 Welcome back to another acne analysis and tips for animators and today I'm going to take a look at the creepy movie Sinister. Today's clip is on the shortest side there are three sequences, moments I want to take a look at but before I do hi my name is JD and I do acne analysis clips like these I do animation analysis clips I do rig reviews product reviews animation news all kinds of things you know how this goes this is youtube this is the pitch like and subscribe and if you do subscribe hit that bell button so you don't miss any of those uploads and that is the pitch because I do upload a lot don't want to miss it subscribe and if you don't want to you don't have to that's it for the pitch thanks for listening to that I'm gonna go straight to the sequence now first up we have this here where I love already with that post basically this is all about posturing and then expectations and then a reaction to that so basically as it comes in we see this the crossed arms you go this guy is not in a good mood not sure what he's going to do is you're going to say hi or not and an ethanol comes in here and says hey and you can see it's very clear clearly silhouetted I want to say hi and his response is basically hmm pushing the lips together jaw up yeah I'm not going to say hi but also the reason why I'm showing this is his reaction watch the hands and then that's it so if you have two characters and they interact it's not just about the posing the posture and how do they stand or sit there's a sitting sequence after that but it's also if a character does something there's an expectation that well you're gonna shake hands as well and now that he's not doing this you're wondering oh is he going to be upset about this you're gonna laugh and I think that is the most interesting part is actually this just that moment of eh I guess not you can see has a bit of a chuckle this is not the first time that he's dealing with the police so if you do anything where whatever it could be handshake could be whatever a character does to another character that you as an audience think well this is going to trigger this reaction for this character and it's not happening then it will be interesting to see well how does this character now react and I like that little eh I guess not those are the little things to me that are more personality driven character driven than just here is a you know IK other or FK arm that moves out for handshake this is the good stuff this is the moment that tells me more about this character next time we have this one's a bit dark this whole movie has very distinct lighting and darkness and shadows but anyway she wandered into the laundry machine to her bathroom she's sleepwalking she goes oh I can't find a bathroom and what I want to show you is the moment after that so she's in the bathroom dad is waiting she is done opens the door and still completely you know not sleepwalking but very sleepy and walks out and then this happens oh nope this way I thought is really cute and to me this is you know he is familiar with her she's done that before he knows where the things are he's basically it's a character that's an environment that is familiar if you're watching my clips I'm a big fan of making a distinction if a character somewhere there for the first time or not are you familiar with the place or not and how are you going to act and react to things because you're there for the first time or not and this whole thing of well it's my daughter I know I can turn it this way her room is this way it's just it's a certain almost a routine or just a familiarity there's just something really cute about that moment so again if you have multiple characters like before when they say hi or you know a handshake or not you can bring in certain elements like that where it's they do things to help or without looking or they say things without looking or the hand things over is anything where you can tell those two have a relationship there's something more going on this could be a family thing this could be more intimate thing whatever you want to do but it gives us an extra layer to the characters performances so it's not just like I said before an ikr when fkr moving and doing a movement it's all about personality and just getting a bit more a better insight into the characters and speaking of characters I like this here in this sound is not on here but it says hey to him we're friends right we we we can talk to each other and again this is the movie has very distinct you know darkness and shadow and light it's a very interesting movie the way it was shot but you can still kind of see what he's doing here right so he's sitting here there he is not very comfortable you can see this he holds the copy slightly hunched over not really making eye contact and then he goes back with his arm out and opens up his chest say hey all right we're friends here but you still see that he has his legs crossed and that's what I want to show you and this continues on even when he goes forward like oh come on yeah we can do this right he still goes back and crosses the leg again it would be different if his legs would be here and he's completely open chest towards him face towards him everything is open and not closed off because he's actually generally wanting to be a friend this is a bit of a I'm saying I want to be a friend but the subtext and kind of the body post betrayal is that I'm still crossed over it's not really like half of me wants to be it but the other half doesn't want to be it and this continues on with the sequence as he stays in that pose as he stays in that pose and you can see just in his whole the mirror and the face that he's just not super comfortable and not as relaxed or pretending to be as relaxed as he is and this goes all the way back to posing as you start a shot don't just take your characters in a t-pose and bring those arms down and then animate think about what is their character pose how do they feel how do they feel towards another character if you have multiple characters in the scene and then flesh out that pose and then you have somewhere to go is it always hunched over back pretending to be relaxed there's so many things you can do with your shoulder pose with a head tilt so think about that as you construct your scene one or two characters how do they sit closely or not do they sit open to each other or not are they faced away from each other or not there's so much you can do and this is why I like analyzing those scenes because they give me ideas for potential new shots and I'm going to do now speaking of new shots if you have new shots or old shots that you want to show me and you want me to help you with that you know this is the end is the pitch of it I have workshops so you can sign up at any time link in the description with all the information signups are always open and I can help you with your shots just let me know email me or comment whatever you want to do if you want to sign up for those and even though this was a shorter clip if you're still watching this as always thank you for your patience I appreciate the time that you put in for watching this until the very end and if you don't want to miss any of these of course again the pitch subscribe and hit that bell button you get all the notifications for all of those uploads we say to upload a lot except kind of weekends but that is that I say thank you and I'll see you in my next clip