 Welcome back to the animation analysis and this time I'm going to take a look at the full trailer for Raya and the last dragon. Very excited to watch this. I watched this once and a lot of cool stuff especially towards the end. Let's go back to the beginning here. It doesn't waste any time with establishing shots but before I continue, hi my name is JD and I do acting analysis clips. I do animation analysis clips like these. I do rig reviews, proc reviews, all kinds of stuff. This is YouTube. This is the pitch. So if you like that stuff you can subscribe if you want to or not totally up to you but that is that for the pitch. Let's look at this full trailer and again this is going to be somewhat of a mix of analysis and I can't help myself sometimes there's stuff to gush and it's kind of a reaction but it's not one of those animator reacts kind of overdone but I'm going to just follow along with this. This whenever I look at something like this here I always feel like all right this is a good shot for interns or someone that's new to learn the pipeline to populate the scene here but it's always good for contrast actually someone just submitted something in terms of my workshop wanted to do background animation crowds that you can see just the different types of walks there's different speeds and everything but I do want to go back to the very beginning here as we see her contemporary outfit and everything. Whenever there's something like this the reason why I'm trying to do this is this I'm a big fan of hand poses and I think if you watch some of my clips you know I'm a big fan of these and I always look at how do you get off of a pose like do you offset it by little fingers like which fingers are still there which ones do relax first so it's always interesting to see in terms of polish I love all that stuff. All right first thing we have here is baby speaking of fingers here you can see the detail but I was looking at this I was looking at the bounciness and how it kind of goes forward super cute with those little toesies cute cute cute they're offset in your pose or as always new semesters are starting for students so students if you watch this think of asymmetry in terms of even if you go out and it wants to go out with both arms you're gonna have some twinning but there's still a little bit of a change in terms of silhouette angles of feet even if you have twinning you can still offset a little bit but again twinning is not always wrong actually I just watched a kid not a baby with a kid when I picked up my kid from school a little girl was waiting for her dad and she also had her arms out like that and it's it's natural sometimes you just twin you want to grab someone under the armpits you are going to have a twin pose so twinning is always something in mirroring that you hear avoided but if you know then it's okay you have it in there this is an interesting little weight assignment that doesn't really have weight but I'm looking at this in terms of you're still gonna have a squeeze of the fingers going in and you're gonna have you can see this here look at the distance of that the hand and the arm here the arm still goes up because you're gonna have fleshiness and the cloth that goes up until this reaches here the shoulder and then it goes up so even if it's something light think about well what is the character holding is this something soft is something hard is it going to slide up until it hits an error that can't slide up little details but it's there whoever did this nicely done like that oh hey hello very oh what am I lifting here classic classic you got the face here of a baby and of course it goes over there cute is what I want to look at lots of little creatures in this trailer that's cute this guy distracting with food while the other ones are going over there and then it goes straight into your bouncing ball right you got your ups and downs it's your hang time you got your full extension and stretch curvature along the path and you got that even this look at that size I can't get there and then a little adjustment and jump cute let's look at this here for her nice also like this too she's going to turn but she's leading like hey she's about to talk to someone she is talking to someone over there then leads with the head then leads with the mouth almost pulling this way eyes going this way into a turn and then you can see the reveal of that and this is what I wanted to take a look at cute I'm always a fan of little creatures I can see they all behave differently little guy holding this you got that drag here in the hand nice curvature look at that nice reversal that's why I love looking at this here all over this look at that you can see the feets push push off this way and then curl full extension those are the little things I'm going to do a most common student mistake soon for an FNA and it talks about these details and effort like all you're going to go in there and go frame by frame and do this this is a slightly surface right so you're going to have the slidiness pivoting off the heel there I know this is extremely picky for five minutes in and I'm already frame by framing but this is very cool and I do want to take a look at this you got a soft little hat the balance is there it's great all right as much as again here what before I do you can see the stretch in the face and goes back up into a squash this section not as much nice got asymmetry in the face there there's so much to look at it's so cool oh and then we got a bit faster timing look at that let me go frame by frame got a kid here it's off of the grip right out of that nice stretch but still not super straight but you have a nice stretchiness with a nice arc super clean silhouette look at that one frame and it's great because we register this right the hold is so long that the motion blur is stopping so this is a very clean fairly non blur pose that we register if you play this in real time you see this you just see that and that serves as an anticipation into that one frame you don't need the grip and everything that's really really cool that's a tip for any of you if you do fast moves find a way to slow something down that we need to see so that the blur goes away if you're doing something blur so we have a very clean registration of that pose I love this here too change of the fingers into that great hand poses get back into a triangular simple form here for silhouette we can see this it's great she still holds off to that and oh that's great too hold hold hold on the face the rest still turns around and then one other one frame hold there and you can see that drag in the fingers right from where they used to be into this change in the wrist I love looking at that stuff you might go this is overboard but I love this look at that it's great and then very stretchy hey structure squash and stretchy baby there and you can see this on the bounce stretch out flattens and then elongates again even here clear pose without clear for the grab here into the that into her face as she goes back this is so great it's gonna be a long analysis clips holy moly I love this for um body mechanics right as she falls she goes down here boom you got that impact hearts hard surface on the hard hip here boom and then this falls down compression here and immediately wanting to go back and see this here straightening of that leg and then the push off here slightly in the shadows but it's there it's great and then the thing is this right she goes this way that momentum is there and then oh my face the face goes back but this arm still has momentum going to the left so it has a bit of a move this way before everything settles it's great and they've got that blinds whoa I'm just look at the baby here is done clean posing and so that goes down this goes down for a push off right so you got the right balance foot back there to push the baby off and this too you can see full extension full extension into a nice baby waddle and you got that'll stop here into that nice this fits this here and we got the compression right even it's a little little thing and a little thing here still has weight it's and it's going to take the arms down first was going to land on the hand and that on that hand here pulling the arm down first then the body and you got the drag overlap on the feet it's great love all this looking at this guy how he looks over first the both look ready to get out yeah that's great so cool clean hand silhouette here river did this back here calm baby you got your opening all the shapes asymmetry and curvature oh it's great here too with that little nice got facial shapes pushing into a squash and then cool you got that compression I'm looking at that stuff and I love it impression on the fingers this one is less a body mechanic see that's an expression it's not spoiler it's not then the teaser cute though seeing the the bounciness as it goes like this it's cute though has still enough weight it's so cute and light there into that roll they really don't care about any of this except this guy ah great that's what I want to look at there's lots of action stuff I would say not too much body mechanics but just lots of different body mechanics there's creatures and actiony things right you want to see this here great to have that in the mouth great too look at that baby that's cool look at that nice that's what I want to look at too when I was watching this this stood out to me you got all this bounciness here kind of foreground squash and stretch out I want to take a look at this here this creature continues or stops here right as the baby continues lands on the head squash is then full extension look at that nice nice lines here now baby's turn look at that face cool that's what I'll take a look at here yeah hold hold hold and then stretch into that hit where this goes back towards her cool that's cool too I love this too she still has the focus on them just watch this yeah yeah yeah as she does this she holds the focus and this is not distracting enough she has enough skills to just cut this away whilst looking at them it's cool so I'll take a look at that very specific hand poses there it's cool angle too that's line of action always a clear view of the eyes landing again I see this a lot in jump assignments right you get full extension on push-off and land you got an offset one leg but it's not a three-point landing nicely done that's a great one look at that this up out up that's a great one getting into that and then we got a slo-mo scene always a classic and animated features looking at finger poses it's too dumb all right doing something else here time has passed clearly they are gonna be friends she caught up with them cute I'm having cutesy creatures but the thing is you know if you have your shot you still have to make these all different timing wise attitude wise posing wise they're all just different enough it's cute it's a good reminder even something like this all right look at time good walk there good attitude there's a cool walk afterwards when she takes the hat off and everything so I'll take a look at this this is less analysis but me looking at sets where are we going to be that's cool you saw that in the teaser same with that this is new cool cool renders hold on then look at the face I believe this is cool too the reminder you want to hold those m shapes or b shapes or whatever you have where you have pressed lips this is not like rolled in but enough that you hold this over one two at least two frames and you can see this and then it goes in right if I take my scribble away you can see how that lower lip goes in and this is like compression if you do a lip compression over one frame you're just going to pop I was always told and I've always followed this to hold this for at least two frames and not static the same ones you still have some compression it's still going to read and then you can pop open into that you can see how much this opens here jaw opens pulls this down pulls the shapes down to here yeah it's a cool reminder you got your movement even in these corners get a slight arc this is classic let me just look at the lip sink I haven't actually I have sound on for myself if I look at this here it's fairly in sync I'm saying this just because in live action when it's a shot like that I'm going to destroy every movie for you or TV look at the characters that are talking but over the shoulder and blurry the lip sync or at least the jaw sync is always off because they just pick you know whatever is the best moment for this character but I'm telling you the lip sync in live action always off because the edit is just focusing on this anyway all right back from the teaser your transitional into that there's more story stuff there oh yeah yeah cool to see that revealed actually in this trailer this is also not to be underestimated see when I look at this here you might go okay if you animate this you see nothing right it's just this big silhouette character goes down and goes up now as an assignment I will probably give it more light you see a bit more of the chest and the hip relationship and all of that but that is still an interesting short clip to animate as an assignment if you're students right so when it's tall there's something below how do you go underneath is it too narrow is there going to be an underneath ducking plus a turn a bit 90 degrees to fit through this and then back up into a stance where you know your foot is back there takes a step for the character to be all straight again so that is a good sidestep half turn sidestep again settled again just throwing it out there for students it's common I'm very guilty of this too to do shots that are you know 10 15 30 45 seconds if you look at my my old shots they're always so long this is a great shot on the take to learn bottom mechanics but anyway ooh I love this here he says here butt kickery but I'm looking at the accents in the head the left and right but also how that is in the body and you can also the change in the fingers how there's a bit of a squeezing in there watch this again but kickery not to be underestimated it was also very common in lip sync for students to just add this if you watch my clips you know I'm always harping on this but it is true it's a lot of times just you add lip sync and that's it but when he says but but kickery you know when you hear the kickery those shakes those accents that is also reflected in the head and the body and it doesn't always have to be like this but it definitely helps to connect this I think that's definitely underused and not done enough in student shots and also actually look lip sync kickery it's nicely simplified you don't want to go too crazy in your shapes in your jobs otherwise you get the chatter even something like this really cute look if you just look at the length of this right boom that's it so if someone goes I want to do something about the mechanics I would say well this is complicated because you've got three creatures in this but it is an interesting setup what if it's only one and you can do a bit of a cute you know mechanics for a creature which is fairly human at this point right but this is an interesting wobbly balancey body mechanics moment doesn't always have to be just a classic jump up and down or from A to B cute too with that shape there leaning all over this way it's cute definitely pushing your symmetry there without your squashiness here and then your stretchiness here nice finger poses into that love all this here all right this is from the studio I brought you Moana looking at footfalls not that much to see but then this here nerding out let me see yep yep yep we got a little bit of a detail in the fingers see that as they go back you have to wait on this and then pushing a little bit on that it's a short shot though but even this to me is interesting right when you do a body mechanics doesn't just have to be a step forward on that you can push this where it's a bigger lean where this pushes this more where you then have shoulder up and then the head go this way for balance oh back from the teaser yeah that's what we saw last time you check out nope actually that's someone else fighting that's not her yep yep yep that's a different one I can't wait for the action scene of this movie I'm going to fill that out there it's gonna be great more creatures more lambus bread squash stretch great it's cool stuff too all right seems to be the bad guy all right seems to be antagonist and frozen more lambus bread short shots not a lot to look at but this goes almost back into someone has to go somewhere and has to go lower or push something to the side still an interesting side move for mechanics I like this here this goes first and that pulls the hair over and then she reacts to it but still has this higher everything gets pulled this way so she gets also pulled up that arm higher then we get to this and this is the meat and the potatoes I want to take a look at that people are right there on the push then we get to see the dragon there we are the reveal of the dragon cute design too nice finger poses actually I'm doing finger poses right now and something I can talk about it of course a finger library hand library I'm looking at all of that but my character has less fingers this is your IK move I just did an IK thing where it's very tricky when you have the rotation of this fairly stable I know if this is cloth or the elbow going in and play this I don't know it's cloth or the elbow as she strains the arm that gives you a bit of a disconnect there oh nice now we get into detail speaking of hand poses oh it has the same amount of fingers that I'm doing spider but I'm not saying who so don't get me fired you can definitely get to see the squash and stretches in the shapes this is always great it just feels looser and more organic to have that right you pull the jaw down it stretches the face bring it all up and you bring it out again through the cheeks you don't want it to be like a water balloon all soft in the cranium in the skull you still want to have enough squashness through there then you can see the shapes cute the pinchiness on the sides somewhat mirrored here it's a great performance I want to play this in real time love all this again this is for me nerding out on head accents and movements right holding this together and stop with the overlap there on the head she says the best the best dragon to stop you know even this from this now she says dragon right the best dragon it's that you don't want to stay all the time of course unless it's warranted like for her or she goes wait what it's like a very slow what but it's just head accents I'm always a big fan even if just like a longer prolonged tilt this way into then changing it at the very end just for contrast that's great too this is great I love all this for me I was looking at this when I played for the first time the uh the push off and just those exaggerated toe finger poses and then the impact boom look at that you got the jiggle in here it's great also that move up and hold right uphold step and steps on knuckles or is that pushed out there let me see on the other hand doesn't do it no no no fingers out it's really great though how long is this shot let's check this out right ready and that's still pretty long it's going to say ah it's not too long no no that is longer but it's great in terms of and I left the sound on demonetized probably but it's great I love all this how that impact brings that up because of the push of this leg then you got the softness of this here and that it'll hold and a little bit of a little gesture down there while this still takes a step with offset you know rotate it off pause it doesn't go flat default I love all the jiggle here that quick turn I reverberate to here especially here again watch that bam accent through all of that jiggle so good who animated this so good love all that one leg up and a quick drop into this again this goes first I say again just always think about what I tell my students or the shots that we looked at when you have to think in terms of the weight right this is going to be somewhat heavier than this lighter than this how they stop and which one stops first where is their drag overlap nothing settles at the same time so great no lasting with the tail coming in this would be something also for someone who starts off I would say at a company right here's a shot couple rigs couple poses not much to animate but bake to pose out they all have to be different it's cute I love all these guys she's different different different different obviously they all somewhat shocked but this would be a great shot to start with a little bit of a moving hold and all of those with a little bit of the compression the shoulders great all right here we go time for the montage stuff right all right gonna have your offsets in here too even this here you got your contrast of height I don't know if it means it's always in terms of shock composition right you still have to put in all those characters you gotta look at variation to the not all super straight unless that's the point it's like some clones army or some robots but you can see all the offsets there you gotta think about that cool shot by the way clean silhouette really cool look I'm really looking forward to this it's gonna look fantastic yeah there we go face off also lean that's something else again all the students are gonna be tired of me saying if you're students but you know if you're talking it goes back into don't grab your character right who's in the default this is the horrible thing but head arms out default pose right your rig pose and you bring down those arms and that's it sure but then what's the attitude here right there's a slight lean you got a little side tilt of the head you could do your whole lip sync like that that's already an attitude cool little tiny detail things in the head in the eyes here well that's great that's cool too cloth at the end though but it's kind of a neat what is she going to do it's kind of like an anticipation before the visual reveal just a little clean silhouette in terms of color it's great slight reaction on here not too much there's slightly more work than her aw neat look at that look at that sword love all this that's when i go frame by frame look at what you can do it's a good reminder too if you weren't going to feature right you're still going to have blur you have to look at well some things you're not going to see that clearly so sometimes you're going to have a clear silhouette because the blur is not so pronounced because the movement kind of ends then you can push that pose nice offsets in the fingers that's cool too in terms of body mechanics like that coupe bar mechanic shot right again right you have someone holding something and then this is getting pulled well it's going to pull this first it's going to rotate your wrist and then it's going to pull your arm and at one point the arm can't pull more unless you dislocate it from the socket there so it's going to pull and rotate from this side the chest and then the root follows how long is this shot cuts out soon you can do a bit of a continuation with maybe a one step forward a couple seconds that's your body mechanics shot right love all this and then you can have a little bit of a surprise moment whoa what happened not too long i mean the academy semester is going to start in what two weeks ish something like that i will definitely show this or at least talk about this that would be nice short shot to do cool yeah now we are into the action montage you'll have leans to the clean silhouettes look at that that's cool i love this this was really cool and watch the first time i love the energy of craziness going this way a more determined different speed the other way and especially here all of stuff like that she's very locked to the camera everybody going this way she goes this way foreground elements as a wipe into this all of that stuff cool little handheldy actiony moment there that's great don't underestimate how hard it is to do i mean walks in general hard but downstairs i like this here as she throws this off just opening up it's great too and we go fighting i'm still here looking at poses before the fight also again the lighting helps for clean silhouette that's cool definitely see you pushed facial shapes there i say i'm going to be critical in live action mo cappy things it's never pushed enough i know i'm critical here this is push i like this but always feels not enough in live actions cg characters gotta push it gotta push it oh great little moment of and ready to go as well all right text not gonna critique text here yeah yeah they're back they do a lot of staring in this all of these cool cool that stuff to go through frame by frame once you have this here you go all right well what i'm going to do is do everything very clearly in terms of silhouettes with that type of angle and lighting just asks for it see that's what i'm going to look forward to those fights that's cool with weapons hand to hand you can see here the i love this too all of that action going up and turn while the head still stays focused this is always cool those moments of a slight glimpse of nobler face look at that it's cool i like it more action stuff to go through got your squash and stretch bouncy ball here i'm going to say it again if you are a student watching this this is just like a bouncy ball we character you should never skip over a face oh that face i love it here it is again you squash stretch squash again that's a lot of action there how long is this shot let's watch this also cool to animate oh it's another one lots of characters you gotta go all right i gotta make these all look different all the poses what the paws are doing these are cool though i like these it's very serious always very serious that's cool oh we get to see what she's about to do here even in this here watch out ready and you can see that slight change as during goes down right you got your ready clean pose no blur massive squash here and then goes over but then as she goes over here you got that up hold and then lean down right rotate with this side into that turn watch this in real time and get a little bit of hiccup there as in a good contrast what won't see that and it's very wonky here it's not just i'm gonna animate that but it has a little bit of a hold there and then down just even shots like these quick moments i mean this could be longer in the movie obviously but think about contrast it's not all repetitive or even my friend through these mouth shapes tricky to find free rigs or impede rigs that have nice appealing facial features and mouth shapes there that's always tricky to do again say it again i guess this trailer analysis is student suggestion analysis contact right you got one character it could be both tall both tiny one tall one tiny whatever but arms out compression another arm more compression how we want to do right picking it up or just a squeeze or but you're going to feel this in the chest in the shoulders in the head you can see this here all those little things you're especially close up like that but that will be an interesting body mechanics shot too it's cute little snuggle there with the head oh you'll stretch there in the neck again they're all very oh that's their moment in the trailer all the time very very surprised that's cool well like that it's cute again i love the body mechanics of this dragon it's very cool so much action i would love to hear uh comments from the disney animators who did this like how intense was this movie in terms of mechanics and things to fall in terms of arcs to pain all of these guys are still clean arcs you know i've got no hiccups there nice got your hand post clean in there in terms of silhouette lots of hand poses here even this here look at that up and then into this and hold a little bit of overshoot watch this again even if that's just the length of your shot you still got it look at clean posing and nice arcs it's always there i torture my students all the time when it comes to arcs it's brutal this was great i love this too a little reaction there too closing eyes going back even something like that a bit of an arc in there that reaction with the hands clean silhouette nicely done this was great a little moment of down squash a massive squash but it's that thing of a take at dissipation going down to going up into that and it was nice with the hair sim falling along there look at just the head accent there as she goes down right when plays in real time afterwards up says this little thing but then quickly goes down and then over it's always like she still has the like the dragon looks of the head turns and all that watches again ready curious to see i don't know if that's going what's going to happen but you know if like a long body with the head like you know a bit of tail that's your dragon there might be a lot of leading and driving the motion through the head and i wonder if that's what she's going to do as a in a human form if everything is always leading with the head this might just be right now just because she's looking at all of this but i'm just curious once i watch the movie is that going to be a character thing of she still moves like a dragon limpy hands you know like paws you know you little butt wiggle it's cute i like it also nice always looking at this here for you as a student i'm saying again again is the student analysis screenshot every time it's something cool take a screenshot make a library of those poses or whatever facial poses you have i tell the students every semester you got a point like that it's a great frame to it that's awesome love that one but you know holding something let's go back or just that nice triangle pose there right simple and clean so for you as a student i would look at trails like these or movie moments whatever movies you have you know different ways of having a fist or holding fingers together how is she holding this with that index out and these in for me it's always mental notes and then screenshot this put this into your folder and that will be your reference like how are disney animators doing this if you want to animate something disney style that you have to stick to specific styles just appealing hand poses in general but something to look at and always remember the last moment of squashiness and then not in theaters for me probably i can't wait to watch this either way cool to see some theaters though but march given the current pandemic i'm not sure i would watch this at home but anyway that is the full trailer but again you're holding right you got hands together just going back to what i said before in terms of hands right got this here how they get together so not just a screenshot of the pose but what happens to the fingers as they hold something as they grip something as they let go of something right again this is your one way index further out this is contrast this is different than this screenshot take note of this you know something like that as you curl out your hands is a massively with the thumb and then the rest follows and then again the thumb goes in first into that so that's what i would take out if you're a student look at those moments of well if they blink let me see is there a moment where someone just blinks let me actually pause this you don't have to watch me scrub all right so you don't pause this and you can see how you have a slight ease in right just with the upper part here and then it cuts a little bit into the pupils then it's slightly lower not in the middle get your compression a little bit right almost not fully closed and then you ease out of that then you open up but ease into this also with the eyebrows there like that's something i would look at this is kind of like a a you know shocked home it's not super fast like something is splashing or something in front of him that's kind of like a a quick blink so that's something i would look at where you have blinks hand poses and then take note write it down how long does it take there's actually something here i thought was really cool when you look at again head accents but also eyebrows let's watch this again this in right when she goes that one kid she says that one kid and pitch in pitch in the pitch has that that little pitch in so when when she's saying this one thing a little pitch in there's a little higher note there just in the voice in the energy and in the not the volume it's just how she says it and you got that extra accent there and you bring that up with eyebrows a bit of stretchiness in the whole face and there's a little bit of a a little bit of an accent there to pitch in still with an arc i would look at this how do they do that or i darts right one frame with this amount when do you want to have more this is kind of like a half blink again it's okay to have half blinks look at how are they animating this what are they leading with with the head for certain moments like this and how it's a nice arc at the end there look at this that goes over this way stops and then corrects over this way and then you got the one frame dart again a little bit of squeeze there just stuff like that you got a little bit of a dart for this with a change in the lids so stuff like that this is why i do this and this is what i would highly recommend that students do where you just go through this like i said look at how are they doing asymmetry in the poses general variety and contrast imposing once you have multiple characters how are they blinking is it you know a shocked blink it's an entire blink is it you know a bored blink you got a bit of a you know quarter blink or something like all those things i would look at write down analyze make mental note write it on whatever you do right to learn there's so much you can look at walks like i said attitudes and leans and start thinking about that as you do your shots but anyway i'm gonna leave it at that this was really cool to see can't wait to watch the movie but that is that for me for the analysis thank you for watching if there's something that you like feel free to subscribe you know the pitch here look at all my stuff if you like this don't want to miss it you can subscribe at any time you don't have to but i would love it and i'm gonna leave it at here thanks for watching and i will see you in my next clip