 Welcome back to another acting analysis and tips for animators and today I want to take a look at the movie The Invisible Man. I've got a lot of sequences to cover and actually sequences from the deleted scenes but before I do, so hi my name is JD and if you're new to this channel I do acting analysis clips like these, I do animation analysis clips, I do lectures about animation, I do animation news, rig reviews, product reviews, feedback, all kinds of things so feel free to browse around the channel if this is something that you like, feel free to hit subscribe and tap that bell button so you don't miss any of my uploads, that's it, let's go straight to the sequences. First up from the deleted sequences we have this moment here where she comes in and he realizes oh wait this might be slightly uncomfortable because he thinks that she might think that she is another girlfriend of his so it's all about gesturing, flailing around, being uncomfortable but also reactions from a character so you can see this at the moment he realizes oh yeah this is not a good idea here you can see this you can see a lot of movement in one of those cases I'm actually okay for all that flailing usually I would tell people hmm kind of tone down your arm movements it's a bit too overdone but in his case it showcases that he is uncomfortable, he is flailing around he's just not sure what's going on and the other thing is her reaction so as he does all of this I will look at her how she either nods he goes okay okay yeah that's what we're doing and you look at how much the head is leaning forward then he goes back until they're nodding okay let me adjust and say hi they're all very comfortable now to say hi and then you got the moment of no one saying anything so all right well what are you gonna do all right what are you gonna do and I love I love that face it's so good all right so what now she realizes all right this is not very comfortable let me just go somewhere and I love this that she doesn't know what to say what to do she does like a super random I gotta do something again I love love that choice it's just a great moment he does a lot of again movements nervous touching of the face as well and then it goes into all right well let me explain what's going on and then you can see all right so it's a bit less flailing but he still has a lot of arm movements he still goes all right let me explain things to you and I love her reactions where it's always listening it's a lot of nodding okay yeah but it's a bit of a lean back all right I'm not quite with you it's not like she leans forward and goes it's okay it's okay it's more of a yeah I'm not sure what is going on so as he tries to continue and to explain things in his very nervous ways she continues like all right this is okay but let me interrupt you so because all for way too long and that's why she goes okay wait wait wait all right that's fine we've only been on two dates and then you can see her his reaction so you look at the contrast of all of this right all of the movement body's moving nervous touching and then when she tells them listen we've only been on two dates he realizes ooh this might not end well and you can see how he stops and stopping just a little bit of a nod and all of this you can see this how he just sinks in no darts no flailing you know nothing he realizes oh okay and that's when he goes all right I think I lost her and then he goes back into all right well hey let me let me explain things to you and then she goes nope I gotta go to work I think all right all right and I love that too that it's just kind of nodding to himself realizing yep yeah that that did not go well he still tries and as he tries to explain things I love her reactions she has so many of huh and that's why I love this was acting is reacting as people say but it's so good where this is a great example of what if as I said in many many clips if this is your lip sync it can be on this character so you don't have to worry about the mouth shapes and everything it's all about another character listening and reacting and this is a great example of hmm yeah and she does that again later on here where she has huh oh yeah you can tell she is not buying this at all and it continues on he just completely fails and she tells him listen I'm just gonna get out of here now this one is from a deleted scene as well and even though she's laughing here she's really not comfortable I'm gonna move forward to this moment here where you can see that she realizes this is really not going to be great the shoulders are up that's tense you see that part in the throat that's tense her arms are together everything is just tight and confined to that box even when she walks look at that she's got very thick it's very it just it's not big and bra and confidence compared to her arm is dangling it's free she has a lot of up and down in the root watch this don't don't very confident in her walking go all the way back here where she has a lot more left and right and swaying she's very powerful you might even read into this even though that's just kind of hanging on you know to a prop but you might even read into what she wants to be in control she's holding this this is control I'm reading way too much into this but to me this is just all about contrast you got two characters how you're gonna make them look differently how you make them move differently and behave differently and actually realize that this is her sister by the way so my sister is not in good shape here let me put my arm around that and then you got that moment of contact and they have a bit of a sisterly thing going on at the end here you can see still yeah it's not quite working but alright let me try this again and then she let's go and then you see this as she let's go for arms here she let's go of that here realizing alright let's do this and they're both a bit more confident it worked and they're a bit more equal even here on that random frame you can see they're almost the same height it's almost like alright we're equal not that in competition but they have almost equal strength equal posing we're okay versus here and it's because she's closer to camera but still she is taller it makes her look smaller because of that potentially weaker so you got that whole strong versus not strong I wouldn't say weak but she's just nervous she's afraid so think about that as you have it's even multiple characters be it two or three what can you do to make them different is it important to have a height difference for maybe a status level is important for them to be somewhat on the same level is it important for them to be close or for one person to be in front of the other person so all of that staging and that distance relationship will tell us something about the characters how they feel and how they feel you know towards each other speaking of post is a simple scene as a scrub through she gets a phone call and that's it but why do I like this a it's because this is almost like your classic waiting assignments that you get in school and let's say you put the phone here so we understand what's going on so it's not hidden but that tells us something she is not in a comfortable space in terms of happy or excited she's like oh it's the head hurts or she's tired so that initial pose already tells us something then as the phone rings you can see this so it's not a crazy jumping out of the chair thing but it's also not a super relaxed alright I guess the phone is ringing so it's more of a home so how someone reacts to whatever outside sounds or movement or a character coming in will tell us something about this character then look at how she picks up the phone she looks at this display for a long time holds this still looking it's a big pause then finally grabs the phone still looking so do you grab the phone quickly is it because you're really anticipating and waiting for the phone call are you dreading a phone call are you confused about who's calling all of that goes through the timing and the pantomime of your character that obviously you are in charge of as an animator and then when she finally turns on the phone and listens and hears who it is look at her change in the body is okay because it's someone she knows and it's not something she was dreading so again think about all of that in your waiting assignment what is the initial pose and posture what is that telling us about the character what is their reaction to an event how is the movement towards the event or the interaction with the event and how is the final reaction to the reveal of whatever it is of the character and if you want to go of course in terms of animation go bigger with contrast you wouldn't mirror the post unless that is of course your story point but if you're gonna go for contrast it might be your dreading things and at the end it's a happy phone call where the characters hey how are you doing is great so you have a bit more of a contrast the not a circle move here but a contrast the posture change between this and my crazy drawing where is it here at the end and again another deleted scene all of these have been deleted scenes but he comes into her room and is slightly confused as to why she is sitting on the floor not here anywhere else and it's almost facing this and it's just very confusing and at this point he doesn't know what to do as an audience you might also be confused by what I love here is a camera reveal and she's looking at this a lot of camera reveals or also empty shots in the movie where she goes there's someone sitting in the chair and you it's always like the where's Waldo thing you're looking and you're looking and is this gonna move is this gonna move is this gonna have you know is the cushion gonna move you start really looking and I love that in the movie where you have a lot of these or you have even moments where someone is standing here and a lot of empty space and you almost think well something has to move because this is a lot of room for us to look at but anyway going back to this here she is really freaked out by this church she thinks that character the invisible man is sitting here and the couple things about this is that as he realizes she is not okay let me help her so he gets over there and does the whole thing of see there's no one in here there's no one in the chair the main thing I want to show you sets the awesome camera wheel here because you don't always have to have a camera wheel in your in your shot is this here so as he tries to comfort her or to explain something or whatever you want to do in your scene this is important to me how he squats down to be somewhat on the same level so if someone is in distress you gotta think about is my character gonna keep standing to talk down is that threatening is there again a status importance of I'm higher and more important than you or is my character gonna go down to be somewhat on the same level this is an adult talking to a kid that might be standing maybe this character is also going to sit down is it enough distance would it be to threatening because this character is in distress to be too close who should the character be here would it be here and maybe leaning in she leans away and then goes back to this because he realizes this is too close as making it too uncomfortable so think about that again if you have multiple characters is this important you have the spatial distance here is important to this is important to actually change the distance throughout the shot to show progression to show the relationship what the intentions are and so on and really think about the composition and the staging of multiple characters within your scene and speaking of staging actually I'm picking this one this for context they are having a good moment here he hears a sound it's upset about it and he has to go towards whatever it is don't spoil it and then she gets towards him and tells him I can do this and then she goes out as well I'm showing you this because of a just a general idea of staging and what you can do in terms of showing off your animation based on where the characters are towards camera it is something I mentioned a couple of times but this is always a good example here where you have an almost full body view of the character so lip sync will be less important because you can't see as much it's going to be more about general mechanics and posture and just the movement so in here this is your chance now to show a walk and the walk here shows that ah really I gotta do this you can see the lean in the head ah big steps all right no it's fine I can handle this and now you're close to camera so now technically whatever you're gonna do you can show off close-up facial acting so you went from let me show you how I can animate but I can do weight shifts and a walk it's always difficult to do now I'm here and I can do facial acting on top of that if you have multiple characters you can do I'm standing and I'm sitting on a table so once you're done with this character as you move forward now you can show off how this character gets off of a sitting position and that's a different mechanic that you can show off with different kind of walk to different kind of scale different kind of age and gender and everything the walks are going to be different but the same idea you're close to camera now now you can focus on facial acting all of this in one shot this actually continues where she says I can do this and she exits and with that you can do a couple things so as he tells it right go ahead I love this I'm always a big fan of gestures you can see how that arm you can see the change right you can see the chest here the arm comes in and that now watches in real time it's just doing this but we understand what's going on he's gesturing out if you will continue a hand probably pointing towards the door go ahead and it's something that I love because it's a natural move the actor just did this but we're just framing it like that so we're kind of missing it so now everything always has to be completely silhouetted and presentational towards the camera and as I mentioned in one of my spider-verse analysis clips this is something that that movie does a lot and I love this it's just a bit more natural acting then the framing just happens to capture it like this and about the ending here as she exits this could be maybe let's pretend this is your shot just this and this character exits you're still showing weight shift it's not super complex in terms of showing off the pelvis and the legs you can't see anything but you still have weight shifts and the mechanics and maybe it's all about whatever they said she makes a choice and exits and it's about his reaction so as she goes out he still looks at her so this could be your pantomime moment and as I said many times you might have lip sync and even though the lip sync ends doesn't mean that you have to end the shot you can still continue with pantomime and a thought process and just now your creative choices because the lip sync is done this is now all you and you can end the shot with something else potentially changing the whole meaning or the subtext or revealing the subtext of a shot just through the pantomime and the facial acting without sound which is all your creativity this sequence is all about reactions and also posture mainly about him but it's the next sequence I want to show why this is important but just to pay attention to it now he just always has shoulders up and a hunched spine here and the head kind of down he's never stray and confident or powerful he always has this kind of posture but this whole thing is more about reactions and this is a very long sequence but I cut things together so you can see she at this point reveals all kinds of things to him and to him so there's a reaction as she says things you have reactions like this where he doesn't even acknowledge her he talks to the other guy and he has maybe a lot of eyebrow movements and a little bit of hand movements here but this is mainly how far he goes and there's a reaction now she said something and he wants to show support and this is really cool because he leans back to say well I'm with her and I'm going to listen to her and she's my friend and everything else now you can push this where you go from this right he is there's a distance here he is leaning away from her and he goes no I'm with her I'm supporting her you can push this by potentially having him a lot closer maybe even the arm around her but you are closing the gap from this distance to again if we go closer to a smaller distance making them almost one united unit so visually you're also showing I'm with her it's not just lip sync but also body wise posture wise posing wise and the relationship in terms of the distance you show we are together now as she continues with her reveals you can see her reactions where he just has very small subtle move same thing with him just like a quick little move and throughout this whole sequence it escalates but their reactions are not massively bigger but for the character they are slightly bigger now he does a bit of a bigger move here what what is going on and then he does a and this and again reactions because he does not a lot because he is still like this a reaction like that is pretty big because he has a lot of eyebrow movement and he's got the extra finger movement so your reactions don't have to be whoa arms out crazy crazy crazy because the baseline for him is to be constantly like this so the contrast of an eyebrow up move like this is big for him so we continue on again she reveals more things you can see I'm cutting here and then you have reactions for him going huh so you think about reactions of is this a huh a quick move or a slow way what and all of that can work you also have the blink here wait what so you got that blink of what did I just hear and a slow move so again reactions don't have to be big then you go to him again and it's all right well I heard some really interesting crazy stuff and this is now the contrast and you can see how again he leans forward head is down again is more about the next sequence but just pay attention to that but she continues on with more reveals and you can see him going huh so it's it gets bigger and bigger now again he had a bigger head moves it's not a huge contrast but within the sequence it just feels like it's an escalation getting bigger and bigger and what I love about this is that this is the biggest thing she says where he goes wait what and that's his biggest thing of I can't believe I just heard this and instead of having a bigger reaction it's did you hear what I heard and I love this it's so small yes he has something here but it's mainly this and it's sometimes you know less is more just him trying to find acknowledgement trying to go did you hear what I just heard is enough and you don't have to go big with your reactions now as she says more and more you can see that he is just not on board with her thoughts and with her interpretations of things you can see this as he starts to move back and he's got the sigh like and you can tell no just through that I am not with you anymore he's not visually leaning away from her like ah I'm out of here but still pasteurizing all of that movement after being still and listening to her you realize yeah that that's not good I'm not with you anymore and again with him as he talks now you can see as he goes forward he just continues on with this hunched over head down shoulder up move which leads into the next sequence which is this and again we see him and he is again always hunched over arms are together the arms are not up here he's never confident and throughout this whole sequence which is long which again which are cut together or cut some things out even when he has to grab something it's not like the suitcase is up here the suitcase is low which again forces him to go even lower he has to hunch down even more you can see this here as he continues again back in this pose as you want to tell her something hunched over even lower as she reacts to something it's not like he is whoa and he's straighter arms up defensive or straighter in there in his posture no it's still back to that that is his default pose and as he picks something up again visually he is again hunched over everything is like this and as the exits you can see here when play this you can see look at the walk it's not a lot of big swings in his arms tense here in the fingers you can tell it's still around the back as we go back here you can see here around it and I love this because at this point in the scene she realizes oh you are a horrible character and she tells him oh wait a minute you have no spine she tells him this at the beginning you are a horrible person you have no spine you have nothing where you have your own thoughts you know when I heard this oh yeah he doesn't have a spine he's always so hunched over it's never straight it's just a spineless character and throughout the movie that's his default pose it's always that type of constant demeanor and that's how he always is now this is tricky because in an animated shot you might just have that a shot you don't have the luxury of it to our movie of showing this multiple times of showing progression really putting that even if it's a subtle way showing this is what my character is but still if something you think about is my character spineless is my character confident is my character tired think about that before you start your shot as I say in one of my posing FNAs you can take your your t-pose whatever you have and then lower your arms and go that's it this is what I'm gonna have as my character you know this is your arms down the rig modified pose but not your character pose is it well like I said whatever posture you have because if you are like this maybe the character becomes more alert throughout your scene and that gives you contrast gives you room to go somewhere from here to here so as always think about the state of the mind of the character the headspace just what is their emotional space and situation they're in that happened before and will happen after the character and all of that will determine the pose of your character the posture and the changes and it doesn't have to be big you can do something where just changes are like that and that is the whole thing of the character they're just very contained maybe because they're frightened they're scared and you're gonna have a very limited movement and contrast of movement and sometimes it's okay to go from something tense to something relaxed but even though it's small you still feel the difference between shoulders up and a tense thing to something a bit more relaxed as long as you have contrast and room to grow in terms of the pose changes speaking of changes if you want to make a change in your workflow maybe and you want me to help you with your shots i'm trying to find segues here i have workshops they're always open link description with all the information so if you want me to help you and make your shots even more awesome feel free to sign up sign ups are always open and as always if you watch this whole clip till the very end i appreciate your time and the fact that you spent the time watching till the very end and that's it for me if you don't miss anything feel free to subscribe and hit that bell button you don't miss any of my uploads you know the drill at the end that's it for me thank you for watching and i will see you in my next clip