 Oh, hi, this is so stupid, I can't even start. Today I'm gonna look at a shot from Julien Tio's Pixar internship demo reel from 2016. That's a mouthful, but it's also a really good reel. This reel is from 2016 and I have a link in the description if you wanna watch the whole thing. I'm going to take a look at one shot specifically just because it kind of fits into my upcoming F&A that deals with environment. How you can use the environment to change your animation, choices, be it objects that hit the character, like in this case, it could be something where it's slippery or it's hot and so on and so on. That's gonna be a topic for the future F&A that will outline all those different things that I think could be really cool once you incorporate an environment. Not to say that shots with a character just being alone in the room are not good. There are plenty of really, really, really strong acting performance shots online by so many artists and they're really, really good. This is just if you want to explore an environment, what could you do and how you could incorporate a character with the environment or vice versa depending on your approach. So let's take a look at this. She comes in here, sees that she's in the wrong room, boop, that bumps her and then she exits and door closed. Very cool, very cool shot. Why? Well, let me tell you why. All right, just even looking at this here, I like how the books are stacked. I like just a little set diagonal lines of the set here. It kind of points towards her if you will. It's just an interesting set to look at. And sometimes a set, if you don't have an idea, I like to look at a set and go, what could you do in this environment? Oh, there's some stairs or there's a cupboard. What could I do? And sometimes a set to me is inspiring in terms of animation ideas or acting ideas. And in this case, what I also love is that the only thing that we can see her through is this window. So as we're potentially looking around, again, the shot doesn't take that long until she comes in here. But still, what I like is that because there's only this here, it's an immediate movement in the frame. So as we play this, it's right there. And again, it starts off right away, but still it's cool that it's a very focused part. And we know where to look. We can see immediately her eyes, little eye blink there. We know that Julian is very aware that we're looking at this and he has a bit of an eye blink there so she doesn't look like a robot just kind of walking past this part. Speaking of walking, you can see little ups and downs here in the route. You can tell that she's taking steps. But what's also cool as she goes forward, you can see how she stops and comes towards us, towards camera. And then here, you can see that sun stop. And then up here, meaning that she leans over, hits the door, stops a bit because it's gonna take a while for the wait to get onto the door and then for the door to move. So it's just a little thing that's off-screen, but still it works. And it tells us, if you watch this in real time, you can feel that little bump and it gives us that connection of her against the door. Speaking of door, if you look at this door handle, which is awesome, you can see a little bit of a move here. Just a little bit, which means that her fingers are kind of draping over, holding onto it tightly. You can see how it goes back up and then bam, then she opens it up. It's a little bit of a grip anticipation then opening the door and you can see how it kind of overshoots and then comes back a bit. Again, watch just that door handle in real time. It's so cool. It's a tiny little detail, which again, it doesn't mean that this is the make or break part of your shot. If the acting performance is not good, it's not gonna work in general. But I think it's just fun to do. Again, it's very subjective, but if your main performance is there and you take the whole set away, you just look at the character and that is working. The way is working. The emotion is working. All the beats are there. The storytelling is clear. And then on top of that, you add a cool set with all the details. That to me is just so much fun to do. And to me kind of elevates the shot and just gives it that extra layer of polish and kind of you care about the shot more than just the character and there's more that you want to do to it. And what I love is this, the interaction between the character and the door. When we talk about interaction, sometimes you have interaction where it's kind of like a fight maybe, like a punch, but a punch is like a one frame. If at all for visuals, it might be a zero visual contact point in the shot. I like prolonged contact where someone is holding onto something or leaning onto something or there's just a very clear and very difficult to do connection between the CG character and whatever set piece you have. And in this case, I like that she opens it like this. She's concentrated on that piece of paper. But this to me also seems like she is familiar with this, meaning that she's done that a couple of times. This could be one of her way of walking into a room, pushing on a door, which I think is really, really neat. So as she comes in here, I love the little steps there. Look at that. I love that lean. You can see the crossover on the legs. She's really pushing on it. And there's some tension in here with the shoulder up and the arm. And that's why there's a little fist there. It would be kind of weird to have just a dangling hand, which I think you could do. It could be an interesting acting choice as well for someone to come in and why is that arm like this? Who knows? But I like that in this case, there's tension through all of this section here. And it's also adds with when she lets go, tension's gone. She kind of repositions herself, drops that arm and it has that little moment of whoop, I'm in the wrong place. Again, tension, shoulders go up and it's very important to not neglect the shoulders. Let's go back just because it's so awesome. It's so cool. I love how she's completely looking. That's a wrong spot there. Looking at this and has a slow blink. And you can see how the eyelids are still covering her pupils just enough. She's not fully freaked out or she's kind of in her own zone. She's kind of more relaxing her look. And then when she realizes, whoa, what's going on? Enough of the white above the pupils exposed to give that bit more of a freak out and bit more of a tense look there. That and it's so cool also how the eyebrows go down for a bit of a more concerned look. Just enough of a change. And you can see how there's nice offset in her arms. Let's just watch this here. How they go down. So good, that little take, little tension there. But then she focuses right away on, wait a minute, this is wrong. This drops, this goes up. And again, the detail work on the paper. You can see how it kind of flows up and then down. And of course, my favorite part. So she looks here, wait, this is not where I'm supposed to be. And you have a little bit of a look up on the head with a little bit of a relaxation in the mouth and the nose. You can feel like that section of the body, of the body or the face is elongating a little bit. And as the head goes up, eyebrows continue that move. I dart here to kind of still show the processing of the information of wait, where am I? And it's so awesome here. You got the door closing in, right? Pushes the arm. You can see how the arm goes back. And I love how it kind of affects her there more. There's more of a early blink at this point. And that's the part that kind of wakes her up. So as she comes in, yeah, yeah, yeah, wait, wait, where am I? And then she's completely not lost, but it's the sense of I'm relaxed and then where am I? And this is now the fear, the embarrassment, whatever you want to put into your character at this moment, but someone go, oh, this is not where I'm supposed to be. And you can't in that zone. And the door comes in and smacks her out of that moment. It's such a cute right there. Such a cool thing where it's not a complete change, but it kind of snaps her out. She's aware of this, puts the hand there with a nice little post change in the fingers. You can see how the thumb here comes in grip kind of tightens. But then after that, she goes straight back into that moment of, you can imagine she comes in and there are a ton of people, maybe it's a meeting. And they all look at the door like, why is this person coming in? And she goes, oh, and then she gets kind of bumped out of that and but goes straight back into, oh, sorry, she's still fully aware of what's going on around her. So now that she wants to go, I like that little again detail how the fingers go over the edge of the door kind of slides over there. Again, you've got nice little animation on the paper, especially on the bump. You can see there that bump has a bit of a mess here arc because it kind of bumps her out of that state. But then it comes back into a nice settle. You can see that in the paper. It's watches in real time. So nice. It's that little quick arc because of what's happening and then a slower settle and a relaxation in that arm. Let's watch this. So good. Then moves back and like, again, a little sidestep that she does right there. And then I love this here, little side to side step and gets ready to get out of there with a little bit of a cute finger animation. And I love this here, that little anticipation. Again, through that little sidestep and then screen right leg goes up and nice line there, shoulders up, arm is up. Everything's up into, same thing with this here. And then the awesome timing of going up and hold and quick exit. It's a lot of shots you can see all over the place that have this timing of and hold and quick exit. And I love that. I love that contrast of where am I going and getting out. I love the slow and fast with those quick little steps. It's so good. And speaking of that sound, you can see when she gets out of here just because there is no sound in this. You can look at the expressions here. She goes, and then out and I love this. I love the end of, you can almost hear that when she gets out and that expression gets dialed in. It's so good. And then out. It's so good. So again, lots of darts they're looking around like, yep, sorry, sorry. Nice little offset as well. The eyes, offset, asymmetry. They're in the mouth. And I love on this turn how she's not blinking. She's looking over here and you can see the dart over as she exits. So it's not a regular, I'm looking over with a blink. It's more of a, okay. And again, it adds a performance to the whole, I better get out of here of that moment as she exits there. And then, and of course the door. You can see how it kind of speeds up at the end. We got the handle having that little bump there. So watch this, how the door is kind of in a bit of almost a bit of a pause. And then a faster move because of that faster move, it kind of makes the door hit it harder. And you can see this section move. So let's play that. So good. That's the such a cool detail here. Right there. You can see that little on the handle. And that could be something where, you know, again, if you have something like this here, like you, you bump the table and the table would do this and you have all the little pieces that would move. Of course it's the pain in the butt to animate. So just take a couple out, maybe have two or three pieces. But I love that. The thought process of having those little details in there, it just, it just adds a little button. Like the character's out, taking the shot is already done. But we can kind of see how the door closes and has a little, at the end. And it's a cool mode of, oh, he thought of that last little detail. And then he cut the shot, which reminds me of something that was going around. I think yesterday on Twitter, where someone was doing pull-ups and then he falls and then you see a very slow fall down over the towel. And then the metal bar that the towel was on kind of bumps up and falls down. It's just that added a little detail of, even if it's something at the very end, there's very specific timing to it. And in this case, it's just really nice polish that the door isn't just closing and in your animation, your graphite, or it's not just a linear curve, which is, this is not a linear or something like this here. But I like that even a door has that extra texture of timing, how it's a specific slow down and then speed up. And then because of that sudden hit, you see the door handle vibrate. It just shows that he is really taking account every single detail of the environment. And if I already have a set like this, why not? Why not add little things that kind of take the animation just to the next level, just a bit further? Which of course shouldn't be a make or break thing if you get hard or not at a studio or wherever you apply. I mean, the main performance needs to be the best thing in the shop. But if you already have a set, why not? Why not think about what could I do? Maybe imagine it's a different shot, she holds on to this and really slams down the door. Maybe because these books here are stacked that way where it's almost falling off, maybe that massive vibration and the winds could maybe flutter up this piece of paper and then the books could fall down just to kind of add to, that's my exit and that's the strong hit of the door. And now because of that stuff is falling again, it's like a little button at the end of the shot and it's bringing together the performance of the character and the environment and the set. Such a cool shot. It's one of my favorite shots that I show in classes in terms of the timing of it. Again, the contrast and timing of how she comes in, holds, gets a little bump and then gets a quick exit. I'm a big fan of those hold and quick contrast movements. I love the interaction with the set and just overall, it's just really, really well animated. And to me also feels like it's in character if you would see this in the movie. It does kind of feel like her. This is how she would act and this is what she would do in the situation. And this is really important too that if you do take on a character that's been established or you're working in a movie, maybe it's a sequel. Like you have to be able to not just animate it well but the character has to be in character and move and behave based on the existing shots or based on the existing movies which is also a very tricky thing to do. In the description, there's a link to Israel. Take a look at it, take a look at the whole thing. If you like something there, give him a comment, tell him it's awesome, give him a like. I think it's very important that when you see good art online, you encourage the artists, you give them likes, you spread the word, you retweet or whatever the social platform format is but spread the word, credit the artists. I think it's important for them to get exposure and that exposure could snowball into something where the right person at the right time sees it and that can land a job for the artist. And if you watch this whole thing till the very end as always, thank you. Thank you for taking the time and I'm gonna continue to look at other reels and other shots and there's some trailers I'm gonna take a look at that have gone by. There's Wreck-It Ralph, I'm gonna take a look at. There's the Spider-Man trailer and How to Train Your Dragon 3. All fantastic trailers, there's so much good stuff in them. I wanna take a look at them and nerd out as always. So if you're into that, tune in when I upload this. In the meantime, I will continue uploading critiques and the acting analysis on Thursday and the FNA on Friday. So if you like all this, you don't wanna get all the notifications for all my uploads. As always, subscribe and hit that bell button and I will see you until then. I won't really see you. I mean, I'm recording and you're watching it. It's a silly thing. It's like when I record something, like a critique and I say, does that make sense? Or you know, and I'm recording this and a person watching a critique cannot really answer. It's very silly, very silly. Anyway, I will, I was gonna say again, I will see you with you. I can't say I will see you, but you know what I mean. So I will see you in your happy faces. I'm assuming they're happy. Behind that lens that I'm looking at here. Anyway, I'm rambling. I will see you in the next couple of days or next week, depending on when you choose to click on that link. That's such a long ramble. Anyway.