 Welcome back to an Akin analysis and tips for animators and today I'm going to take a look at episode two and three of season one of the morning show on apple plus and I'm going to cover character reactions introductions focus background characters and a bunch of stuff more so let's go I'm still going through season two which so far is also awesome but this show has so many fantastic characters and so many cool moments of character choices and prop usage and a bunch of stuff that you can use for animation but before I continue hi my name is JD and I do acting analysis clips like these I do animation analysis clips I do animation lectures I do news I do reviews I do a bunch of stuff it's the pitch at the beginning check out my channel if you like it like and subscribe you know the usual pitch like subscribe and if not maybe just keep watching maybe I'll I don't know I'll convince you later but that is the pitch at the beginning let's get to the sequences and first one is this where he is struggling with a bunch of stuff you haven't seen this he has a lot of problems he's starting with this and he's right now trying to make himself a cup of coffee and all of that leads to so many problems in terms of like mental anguish this is kind of the end of this where he started crying and everything and now he's done and he's finally realizing that wait I put this in correctly and then look at his reaction here and oh just that pause and then move with the hands looking around he puts that in and then as it starts working you can see again his look and he's surprised that it actually worked very happy you can drink the coffee and that's all great he's breaking down again and the reason why I'm treating it is because if you have a character focused on something let's go back here right this could be something off-screen we have never seen it you might have an establishing shot like this somewhat right maybe you see the full character and the full prop and then we cut to this but it's great to have your character focus on something when you have thought process and something you want to show on screen because as you are continuing your animation journey where you go beyond the mechanics of it say you know you move with this arm and the shoulder goes up and it moves the chest it moves the head you're kind of past the mechanics you're going more into thought process and pantomime and I love this where you're giving your character problem the problem is that I want to make coffee but it doesn't work and since you're going into pantomime and reaction on the character it's also great when you don't have lip sync and you don't want to get into this whole aspect how do you externalize something where hey I think this worked look at his hands that moment of oh it's almost like he doesn't want to touch it too much or just let go like I don't want to disturb this it finally worked so to me this whole combination of character looking at something this can be on-screen off-screen just reading their reactions is a great exercise for animators and using props as a driver right so this could be like I said the end of a problem and now we just as a viewer saw the end this could be something mechanic whatever it is and I love this I love that moment of this even towards the ends when he has that oh oh it worked and it's a great framing too because you don't have to do a lot in terms of body mechanics it's just basically this and it's going to be all in the eyes obviously the lighting will be different so you can see both eyes but I think that setup is really cool and it could be a good jumping off point for an animator who's getting out of body mechanics into thought process and pantomime with this one I have two things to talk about it's this intro of this and how Bradley comes in here so the first one is something that's cracked me up is that you almost think is the real character for maybe half a second because that angle is just weird it's totally stiff and realize oh this character is holding you know like a prop like this I love this idea especially if you have as a CG character you can keep it totally stiff and kind of fake out the audience I love this I'm going to steal this I'm just going to say this I'm going to do a personal shot one of these days I'm going to totally steal this idea love that though and it also goes into character introductions or like an intro for shot right it's like you have this not here yet and this coupier background whatever you have and then you have your name demoreal character animator the year and all that stuff and then the first thing you see is this you're like what am I looking at and then you have a cool walk or maybe it goes into like a two character lip-sync talk or something but it's a fun intro that kind of fakes out the audience and the other thing is this one she is coming into this office for the very first time and this is something I talk about a lot where a character is familiar and unfamiliar or not and it's it's either or so that entrance if you know what's going on you might look at your phone do things turn around here maybe go in here turn around here because you know exactly where all those corners are when that goes in where the doors are and all that good stuff but a character who has never been here he's gonna have that moment especially if the character is impressed by it open mouth looking around you can see all this is taking in of where am I what is this looking even down here oh that's interesting oh let me find this this might be of course the thing of I have to look at my mark because I need to stand exactly here so everything's in focus but this is really goes into the whole showcase of I am here for the first time and I'm going to walk around and look at things as if it is the first time so when you shoot reference for you know for yourself for your scene always think about that is your character in this environment for the first time yes or no this is an absolutely awesome moment and so many reasons why I love props and this is just a great example where he just finished a discussion with him she comes in and tells him listen you have an appointment you got to do something with the next person that's here and he realizes wait what I'm busy I have so many things to do and the reason why I love this is this right he's been eating this he probably thought that he's gonna have a bit more time eating this so what does he do when he realizes the meeting is right now watch him he folds this together and shoves it in his mouth I love it and the reason why I love it is because the prop shows us that he's in a hurry yes he could look around be all hectic and run over there but this is basically if you eat something you generally don't you're not going to fold it and you're not going to shove it into your mouth like this so this prop shows us and shows you know for me and for the audience okay I'm in a hurry so what I'm going to do is I'm going to make this as small as possible so I can put the whole thing in my mouth right I'm not and goes off it's great to me it's just a different way of I mean as an animator you would actually I would tell animates not to do this like oh I'm waiting or I'm in a hurry this is almost like acting out words but in live action you have a lot more freedom for this but animation I think this is a great way of showing I'm in a hurry I'm going to do something and I got to go over there and I will always defend props and that to me is also a very original way of showing I'm in a hurry and I get this done because I got to now go to the other place I love this this is a great moment too where he is asking her who she is and she tells him well I'm such and such and I'm the other person's producer and everybody is shocked at this just for context but she wanted to do this and he is her boss and he hasn't signed off on that yet but she just takes initiative and goes well I'm the producer and everybody's facial reactions are so great he has that moment of who are you there's so much going on here that I want my brow but what and then she tells him well I'm the producer and it's that hand on the hips and I love it but it's an off-screen gesture and post change it's implied we don't have to see it but you can still tell what's going on then she has that great little stern face up that's what I'm going to do and his reaction is oh well I'm fast and I love his little hold on the mouth when he goes that happened fast so great I love him in the show he's so great then after he says this because he's clearly surprised you can see the right focus door it's there he goes what what did you just do even she goes what did she just do continues on and he he goes along with it and says yeah yeah yeah well I wanted you know the best person on the roll and and yeah yeah that's going to be okay but I love that when she notices that he's about to turn she's getting into that very like hmm yeah and even like the head up here it's great and he has this gonna blur that out like oh how did you do this to me and I love this and the reason why I love this is that it's all the stuff that's outside the dialogue right so if you would animate this yes you would have an attitude depending on she says this great pose and everything and you have this great delivery and that great pause in this but then you can play so much around with other characters now I love this setup that you have this is the dialogue that's what they're saying and you adding a bunch of people into your scene I know this adds a lot more work but I love that you can then play with reactions with this and again how she's about to say something but then he pretends like he's really not fully believing in this you have any exaggerated poses like this and again the change of her realizing oh he's gonna turn around I gotta have my you know confident pose and then him going why did you do this to me there's so much you can do with extra characters and I know this is extra work but I think if you are comfortable with mechanics and lip sync and acting you can add those extra layers and just add so many fun reactions that will just open up your scene to so many different acting choices and reactions are just great speaking of background characters I love this guy look at how he brings the paper over here ready and it's that fast move slight fold looking you're not really looking at him like he's clearly on her team he's her assistant he has a schedule for you guys and I love that it's that little look down here and if you look at this he's got that little little wink there and the reason I'm showing you is because the line like whatever she is saying throughout the sequence is not super interesting it's more like exposition like I'm gonna do this I want to do that you guys have to do this for me and so on and so on and technically as a line that's kind of boring but what if you use that boring line in contrast with him right so it's just kind of there the lines are there for people to kind of listen to and react but the main focus in your animation is this guy the way he hands out the paper and what he does now you can also say well but maybe I don't need the dialogue no maybe not but the dialogue can still be there for rhythm to have you know jumping off points for other people who do not talk for them to react maybe he does something where he hands it out when she is pausing I think having a not super interesting dialogue as a driving point for pauses and rhythm where this character is the main driver in terms of your attention and the acting choices I think that could be a really interesting setup and I just love that little moment in this sequence and going back to him because he's awesome they are arguing and you can see this clearly arguing is a heated discussion but also like this where she's seated she's standing so she can have a bit more of a in control posture where she might look down on this person and so on but the reason why I'm showing this is because she mentioned something that really takes her off she goes like why are you reading through my transcript I love her reaction too once she hears he goes wait what looks up the face opens and then she goes wait a minute and and takes a step towards her right the confrontational step invading her bubble and so on and so on but I'm showing you this because of this so they're arguing it's getting out of hand he goes like this hey hey hey hey he could just say hey hey hey to break it up but no he has a pen here and he does the combination of hey hey and he clicks the pen every time he says oh this cracks me up it's for me another usage of props that are that is just great it goes beyond just him saying hey hey hey it's just for me something funny and original and something that the character does a lot in the show and I love this so I will always defend props the usage of props because I'll always say you might have an idea and you might feel it yourself and could be great but as you're doing your acting piece or pantomime you have to go beyond version number one you got to go version five six and maybe version 10 or 11 it's probably the first thing you're gonna start and even then as you animate your shot might evolve to idea 15 depending on if you have new ideas you film reference you ask other people for opinions just as you start something don't just go with idea number one and this is why do these series because all of these actors they're so good and they have gone through so many different ideas and versions where again this is a starting off point that being said I love this idea of the whole clicking thing to interrupt someone I might steal that as well I'm gonna be shameless and do it but to me this is just a great extra level right you have it a thing where you go hey hey hey or hey hey hey or you have someone who's like this and goes hey click it and it's that clicking sound that draws the attention of the arguing people back to you I think it's a great idea and it's just something so creative and I will always advocate for props you can always do something that someone else didn't think about and you can have your own creative you know creative ideas on top of the acting choices with the help of props I will always defend props and I love them now if you want me to give you prop ideas or you have a shot with props and you want me to talk about that as a segue I have workshops where I love talking about stuff like this I love brainstorming and discussing ideas in terms of your shots want to do so I have workshops you can sign up at any time link in the description you can just email me let's talk about this when you want to start it's very flexible it's all tailored towards you and speaking of tailored now that's not a time segway but we are at the end here so if you're still watching as always I thank you for your patience to watch us until the very end and maybe by now you like this and you want to subscribe so hit the like hit the subscribe button it helps you know the algorithm and it basically helps having this clip seen by other people because I want I want people to see it so they it can be helpful to them and hopefully can continue and help other people so that's the pitch and that's the end thank you for watching and I will see you in my next clip