 Welcome back to the acting analysis and tips for animators and today I want to take a look at Old Guard on Netflix. Today's sequences are going to cover character introduction, reaction to the characters, composition and staging between characters for lip sync or not using lip sync. So all kinds of things as always, but before I do that, if you're here for the first time on my channel, welcome. My name is JD and I do acting analysis clips like these. I do animation analysis clips. I do lectures. I do animation news, rig reviews, product reviews, all kinds of things. So feel free to browse around. And if that's something that is interesting to you, feel free to subscribe so you don't miss any of my uploads. All right. Let's go straight into those sequences. First up, we have her. She is needing a couple of things and she realizes she has in her that something is wrong and she decides later on to help her. But the thing that I want to show you is this. As she looks at her, you can see this is I'm exaggerating the moment. It was it's not quite there and it's very subtle, but you can see a bit of an opening in the mouth. The jaw opens as a slight change in the shape here. She looks and to me, the way I take this and this is something that might be useful for you is that you don't always have to have lip syncs for your character acting. So if you're not really comfortable with lip syncs and you want to do some pantomime, let's pretend this character is doing something or anything that will provoke a reaction from this character. And something that's a lot of times overused in pantomime, especially if you just do body mechanics is that you can have a moment where the character will open them up. Wanting to say something, but then doesn't and you can see this here how there's a difference between this shape and This shape here where she decides for now. I'm not gonna say anything So you don't always have to have lip sync shot with audio to your lip sync and body mechanics shot where you destroy your body mechanics How you move a character you can have a pantomime where it doesn't have to be full body gesturing and doing all those sometimes a bit too exaggerated arm gestures You can do a pantomime where it's just the face and it's exactly that where a character sees something and they go And then don't do it But you play it with the eyes with the idards the thought process wanting to say something opening the mouth and then And then deciding not to do this and then moving on with whatever the character's business is So it doesn't always have to be lip sync Frame like this body mechanics pantomime full body You can do a pantomime with the face only and show the thought process of the character deciding to do something or not to do something Then it's about character composition and staging I think that I like here is that clearly on we know this character is this character And you don't quite need that if you would start your animation job What's intriguing to me is this is that you could have lip sync where this character is talking And you would see maybe parts of the jaw moving there might be some emoting with the shoulders Maybe something with the hand here But the freedom that it gives you is that you don't have to worry about the lip sync Because you can't see the face and it's all going to be about this character and this character Reacting to the guy in the middle or to the woman or the creature. This could be a pet This could be two kids looking at a pet doing something weird This could be all kinds of things but I like this I like that he can look at him and then look at her You go back here, right? He has all kinds of things where she has a reaction She looks at him he goes from her to him And you don't have to say anything either again If you don't want to do lip sync in a comfortable yet, it can be all done through him He's saying everything and all they're doing is reacting But you can still like I said have shoulder acting posture changes And you can still have looks and thoughts and exchanging looks between these two and kind of reacting what this character is doing And this one I'm gonna deviate a little bit from what I'm seeing but it gives me a bit of an idea of Let's pretend you don't see this character here and it's a bit more frame like that And in this character is much further away could be still hunched over doing something looking for things So it's more of a body mechanics type of thing where the character might be looking Handling things or reacting to things that are out there But it's more of a you know somewhat as you can see almost full body Maybe slightly cut off moment where it's more a physical thing And then when this happens when he comes in imagine that he is off-screen And then comes into frame like this So basically you would have something let me see a frame like that So imagine something like this and maybe again it's a bit further away So you can see maybe potentially a bit more of the character So you have that you have this here maybe part of the leg or whatever it is And again it could be a reaction to something a fidgeting with something a body mechanics Using tools or whatever you want to do But what I like about this is that you're showing off a broader view of the body mechanics And physical aspect and then you can have and it's going to be my awesome drawing Of the character coming into frame So now you're switching between a further way body mechanics Almost full body moment to show off your technical skills And then with this character entering frame you now have a switch This can be now out of focus and this character is in focus And this can give you a switch between background and foreground And within one shot you're showing off broader body mechanics skills And then switch it's a change it's interesting It's a bit of a dynamic change within the scene And you're switching to a full body facial where now you can show off your lip sync Or your as I said before full body pantomime with the face of a character For this that was interesting to me is this here As the foot goes away and the flashlight here shines into the light So when someone's dead the pupils dilate they're bigger So this makes all sense but you would expect if this character is alive If there is light shining in that those pupils will get a lot smaller So the aid is a good visual effect it's all very seamless But I like this idea of kind of changing some expectations of what an audience will expect That sounds very fancy but in this case you know that if you shine a bright light to someone's face The pupil is going to get very small and then you look at it to go up but they're really big Oh they're not reacting they must be dead So taking this a step further was you don't want to copy this for your shot Take the idea of something that potentially I don't know how many people notice You may use something in your scene that is more universally known So the character is seeing, using, reacting or touching something And as an audience you go oh this character is doing this now this will happen But then it doesn't and that creates interest maybe confusion but on purpose In your scene and there's something that you can build on top of that to elicit a joke Something more dramatic or anything that the audience will be surprised by And that ultimately will be more engaging and through that you might even reveal more character More slapstick whatever it is but it's an interesting approach I like that beginning there is the beginning of the movie Where you have something where you go against the expectations And this is a bit more subtle with the pupil so you can again for yourself Grab something a bit more broad a bit more stylistic and caricature And something that the general audience will recognize right away And then you subvert the expectations and do something else Speaking of expectations if you're expecting me to plug my workshop at the end You're right I am so if this was interesting to you And you want me to help you with your shots and make your shots even more awesome Feel free to check the links in the description all information about my workshop So you can sign up at any time they are always open Speaking of time if you're watching this till the very end You know that I'm very appreciative of your patience to watch a whole clip And if you don't want to miss any of those types of uploads and lectures Feel free to subscribe so you don't miss any of my uploads And that is it from me I will see you in my next clip