 Welcome back. It is Friday and that means FNA Friday for new animators tips and tricks And today is going to be the last part of how an environment can make your animation better So today is the last part part three of the series and I'm going to talk about Django unchained and a couple of few other Examples, so let's get straight into that clip and just as a warning. It's going to be pretty bloody for a little moment Let's check it out. Alrighty, so we have this scene. Let's just play it and and Shoots him and then wipes his face and shoots the cake So why do I like this and going back to how outside forces affect the character? So he shoots him here, even though the blood better comes out here. Look at this The blood goes straight in his face. You can see his reaction here Goes over there. He knows he is next and what does he do and he has in the main character He can't shoot he can't go over there He has to wipe his face with his face is full of blood and only then can he shoot This seems like a very small detail which it is and in movies with actors They do it instinctively because it's real something's in your face and go. Oh, I can't do this Oh, now I can see now that doesn't mean that in your animation You got to shoot people all the time and blood sprays into characters faces But let's look at environmental influences for instance So one of the examples that are bringing up in class is how can you escalate a shot? How can you go from a simple exercise to something a bit more complex? And one of the examples is a character getting out of a house So classic thing would be a couple steps or just a walk cycle and then on the straight line But I always encourage students not to do one axis type of things with someone not It's not just one up and down it has different type of axes with tilt and side to side There are many things that's gonna be a different F&A about one axis type of thing But in my example, it would be instead of having a character just walk straight What if the character is still walking? That's the main thing you want to show body mechanics But the character gets out of the house So you have opening the door So different mechanics of if it's a light door, a heavy door And as I talked about is this an environment that the character knows it doesn't know Is it a familiar opening? Maybe the character is holding something And pushes the door open with the foot or the back Or it's something where it's a brand new house and it's clean And the character opens the door differently Anyways, instead of just a straight walk You have a character opening and maybe turning and then closing the door And again, depending on how many times the character has done this Is it a turnaround and then closing and turning back Or is it going to be opening, not looking And then maybe going sideways and the foot kind of kicks the door in That of course all depends on your character and what you want to do with it But in terms of the mechanics, instead of just the walks are going straight You've added walk and then a 180 potentially or 90 Or just some sort of side movement, side steps Continues forward and keeps walking Now you can escalate that again in terms of Well, maybe the character gets out of the house and then a couple steps go down And then there's the road So you have a get out, turn around, closing the door in a specific fashion Walking downstairs, which is very tricky And then if that's the sidewalk, either turn left or right Or whatever it is, towards the car or just a walk Now just to escalate this further, you can take this And let's pretend that the character is really tired Or in a hurry, you have to go and get a job or something Or maybe you have to run to get the bus or whatever it is So you have all of this with a specific overriding character Emotion or an action or just a once that a character has So it goes beyond body mechanics And this can go further and further and further And it kind of goes back towards the previous clip that I did With how can you take your animation to the next level Meaning how can you add complications and more complexities to your character But one of the things you can add is weather So the character gets out and again could be in a hurry Could be tired, could be drunk I'm gonna get out of the house drunk early in the morning But why not? Could be something And I imagine potentially it's really cold outside So you get out of the house and the house is warm and it's heated And that first step going outside kind of hits the character Almost like a wave of coldness going Ooh, and then you do the same thing Walking downstairs, going to the side, rushing to the bus or whatever it is But then, you know, I'm not gonna say the cliche thing Ooh, it's cold But the whole thing has the overriding layer of This is going to be really, really cold Or you come out from air conditioning house or apartment You open the door and it's Oh, this is really hot And then you got the same thing, but with heat Or it could be rain So you can bring it back to Take Shelter Which I talked about yesterday Or in this clip like Jeng on Chain Where something gets into the character's eyes The character walks out and it's raining Stops, looks up and then you have him react like this Or she could do something where maybe she has a hat, puts a hat down Whatever you want to do and then you continue with the action But the overriding layer is that it's raining So it could be drizzling a little bit or a little bit of a jog It could be raining really heavily So maybe the character has newspaper and puts it over the head And then runs out because it's that rainy If it's really rainy, maybe newspaper goes up And after two steps, it's so wet that the newspaper dissolves Gets on his face or I don't know Again, you can continue to add complexities But to me, it's not just adding something To make it more tricky or complex or difficult to animate To me, it's something where it's one more obstacle Or if it's just one, it doesn't really matter But it's one thing that will change the character's acting choices So if it's really hot, maybe that will make him run Walk slower, if it's really cold, run faster Maybe you can add complexities where it's really cold It gets on the step and slips a bit So instead of just going the default way of I'm taking a couple of steps out, walking downstairs Going left or right, whatever it is You can add so many things in terms of this character emotions The action that they need, they gotta go somewhere because they're late But on top of that, again, it could be something interesting With the weather So it could be raining, it could be hot, it could be cold It could be hailing, it could be really hurting Or it could have really really strong winds Like in this clip where this character really tries to walk forward I mean, this could be exaggerated But I mean, why not? This could be your stylized version of it's really really windy So imagine again, the character gets out of the door Open the door, gets out of the apartment And it's so windy that the whole character is just leaning over Maybe there's a hat flies away, it goes, oh no And then it has to close the door And then the whole walk downstairs and over is The whole character is tilted throughout the whole time Because here she has to lean against the wind And that could be just one more layer that makes it interesting Stand out, just difference And just add something where you can now have the character do something specifically Because of that environment But something that's very specific to that character Maybe the character doesn't care that it's rainy Or maybe the character just put on something Could be maybe some makeup Or the character just have a brand new suit And the environmental effect then destroys everything And then now you go, well how is that character going to react And then you can go against type Maybe they don't care Or they love it Or they get really angry Or whatever it is But it's just more than just a default walk A default situation or a character going from A to B And it doesn't have to be massively complex I mean not that I'm that exaggerating But I'm definitely going, okay How can we make this much more complicated and complex And again to the next level But it could be simple It could just be like Julian's clip that I showed Where the character opens the door Goes through and the door comes back And kind of wakes up the character out of there Where the restator in It could be small But it adds a certain specific touch Or you can do something smaller Where it creates a specific dynamic between two characters So let's go old school sci-fi Where maybe half the population are robots Or just creatures from Let's take body snatchers, right Where humans don't quite know which ones are real or not Or it's just kind of the beginning Where some of the humans are kind of different So imagine I don't really have a cup here This awesomeness here There's a light here A little thing from Disneyland Let's pretend this is a coffee mug or a tea mug So for instance You're in the kitchen And the characters have this One guy picks it up and goes Ah, this is really hot Imagine this is the handle And kind of holds it Like it goes, hey, here's your tea or here's your coffee But you establish that it's really, really hot And you hold it in a specific way Or maybe there's something where it pulls out the sleeve with its teeth And then kind of, I don't know whatever it is, right But already that could be interesting In terms of body mechanics and acting choices And then the character goes here Here's your coffee and gives it to the other character And the character goes, yeah, okay And then just grabs it And then walks away or does something and puts it And I don't know, it still holds it into something else And then your first character looks at the other And goes, hmm, and thinks And then that's your cue for your acting and your pentamount And going, why is this not hurting? Is this character just too tired? Totally weird? Or this could be the alien Because they don't really show pain and emotions And so on and so on So again, not just to have a prop Where it's always the classic kind of the cigarette type of thing But if you have a prop What could you do? What could you do to add this interest to the shot And it's complexity to a character Where it's not just there Because you want to add something more difficult But it helps to push the character Or the relationship between characters Or just something a bit more character driven Because of the choices they make And how they react to something As you can tell, I just like to add things But again, it has to throw to the character It has to add character Maybe it could add conflict Or just some tension But I'm just not a massive, massive fan Of characters in an empty room delivering a line Again, which can work And there are really, really great examples out there But again, if you've done this before And you're going, well, what could I do next? What could be different? What could I do to make it more interesting? Or just simple What could I do to stand out So that it doesn't look like any other shot That are seen online on people's reels And there's a lot more And I'm sure I'm going to show you Future examples in weeks ahead And years ahead But for now, I'm going to close this chapter This is part three And that's it I hope I made my point clear with three example FNAs If you have any questions about this Obviously leave me a comment But let's call this series done If you like this, give this a like Subscribe if you want to You know the drill Hit the bell if you want to get all the notifications I appreciate every like and every subscription Subscription? Yeah, everybody that subscribes I'm close to 2,000 subscribers That's pretty banana So thank you to all of you I'm probably going to do a separate one Where I ask for some feedback Of what people want to see in the future To celebrate the 2,000 subscriber milestone And as always If you watched the whole thing till the very end I really really appreciate it Those are all very precious minutes in your life So thank you And I want to see you next week