 Welcome back to our animation analysis. And today we're going to take a look at the short called d'amour joint. I hope that is pronounced correctly here, but let's go back to the beginning and let's go straight to this shot. So right off the bat, cool detail here, the render. So I got the lens slightly out of focus here. It's like handled in the camera as well. And then we get to this and that is to me already cool because it's not just getting the hand here, the fingers, then grabbing this constraint. And then that's it. It's a lot of detail of coming in here, going first with that thumbs that I just been here in the index, right? Nice silhouette grabs this so that it can pivot off of this side to this position so that he can bring down the finger and then re-grab and lift it. This is something that I definitely do all the time. Have it like this, switch it over to this firm equipment and lift. Now, if you look at this again in terms of just the timing, right? You get that little bit of pause right there. Just when it's here, just enough time for the re-grab and to grab. Now, you might think this is crazy time for a shot. Too many details that I'm talking about here. But to me, that's just really nice attention to detail with prop handling in terms of the finger changes, the posing, how you would do this. Like this is something that I do is already kind of, you know, I see myself and they're going, OK, yeah, that's that's what I would do. Nice observation there. Cool head camera handhelds as we go into the next shot as well. Can I continue the slight handheld? Love that silhouette look of this. The colors are great. Just the the production design is really on this here. Kind of a bit of a of a cloth similar here. But the reason why I'm going to stop on this, too, is that look at the amount of time he takes when he looks at the phone, looks. Then a little scratch there, looks again, swipe, swipe, swipe. And then there's the phone and then, you know, we have the sound and everything that goes on in the background there. And the cool thing about that is that if you have something like this, like you don't want to rush through this, imagine you have this and you just scrub really fast through that. It just it won't feel like the character is actually looking and reading and making decisions. So if you have a character to look at this for you, you can maybe sound something out where you say, well, let's go back here. You act this out and go, all right, I'm going to look at my phone. OK, I read the whole text in scratch. OK, I'm reading this, all of that. OK, now let me dial the number. Like if you say that out loud and that is what's going on in your Maya scene in the timeline, right? You can have you all you're there. These peaks and valleys will be your guide in terms of what you're going to do in terms of the rhythm and how long someone does something. But as a character, you have to think in terms of they have to look at this, read this, process the information that again, there might be some business in there for contrast, but then take time, process and then do your thing. And even this here, there's just enough time for the ringing. You can if you watch this, I'll link the of course, the short in the description, but you can hear this and then he says something. Just give this enough time for the character to react, to listen, to do something so important to not rush through reactions. And then you have a slight change. Now he's actually changing there. You got a slight little move in his arm. I do love the feet down. You got a slight lift and then rotation over. Same thing here. He'll first then rotate over into that way, shift. And then depending on the action for him, he goes back and then that's that goes forward. So for you, you can think in terms of maybe your shot starts like this, happy, he hears something bad on the phone and goes, Oh, no, what happened? Just think in terms of body language, right? This body, pantomime and language and body acting that you do when you don't see the face and how, how do we perceive this that someone is like this and then like that? And then give this also enough time. You don't have to worry about crazy detail. It's all about the silhouette in this point, which is again, nicely lit there. That's the important part that we want to read. And then just enough time for all of this. It's supposed to go back and then we get into a more close up detail. There's a lot of cool stuff here as well. So as he writes this, you can see slight changes in the hand. Happy, super picky. I'll probably if you have a push here on this, I'll probably maybe push, you know, parts of the finger here. He could, as he pushes this, this could go down a little bit. It's like tightening of the finger. So that gap here that's nicely illuminated could get closer or a smaller rest. If you can get closer to the phone, cause some cool stuff you could do. But the cool thing here too is that as he lifts or lifts, or brings the arm forward to put the post in the down, right? You got your balance. That's not disturbed by weight in front. That's going to bring him forward, which it does. You can see how the body moves. And then counters that with a change in the feet. It's a small thing, but it doesn't feel like this is just the block that's isolated that I'm just moving my arm and that's it, which is a common pitfall for students where you move one body apart, but the rest of it is not effective. Love this here. This is cool too, just because of if I ever put a post in the down, I definitely push here this section that's sticky, just to make sure it stays there. That's something as a student or anybody, as a reminder, it's cool to have, you know, actions by people that feel familiar where you go, oh, I do this as well. Just like when we go back to the phone, the way he picks up the phone, like I do it that way. I definitely do this. There's a nice little anchor points in terms of character actions or whatever you have. It's like not the bag on like movies that I've done, but like sometimes you have like, imagine there's a shot and you hear from a client or someone, here's a creature. So design something that we've never seen before. Now I want it to move like something we've never seen before. And I want it to sound like something we've never heard before. And at the end you have something that you can't identify with at all because it's like, okay, there's no anchor point. Like is it a creature, you know, that moves threateningly or not? Is it friend or foe? It does it sound like something I kind of vaguely remember it to be, you know, familiar so that at least there's something where the audience goes, I kind of know this, I know this is new, but I kind of know what this feels. Anyway, it's a long rant about something that is familiarity and gestures and moves. I think that's really cool. Cool renders again, let's go out forward here. And then we get to another motif in the short of repetition. The repetition is gonna be important for contrast later on. But you can see it's a nice, very relaxed walk, right? You got a nice little swing here. This is fairly not super heavy for him, but heavy enough. That's a little swing in the head. Again, the renders are really nice here. And to this you can see the swing. There's also a nice squish in the feet. That is the real time, watch the shoes here. Right, I'll squash her, I love this. And to this you're gonna see this a couple of times too. Again, repetition, it's a very relaxed walk. Swinging over this, I love this too, it's a great job. Besides the rendered and nice little silhouetted highlights and the rim light there. It's just if you move over, you're lifting something heavy and it's different than a walk. With this, it's a bit uneven, you have to go up, up, up. The balance is gonna be different. You definitely have a shift in weight here. And then as you go over, another shift in weight. There's definitely more up and down besides him being maybe on the heavier side plus this weight, right? It's gonna be a lot more exaggerated up and down. And as you swing left and right, your bags are gonna swing left and right as well. And then accentuating and exaggerating this swing even more. I know, I really like this, a lot of cool stuff there. Again, little squish in the shoes, little details there. It's good stuff, I like it. Same thing here, squishiness, little slight adjustment that are cool in the shoes. But also this here, as he comes in to a stop, see how the bags swing. And that's gonna affect the root. And you can see this here by the angle of the legs, right? They change just enough. You don't see the hips, you don't see the rest of the body, but it's kind of a implied swing and weight shift, which is neat. Then this is cool, you know, for me everything is cool, but hey, besides a nice hand shape here is to me prop animation is always great because you are now deciding as you do, you know, with the character, but what this is made of, how soft this is. Like is there, are there milk cartons in there that make the surface really hard. So when this drops, it would be a harsher, linear key in the graph when this stops. Or as it's shown here, is this just a bunch of loose stuff that's soft. You can see these here because it's rounded, it's not flat. So I know it's kind of soft. And as it lands, it squishes out to the side with a slight prop adjustment there and a little bit of a change in all of this here. I love all that. You are in charge of telling us what this is, what this is made of and how this feels in terms of the squishiness in the softness. I don't know, I like that stuff here. This is cool too. This is maybe not your typical way of knocking. I would probably have, I don't know, this part of the palm closer towards us, I guess, and maybe knocking more with this, but I like this. Again, I have a pose. It's nice and clean. Silhouette is nice, different type of knocking. You still have squishiness, you know that you don't see the mask, you can still see changes here in the face. And I love this here. Again, it's the timing of it. So he knocks, leans forward. This is the object of interest. Obviously he wants to listen through the door to see if she's in here. But you lean towards something you're interested in, then you got that little look, this little slight extra eye dart here. Right, you got a little move over and then slightly up. And then just enough time until he hears the knock and then he reacts. So again, don't rush through those things. There's all separate reactions and actions, especially if you are knocking, you're gonna wait for something there to happen. And if it happens, it's gonna have to take time to travel, go through the brain process and then react. Little things here, but this is great for students. Also not super complicated because it's chest up. You don't have to worry about, you know, the hips and the legs and all that good stuff and even much of the rest of the arm here. But it's enough to play around with clean posing, contrast and posing and intense, right? You wanna get closer and listen to this and then thought process because of waiting for something and then reaction to that. So why don't you just after that, that's really cool. Let me get to this here. And I like this too. She's already, I like that pose that she has that elbow out. Same thing here. I know she's going to grab something, the arm goes out, but it's not your T pose down, arms are down and that's how I'm going to animate. She already has a certain pose with her arms out. Already like this. Clean pose in the hand. Then as she grabs this, it's a really big lead with the hand turning the body over the chest and then the root there to grab this nice clean pose in there as well. And then it's of course the best part for me in terms of weight, grabs this and it's going to be heavy. It's going to be heavier for her than for him. So grabs this, so you're going to have a pull and an elongation here first, because this is heavy. Now she puts in a slight adjustment to go, all right, I got to get closer to this, right? You can see that change in here. And then straightening to lift this up and it's going to go with a slight rotation and then lift over. It's not just like this is one piece of geometry. It's just going to one axis moves back. No, no, no. You have a rotation with she rotate. She takes this. So this bag is going to rotate, but she's also leaning back to this corner. It's going to go up first. And then the cool thing is that this is heavier for her than for him, like I said. So after the initial lift, she won't have enough strength. So you can see how the bag now starts to drop. And now it's more of a pull and slide. And then with that turn, you're going to have this side a bit higher than this side. And now she moves over this way. So then he has a slight change in rotation with a slight lift here because it's going up this way. Watch this again. There's so much stuff in there. There's this complexity and contrast, body movement and prop movement in terms of weight. Love this. So great. You're going to get to this here. And this is cool too, where it's like the hands is the stand-in for the face looking and reacting. So what do I mean by this? So grabs this. And if she might look at the bag and then suddenly see the post-it note, think about it for a little bit and go, oh, let me grab this. And this to me is all visible through the hands. You could have that hand go down and go straight for this as if she expected this or she knows it's there and it's going to go for this first. But this will pause in the hand. Watch this. Whoop. And then that just gives me that impression of that slight moment of, oh, what's this? Oh, nice. Let me grab this. It's cute. I like it. Then you got a cool render again. Nice little detail. Squishiness in the whole face and body. But watch the eyes there and that moment. To me, it's like, it's not like she is reading this. They're not that many words, right? If you go back, you can see they're only, we're this together, we're together. So for me that dart afterwards, like this is like a sigh of happiness of being grateful that he's helping. And then that look up here and all of this, to me, it's more like she is imagining the way he wrote it, that he's still there. She's kind of visualizing him and how she's helping her. I don't know, there's something really neat about just that moment of that thought process and that little tiny blink there. It's really neat. And then back again, back to repetition, grabs the phone again, moves it over to the side before you can grab it. But even then you have that rotation in that wrist going up, you can see how much it changes there. It's just not the simple constraint on and they move out. There's enough detail there. And then move over to this again, same angle, different light now, the lighting is cool. Come on, and the same thing here. Listen, of course you got your subtitles for help. Slight little change there, in terms of where we are. But that as a shot, look what he's doing here. Moves over, slight adjustments. You might think really, really that's not too much. Telling your first tunes, if you've only done bouncing balls and you haven't done too much in terms of human stuff, this is important to see. You can see how he stands there. He's got the balance with the bags, but one is slightly lower. So you're already contrasting your posing. This is lower than this side. Then you have that slight move and shift, lean over this to then go back and lean over the other leg here and foot to put the weight on there so you can lift this foot to move over. It's a small weight shift, but as a student, you gotta practice small things like this and then think in terms of, is that gonna turn first? Is the body gonna move first? You have a kind of a combination of some acting choices, potentially, and body mechanics, right? But still, you do have to have the weight shift, just like when he was going up the stairs here. This is a bigger weight shift moment than you have right there. But definitely something that you need to practice. I know, I love that stuff. Then back to repetition, right? Got the same relaxed walk. This is so cool. Look at that lighting. I love this. I also love that it's all organic and off. You know what I mean? The lines are not crispy clean. All of this, look at these. All of that is so great. I just love the look. Organic feeling, the lighting's great. Different kind of knocking, again. Even it's a repetition of his daily life there. You still show stuff that's different in terms of the animation, the posing. You still have that. Now, this is kind of the same thing that you had. Oh, that was close. That you had here. So in a way, the cool thing about it is that you have this pose, how he leans in and listens. And then you have this moment where he leans in. And again, you can see, he hears something and reacts and that's it. And what I take out of that is that you have an action that's been repeated. Imagine in a whole movie, you have, let's pretend you have multiple shots here, blah, blah, blah, blah. And throughout the whole movie, you have a character that does the same action over and over or maybe a different character. Take all of these, rip the sequences, and then put these in your folder. And now you have the same action of leaning over and listening done by either the same person in different ways or the same action done by different people. And then you can study this. How do they do this? Is it because the size and age of a character or are they relaxed and listening? Are they anxious and listening? How is that listening act different? And how is it animated? Then look at the frames and study that. That to me is really great. And this short has a great example of repetition as well. This cracks me up just because the door handle, when I see this, I think of my dog. My dog is like the raptors in Jurassic Park. He can open the handles here. So I see this, right? I think of prop animation and that already makes me giddy. Like I like animating everything. I know if you watch Brazil, you know this. But for me, if I would animate the dog or my dog opening this, that handle would plop down fast and then shoot back up. The up would be faster, but it would be quick, and then it's like the paw is up there, pulling this down. It's not like parking grip and moving this down and open the door, but it's gonna be, you know, he's reaching up. This is a cool big, that's supposed to be a dog. But he does this and you get all that clapping in the handle. And then it opens and then you would have the dog here. Hey, I'm here. I don't know, that would be actually a cute animation to start with the door handle first. But how do you animate the door handle? I'm just gonna write this down. I might do this at one point. If you see a door handle that shoots down a couple of times, you go, what is this? Like no human would do this. And then you have the surprise of the dog opening the door. You know what? I'm gonna pause this recording and write this down because I wanna write this down for a future idea. All right, I'm paused it, I wrote it down. Now, also cool lighting here with a little silhouette with that light there, it's great. It's cute too, how she opens that up with a slight overshoot as question is in the head. And I love that she is slightly cut off just because the eye is not clear. You know, it's not the eye is here and the head is all clear. It always reinforces that peeky aspect of peeking, you know, through the door which is that slightly cut off there. But I like that when she is looking at that here, right, she's looking at the back down here. On that move, you have a slight adjustment in that arm and then in turn with the door because she's gonna hold on, she's gonna lean forward, it's gonna have more gripness and tightness here and that's gonna adjust the door pivot and swinging. Small detail, it's great though. And you can see this here too, right when she lets go and you can feel that's gonna be a pull from the other side, all that little stuff there. I love it. Good silhouette too. And again, the weight of it, right, grips it here but it's gonna be heavy and resisting and it's not that easy for her. So you're gonna have that arm that's gonna be really extending, almost stretching at this point. And then you can see how everything's being pulled this way, along how it elongates that prop. And then she, of course, she can't lift it. It's gonna rest on this and then slide over. It's great. It's almost like you want some sliding or something on that carpet or something there too. Cute. Yeah, lots of stuff here, that's really great, it's a story. I almost feel bad spoiling things here but again, we got that repetition. Always a slight differences there. And so you'll weight shift back to here and then you can see, again here, it's gonna look at that knock. Again, different type of knock. You can see more and more. There's a progression of the post-it notes, Q2 passage of time through props. It's always a good one. This cracks me up though. It's very much reminds me of the fridge downstairs. Oh, we have so many cards and things on there. Anyway, but then the mood shifts and you can see it's immediately with the color. We still have the familiar grip grabbing here. Now putting the fingers underneath with that slight hold for the re-grab. Hold as in timing hold. Always great. But even then it's not just constrain on move the whole thing. You still have a change in rotation in that wrist into this, a nice little rotation that thumb there. You know, little things, even like a prop pickup, you can do a lot of stuff. And now we get the change. It's a little pop of color there. I love this here. I love that look. It's very, very worried with the eyebrows. Nice little, you can see with the lighting you can really read that fold. You can see the eyes, the dark, the look up and all how it kind of, even through the mask there's more in here. There's still deformation in that part of the mouth and then the look and all of that. And you can see here, look at the rhythm of all of this because she's not replying or replying. She's not responding to the phone calls. Look at how much movement there is. Side shifts, head, look up over, arms, rate shift. This again, a faster, a faster to the head and looking around, of course, the worry of all of this compared to, let's go find here. Everything is okay. There's not much movement, everything is okay. Here it's not okay. So there's a lot more worry and fear and nervousness. And you can show all this through that pantomime of just more activity, there's more motion. There's like, it's like the thought process of worrying. Oh no, no, no, it's externalized in the body constantly moving. I don't know if it sounds almost, you know, sadly, oh, great sim. He's worried about great sim on this. Look at that. Look at his eyes. The little head darts in the eyes plays in real time. Look, look, look. And then goes, great. And even that walk is not that slow bum, bum, bum, bum that we had before. There's a lot more, there's a lean forward. There's an urgency now. You can see also the camera moves. You can see it out. It's not before that it was, it had handheld, right? It was still fairly static, nothing huge. And now as we are in this world of worry, colors have changed. The camera is much more active, right? The handle is much more active. All of this, there's just a certain sense of malice, as you would say in there. This, right? We're so used to him walking the same rhythm. Now there's a run. Oh, well, to that he has. Since he's a bit bigger, a lot more mass, he's gonna lean a bit more backwards, coming to a stop. So then the body can come forward. You can see how everything then comes forward, including the bag. And then he comes back here. It's great, great physics there, great body mechanics. Included with the acting, you know what I mean? I say, you know what I mean? And no one can respond in real time. But I love the combination of the urgency and the acting combined there with what it tells us here. Same thing here. It's not the plumb, plumb, plumb, plumb. It's a better tool from this angle of the silhouette, but the fast steps. And of course I look at fingers and I go, okay, you grab, but you're gonna have to tighten the fingers. You're probably tighten more through here. This is my, my picky hat to get out of that IK hand, where there's a lot of movement, but less here. I will probably bring this down and squeeze those fingers more. I know it's super picky. But there is stuff there though. There's, I would just squeeze those fingers more. Also the frequency here, the knocking is faster. There's a lot of breathing now. Again, unsettling, there's a lot of looks. Just, you have to look at it. If you do animation, right? The difference is between, see if I can find this. I did not find it. Scrub between the energy level, between, yeah, it's okay. Versus holy crap, holy crap, holy crap, holy crap, holy crap. It's just the energy of something moving within the frame. How that feels and how that feels for the audience, how we potentially feel with him for that moment. There's more and more and more. Escalates, it escalates. I love that too in terms of, I mean, it's sad. It's sad to say, I love that you're doing this, but just, you know, the pleading, the desperation, the hand on the table. And then it goes into that. There's also really cool stuff in there. I love that. I'll zoom there to just go back. Just quick seeing those eyes and then. There's this whole sequence of just panic and fear into this here. He's even lower resting on this. Even again, just giving it enough time to hold the thought process like, no, no, she's dead, she's dead. And then, wait for it. It's almost like the light comes back in the color. It's suddenly not as bad anymore. Why? What's that subtle change in the light and the color? Because she's still here. I love all this. Like, his activities. Like, oh, come on. It's almost like you expect her. Oh, what did you do? He almost was a shaker, wants to hug her. He's like, no, no, don't get too close, too close. Watch out. Cute. And then the color color comes back into credits. And the credits are super cute, too. It continues and then more credits here. So a lot of really cool stuff in there. Definitely watch it. There's a lot of nice and again, the lighting, the set design, the animation is great. Also for me, like, my parents are old. All my grandparents are dead. There's something about the elderly and worrying about them. I definitely connect on a certain level with that short. So it was really cool to watch. I'm gonna skip through all this here. Just gonna leave and play the end here. So yeah, that's that, another animation analysis. Hope that was helpful to any students or non-students watching this. Drop any comments if you want. Any concerns, bribes, regrets, I don't know. Whatever you want to comment on in the comment section. But yeah, I'll leave it at that. And the usual pitch at the end, why not throw that in there? Subscribe and like, you know the usual thing. But if you like it, subscribe because I do upload a lot. So you don't miss any of my uploads. And I will leave it at that with the obnoxious constant YouTube pitch. That's it. Thank you for watching till the very end. If you're still watching, let me play this here. And hopefully I'll see you. Well, I won't see you, but hopefully you will see my next upload and tune in for another upload on my channel. Thanks.