Animation Workshop Feedback - Austin Lutz #6 (2023)

All right, new shot here with sound. Come on, Glenn, you're an exciting guy. You remember that time when, you know. Thanks for trying. Come on, Glenn, you're an exciting guy. All right, let's turn off the sound. It's a tricky thing. With the idea of a Zoom call, what I would do is maybe overlay. Again, not that you need this at all, but there's a lot of empty space here. Just visually, you might have something where maybe you put in some of the Zoom features, just the UI in there to kind of help with that. And it kind of makes no sense to have that like that. Maybe it's like a recording. I don't think. For me, it's either that or you're sticking. Let me see. That's your broadest move here. I mean, you know, what if it's like this? This to me would already be a bit more interesting. You get to see a bit more of the face. That's the first. It's not the most important thing, but it's something that just caught my eye that it just seems very empty. Yes, we get to see the keyboard. But if you look at all of this, do we need to see this section? No, you could scrunch up the keyboard here. And again, just zoom in a bit more. That would be my thought, just as like a visual thing. The tricky thing for something that's over Zoom is that you're doing something flat to camera. So if she starts like this and I'm putting onion skinning, and that is roughly, right, where she is, if you look at this, that's probably the biggest time you get out of that silhouette. Then we have a little bit of that hand there, and then this, and then that. I mean, there's not much else going on. So anything that's straight to camera won't give you a lot of C-curve change compared to like a profile shot. Not that you should change this completely because then that kind of defeats the whole point here. That's a massive screen. But if someone is like this, right, straight, then I'm drawing the obvious here. When you lean forward, you get to see that curve. It might fantastically draw on to the green. And if they lean back, like, oh, man, how can you do this? There's so much change in all of this. There's so much range where you can go from this to this. I mean, like, there's so much you can do here. But in something where you are towards us, there's nothing you can see unless you go sideways. That's the only way you get to see a bit more line of action and spine curve changes. So for me, it would be, if I bring the audio back, imagine she is just a bit more relaxed, where imagine she is potentially like this. Again, I'm completely exaggerating. You have a chair here, maybe an armrest. Maybe her arm is like that, you know, and she's fiddling with maybe, like, she has, like, a tablet pen or something, and it's more like this. Come on, Glenn, you're an exciting guy. And that could be like this. And then she could straight up a little bit, but still more three-quarter. Do you remember that time when, um, you know. And then during this section, when she gets a bit more nervous, that's when she starts to swivel on her chair to be more straight on-ish, maybe ever so slightly curved. But it's almost like she goes there where she's just straighter, more nervous. It's more stiff. It also kind of represents how stiff she is, right? And then, you know, and then when she's like, it's like she is embarrassed that she can't really help him, and then she is more leaning over this way, chairs like that. And then, you know, she might be fiddling with something around there. Not that you have to do, like, a lot of prop work or something. But to me, this would be, again, just to be obvious here, you would start with someone like that, right? So then you have a massive change from like this, looking this way, to straight, the way she is now nervous, to the curve down this way. So you have broader spine changes. You have her looking this way, straight, and then this way. It's like, hey, I'm not super interested. Not interested, but like, I'm relaxed. Okay, I'm nervous. I'm looking at you. Now I'm embarrassed. I want to look away from you. And also, this gives me a bit more like an almost 180, you know, type of turn, just to get more contrast in this. Let me turn off the audio scrubbing. That will be my biggest comment. Because if you have something like this, that's not too bad in terms of silhouette. Now it gets a bit muddy. Again, a bit muddy there, right? Because now we're losing the forearm. So if you just do this, if you hit 70 miles without lights, this is still your silhouette. We don't see any of this, you know what I mean? If you are filling this out, there's nothing you can see in terms of silhouettes. This gets better because it's a color silhouette. It's okay. And that is better. And then we're back to that. And then audio-wise. Come on, Glenn. You're an exciting guy. You remember. This is almost like, watch, I'm kind of breaking the wrist there. It's a bit rotated forward there. But you remember. I know it's not just pointing at him saying you, but it's a little bit acting out words. You remember that time. And then you do it again. So now getting into repeat. It's a repeat with a clear silhouette. And then it's almost me almost. She's not quite pointing at herself. And then I appreciate the kind of like that type of thing. You know. But then it's the, you know, it's kind of an overused arm gesture where, you know, you go in like this and out like that. People have many terms for that kind of gesture. Thanks. So to me, I feel like you want to look at. She is. Come on, Glenn. She's supportive. She's a bit more relaxed. What does that look like posture-wise and just overall pose? And you can exaggerate by, by having her like, Hey, you know, maybe she has a headset with a microphone and she can fiddle around, you know, and she's got her legs up. Like, come on. You're an exciting guy. You're an exciting guy and exciting. She would get up a little bit more like, Hey, you're an exciting guy. You remember. Then she gets straight up and she can have kind of an arms out for clean silhouette, but then she can wiggle her head side to side, maybe kind of like, you know, like a shoulder shimmy. And then you're going, Oh, I'm a bit embarrassed. And I'm going to actually hunch over because I kind of want to hide. And then maybe she could even, I'm exaggerating, but you can, you know, put her hands up. That seems very, you know, exaggerated acting there. But I think these are a lot of broad progressions that are kind of needs, which will give you a lot more room to play with in terms of posing and silhouette and all that good stuff. All right. I know these are broad changes and you would say destructive changes. There's a lot of stuff to change, but that is, you know, that's what you pay me for. I give you all the ideas. Take whatever you need, delete whatever you need, you know, ignore whatever you need. That's it. All right. 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.