Animation Workshop Feedback - Valentine Miniot #0 (2023)

All right, let's check this out, there's sound. Yep. I said it before and I'll say it again. Life moves pretty fast. You don't stop and look around once in a while. You could miss it. All right. That is audio from Ferris Bueller. So the first thing just in this presentation, I'll be careful mixing CG elements where, you know, the textures can be a bit simple depending on the lighting and stuff and super detailed photos or paintings in the background. I'm not sure that's needed. You can easily, easily, but you know, maybe find a skull model for free somewhere or put some blocks in there and maybe with some depth of field or hardware fog, kind of blur that out and soften it just because it gets very busy around the character. In here, it's a bit much. I will keep it simple. You can just do a flat color, maybe something right in the background if you want just for now. And then watch out, this must be one of your background guys that peeks in here. And the other thing is he has, just in terms of direction, yes, the candle is on the right, but he's looking right to left and now we're having left to right. So I will probably, you're still doing left to right here. So we'll probably have something where instead of this, he looks this way. Candle could be the other side, but I would just have the expression go the other way. That way we're sticking to the left to right screen direction. In terms of what's going on, I said it before and I'll say it again. I like the beginning. You said definitely have contrast in terms of the character leaning and having different poses. Let me just see here. Audience, give me, there you go. I mean, you know, you're starting out straight here. You have a change in here. I like that you go all the way back here and you're using the space. So to me, this all works. Careful with big moves like this, that and that. If you listen to the audio, it's kind of like a, it peters out and it's a soft exhale and you don't really feel and hear any of that strain of that moment. It's not, I'm picky about this because it's just something common in shots and in movies even where just sometimes the action just doesn't match the audio. I'm just kind of picky about it. So I'm not sure if you want to delay that even after like here, maybe, you know, he might have to jiggle some stuff around or he does it or he does it doing the biggest exhale here. He does that. Just kind of be mindful of that. It's up to you, but that's something that just to point out quickly. I do like this here. All of that works in terms of the energy. Watch out. You got some straight keys on your, on your camera. It feels like he key going somewhere and you get with a spline bump. That's fine here. This one is probably the one where I have the biggest notes. Let me just continue here. That's totally fine. You're going to have something over here. That's good balance. There's a framing and then not sure that you need to truck back here. I think you can just be here and just zoom out or just dolly up, you know, like a translate up. I'm not sure you need to go all the way down into this because then we're getting some some tangents of uncomfortable framing on him. I will keep some room here. So it might just be, you know, moving up straight up to make them small and small, small, smaller so that, you know, the life fleeting here in hell, whatever life they have there. So this one, say it again. Life moves pretty fast. There's just a lot of time spent. Once you hit this pose, we're in here for quite some time. Let me just go up here. You can see this. We get to here and then it's like from here on pretty much till here, you know what I mean? And then we cut out or we move into this and then we cut out. So I think not that I want to dictate acting choices, but I'll say it again. Life moves pretty fast. You can hear the audio, too. Life moves pretty fast. It's like he almost turns away from camera. You can have something where he might address a couple of people, have some eye darts, you know, again, have some maybe a little bit of a lean again. And he's kind of addressing the people. You don't stop and look around once in a while. You could miss it. So to me, it feels almost like he could get in there and he kind of he's playful until he's about to kill or double kill the person, whatever that setting is. You mentioned Hercules and that kind of on their world setting, it could be something where he's just kind of playful. You mean like he still has some movement in his head, head turns, he looks around, addresses the crowd until the very end. You don't stop and look around once in a while. Maybe that's the line where he gets very still and serious, where you realize something's off. I don't try to feel right with him saying this. And then he gets into that and does his thing. That makes sense. So I think it's just it's just a bit too still. We need a bit more and you can even have him come a bit closer. I would still move in space, you know, within like this range and you can even get that much bigger head accents, eye accents so that, you know, eye darts so that he addresses and it's kind of like the fake out of, oh, yeah, I'm playful. Oh, yeah. But I'm actually serious and I'm going to kill you like that kind of vibe and energy and contrast. That makes sense. Once in a while, you could miss it. And I don't know. I don't know if you need that big of a move subjective, but it could just be it could just be in if you ignore all that movement here, just that kind of that face with a slight head turn. That's subjective. I'm just curious if you if you have playfulness, playfulness, playfulness, moving, moving, moving. And then at the end, when he has a bit of a you could miss it, you could miss it would just be him this framing and a slight, you know, maybe during all those head accents that I mentioned, he could slightly walk closer so that he's maybe this close to the to the frame. And then he just has a bit of a more of like a subtle head turn. You could miss it with a little twinkle in the eye. And then the big move is bringing up the candle again. The framing would be like this. But then you move up the candle where it's a movement across the cut into this. And then that's the big move and reveal. I don't know. I don't know if that's if that big move is there's so much energy and there's so much movement that now suddenly this could be flat and flat. Imagine this is more subtle, more of an evil head turn. And then then you go big move in the frame. And then this guy falling. And I know other people will be falling, but that's your big contrast reveal moment. Just curious. Maybe that's upstaging everything else afterwards with so much energy and being so close to camera. So that's the thought. I'll leave you at that. And that's it. Thank you. All right. There's an email. You can sign up. You can start whenever you want. You can submit whatever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. All right. Thank you.