 Welcome back it is Thursday that means acting analysis for animators and today I'm gonna take a look at season three of stranger things Since I'm looking at the whole season I'm gonna break up this whole thing into three parts and today's gonna be part one obviously and I'm gonna break this up into episode One two and three. Let's get to it. All right, and in this one It's not so much an acting thing, but it's more about introducing your characters and as you probably seen if you've seen My clips here. I'm a big fan of camera moves introducing characters and potentially showing off different things in terms of animation So what I like about this just from a principle point of view you could show off a walk. That's my character walking I don't know what this is but like this character so you could have and this could be anything right This could be a run this could be a run into maybe this is a castle wall or something and you have some action There's some flying creatures. I mean you can escalate this as always and go crazy But you can show off full body This could be someone standing waving like come on come on like whatever you want to do but it's full body and Then the camera pans over and then you can introduce a more close-up half You know waist up type of stuff all the way down to close up and you can do facial stuff So imagine this you would change the setting again This could be nights they could be soldiers whatever they could be running and then as they come in they could be In here and then you have your lip sync where they're huffing and puffing They're here they're here and then you got your general whatever going alright or whatever you want to do or this could be kids This could be kids on the playground Maybe they hire up or something and they have water balloons and they're running and like Jimmy Jimmy They're coming and then you got the little kid. That's older probably not smoking But he could have some Chocolate or something and you can change his whole thing into kids. This is so silly but I think it's gonna be really cool and you can go further and Copy this. I mean don't copy but you know as an inspiration quote-unquote and turns around and then there's something else So maybe you know you got that one kid and then it turns around and then there's another kid that has crazy hair Rufio style comes in and alright. We do we have all the water balloons? Yes, let's go and fight But anyway, this could be a cool combination of full body half Close-up and then you can go further and then show again more full body within with the difference interesting character Walk that then ends up close up into something else. That's facially driven I think this is super cool this interesting camera move the staging leads to all kinds of possibilities of Showing off multiple things in one shot and in this one I'm gonna combine couple things in terms of prop and character introduction and camera I'm always a big fan of stuff like this Right, so you have an empty thing and imagine this could be the beginning of your real You got your title credits and that fade out this set fades in you're wondering what's gonna happen And that could be an interesting prop. I mean this already makes it interesting and funny This could be all kind of stuff This could be a hand holding like a plushie teddy bear wiggling and then whatever we want to do with it That could be interesting why why is your hand holding a teddy bear? I mean the prop itself could be cutely animated and then again it sparks the interest and then the character comes in I mean that could be an interesting intro to a shot then you have all of this I'm gonna fast forward or fast scrub, but then it's back to this where he continues again somewhat full body Not quite, but you can show off a walk or whatever mechanics you have here that then Leads to this I'm just a big fan of this because then you can combine multiple things as I said before you have different things in terms of Body mechanics you can you don't have to show just one thing and combine that into facial stuff and interesting to where it's kind of I'm leading into the next into the next into the next that it might be too long for you You might not want to do all of this, but I think it's an interesting opportunity to again to show off multiple things And going back to this with the character introduction here and speaking of character introduction This one's a bit. I wouldn't say overused, but it's very common But still it could be funny and actually seems one of my students do this where it's you're inside a Fridge fridge opens and it shows your character. Why am I showing this because it's you know It's been used a lot. It still offers opportunity to do interesting wiggly stuff with the props Whatever you have in here and then that can be all kinds of stuff where the character comes in they're bored They're really hungry there. They're looking for something. That's not something that's supposed to be in the fridge Maybe their glasses or car keys that are now frozen or I would I mean not that the fridge would freeze things But anything that contrast of whatever object that's not supposed to be in the fridge and then the reaction of the character seeing that Ah, that's where I put it. I mean that could be interesting and then you can close it like that And then that's your shot. So I don't know could be food for thought ha ha food for thought. I Didn't realize that I'm sorry anyway Next up is this sequence and I thought that was interesting in terms of pantomime So hopper has a hard time communicating certain feelings and ideas to the kids what I like about this is that I Mean there are some grunts and he says some things But imagine even there's no sound and you have this And it's already the hmm. How am I say it is you can already that's already, you know a lot of Potential for interesting pantomime and then you have this I'm always a big fan of characters reacting to something So that and it could be one or two characters and you have a little bit I mean he says something so it's up to you to potentially find lip sync where there are just Small separate words. They could just be grunting and noises You know that you can have things where it's a bit more subtle What is he saying? So this goes on for a bit longer. I wouldn't make a shot. That's that long if it's fun You're demo reel Just because it's kind of always kind of the same But I thought as an idea could be interesting where a character is trying to say something to other people and you got that Somewhat pantomime maybe lip sync depending on what you have and then you got the opportunity of characters Reacting in a funny way or whatever way you want to do it dramatic or sad To this whole thing of course here the lips and continues and they actually have stuff to do and then he has his reaction But anyway, I thought again as a shot idea it could be interesting now speaking of reaction I'm a big fan of these guys And what I love about this is that they have their intro like they find each other They're happy a you're back and then she asked him so how many other children do you know and I love his reaction here of See it's always like see what I have to deal with but what I love about this is and I mentioned that before is that This is technically your lip sync. So it doesn't have to be just a shot for your lip sync Right, so you can have something a bit longer and this could be whatever you want to do in terms of What are they doing that prompts this reaction and this lip-sync and this this content of the audio? But again, it doesn't have to be done. You don't have to end the shot like this You can add a little button you do one more thing with a funny I mean this could be though. This is your gear change in a way, right? There's a bit of emotional change there and then a funny ending and then you cut Love that character and again speaking of reaction He tells him about Susie where they don't quite believe that's his girlfriend What I love about this is that he goes. Oh, yeah Okay It's again It's the audio says one thing right but his performance is something else a different subtext here And that's something else to think about where you do have your lip-sync But maybe it's right after it doesn't have to be a longer Extra button after your lip-sync like what I said before in previous example It's something that's pretty much part of the shot, but think about how can you change something? Can you say something lip-sync wise? But then his actual reaction the subtext is totally different and reveals what the character really thinks and it's not much what he does Just look over and it's so good. It's so good. I love it. It's just just small enough Give this a different meaning there in this one I want to talk about hand gestures and animation It's very very common for people to and I'm guilty of that as well Do I have one or even two hand gestures? And then you're in that dreaded W pose and it's all twinned and mirrored and all that stuff What I like about this is that he actually he starts with this right says five times It's not like you really want to act out words It's gets a bit too on the nose and I know there's always a time and place for it But I've tried to avoid it But in this case what's interesting is that he says it he acts out the words five times he has that but he holds He holds that and why is then he can use this to change into this? I love that. I love that. This is almost a really long anticipation Into that into a bigger thing It is almost becomes a prop where he looks at it because oh and I came back and I regained her trust and everything And he still holds it right he still has that it's almost like he's now holding a prop This is now part of his story and That's why it's okay to me at least to do this to act out your words because what he does with it This part is really interesting to me Next up is this and it's all about head accents and the very common thing in lip sync is to just actually do the lip sync But not influence the head by any jaw movement the attitude or even body stuff or it's pretend You do lip sync you realize I gotta do something bigger with the jaw But because of that jaw it affects the head and the head would move But if the head moves it affects the rest of the body and so on this is something That's very common that students overlook mainly because one of the common things to teach is to say well The body has to work the poses have to work the lip sync is icing on the cake It has to work with it without lip sync, which is true But the thing is once you add lip sync you have to make sure that it doesn't feel this copy pasted It has to influence the rest in my weirdly useless arrows. Now. Why am I showing this? So if you listen to this? So good and you can have a contrast of actually not a lot of movement And it's all in the head But is a good example of how much you can push the head as well if you add those accents for something a bit more Interesting. I like how she just she just keeps staring at the character. It's awesome But again, don't forget that if you do lip sync think about well at what points can I really exaggerate the head? When is it appropriate and if I exaggerate the head? Maybe don't exaggerate the the body with it because then it makes it too much And now this contrast is more interesting because it's just the head and not the body and last clip here is L coming in and turning on the light and she's in a room She hasn't been before why am I showing you this is one of the common things that I like to teach In the kind of environment lecture that I have which actually have done on this channel as well Is that if you're entering a room and you've been here before like with her? Maybe just been in this room that much with her brother Maybe it's kind of off limits But anyway, if you know your room you're gonna pay differently Then if you're entering a room that you've never been in so this to me makes sense now You might argue she comes in and she might know that this switch on the left It's been convenient that she knows at the same time the switch will be on the right because you can't reach it It kind of makes sense that switches are on the left at this point But again, she has to look and she looks and then turn turns Switches to light on this to me again make sense because she has never been there Imagine you're going in because you're looking for something you would do the same thing But I would never look screen left screen right I would look screen left because the character knows the room You just walk in and this is just kind of a habits gesture As you go in and turn on the lights. There we go episode one two and three of season three I'm gonna have part two and three obviously if you haven't gone this far or you maybe not at all This is all spoiler materials So watch out for the next couple chapters where I'm going to go until the very last episode Spoiling visually all kinds of things but that is it if you have seen this episode and you feel like there's more Obviously my comments are open. Let me know you're the usual spiel like and subscribe if you want to I post Almost every day so subscribe and hit the bell button to get all the notifications if you want all the notifications If you're still watching this, of course, thank you and for your patience and for watching this If you feel like any of this is helpful and you want to apply this to your own shots And you want to work with me on your own shots I have workshops link in description with all the details my workshops are always open for sign-ups So email me let me know if you want to sign up for our workshops and that is it I will see you tomorrow and I'll see you next week if you choose to do so Yeah, if you choose to do so. Yeah, if you choose to watch again. All right. Well, thank you