 Welcome back to another animation analysis clip, and this time it's for Arcane. This is for League of Legends, and it's for Netflix. It's coming out on November 6th, and it just blew my head off. It's so cool. Let's go straight into the beginning here. There's some smaller shots I can scrub forward. Although we get to this here, and you can right off the bat see. Just a look of this. Super stylized, painterly, really nice details though. And it's just right off the bat, right here. Like, this is kind of the tone that it sets in terms of complexity, in terms of the grip of this, the interactivity of pushing this around. You can see this as it draws. It's not just a flat surface. That's not moving, we're having some object going around. And again, you can see this here. What is going on with this? So you can see, okay, this is definitely more complex than you would think for a TV show. You get some nice grouping in the fingers. There's a lot of attention to detail right off the bat. Again, this is a lot of, you know, crazy treatment in terms of on what that is. There's like a flashback or something, but you can see that everything is like that. But really nice character design, and you can see right off the bat on the close-ups. The details that you have with little, what it's not even a half blink, it's like a quarter, you know, a fifth blink. But it's cool to see. It's cool to see that there's that much detail. You can see slight changes in the highlights there. And visually, I just, it's one of those where every frame of painting is definitely accurate. Again, even in things like these, you have ever so slight movement in the hair, complexities in the rotations. You can see this here. I wonder, now that's a rack focus. So I guess there's some nostril animation there, but that's more the blur to not blurry. But I'm just really impressed overall in terms of little life in the shoulders, hands, the faces, rotations in the head to really give this such a high quality feel. Even this here, look at the fingers here. Right during that pause, you got my dog in the background. I don't know if you can hear this. Well, nice compression, but overall really nice silhouette. Is it sort of complex finger pose, but at the same time, still graphic enough. I love this. All the little break up in the silhouette in terms of that shape. And then with the highlight there, it's really cool. And again, as a frame in terms of what we're seeing here, really cool. There's a lot of effects in this, a lot of quick cuts that I shall kind of skip and go forward. But then again, I say this, and I get to this here, a lot of attention detail to the fingers. You can see the movement, the displacement of the textures there. It's a short shot, but it's really exciting to see the amount of detail. Even this here, if you look at tractor nose, you can see a little bit of variation right towards the end there. So it's not, you know, your simple head turn. There's a lot of complexities. Even in that shoulder, go up and down, but it's not super even. There's just enough complexities throughout. It's really, really neat. And then this holy macro, I always feel bad for anybody animating this. Someone's going to put all of these in there, but they do have slight variations in the walk. Nothing has to be huge. I mean, it's a big establishing shot. But the layering is neat. Definitely goes pretty far. Although you can see not huge. There's still some parallax. Wonder what point the matte painting kicks in here. This one, I love this one. I was already in, but then you see this. And it's going to be part of the, actually a camera thing. I'm going to try to release. I've been saying this every, I don't know for how long, but this Friday, but this is kind of like a low angle establishing shot. It doesn't always have to be high angle. It's really neat to see the different types of walks. This guy being the hero. I like that little, it's slightly fast, a slight tension in there with the fist as well. But then you still have enough life secondary characters. Even this guy. Hat moving. But just as a set, production design and lighting. Come on. Love this here. Lights. Cool walks. Like that little slight swagger and move. Again, it doesn't feel like a simple walk cycle. There's just enough in there to see even some changes in the eye darts. Little blinks. Cool detail in here. That's cool. Look at that. The layering of the, just what's in there in terms of elements, foreground, background and oh, so cool. I want to analyze and say things, but then I go, what is this? What is going on? So cool. Lots of life even in here. Set pieces here. Look at this. Organic moves. You got just lots of elements. So it doesn't feel like a static environment. And again, I think this is one of the main things is just head accents. And moves. You can see how through that walk, the head goes up because of what they're saying. Still influenced by a walk impact with that move down. And then going back up to end still in a character attitude pose, which is really neat. And if you look at the other character, still enough life in the mouth here. Eye darts as well. That seems pretty map painting as one piece. Cool designs though. Calm. Oh, look at that character design. Again, look at the slight darts. One, two, in the eyes. There's so much life. There's a slight separation here in the mouth. You still got some life here. But she's not completely still. You got slight change in pressure in the finger here. You can see that going from here to here. I know this is almost borderline over analyzing it. I'm just really super impressed in terms of the composition, the colors, the textures. Come on. Love that. But even this, as a frame, composition, the characters, so cool. That's cool too. Even when it's so much static, a little bit of life here. What it does here with the shadowing. This here, again, look at the complexity with the slight tremble of the fingers. It has to be very delicate here. Unlike my dog who's howling in the background. Not that delicate. You can see the slight changes in the lighting there. Yeah, it's really impressive how much detail there is in all this beautiful pose as well. In terms of like a simple graphic shape. I want to go through there just because I'm fascinated by the effects. All of this is so cool. Just a, it's such a smorgasbord of everything. Character animation, lighting and effects, texturing, production design. Lots of little, again, like a quarter blink maybe, less than a quarter. But lots of little details. I love that. It's kind of like the lighting or the lightning of both of them. It does kind of affect this character there. That's cool too. Look at this. Look at that. Yeah, so much, so much to look at. Come on, let's go back to this. I mean, talk about every frame painting. What is this? That is cool. This is just in real time. Anything. Look at that. You still got a lot of movement in there in terms of the lighting options. It totally works with just minimal, minimal movement just as a static frame. It's really neat. This guy blew my way in terms of the look. It's still all moving. It's almost like a painting coming alive here. But you still, I love that little, the changes in the highlights as well. It's super subtle. But even through this, you're going to see there's light changes. Maybe I'm probably seeing stuff. No, no. There's some stuff in there. It's really pretty bananas. What's going on? Lot of stuff going on here. I will pass through that. Even though I'm fascinated with every frame of painting. Really cool. Look at that. Again, such a thing about head accents and eye detail. In every shot. Really, you got the tiny micro darts, movement in the lids. Even here. You can see slight movement in there. Beautiful character design. Look at that. Costume design is fantastic. Still all slightly stylized. It's so cool. Love this one too. You're getting a bit some handheldy camera. Love the slight, you know, the lean, not the lean, but the angle of the shoe. So it doesn't go flat. And as it touches, it has a slight faster turn in why. I know this is extremely over analyzing it. But it's just so much in there that I love the compression through there. So you got your heart surface pieces. Compression on the softer ones. Such attention to detail. It's just so cool. Very fast. I'm just going to go through there. Even though it's neat, how it switches into this. So you got the compression on the thumb. Look at that. That's the design of all this. It's basically what would I love to see in a trailer or just general in terms of design. Oh, all of this. Yes, please. That's a cool look at this again. Head accents. Look at the variation of spacing and timing of the head. Right through there. You got that slight move. Looking. You got the turn in the body. Side step. You can feel that that move through up there. Also, you have to think about this is why I love this here. Think about this. It's almost overused. If you have something like this, like really heart boots, like this is not going to bend throughout. If you have a character and you're going to animate a character and you see their shoes, is it something like ski boots that are very hard? So imagine ski boots on a heart surface like this. Then imagine you barefoot on something like this. Then imagine you with really thick comfy socks on like sands. Although why would you have socks on sands? But anyway, heart surface, soft surface, it just completely changes. A, how you would animate to contact in the fall. This is why I love that slight turn in Y here. It really fits in terms of the surface. Now imagine this character feeling like some, you know, soldier type person given all of this. They're going to have heart boots as well. So to me, that harshness right there that you feel through there and then coming back is completely in line with what the character is wearing. That's just like little acceleration through there. It's just really neat. Lots of detail getting back into sharp focus towards the end. I mean, this is basically a painting. Look at the textures here. Right, lighting there too. It's really, really bananas. Smaller shots here. But then I go back into this. Look at this. Nice. Just enough stylization. Not super detailed because it matches and fits the texture detail. Still lots of detail in the eyes. You can see all the tiny darts that are there. Just enough movement just everywhere to make. It's just organic feeling. So cool. Again, eyes. I think that's the theme. I feel like every time I do an animation analysis of a trailer, there's the theme. To me, it's eyes. Eye detail. Really nice organic feeling to skin and overall deformation of the face but also head accents. And then what is this? That's right. It's where my dog starts howling again. That's cool. There's so much in there in terms of awesome animation, awesome design. And this, no, not being... It's not simple because it's nice to stretch through there. A little hop and then into a turn which is again, it's short but has a really nice feel. Reads very well. Just for quick moves. Cuts into just the eye. Yeah, it's really neat. It's all, whoa. It's really clear. It's overall presentation. What is all this here? That's all cool. There's fall. Fairly soon though. Fairly soon though. These are neat too. Must be like a top-down view. Not sure. Not sure what I'm looking at but it looks cool. These are great. Look at this. Yeah, the effect treatment here is just so, so cool. This guy too. Great design. Oh, nice. Look, kick flip. There I say, I used to skate a long time ago and I wonder if that is contributing to some of my knee problems. Neat though. Like really neat, simple poses that are so... That they're well done but read really well. Love the silhouette treatment there too. What is that? Come on. That design is so cool. All of this. This is really just straight out of my brain. What would you love? Oh, just when I said it. I am so in love with like smaller details like this. All of this hanging. That's great. You see that? Little slightly harder surface. Buckle there. Slide step. This little, little bounce. So cool. Great walk again. You can really feel that. Ooh, nice. Slight, look at this. It's like snarl with a little bit of down and back on that head. Watch this again. It's short but so great. This is probably going to be an insane amount of... What? Oh, nice. So cool. Someone had fun doing all of this. Look at that pose. Oh, nice. Hold on. I know, I know. But it's one of those. I got to frame through this. What is going on and all this here? That from the weapon. Creating this? I don't know. That's cool. Look at that pose. That's really neat. Still seeing enough of the face. Just the eye. Look at this. Wow. That's cool. Every frame neat with that drag and pull of the gun. The effect. There's a guy back there. That's really cool. It's fast. But it's really well though. Again, the effect treatment is really neat. Love all this. Because it seems busy, but to me it just never felt cluttered. Again, character design is really cool. Look at her. Look at that face. Really neat. Lots of little things. Slight asymmetry. But going off, opening the other way. Slight movement in there. With a slight bigger drop on this side. Just love all that. There's even stuff on the shoulders at the beginning. Look at this. Ever so slight tiny movement. I mean, this is attention to detail trailer. I mean, not me layering frame by frame. It's just the animators. Whole and moly. The amount of work. Cool designs again. Who walks? Woof. Always looking at crowds. It's great. Yeah. Clean. Great different designs. And a lot of times it's center frame and you have a lot of movement. A lot of stuff happening. But the main importance is there. Love this here. Ah, look at that. To the effects. Great. Speak of which. Look at this. It's beautiful. So cool. I know. This is just me going so cool, but come on. It is. It is really so neat. The effects in this. So cool. Love the heat ripples. Again, lots of eyes. Eye darts. Eye looks of the slight lead. The squishiness in the lids. Come on. Short, short, short. Even here though. You still have enough movement in there. That's what's up that I love here. All the intricate mechanical details of this. Look at that. That's cool. Take what is this? Like frame by frame painted. Is it some liquid sim that's then painted over and tweaked? I don't know. But all I can say is that I love it. Look at all that here. So cool. Frame with this in the back. You look at the head again for the accent. That slide as it pushes up, you can see head angle kind of this way. Going down and then getting that slight rotation down this way. And then with that drop, you can see that slight little wobble. It's really great. Look at that slight rotation there. So many. Slight mechanical. Come on. Every time I want to say something, it goes back into a really nice subtle animation. Got a slight whining of the mouth. You get overall asymmetry. Love that. The squishiness. Just enough while retaining that painterly look. Oh, it's great. It goes tension in there at the end. Here you can see the nice organic feel as the texture stretches there. Enough here whining of the nostrils. Come on. So much, so much detail. Little and all of this. That's cool. Yeah, it's really, really neat. Two complex mechanics here. Still though, really nice clean silhouette. Love that. Love that. That strong pivot off this leg with that massive turn before this, the foot turns around. Then here, bam. Tightening here. Look at that. Still keeping this tight core to then follow through with the arms into this. Nice. Nice camera move. Really crazy. Crazy stuff. I don't even know if I can survive watching this as a whole show. That's cool. Cool look. That's neat. Again, close up facials. Look at that. Just that little tongue there. Or this girl must be a lighting thing. Still got a little bit of tongue animation. Yeah, it's just because they would be the danger of while we want to keep this painterly, not move it around too much where this potential clash or making it feel weird, but it totally works. Again, just enough movement in the shoulders and overall in the body. Slight animation in there. That's cool too. It's a nice one. Especially here, it has the mechanics. You raise your arm. You got to bring that shoulder up because of it. And you can see the influence throughout. It's going to have a slight move through there. There's even a slight influence on that as it goes back. The arm is moving. It's great. Great grouping of fingers. It's basically as this is the main driver towards the bottom mechanics, it will fan out into the rest. I mean, I say this and is there movement in here? Yes, there is. And that seems simple. I saw Michael watching. What are you talking about? It's just something that I mentioned a lot to students. It's a common mistake for students to move the arm. And it's basically cut off here. So they either do it FK or IK. Maybe some shoulder movement. And if there is, then there's not enough in all of this fanning out. Chest and the neck and the slight correction in the head. Oh, look at that. Lots of detail here. Look at how squishy and organic this feels. All through there. Tightening pressure of the lips. Still got some shin animation into this. It's really great. Wow. Cool stuff. Really pushing. Although that must be a frame influence, not the face squish. That's pretty cool. Lots of detail. Let's keep playing here. Oh, nice run. Kind of cool with this. That reversal of the arm like this into that. We still see the shape. And every now and then, no blur. We still have really nice finger pose. Just it's always clear. It's really cool run though, gotta say. Nice. There needs to be some spider-man stuff in there. It's nice. Come on, look at that frame. So cool. Art needs. Let's go to. This here works really well. There's a slight variation in the camera. See a slight wobble. Just a little bit more. Give it a slight handheld feel. And you got your slight shake. Great mechanics. Look at this here. One frame. Always reads. It's really great. I know that I keep saying this, but come on. It is really, really great. It's so well done. So impressed by all of this. And the fleshiness. Just enough detail. It's never static with always just enough asymmetry in the face. Even this here, the height of that. This really the trailer of faces. See all the little slight details here in the facial animation. Always the shoulders. I love this too because again, I guess for students watching, but if you have something like this, this is your focus. Do not neglect that. The character is still going to emote throughout the rest of the body. So don't just animate here. And then that's it. Even that slight raise in the shoulders just gives you just enough connectivity throughout. If the body is alive and breathing, it's great. Even the squeeze. I had to fingers change towards the end. This was crazy time. Total trailer. Crazy time. That's a darts. And to me darts, it's just thought process. There's just a lot of characters watching, thinking, processing thoughts. Great. There was a nice lower lip pull. Look at this. So nice. You can really see now because it's so painfully. How the texture stretch. Compression here. You can see all even goes in here. And then out into that just gives it such nice organic life. You should see my face right now. Kind of mimicking what the character is saying, but I just love this. You can see the harshness in the jaw and how it's reflecting it through there. Right through there. It's all connected. It's really neat. Even here. Look at that. Get a slight tension in the thumb. It's really insane. A lot of detail everywhere. That is the trailer of faces upside down. Look at that. So cool. Just everything. Nice run again. Nice how high they go. Even through there in one frame. You get your grouping of fingers. Yeah, the animation is just absolutely fantastic. I know what's going on here, but it's awesome. More effects. Oh, darkness. That means we are getting to even more Montagy stuff. See even this here, right? I love this. So you got your hand pose. And the character back there, right? Follow that drawing, whatever. There's going to be an arm and a body in the face. Why am I saying this? Because the character looking at the other character reaching, it's going to have a slight anticipation. And you can see it here in the rotation of that wrist. See that? Slight rotation. You can see this here. It's an ever so slight movement in the fingers. But it's neat. It's like the person knows, well, this character is going to come and give me their hand. I'm going to rotate over just a little bit. It's like the subconscious thing of I want to give more surface to this hand for a better grip. I know this is my alley. I so love this. It's like tightening of this finger here. Just throughout that section. I don't know who animated this, but it's so cool. Again, coming in here for tightening. So cool. Mine as well. I mean, it's that close up, right? You got to be consistent throughout the whole thing and have all the details there. Again, loving the facial animation there. Wait, what? Hold on. What is she doing? Getting ready. And oh, that's a mission impossible arm pump. That's cool. Look at this. But I mean, I only got your full on 2D effects. And look at this. I love this because I love animating technical things like mechanical stuff as well. So when you have a character that's organic on top of mechanical, it's like heaven, heaven. Just to look at this and animate all those bits and pieces. But then you've got your effects that are on twos. Even I know it's ridiculous, but even this, even this to me is cool. The look, colors, all of that is cool to me. Whoa. Nice. Nice breakup there. Look at this. I love that. I love that drag in the through this right there. What is this one pose? It's literally one frame, right? You got your hand here and it starts to pull this way. So you got to drag in the fingers. Nice clean silhouette there. Look at this. We'll hand pose again. And that is not enough. It goes into this and that. And then I love the reach of the anticipation that the lead with that leg down to go into this. Still all very clean, especially here in terms of silhouette. Understanding the structure of that leg into this. Perhaps the bananas. That's cool too. Yeah. Just the overall look and paint to the aspect. This is so bananas. I love it. I love it. What is this frame? Look at that. Every frame of painting. Beautiful. Just so cool. Love that slightly over stretch just for that full attention. Pieces of impact. So cool. Another one getting in there. That's so cool. Yeah. Sorry. Sorry everybody watching here. I got a frame through this. That's cool. Look at the frame. Yeah. Absolutely bananas. Love all of this. And that. It's cool that it's again it's that same walk because it's a character based walk. Where she has that arc up and bringing up the shoulders. That's cool too. So if you're animating this different anime that you're going to think about what is their body language, right? How do they walk? How do they run? Has to be all consistent. Always neat seeing that. Just enough of hair animation without being too soft. Even she has a slight look at the eyes. There's always something going on there. It's like changing here. Yeah. For anybody watching like student wise, you know, even if something like this, like this to me is still really well animated. There's just enough throughout the pose is clean. But then there's enough detail. It's like there's no like no shot is like sometimes you get a shot to know like really a head turn the character on the floor. It's that's not interesting. Yeah. But then you look at this and it's still really well done. You can still put all kinds of details of polish in support of the moment. Of course, you just want to animate things just for the, you know, to animate things. But I think this is a really great trailer showcasing detail attention to detail. There are so many things even this on that hem pose slight change in the finger. Watch this just there. Just really feel that connectivity. You feel that squish mostly through here. And then it relaxes as she goes up. And even this corner of that mouth going down. All right. You got the push here. This pushes up all the squeeze. It's relaxed through there. It's a lot of fast cutting towards the end here. Oh yeah. We can close it through the end again. Effects character design action. The camera work is great. This also helps in terms of where it just came from. It's really, really fast. It kind of helps us, but it's still broken up just enough. So cool. Yeah. Look at this. That's cool too in terms of having feeling that turn. That's still all there indicating the flow of it with the hair. Beautiful. Look at this. It's all so cool. Look at that. And pose. I mean, someone went in there playing by frame. I just love the static, like the tension and strength in this. It's almost like you can watch a lot of aliens. Vasquez, as they have guns like these. And then next to it, you got more, oh, it's more organic. They're clearly both organic, but just how she's trying to reach over there. So seeing the face, getting to this really nice shape, into that power into this reach. Holy macro. And that's that. Really, really insane. So pumped. Because the thing is, I don't really play League of Legends. I don't know who those characters are in the full disclosure. I don't know what's going on in terms of who's who, but maybe that's something for, like I'm the target audience of, I don't know who this is. This is all new to me, but I love it. I love the animation. I love the character design. I love, look at that. It's beautiful. Everything. So beautiful. So good. That's all I can say. Just keep repeating how good this is, but that is that. Hope that was helpful. I don't know. I never know with all these. Are they helpful? Are they entertaining? Are they a waste? To me, it's also very selfish for me. Like I learned so much from watching this. As a reminder of what to put in, but also not too much. You don't want this to be a swimming mess. So this is like a selfish education for me. Like I look at this and I take notes, besides of what I'm saying here, but a lot of times I look at these and I take screenshots and I have a, you know, my private blog here where I have reference stuff and I write stuff down. Like, oh, that's cool. That's something to pay attention to in terms of fingers and posing and connectivity and mechanics. Again, the runs are cool. It's the personality in all of this. It's not just a run cycle you go through. It's actually all, again, where is she? What's that for after? There. That's how she runs. It's great. So for me, this is a really great learning experience. It's always a reminder of what to do, what not to do. So great. So hopefully this was helpful as well. Besides all my, oh, but this isn't so cool. But yeah, I believe it or not. I have nothing else to say. It's just too cool. It's really too cool. I mean, look at this. It's just too cool. So that's it for me. Hopefully that was something for you. Like and subscribe to Pitch at the End. I don't know what to say. I'm just in awe of all of this. I love all of that. It just makes me want to go and animate. And not just, you know, terms of mechanics and acting, but also just to the effects. I would love to do like from A to Z all of this. Oh, it's just so cool. It's super inspiring. So anybody who worked on this, thank you for being such a push in the butt. So I can ask you the names of, all right, don't be complacent. This is how awesome things can be. It's super inspiring. Super humbling. I just love it. So I'll leave it at that. Thank you for watching. And hopefully you'll see me in another clip.