Animation Workshop Feedback - Anonymous #1a (2023)

All right, new version here with sound. It looks like a bug trapped under a glass. I googled that bug. It's some sort of demonic cricket that takes chunks out of your skin when provoked. Chunks is the word that Google used. Okay. It takes chunks out of your skin when provoked. Chunks is the word that Google used. Okay, cool. I like it. Definitely better. I think there are a few areas that I would tweak. There's something stuck with her. When she says all this with that look, I think we can push that contrast a bit more where... I know it's very up close, so it gets a bit subjective. And maybe you can try a version to see what you prefer. But I'm wondering if you can bring her almost lower. Just humor me. What if her eyes are here? Shoulders are up. She's really checking. Big darts looking around. Imagine she's really examining this, being really up close. And then she goes up into this. So after all of this, checking around, goes into that pose. Shoulders drop a bit. Head goes up. Because right now, if you look at it, roughly drawing this out. Onion skinning. Hold on. My previous drawings are there. So it's, again, even worse. I should do this on my walk-on, but I'm doing this on the screen. You can see how she's pretty much in that same box. And given that this is kind of a change in terms of her motion, head space. She's looking at things, and this is her realization of this is really nothing that bad. I think this could be two things. Then again, could also not in terms of she doesn't care from the very beginning. That's just kind of like the last conclusion. Versus if you're getting her close, eyes are here. She's checking. Maybe that makes her care too much. That's totally up to you. But that could be one area where you could push contrast. Rest is fine. I love that you turn around so that we're really just focusing on her, on him. Then you're mentioning here in your email that frame 200, that's this guy. If this is too big. And to me, yes, objectively, I feel like I'm concentrating on him. And then, whoa, now I'm looking at her. It's such a big move. And I wonder if we can just keep her here. And he does the chunks towards her. And imagine it's this pose slightly tweaked so that it's she's here. And then leans back. And then could be profile. They can see just a profile view of her. He does it towards her. That but imagine her being profile. I think that could work. Because that way it would be that distracting. It doesn't really add anything, to be honest. She just demands sudden attention. But then doesn't do anything until this happens. So you could easily just keep her here. He does it towards her. And then she just moves back like that. Like I said, a more profile pose. That's mostly what I have for her. Now, right when she goes, it, it's really timed here in sync. Where I know she's saying it. But he could easily also say it. I know he doesn't. And I know the voice is hers. But he just moves exactly when she talks. And I'm wondering. I'm not sure you want to completely eliminate this. I definitely look this. I love this here. That he nods. And I'm just wondering if you actually do we need this. You can just easily just delay it. And he does it after it. And then it kind of flows into a turn nod. That's why I'm wondering if we can cut it out. Because I don't think. We want to change when the nod happens. Or, or you stay like this. Right. And he has lots of nervous eye darts. And after it, he does the head turn. No nod. He says, yeah. And then nods. Because right now you got nothing. So imagine he goes, yeah. And then nods. That could be another version. Then see how his eyes are darting. And he's, I mean, I'm exaggerating. I'm going back and forth. But I like that. He's very. Imagine it's like this. He's really checking. You just can't wait for her to say something. I would have that kind of thing right here. Because right now I buy it that he looks at her. And then here suddenly he spaced out looking past her. I would keep that eye line lower. And then when she turns, goes up and turns. Eye darts. Follow, follow, follow. To know what she thinks. And he is not reacting whatsoever. And after that, to me, it feels like he's looking past her. Gets a bit better here. And the rest is fine. I like all this. And if you change the profile thing, then it will fix little moments. Like, I mean, super picky. But you got a tangent right there. And maybe bringing out the fingers to here. Maybe a bit lower. I Googled that bug. It looks like a bug trapped under a glass. I Googled that bug. It's some sort of demonic cricket that takes chunks out of your skin when provoked. Lip sync seems fine. I wonder if this is too busy here. Out of your skin when provoked. Chunk. When provoked. This guy here, the jaw down and this. This might be a bit too chattery and poppy. Chunks is the word that Google used. Chunk. And the chunks might be bigger in terms of jaw. Just because it's kind of hidden during that forward move. So you might want to exaggerate it so we can read it. Chunks is the word that Google used. Chunks. Chunks is the word that Google used. Something about Google here. I think this might be a bit too broad, too, once he's playing this. When he goes from open to close like that. Like, that's a big change. Into open and back into a close. It might be a bit too much. You might want to simplify it there. But that's mainly that. Yeah, definitely like the update. As always, all the notes are subjective. Pick and choose whatever you need. And that is that. All right. Thanks. All right. There's an email. You can sign up. You can start whenever you want. You can submit whatever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. All right. Thank you.