Hi Nicole, I think his reach for the hug is reading more clearly now. Unfortunately I feel like some parts of the animation have taken a step backward. The note from class was to keep her pushing him away, just not violently. I miss seeing her hand on his chest. His collision with the elevator door needs more work. It feels like he and the door pop into each other, rather than the door moving slowly and he runs into it. The sudden acceleration of the doors from 96-100 isn't believable.
As an overall note, I feel his performance has a repetitive metronome quality - he seems to hit an accent about every twenty frames, and the timing and holds all feel about the same. Part of the reason for this is that you're using the dialog for all your timing and the dialog flows at a repetitive rhythm. The resulting animation feels waltz-like: quick, slow, quick, slow, quick, slow... You need to break up and overlap some of the ideas so that it doesn't feel like he's moving from pose to pose in a repetitive way, and so that you're not slave to the timing of the dialog. For example, his changes on "well", "god" and "ok" all feel similar. You could get rid of one of them, break one of them into two smaller beats, have one just be a change in the head attitude or expression, add in a gesture that is timed differently from the rest of the body, etc. When he goes in for the hug, he hits the 'hug' pose and then just eases to a stop. I would have him continually moving forward until she stops him by putting her hand on his chest.
It might help for you to film some more reference, or focus on your guitar shot for a day or two to get some perspective. I'm worried that you're starting to churn on this and I don't want you to get frustrated or burnt out. Let me know if you're unclear about these notes, or if you need a recap of the notes from Thursday. Thanks!
Hi Nicole,
ReplyDeleteI think his reach for the hug is reading more clearly now. Unfortunately I feel like some parts of the animation have taken a step backward. The note from class was to keep her pushing him away, just not violently. I miss seeing her hand on his chest. His collision with the elevator door needs more work. It feels like he and the door pop into each other, rather than the door moving slowly and he runs into it. The sudden acceleration of the doors from 96-100 isn't believable.
As an overall note, I feel his performance has a repetitive metronome quality - he seems to hit an accent about every twenty frames, and the timing and holds all feel about the same. Part of the reason for this is that you're using the dialog for all your timing and the dialog flows at a repetitive rhythm. The resulting animation feels waltz-like: quick, slow, quick, slow, quick, slow... You need to break up and overlap some of the ideas so that it doesn't feel like he's moving from pose to pose in a repetitive way, and so that you're not slave to the timing of the dialog. For example, his changes on "well", "god" and "ok" all feel similar. You could get rid of one of them, break one of them into two smaller beats, have one just be a change in the head attitude or expression, add in a gesture that is timed differently from the rest of the body, etc. When he goes in for the hug, he hits the 'hug' pose and then just eases to a stop. I would have him continually moving forward until she stops him by putting her hand on his chest.
It might help for you to film some more reference, or focus on your guitar shot for a day or two to get some perspective. I'm worried that you're starting to churn on this and I don't want you to get frustrated or burnt out. Let me know if you're unclear about these notes, or if you need a recap of the notes from Thursday. Thanks!