 Welcome back to another act analysis and tips for animators. And today I want to take a look at the after parties, specifically episode seven. And we're going to cover things like body language, body acting, reactions, using props. There's so much that's awesome in this show. So let's go. If you haven't seen the show, I highly recommend it. It's really great. I actually didn't take any notes because it was so funny. I just kept watching. And then suddenly in episode seven, I'll show you that something that the cop is doing with the glass is cracking up. There's so much value in watching TV shows and movies and cut scenes and cinematics. There's so much as an animator you can learn from watching that. It's great. But instead of talking about it, I'm going to show it. But before I do, hi, my name is JD. And I do act analysis clips like these. I do animation analysis clips. I do animation lectures. I do review reviews, product reviews. I do a bunch of stuff. That is the pitch at the beginning. That's the channel. I cover a bunch of stuff about most animation, I guess what I would say. So check it out. Maybe you'll like it and maybe you'll subscribe. And if not, that's also okay. Maybe I'll convince you at the very end. I don't know, but that is that for the channel. That's what I do. Let's get to the sequences. So first one is this one. Here it cracks me up. Where this guy is constantly adjusting his glasses in this episode. And it's all about her in this episode. Every episode is kind of chronicling the events of that night. No one has pulled too much from a different point of view and they're kind of diving deeper into a specific character. And Tiffany Haddish, her episode is great. She's great overall. But anyway, let's get back to this. So as she says, we should split up and really cover more ground. I love how he goes. Ready? Fix the glasses. Homicide. And that to me just goes into you can have a prop. And I mean, you could have set homicide without that. Without doing this, without grabbing the glasses, it probably still would have been funny just the way he says it and the way he is in that episode. But just, it's such a weird thing to do. To do this. That has, I guess it's the, it's the accent point of him being really excited going homicide. And that's just to me another, another plus point in the corner of props. When you have props, you can just do so many things with that. And I thought this was really funny and really creative moment in this sequence. This one I love because of the gear change and all the things that go with this sequence. This guy is the hot shop police guy. He is for her kind of the nemesis. And she is at this point younger in career. And she wants to impress him or just, she wants to just kind of do more as a job. What I love about this in terms of what you can learn from his animation is that he has a line, right? Could be talking for you in your animation. It could be lip sync. It could also just be pantomime and just looking. And then we have sounds coming off screen and it's blurred out. We can't really see it, but you can see that he hears her and he has that quicker reaction. He knows exactly like, oh, this is going to be annoying. Has that reaction and turns around and then he sees her and he recognizes her. Cause they train together in the police school. And then he has that, hey, look at you. And then he does that thing. He's got a little wave shift. Then the scene continues and so on. And in terms of animation, there's so much that's great where you have a character hearing something off screen. This could be with character, you know, blurry, completely off screen, but you can do a lot about with a character that he hears something, processes that information and then reacts. That already in terms of pantomime is great. And then you have the moment of, oh, but this is something else. And now you have a complete different attitude. It's a gear change. And now what I like about this too is that we're going from kind of a chest up, wide close up here to a full body shot. And now you can show like, oh, I'm at ease with this pose. So there's a lot of changes in the face, but also body wise, you can show a lot of gear changes, as we say in terms of an exercise with the fact that he sees something that he recognizes and that he likes. So as a scene set up, this is really cool. You got two shots, you got one and two. And you have pantomime in there and then pantomime in there. If you don't want to do audio and you're going from a mid close up, this would be great in terms of maybe even a demo reel opener, right? So everything is facially big performances. And then you can also show, yeah, but I can also do mechanics with a walk stop and all of this. Staying with the sequence. I love that when we see this here, right? They got those booties. They don't want to dirty up the floor. So she comes in and says, hey, I want to tell you something, but I can't come in. Cause I'm not wearing those things. And then this guy goes in without it anyway. And she goes, oh wait. So you're just going to do this anyway. And then look at her when she comes in. Oh, okay. Well, I'm going to do the same thing and stomps inside. What I love about this setup is that this basically you don't see anything in terms of what they're saying, right? The lip sync just goes out the window, but there is audio. So it's almost like you can put in any audio with this. So not only is this great in terms of body language, body pantomime and just body acting in general, especially when you see this here, like what, you get a little bit of that finger in there and then just that little, ah, I love how she brings up her hands. And they're like, yeah, whatever. And it's that exaggerated, I'm stomping inside without the goodies. So for me, it's like, well, as an animator, if you're not comfortable lip sync just yet, but you do want to use the audio in terms of that's usually my universal scribble for audio. But if you want to use the cadence and the rhythm for audio, then you can still do that. And just show them from behind. And that's not really done a lot where you just show full on body acting but just from the back. And the line is still funny when you still understand what's going on. In animation, I would just make this clear. You can turn the body around, really show that arm and that finger, make a bigger point about this. And maybe there's even some dirt. You know, you can tell the story a bit more and then more stylized and exaggerated fashion. But I thought this is a cool setup in terms of using audio to guide the scene, but without really doing lip sync. This one is also great in terms of body acting here for the background. So she has a moment where she recognizes, oh, this is where we have to be, stops the car, this guy spills all of this. You can see here hot coffee spilling everywhere. And then he has that here. Come on, this is hot. And then they get out of the car. And I love it. It's still wet because the gun is wet. So he dries it on the pants and so on. So for me, it's like, okay, what I take from this in terms of animation, you can have your main acting here. And it's, you know, it's in focus, lip sync, all that stuff in there. And imagine you don't do this. You do all of that like this, blurry. And you could do the thing of rack focus right now, we're focusing on him. But I think this is a really great moment of, you have the audio that drives the shot. And maybe you hear even some tire screeching of the car. And this could just be your shot. Just one character. I mean, you know, she's saying something to either, either she's talking to someone that's off screen or into, you know, to a microphone or something. But I think this is a great moment where you can do the main acting like this. And then you add a second character to do a bunch of body pantomimes. Imagine he doesn't say anything. Your shot is purely her lip sync. And this character just reacting to the car stopping to her energy and all that stuff. And now this is your opportunity for really broad pantomime acting and some comedy in there. And even then you can do a shot where we do this, not this, but this one. And then we cut to this as your second shot. And then the comedy continues in the background, but you have a full body sitting to standing with a turn, the mechanics of closing a car. You can still do a bunch of stuff in terms of body mechanics that could be complicated. You can also pull the camera out. So we actually, we can see everything, including the feet. And then you can see the background here as the whole thing continues. I think that would be a really great setup for a shot. This one is all about reaction. So I'm showing you this here for context. She is being interrogated, back up here, says a bunch of stuff, and it's all about her. This goes back into audio where you don't really want to animate this. So actually your setup is going to be this. Blurry foreground guy. And if you just watch him, clearly there's lip sync. It's definitely jaw soft. So you can even darken him a bit more, really blur it out. And all you see is maybe stuff like this, right? So you do a little bit of body mechanics, character sitting all the time. So there's really not much you can do, but all you're going to focus on is this. She goes, what? So all of those reactions are great. She keeps on listening. Again, you wouldn't do that. You wouldn't focus back on him. And then we have more reaction. She says something, you got that reaction. And he says something. And then he got that reaction. So to be imagine, this is your whole scene, right? Everything is that you have, you can even do a setup where we see both characters, you know, maybe slightly cut off, half of it. Maybe another real, they're really close. And it's all blurry. They're moving and you see through the silhouette some jaw movement. And everything you're actually animating is this character listening and reacting to both going back and forth. I think again, this would be great because the audio is driving the rhythm. It's driving the reactions of your character. And you can still add a little bit of, I'm not saying lip sync, but still something where it matches the audio. It still kind of uses the audio, right? For the foreground characters. But the focus is all really on the background character listening and reacting. So you don't really have to worry about lip sync there. So to me, it's a great setup. And again, it's something for if you're not super comfortable with lip sync just yet, then you can do stuff like that where it's purely pantomime listening and reacting. And actually staying within this, I love his acting choice where she doesn't go out immediately because she wants to keep listening to this conversation with something's up with him. And then he realizes you're still there and look at his, I love that. Instead of just a simple wave or pointing at her, it just kind of acted out, okay, walk away, get out of there. I love her reaction. Okay, I see how it is. Okay, I love that. And this show has so much of this. There's really funny creative gestures and acting choices. I just want to throw that in there. I think this is really funny. And again, as a setup, right? Lurie focuses on this, but you can still do something like that. And it's still her looking at this and reacting with some lip sync. This is also a great moment where she's on a film set and she thinks that she is an extra with the costume, right? She goes, hey, can you go behind there? You don't want to be in front of the camera there. She goes, no, no, no, I'm actually, I'm a cop. This is my uniform. And this character doesn't get it. Yeah, yeah, yeah. Totally method acting, I understand. It's your uniform, let's go. And she keeps insisting, but she won't have it. Like, no, no, you gotta, you gotta go. And I love this here, that, okay, come on. And she goes, would you stop touching me? I love this. To me, it's this, their reaction to interaction there. So it's not just you putting your arm there and you kind of go one, two, three with your lip sync and you move on with your scene. It's kind of by the numbers. It's really, to me, a reminder of, if a character gets it to someone else's, you know, personal space, she does react to that. I mean, the lip sync also says it. But again, if you, to me, if you have multiple characters, let's say two in this scene, really think about what's their distance and what does that mean when that distance changes? What does that mean when someone does something to someone else? How will they react? And you can continue with this in here, where she keeps insisting and she goes, okay, okay, let's go. I love that little top there, watch that top. Okay, it's almost like an animal, like here, okay. I could call it, come on, come on, go this way or a sheep or something. And then in terms of visuals, this, to me, is super animated. I love this, where you have the contrast of, I'm gonna tap her, let's go. She stops, looks at this going, really? Did you really just do this? And it's the contrast of still and this character hopping with fast timing. So just watch that moment here, right? Tap, tap, and then tap, tap, tap, tap, tap. And it continues to walk off. And that, to me, in terms of animation, is great. You get the contrast of characters of their posing, the timing, the movement, so great. And this is just in this episode. I highly recommend you watch it, it was every episode. The first one obviously has everybody in there. And after that, it's character per character. But the way it's shot is different. The way at one, it's fully animated. But it's, there's so many contrasting moments of how a character would react. And also because it is retelling, can't spoiler. The evening over and over and over from a different point of view, it's also cool to see the same action in a way performed by someone else, with different type of interpretation or different type of acting. I don't know, it's so great. It's that whole show has so much awesome reference in terms of acting. If you're an animator, there's so much material in there. Check it out, if you've seen it, let me know in the comments and curious what you think. But it's great, I highly recommend it. Now, when it comes to recommendations, I would also recommend my workshop. That was a fast segue into my workshop. But if you feel like that's cool and that's helpful, and you wanna incorporate that into your shots, but you don't quite know how, I got workshops you can set up at any time, we can work together. Let me know what you need, and I can help you as much as I can. And that's exactly what I'm gonna talk about. We're gonna go through ideas, we can brainstorm your shots, and then I can help you with animation. So workshops are always open, link in description with all information. That's the usual spiel at the end, and speaking of end, that's the end of the clip. So as always, thank you for watching till the very end, I appreciate your patience. And maybe you are not interested in subscribing, maybe, maybe not, I don't know. Maybe you need to see more. So there will be more to upload, so hopefully I'll see you in my next upload.