Animation Workshop Feedback - Anonymous #0 (2024)

[Music] all righty let's go here no sound for now took it hard already that's cool all right oh took it hard as well I would love for that horse to stay like that all the time like this is super polished super polished got effects and lighting and sound effects everything and then the horse comes in wait where is it comes in like this that'd be so awesome super cool yeah okay so let me quickly check CU I got some thoughts on some of the animation let me just see where you're at and what your plan was for the creatures and humans so there will definitely be sound design and cloth let me go beat by beat let's start with this guy I think for frame one what do you want to do uh I don't I don't see anything in email regarding the background it helps to have this here but I would already have either some I don't know what you want to do like some mountains in the background or you just want to do temp um you know spheres uh poly stuff in the back just so we can see what the camera is doing it's not PR long cuz we're getting straight into this but I would think in terms of what do we see are the clouds here the sun maybe something in terms of the composition and then think of frame one where this is a bit of a tricky silhouette we don't see much uh in terms of what the here the neck is doing and I think like this being frame one would already be better so I would probably since he is the dragon is kind of gliding down this feels almost like on action like something happened before as usually there something is happening before but I will probably just bring the wings out and then maybe keep that tail here and have that head down that's it's already looking it's tracking this guy already but we are from the very beginning in a nicer pose I know this is cool in terms of contrast of getting into this pose so I understand that there might be an issue of well we're always in this and it could feel static but it could be something where maybe it's already higher up in a bend pose where you're it's it's doing an upwards flap you know I mean and you can still have something like this and then we go up into that I would just make sure that the beginning silhouette is cleaner than this like that might be tricky because this comes out of the head like something like that but it could still be lower you can still have the classic fold on upper Wing flap here or you know recovery flap there that who be that in terms of the animation I feel like right around here what is this Frame down a little bit here frame 22 for me it feel feels like we're hitting an invisible wall and this could just be because the camera is stopping as well this is why we want objects here to understand the camera move but this is already coming in here so if I look at this it might be just a bit harsh how we're tilting down if you look at the horizon line it's it's not linear which is good I think you can overshoot down and come up a bit so tilt down and up to reframe cuz what's happening for a moment here you're getting into this beginning and right around here if I put uh my ocean U my ocean skinning my onion skinning here see how that head is locked so we're getting into this spot and then boom head is locked head is locked and even here you could draw a line right there right the head goes up and then see how that head is locked on that line line so watch out for that so it's is It's tricky sometimes to animate a character especially flying to a moving camera so it's going to be a bit of a back and forth so what I would do is I will make sure that from a different view side front static nothing with pen and tilt and blah blah blah make sure the path is all correct so there's no sudden flattening or like the head goes down comes back up the chest will follow that path there you know all the correct Dragon overlap for creature and then you put in the camera how you want to lens it and how you want the handheld feel and then you can decide okay well technically the dragon is correct do I want to then cheat the dragon animation to camera to make it look correct or do I cheat the camera to make the path look correctly sometimes it's a bit of both sometimes you can e whatever you want to choose but right now the animation and the camera fighting creating that locked feel in some points there and we also I think you are that's my horribly drawn middle here see how we're always in there we leaving a lot of room left here I think you can also imagine it might be too a destructive change here in terms of like how much you want to move this but what if this guy comes in like this comes down to the left you know I mean and comes this way to then almost exit right so we're not stuck in in basically see that we're a lot in this area it's almost like it's staged for for uh social media where you know you might have something that's widescreen landscape M but and at the same time you want to post this somewhere Tik Tok Instagram reals and it's frame like that which there's nothing wrong with that nowadays sometimes depending on where you want to post things you got to almost plan for both but within that line if you would put in your own uh safe title you know the the just kind of what's it called my English is escaping me the camera whatever imagine you got your mask that's what I was to say your mask if your mask is Left Right you still have room within that so within that mask Fancy with two colors you can still move I mean you can still have edge to edge movement in there a little bit just to kind of push that a little bit more then on the exit I think we're we're panning over too fast if you look at Stone here or whatever you want to have as tracking you look at at this line here see that how we're Solly moving in it's not like a super broad linear key but we're panning pretty quickly to the right and I think for this character we can easily be here like that far to the right right usually the camera person is late so whatever is on camera is driving the camera action if that makes sense and right now it feels a bit like that camera person knows to some degree it's not like that Dragon is going to make a crazy change like it's you know weight and path and and flight Dynamics you know it's going to go to the right but I think we're just a bit too early and dissipating that camera move and I think given that we're resting here that's the main action is this I think you you can be you can pan later later later later then we get to you know right around here when this action happens they might be here and I think that's fine was then we settle on this I think that should be fine the tricky thing too this is for you you might have to explore either temp lighting so we understand and what your plan is or different colors or starting to add Hardware fog cu the tricky thing is the Hue and value the colors everything all of this here except this guy and this really starts to blend in like that we don't quite understand what is going on like all I'm seeing if I just watch the dragon I'm seeing this and then this that's what I'm noticing so could this be could there be fire Haze it out with lots of smoke put some Hardware fog Haze it out put some red lights in there maybe have some like right uh right red um geometry that you just copy paste copy paste with on off on off or flickering so imagine this here all of this behind them is on fire again I'm not saying that's what you should do but think in terms of maybe lighting there's something going on back there and because of that bright color it Silhouettes to foreground characters and gives them rim lights where we really understand all the edges and the silhouette just a bit better just think potentially and if you don't want to go that far [Music] um maybe just like within the play blast the key light you know this could also be the sun could be setting so you have a nice Rim light through there and then as all of this happens there's just a very strong red Rim light like this you know it just it will highlight and separate those characters and I would still put in obviously the skies it's not all gray uh and Hardware fog to Haze it out a little bit just for foreground midr background layers and then for this what strikes me with this guy like he's very I know you want it to be real realish but I think it's okay for stuff like that to go a bit further like because this is what is what am I looking at this is some creatur orc something some creature it's not human so that gives you a license to go you know what I'm attacking this guy but I'm going to be like maybe even one armed and then over time two arms and just push that a bit more while this guy is the the stiffer because he has metal plate here he is in an armor and he's human that could be an interesting contrast what I would avoid though is stuff like this where the head and the chest are fairly aligned in the orientation I see that the head is doing more but he looks more like Batman Michael Keaton Batman where he can't turn his neck so the body and the head are just kind of moving as one watch out for that and again because you have this guy move in front of it we're losing all of this in terms of silhouette so you're going to have to work a bit more into a stronger silhouette where we don't have like this overlaps this overlaps this gets in this guy's face we just got to work on something like this that's a clean moment but we're losing this prop in this set so with lighting and everything this will hopefully stand out more but you might have to consider and this might be lower and then he drags it up with more of a drag like this up like that so we don't have overlapping shapes like this I know it's fast but on something again because of the color and the proximity everything I think you want to keep every frame as clean as you can for silhouette even here when he goes into and we want to enjoy this moment he's already up there covering this guy and now we got overlap over overlap with the same value here again hard to understand what's going on this is cool though this almost works as like a 3D piece 3D glasses like past camera I think one other thing you can do is give those weapons a bit more weight this this is pretty small I get that this goes up and immediately into this this guy feels like paper so it would have to be and hold this a bit longer into this and if that means you got to just slow down a little bit of a moment through there with these guys that's okay because you just hit this guy so this guy could go maybe bring up a hand here to to maybe pull out the axe and this guy is already looking back but because maybe this might be staged over here so this guy would be here and then the human would be here so there's separation cuz we're kind of missing the fact that this guy is looking back and is ready like one frame then we don't see him so just watch out you might have to globally stage this guy over there or tweak the camera bit if this is all fairly fixed this here we have no idea what he's doing he goes down and he's still has his axe something in there right and then it's like I don't see is a sword okay it's a sword so don't quite see it this would have to be here but then this character is more here you can stay there and then it's more like you know it's maybe not that close but it's just camera wise we're not human or creature whatever camera camera would have to be here so there's a bit more of a cleaner silhouette cuz you're overlapping all three characters we're missing everything cuz this guy's still struggling OB because he still has the thing in him that's awesome I like this so once we here that's cool it's all clean I think given that this guy is struggling you could also do something and go like and he's already slowly bent on his knees he's kind of like back here one arm trying to get this out the other arm is trying to hold on to the sword but the sword is heavy it's going to drag this arm down and this guy is trying and trying like yeah he's trying to get this out and it's like the mercy get out of here this watch out is feels more like he's about to hit someone else it's like he knows but we don't know that someone's there watch out looks he's looking into my soul got to get him into three qu a bit sooner but yeah just feels like oh are you attacking someone else wait but there's no one here what happened and then so it's almost like you want to do this and then keep that sword low like it's almost like he can have that sword down here and it's not distracting so we can focus just on the face and you can have like open mouth going into this I like the hand off though but hold on hold on what is he doing this guy gets hit in the stomach and then falls back I since this is so far away personally what I would do It's Tricky I would actually not do this as Fair as a destructive I'm just speaking out loud and you can obviously do whatever you want to do I would have this guy almost roar like he's mad that his friend died right we pan over and this guy is more like this I'm mad you killed my friend so that there's nothing up here why because this then turns into and then here is the axe is he throwing the axe yeah right so then the axxe is here and hits him in the head and that's a clean silhouette to see the axe blood spatter out and he can just go and then fall on his back while maybe this guy I know this don't do that it's way too much work but as he falls down this guy jumps over him or steps on him like he doesn't care like dude you're dead I'm I'm going to kill this guy maybe he steps on him or as he is kind of falling backwards this guy American football Style tackles him Ruby style like pushes him over like get the [ __ ] out of here I swore but anyway you know push him over but that would be a cool Dynamic of these are not soldiers where they care for each others like oh you're dead get out of my way I want to fight now so you can push that with a little bit of personality of this guy just goes this was sing bit slow so he goes I'm going to kill you and then it slows all down a bit this loses a little bit of energy and he's back into to being super stiff here I know some stuff is early animation but just watch out that we have more twist if you can and the head will be over head could be down you know like really loosen up because this looks more like a collar like I think he has room to move around so definitely push that a bit and what is he doing he swipes this off to then grab this it's cool move though I think if possible you would have to find a way for this this guy to not swing this around so much and if possible show like big arm back anticipation for a stab and then again this would be the body will be really forward like he tried he was running and he has so much for for momentum that he's really leaning forward and maybe because of that you know the the body might be here head is here and he just has to kind of slice down this way grabs the thing same with this here just feels a bit too watch out broken wrist here it feels a bit too um a bit too simple terms of that upright pose you can definitely have a stronger twist even this here that's definitely super broken so you would have to adjust obviously the wrist rotation finger posing in here but twist this guy a bit more cuz if I look at his root there's not much going on here I know he has a bit of twist in there but this could be he is in full force I'm going to go and his is you know imagine his whole back is towards us extended arm and that way he can pull it out much stronger and what he could do maybe he sees the horse maybe not but as he pulls this guy back instead of waiting for so long you can go P right now and by pulling him back it pulls this guy forward into the path of the horse and then the horse hit H him down here legs up into this oh but a horse takes it hard that's some interesting horse action of I regret nothing do you have I don't see in the email is there a rider on this shouldn't there be a rider on this cuz why would the horse straight go straight for this guy I mean in your reference you have so I'm going to assume again I don't see anything in email so there could be a right on this Bam gets hit this guy is back and that's fine because we are moving the camera and he can end up on the left we are switching right left left right but that's totally fine I think at this point and then I would have him like step into frame too to get ready whoops that's me moving my frame here step into frame as I move my frame I wouldn't cover this this guy might not be the the smartest so could be on this that arm just comes down so when he's like this that arm will be down here you know the weapon could be off screen it could be slightly on screen but lower there's weight you know you want to make this look heavy and and it's just and maybe could be something where he Stomps the ground or he kind of puts those fingers and pulls him back like you know maybe can make him more animalistic to Veer away from the reference cuz if you look at that reference it's a soldier just kind of does but what if this this is more animal driven of where is he here you mean like goes almost on his like puts one hand down you imagine like you dig your your hands and your fingers in and pulls this back and it's just it's not just the bipad with a weapon this is some weird animal creature anyway and that's that lots of thoughts lots of destructive thoughts feel free to disregard whatever you want but these are my thoughts my main thing is um you were concerned about adding more over AP follow through I would um even if it's just maybe it's not overlap follow through as much as you think that would destroy the shot just adding a bit more but I would push the poses to get away from the rigid aspect of it and then think of um just visibility and silhouette and how we can separate foreground MGR background for some cool stuff all right yeah that's kind of that it's going to be super cool it's a really cool sequence thank you 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 [Music] you