Animation Workshop Feedback - Adrien Chantre #2 (2023)

All right, new version here, let's play this. I'll tell you boys, life is crazy. One day you're in community college driving a Camaro T-Top, cock of the walk, and then you need some cash, so you get a job. You think it's only temporary, but then you get a promotion, and then a raise. And all these doors open up for you, except they're not really doors, they're trap doors. And then all of a sudden, bam, 20 years has zipped by and you're thinking, is this all I have to my life? Not you kids, I love you kids, but come out of the house, it's crap. All right, nice. Life is crazy. Cool. I'll tell you boys. I like that you have that incorporated this here to have that, and I think that works pretty well. The initial reaction was that it's almost a bit, I wonder if there's too much going on in terms of we having that flip, plus that arm out, plus him leaning over and looking away, if that makes sense, versus keeping it where he's like this, and I would start with this up like this, and the sausage like that, just for a clean silhouette. It's a bit muddy there. So instead of having all of this, this is already an event, and I wonder if this is too much with all of this going on, and if you just keep it like this, he looks at this, he spins it, and you can always have him start looking over this way by around here in terms of when this falls. He's done this before. He doesn't have to really completely wait and see that it's dropping so he can hold on to it. He's that good. And then that way, you still have time to look over and end up in a pose like this and then do all that. I think that would work. Overall in terms of motion across the cut, this is a really big move, and then we cut into it being still, and then it continues, and not as much, so I would make that consistent. I would actually have slightly less movement here, and then start maybe a bit further to the left with a bit more movement, and slowing down into that. It's a nice silhouette though, and I love this here, and it works great with the audio. Here for this one, cock in the walk, I'm not quite sure what he says here, but on this, where I would have a little bit of a head up accent, slightly more energy in the head, and maybe through here, because of what he says, and then throughout, there's some really big moves with the stick that I would reduce a bit. With this, I would probably just go maybe half or two thirds of how far you go, and it's a bit more archy, just because this is a big move, like a strong contrast movement and more energy, and I'm concerned that this move here, and the move with the head, they're competing for attention, where suddenly I'm looking here, looking here, and I'm falling down, and I'm kind of missing this, and I'm suddenly not looking at his face anymore. So I think by reducing this, we can keep the focus acting wise on this. And then you need some air, so you think it's only temporary, but then... That's great. This is a bit fast, but then, also in his voice, it's more like, but then, and in your But then, like, it's just, there's more physical movement that's not reflected in the voice, but I think just timing wise, it's also really fast, and in that way, it doesn't upstage this one. So personally, I would slow this down a lot. I know it's tricky, because you're going from here, and you got to end up here for a clean silhouette, but you could have it lower, so the stick is maybe, you know, down here, or even here in front of the body as a silhouette, so that you can still have a move like this. Even this here, I would slow down by two, three frames, just that, that moment there. That's really great, and I love this too, how, especially the contrast of this, and then we almost miss the change. It's almost like a wipe that reveals this emotion, kind of like that. But the thing is, I like this a lot. It's almost a bummer in terms of how low he is, and how far, and how much extra space we have, where I wonder, trapdoors, if it's something that can be, or maybe you stage the camera so that he is just a bit, like, the head is here, body over here. Sorry, I don't have, it's a different setup, I have my mouse instead of my pen. Not that my scribbles are better with the pen, but it's a bit messy, but something where it's maybe a bit cleaner, in terms of not being so screen-wide low-heavy. You know what I mean? Like, we're here, we have so much extra space, where you might have to get him just a bit lower, but it could also be a later camera fix, potentially, although I wouldn't really tilt down too much. But my main point was that I like this a lot, in terms of contrast, and this is why I would slow down moments like this, because it's almost the same amount of energy as here, and I think this is a great contrast moment that I would not upstage with previous movements that are almost as big. This is, again, fast. A, they move two at the same time, to me at least, we're slightly back into a W pose, but they both move at the same time, and they're really fast. I would add four more frames, four or five frames to this, because then you have this again, and this is your big contrast moment, so I would not upstage this with a big move like this. You know what I mean? You take the intensity away with so much movement here from this. This is okay. Suddenly, bam! I think it's late. The cut is late. I'll probably cut around here. Yeah, it feels a bit late. It should be okay in terms of what you're doing. It's more than 30% change. It's a fairly drastic punch in, but I think it would just work if you just go and cut sooner around here. Careful animation-wise. Watch out. I didn't notice before, but now that I'm framing through, you can see how, spacing-wise, this just locks after this, and then we have a pivot off of this top section here, and then it goes down. As you continue, you're going to work on your arcs. 20, I would, instead of, but on top of left-right, I would add a bit more up-down, because 20 is pretty strong energy-wise. 20! So I would have a bit of a stronger move on 20. This is okay. I like this, for sure, how he's here, and then he sees this. That's very organic in terms of the eye-line and everything. What I would not do is this last tilt-down is almost a linear key. It's pretty strong, and you have 1, 2, 3, 4. You don't want to introduce anything drastic within the last 6 or 7 frames. So I would actually just have him go down, and even then, you can cut some stuff out. To me, I would go here, and cut. You just indicate a low movement, and then we cut into this, and it would totally match. It's totally fine. And also reduce the tilt-down on this, just a couple of frames, because we won't have it here anyway. So I would keep it here, where we basically cut out around here, leave that camera move, cut the rest, and then cut into this without tilt-down, and then watch out. He stops definitely abruptly here. Everything is linear, bam, on that stop. And the camera as well. So once you spline that out and smooth that out a bit more. I'm not sure you need this. It's almost like an accent in the camera to emphasize what he's saying, and it seems a bit odd. Me personally, I would take out that last tilt-up here. That's kind of that. I mean, it's definitely super promising. I love all the facial animation on him. It's nicely pushed, especially once we are in this range at the end. I love stuff like that. That's great. So I'm really not worried about your animation skills. I think this is mainly making sure the energy levels are consistent, that we're not trampling on some specific moments, and kind of reworking some camera stuff and some pose stuff. But yeah, it's very cool. I like it. And that's it for me. Thanks. All right. There's an email. You can sign up. You can start whenever you want. You can submit whenever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. All right? Thank you.