Animation Workshop Feedback - Desislav Georgiev #18a (2023)

All right, it's a new version here, the parent is coming, cool, cool, cool, okay, okay. I think that was pretty well, but hold on. So the tricky thing is that your tremor here is happening when this is happening at the same time. I kind of miss it. It's like a weird, it's a bit too much at once. I mean, this would be, boom, right? Kind of happens with this. You almost have to, I would stagger this subjectively, of course. What I would do is, it's fine, all good. Guy goes back and the moment this happens, this is already a threat. So when this character goes up here, I would already incorporate this. So it's a going back while going, hey, hey, don't do this to me. And that way it can land. And then we have this moment of nothing happening. So maybe around here-ish, which means frame 42, that's when I would have the impact. And it's almost like, don't do this, but just, you know, like if you have a bigger piece, this one, maybe a smaller piece, you know, it's almost like you can have a smaller piece resting on this one. So it bounces up and you get the little one kind of bouncing, so you really, really notice it. And then you can have a slight dart down and then look over. This might be too much, but I think since this is a bigger moment and I just want to make sure that everybody can see it, it could be fun to have, you know, like I said, a bigger rock and a small rock on the small rock here, and then it bounces up, which makes this little rock fall. Then it's not just a tremor that's everywhere, like this is an actual event that we're noticing because of the little rock. And then you could kind of take a quick look, half look, and then over. And then the other thing is, I guess it's okay. I mean, the parent's coming, but to me it's that guy is looking at this guy, and then suddenly there's just, there's no reaction to him leaving, but there's also no clean reaction to looking at the parents. To me, it feels like, where is the head turn? I guess you could argue that's the angle, I'm just drawing, so I have a bookmark, and then looks up. Okay. I guess that's the moment you could argue that this is a different direction. See, to me, it's just not big enough, again, subjectively, but I feel like we're kind of losing it because I'm looking at this guy, and then we go look up at this. I know I kind of miss a very specific look, but mostly it's also, I mean, it's not like this guy's a massive threat to this. So the moment he looks away, it's almost like, oh, I'm not sure what this is, but this character is not looking at me. I should go for it. Again, not to change the animation into an attack, but to me, there's something where I need something in this character here. Looks over, and it could be a broader look up and look towards us, because that's how you could cheat it technically. Here's the thing. All right. So you got this, goes back, stomp, looks down. So you might have to delay this by a couple of frames. Looks over, then the dino, to me, would look up, looking at him, kind of how you had it here, right? And then, but not as high, not as high. I will go just a bit like this, and then you have a really big look up and an exaggerated three quarter look at the parent, three quarter to camera. And it's okay, because we don't know where the other character is. The other character could be really close to the camera and then walk here, almost like in a turn. And you can always have the dino look up three quarters. It's really clear it is a head turn. And then slowly turn to its right to follow to this. And then when it's that close, to be honest, I would already take a step or have like a little or something. That's the thing that bugs me here is that after this here, nothing's happening. Nothing happening for so long and not that it needs to be distracting, because we want to look at this guy runs away. We understand it's here. But the thing is, by the time he goes, oh, crap, I got to get out of here. By now, I understand what's going on. Oh, OK. Even by here-ish, we get it. Oh, this is so much bigger. Parent, I get it. That at this point here, instead of looking, when you're stepping in a couple of frames later, so to me, it would be here-ish. Take a step. Hey, mama, I'm acknowledging you. And then into this. Again, I don't want to destroy too many things. You watch a bit of a tangent. I would either overlap more or go lower. But that's that's currently what I'm what I'm feeling. I'm missing. I miss that beat because it happened at the same time as this. I missed. I guess when you see it, it's there. But I will push this more with a very clear. I'm not looking at something else and not him, because right now he's looking at me. I could attack just to make that a bit cleaner and then taking kind of the lifelessness out of this. It feels more like this is an actor waiting for its cue and action. All right. I got to get next to it. I still love this, though. At the end, it's great. All of that is great. But yeah, that's kind of that's kind of that subjectively, as always. But that's what I have. All right. There's an email you can sign up. You can start whenever you want. You can submit whatever you want to get 16 submissions. Either way, the like and subscribe would be awesome. All right. Thank you.