Animation Workshop Feedback - Francesco Riginelli #16 (2021)

All righty, we got a two-parter here. We got this and the 11 second club. It's placed in full, it's a longer piece. Say hello to Lucky Charm. This four-leaf clover is the happiest, luckiest little charm by far. When I was a kid, my dad once took me on a trip to his favorite fishing hole, the place called Sparrow Lake. It's the most beautiful spot you've ever seen. Say. Right, that's pretty cool. Let's watch this again. Say hello to Lucky Charm. This. This is a mostly voiceover. Is the happiest, luckiest little charm. All right, so I think the big question is. His little charm. His luckiest little. Can you hear the giggle here? I mean, you would have to incorporate the animation a bit more in terms of a bit of a luckiest little, luckiest little charm. It almost sounds like a mouth closed giggle. And then you would have to have that little shake in the body to match that. Or just take the giggle out and you leave the animation the way it is. What I would say when he says. Luckiest little charm by far. Four-leaf clover is the happiest. So the happiest. I like this. Start from the beginning. I like this. That's all cool. Maybe it's a bit tricky, but this thing could then. I almost expect the moment to continue with that rotation so that it would this side would be flatter. So kind of continue rolling. This seems pretty cool. And again, this is all you all you design model rig texture. That's a lot of work. The only thing when I was watching this for the first time is that there's a slight feeling of a weird balance where it would have to be almost a bit more over the whole cortical body. All of this would be more over this. I feel like camera angle from here, you got that and then it goes back and then here you got the clover and it would fall backwards. Even this here gets a bit better. This feels a bit more over this, but I think I will go further. Even this feels like this would kind of fall over. It will be a bit more over this. And then you have it here. Same thing when you get to these points. I mean, it's off, but then you go this way. So that will be fine. But then we're here now. I feel like we're really offset. This might be too picky. That's for you to decide. But that's one of the things that struck me first. The second thing was that it's the happiest thing alive. But once you get to here, even like all of this feels almost grumpy, almost as big eyebrows, but it's not quite like this yet. But there's almost a certain grumpiness, then it's okay. But then it feels very tiring. I'm happy. You know what I mean? Versus more energy, some bounciness. Even this would have maybe a bit more of a bent arm. Like, yeah! And even this could be this. It may be stronger in its wave. It just feels like that's actually a perfect frame to land on. It feels like a very, very tired four-leaf clover with arms and legs. That's my main concern that for what it's supposed to be. I mean, it says here a friendly-looking four-leaf clover. But the voiceover, there's a certain happiness missing. Other than that, it's cute. I would find ways to, since it's from scratch, if you can kind of push the asymmetry and you can have, you know, maybe this eye would be more closed. This would be a bit bigger than the other one. You could have the eyebrow a bit higher than the other one, giving that kind of look. And less defaulty fingers. You have a bit of grouping here, but maybe something a bit more interesting. Or even have the fingers a bit longer, just a bit stronger. Those designs feels a bit more like a fork. And then watch. That's actually cool. You got this coming up. That's cute. I love that. And you get the looseness. It still hops. Maybe slide down a little bit once it starts moving. It's cool though. It's a lot of work. Again, my main thing is the balance of this. And just the overall feeling of that guy just looks very, very sleepy. I'm not quite buying that. Let's go back here. The happiest one. Then switching to this. That's pretty neat. I like that you have. It's a cool beginning. I was tempted to say, what if we move the character a bit further? Everything is a bit more screen left. So it's not super centered. But even if it's just a little bit. I don't think it's a huge note. I think there's still enough empty room here. It looks nice. And I like that there's this focus this way. And then he actually looks over to the person that he's talking to. Has nice timing of kind of casually grabbing this. This is what I meant. Okay. Distorted lens camera POV. Why not? Not what I expected. But I thought that it's wrong. It's a nice renders as well. Could work. But yeah, why not? Why not? I'm slightly thrown off by the sudden POV. It's also the thing is, he picks this out. And the thing is, it would be looking down. And then that also strikes me as, okay, what is this? Because it's not really a POV. Because those eyes would be here. If he has his hands out and holds the wallet, eyes would be here. And I'm reading potentially way too much into this. But it would be looking down. That means camera-wise, there'll be more grass that you should see all of this. It would be lower. Again, throwing some crazy notes in there. But I don't know. The main thing I would say, because again, there's some really good stuff. My dad once took me on a trip. It's a nice lean, nice just separate motion on that arm. There's just enough weight. You can see as the leg goes down, arm is connected. Maybe now and then it feels like that shoulder's a bit separate. Right there. There's a slight feel. Maybe even on this turn. I love that things in the body are moving. They're affected by other body parts. But I feel like that could be cut in half. The amount of movement of that shoulder. I know there's stuff in the chest as well. But I feel like we could reduce this. And I would reduce that drop in that shoulder here by a lot. That's the main thing. And maybe a bit busy in the hands. It's that moment here where that thumb goes in and then back out. And even the fingers going in. I would reduce that a little bit. I do like that there's ambient movement. There's a bit more life to it. This is a bit more the naturalistic side of cartooniness. But it's nice. But when I watched it for the first time, that was just the first thing. I was like, that feels odd about this POV. That's nice. I like that little thumb swipe up. This was weird. So that's the first thing where I thought, okay, that's kind of weird. A, that we have to have this in frame. It feels like a very stiff, weird pose. That finger pose, if that's a word, where it would be almost something a bit so angular. But I would rotate this a bit higher, a bit away from us. Soften those fingers and get away from those angles. But the main thing is, I would actually keep that hand like this. Not like that, because you have, I mean, it's a bit of a weird look of the arm down in this massive hand here. I will bring that photo maybe around here-ish. And then you would have, you know, that maybe drop off around here, that hand. And then we have part of the arm here. Because the thing is, we've seen this. This has been established. And I'm not sure that we need to see this. This feels like a very, not shoehorn, but we're really trying hard to keep this in frame, if that makes sense. And I'm not sure that we need to do that. So if it's more like that, that, to me, feels a bit more comfortable. It's just kind of somewhat off frame, but it's still there. It's the most beautiful spot you've ever seen. It's the most beautiful spot you've ever seen. Ever seen. The scene, I think, could be pushed a bit more in terms of how low that jaw goes. Beautiful spot you've ever seen. Beautiful spot you've ever seen. I like the spot. Beautiful spot you've ever seen. But there's something that's a bit too far in terms of the opening over one frame, and then it kind of sticks. I will go maybe like 70 percent to this shape, and then use maybe 80 percent. And then instead of locking, you kind of continue to open, and it kind of shoot out those extremes of that shape, and then go back into this. Just so it doesn't pop lock into a bound to that shape you've ever seen. And then at the end, it's a bit odd. I think it's centered by the shadow maybe, but there's something weird. I think it's your mouth and your eyebrows going up. You can see there's such a top light where I would potentially change the lighting so we don't have such a not quite raccoon lighting, but just the shadowing seems a bit odd. I would give it maybe a three-quarter and just soften that. Maybe more front light so it's not just not that harsh look shadow wise, because you can really see how the shadow changes, and it's kind of like that mouth closing going up with the eyebrows is between sync. It's the most beautiful spot you've ever seen. But I really like the head accents, and the feel of it is nice. The most beautiful spot you've ever seen. Whatever scene scene. He's just kind of stuck in that almost mouth pose with the corners up here a lot. Spot you've ever seen. So you, I think it's okay to relax every now and then. I know there's a bit of a constant smile in there because he's so happy. You've ever seen. But it's a bit too minimal there in terms of the actual shape and keeping this up there. It's the most beautiful. But the main thing to me is this, reducing this. Also feels extremely huge scale wise compared to Alrighty. That is that for me. Hold on. There's one more thing. Again, you have those eyebrows and even the lower lids going up at the same time. It's just something to very like the whole facial skin. Everything goes up while the rest kind of stays put. That makes sense. That is a weird note, but I will end it on that. All right. Thank you. All right. There's an email. You can sign up. You can start whenever you want. You can submit whenever you want to get 16 submissions. Either way, the like and subscribe would be awesome. All right. Thank you.