 Alright, welcome back, it's Thursday and that means acting analysis for animators and I want to talk about Take Shelter yet again, and you should really watch the movie because it's awesome. And if you have watched it, let me know, I'm curious what you think. Okay, this sequence is going to be a bit shorter and it's not going to be something where I think you need to dialogue and I need to post something in the descriptions or the link to the actual thing you want to watch. I don't think that's necessary, I can walk you through it, so let's get to it. So last time, we kind of went through this and especially this moment which was super cute to kind of establish how characters relate to other people and how you can just add little character moments without dialogue, just kind of sneak that into your shot. This time, we're going to talk about this sequence. They are talking about how he likes the way he goes through life, what he's doing with his job and everything, the family, everything, it's great. And then he realized, she cracks me already. So he has his reaction right there. He sees that his wife is coming out because he's late, they're not supposed to talk in the car for that long and his wife is waiting. And his wife is just not really a fan of what they're doing. So he can see his reaction, ugh, he's back and I like how she walks, he's got the shoulder slump, he's got like one side lowered, the head a bit tilted, gets to them and he says, all right, we've got to go, I'll talk to you later and so on and so on. He realizes it's not the best moment for him. Now this is what I want to talk about. Last week's F&A was all about character. And one of the things was the default pose of the character and the default as in the character pose. So it's not the default pose of your rig, but it's something where you have a specific posture, some attitude in your character that can carry you through the shot, something that is kind of the thing of the character. So in her case, she's kind of like that, she's not happy. I love how the nightgown is just slightly too low here, she has that face, she's super grumpy and what's awesome is that as the husband goes by, let's look at her. She doesn't look at him, she doesn't really acknowledge him, but she's not really looking at us either. She is kind of looking off and then as he is past, she looks at the driver, Michael Shannon here, and then she has this awesome gesture. So just watch what she does here. This and that, and then look, and then gone. And then he realizes like, yeah, no, that's not so good. So awesome. So why do I like this? So A, just that posture, that pose is great. And then the timing and the holds that she does. So A, that look here, and then she does this. And it's not, it's not, it's a friendly, hi, good night or anything. It's just kind of very robotic, mechanical. It's basically without emotion. She's, she's gonna say his butt. She's not happy. And it's not kind of like, ah, you, but it's kind of like a, I don't like this. It's such a great timing there. And I like how she holds this. And then this is great. It's a little attention to detail. If you would animate this, you would close the fingers first, right? The fingers anticipate that move. And then she brings that down. And it's, it's not a, it's not a happy like, hi, and then arms down. And then she walks away. And I'm like, no, and then just kind of that drop, it's that, that drop of that arm. So good. And it's also that pause. So she could just drop and go, but it's a stare. And then, especially she continues to stare. And that's so awesome. It just tells us. And I'm just looking at his waddle here like, ah, ah, but it's great. Look at her. Look at how long she stares. And that's it. It's so good. And from a technical point of view, animation wise, it's just you turn and you counter animate and then you move the head over. But in terms of attitude and character and acting and just how she would relate to him, like with that, she goes, I don't like you versus hi, and then you'll go away, right? So when you animate something, you got to think about how long am I keeping eye contact? When am I blinking? Am I not blinking? When I look around, am I looking like this? Or am I turning away? Am I kind of doing something? Or how long do you keep the head towards the camera and the subject, whatever it is? So in this case, it's a short, simple scene, but just the posture. How does she wave? Is it friendly? Is she kind of robotic and sharp with the movements? Does she do this and then just drop the hand? Does she do that and then does this first and then drop the hand? Then she could just turn away. But no, all the combination of the look is there, right? And then kind of that drop and then that, all that, it just builds and builds and builds on top of that attitude that she's not happy. So it seems simple, but it's something that's really interesting to incorporate in your animation. So when you have something, don't just think about movement. And of course, at the beginning, as you learn how to animate, you have to think about arcs and these ins and outs. But once you're past that, once you're more comfortable with the body mechanics and the technical aspects of arcs and these in and spacing and all that good stuff, then you can think about, well, if I have the head like this and I turn now or I turn now or I look up and then turn or go forward and then I turn, you can start exploring all those moments of, well, if I keep this five frames longer, what does that mean? Does that make it more angry, more frustrated? How does my character come across if I lift my head first or I go down or do I blink or do I not blink or do I just close my eyes and then relook and then go back and so on? There's so many things you can explore and I think that's the fun of it. And next time we're going to look at Take Shelter, I'm going to scroll forward and spoil it, is this massive conflict scene between these two. And I'm going to spoil the whole thing here, but it's a great sequence. I love it. And after that, I'm going to take a look at this, which is what I love in terms of contrast and how they relate and digestors, no eye contact and so on. It's such a great little moment, so there's more to show, but for now, that's it. And of course, my usual spiel, if you like this, I would appreciate a like and a subscribe. And of course, if you want to get notifications about all my uploads, hit that bell button. And if you watched the whole thing, even though it was short, I appreciate it and I will see you tomorrow for actually a special FNA update. It's not going to be your regular FNA, it's going to be kind of a Q&A, invites and something else, but you will see that tomorrow.