Super Mario Bros. Trailer (Illumination) - Animation Analysis and Reaction

All right, let's do this. Welcome back to Animation Analysis. This time it's the Super Mario Brothers movie. First trailer came out. Yes, we got the celebrity voices and that is always an issue, but let's check out those first couple shots. Here, look at that. I'm already smitten by this because, I mean, Illumination did really cool renders. I mean, there's no doubt about that. And it's cool seeing the detail of the world here, also the contrast in terms of the colors, but just seeing that world in a more higher res, it's not like the cinematics are bad. They're obviously good in lots of ways, but seeing that world scrubbing through here, that detail, it's very cool, especially looking towards the end. That's definitely Luigi's Mansion, that type of cinematic. I mean, we've seen high quality cinematics before, but it's just cool seeing all of this just pushed an extra level up. I think that's pretty cool. I mean, I'm old, I've been playing video games forever. So that first console with Pong, I mean, to me, it's just cool seeing that world going from 8-bit over all those years into high quality renders. Also, this is Pong, by the way. For Pong, this is your student assignment where you got a bowling ball. It's animated on heavy. It's cool, though. This is cool, I love this. The little clackety-clack. I don't know if this is super nerdy, but I love animating props. So if you look at the timing of this, how sometimes it kind of holds a little bit and then it goes in a bit faster. It's very satisfying to watch. Anyway, also cool here. Love that. Overtaking the frame. This is massive thing in frame. Super cool. Same here, though. Halfway through, a cool contrast. It's really massive. Love the designs again. It's all very cool. And then I watched this. This cracks me up. It's basically like animating right now or being involved in a TV show. I see all this, you're like, mm, okay, that's a different budget. All the destruction here. Holy moly, I love it. How much did that cost? But it's cool, cool to see. And then we got our first little character animation. This guy coming in. I love the flamboyantness of just big arcs. There's some cool stuff with the timing later on, but I love this here. Nice flow, nice hand poses there. Yeah, it's really, it's already very appealing. Yeah, I love the renders there. I don't know, I get super smitten. Illumination does really nice renders. I love all that stuff there. It's great to see also in terms of contrast when you have this big thing where you have like big and then small, right? So you have this big moment, this big arc in his arms. Behold, you have a lot of fun in there. And then as he switches, you get the little quick steps there. It's great. For any student watching, you got those big arcs, big moves into a tiny little thing here. It's great. Nice hand poses too, though. It's a nice pose. And then switching into a bit more delicate hand pose there. It's really nicely done. Yeah, it's a great entrance. This guy's cute. Out of ranks. There's another guy watching there too on the right. That's the cool thing about going there frame by frame, and then this here. The staff, the switch of the staff here. It's kind of funny. Sometimes you watch stuff in what are movies or TV shows, and there's like a different connection when you watch something just because you have done something similar. I love how he brings this up. I look at the grip, loosens the grip to let this drop, and then he holds onto it again as he slams that down. That's, I just paused this quickly, but this is a shot that I did that, oh yeah, I just did a size, original size. This is how small it used to be back in the day. What is this, like 2003, I think, when I did this? Anyway, this is a shot that I did a long time ago. And it involves, you know, that when you have something where a character lifts something up or throws something up, and you got that change in the hand pose, and you got that switch in the fingers just to let that drop. Yeah, I get, I watch this, and it's not just, oh, it's nicely animated. It's kind of static there at the end there, but it's something where it clicks differently just because I've done something similar. Now, I'm gonna play this, it's very self-serving, but. In a few minutes, the man in black will come running around the bend. The minute his head is in view, hit it with the rock! Yes, I just played my own shot the whole way. But anyway, turn this scrubbing off here. So when you have that, you can see the hand pose there, and then as the thing goes up, I open up the fingers to let this slide down, and then change the fingers again to make it stop from sliding down. So I remember to this day how I animated this. It was so much fun to put all that detail stuff there. So when I see this in something, TV show, movie, I don't know if you guys have that as animators. You watch this and you're like, oh, yeah, that's super familiar just because I animated this as well. It's good stuff. Anyway, I like it. This overall, it's nicely done. Cool details, the fingers, the cloth, all that stuff with the characters there. Always cracks me up. It's like, this guy, lead animator. The rest, intern. It's for you to learn the pipeline. Let's put in all those characters and make sure they're offset. Look at this. You know, they have to be together. They're soldiers, but at the same time, you gotta put some asymmetry in there. Yeah, look at that. That's a good walk. It's a good weight. I love it. It's a cool entrance. Nicely centered. Super cool. Yeah, it's just so cool seeing that detail. And then the face, someone was tweeting about how the rigging must have been bonkers to get that all nice and fleshy and still keep it big and strong. Totally agree, it's great. This is cool too. You got your massive guy overtaking again the castle and visually stomping on it. Cool renders. That's cool. Come on, that's a cool shot. Those two. You can complain as much as you want about the voice, but that's a cool shot. Cute, all those renders. Nice textures there. That guy is smirking. This guy's slightly concerned there. Cute renders. Come on. This is great. That's a crazy flutter there. And the Parasym. Ooh, and that's the cool stuff. Look at that. Look at the squishiness in the cheeks. Got your stretch there. Again, this is for my students. If any of my students or any students watching, look at the squishiness of the cheeks. I get a pulling down of the lids. Probably gonna have something in the nose. Nostrils, tip of the nose can go down. Look at that. Look at the squishiness on the side there. It's just so satisfying to see something that has a lot of weight and heft, but also still feel fleshy and big. It's great. It's actually a big thing. A lot of times with student work, you see the corners, they go in and out, and they kind of forget to do the arcs. And it's just, it's kind of static how it goes in and out, but it's mostly that, just the jaw up and down. And then you have a lot of one frame direction change. It gets kind of chattery, like a skeleton type jaw. It just kind of chatters. I don't know. It just gets very minimized. Well, you have some eye animation, that's it. But you gotta think in terms of, if you do open something where it stretches, what I would do is look at the squishiness of the model. Like, what can you do? And then when you stretch something open, you can do the wireframe shaded, right? So you have those lines that I'm pretending that's the wireframe shaded. And you look at which points are moving or not moving and find shapes on your rig if the rig has it to pull it down. You can pull down the lids a little bit, right? The spot from the cheeks, maybe like tip of the nose a little bit, probably more on the sides and nostrils. You know, anything you can do to add that fleshiness, maybe part of the, you know, under the nose and the cheeks. Because it's like, you have to think in terms of, this is the skull, right? Creating it's bone. It's hard. It's not gonna move. I mean, depending on the style, you can squish this more or less. But think in terms of that's the solid part. And then around it, you're gonna have the squishy aspect of it. So cheeks, in terms of the flesh, whatever your design is, the temples. So always think in terms of how far can I push the squash and stretch without killing the design and making it like a water balloon type of thing with a nice stretch there too. Khan, it's cool. It's really cool. And the voice is great. I'm not gonna complain about the voice, but Jack Black's made great textures there too. Yeah, totally smitten. Gotta say the lining, a nice little arc there too. That's something else. Like as he goes up, because you still want it to be, you know, complex in your rotations. They're not making one axis. You can see how when you track it, how it has slight changes there. You don't have a big arc, right? It doesn't have to be crazy stylized. It still has to be big and massive and imposing, right? But within that, you can still do your nice curves. You know, nothing crazy, but something nice to have that extra complexity. You can see this here. Slight little curve. And you don't want to go up and down, like A to B and back to A. Or, you know, it should have a slight change in your arc and back to C maybe. You know, it's like give it some slight complexity within the character, right? The character has to be still imposing and not stiff. But anyway, let's continue here. It's a cute little fake out in the camera. That is a good lineup of characters. That's something else that you could practice this too. And you put a bunch of characters in there. You got the height, right? It's a height difference. Then you got your posing differences. You got a little outfit change there. The eyes are different. And of course you've got the angles of the foreground characters. Lots of asymmetry. You got the opening of the face there. It's cool. Yeah, it's really neat. It's a lot of work too, though. Walking in there, holding that pose. King's center. Yeah, it's great. Cool renders. I mean, you could put it, you know, three quarter, like in your classical more, you know, my crappy thirds. I don't know if that's as effective. This is great to have that centered like that with that character in the middle, like a little triangle line up there. It's cool. Nice renders and textures. Look at that foreground stuff. Ooh, look at that foot there. Nice. So many complexities in there. It's cool. I like it. Cool color contrast too. Complimentary there. Ooh. You got closeup details. You can see all that stuff that goes on there. Gotta be very careful of closeups to not go overboard. Nice cloth. That guy on the right. Look at the guy. Crazy arc. Watch this here. Yeah. It's a fun face. That's me when the weekend hits and I can go, yeah, let's eat. Look at that arc. Wall light. Look at that at the end. Totally bonkers. And then probably back into normalized. Yeah, yeah. It's great. Look at that. So much work on the other characters as well. That's a cool frame too. Come on. A lot of cool frames there. So serious. It's almost like, how serious is this teaser? So far, it's been pretty serious. Love those sidesteps on the guy. That's also cool because of contrast. Evil smirk there at the end. But it's cool seeing... Oh, I love the lighting. Look at that frame though. Look at that. That should be a thumbnail frame. It's just cool seeing all the contrast of one static character and everybody else is rushing through the frame. Give it some energy. It's cool. That's a lot of work too. I don't know. Copy, paste, copy, paste. And then offset, offset. That's a nice mouth shape with his jaw. That's great. Look at that. Oh, it's cool. Cool shot. Cool lighting. Love the depth of field there. But you got that snow interaction, sin, whatever, however they did it. Ooh, nice shape there too for the color. Splashes again. Look at that. Nice curve. Nice contrasting color. Squash in the face. That's cool. Oh, that little head shake there at the end. It's great. Nice little glint in the renders. Renders. It's good stuff. And then we got this here. Yeah, definitely. That's your contrasting moment of comedy there. Actually, that's like a classic thing in terms of filmmaking. You have lots of crazy movement. Not crazy, but you know, dynamic stuff. You got angles, you know, dodge angles with the horizon line towards the end. You know, they're going in and out. You can see here that line on the ground. And then the contrast is that you cut to a shot that's flat, right? You can't even see anything, vanishing lines in the background. It's pretty flat. And that's your, it's very typical. Like indie movies have like a brick wall. I get some floor, I get a brick wall, maybe some graffiti or something on there. And like a mopey character in front, right? So you got your, I don't know. I can't even, I can't even think of a character. Like you're the sunshine maybe, but you got your ground and then something flat. It's usually some brick wall and then a mopey character walking in front of it with some, you know, some, I don't know, some indie type music there. So that's, oh, that guy. Actually, I was expecting that this goes into his face and then splatters and he has maybe a little chuckle, brushes off the snow and then attacks. I actually did not expect to hit that guy. What's that guy doing? Hold on. Oh, it's too bad it's not like a one frame of freak out. Ooh, ooh, ooh, help. And as he goes back, but this guy, I didn't even notice that before. Lift his eyepatch. It's cute. Dissectors again. Cool, cool shot, cool composition. Love all this. This is again for you, just contrast, right? Got all the different type of poses, asymmetry, but you still see the eyes and at least one. It's cool. That's a pain to go in there frame by frame. This guy's shaking his head. Not in my house. Yeah, it's cool. It's a lot of work. A lot of work to put all that stuff in there. Posing it out. You might argue again like, yeah, simple shot, but you got some fun timing with the head there. Boom. Good accent there. And then you got to put in all the rest. It's time consuming. Just a lot of work to put that in there. If it's the same person doing the whole shot. Cool. Get a close up. Ooh, a nice little arc in the head. It's subtle again. Subtle stuff, because you don't want to overdo all those things. I like the little eye darts and the changes in the lids. Just enough. It's cool. Overall asymmetry. Also, I don't know if the crown as well, but the danger in something like this, which actually reminds me of something, but I'll bring it up later. But now you look at all the little details, because you don't want to overdo things. This is a shot that I did a long time ago. Spiderwick. And I remember doing the move over, the anticipation, going back, and then the rawr. And then again, something like this, sometimes the models, you hand it over to the creature department and they check out folds, where does it maybe creases, the geometry breaks, maybe stuff like that. And they do corrective shapes. But sometimes they add stuff in it. So if you look at the upper lip, it's very wobbly. There's stuff around that moves too much. There I say, it's been so long. I can probably be critical at this point. But I think it's too busy. I had it just a bit simpler. Make it a little bigger. If you imagine it's on a big screen, something that's a closeup and you have all that stuff moving. I don't know, to me it's just busy, it's distracting. The original take was definitely a lot simpler. Maybe at that time, me just like, I don't know, third movie I worked on or something, it was probably too simple. But just be careful when you have something like this, like a big closeup, to, less is more. Keep it simple. Make the main thing work. But it has cool stuff. Look at the nostrils. Right at the end there. There's some cool detail. But just don't overdo it. Gotta be careful. The visor again. So appealing. Look at those fleshy shapes there. Cool textures. It's neat. Cool render, come on. Whatever you wanna complain about, it's good stuff. Nice hand pose there too. That's cool. Holding on to the staff. That's when I go frame by frame and check if there's any finger changes, little tightening, or not. As you move down, that's a good arc. Probably tighten and loosen up the fingers a little bit, depending on the grip. Nice look there. I like the fingernail detail highlight for the lighting there. Cool silhouette. That is bonkers. That's a cool thing when you go frame by frame. What did they do in this? Definitely works within the shot obviously. But if you go and look at this frame by frame, face is funny. That one guy. He looks over. It's cute. That's a lot of work. You gotta offset these. Make this appealing. Right? You don't want anything mirrored. Instead of one or two, you know, some hero moments there. I see the eyes. That's just a lot of work. Quick shot, but that is time consuming. Feel bad for anybody who did this. So much time. Cool stuff though. That is cool. Seeing all those characters. Again, high res renders. Good physics there. Look at this guy falling. Bam. That would be something too for my students to put the teacher hat on. But you know, when that thing slides forward, penguin, right? And then you get the boot stopping the head. The forward momentum is gonna continue, but it's being stopped by the boot. So you have impact a little bit on the turtle foot and the shell there. Right? But then as it stops, the rest has to continue. You still have forward momentum and then going up with the butt. And then, just to make it complex, it's not going up and down one axis. It goes up to the left and then you got an offset on the feet as well. And you got a little impact there in the, oh, in the little sim there. A little prop thing there. Belt. It's good stuff. You know, like this extra detail that goes from, I can just do it simple and have it stop or add that complexity and the compression in the head and the neck and the shoulders. Right? You can see that little impact there and then have those offsets and just the asymmetrical view of it. And it's great. It's like that extra little thing that makes it awesome. That's a fast move too. Totally works though. Look at this. The arc into this. Still see the face though. It's cool. Getting a bit careful not to be too fast. This guy still has to feel big, but it totally works on the timing. It's nicely done. Yeah, I know. I love it. I love the wrench. It's so cool to see this. And yeah, dollar signs. However you draw the dollar signs, but I look at this and to me, this is just money. How much did this cost? It's very cool though. And I love this here. How it impacts the people. That's the other thing that I love. Again, put my teacher hat on, but if you have like stuff like rain and wind or you know, like anything that you have in a world that could impact your character, right? And it's not just, you put your characters there and that's it. And then you put your sim in there, right? And then have people not react. So to me, it's like you have raindrops that could force your character to blink. Like there's always something that will force the characters to do something and to react. So you have this cloud, when you see the characters reacting to it. To me, it's like they live in this world because they are reacting to the outside. I like that stuff. That's to me always super exciting. So much work. Got more voice work. Very cool. Good weight in this too though. See, even here, there's still enough stylization of, look at the arms and the shoulders. That's pretty fast. You can see it. This goes from one frame to the next, but it's only in here. Cause this can move faster than this mask. That's something that I would tell the students. Just because it's heavy and big, everything has to move slowly and in slow motion. This big mask is gonna take quite some time to go over there and change direction. But then the head can do it faster. Arms even faster. And then fingers can really wiggle fast. So always think about that in terms of, okay, this is big and heavy, but there are aspects of this character that can move fast when need be. And you can still snap this into place and then continue the movement in the bigger pieces that move slower, that gives you good contrast and a sense of scale. Lots of cool accents in the head, looking around. It's great. A little extra tremor in here. It's great. Yeah, super cool. Just love it. Oh, here we go. Oh, everything's a bouncing ball. That's where we at. Shooting out of the pipe. Already cool pose. And this is where your training as an animator from way back in the day comes into play. This is your bouncing ball. Cool poses though. Come on. Very clear. I love the splat. Here, look at that. Into that. Into your C-curve reversal. Nerdy. Nice. Nice shapes. Come on. Get a nice little clean hand pose just for a moment. Because this, yeah, you can totally read it. Just that moment. Also just has no blur just to push that moment. So that's for the students. You know, if you do something that's really fast, you can probably expect, oh, there's going to be a lot of blur. You won't see much. But if you watch this, there are moments where things slow down. It's almost slows down a bit more than you think through here. And because of that, sometimes artificially, you will decide we're going to see this for a frame or two. And then you're going to have to have that read. So it's like, I don't remember who did it. I'm paraphrasing from, like I was at work on the wolves in, what's it called? In Twilight, where they were eating stuff and chasing and fighting. But then they knew that at one point, the head on the head turn would slow down. And that's when you would see the wolves outline of the teeth and open. And then you would focus on that pose. Everything else will be blurry and then it would slow down just enough or artificially to strike that pose and then go back into the other crazy action. So that would be my piece of advice. That when you have a shot like this, where everything's really fast and blurry, just identify the moments where your eye for some reason locks onto a certain moment where it can read more. And it's also, you got crazy camera moves. It's not crazy, but you got a move that blurs the frame and then the camera stops. So now during that quiet time, you're going to see the most. This kind of blends in unfortunately. So there could be something with lighting where you can have maybe a rim light that really silhouettes that character. But this definitely helps. Great bounciness here. Like you really feel the texture. That's something else that I love. You can make this completely rigid, hard like a wood thing, but you got to animate this. I don't know if they animated this by hand or this was then sitting on top. Who knows? But I love stuff like that. I love animating props and environment pieces so that you, through the timing and everything, sense that this is rock or something squishy. Might be too nerdy, but I love this. I love animating things so that you understand what the material is made out of. It's like, you know, so he can slide down. That's a really squished face. Holy moly. Great hit there too. I remember seeing that first time, the bounciness in here or the wiggliness in the head as well, with just enough weight in the fingers. See how the hand bounces? Lighter, but you still have a bit of a back and forth in the head, but nice and slow. It's great. I love how they, that, I love that too. Just never the mechanics rolling over and he has a roller to then put his hand down there to push himself up. It's basic mechanics. You might go, this is nothing extraordinary. Well, actually it is. It's like the classic thing when students have a character move over and let's say that's their pose, right? Legs, butt. Everything's completely imagined. This is flat here, but they're off balance. And then they start moving this way, but you can't. There's no way you can do this unless you're, let's go fancy here, unless the other leg is here or here with a foot roll or anything where there is something that can push your character this way. Unless, unless your character's totally off balance. I don't know, like green. Unless someone is holding this character and pulling this character back or someone is pushing his character this way. But if you have a character that's completely off balance and it needs to go this way on like a direction change of a step, that leg needs to be at least a little bit over, if not like this, if you have a character that's, I'm layering that point here, but it's like that and that leg is straight down. Maybe you can imagine that really putting pressure on that foot and then the muscles through here are gonna help have the character go the other way. It's just a balance and weight thing and goes for me into the larger mechanics. Even if this is stylized, you can still, even if this is a change of a one frame, mechanically, it's just gonna look weird if someone is off balance and changes direction like that. You're gonna have to have a leg, at least something like that, right? Where they can push the other way. So this goes for me into this. He could get up like that with massive core muscles or do the more realistic thing, even in a stylized world of rolling over, putting the arm there so that now he can push himself up. It's a simple thing, but you just gotta really do proper body mechanics, film yourself, film the body, look online, whatever it is. Love that. Love the squishiness in the face. This is why I wanted to take a look at that trailer. Love this animation. That whole thing with the shoulder, the pain. Cute design. I mean, it's Mario as we know. Wait, looks at the camera. Is that a little, hey audience, we know each other. But I love this frame, just like with Bowser before. It's just that world in a high polished render. Not that the cinematics are not high polished, but it's like that extra level. But it's a cute, still Mario design. You know what I mean? Like with like pushing the facial animation. I mean, so you got your, you know, all the dynamics of your line of action in the head. You opening it up this way. Like you got all the principles that you put into an animated feature. Great. Great lighting. I love all the details in his outfit. People complaining that his trousers are not filled out with his typical bubble butt. So great though. Definitely know that type of trailer with piano, classic music. Look at that. But come on, that's a cool frame. Love it. All those familiar elements in a cool render. Yeah, it's so cool. Let's see here. Let's go crazy. Let's zoom in. That is a harsh stop. Bam. Ooh, sorry. Sorry, teacher hat is on. That is a linear key on that route. Watch this. That's right. I am. I'm critical. I can put on my critical hat. That's a sharp stop. So cute. Yes. And this is where the internet lost its S-H-I-T. This is Chris Pratt's voice. Not doing much to hide his voice. It's fine, people. It's fine. I don't want to see this where it's a me, Mario. I'm confused. Where am I? Imagine you had this for two hours. I mean, it's bonkers. What I would recommend is you watch this, though. I mean, Charles Martin, you know, watch this. Great. I mean, for so many years. Yes, absolutely. It's a bit painful not to hear his voice after everything he's done. Totally get it. At the same time, we heard this and then the voice at the end. Let's judge the movie after we've seen the whole thing. But hey, that's an opinion that is usually not shared by most people. Wait, we want to pile on things before we know the whole story? Yeah, that sounds like the internet. Got a little surprise. Well, come on. Definitely get into your squashy asymmetrical face, but I love it. I don't know. I love this. I love the look of it. All the details. Nice little squash in the face again into a change of, yeah, look at that. All right, it's getting small. This is probably, or is this the same shot? Is that the actual cut? Again, teacher's hat. You're bringing back your animation into big move. And then on the next cut, the character is actually going, they're stuck and then going forward a little bit. That's an odd cut in terms of action across the cut. There is a good chance that this is maybe not the way it is. Maybe, I don't know. Teacher's hat, being critical. Fun, I love this. Asymmetrical shapes, pushing the mouse shapes. Love that drag. Whatever you think of the voice. I love all this here. Love all the details. I would love to animate all this. Love all that. I mean, I'm sure there is more to it, because again, we have this massive move and then we cut to him already being on the ground there. Again, let's judge the movie when the whole thing is out. Nice stretch. I don't know. Great shapes there. I love all this. I don't know. I can't get on that. Hey, bandwagon. I love all that. Ooh, I love that little squishiness in here. It's cute. Look at that. Look at that push. Love it. Again, this is, I'm saying this because of the students. Like, you know, you got to look at your, what's your midline of the face and start going into asymmetrical posing. You can see how far you can go and it's not breaking. It's just so appealing and cute. And especially on something like this here. Perfectly fine. Hold on. Let me, should I go crazy? Let's grow up just for myself. Turn this off here. Am I screwing? Yeah, like that's your F shape. Perfectly fine. It's just, it's so nice when it's that simplified and stylized, but it totally works. Like sometimes lip sync gets a bit over thought and it gets too busy and too chattery, too busy in the corners, in and out. You can really go a pretty long way in terms of stylizing and simplifying mouth shapes. Come on. So appealing. It's so appealing. I love it. I love that look. Super, super cute. Everything's a bouncing ball. All right, we're back into the bounciness. Look at that. Even then you got a little squash into a stretch. Hold on. I got to turn off that scrubbing because that is right on my ears. Yeah. That's good stuff. Love all that. And then look at this. Great. Classic stuff. And that's the second line, which, you know, it is more stylized than that one. Still not huge. Again, let's watch the whole thing. But I love, that's also the other thing in terms of the mechanics. It's not just land, walk, walk, walk. I love that. Has to go down into this. It's almost like if you're at a kid's place. Remember back in the day on bouncies? Not always super easy, but you could animate that whole thing going up and down. But I love that little scramble. Nice silhouetted finger pose there. That's great. Nice simplified shapes in terms of, you know, the lighter background for silhouette there. He's got that. I love that. Asymmetry there. And you're always a full extension on a jump on the legs. You don't want to jump off with a bent leg. Same thing on a landing, let's say most of the time. So you want to stretch your leg. Get your asymmetry there. Stretch into that. It's great. I mean, it's not like I was expecting horrible animation. You look at the work that they did back in the day. Back in the day, as in, you know, all of their movies. And it looks really good. The question is, how good? I don't know, this is great. I love the timing of his little steps there. And boop, boop, boop. And then going. Like, there's so much contrast in the rhythm in this shot. Right? Let's go back. And boop, boop, boop, boop, boop, boop, boop, boop. These are all my technical noises there for this. So cool. Yeah. Little drag in the hat there. I don't know. I love all this. It's super appealing. Love all this. The title. Yep. Good stuff. Then we got a bunch of voices. That's cool. What did we just mention in there? So much work. So cool. I love all this. This would be your... Sometimes for students, there's a jump assignment. And like, I love this. This is your jump. It's not just flat jumping, but you're jumping from an elevated position into something lower. So the impact is going to be stronger. Then you have to have a bit more effort to go up to the higher position. But because you might be in distress because of something chasing you, it's going to be messier. And then you might... Well, it's Karate, but you might hit this and scramble. Like this is taking a jump assignment to the next level, basically. So any students watching this, if you don't want just a C, if you're going in grades in terms of American grades, right, you get your F, middle C, A is your best, or Switzerland was a six was the best. I think Germany one is the best, whatever it is, right? But you don't want to be middle of the road and push an assignment. So let's say a jump assignment. Then you have... Think about elevation change. Think about the motivation for characters getting chased by something. So the actions are going to be different versus I am tired, I'm jumping, I'm bored, I don't want to jump again. Or I'm the best athlete in the world. I'm going to do the best jump ever. Or I am being chased by skeleton creatures. Those are all different circumstances that will change your mechanics and just the way you approach the jump and the posing. It's great stuff. Whenever I see something like this, my mind goes immediately. All right, senior animator, do this. All right, intern, do this. And that's it. Only in theaters next year. That is that. Super cute, come on. Yeah, I know, people want to complain about things. That is the big complaint. Whatever. Let's just see the movie. And if it's not good, then you can complain all you want. I know, visually, this looks awesome to me. It's so cool. Yeah, I'm totally in. I can't wait to see this. And yeah, that's it. Nerdy analysis, as always. And then if you like that, watch this again. If not, watch somewhere else. That's totally fine with me. I'll continue and I love doing that. It's as much as an education is for me than hopefully for other people. And that's it. Thanks for watching. Hold on, let's stop on the nicely appealing... Oh, look at that. Actually, no, the one that I love was his squishy face during the shoulder, this one. Love this. Hi, looking at me. Hi. All right, well, that's it. Thanks for watching.