 Welcome back, it is Thirsty and that means acting analysis for animators and today I'm gonna talk about the movie Oceans 8 Okay, so the first clip I want to take a look at is about hand gestures And I think if you've been following this channel, you've noticed I'm doing a lot of hand gestures I know there's something does that always do but it's also something that's very common in Soon work where character could be sitting or standing and then a lot of the W poses or just that type of thing or just a Lot of hand gestures and arm gestures and to me subjectively I feel like a lot of times it's not really needed and one of the exercises that I would suggest is to shoot reference or add things out with your hands behind your back and just to see What would you do with your shoulders now or your chest or your head for some head accents? Or how many times are you still or how many times do you actually move your body around and so on and so on? I think it's a worthwhile exercise and then you can do another one where you have your hands They didn't kind of go back and forth. Okay. What am I using? Maybe this hand now is a good idea goes for contrast or for intensity and one of the examples in Oceans 8 is this beginning scene So as we're looking at this now, she's gonna take no sound if you just look at her There's not much she does and you can see at the very beginning something we talk about in terms of You know overall posing you can see how you know the feet are slightly together Hands are down shoulders are down. She does she's very straight. She feels very uncomfortable very vulnerable very You know, I wouldn't say weak But it's something where she doesn't want to come across as someone who is a bit more arrogance or something a bit more Challenging like in the scene from true detective season one where Matthew Connaghey has that that look in the way He sits and the way he shifts around in his seat Which is so awesome in this one It's just a bit more subdued and you can see how she has just little moves in her body little gestures here In her hands, you can see just a little bit of accents It's just kind of visible underneath the table, but there's really not much else going on Some knots again some finger moves and was let this play out You can see the shoulder moves there and that is fairly rare to see in animation you might argue Well, you know, I am an animator I need to show off my mechanics and everything and and I want to show that I can animate So I understand the hesitation to do a shot like what we just saw where the characters kind of sitting there and doing nothing But you could incorporate that with this goopy first shot Maybe an establishing shot where it shows the character overall pose for the emotion and the environment So we know where that character is for context And then you can have me a couple seconds of that type of acting was very minimal And then you can cut to something closer rake into some broader facial acting or at that point you get that You know like a Harrison Ford you find that man you find He had a mechanical arm Then you can go into some close-ups and do some bigger moves fugitive style But overall I would encourage you to do a pass in terms of preference Are you acting it out or you directing someone that does the reference for you or you just do the whole thing without arms? Just sometimes less is more the next clip is more about secondary action where I'm a big fan of having characters do something So as they say a line, you know, they could be arranging things and moving things around Whatever you have here versus just sitting and delivering to a camera. It's a bit more like a play a stage play So if you have two characters friends like in this case one character is doing something while they have their discussion And in this case as well She does something with an object and then throws it at the other person's over to take a look at it So as this scene continues you can see that she is doing something with this piece of paper She's basically folding a paper plane But again, I like that they have both something to do You can still have a dialogue where you have every now and then eye contact or not for some accents So, you know, you still have bigger moves gestures, but through all of this Something's going on and you can see how she feels like I just try something again to me It's like props as you know She could just lay this down in a very soft fashion versus like yeah fit to whatever So to me the usage of a prop again is not just because you want a prop in your scene, but you can accent your emotions So she could be frustrated and just that throw that stack of paper or this vinyl whatever it's clipped paper It's just an add-on to show if I'm frustrated. So of course you can do this without a prop I'm just saying if you do have a set and if you have props Then I would use them to your advantage and to showcase emotions or just you know for certain accents and in this case I love this at the end. She's done with this You know to me is like I don't really care and then she throws that and I like that reaction I mean it could have hit her in the face, but I like this like this little moment and then just get away from me But all of this while she's annoyed and she's frustrated with that, you know a deadpan Facial reaction there. It's just something fun to do now folding a paper plane is probably kind of Difficult in animation so pick your things that are easy to do and not where you would spend hours and hours and hours But as always if you have props if a set piece or anything What could you do if you already have them use them to your advantage and show that the characters are interacting so that they're part Of that world this next one is not so much like what could you incorporate into your shot? This is basically just showing it because I like it It's just an extra Facial expression kind of a mocking thing that Hathaway does you hear but just play and you can see it She's asking her like why am I not working with this person and she meant you know icon She's your iconic and she realizes what I want her and then she asks her Well, do you want me to you know set that thing up so you can work together and just her reaction at the end of this? Well, let me just play this so you can hear the sound It's just so good. I love her reaction to this like oh, she already looks away. She's just okay Shoulders up getting in there and just her reaction hurdle of faith how she goes And it's it's not much so what I like about that is that it's just a it's not a big reaction Oh, yeah, go do it. It's just that little she doesn't even she doesn't intense up in her fingers. It's basically just It's the only thing she has are her shoulders going up and in that face good But it's also for me I think about contrast where he has well I want to work with that person and then it's a contrast of the thing that she does with her hair and then going Into that little tiny thing against a big move small moves. I just like that moment I'm not sure how you could incorporate that or can use this Maybe just in terms of contrast big moves small moves and just sometimes less is more maybe again Where you don't have to do a big gesture with that little that little tensing of a knee is it's all in the face It's also fun to kind of use those facial shapes and do something a bit more exaggerated where maybe Performance before that was a bit more natural. So maybe that's the type of Contrast you can incorporate into your scene that could be fun to animate This next scene kind of reminds me of the one from midnight special Where you had two characters like one character stops and the other person Doesn't know that the other character stopped and kind of gets there Whoa when it kind of goes back because they're not aware that that person stopped and so on to me It's that kind of that spatial awareness or where you just kind of incorporate the idea that the characters are either familiar Not familiar with the environment. They're not reacting to it in a certain way So in this case what I liked about this that she has that you know very You know that's again usage of a prop that she's very relaxed and everything But she's kind of courting her and as she goes back she hits that box there And I like this here. I just like that. She is not aware that it's right there Has that reaction just kind of check out. What is this? But then she goes straight back into just acting towards her where she wants to feel like she's in control Or she's just saying no everything's okay And I like that idea that again the character is not aware of what's behind that But they are reacting to it and it does change her Acting she's a bit more flustered at that point. You can see that with her eye darts with her eye blinks A bit more active there and then going back into trying to you know Make sure that hey, no, no, I don't need your job and fine with this and so on and so on That's the scene there But it's just something where again if you have a set you can use that And if sometimes again, you you might not know what to do in your shop But you can look at sets that you have and maybe oh, I'm going to use this and that might trigger More ideas for your shot. Oh because there are a stack of boxes Maybe my character walks into this and maybe they will fall down if it's something bigger Or there's kind of react and feel cornered and you can use that Or maybe it's something threatening or in this case It would accentuate the fact that she's kind of nervous and and you know again cornered in in the terms of I'll send a bullet corners her with that offer and so on and so on You can read into it as much as you want to but I thought it was a really nice subtle thing where it wasn't a big Hey, you know, I have no room here. Why are you cornering me? It's just a little Just a little change of the head move to look over and then kind of regaining control or just being trying to be Not flustered. It's a small thing. I like that stuff when you have you know set pieces And you kind of react with them and you have like small reactions In within your animation now following up is the same sequence Just something right at the end and this is more of kind of a pentamount type of thing But again, it's something where it's not part of the audio and it's something where you can take control of your acting scene Basically by just adding something that's again not part of the audio where you can show your own acting skills And you're tied to audio as I always say if you watch this, you know, it's kind of a familiar territory here But let's watch this so as they were talking you got the daughter coming in and You can see her reaction there Very mused by this that you know, she is somewhat in trouble. She has to justify things to her kid here And you know, she's just mapping, you know, don't do that And I like I like her a little smaller reaction of that head shake there No, it's fine And then you can see that she's pushing her here and it's that little push over and what I like is this Just that moment of Don't talk. It's just that and it's a great. It's a great silhouette It's a great setup with this foreground element a little kid there It's just A scene that I really like that if that will be your staging in a in a shot if you if you're my student here I will give you an a plus it'll be so good But I love this I love the little that little interaction because it's all unspoken and again I love that little no little head shake. You guys like a little bit of a move in here No, see that that little turn in the wrist And then even that kind of tenses up and rolls that that lollipop actually does this gesture there And then that so good Probably my favorite piece out of all these that I'm showing you but there's just so much that There's an animation. It's broad and it's pantomime while you can do your lip sync You can play off of two characters But they're also facing the camera because they have to hide So it's visually very clear for your animation So it's not something that's kind of hidden that might work in life action But wouldn't be as clear in animation and so on and so on. It's just a great scene and speaking of gestures Here's something again where you have your audio piece and you do your lip sync And you have your acting that's tied to that and once the sound is off in a way You can end it the way however you want to end it Ideally the sound wouldn't just cut off and then it's silent So if you have any ambient sound or some room noise or whatever you have it's kind of seamless That would be great But in this case they have the discussion that they really really want this piece of a jewelry So they're whispering hey, she helps her we need this here and that's what he says And then he goes well Okay, we can do this But that would be a longer discussion Not that you need to do this in your shop But it's something where someone says something that's kind of the end of the dialogue and now you can see Her their reactions. So I already like this here But then they have their look the exchange dango. Yeah, well go ahead and it's something that's completely unspoken So in your case, you can just have for instance and the shot like this blank stares and maybe a couple blanks Or they would be like this and then they move over and then they put their heads together blank stares But they're a bit more united because their heads are together or you do this where they can just look And they might just do that. Is she looking through camera? Or they do this right so you can have a thing where they can just have a look exchange And then be silent or this and then yeah, go ahead You can again you can add whatever you want But to me it's a cool moment where again you take control of the animation and you can do whatever you want We can change it where someone was maybe somewhat quiet before But now they're making a bit more of a threatening gesture or a body posture move or or whatever it is It's just something where you're in control of and you can do whatever you want And it's something that's fun also because you have two characters So you could have a lip sync with one character and two characters listening Which if you say hey your shot is a three character shot that might sound very intimidating But if you have just them sitting and being quiet and one person doing their main acting and you can go back here And it could be you know stage where maybe he is here And then you just have shoulders or it could be something where maybe the character is in the middle And you have over the shoulder over two characters and that will be your main thing You're still establishing that you have One two three characters, but the main work is on this person's lip sync But they can still cut to this where maybe you can see A leg here or I don't know implying that the character is still here It don't really have to but then you just go back to this And now they have their moment and it's just pantomime gestures facial stuff where it's not too much So again, it's not something where you want to overwhelm yourself with the amount of work When you do three characters, but that setup could be fun for maybe that person who's talking like I said was in the middle Maybe that person is gesture wise and posture wise very very weak and meek and maybe very defensive Maybe you can accent that by having the two characters over the shoulders But they're looming and making that that character in the middle even smaller So again, you can use the staging however you want But I think it would be a cool way of incorporating more characters in a fun way where you can show off lip sync and then show off Just pantomime that's not tied to your audio as I always say So all in all a good selection of different types of things you can use in your shots And hopefully something that was useful to you Maybe in your current shot or your next shot or next sequence if this was useful And you think so you can give me a like hit that like button as they all say and you can hit that subscribe button And that bell button so you get all the notifications, you know, I have to say that But it does help me and I do really appreciate any comments and he likes anything that gets me feedback If this was helpful or not, that's absolutely awesome. And as always if you watch this whole thing till the very end I do appreciate your valuable minutes and I will see you tomorrow for an FNA