 Welcome back to the animation analysis and today I'm going to take a look at Pixar's Inside Out 2. It was perfectly timed. All right. Actually, I want to talk about this because of one shot, to be honest. There was one that was really cool. I mean, they're all really cool, but there was one where I thought, that's really neat. I want to talk about this for my students and my class. I might as well get back to the channel and record things and look at things and as you go frame by frame, nerding out about things. What I like about this too, especially, is just the different characters. That is already a great frame. Why? Because right now I have an animation mentor class and an academy class is going to start. They're all advanced acting classes and character stuff. We talk about personality and attitude and posing and making sure that your character is not just a default character. Oftentimes, your character is coming in a default pose. Sometimes the T pose is not like that. However, the arms are, but like classic wise characters are like that. Then the students usually bring down the arms. The character is just standing in a kind of what I call the rig pose, like the default rig pose. Then they start animating like that without really thinking about what their personality is. This is great because these are all representing different emotions. You can already see how that is the slight tilt to look away as well. Sadness, you kind of like might not want to participate. You're thinking about something else. They're their own mindsets type of thing. Then you got that kind of the nervous aspect of it, how the hand pose is already totally different. You can't really see it here, but that is different versus what these characters pose with his eyes. She is obviously the main character, fully engaged, ready to do something that already not a super angry at this point. But still, all those will give you a different representation of who the character is. That's something for everyone watching that is starting a class or is about to or starting their own shots for students. Really think in terms of who is your character? What's your personality? You might even assign an emotion. Like is that character always happy? Is that character always sad? Is that character always, you know, whatever it is, and it can adjust your posing according to that. So it's not the kind of the defaulty look to that. This whenever I see this, oh man, what I was watching, I was watching something and a character, I was a guy on TikTok. There's a guy, I can't remember his name. He always has a mustache and it's a comedian type style on TikTok. And then someone in the comments said, you look like Inside Out's dad. Dad is back, but that is actually from the first movie. I was going to say he hasn't changed, he hasn't shaved, but that's from the first movie. Animation wise, what this makes me think of is all of this contact and interaction. Such a pain to animate and something else might as well point out for students. This is super cool. Why? It's super subjective. I say it's super cool. It doesn't have to be super cool, but it's just very complex. And to make something believable in terms of their holding, their hugging, their squeezing, the contact points, maybe you have control over the hair and your rake, how that might go up. Maybe she gets closer and it pushes the glasses up. Just the physical contact and the aspect of characters colliding, if you will, that's not easy to animate such a pain. And I always find it super interesting in any kind of shots and in terms of kind of like, for your reel you want to showcase, obviously you have different shots in your reel. Each shot is going to represent something else you want to showcase. Your first shot might be all acting and performance and then might all be about body mechanics, full body pantomime. And this could be all close up facial acting. And then you have maybe like interaction and weight assignment and stuff like that. And I think something like interaction shot is going to be much more complex and show off. Then for instance, a shot like this, like this to me serves in terms of like a story point. This is an important shot for establishing this revealing characters, like whatever the need is in the movie or TV show, whatever. But on a demo reel, this wouldn't be as complex and interesting subjectively as this, at least to me, like this is much more complex. And of course, you can make it more complex than something like this. But anyway, now this seems to be new footage, right? He looks the same. He never shapes. I haven't seen the first one in a while, to be honest, but 13. All right, this must be new, right? Because she is, she is older. I'm completely telling you how ignorant I am by the dual of all those hand poses. It's cute. Eyeline. I don't know why I'm forcing an eyeliner just because right now I got to know about eyeliner. Got to fix my eyeliner. Where is he looking? He's looking somewhere else. He's looking at the chair. Eyelines, eyeliner. Wait, how is he holding this phone? What is going on? Is this resting on a finger? Sort of distracted already. Everything changes. Yes, she gets older, more emotions. But anyway, the shot is coming out like halfway through in when this starts. This is going to say the rendering of this cut to close up. You should, if you like buttons, this is so not animation related. Half the people have it. 80% already clicked off this video. But this, the renders, kind of like the material, the refractions, the lights and all that stuff. Watch Light Year again. Light Year is so cool in terms of buttons. It's cool. I like that movie a lot. Despite, I don't know what people are complaining about. I like that movie so much and the designs, the production design, the lighting rendering in that movie is so great. Anyway, I mean, I already see buttons like that. It makes me think of that. All right, we're getting into, that's a good frame for different types of mouth shapes with slight variations. They're somewhat the same, but they're still not. Again, this all makes, this is also important in terms of just organic flow of making things look just different enough so it doesn't feel copy pasted. I like this guy in the back. Wait, is he in a, wait, they're all in jammies? Is that his night cap, night gown? What is he holding? Is that his little sleeping buddy? Oh, that's awesome. Yeah, he does have a night cap here. That's great. All right, all right. I love this here, that from the impact or maybe the stress, all of this is, that's awesome. Anyway, going frame by frame, you can see some smears hand poses. I know I say hand poses. I say this, this means nothing, but in my mind, I see this, I think hand pose, I think tangled. Tangled has so many awesome hand poses. I don't think it's a weird tangent, but so great. Ooh, see that to me. Here, there we go. So what shot would be awesome for a real, this shot? Compared to, where is the other one? This one. I don't know who did this. I'm not saying this is a badly animated shot. This is for students. Like what should I put on my reel? That shot versus this one. This you got different mechanics in terms of just the weighty aspect of this being super weight. You can see there's no bounce on this, right? This is just heavy versus body mechanics on a character that's going to bounce and scramble backwards. It's so great. Love the offset poses here. And then you got the weight too. I love that. Actually, that's actually super cool. I know this is getting into props and sets and stuff. What I love is this here. You have the weight of this, but then you got the weight of this. And then you got the pull and how that goes from slack to tight. And then how this pulls and whoever animated this, I love it because there's rotation. It's not one axis just pulling back. There's some complexity. So this might point this way, but this core is probably pointing slightly, you know, screen left, which means it's going to pull that thing over. That's great. Analyzing stuff like that to me is just as exciting as stuff like this. I like props and sets. Come on. Cool. Oftentimes I give a sit-down assignment for my students just to kind of go into mechanics, but you can absolutely do a getting up assignment as well. Oh, it's a teddy bear. I don't know what it was. It was a teddy bear. He's in on these all of it. More bundle up. I don't know. Maybe more protective she signed and she wants to be on bundle up and I'm totally reading into whatever subjectively. These are great. This would be awesome. Like whenever I see someone, oh, this would be great to animate. Just the simplicity of it. You still got complex mouth shapes if you want to. Like you can still do facial animation, but then you have just like a fun cartoony. Exactly. Sorry. I'm listening to the sound which I don't have on when I play this. Also great. Like that for real would be like a moment from this here, right? When you go from one change to, of course, I would love to animate the door and I'm weird, but then the walk, it's cute. And I love that doesn't go into immediately a walk, but there's that little jump up into that. And also don't forget contrast, right? It's not just a walk cycle going forward, but over time, body changes, he gets more focused for task here, arms go down. That's something else that I mentioned a lot to students. It's just contrast. You might have someone, what did someone do? Have someone in my workshop who is holding a weapon. And they were kind of, I was telling them like he's thinking about this weapon, like as his baby. And it was the character in the weapon and it was more cycling in terms of how the weapon was bobbing up and down. And I was asking like, Hey, what if you have this, but then you end up here. It's the same idea, but over time, the weapon gets close. It's almost like more of a hug or you can see that he cares about his weapon so much more because it starts far away and gets closer. So contrast. And just even if you're in one pose, and the next pose is almost the same. It's like a pose and a sub pose. Like you want to still have some contrast in there. This guy's awesome. That's cool too. I love this here. It's not just a walk, but you have awareness. Ooh, look into camera awareness of the environment and then reacting to it, which then pushes into a different kind of body mechanics with a turn, right? There's more to it. That's great. That'd be a great assignment list here. Reacting to something while walking and adding your complexity of space. That's the other thing that I say a lot to the students is use your space so that your shot is not where the character is kind of that's often too like the legs are bolted to the ground and it feels like everything is upper body arms flailing acting, but it feels like I'm stuck and glued to the ground. I don't want to move. And if you have a character to move them, at least in one axis, I always encourage more complex axis movement. But this is great where you go from basically background ish, right? To more foreground ish, but it's in a diagonal with a turn. So much more complex. It's great. Oh, sorry. Oh, that guy. I love that guy. Oh, that's awesome. I love stuff like that. No, his teddy. That TV is going to say, is that teddy going to move? See slapping. No, just going to move. I need to pitch in there. Oh, look at those gray poses there in between. All of this great lines. What's his face? Okay. I was going to say, is he going to really like a completely manic like, I love this. Oh, here's the shot. All right. Here's the shot after all of this is like 11 minutes of me rambling. So the reason why I thought this would be really cool for many reasons, obviously, analyze this and talk to this to my students is that the couple of things, like as a shot, this is already great. How she comes in. I love stuff entering frame. This could be imagine your damn real beginning if he's not here and you got your text name, you know, a character animator, the date and the year, at least in your socials. And then a character comes into frame to do something. And maybe maybe this character is already there, maybe kind of sleeping, whatever it is. But I love entrances like this. Cool pose. Love the sliding. This will probably hurt her feet. We kind of need to have some debris movement in here. I would copy paste some pebbles here and have them move and slide. It'd be awesome. You can see here the what is going on here. Is that the fire? Why is this up here? Maybe it's the energy of this guy. About great mechanics in terms of you jump in, right? He got a bounce lands plus slide because it's again, usually in most animation clips, it's someone just walking whatever doing something on whatever surface that seems very neutral, right? And you don't really see that often stuff where someone is jumping in, for instance, right? But on this on this slidey surface, this could be ice. This could be whatever, like debris dust on a on a slippery surface. This could also be swampy and sticky. Imagine she jumps in and just the features stick and the jump off with feet sticking could be a really interesting way of showcasing mechanics in a way. But then you got the scramble of because it's slippery, which is an interesting mechanics to go backwards, nice lines here, and also pulling something. Then you got weights of pulling something heavy. Anyway, this is not what I want to talk about. What I want to talk about is that there is so much fire, right? Coming out here. The first time a watch is going, Oh, this is cool. She is pulling him, but he is not being pulled over to the side where he might be on the ground here, right? Mouth, eyes, arm, feet here. And she's just pulling him. The force of the fire basically creates force down this way. And that's why when she pulls, he stays pretty much upright and is being pulled like that sliding on the ground. That was my thought the first time I watched this. And that's just the cool thing to remember for anybody to watch the anime something like this, like imagine the, what is your character pulling? And then you add the extra complexity of maybe there is, I'm going to say like a jet turbine, whatever, like something pushing down here, which changes the whole aspect of pulling. So it's not, again, pull over, topples and falls. Then you just pull something heavy. It's something pulling this way while this is pushing down on the ground. I'm sure that I'm 300% reading into this, but it's great. I love it. Also, hold on. Love this here. This guy has no idea. He's completely unfazed, by the way. So he's oblivious or he's just super happy. But if you have something that's like that and it's not that kind of character for spatial awareness, I would always consider you have this happening. Hey, it's heat. It's not just the sound and maybe shockwave of an explosion of whatever you have, right? Whatever it is in your scene. But that is an event that you're going to feel and hear. So any other character than this guy would turn around and wins and put the head away from the heat. You know what I mean? So that's something else that I want to, that I'm trying to bring to the classes where whatever your character is doing, if you have characters surrounding another character and stuff is happening, they might, you know, open something and it breaks apart. There's something really loud. They start yelling, whatever it is. Make sure your characters are aware of that and react accordingly to it. It just makes it less like copy and paste, copy and paste characters that just do an action on the cycle, whatever it is. But they're part of the world and they hear things, they, you know, they react to it. Again, in this case, I don't mind just because they are task focused. They don't care that they're breaking things up. I don't care about any of the people here. They just do their thing. Great stuff to hear. I love all the complexities of the steps, the slight, you know, the offsetness here, the off balance and the lean into this. Love this guys. Whenever you have a crotch all like this, you always have to look at the background. Like what did people put in here? What I would love to hear if, let's say, you're soon, right? And you're doing a shot where someone is closing something. This could be the trunk of a car. This could be a mechanical thing like this. Once everything is done for like extra fun policy stuff, imagine you had either wires attached here or like loose buttons. The moment you slam this down, you could have things go and move around just for extra cute, nice little polish that is not distracting. Like you wouldn't have something like that big that just flops around distracting from the characters. But you can sneak in some nice high level policy stuff with prop interactions. Even when props move, that makes sense. Well, I like this here. I like that readjustment. All right, I'm done here. Let me readjust my belt. That's also great. Look at that. Scramble into checking what is different. Again, I'm looking at like, what could you do as a shot? For me, I'm struggling with this a lot when I do my shots at home, which means like once every couple of years to do a shot. And I tell my students like three to five seconds, maybe five to seven, don't go longer than 10. There's so much work. I say this and then my shots when I do them at home, if I do ever anything, they're like 45 seconds. I don't stick to what I'm preaching quote unquote, right? But look at this shot. This shot is, what are we at here? We are 15, 20. Okay, three, four. It's a longest shot. It's a good amount. But look what's packed in this. Let's pretend you would replicate something simple. I don't, I'm not saying copy this, but you have smack down. This could be something that she maybe she has to pull down more. That's already a weight thing. Then you have a 180 turn and walk. That's already complex enough, right? And then you have a character that is scrambling to go somewhere. It's the contrast of more quiet movement versus crazy movement, right? Like big, big mechanics. That's already great to see. And then pantomime thought process of, Oh, what's going on? Well, what's, what's different here? I love all this. And it's like the checking, checking up there and turning into like a last moment acting partner. It's great. Yeah, that's really, really cool. I love all this hair. All right. And now we have the introduction. I would like to show you too. This is a great way of, I think something else that would, it's that's definitely a bit more complex for students where you have multiple characters a that's already tricky. And then walks, which is tricky too. But if you are in the more advanced territory, I love this because it's those are personality walks. Such an appealing face with those eyes. Fast look, reveal. Also, what I like a lot in shots is reveals, if you can tell, and just like surprise entrance and the reveals. But that's a cute face. That reveals that, which is funny. The way he goes away. So again, it's contrast, right? You got that kind of move and turn, which funny enough, I don't know how many times for like for students, we always have been taught the same thing, like to avoid symmetry, where like arms are not doing the same thing. And then in movies, TV shows anywhere, like arms out is symmetrical. I mean, obviously, there's a tilt. And then here there is a change. But I've been hammered this into my brain as a student from my teachers. And then ever since then, and I'm telling my students as well, but you see it is everywhere all the time. It's, I guess not that important. I mean, it has its place. Also, the thing is, if you had every character, again, totally, you know, like there are only so many poses you can do before characters that I think this is a good contrast of again, this is just enough asymmetry. And this also his blocky nature, you know, I mean, gives you this, which to me is more in character versus this guy who's all bending itself. That's also more in character. So this definitely has like twinning of arms has his exceptions for sure. Love that, though. It's a good pose there into that move over. I like again, the contrast of big steps, smallish steps, right? And then her fast steps, it's great. And then of course, you go into the contrast of and again reveal into that face. So great. tricky to do that's something that I had to deal with on the show was working on way beyond is covering faces. Like this, you just see the face. It's tricky. It's almost like you want to move that character a bit to the left so that you see either you see less or see more. It's almost a bit weird to just have that black thing here. I am backseat critiquing. Sorry. You know what? Last time, where was that? I don't know what trailer it was. I was, I rarely give notes on trailers because it's like, these are all professionals doing it. They all have their reasons. I'm not going to assume that I'm better than any of them. But then last time I did a, like a per trailer, I critique maybe one or two shots, maybe. And then it was Cody shot. Cody's an animator because I used to be my student. I say students, quote unquote, he was already so good. Like he doesn't really, there's nothing he learned from me. He was already so good. And now that I'm critiquing this, I'm sure this is a shot. I'm going to call it. But I love again, the reveal and then the reveal of this. I love that from. That is great. And then again, the, the timing is different, right? Faster, faster, faster, faster, faster to slower reveal new character. What this guy is excited about. Oh, that's a crazy shot too. Look at this here. Oh, that's great. That's bonkers. I'm just turning off the eye here. Let's talk about covering, covering things. But having the timing, it all has to be different, right? They're all reacting to the same thing at the same time, but you still have to have different amount of, you know, just even a frame or two differences. I love this here. Look at that. Grabbing the head, pulling back. This character going in between, in front of it, landing in a very clean graphic pose. This is a fantastic shot. Holy moly. Love this. How long is this shot? And let's see. And that's not long. See, you don't need a 10 second shot. Do this. I say do this. This is so complicated. It's great though. Great posing. Such a great example of posing, reaction, mechanics, back to posing. There's so much crammed into what is like a two second shot. It's great. The character comes with its own luggage or baggage. Anxiety comes with its baggage. Sorry, I can't help myself. I like that stuff. I love this here. This is too what I saw first time. I love this here. It's almost like, oh, I'm sorry. I didn't want to do this. I love that handshake there. Again, what I said before, you got your some, I mean, it helps that the body is lined this way, but still these are technically twin arms, twin arms, twin arms. And I remember I had, I can say names, but I had to find out a Pixar teacher who was railing against W poses. He just hated it. He was a great teacher though, but this always stood out when I was a student, how he was just hammering down on on W poses. And then you're looking at a Pixar trailer and this is W pose. Slight offset and height though. But again, like I said, it's not as much as it was hammered in for us way back. That's a great walk and great gestures here. W poses, twin poses, and the end. Wait, it's the end. We still have to have the reveal of all the other ones, the new ones. There was a new one I thought I saw on a tweet and it was, where is it only if this new emotion is somewhat French and like with like a big nose or something. Come on. Either you're gonna lean on this or not. That's also what I can already imagine all the controls on this and the pain of animating this. So fun though. Again, also great walk. Definitely looking forward to it. I like the first one a lot. Score is great. I hope we got the same jikino as the composer. But yeah, lots of cool stuff. Already a lot to unpack in a teaser only. We'll see what the trailer will reveal. I will probably, to be honest, not look at the trailer for a lot of movies. I don't look at the trailers because it's just spoilers. I don't want to know anything. I just want to go in blind. So you may or may not get a, I don't know why I circled this, but a full trailer analysis? Probably not because I don't want to know. But we'll see. Also, prop, prop animation and contrast. Look at this. They all fall down, roll over, but then you got this guy is the only one that kind of magically, magically goes back here. If you think about the physics, that's a magical turn back. But it gives you contrast, but also gives the character room to go forward. That's great. Great stuff. I love it. All right. Well, that's that. What is this? 26 minutes, something like that. 25 minutes of me rambling. But anyway, if there's one thing you take away from this, dear students, where is it? There you go. Is that shock? Think of the mechanics, the physics of you're pulling something while this force applied here. I just like that. And also kind of reinforces the thing of he is so mad. There's so much energy and fire that he can't even be pulled out of that pose in a way. You mean like he's just solid like, I am so mad. No matter what you do, I am stuck in that pose. It's great. All right. Well, I'll leave it at that. Thanks for watching. Feel free to subscribe if you don't want to miss any of these. I just feel such like such a tool saying all this like your typical like it, subscribe YouTube algorithm stuff that you say or do not say, I don't know. Feel free to do whatever you want to do. I'm going to keep uploading new material this year for this channel. And hopefully I'll see you in my next upload.