 Welcome back to another animation analysis, and it's actually not going to be one or two, but since that was announced, I actually want to show a shop from 101, and it's this one. Let's go back here. I'm going to play it in full, and it's something that I show to my students, the academy or mentor, or even like workshops. It's just an example that I bring up for body mechanics, pantomime, weight, contrast, and a bunch of stuff. There's so much going on. It's like the, what is it, the unmovable object and the unstoppable force, almost, anyway, something, something, but a couple things. A contrast, even though not that much higher, but you know, there's a massive contrast in terms of size. So that's already interesting. When you have two characters, I often suggest make sure that your characters are not similar, obviously, unless that's the point of the shop. But in this case, really big and heavy, not so big, not so heavy. And the objective of, I want to pull this person, you know, then it needs to go somewhere. But it's, that person is so heavy. So this is also a weight assignment. So weight assignment doesn't have to be, you know, a box and a character is lifting up a box, like the classic assignment. It can be a pull like that. It can be a weight assignment where you have this, right? The pull of something pretty light. The lifting of something pretty light, at least to this character. You also have really, really nice clean poses of how this flows into that, her, the eye line, then really nice reversals. You got this line here and then into that is such a great pose. But also you have environments, right? So it's not just, we'll have to pull and that's it. It's pulling on, on the sandy beach. So she's going to slip. So that's already adding something else on top of the kind of the general assignment that people use our students where it's just kind of like, you know, like your geometry polygon and someone is in an empty room, something. I'm always a fan of putting your character to something and that surface is going to change what you're animating, right? This could be slippery, sticky, swampy, really hot, whatever it is, right? But that's going to add an extra layer. Also like that, another objective is besides pulling and, you know, not getting anywhere with this, trying also to grab something. So you have, there's an objective, there's also the obstacle, there's so much going on in this. And on top of that, you got the weight contrast, not just size, but also weights. And then also body language and pantomime and lip sync, right? She's, she's talking, but because this is so small and screen and it's not, so if you zoom in here, it's not like this is the shot, right? I don't even know how much you're going to frame here correctly. Oh, something bad. So imagine if this is your shot. Yes, you can definitely do more. The drawing tool does not like zoom in stuff. Anyway, then you can really emphasize facial acting and so on. But since we are this far out, it's all going to be about body language, the posing, the line of action and broader facial changes. And this works really well with characters where you have really big white eyes. You can see the screen thing is really obvious. The tired look is really obvious. For anyone that is asking, well, what can I do for a shot? And if I bring this up here, you can see that this is, it's actually, I stopped, cut is here, right? So we are around the nine, a bit more than nine seconds, right? Am I starting at zero here? So oftentimes I suggest stick to like two to three seconds when you're a beginner to just do a weight shift, someone taking a step, maybe sitting down like something really short just to get the body mechanics working. Three to five seconds when you get something a bit more substantial. But again, you don't want to do too much because there's just so much going on in terms of mechanics, you're just going to overwhelm yourself. Then you're getting into the five to seven and seven to 10 and so on. But oftentimes, let's just go ahead anyway, and they do a 10 second shot. Now this is everything you can do in a 10 second shot. So if you have a lip sync or a pantomime, you want to combine things. If you're at home, you're doing your own shot, consider something like this. A, you have audio. So you can do lip sync with one character, lip sync with two characters. With this, someone is talking, you have a character listening and reacting. So that's already in terms of the lip sync, the usual stuff that you want to do. That's pretty awesome. On top of that, you have, you know, with this kind of framing, really, really nice opportunities for really broad posing because you're going to be broader in your posing face and body because it's a wide shot. And you can see this again in this really nice clean silhouette in here, into that, that there's so many clean poses in all of this. It's so good. I love this. Love that little offset in the feet here. And you also have kind of the build up of, I want to try, try, try, pull, pull, pull, pull. And then you got the contrast of like it builds and builds and builds to this moment of silence here. And then the extra button of humor of lifting her up. And I love how she's reacting, how she just kind of stops. It's such a, such a great pose with that just kind of dragging in her face. It's so good. So if you are already doing 10 seconds, then you can have, like I said, lip sync, you can have body mechanics of a pull, push, grabbing, lifting. And there you go. So there's a lot included. Of course, it is also going to be a lot of work. But I think something like that for 10 seconds is a lot more interesting than someone who is, you know, waist up usually and having gestures with one arm or maybe even two arms. And that's for 10 seconds where there's not much going on. Like the character is not moving left and right or turning around or using the space. So unless the performance is really, really good, which there are obviously a lot of examples where it can be really good. For instance, this shot, right? This is just upper body. And it is what you can, this is a longer thing. And I can post things at the end here. You got the website, definitely check it out because there's a whole breakdown of performance and everything. But this goes from what nine to so it's 10 seconds. It's still a really, really good shot. Also this one, even though it's just five seconds is an animation test, you can do a lot with really nice changes in the body and expressions. Like obviously you can do a lot really, really well in five to 10 seconds with not having full body, two characters and so on. But for students who are learning, I always highly recommend to do things to push yourself where you are thinking outside the box and you might not have a good grave because you do a lot of mistakes where contact points are tricky, right? Weight constraints, same thing here, right? Just the pulling of this. You got interaction with this, which is really complex and interesting. Again, constraints and weight, not that you would do the hair and stuff, but you still have to work with props and all that stuff. It's not easy, but I would suggest do something like that where you combine all of this, where it can be tricky. Obviously you would have to ask your mentor, your teacher, is this okay? Am I not doing too much? If you are really not qualified in terms of doing this in terms of experience, like you just, you just barely move the biped and now you're doing two characters and this is too much too soon. But if you are in a good spot to do this, I recommend to do this because it's going to be so difficult, but because of that, you're going to learn so much and you learn so much through failing and making mistakes instead of keeping things simple. It's like totally unrelated, like a shot like this, right? If you're in creature land and you do something like this, this is so much work and it's really long. It's really complex. You got camera work and everything, but I'm sure that the person who animated this learns a lot. There was a lot in terms of feedback and figuring things out for creature, you know, observing things, biped, creature, two-legged things, interaction, as you can see, this camera work and so on. And this shot, we're at the 29, let me see here. This is 31 seconds long. This is massive. Now, does that mean you should always do something really complex? No, this isn't all the clip. Actually, I don't know who did this. I apologize for not crediting this person, but see that there's a bunch of stuff that's not animated just yet. You mean like the dog has no movement in here? It's still simple, but especially as you keep watching, there's a lot of contrasting. I'm going to wait for it. There you go. Creature work, pulling weight, the surprise, entertainment factor, there's a lot in it. So it doesn't have to be crazy, crazy camera work and something really complex, but I would still say I'm going to do dog and see how it goes. And then just because you have to study four-legged creatures, look at the reference, but still push in terms of mechanics and posing, line of action and weight. There's still so much that you can learn from doing something that complex, just like this shot. Love, love, love the shot. There's weight and balance of like the weight transfer, turning around 180 with some pantomime and proper interaction. This is so great. There's so much that's awesome in this shot. Again, same with this one, same with this one, and going back to this one, so much awesome stuff. So if you are in an environment where you can push yourself and it's okay, you know what I mean? You can't do something that's crazy and it's at work and you're going to fail and the shot is not delivered on time. You know, they can't shoot to the client. There's a lot where you have to be really careful. Obviously your leads and soups are going to help you in terms of casting the shots and so on. But if you are a student and you're going, I want to do a, let's bring this back up here, 10 second shot. As you can see, nine second shot. I want to do something complex. I want to push myself and I want to include as much as possible for whatever reason you're adding all this to your list. Like I said, facial pantomime, lip sync, contrasting, scale and weight of characters for weight. You have a weight assignment in terms of a pull, right? Different kinds of pulls in a way. You have this, then you have that different kind of pull where it's heavy and now it's light. And then you have another weight assignment with lifting and so on. All of this with just a really fun usage of space and posing. Anyway, I think I've said enough. I love this shot. It's one of my favorite things to show. And hopefully this was helpful and hopefully this sparked some ideas. Obviously do not copy this. This is all here just for an idea, creation, usage, utility, whatever you want to name this. Anyway, that is that and I'm going to leave it with this moment here, which I love. I'm looking forward to one or two and probably in the future I'll do some analysis of that movie. And until then, hopefully you'll stick around the channel and if you want to subscribe, if you want to miss any other future uploads, it's totally up to you. And that's that. See you on my channel.