 Welcome back to our animation analysis and this time I'm going to take a look at the teaser trailer for Pixar's turning red trailers are coming out fast and furious first we got in console and now this and I had to take a look at his a because I Love the look of this. This so reminds me of my childhood exposure the clip double T as a French channel with a dragon ball all the anime stuff there and just the way This looks especially once we get to this But it's great spoiler about what's coming up here, but you got to go back here You got to look at all the detail to get the school coming up here This is already I was always said when I look at scenes like this and you got all those characters Like okay, that's crowds team or whoever's going to do all of this, but it's cute starts off Okay, we on the same where we are and then we have this and I already love it. I love the look of her I love the look of just the the lensing the colors the shot already And this goes back to what I talked before and what I talked to my students all the time I was imagine this is your shot and this is the first frame and you really want to build out the shapes the Shapes for the fingers is contrast both of these you can see the height difference There's contrast and asymmetry just and that even though it's like she wants to make a point That's you know somewhat symmetrical, which is totally fine. You can't win obviously But I like that. It's just ever so slightly off so right off the bat It's just a reminder for students to if you look at your shot frame one How much do you go into detail in terms of offsetting angles high just enough contrast in the post? Even if it's something where you feel like add it's not that important I love stuff like that the set dressing. It's already great You can see the asymmetry here and since in the mouth shape just ever so slightly Look at that. I love this character designs again Asymmetry in everything right how she comes down even though she is straight and you there's there's you know There's danger of making this too twin too symmetrical You can see the changes in all of this just the way this flows everything just every ever just slightly different There's just enough asymmetry to make this work really well And even that if you look at how she goes down track the nose It's not I'm saying this because this morning I did a workshop critique about one axis It's if you look at the path of this cut ever so slight arc there as she comes down Into this it's not one axis up and down with linear curves track that nose watches again Just really nice with that curve leading Into this then she also leads that turn more with the head Then bringing over because she's thinking about this. I want to open this up. It's not some instinctual Now imagine you have a bee landing here and stinging her then the moon will come up here first It would be like a muscle reflex a pain reflex So if you have a character turning around you have to think about what is this turn? What is the intention of the term is again because it's a reaction It's because she heard something she wants to get something. It's a simple thing But I always look at what body parts are leading and why We've got a frame to that Detail finger stuff always look at finger pussy I love this here just that and then that slightly off with the pressure here So you got that joint coming up there you get to see her name here Even that love that again. It's a simple thing, but she has her head slightly tilted She's interested right so slight puppy tilt if you have your head straight versus the head tilted That's your level of interest there And I love that with that again the asymmetry just that slight tilt there and just look wise I love the fuzziness they have to feel it on this great And you can see tiny detail. This is what I love about this It's actually the main reason why I started this make okay How much detail is in here because if you watch this, you know I love all kind of finger detail, but you can see that look at that There's slightly more pressure now and a little bit move in that pen You can see how that finger moves down pen moves You can see the compression lessons right you can see how this It's a bit bigger here and actually puts it back on the paper Not only do you have compression on the paper here, but you can see how that finger is a slight squish there I Love that stuff. You get all the detail of the writings pain to do hand comes in Pressure on that. That's why it's curved like that. I mean you can curve it What do you know of whatever finger pose? Yeah, but I like that goes into this now Look at what this hand is doing. Obviously you got some nice Just a quick little look here. I'll look at the finger here, right? Let's go back play this in full This I love that that she's concentrated on this and it starts to turn lifts this up and all of this is still affecting this you can see how that wrist Goes up and changes right from this going up here And this is what I tell my students in terms of body mechanics So you have this arm moving well this arm Going this way be it, you know, whatever fk ik what are you going to do? You have to think in terms of what body part is going to influence what other body part basically, right? So you have this arm Moving is Go crazy with colors or whatever. Maybe not since it's right here It's going to influence the shoulder. You can see how that shoulder goes up here And once you have that Go back to this here switch color again. Let's go with whatever and go with blue you're gonna have a Chest turn because that arm is going to move and she wants to reach over there So you're gonna have to chest that turns as well all of that Let's go and switch whatever take white You're gonna have still an influence in the head all the way down into this So basically it's make this super complicated. Whatever it's like There is an influence that fans out. It's like the most Messy drawing ever. So if you think in those terms you got let's go back to my other color You have that arm moving over That is going to influence the shoulder and because of that reach over there Of course, the chest is going to go over there as well as you can see But you can't just lock it in here Otherwise, you're gonna have a IK arm here That's not moving the wrist is not moving the head is not moving and the kind of a locked head either looks like a head IK or a headline if you look at this here Everything is moving now. She has Technically the lead with the head she sees this Decides I don't want this and then moves the arm But still as the arm is moving there's influence on here You can see the influence on here and because of all that Rotation off with this wrist and the pen coming off that even here You have a slight pressure on the paper here going up So this is something that I love in terms of just body mechanics And it's something that a lot of students get wrong where there's for instance just the arm moving That is that that's your IK arm FK arm, whatever. There's no shoulder movement And there's no Influence on the rest of the body So if you have something like this think in terms of the influence that fends out into the rest All right, but he news on and you see this all over right? So every time she has a reaction The detail is all the way she tenses up here The tension is here it tightens the fingers brings up the shoulders Love the contrast in this look at that hand coming in And it comes in threes to you got your one two and three and then you got again this here She decides to move that over and even this is not just Moving in and translate you got a change rotation of the hands again arm is moving Changes the shoulder changes the chest and all of that because she's moving over this way There's going to be a lean and the pressure on here So you can see all that change in there and with the change in the head So all the subtleties are really important as you go through bottom mechanics Now you might say well, but she's moving this arm a lot. Why is this head not moving as much? It's because she wants to be really focused It's like an angry focus and that just re-emphasize that I am watching you don't do this again But I'm still going to grab this So if you had her move her head around a lot, it would take away the stern focus So just their body mechanics and other acting choices that you have to kind of combine and be mindful of Even this here just a random frame Love that the grouping here with that extra gap through there Your mom is outside You can go frame by frame to see what goes first you have that Little tiny move in the corners. The squishiness interface is great. You got the eyes going down and you have that Ease in and the stop you don't go too crazy with the overshoot You have a slight relaxation where she freaks out and goes So that firing of the muscles where everything is going to Stretch that out open up the lids It's going to relax a little bit. It's nice and subtle But that's for anybody doing facial takes or doing just eyebrows moving up or anything you have even like a jaw down You want to be careful about stopping this on a dime where it's just on one frame Depending on the style, of course, there are different styles and you can be more extreme in one frame stopping But if you go back to this here, it's like the trailer The movement of that the walk here. It's also really cute how she has her arms out All of this right all of that movement sets up the world So this is not hotel tea. This is not cloud of chance of meatballs. It's not Super snappy. So now everything that is continuing with this is going to fit that style Let's go back here Love this if you're watching this I put a link of the full trailer. I love like the horror movie music slow turn and camera move Revealing the mom and I love how when she hides she can't hide. She doesn't do it. Well, you can still see her back This is what I wanted to frame through as well. Look at that The shapes they really have gone With luca and just that a bit more outside the box of Pixar I mean, I say this here as as someone working not at Pixar But as a as a viewer feels like I'm really loving those character designs Since luca just kind of different from what they've been doing Great shapes and even this here. You don't see the teeth underneath You don't see anything here. Just graphic shapes of white the darkness. Yes, you can still see the tongue But we took a very simple mouth shape But in terms of clarity not simple as in bad, but the clarity of it great And then you can see again mechanics of the lean and the settle all about she just kind of looks like what is going on here She says a bunch of stuff here and you can hear them arguing, but I love that is it still working So I'm not playing the sound here visually As he comes in how she has that lean out And over there look at all the things she does It's like the well my daughter is here. You got a nice simplified hand shape He's still looking and then she shoes him off. There's so many great poses plays in full here just quickly I love that He is trying to grab her and you can see the reaction on her Oh, and then he goes back to balance This is what we talked about during the encounter trailer when Mirabelle was moving over so she has to move this way and in order to do that she needs to have a Whatever a there could be something here where she puts her arm here to push off this way or a leg To go and push off this way It would be slightly strange for her to be like this Like that imagine the legs are here and she's not really gripping anything And she would be completely off balance. Maybe she holds back there Maybe she will pull herself behind it. You we can't really see it But for anybody doing something like this you got to be very mindful of your foot position So for her to go over this way again that position mechanics wise is really good I also love that the finger here comes at first and then that Into all of this here. This is a Karen gone wild I love how it's somewhat dainty, but it's so into the shin And this is there you can see here the what we talked about the mechanics This is now a pain reflex. So this is going to have the bigger move first with everything Oh, I read it's out this way Into him Holding this here of how she kind of speeds over Then you got that saw this I got kids and yep, they all have that This is also great for contrast in terms of how each kid reacts differently in terms of expressions The facial the timing of course if you do something like this, I love interaction So you got the pushing and a squishing of the shapes there That pulls all that up the nose and the mouth shape there Still looking this way you got an opening like that Love that little contrast there of him Opening and then just that That's complicated job. There's lots of mechanics here I love this here. I love this the look of that foreground elements blurred out background elements blurred out with still a focus on her I just really like the look of this So much to do Why don't continue on I want to get to the red creature Which is her spoiler. No, this you look at this. I know this is super big you got You got that lifting of the elbow the pressure releases here and you can see The detail in how the fingers are moving. So it's not just I'm going to move my hand up and do nothing here You have to think in terms of compression this could be with fingers or again the hand on the cheek And if the head goes away from the hand Then the cheek is going to change the hand is going to change that compression all that is going to change You can see it even here. She pushes against this hand. So you have the glasses Moving over. I just love all that kind of detail stuff. Come on. It's so good Detail in here as she's moving you're going to have to have some movement and tightening of the fingers And there's a slight offset in which fingers are moving I mean, come on. This is big star. So you're going to have a lot of really good detail work Loving the look of the renders. Come on That's great. I love love that the holding of the bag Get your clean poses This here again, I'm going to the thing is I Feet like this right finger poses. That's sometimes easy to miss so for instance this hand pushing off you could have a little bit of Spreading of the fingers with the compression But as you let's go you can see the change in the fingers right there as they get off There's a slight change subtle, but it's still there all those details So same thing here that foot gets on the ground You can see how the shin and the legs point it this way. It's maybe not the best color And look at the angle of the ankle here going in ready and Right there. You can see that it goes in. There's this type of compression there And this is something that's just easy to overlook as a student. You're already You know, there's so much to think about in terms of body mechanics and these are kind of the details that I personally wouldn't even push for at the very beginning got to really make sure that the balance everything is right But once you're done with this and it works really think about the details And the compression of stuff like that the weight and how this can come in in terms of rotation Again, if the style permits right if you want to put in that much detail in some, you know, Whatever tv shows or whatever you're not going to have that much Compression and complexity the compression complexity Speaking of which you can see a really nice close-up of how when this goes down it stretches the nose a bit there Can all the finger detail you can see a bit of interaction as she grips grabs her beanie here All that moves. I just love all that stuff here Such great looking. I mean this is going to be Oh so good grabbing of that one of that's Helped with sim as well or all keyframes really nice close-up of seeing all the darts as they go over one frame This light is in but you don't want to be too spliny on the eyes This gets a bit too Swimmy and if you're you know kind of spaced out or dazed So this is your moment of I am in in like this is stress, right? So you're going to have a lot of Quick little movements. You see a slight little jitter in the head or high frequency same thing in the fingers This is so good. I mean, how long is this shot ready? So it's way, right go back into your body mechanics assignment and Oh not that long but great. Look at the contrast here. You're not you don't hear you're not hearing the sound Let me just put on the sound just for this This is great. So now you got your terrible. It's mommy. You got that intensity of the voice And it's paired with that going up And that for a higher contrast. You can see how high she gets here. I put on my onion skinning And that now it's this high and before that It's here. So it's a escalation of stronger and stronger but also because of the voice. It's For you doing a body mechanic shot, this is a really cool shot. Hey, you got complications of a run And then you got a side step on your second character, right? So you got the complications mechanics wise of these two But then you start having interaction right now It's bit of a dodging side to side again mechanics in terms of going forward and then side to side So you have contrast that's really cool. And if that wasn't enough Now you have this now you have compression and interaction This is complicated to do you can see that he also grabs her here She falls down and Leans or leans has like all that weight on that arm So he has to come down because she's pushing him down and so on and so on you got this here where he starts to lift her So now she's less in control that leg is going to dangle. I mean, there's so much in there in terms of mechanics plus pantomime plus lip sync So great framed in these two characters I mean, I would love this if a student goes, what should I do in terms of mechanics? There we go That's your shot right there. It's interesting. There's a lot of contrast. It's complicated You have a lot of possibilities to show off weight and interaction But it still is a shot It's not like a you know character an empty scene with the box and lifting the box which I did maybe if student has that assignment, but this is more of a Complicated mechanics that it's just part of the shot The thing that she needs to do is I am going from a to b because I want to talk to my daughter, right? And as she does that this happens to be this So that's her objective. That's what she needs But within this shot you got like the weight assignment in a way You got a body mechanics assignment. You've got a walk in there So lots of separate quote-unquote student assignments that we hand out as teachers are all in here in a really cool shot Sorry, I'll link it a lot on this here, but it's just really well done Again, lots of really cool detail In the shapes here now. This is red. I'm gonna change color again I love that. I love how it gets you can see this here change this intensity again talked about high frequency So if she's freaking out you can see all the movement all throughout if you watch the framing and just how it moves It really turns into high frequency. You got Whining of the nostrils. There's so much detail in there. Let's check there. So good And I love my changes to this kind of lining Oh, you got your squash stretch It's a little bit of the top of the teeth But you can see there's a lot of times it's graphics. You don't show I forgot what it's actually called esl strikes again But it receives just enough to still be graphic in terms of the darkness the tongue and the shape Oh, it snaps down So great That you got all the extra detail in here actually pushes over Into that That is I'm looking at this here again the compression the lighting is great here And that is cool too So you got that coming out and it's kind of your your other body mechanic shot where you you're showing off force in terms of an outside force Influencing and interacting with something else. You can see how everything will be pushed this way You can see this here all of that first you got maybe the wind and that pushing the hair, which is lighter This is heavier, but he got all of this Of all that again, I would love to animate this. I don't know people get really I wanted to carry this stuff I would love to do here the camera all of this Oh, this is cool Nice, but that's definitely cool to see all that outside force Actually, I'm curious if this was simmed again. It's a lot of times people like doing things frame by frame by hand I don't know this was done by hand Or not. I love this. Actually, I love that the teacher is almost protecting here. I would assume so, huh? In his instinct. He's still trying to protect the kids And I think radiates out. That was great And then we got that reveal here Nice you got the nice little quiver here Oh, look at that great hand poses again pushing off. So you got this with the spine being pushed this way Here you go. Let me see. Let me see. Yep. Yep. Yep. So you got this guy pressed against the window Yeah, that's great. So this is what I was talking about in terms of the the detail So the fingers are at the window here and now that pressure is going to push Into this shape there all that little detail works You can really feel that this window is not going this way. This is a compression Interaction. There's great Nice clean hand pose. I know I always say this if you're watching this you're probably tired of me drawing out those Silhouettes there, but it's just nice and clean as I like it And you still have contrast, right? It starts like that It's almost like clean, but she's not yet influenced Enough in here. There's more you can see the influence on the cloth And now I'm reading way too much into this. It's just for for nice contrast But as this is more out of control and she's less in control The pose of the finger reflects that as well. I'm totally kidding. By the way, I I don't have that that was intention But it's nice in terms of clean too Less clean but also just for contrast And then nice. Come on That is great such a great frame Nice little quick change here. Look at that. So you got your clean silhouette on the fingers That's something else you have to think about in terms of blur Not enough blur right? So you have a clean silhouette and the moment you start moving fast The blur is going to hide a lot of stuff So if you have I mean, I don't know. Yeah, if you want to animate you don't know if the lighting conditions here But that the darkness and the light is going to help you with The silhouette it's going to be tricky on something that's like blown out there But the reason why I mentioned blur is because sometimes, you know, we animate things We don't have blur in the in the render and we do have I mean at island We have a blast with blur But the thing is you have to consider that it's not moving So there's no blur It's going to be all clean at the moment you move something really fast be mindful that the blur might potentially hide your posing So every now and then you might have to do something where you want to see more of it So you slow down things on purpose so that the blur gets lessened so we can read either facial shapes or You know finger shapes now that this is happening here. Just talking about that in general So good though Again, you got the high frequency Or the quick moves not high frequency, but the really quick dirty moves especially in the eyes You can have a quick move with a little bit of ease into that That's great. And then you got the squashiness of that face It's classic take Anticipate and then whoop right you go down first Shoulders up Into a stretch this goes down He's not seeing it all right So cute Let me just go back here just quickly Even this here though, I mean like really yes, even this here imagine All right. I want to show weight and body mechanics. Okay We'll have something that's elevated and the character Maybe slips down less in control so you can have fun with crazy poses like this expressions And then you got the complications of that compression So this foot can go further down So it's going to have a push and a roll effect of this in terms of mechanics And you can see that it lands like this and then it lands like that So you have the contrast of this again, this is because of this leg here But then it has to continue because now that arm is going to stop The fall can push the body up turn into that just really nice complexity And this is super super short obviously you can make this longer for an assignment This would be too short. Let me just play this and see Yeah, it's a bit short. You make this a bit longer But I just like the idea of the elevation to this and because you are in in asymmetry Because of the land it's going to really complicate the mechanics there And actually if you do this you want to make an extra complication make it a creature, right? This point gets into more creature mechanics and posing not here But again, I'm thinking in terms of of students, right? They want to do something more complicated Don't make this a human make this an animal. So you have to deal with a tail and so on and so on They're always great ways to You know make your shots more complex to challenge yourself. I just have to go things again Nice asymmetrical shame, but I like this. I like all that Call on is great Even this here you got the contrast of Run, I love how the arms go side to side. So cute. But then you got that as your anticipation For the jump because you can't really anticipate backwards because it's straight to camera So your line of action change is not going to be as pronounced if you go straight to camera But now by going sideways, it's a nice contrast and it tells us this way and in this way growing up Talk about this here old moley. So again bottom mechanics What would be more interesting than a flat surface? Well, he got Elevation change. He got a gap. So someone has to jump again elevation change with this. There's no clear landing on this So this is a great example of really nice complicated bottom mechanics also Pointed this way. So there is a 180 turn of a character and how long is the shot ready and Just long enough. It's not too short not too long, but this is great It's a great example for any student watching this going well, I can do bottom mechanics I want to do something more complicated. There you go. It's like pan travel Not that much pan just to travel with the camera It just makes this more like a character that's struggling to go from A to B just takes it out of the Exercise realm and also love the detail because you know, there's going to be weight It's going to influence all of this breaking Breaking be fun to animate Come on. It's great. I love this It's a beast Put the mom there and get a little detail and compression Nice Hold the expression change again leaning over for contrast into More determined. So you're gonna lean forward to be I mean, it'll be kind of fun to be in this Lean and still have that face in there, but it's nice. It's a nice contrast She's still holding on to her purse what is this a shoe? She's holding onto a shoe. Nice Nice simulation on the fur So great Love the colors. Love the colors in this Bam, there you go title Turning red. Oh, yes. I saw this here I'm looking at there was a great moment of flutter of the the eyelids this here. I love that not quite the blink Just feeling more comfortable with the slight flutter, but they're so good Of course interaction This is tricky, of course a lot of rigs, you know, we'll potentially not have that much Well, I'm not going to talk about fur, but just there's a shape control to really Push all of this in the direction Of an object pushing against the face, but it's always fun to see you can see all the stretching here so good and when I want to go through this frame by frame just To see what happens first. All right, so one frame popped there Into her but you still got the Upwards move so anybody doing this right? Let's pretend you have this is your assignment You got the creature up and then revealing the human Like that the continuation of this this is going to be my arrow All right here the upwards movement of the creature continues in the human now. You might say yeah, of course, but I've seen enough student work where that again might be overlooked. You got really nice hang time And then the drop It's nice with the delay on the hair the drago blop like love the shape here boring just enough of a bounce but not Not too soft is Just spring enough. It's really nice And that's like change there right that's a pose Now look at the arms and hands and into this that that's slight change again. This is all stuff that People might not do you might just go land And then look down and that's it, but it's nice to have a little bit of a Upwards move of the root. It's almost like she's going up and maybe back a bit to see better To see oh have I changed That's really like that slight rotation in the in the wrist as well for contrast again So it's not just a simple one axis root up It's a little bit of a transit over this way just enough And again, you don't want to keep your wrist stiff So there's a little bit of a change in there. It's just enough Nice detail there now picky hat on say that if you Push up right so the compression is on the feet Be nice to have a tiny bit of compression On the fingers on the toes here. Maybe it's like spreading out there Picky hat, but you see it here right see this you got the compression Down and now you can see this So you might argue well, this is the style slightly more limited So on the small move like this It's not going to be any spreading because we have it here You can see even the downwards compression. It's not just a spread but even down Nice come on that is like all my childhood anime cartoons there Even this here, it's not just a ah frustrated up And down to like within one axis and again I'm hung up on one axis just because something I'm going to talk about tomorrow my animation with the q&a But you got that a little up And then I made a note talking to myself now. It's just a nice move of up over Asymmetry into that step over there with a slight camera follow as well. It's just nice It's just nice that it's not all one axis Always always a sticky point in my reviews I'm sure someone's going to go through this frame by frame and see some easter egg something in there That's a great frame to look at that Anyway also cute in terms of effects The puffy cotton explosion there Yeah, I really super cute. I'm really looking forward to this now You might say I'm always saying it's well. I am I am looking forward to a really like the design Koopy fun premise Comedy is already there the animation is really well done, which of course it's Pixar I just like that like that kind of pushing this a bit more That is like this is so cool. I'm and on this here. Come on But yeah, very very very cool. So as always feel free to comment last time I got a comment about which is not critical enough listen Making a point here You might find a fault not in this frame, but you might find a fault in a shot here and no I'm not going to comment. I mean even though, you know picky on foot compression here But if anything is not good, no, this is not the channel to do this I'm not going to bag on on another animator shot Because anybody working in this re knows that whatever you do the final result is not just the animator It's going to be comments from the lead to soup whoever else declines Then there's time constraint budget constraints that could be crazy deadline the rig could have broken There's always a reason why something is in the shot and sometimes the reason just out of your control Right. So no one asked me to critique this and make comments about this I just want to highlight the positivity of it. I love this if you want to hear me, you know Not complaining about critiquing things. I have a massive playlist of workshop clips So there you can hear my my balance feedback But no, I'm not going to bag on either co-workers or friends or other animators professional work That's not what this channel is going to be. So if that's something you're looking for it's not going to be this channel Anyway, quick rant at the end, but I'm leaving with this if you like this I hope you did it's always on the longer side, but I love to nerd out on all this here Come on so many great shots I love it. I can't wait to see more. So that's it for me. Thanks for watching again Thanks for your patience for watching this up to the very end. Where's the frame? Where's the frame? I want to end on this here And come on so good. That's it for me. Thank you and I will see you in my next upload