 Welcome back, it is Thursday and that means Akina has his 20 meters and today I'm going to talk about Stranger Things Season 3 and this is part 2. That's right, part 2 out of 3. Why waste time? Let's go straight to the shots. All right, first one is this where Harrington tells him that he is going to sneak. So good. Sneak into the place. Now, why am I showing you this? Usually you want to avoid acting out words. It's a bit too on the nose, but if you do something like this, he might as well do something like that. It's gonna be really fun to animate with the fingers there, but it's one of those moments where he's exaggerating on purpose. He's trying to convince the people I love their reactions, but also like his little tiny head shake there. It was sneak. So good. Great little pause. Great overall pose. That means nothing. I just like this moment. So if you do want to act out words, think about a moment where, well, what could I do to give this that an extra little funny moment? It's not just me. You know, if I say wait, I look at the watch, something like that. It's not overused. I think this is a very creative way of adding the sneaking aspect to the shot. Next up, within the same set, you have this character. And why am I showing you this? I'm a big fan of using space in a scene. So usually you have a camera, usually locked off camera. And your character is either here or waist up. And a lot of animation shots from students, you have arms gesturing and the character is completely locked. There's no real contrast in the usage of space. So I would highly recommend that you use at least left and right. But if you can, and why not go back and forth in and out of the scene, use depth. Now, I know this is more complicated to do, but you can also use that as an emphasis in terms of the character's lip sync and the character's emotion and whatever she wants to say in this case. So for her, she needs to go. She goes back, but she wants to make a point. So now she stops and goes back forward. Again, it adds emphasis. It's also more interesting visually. And then when she's done, fast forward here, she turns away and leaves. Now again, I know this is very complex, but so you have a backwards walk with a stop, change of direction, walking forward. And then at the end, walk backwards with a turn beginning into a run. It's all very, very complex. Overall, to me, much more interesting than just a character that just stands and doesn't really move. And then, you know, with IK legs bolted down and it just adds more contrast, more visual interest. And I would at least consider something like that if you have a set that has room. Now within that whole sequence, I love this here. And you know, I love props. I love this and what he does with it, right? He goes, Hey, not to this. It's gross. I love this moment. That's great. Just seeing this tells me he's very confident. He's very arrogant about his job and his abilities. But he also shows that he is a master of using this. He's done this before. He just adds a general attitude. I love that he does this without looking. It's all very casual. It's just an added cool factor to the character. And again, using the prop in an interesting way. If you already have a prop. Now, speaking of prop, here's this where this character who does not like this character at all comes in and does this. So it doesn't have to be a prop that you're holding. This could be something that's part of the environment. But this adds one more layer of I don't like this place. I don't respect you. I'm going to do whatever we can to annoy you. Just an added extra moment that it's just animation wise. It's not huge as you arm up and down, but it gives you an extra attitude. And this continues here where he's about to grab this. Now look what he does to this place here. And it's just another thing of I don't like you. I want to show you how much I hate you. Just again, this idle thing with prop is just an extra visual cue of how much I hate you. Just that added attitude is great. And even at the end, when he has the rubber band here, you might argue, well, the scene is done. She exits, the lip sync is done. You could end the shot now. Or you could add this. Now I know this adds an extra shot. You might extend or overextend the shot. It might be okay to just end the shot right there. But again, if you have a prop and it's something that maybe he picked up off an office area, this could be a funny added extra moment again to add character to this to really emphasize I don't like you. And it's a very, you know, big visual cue. Boom. I hate you. And I'm not done with props because this time it's this moment here. So your character might not have a gun. I mean, the character might be holding, you know, a laundry basket and like something else detergent. Well, I don't know. And maybe they need to do laundry in a room that's dark. But what I like about this is that because the flashlight is in its mouth, because he has to hold it like this. A, it nixes your lip sync because it becomes more pantominy. And imagine maybe a character has to look at two specific spots in terms of light. They need to put light everywhere. That to me gives you an opportunity to do some more exaggerated looking around and more exaggerated pantomiming and gesturing because of the prop and in this case, a flashlight in his mouth. And to me, it's a bit more interesting than having a flashlight in his hands. And it's doing something that's a bit more generic and something that's a bit more expected. Now, going back to environments, if you watch my previous FNAs, you know that I'm a big fan of putting people into environments in different sets. A surface that's uneven like this will change your pose. It will give you a symmetry. It will give them something to do in terms of changing the path and not making it too even and too normal or just too, again, like I said before, too expected. And the same thing with stuff like here, right? So because this is in his way, he has to bring up the arm, puts it out of the way, get past it. This already changes your pose. It changes the, you know, it takes away from the twinning. It adds more contrast to the pose and asymmetry. And it's not something huge, but again, it adds more interest. And it puts the character also in a scene where the character interacts. Like the character is part of the scene. They live in there. It's not something where I just added props, but it might as well be an empty room because the characters don't acknowledge the set, the heat, the light or the environment. To me, this brings them all together. It just makes it a bit more, it feels more like they live in that environment. This one to me is all about gestures where you want to add one more thing to a scene. So this is where it says, wait, you can see how your mouse says, wait, and you might argue while he's acting out. Or it's sure, but every now and then, especially live action, it's a bit more common. But you can have, wait, and this is your scene. You know, maybe this is your lip sync. It's a very short assignment or exercise you want to do. The character says, wait, but what I like about this is that is how he ends it. So this could be a bit more generic, but you can add one more thing to give your character a bit more quirkiness or something a bit more special. What is she doing? I love that she has always some great expressions and faces there, but I love just this. I love that this becomes, we add this kind of generic into something that's a bit more specific with this character. And speaking of hands, here's this moment where Harrington stops the door and boop and coming in. So I'm showing you this because even if you shot, it would just be here, right? You start not this, but here. The door would come close and bam, you got that moment of surprise, but also the contrast of timing is cool. You got quick pause, right? There's nothing going on here and then a slow entrance. So it's not quick, quick, quick. It all has different sense of timing there. So watch this kind of slow, quick stop, pause and slow coming in. Also from a shot point of view, it's kind of interesting. You come in here, you can show a bit broader mechanics and you can imagine maybe the character is standing to show a bit more of a character and then cut to this or it's a bit more close up when you can show off some facial, lip sync or pantomime. And this is all pretty short. So this to me would also be interesting in terms of cutting up the shot and showing different things, different skill sets in terms of the animation. But anyway, going back to this, I just love the timing. It's very animated pause and coming through. It's great contrast. And boom, that is it. Part two. There's part three coming. But for now, that is it. And if you like this, you know the spiel, like and subscribe. If you want to, I upload almost every day. So hit that bell button for all notifications in case you want to get notified. And as always say, if you feel like this is interesting, I would like to apply this to my own shots. I have a workshop link in the description. You can sign up at any time you can start whenever you want. We can work together on your shots. I mean, I can look at your shots, your critique shots, we have a discussion about your shots, all that good stuff. My workshops are always ready for you if you decide to sign up. Other than that, that's it. I will see you next week for part three.