 Welcome back to the actor analysis and tips for animators and this time we'll talk about season two or Star Trek discovery I want to talk about emotional gear changing talk about spatial relationship between actors and talk about environmental influences and a lot more in a packed episode So engage and before I make it so I had to say all that stuff. Hi. My name is JD If you're new to this channel, I do actor analysis tips like these I do animation analysis tips I do animation lectures. I do rig reviews product reviews feedback stuff all kind of stuff You know, this is the pitch at the beginning browse around my channel if you like it subscribe if you don't like it hang around Maybe you like you later. I don't know but that is that let's go straight to the sequences And the first sequence is between Kevin Pike and Michael Burnham here And why it's because of this scrub forward you can see here He touches this basically he has been injured and through all of this He's basically asking her not to make a joke because he can't laugh. He does she does it anyway He's in pain and so on and it's also kind of nice gesture here. Okay, sit down It's like that kind of a limited gesture and why am I showing you this because I like the idea of this of putting your character within limitations His limitations are if this expands the rib cage, he's in pain So for you, that's the face. Oh is in pain And I like that idea as a as a basic setup for your shop your character could have a limitation like this They could be an arm in a cast they could be somewhere where they're stuck and they can't move But I like the idea that you are limited Physically or somehow in a different way so that you don't rely on your typical acting choices or movements Maybe he has to be always leaning. I just like that as a general idea and maybe think about that as you start your shop Maybe everything's great. You got your lip sync. Everything is normal But maybe at some form of limitation, it could be a costume limitation It could be a physical injury limitation whatever it is But that could give you a different way for approaching an acting scene this one I want to talk about because of the spatial relationship. So pike here shows her Something that's going to be of concern and her reaction is Yeah, I can't do this. Let me take a step back. So mentally. She has a problem with this She doesn't want to do this but also visually she is taking a step back But she doesn't want to deal with it. She saw something she wants to avoid now for you in your animation If you watch my analysis tips, that's something that I frequently talk about if you have your characters Right, you do two characters and they have a specific distance between them Is it important for the audience to see that the characters actually going to take a step away or maybe a step closer? It's whatever you want to do but as always I like this I like that she does this that when you have your scene that your characters aren't always stuck within the same distance You know, maybe you don't want to animate them because you know IK legs or a pain to do weight shifts and all that stuff But think about the spatial relationship between the two characters. Is there something where there's a friendship? There are enemies. There's tension. Why would it care to get closer or why in this case would it care to take a step back? And I think that's an interesting thing to explore in your scene So if you have something like this and that could be standing right that could be sitting at a table Whatever it is, but think about that is a character leaning. What's the purpose of that? Will the character one point lean back when that character leans back is this character going to lean in and Because that character wants to still stay closer and so on there many ways many reasons many things you can do But I would explore distance right spatial relationship and distance between multiple characters This one is more a bit of a postural posting. There's a bit of a conflict a bit of a you know It's kind of like taking a back here by what she says and what I want to show here is the moment right there you realize all right, this is a bit awkward and it's this simple thing of Head down slightly hunched over slightly embarrassed. You can see I really is reacting here, but it's also this it's a small thing But it's not a regular walk. You can see his hand Maybe his hand was sweaty. It's kind of like an embarrassed move or something But even if you have just a simple walk where a character goes from A to B Why what is the purpose of that walk and what is the head state and emotional state of the character? And a simple thing of not swinging in his arm and doing this just adds an extra little layer of yeah That was embarrassing. Maybe I should have said that just think about this Whatever your pose is are the arms out are they in is one here? Do they hold hands or you know, it's the character holding his own hands when he's walking here Why is this or really think about every single pose every gesture? Everything's gonna tell the audience something about the character. This I thought was really cool Where Spock is really challenging his sister and you can see here just gets worse and worse and worse in terms of how he Gets more and more upset. He's getting up now to be on the same level He's slightly tiring over her and it escalates into a lot of accusations and shaming and all kinds of things You can see here close-ups gets more and more intense and it continues on until she has an outburst of Shut up. That's what she says and it's probably hurtful and right of the bat watch her This I'll love this just that moment and what I like about this is the immediate change when you have an extreme emotion going And then right away regretting it sick Oh, that was not what I wanted to do Maybe I didn't want to hurt my brother or you know, whatever characters you have in terms of relationships But that for your lip sync you might have in your lip sync this you might have all the tension You got obviously the words the energies. It's all very explosive, but this Right there This is not in the audio and this may be something for you to think about when you have Lip sync that might go from whatever into an explosion so for some contrast, which is always interesting But maybe you can do one more thing So you have the audio and it tells you I'm getting more upset and I'm yelling But now the audio is done. This is you. This is your creativity where you can now go and have That moment of regret or shock or something where I didn't expect myself to say this right now I thought this was really cool moment really great acting moment as well And actually staying within the sequence as he gets really upset for once loses control And even he says he actually likes it It's very taxing emotionally on Burnham and you can see this here where this is happening Really tough on her and at the same time you can't hear it. There is a voice saying, okay We don't burn him. You need you on the bridge It's not exactly the best timing and even she has this mode of really right now But because she is a professional in her field there. She goes, all right Reporting back to duty and you can see how she changes and then back to Let's get this going and this goes back what I said before this is a different example You could have your lip sync or maybe it's just sounds maybe it's someone crying Whatever it is and after that there's not that much you have audio wise but now it's up to you to maybe do this You can do all of that and I know there will be some sound and some coughing or some whimpering or something But if you go into this, maybe not or you'll find audio for the A side That's upset, you know, someone is crying or something But you have to make sure that it matches in terms of the room tone the ambient sound whatever But maybe this is a lip sync where someone is serious So maybe splice together two pieces and you have that way kind of an artificial emotional change But just acting wise in animation wise this would be interesting to do where you go from this this state of mind This kind of emotion to okay. Well, let me do this I think this is interesting to animate and it doesn't have to be within one audio piece So if you can again, you can have a and you can have B then put them together But just make sure that maybe there's no sound whatsoever except audio So maybe in terms of the characters, maybe there's some crying and then there are words But then put in an overlying ambient sound, maybe there's you know, whatever birds outside in the part or ocean You're at the beach, but some audio piece that will be the connection between the two hope that makes sense And with this one, it's actually season three. I know this is weird I'm talking about season two all the time here But this is just one thing because I wanted to bring that in there They are opening the doors and they're seeing this outside place It's clearly cold and windy and as they step out watch what happens to her mainly here ready and The wind kicks in It's kind of cold Oh, and she adjusts a little bit and this is something again that I rarely seen animation where you have at least in terms of animation exercises But even not that much in movies. You have an environment where they're clearly protected with theirs You know, there's probably a heater in there somewhere, right? It's kind of somewhat warm and you go from something warm to something cold And that's already going to be a change of maybe your shoulders are relaxed Maybe that's just kind of holding on to whatever bag you have Then as it gets cold, you can see here shoulder goes up She has a slight adjustment in the hand. She just want to be more bundled up That's kind of your you doing those moves at the same time Explore the idea of in here. There is no wins There's nothing and now as you go out the wind is hammering the characters and you can see this in the hair Not that you have to animate hair, but it could be interesting But it's just that change from this environment to the outside environment. There's a physical influence by the wind There's a cold and all of that is going to affect your posture The move maybe the wind is really strong that she has to lean or maybe maybe lean against the wind You know, maybe she goes whoa, and then has to lean against that and maybe take all of this and Combine it with a lip sync right a lip sync assignment where your characters are talking Maybe it's just one character. Maybe there are two characters But I think that is a a criminally underused setup for your scene Just an environmental change where you go from somewhere where it's hot and something cold cold There's something hot something that's you know shield it into something with a lot of wind could be just you know whipping Rain that goes at your face and you have to cover your eyes like this There's so many things you can do so instead of imagine your lip sync and you're talking and that's all you're going to do Now you suddenly have winds There's could be icy wind could be rain could be really you know something really hot But imagine now your character has to do this now your whole delivery is going to be different because you're going to have that Maybe the character holds newspapers and the whole has to hold them over this because there's rain But all of that especially if it's one handed that's going to force asymmetry because you want arms going to do something Other than the other instead of being symmetrical, which is a lot of a lot of pitfalls that students fall into and to me This is just extra almost free stuff. You put a character in environments That environment is going to influence your care and maybe there's stuff happening in the environment And then your character is going to react to this and maybe there's something where they have to Change into something as they continue the scene to me These are all extra free elements that will make your shot different versus I'm gonna take a character plop them into an empty Scene here's my lip sync dialogue and I'm gonna now do my arm gestures W poses and then that's it So to me this is just not adding a character to a set and adding props just because let's just do that because I say whatever To me this these are all extra elements that will force your character in a different pose Those might be environmental influences that sparking your idea in terms of how you will do this What if your character has to step out onto maybe ice and now that delivery of your dialogue has that extra layer of What I got to walk around like this because it's slippery and maybe in your audience It's just like pause and you use that pause to bring in a little slip and then talk again I know to me this just opens up a whole world of new ideas and Possibilities for your characters in terms of acting choices movement Just all kinds of that to me just gets me excited And this is why I'm always going to push for sets and props and speaking of excited if that Excites you and you want me to help you with your awesome shots to make those shots even more awesome You know the pitch I have workshops link in description for all the information You know the pitch there so check it out. You can sign up at any time you can start at any time Everything is super flexible. So check it all out if any questions comment I will help you if you have any questions and that is that thank you for watching as always Thank you for your patience to watch until the very end if you're still here Thank you so much Maybe you like this enough to subscribe if you want to or not maybe watching on a clip before you decide to Subscribe but that is it for me live long a prosper and I will see you in my next upload