 Welcome back to an active analysis and tips for animators and today I'm going to take a look at the Netflix show Bridgerton. All right I got 10 sequences I want to talk about but before I do if you're new to this channel hi my name is JD and I do active analysis tips like these I do lectures I do product reviews I do animation reviews animation analysis clips Q&A all kinds of things you know the fishes is YouTube so if you like this you don't want to miss anything hit that subscribe button and that bell button you don't miss anything but that is the end of the pitch let's go to the sequences first up we have this where she has to tighten this here and right off the bat I like this as you have her leaning forward her leaning forward her still here it's like the added person here versus only one here helping her just adds a whole lineup of people just like general stage you think but that is not why I'm showing this but I like this already as you go forward you can see that they're tightening the tightening she goes there's now let me help you let me help you and what I want to talk about is this so look at her eyes so imagine she's still there hunched over getting abused by all of this and if you look at her eyes let's play this in full it's looking there and then she looks up and down and a bit over and the reason why I'm showing this is because of eye focus so because we have established this she is going to look here she's going to look potentially here all around so as she's doing this here she can still focus we don't know if there's another active there maybe she's just pantomime she's pretending but when you are animating you have to imagine that there is another person you don't have to animate it because the character is not on screen so why animate the whole thing but imagine that your character is still looking at the corset anything that she's tying together maybe the head whatever your animation is don't forget that your character is not alone I mean you don't even have to have this character but there is other stuff going around in that scene and in her or his world whoever you're animating so make sure that the character is not just like this blank I mean she's blank here because she's just I don't do this but as you have another scene your character might be reacting to cars driving by or something else going by other people just make sure that your character is aware of the surrounding something that I mentioned before but I'm always going to harp on that and also in terms of reaction you can see as she does this you have this here the shock reaction so my thing is always as you have your character could be one character right this could be your lip sync moment you can always add another character that reacts to whatever this character is saying this could be at the end an end reaction this could be intercut between the two so it doesn't always have to be this because if you have audio you're always tied to that rhythm that performance whatever the character's saying having another character and they're reacting to this can kind of also mirror what the audience is thinking at that point and then the audience can kind of go oh yeah well this character thinks exactly what I'm thinking this is insane and so on and so on so don't forget you can always add more characters that are not talking but just reacting to a lip sync piece speaking of looks this is here as they go out they're getting ready go in there when I'm going to take a look at is this right as she does this ready huh and then that and that to me is again eye contact so if this is for instance the first time or she would be a bit less snobby she would take this and then look over and make sure that she is right there she has the time she can reach it something a bit more friendly but this is the whole I'm used to this haha come on serve and do this for me so as you care to do something like this hands over piece of paper hands over a book hands over whatever is the character going to look at the other person grabbing it or not is the character going to give this character time to get there and grab it or not is it something where it's kind of snobbish or like I talked about in true detective where it's a bit more of a habit thing so we switch over to there so when you look at this scene from true detective just quickly you can see that he doesn't have to look where the food is coming from right so you just grabs it and that's up but to me that signals familiarity they've done this before this is a process that they have their friends compared to this and the way she acts and everything that kind of that and this situation it just feels yeah that is not as friendly as you know as polite as it could be this one I thought was fun because as they are departing here they're all in here you can see this this is very short right if a place in full they're in here they're struggling and then you have their reaction where they have space and they're kind of bored and they're you know they're not in best terms here but what I'm going to look at is this so imagine you have a scene with multiple characters and it could be played either way it could be a full pantomime thing it could be a lip sync thing one or multiple characters what I like about is that they are forced to interact with this it kind of also shows what they don't have two characters they're not that rich they have to kind of look at or kind of deal with what they have but it forces them to push against each other not that they want to but it's just this this enclosed thing that makes them not happy that come on what are you doing here what's going here so for me it's like if you have a scene and you have a lip sync whatever you have we'll take that scene and put everything I have all the ideas and put all those characters into a tight enclosed space so they can't really move so they can still say the things it's not that tight that the audio quality will change where you talk like versus you're free with your chest and breathing but it's something where you might say something good and every now and then you might move away and look down or do something I like this I like this idea of take whatever idea you have whatever scene when I put all of your characters you know must be I guess multiple ones because they can squish each other but put them into a tighter space and see what that gives you will that I mean probably will change your acting choices in the moment how they look around so I like that as a as a twist on an idea kind of make your your shot even more different and potentially more original and as a lot of contrast love that they don't have space but they do but as a little thing on the side and actually continue with the tight spaces here they are they're entering and you can see everybody's ready everybody's looking and then as they come in watch this yeah they're kind of clumsy they're not really a room they're all like ah it's embarrassing and then of course everybody starts talking starting to react so this just as a double down on that idea what if you have people going somewhere what if they have to go through tight spaces what does that mean is it something where there will be judged it will be embarrassing is it a class thing is it just something funny that you can do or something dramatic so again I like sets and that's exactly why you could have a specific move or motion whatever it is but now you add a set to it with that constraint that it's tight will that can change how they move and again will change potentially the acting choices and make it more original and staying in here again going with a reaction so as she comes in there is who reacting she's all real she's all pretty and they're like oh what's going on it's gone but then the one acting not so impressed is her you can see that with the posture the head and the blink it's a slow blink and like just kind of bored compared to as we go forward with the girl who's all inspired oh she's that's what I want to be at one point so again this for me is all about reaction so if you have something this could be a move where people are looking and talking this could be a lip sync don't forget that you can add humor you can add contrast to something where you break away you can still hear potentially the lip sync that you're supposed to animate to but now it's all about another character reacting to what she is hearing what she is seeing whatever it is but it can break up the shot and can add some humor but to me it's also thought process and contrast it's just really interesting for me to break up a shot in that way this moment is a bit more subtle and to me it's all about head accents and timing so as she goes over wants to draw attention she wants to talk to him because she's kind of smitten by that person look at for instance that head turn right turns around overshoots a bit like the whole body goes over and then comes back and you can see this right there at the end with the body and the head and if you look at her now she wants the attention right she's a lot more stiff she wants to hold i can't even frame it there she wants to hold that gaze and then you go back into well not even want to talk and she realizes well she's not paying attention to me again right and again she the head turns here why am i bringing up the head turns well i'll talk about that later just again look at this here as she is now wait why are you talking now why are you drawing away the attention look at how she follows the head you can see this every time he goes up and down look at her eyes on her head she's so focused and fixed on him then she realizes oh wait well i can do something else to draw attention to change his conversation eyes go down thinking and then over and you can see that quick look of well and then she says something else you can see have a little bit of head accents and then that big one here just for contrast and she's a bit stiffer here but on purpose like well then she kind of makes fun of him kind of but you know it's and then you have this turn here a bit of a slower turn just kind of comes right at the end and then at the end of that little that little thing with the eyebrows so why am i showing you all of this you can see his little slow turn here the main thing besides this cute little eyebrow thing here where she says something it has that little accent of haha yep i said it it's very subtle it's very cool and the reason i'm showing is is this so imagine you have someone where or you hear something where your character is looking over but it's kind of like i don't care it might just be a whatever kind of a loose where you wear your head kind of goes whatever i can exaggerate big arcs and you have an overshoot with the body but imagine now that the character hears something that is very interesting or important whatever it is then your character would turn like this again in whatever way it's however you want to animate but my point is that the way you end that move is going to be more of an ease in and more of a decided i'm going to stop now because i am interested in this versus i don't care what is that it's just the slight difference between an overshoot and an ease in into a more fixed ending of a pose and a posture again that can signal more interest less interest it's very subtle but i like those little things i'm a big fan of head accents including little facial tics here but again if any for me it's always any movement your character makes how does your character end the move how does it get to get out of a pose get into a pose all of that the timing you like little frames how do you overshoot or not tells us something about the character now we're supposed to feel about the character now love that stuff and this was all just episode one this is an ensemble piece lots of characters so i highly recommend you watch the show with a ton to take out now that it's crazy in terms of spoilers but this is mainly episode one so the next ones are just short little things from other episodes without spoilers but again lots of dissects to watch the show if you're into character stuff and looks and just lots of pantomime and intrigue and anyway let's continue this one is all about posture change she is smoking hiding there and then as she is hearing her brother's voice she tightens and again all about contrast lots of movement you see the swinging here and then she hears the voice she hears her name being called and then she tightens and then she realizes who it is like you can see this and this is a subtle thing i mean not super subtle but this is something for you to think about how is your character's posture is it straight is it careful whatever at what point can you do a reversal how can you signify without anything huge in the face without the help of audio how can you show a change in the character's headspace are they exhausted are they are they annoyed are they now suddenly concerned all those things just in the line of action and the body posture so just don't forget that it's a simple thing but it's wanted to point that out quickly here this one i want to show here just because of the help doing all of this i like the idea of this character moving around and she's not that she's you know she's very preoccupied she's usually they're very friendly it's not that she's rude but she does her thing and just constantly moves around not really conscious of her in the back and all of this she always has to readjust and i like that she is driving the motion she's just kind of i got to constantly follow and do things you can see that back and forth i like how clean poses you have on this frame exactly but i like that idea that a character is attending to someone and in this character is doing whatever they want and that character has to react i think this for me is a really interesting contrast in body mechanics right as you have the driving force there and that person's kind of like the drag overlap in a way but they still have their own thing they still have to react to this but i like that back and forth like that dynamic between those two characters and just the idea of that this one is all about facial dissipation so as she says you can see you that nothing is happening here and she says it right here so let's go forward and she goes that one and it's before she says it before she says it right there you can see that she already starts to raise the head eyebrows go up the mouth already opens and even if that wasn't enough of an dissipation then she has this just that extra squeeze here in all the muscles and then she says it and again don't forget your lip sync doesn't have to be well this is my audio wave whatever here's the mouth shape here is the mouth shape blah blah blah blah imagine that if someone goes oh i like this right someone sees something imagine i don't have it here i should have it i have chocolate here but imagine i see my favorite chocolate read a sport hazelnut milk chocolate and i go oh i like this i'm not i'm not going to go oh i like this i see it and i will i'm going to react i like this or example that i'm making other clips if someone says what right if you are seeing something that is just stunning you you might not go what unless it's like a super quick surprise but it might be what so you're forming that that w shape much earlier so for any of students are watching this don't forget that your lip sync in all the shapes you're gonna dial in they're not tied exactly to when the sound is coming out of the character's mouth you have to think about what are you thinking about is this something that's uh an dissipation because they can't wait and they want to get those like arm gestures that i'm doing all the time so that goes also into the face you can have quick facial expressions if it's a surprise but just like with your facial expression not going back to default you can say something where you go yeah whatever i mean whatever and you stay in that shape and you continue to be in that shape until you go into the next shape so not everything has to go back into default and you can anticipate a word by getting into that shape early on again depending on what the character feels if they're reacting to something but just as a heads up for any student watching this and actually staying within that i love this here as she goes well it was really nice talking to you and i love this this is a so exaggerated but so cute where it kind of she said was very interesting lovely i can't remember exactly what she says but it this is kind of like the body equivalent of saying oh i love this this was really good talking to you and it's such a cute little thing look at that they're only moving their head there just a quick little and then she goes away love that a little hop at the end look at that boop and then she goes out there's so much great contrast and just body language and body acting in here is great so again another reminder that when your lip sync is done you don't have to stop everything as i said before you can have another character reacting to this but if you are all about just the one character saying and you know before the lip sync you can have little accents you can have accents at the end if there's a pause that's your time to do little tics like that it's just super cute and i think something to always remember that you're not bound to the audio performance you have to bring your own creativity in there because it's going to be your creativity and your personality and your sense of drama and comedy that has to shine through your animation so that your your demarillo your shot stands out speaking of standing out and demarillo if you have any shots that you want to have stand out more and you want me to help you with this i have workshops so if you like this and you feel like that would be cool i like his ideas and maybe he can help me you can sign up at any time link in the description all the information the emails and all that good stuff schedule is always open you can start whenever you want and you can sign up whenever you want and that is that thank you for watching this is a slightly longer clip so if you're still watching as always thank you for your patience i appreciate that you stick with it till the very end and that is it if you don't want to miss any of these feel free to subscribe that is the pitch at the end like and subscribe you know the deal if you do subscribe hit the bell box you get all the notifications we're gonna do upload a lot or i will continue to upload a lot schedule's a bit crazy we have a lot to do at work right now but that is that thank you for watching i will see you in my next clip