 Oh, hey, hi guys, I'm Ysabadiola. I'm a director for RT Direct Animation and I'm with some of my favorite people from the recorded by RSA crew to look at some of our favorite clips from our favorite animated media. Notice the keyword here is favorite. So to this, this sign is Josh. Hi, Josh. Hi. Josh, could you tell us what you do for RT Direct? Yeah, I'm a writer, director and editor on recorded by RSA. Awesome. And then below us is Al. Hi, Al. Hello. Al, what do you do for RT Direct? I am a store board and environment lead for the director department. So I make things right at the very beginning. And you're very, very good at it. Sorry. Yes, it's true. These guys for recorded by RSA have been like the life stream, the lifeblood of the project. They definitely have helped me on recorded by RSA. Start the ground or start from the ground up. Ouch. It almost feels like we did this project from the ground up or we've seen this project since like step zero altogether. So it's actually really cool. Hanging out with you guys. So we have some animated clips. We all kind of brought together that we thought were really, really cool things that really inspired us. And we want to share them with everyone and also react to them with each other. We could talk about, we're going to end up talking about what we like about them, what we love about them. Some of the things that we really take away from these clips that we want. I feel like we put into our work and things that we aspire to. Oh, where is your clip from? So my clip is from the original Ghost in the Shell movie, which is a 1980s Japanese animated movie that is really a classic. It was directed by Mamoru Oshii and it has some of the best, like, visual storytelling in a Japanese car. It's like, that's the major. The first thing that kind of caught my attention from the beginning of this clip was kind of how it actually immediately flipped that 180 the moment something was wrong in the truck. So for the audience who might not know, flipping the 180 essentially means that a character may be on the left and then suddenly in another cut they're on the right. And the general rule of thumb is you don't flip the 180. If you want your storytelling to be clear, however, once you know that rule, that means you can break it. And a lot of the times they're broken more so because it's a change in tone or there's information that a character knows that they don't know anymore or that a character doesn't know and then they know now. So it almost like it changes their world. This is the main reason I picked this clip is because all of the build up to this moment. Whoa, so good. There's like two scenes that I know of from Ghost in a Shell that like most of the time people want to replicate because it's such intrinsically Ghost in a Shell. One is when the major is jumping off of the skyscraper. Like that's a scene that I feel like so many different animators and filmmakers reference all the time because it's so cool. It's just like this flesh, flesh colored naked woman like jumping off of a building. But she's like invisible and then she turns non-visible. It's just like play on visual and then it's that scene where she is invisible or she's not seen in the eye and she's fighting this guy on water or like this very shallow water floor. And it's like a VFX parade maybe. There's so many different things going on that could be really cool. Let's go into Josh's clip. Yeah, so my clip is from Wally and there's two cool things that I wanted to talk about it today at least two things that stand out to me in this particular clip because the whole movie is incredible at like visual storytelling. There's not a ton of dialogue in the first huge chunk of the movie and this scene I think highlights a lot of cool stuff in that regard but also really love like it's character driven set design. Like we're in Wally's space and if you pause any frame of his space and just look at all of his stuff you learn so much about the character and all that goes like without being without needing to be stated or specifically like pointed out it's just like visual information. Like he is a sentimental character and it answers this question of like what if a trash collector actually collected the trash and I just really like that and to bring it back to like recorded by Arasal like if you pause at any frame in Arasal's room you can learn so much about that character and I really, really like that about what we did with the set design for the show. Right. Yeah, that's right. We did spend a lot of extra time on like designing the room with Al as well and then in the first few iterations just like what should be in her room and also the design of the world. Yeah. Oh, this is, I love this part of your world. Oh, it's so cute. Yeah. And it's like, I like that as he figures out how like she has incredible reactions to all this stuff that he would never have. He like starts looking for specifics like you can tell in just his body language that he knows, oh, I want to try this specific thing. What's she going to do to it? And he goes and looks for it. Almost as if like to say everything is in this perfect spot. He knows where everything is. It's not just clutter. Yeah, that's so good. The special part for me for this one too is the difference between how the two characters, how the two characters react to all the different items. Because immediately you have that character set already. Eve is so technologically advanced that she solves everything versus Wally who's like, I appreciate this thing and it's because he's old. Things don't necessarily need to be fixed. Yeah, that's true. It's like the room is huge. Look, it's pretty. And he's like, what? Just his head actuation like maintains his head position as his body dances. Oh, God, Eve, no, thanks. No, all my stuff. And like it's done throughout the whole movie, but I love that the camera acts like a live action camera. Like you could have just shot all of this and it gives it this like more grounded feel that I think really helps the tone of the movie. It's also like out of robot's perspective. It's like every position is like near their eye line. So it's like going back and forth from their story. Wow. What a great clip, Josh. Yeah. Me. So it's my turn for a clip now. Yes. Yeah. Okay. So, so I chose something from one of my favorite animated movies, Digimon the movie. It was, I don't remember the year, but it was probably some 2000 something. And for America, they condensed basically three TV length movies into one for the American release. And for me, I remember more of the dub and just how like kind of chaotic and crazy it is. But the big thing about the Digimon, the movie or this particular segment, our war, our war, our war story. Man, sorry. Edit this out. The big thing about the first two out of three segments for the Digimon movie is that they were directed by Mamoru Hosoda. And it was, these were the movies before his like bigger releases like The Girl Who Leapt Through Time or Will Children or Summer Wars or anything like that. And we really see how he's starting to hone his like comedic storytelling while also making the animation so unique and really appealing. So let's start there. So this is a little segment. Right. This is closer to the beginning of the story where you have a lot of exposition about what's Ty's problem. He's trying to send an email. And then we learn where Kari is that she's going to a friend's birthday party. Here she sends the email that Ty wasn't supposed to send. So I love this framing here where it's from the computer perspective, which is a big thing in the movie. It's about where you see both from the character's point of view and from the computer's point of view. And it's this constant back and forth between like how funny it is where the characters look and he uses such good comedic like animation. Yeah. Can we play that again? Just to like play it through. No sounds. It's been pretty cool. Just the fish and the quality is so grish. Yes. So it's only like three to four different kinds of shots, but you have all of the information just in this area. Like you see where Kari is. You see where she's exiting. I think it's so simple, but the storytelling is on point for me. Yeah. I really like how for the majority of that shot, the camera is static because that's what makes sense. You know, it's the perspective from the computer screen. So any movement that does happen is just like has that much more of an impact. Yeah. It's recorded by our assault. Yeah. What was that you said earlier? We clock. We clock. We clock. We clock. So yay. Thanks for hanging out with us guys. Be sure to watch recorded by our assault. It just released. That's really exciting. Just released for first members. And the week after July 13th plus seven July 20th, it'll be available for public and YouTube. If you are not a first member, you guys can stick around to watch it the week after. So thanks again. Hey guys, thanks for watching this episode. If you like this stuff, you should check out. I have notes or go ahead and click on one of the videos on screen to keep watching where Rooster Teeth animated content or you can even go to roosterteeth.com and watch the show that we were talking about recorded by our assault. Oh my God. You have so many choices. I'm really happy for you. Please go.