Animation Workshop Feedback - Nicolas Suarez #4 (2023)

All right, got a new version here is a sit down. All right. There is another version here that has, I believe, no camera move here. And let's just check it out just to see. It's already cool. I like that there's an action the character does while sitting down. All right. I don't think I need to see this version. The camera move is fairly subtle. Let me remove these stages here, something like that. And I think for now, you're saying here it's simple sit down first blocking, just getting opinion here between before going into more in between than spline. I think that's all very cool. Once you spline this, what's going to happen is that this side here, that arm, which seems IK as you go forward and hold on to this, you can see how nothing's going on there. So as you continue to refine, you will have to think in terms of when the body goes forward and the angle of the upper arm is changing. It's going to influence that forearm, even though right now everything is frozen. It's like an IK arm, basically. Even as we start kind of hiding the forearm, you can see how there's not much going on in the hands, the hand orientation. So as you go forward, you're going to have that forearm is going to go further back. It's going to change the angle of the forearm. It's going to change a little bit the rotation of the wrist. And then the pivot is going to be more in the fingers or where the grip is. And then before you pull, that's going to polish, you will be able to show a grip in the fingers two or three frames before he's actually pulling that chair. It's a bit minimal. Let me see. Then he goes back. Okay. Once he's flying this, you're going to find this to be really fast, just that move. And it's super isolated where it's basically, I see a little bit here, but I think this is not that heavy, but I would still have a slight shift over in the leg. Obviously not that much though. I'm using a different mouse here. Sorry. My setup is I'm at my parents' house. It's a bit of a different setup here. Uh, I would move over this lightweight shift and then as he's pulling this, you will see a bit more in the chest rotation, just moving over and giving this a less of a kind of isolated move that we have right now. And even then you can probably even shift over a bit more on that sit down because right now you can see a little bit of a pivot in the chin as it goes over. I think an overall broader translate screen left is going to help you. This is pretty cool. I do like this. My only concern is that with a sit down like this, now you're, this looks by the way, like Star Trek uniform. I love it. Um, as he's bending over, the rotation is to camera, right? So he's bent over like this, but from the front view, we basically just see this. And I think, how is he sitting down like this, there might be, this might be too destructive, but I would either sit down more like this. As he bends over, we can actually see the rotation in the upper body or see how he sits more angled like that pointing this way. Then it will be, well, he's already legs more like this and the body is, is this is such a weird, crappy wireless mouse here. He would just bend over, you know, angled this way. So he will be more like that sitting down and then he can always adjust to this final position where it's a bit more straight on because even this year it gets a bit wonky. I wish you could see, uh, just a bit more, you know, a different angle of the leg like this and this leg like that, you know, maybe angle like this against rough here, but it's always tricky when it's straight on to camera, we starting to lose the line of action, the spine curve and all that stuff other than that. It's cool though. I like that he has an action like reading the book while sitting down and then as he has this, he has a good lean over as the push is on the shoulder. I like that it'll drag back on that hands and especially like this here, I don't know if this was based on reference, but I like how you move that leg over and it's in a specific position and this repositions there into kind of his final settle. That's a cool detail. And in this here, I think it's pretty good. You are a bit picky that forearm just aligns right where the upper arm is like, I like this because we can understand the structure of the arm, right? You always have the upper arm and the forearm separate and here it's a bit too much of an overlap for me. I mean, I will probably take this and move that arm out this way with my crappy drawing. I'm going to blame the mouse that I'm using here that so we have, Oh, this is horrible so that we have that in there. You know what I mean? Like even this, we see the forearm line here with the upper arms. It's a bit cleaner, even this is better. So to me, it's again something that what if it's not too bad because of the punching right into the camera. It's a good move. And it's, it's, there's a difference, a bigger difference or good or big enough difference to warrant a zoom in here or like a cut to a closer view. But I wonder either by post change or it's like camera angle difference. So if he sits here, camera's like that, the camera just moves forward, but imagine the camera is ever so slightly more this way. Might be weird. So to me, it's almost like you want to just tweak the pose of it to be again, just a bit more three quarters. So we're not fully straight on. It's not crazy though. You have a good silhouette with the book in terms of color silhouettes, negative space. You know, it reads what are you doing with the glasses? All that's okay. I'm kind of mostly reacting to just this moment here. That's kind of that. I mean, again, picky, that book line is right where that arm is to the tangents. I would bring that book over out a bit more stuff like that just for cleanliness. Other than that, it's, it's really cool. I like the long strides into smaller move here, kind of a slow down. So once you spline, it will be things like, is this stop move backwards a bit too fast? You're going to have to lean over. Maybe the body leans back a bit or a bigger weight shift. So it doesn't feel like the whole body moves back as one unit. You know, so once you start putting in more breakdowns, I would look at things like that, especially this part here is probably the biggest note here in terms of how isolated this move feels where nothing else in the body is moving and then playing with the angle of the body for silhouette. And then watch out. You have the cameras. I would use some handheld here and then there's something going on here right before the cuts. Let me see here. See this? So we're quite still. And then you have, whoa, that one, two, one frame here. I would just take that out. That camera move, just keep it fairly still. And then we punch into this because there's no other movement that warrants and move across the cut. So that's just a bit distracting. That'll pop there. And then, yeah, and there's enough pause. Really does this. So you have more breakdowns. You know, so you have moves like this that don't happen, obviously not over one frame, but it's a pretty big distance for this hand to cover. So you're going to have at least a second here as you get to the book and moves around and all that. But that's kind of that. It's very cool. I like your composition. I like the colors and the sets, the widescreen ratio. All that stuff is cool. I don't know. I like this a lot. And that's it for me. All right. Thanks. All right. There's an email. You can sign up. You can submit whatever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. All right. Thank you.