 Welcome back to Animation Analysis and this time I'm going to take a look at The Bad Guys by Dreamworks. This just popped up this morning and I gotta take a look at this because I love it already. The style is cool and I love the characters that they're using. Also, super perfect timing. If you are wanting to animate something like this, anthropomorphic, you got a creature that looks like a human in terms of how they walk. There's a new rig out that's going to be super cute. Watch out for a review on my channel very soon about perfect timing for that kind of style of animation. But let's get into this here. I love this. Oh, it's so much on pack here. Besides the style, that's cool. And I'm always, if you watch the trailer, this is about a heist to some degree. Love that. I love heist movies. I love the character designs. They're already super appealing. Love the cars. Love that world already. Like the exaggerated lights out. What is all this here on the side? But it's cool how big this is. Like sometimes movies, they feel almost kind of small in scope, depending on the budget of course. But that's cool to see. Love that as a immediate setup of that's the world. But I love the details. When you go into this here, not just animation, but I also love it because you have that thing of leaning, moving forward to them, bring this over into a massive tilt. Why am I saying all this? Because it's contrast opposing. And I'm just, my brain is all in terms of contrast and timing just because we're at the end of the semester for the school. And it's all about doing the final grades and everything. But like that to me would just be such a great assignment. Like that's anyway so cool because you don't have to animate. Anyway, I always feel like when I do animation analysis clips, I talk about what not to animate. I feel like I'm the laziest animator ever. But you don't have to animate the lower body and the legs. And it's kind of a cool setup of someone in a car. You can just easily add something moving by here or even in foreground for speed. But you do have the contrast opposing of this, into going forward, into that. You can even do that potentially like an overhang, grab and turn. But then you got that type of movement. And because the car is moving, you could have stuff in the back where either you have passengers if you want to add some complications or props. This could be someone moving and you got some plants here that would be wiggling. So it makes for a nice polished animation. But you have that whole thing of coming closer. And now you can really push the facial animation. And again, this is all kind of waist upish. I know the waist would be down here, but it's like a common thing in performance animation. If that's your animation framing type of thing that a character is like this, either behind the table or that's the framing where it's usually waist up. But you don't show a really huge amount of bottom mechanics. But that would be a new interesting way. So you can go even bigger with your, you know, however, maybe the in-betweens are arms up to then grab the wheel, maybe because something else like a truck goes by. But then you can go into here and now you can focus on really nice close-up facial animation, which is also awesome here. Showing off a little extra movement here. And I love this actually perfect timing because I'll be dealing with a creature design that has a snout in longer shapes like this. So I'm looking at actually reference for exactly this. How do shapes deform and everything? That's great for me. But anyway, enough about me. What I love about this shot is actually not just this, which is cool. Great animation. I love all the head accents. I love this. Look what the snake is doing. Through all of this, the snake is not really bothered. It's just going, I gotta open this. Enough holding the whole thing here. I love that little try this out listening. It's great. We also see the change of style. That's also interesting. It's kind of your more traditional somewhat ish render. He got some interesting lines here. It's the outline for the eye. But then we get to this and now you have that just extra lines. It gets a bit more drawn. I won't say cartoony, but a bit more graphic. But the cool thing is that it's just here and then. And it's kind of like here and then, here and there. I don't know English. But I like that it's not, it's kind of like an in between where it doesn't go full on in terms of like extra stuff here. So it's kind of in between style, but this is cool. Besides being an awesome pose. Yeah, I love the look of this. The renders are great. It's cool hold too. Yeah, like that already. But where are we here? We are 240 frames into this. And I'm already super smitten. Great animation. Cool style. Interesting. Okay. This is a style. And then that's a different style. I'm totally in very stylish overall. And then we get to see other characters. And the cool thing about that is to me contrast. If you are a poor soul who's in my classes, I always not rant, but always push, you know, timing and contrast. And the fun thing is that they're all going to move differently. Right. So you got this one, super cute character. And the cool thing about spiders, and this is something else later on in the shot, because they can, they can go up, you know, anywhere. So that spider is going to be on different surfaces. Imagine they could be here. That means that you're always going to have some form of asymmetry built in because of the surface slants, right? Or whatever, you know, curvature or whatever it is versus, you know, maybe that character or the other on the flat surface. But that's cool. I like it. It's a cute, cute design. There's something about just the sharp black outlines here. It makes it very comic booky. That's like a weird generalized term here, but love the textures, but I love the treatment of the eyes. This guy's super cute. Come on. Oh, super cute. Yeah, it's great. But you'll see them later on when they all walk. It's the contrast. Love the super stylized teeth. But this would be a good example, as I always let students know, if you watch something like this, watch the take right there. So now you can go, okay, distracted or, you know, focused on the food and then realizing some things. Yep. What is this one frame? One frame of visible squash into a stretch that is also one frame extended and then back two frames, three frames, three frames of a settle there and then a little bit of extra here. Like to me, it would be that's cool. That's a fun take. Watch this. Just snappy enough. And then I would write that stuff down as a student, make a list and then redo this. Obviously don't put it on a reel, but just practice like that. It's always interesting how everything they form is including the teeth. So a little bit of a wiggle room in terms of what am I stretching? If you do stretch, you don't really want to stretch too much here. The cranium, that's your skull there. Now, you know, depending on the animal might be different, but if that would be a human, your stretch and squash would be mostly here. The squishy aspect of the skin and, you know, muscles and flesh and everything and less of the skull. And it's not much. It's mostly through here, you know what I mean? But you can also decide, well, teeth are hard. I'm not going to stretch these too much, but they are here. Oh, it's cute. I like it. This is for me taking notes up to the next design. Again, awesome. I love the unevenness of all this. I love what he's wearing. That's great. Let me just see because you don't really have fingers, right? So this is now the curling here this way in terms of what the finger is doing. And you can even here see as it goes up, a little bit of a squeeze in that quote unquote finger. And then that's it. But even just that, watch that. You still feel it. And even here, this is what I love this because you have usually, if that's the human and you got arms, right, your legs, I would tell students, well, you raise an arm that is going to influence the shoulder. It's going to move the shoulder up as well. Because of that, it's going to influence and rotate over the chest a little bit. That's going to influence incorrect with the hips. But then if the body goes over the head, my counter to say stabilize. So there's a lot that goes into moving an arm. Now, this is a snake with one long arm, but still look at when that arm goes up, look at what the body is doing, right? It's go back here and you still have an influence. It's not just this is caught. I'm not moving this because only this is moving. Imagine that whole tail is still influencing the rest. Plus you have head accents that's going to influence this as well. So it's almost like this fans out here. This fans up back here. So great. What is this? 420 frames in. I'm already rambling about all the details. It's such a great trailer. All right. So here's the thing that I want to talk about. If you watch this besides being awesome, right? They're all in their elements. This guy's swimming with little arms. There's such great stuff here. Pretending there's the headpiece in the ear. Love that little cute walk. So by being a bigger character, that's great contrast. And this is the one. So here you can see how the spider goes up. It's like a subtle thing that the spider can go anywhere, you know, sticky on any surface. It's great. I love it. And again, this guy here. I'm so appealing when they can see the guy's walking again. This is like the contrast of movement. What is this? It's like fake arms with blow up hands and fingers. I didn't notice that the first time. It's great. It's awesome. Again, just the contrast of all those walks. All right. I'm going to save this in my walk folder. Love all this. I love stuff like that. You know, like the surfaces are not even. Everything is slightly, slightly open. It's not really organic. It's not super clean. I love the overlapping of all the screens. It's good. The color change here for focus. It's great. Such an appealing character. Love this. The super clean round shapes. So smitten. Then you got the nice more graphic lines for the fur. I don't know. I love this. This is going to be one of those trailers where I say I love it, but I do. It's really nice. And I love these guys too. There's a comic book called Le Tunique Bleu. I'm going to Google it and blend it in. Those kind of roundish head shapes, especially the one guy, Blutch. He has the rounded shapes. I'm blending it in probably. I'm googling. I'm going to put that in. I don't know. It's super appealing to me. Maybe it's like a little dash of nostalgia. Again, good reference for you for crazy shapes. Big moves. Yeah, I love all these character designs for the humans. And that's great reference to go in and out of big shapes. Do that over one frame. But then it doesn't stop immediately, right? You're just going to overshoot a little bit and then you can come back down into this. And even the jaw, even though it pops into this, it doesn't stop immediately. You still have to ease in one or two frames. What is this one frame? So open, ease in, and then you still have a squishy, like, you know, it goes in and out. It has like a contraction because squash and stretch just overshoot. What are all the terms I'm going to throw out here through our principles and stuff? But to me, it's the organic-ness of something that doesn't stop on a dime. You still have to have a little bit of overshoot and relaxation in the muscles. So it's not this super poppy, poppy look just because it wouldn't, to me, wouldn't quite support the style given that, you know, the lighting, the textures. I think this is a great balance in terms of exaggeration, right? As you go up here with two frames, but then you still continue one more stretch, a little bit here, and then come back. Oh, that's a great example. Yeah, this goes also for me into my exaggerated animation folder. Same with these guys. Love those faces. Yeah, really super smitten. Here's another good moment of reference of how quickly you can transition from this into that. It's a nice clean pose, nice hand pose, nice silhouette. I love this. Yeah, I love the cloth here. And you can see one frame drop into a fun run. It's a great run. Yeah, it's a great. Again, very stylish here. The nice rim light, more flatter color. It's great. So cool. I love it. This is for your texture people. Slightly painted, you like all the imperfections. So great. And these goes into my subtle hand stuff. Look at the hand. Again, it doesn't just come in and stop. You can especially see it here in the cloth as well. A little bit of movement. Just enough. I love these. It's like a Blast store, like a Star Wars Blast store. But man, this goes right into posing. That's something that I tell my students as well. Imagine that's your first shot or the first frame of your shot. That is a character pose. Even if this is, it's almost default, right? But it has a slight tilt there, slight offset. There's just enough asymmetry to not be default. And this for sure isn't default. So I'm always telling the students, you got to make sure that if you put in your rig into the scene, right, whatever that we pose is, it's usually a T pose like this. You don't want to just bring down the arms and start animating. Pose out. I highly recommend to pose out your first frame of your shot like this. Full polish to go. This is the attitude. That's what they, that's that's the starting attitude and personality. And then you can continue your shot and there's maybe an arc where it changes. Or it's also for you to see, this is how appealing the character can be when you fully pose it out. So you don't, you know, you're not stuck in the default pose. Like, yeah, I know if this is going to work. I do this so often that first frame fully pose to go, this rig is going to be cool. It's kind of like a reminder of what you could do. Lots of great details here. I'm going to keep playing nice mechanics. Let's see how long is the shot and not long. It's great. This would be my, my typical example of, okay, if someone asks, I want to do body mechanics. Just do this. You have a little bit of a traveling camera. You don't have to. He could easily start here. Yeah, it might just be a bit tight, but you could have him start here and end here. Might just be a bit edgy. I would still recommend just a pan, just to kind of follow. The camera translates there, right? So it's your, you're on a, you know, on a, on a dolly. You can be on a track, be a tracking shot. There are many ways you can also just pan over the rotation. But what I like about this is that you are starting on a walk with a step, turn, and then another step. And that's it, right? It's the beginning of the next one, but it's basically, let's go back here. Step, step. Yeah. It's great. And within that, you have a 180 turn. That's already complicated. But all of this is in service of, this character wants to steal this and is stealing it. I love how she somewhat feels it. Goes, wait, what? What happened? That little nice clean hand pose. Like, wait a minute. That's it. And I love that for him. It's like, you got that focus of, yes, leaning in the smile. I want to grab this. Everything goes to this. Grabs it. And even at the end, you have that little, oh, I like this. Focus on that. It just, you go from like one attitude to the next. Like this shot is packed. Pack with stuff. It's not long. It's still complicated to do. Like that's what I would recommend to students. Not saying this is easy to do. Again, it's complicated, bunch of stuff in there, but it doesn't have to be long. Man, this goes also into my bottom mechanics folder. Whole trailer goes into my folder. That's your, the rock promotional photo where you always adjust one of the sleeves. Oh, it's great stuff too in terms of finger details. Be a pain to animate all this here. Taking this out. She slips. Whoa, that's your way to Simon right there. It's also great in terms of reveal. And I'm kind of stating the obvious here, but for you, again, as a student, for me, this is always like, this is for students as an idea springboard. What if you want to do facial animation and body mechanics? This could be your sequence. You would start here. You kind of have a fun, big exaggerated take, which then reveals someone else contrast, different expression. But then you have the pool and it's changed into a big expression, right? You already have kind of the weight in terms of a pool. And then you have this as a reveal. And now you can go full body, full silhouettes. I think that's cool. Also need to see it's kind of like the extent of the style in terms of sounds like a smear motion blur. That's not, it's not multiples and it's not crazy, but it just has enough stylization there. It's really nice. But yeah, this is your really nice broad weight assignment pool silhouette shots. Great. That's such a great walk. Look at this. This is where you want to go frame by frame. It is paid. And then that's so great. Like this is well animated, obviously, but look at this. How long is this shot? Let's go back and here. So much fun. I will probably add another second. If this was a student shot, just so you can finish and show the settle. Like so your weight comes to a stop unless you want to cut and then do it in here. I'm going to go on the close up shot, but again, not long. It's great because asymmetrical, right? You've got your steps here. So you're going to have asymmetry in here because you're forced to do it because of that elevation change. Farmer can't close your going down. Again, you can have weight. She could even be always like this, right? Where instead of pulling up here, it's almost like you can do leaning over, pulls back. And that's when he already starts running. And then you can see that she would come back to the fall. And he's already down there to then hold her and push her back so she doesn't fall. It's going to be a nice tweak of the shot in terms of a weight assignment for any kind of students or for myself. Now I want to animate this. Then I'm going to scrub here a little bit. This goes into the setup of the shot. Hello with this though. So well, this is the bad guy, right? This is the trailer, the bad guys. He was told what a good guy. Now the instinct of the tail wag is cute. That's actually a great example. Just before when I said this, when the arm goes up, right? Influence the shoulder, chest, a little bit of the hips and the head. Same thing here. Got the tail that comes out, tail swings over. Well, it's going to pull the hips over. It's a perfect example of body mechanics. And it won't just be the hips. Because if the hips move, it's going to affect the chest. You can see how much the chest moves here. Even though he rotates up to go, wait a minute, that's like a rotate up in terms of realizing something. There's still an arc this way. It's still pelvis, chest, head in terms of how much it's being pulled over by the tail. And he got the dangling arm. So now they're just kind of the pendulum swinging back and forth. I think that would be a great example for students to look at in terms of body mechanics, like one body part affecting the rest. Then of course, we've got a really nice, fun, snappy one frame for the head, popping into this pose to the nice asymmetry. Super clean silhouette. That's great too. Trying to grab tail. Oh, so many great poses there. Come on. Okay. So this is, this is a longer piece, but still you can start with a fun pose. Again, there's just enough asymmetry, right? Just enough, even if just the hat gives you some offset there. Then you have mechanics here for fun, your entertainment value. And then you end with a complicated shot where you go, whoa, that was cool cut. And the end of your reel. So good. So good. What is this guy doing? Mostly watched him. Nice. Oh man, this would be something I would love to animate. This, I know this is silly, but I love it. I love props. It's great. So you can see that this, the impact here, super fast knife. Some nice little shapes there. It's great with all of this moving. It's got big chubby cheeks. Look at this. Look at the cheeks. All this is moving. It's great. I love it. That's fun. So many great moments here. Even this here. Even that has a slight lean over. I'm just noticing, it's the asymmetry, right? Different lean, overall body lean, elbow higher here, just for any students. Because that's, unfortunately something I always have to torture them. Like whenever they're done with the animation, gotta say, push it a little bit, bring in some asymmetry, make it a bit more organic and less default Maya rig. You know, that's, that's too vertical, too horizontal. Just give it some more organic asymmetry feel to it. I say this and this is fairly symmetrical besides this. Little change in here. It's a little bit lower than here. It's like it's subtle. Great. Look at that. That's your character posing right there. That's a great pose. Details, details. That's the lair. Cute. Man, this reminds me of, is it Celeste and, and Clementine? What is this? I'll Google it afterwards and try to bring it in. This reminds me of another character. So cute though. Super appealing. Didn't see these guys. Look at that. Question is why are they not used to animals walking around? Why is he freaking out? Still super appealing. Yeah. Love all these designs. Love all this. The cloths. Great costume. This would be your moment as a student. Okay. You got a take. I'd be like, huh? Then I would write down how many frames. Oh, nice. You got your closing of the eye with a little bit of a move down and then back up. Ah, it cuts out. I would love to see more of the eyebrows. But that's what I would do. I would write that stuff down. That's what I say in every animation analysis. But it's true though. So appealing. That goes back into the big, big shapes, especially again, asymmetry. Like as you move over and bring that whole thing over there. I think I mean the mouth shaped it up. That's great too. I'll look at the knot here. That'll be a little squash and stretch on the steps here. Boring. Even here though, even though it's twins, there's still a change. My students are probably going, yeah, but you would say don't twin. I know. I know. Like a lot of things that I say in terms of twinning and stuff. You still see it in movies. I think she has somewhere, maybe a patent already forgot, but she has a moment where she has a twinning pose. But then how she gets out of it is fun. I'll just keep playing here since this will be like a 50-hour analysis. I'm only halfway through. So great though. Again, that's your different walk before, right? But now they're all grumpy. They've been arrested. So that's your, I gotta go back. Hold on. Where was it? Let's go back. Let's go back. Let's go back. It's when I lose all my viewership here. Look at that. That's your walk right there. Certain attitude. And then that's your walk right there. Same characters, but different attitude. It's great. Two costumes come on. Let's move forward a bit. It's awesome. Ah, here, there you go. That's what I was saying here. So you have this, goes up. There's still asymmetry, right? And the height, still offset. That goes, fa-pa! Fairly symmetrical, right? Pretty much. So that's maybe, you know, where the head is positioned. But, but, when she's done, love this. That goes down first. Definitely an offset. Now watch this in real time. Huh? It's cute. I love it. Yeah, that's great. And this goes back into big R moves. Look at how it influences the rest of the body. It goes up. The body goes down a bit. All influences the rest here, even the tail. So much to learn. Holy moly. Look at those rump hoses. Yeah, it's so great. More! That's your classic cartoony with the guys leaning back. I love it. Head forward. These are great. Yeah, I love, love, love those eyes. Just having that outline all the time. The black outline there. So cute. Great expressions. Oh, the squishiness of pushing that in here. So cute. Like, he's stylish and cool. And at the same time, super cute. Look at that. That is nice. Your arc directed spit. Back into awesome facial shapes. Man, that's a painful shot. Whoever has to do this, I feel for you. This great pose there. I love how she just turns. You gotta keep that contract everywhere. I like that she looks at him. So much awesome stuff in here. I just keep going. Yeah, lots of really fun poses. Nice. Nice pose as well. She's so super appealing. Great. I love this here. I want to go see this for my friend. This! Is this animated? Okay, so I want to see... Is this a map painting? Or is this animated? Is it an animated map painting? I don't know. I see a rotation there. Are these individually placed rigs? Or is it a map painting with animated meshes? I don't know. I don't know. But I feel bad if that's an individual. These are all separate rigs. That's what I wanted to look at. I wanted to see how they... That's cute. The reaction on them. Watch this. Yeah, super cute. Once you play this in real time, you can see all the stuff moving. They all react at the end. I feel so bad. Whoever did this... I feel for you. It's a lot of work. That's cool too. This would be again for a bottom mechanic shot where you're implying stairs, but you're not showing them. You don't have to do the footfall. But you can show in the rhythm of this. Watch her. We get it that there are a couple steps and then she actually walks straight. So there are only a few steps. But it's still nice in terms of contrast where she goes lower. It's almost like after she said it, because she goes lower, the audience can go back up to him. Yeah, she doesn't exit, but she could go out here leaving us with this. So you have a nice little change of focus of character, implied steps and weights. I guess one of the themes is cheat and not showing things. Animating less. I guess I'm all about animating less. It's a great deal. Nice silhouette here. Color silhouette front of the dark front of the light. Yes, so much great stuff here. These are always great shots for like quick takes and facial shapes there. Oh, love this. Love all that. I love the mechanics, the dynamic of that car, the little jitter there. To this. Oh, we can see the eyes at the end. Look at this. Yeah, super cool. Love all this. The look and design is great. Love this here. Such great shapes. It's so great. That's cute too. Oh yeah, when he eats up all the other ones. The spoiler. Love this though. How he gets into this. Watch them. The giddiness of the up and down. So great. Again, I guess asymmetry again is the thing. You know, just that, how the arm is over and here just little pause there. Fingers. So great. Love this here. Love his excitement there. Again, what a pain. I won't have that. It's so cute though. Look at those faces. That's great too, though. Look at how long this shot is. Because that's very short. I'll make it longer for a student. But what I like about this is the this squishiness. It's a challenge to push your character against whatever a door, a wall, whatever it is, right? And then talking. So you still want to feel the contact that this doesn't move too much, despite this moving, right? So this arm is going to influence everything. But you do have pressure where this section is not going to move too much. I think that would be a really fun challenge for a shot. This is for me again, reference in terms of how much stuff is moving here for your extremes. I'll just put it in my folder. But yeah, this would be an interesting challenge for a shot. He's drunk from eating all this. The unicorn just go up. Yeah. He kind of blows it up like hair. Great post too. Look at that. Love how this guy peeks in. Yeah, so great. So many great moments in his trailer. Love it. Crazy town. Not a crazy car shot. So cool, though. Even then, at the end, if you ever see them, felt like it. That's great. I'm just looking at old school knobs. I mean, this would be your shot if you're starting out, right? This would be a nice quick shot. You got the compression on the fingers. See that? Even at the end, a bit of a longer squeeze because he just pulls that up, but then it still has to hold on to it because of whatever return, whatever it is. And this could be your shot, right? If you start out a company, it's short. Someone's got to do it. Still well done. Nice. Nice poses there. Definitely going into more graphic style here. Nice. Whoa, we're going from land, bam, to run. That's pretty cool. That's something I need to practice. Really push timing changes there. So great, though. I love, love, love those designs. That art of book is going to be on my list for sure. And that's the end, right? Yeah. This is fun shapes. Yeah, that's great. Holy moly. What a bad guys. When is this coming out? April. All right. Four to five months. Yeah, super cool. I love it. Very, very cool. Well, that concludes it. That's my half hour analysis slash reaction, whatever you want to call it. But hopefully helpful to students, I always try to pick out some shots where I don't be like a cool shorter shot to animate. Because the thing is, students, it is something that was ranting about before actually my previous clip where you gotta, you gotta put in 110% and blah, blah, blah, blah. But I think this is a great example of you can take on shorter shots, right? Could be even something like this. This could be an interesting assignment of mechanics. Something's being pulled and then affects the rig and the rig is holding other things and they have some overlap and influence, right? But you could do it like this where there's, it's just, it's fun to look at and hopefully fun to animate. So you can still break down a shot into smaller assignments like this, right? You don't want to do too much with the popping of knees, contact of feet. So you just cut it off here and imply that there are steps so that there's weight. And I think that can still make for a fun shot. I would still highly recommend to pretty much every student keep your shots short. This doesn't have to be, she comes out of here, walks up, does 180 turn, gestures, walks down and he does like a somersault back, you know, like a 20 second crazy shot. Keep it short. You can still put in all the mechanics that are needed. Let's go forward even something like this, like a head turn like that. Could still be fun having other characters in there. You mean like you can still break down a shot into shorter pieces to still learn the mechanics and the principles. So it's still fun for you but not overwhelming. Like this would be a fun like weight shift almost, right? He starts here, goes into that and that's it. You just do this. But in this, you still have the route go up and the relaxation of going down and then up again. You still have the weight of this and the compression in that. You can still focus on a nice leading pose and the line pointing to whatever you're going to have here. And you can still have a little bit of, I guess, even if I want to do some lip-sync in there. I missed that all of this. So great. Clean. Oh nice with the highlight there. Yeah, it's just there's so much you can, you can get out of trailers because usually trailers are, as I usually, but a lot of times trailer shots are cut shorter, you know, a lot of these might be longer. But even this, like I said before, that is such a great example of body mechanics and it's still fun to watch and you can make this a lot shorter too. This could also end here, right? What if it's just this, this cut? It's not overwhelming. It's super fun to do. You still learn a bunch of mechanics. Anyway, I'll leave it at that. I think, as always, trailers are just great examples for students and hopefully, as I'm going through here like a nerd, hopefully it's a springboard of ideas. I hope this is helpful. I love this trailer. Definitely looking forward to it. And let me stop rambling and I say thank you for watching. If you're watching till the very end, that's a longer clip as always. So thank you, thank you, thank you. Let's go forward to the title. The bad guys. All right, hopefully see you in my next clip.