Animation Workshop Feedback - Adrien Chantre #2a (2023)

All right, new version here, there's sound. I'll tell you boys, life is crazy. One day you're in community college driving a Camaro T-Top, cock of the walk. And then you need some cash, so you get a job. You think it's only temporary, but then you get a promotion, and then a raise. And all these doors open up for you, except they're not really doors, they're trap doors. And then all of a sudden, bam, 20 years has zipped by, and you're thinking, is this all I have to my life? Not you kids, I love you kids, but come on, the house, it's crap. I'll tell you boys, life is crazy. There is a lot to go through. I'll tell you boys. And you are mentioning here, hold on, it's mostly lower part of the face and body mechanics. So I think I'm going to go through. It's overall great. I really like it. Sometimes I'm a bit worried about stuff like this, where you have, it's more simplified textures. And then you have fairly complex textures, or more complex. And then you have photo reel, photos, photos are photo reel. In the background, it's an odd mix. I will probably do something where you put that type of geometry back there a couple times and do hardware fog and kind of haze it out. If you start off and it's a cool look, for sure, it's just, maybe it's just me. It's just sometimes there's such a disconnect between a photograph and then CG objects, since you're already taking care of the look, but it's nicely placed. I do definitely like it. And I've seen, I was going to say, I've seen worse. It's not that bad. Sometimes it's really, really distracting. And I don't feel like it is that distracting here, but just as an FYI, you're paying for this workshop. So I'm going to tell you everything that I'm thinking here. Sometimes it's a bit odd to see just that, that mixture of super sharp and texture stuff. And then you have kind of a, yeah, like a photo in the back. I know it's cool stuff though. I do like it. Anyway, I'll shut up about that one. Still like the beginning. I like that intro, but let me go, there are little things animation wise. It's not too crazy. It's, for me, it's more the combination of the energy of the sounds with the energy of your body mechanics. And I think I mentioned that before, but there's some areas that still stand out a little bit. So let's go one by one. I'll tell you boys, life is crazy. So that's okay. In terms of sound, don't mind. What caught my eye is that you're, you're fanning out that arm and you have that exposed hand gesture in terms of, you can clearly see the fingers. And then you do it again. It's a bit of a, it's a bit double and it's maybe just the way it's modeled. And from that angle, but it seems like at that point, that reminded me of, this is some alien creature of psychic and strange and strange worlds, or just an alien thing where you have, you know, the fingers and then the kind of bulbous at the end, how they kind of stick out there might just be me, but I will probably stick with something like that hand towards us like this. I'll tell you boys, life is crazy. And then you can do life is crazy like that. And maybe just not as spread out and fanned out. Maybe just a bit. Let me see if you go back a couple of frames. I don't know. It's pretty big. It's almost like you want to stick with that kind of pose on this. It just, that just seems over-exaggerated. The thumb is really high up there. That's the only thing that bugged me there. I'll tell you. Do love this. I'll tell you boys, life is crazy. Now for me, I will keep it like this, keep that hand and then go maybe this far max and not have this and also not have that. Just throwing it out there. Do your shot. Do what you want to do. I'm usually in the less is more when it comes to arm gestures, fanning out, opening up hands and stuff like that, because you do have something here already. Life is crazy. And I don't think it's needed. And again, like this opening up so sharply and then having the fingers out, like I look here and I stop looking here. And that's the main reason why I'm saying have this as a nice line here. It's a nice pose, the simplified triangle finger pose and everything. But that way, the focus is always here. I'll tell you, boys, life is crazy. You know, I know that's just me. Rest is cool. Life is crazy. I love all this. I love the the silhouette of this, the bite and then how the that is great. I love all this. One day you're in. Thinking back, I don't think I've ever animated with with the Apollo right. But I remember reading it a while back. It's just so appealing. I love the face anyway. That's all cool. I think your sausage is a bit soft. That's an odd thing to say. Never mind. I'm just saying this wobbly thing one day just because I came back from Switzerland two weeks ago, something like that. And we ate a lot of sausages that was just, you know, potato sausages. That's the country for that. And stuck in here on the grill. They're going to be going to be pretty hard. I know this is the oddest, most inappropriate review ever crazy, but I would just not have that wobble so much. Let's keep it a bit firmer and stiffer. There you go. I said it. It's horrible. Community College driving a Camaro T top. Here's the first one. Top cock. OK, I'm continuing with the inappropriate. As he says, cock, I didn't say it out loud without laughing. I'm so immature, but I'm going to stick with it. So you're in community college driving a Camaro T top cock that there's such an accent there that I would have a little bit of maybe a slight shoulder raise, but a little bit of shoulder chest up, but definitely a head up accent. Or you can do like a side twist or something. An accent on that word driving a Camaro T top cock of the walk. And that's cool. I like all that. Careful again with the hands. College driving a Camaro T top. You have this here cock of the walk. And then and then you do it again. You need some cash. So you get a job and then you have it again. So I'm just worried about the repetitiveness already. But to me, this I like because it's such a strong silhouette that I would have. You can keep this one. I would still have it below and not have it at all. And then this one would be like no higher than this. He's just acting things out. And that's how we're framing this. It doesn't go that high. And then you need because again, I love looking at this and then suddenly I'm looking down because this hand comes up and you need some cash so you get a job. I will keep that one. Do you think it's only temporary? Don't mind this one. That's OK. Watch out at the very end. That's a linear pop there as the hand goes down. You can easily go down once it's covered. So we'll just keep that up here. Just watch out. Spacing wise, we're having a rotation this way. Bam. And then we're locked here. You can see this for a couple of frames. We're kind of locked two frames in 2D space. Sometimes it's odd when you animate something to camera gets kind of locked. Watch out for that. You get a promotion. That's OK. You think it's only temporary, but then you think it's only temporary, but the temporary is a bit mushy in terms of the lip sync. Let's go back here. Crazy, crazy. Might just be my player too. Life is crazy. Crazy. I know sometimes, sometimes it's like two frames off, but I think it's the player. One day you're in. Maybe the clip is long. Community college driving a Camaro T top cock of the walk. Top cock of the walk. I would open the jaw just a bit more of the head accent. And then you could almost have less. That's almost like a burp. Like I would probably use this by 20% and then by reducing, I mean, just the amount of opening. So it could be somewhere here, not as like between these two and not as wide corner wise. And then you need some cash. So you get some cash, cash, some cash, bit sharp. I think on the eyebrow raise, it's not crazy, but I put that at the bottom of the list. So you get a job. You think it's only temporary, but yeah, some of a temporary, a temporary, but you get a promotion. That's okay. Like I said, it's not too fast just yet. We are borderline post to post and notice moves down first, but then it's fairly in sync. You know what I mean? Like you can draw a line here, here, here, and then finally breaks free. So just through there, it's a bit linked. The sausage link is linked to the face a bit fast. I would slow down that from here to here by two frames, literally just two frames and then a raise only because it's so but in the voice, it's just a raise. It's not that it's a whisper, but I'm not hearing that amount of exertion. It's not huge. That's what I'm saying. Just two frames might just soften it just a little bit and all these and all these doors open up and all. This is a bit fast. I will probably tweak this, slow this down. So when that goes up, this goes down and the sudden fanning out to three frames to that more so than this note. So when I watch this again, it's like a bit fast, but there is a wobble there, which helps with the softening. But then this just seems a bit fast and it's almost like you can, if you open up the fingers first and you almost anticipate that move and then like, I did not that fanned out. It's just, it just seems like we suddenly go out and it's, he almost wants to sell that more where he goes, where he might raise the shoulders first to anticipate. And then on this, he can drop them a bit. All these doors open up, except you get a promotion and all these, you get a promotion. And then this seems a bit, he goes a raise, a raise. And then, so for me, it's, we're going into this pose here, body and head wise, right? We go to the screen, right? And then a, it's a bit sharp, not sharp, but just the angle. It's very flat. So this is how we go up, hold, and selling to the left. And then the audio, raise and all, it's almost like raise and all, I feel like you want to anticipate the next step. So he goes up and then imagine he goes down a bit to the left and then comes back up here. And all, just a little bit of a, a little bit more rhythm. It doesn't have to be a crazy arc and all these doors open up for you just a bit more. I love this here. I love the expression in that. It's great. And all these, we are a bit in the W pose, but it hasn't been really twins covered enough so that this is the first time. And all these doors open. It's okay. I'm always kind of like, watch out for W poses, but it functions as in like, the doors open and you do have a nice like change of finger posing. There's a high offset. I think you're okay. A bit even, I would probably group one of the fingers there. That's the one where again, the energy is a bit much. And I hear it in the voice. It's definitely big, but this is like, I'm going to stab you to death type of thing. I don't mind the sausage being more limp there. I would reduce that. And probably if we are up here and we go down here for the arc, it might just be, you don't go this low. You only go this low and maybe not that far. So the head is maybe a bit higher, like the neck is a bit straighter. The head is a bit higher just to kind of reduce the intensity a tiny bit. Even this expression, I know again, subjective at this point. It seems so much more intense and there's so much more movement visually than I hear in the voice. That's okay here. That one's okay. And I think that's what I mentioned before, where you want to be careful to not lessen this. Now, it's definitely not less than because it's such a broad expression, but this is already so intense that by reducing this, this is going to have more impact. Because right now, all you're doing is up and down, definitely with this and the cuts, the cut definitely helps. But this is a stronger body change with that stab, you know what I mean? It just seems less eventful, but this is his moment to go full contrast. So that's my reasoning too, just for lessening this a little bit. So that we can give this a bit more breathing room. And this is picky and I might, I don't have a longer version there. This is for you to experiment, but I will probably cut three frames sooner. It seems ever so slightly late, three or four frames sooner into this shot. And then this one, it has so much more energy and you can even hear it in the microphone, the levels are peaking out. It's just so loud that I would have a stronger, something with the body forward, a bit of a shoulder shrug maybe, but definitely head accents. Twenty years, like to me, it's like 20 years, like you're rounding the shoulders forward and up like a caving in of the chest because there's so much energy there. 20 years has zipped by and you're thinking, that's cool. Years has zipped by. That definitely works. And you're thinking, is this all I have to my life? Look at that face. I love the folds here. That's fine. Oh, I remember you with the camera. That's lessons. Yeah. I like this. Might be still a bit low here. Yeah. It's tricky. You would have to pan down, tilt down, pan over and tilt down more, but then we don't have so far. Then we're back to where we were. I think, I know that that was the note last time too, but I think you can afford to go from here and only this far and not this low. Reduce the height. It's not crazy, but it's just, we're initiating such a move over there and we're ending here, which you might argue that's good because now we're looking at the kids, but we don't want to lose the focus on him. So I think you could be okay. Like imagine he goes 20 years without a forward cave so that the head ends up in here and then zip by so that he's still around here. And to my life, he might even go a bit further to the left. So now he might be a bit here, right? And then as he goes back, you can even shoot back a little bit more. My point is that if you do all this and you lessen the amount, he goes to the right and down his head might end up being, you know, he might end up being only here. And then if you have that, we're pretty good in terms of, oh, we can still look over here. This arm stops a bit too abruptly. It's mechanics wise. It feels like we're going and it's a bit too, I know he's kind of tense of you guys. But I would, I would either overshoot a little bit or ease into that a bit more. This is definitely too fast. Don't hear that in the voice at all. That's, that's probably the most distracting one. And by slowing it down is also going to help you with the camera because it's, it's fast and it's only that camera. It just, it feels completely out of place where it just, there's no connection there with the audio. And then this one, it's crap, it seems too little in terms of just raising him and bringing that head up. It's crap. It's almost like you want to go up and down again. It's crap. Or you go up with a bit of a left, right shimmy. It's just, it just seems a bit simple to compare to what the voice is doing. But again, the energy and body mechanics don't quite match subjectively, of course, as always. And then careful here, maybe that's the thumb having a bit of a tangent with that forearm line. You have to, and it's funny because that reminds me of a critique I just gave to someone else where he says, the house, it's crap, like that's a statement. He's like, come on, come on, this is, it's a crappy house. But if I look at this arm out, hands out, it's almost apologetic. He's a bit sterner here, so it's not like a full apology, but this feels more defensive to me versus someone that goes, guys, come on, this is a crappy house where he would almost lean in, not that far, but it's like, guys, come on, it's crap. Not that you want to do arms down, it's crap. But to me, this seems more apologetic, like I said, and it would be more of a statement where I would lean him forward and you can maybe have that arm down, not that you have a fist, but something a bit stronger where he is convinced of his statement and he thinks he's right in his world. And that's kind of that, all righty, 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 you.