in the description it all kind of sounds you as this forms very cool sound design super cool music is great into this kind of re re establishing establishing kind of redoing that theme of breaks into the other realm there you go it's very very very cool i love this i hope this was somewhat informative i hope so and that is that for me and if you like what i do feel free to subscribe and like you know this is youtube you gotta have that pitch at the end i do all kinds of things like these are different animation analysis clips and acting analysis and then you know all kind of and lectures and product reviews this is the pitch at the end i do all kind of stuff so if you like this and you want to see more feel free to subscribe i upload a lot so you don't miss anything other than that this has been a longer one these clips are usually running really really long so thank you for watching and i will see you in my next upload