Wini Wang - Christmas - Critique

Hey,

you're definitely making improvements!

The main thing that stands out are the IK arms. It's much better, I'd just do another pass on certain areas:

- x19 to 26 the relationship of the arms with body is much better, so the IK feel has been reduced, the only thing that still feels a bit odd are the hands. The wrist stays in that downward pose and the fingers never move, there's not really any adjustment. It's as if the and and fingers are glued to the ball the moment she grabs it.

- x43 to 78 the IK feel is back, where the arms float independently from the body

- the ball adjustments are weird from x84 on, where again the wrists are totally glued to the ball and the wrist has a bit of a broken feel to it, as the rotation is so far down. Plus the arms overextend on and off during that section until around 120.

- x128 to 148 the IK arms are back!

- the ending is awesome, as one hand comes off, the rotation changes, and second little grab and her expression at the end all works, that's nicely done.


I would concentrate on those arms first and really nail that. The moment you have those IK floating arms, it kills the rest of the animation, because it's a technical issue that shouldn't be in a final shot. So because we go too far into finger stuff, facial detail, foot polish, etc. work on those arms in combination with the wrist orientation.

Chutinart Warunyuwong - Check in - Critique

This looks super cool, nice work! There's really not that much to comment on. But you want picky! Let's go one by one, starting with the woman:

- the screen right hand on the sign floats up from the beginning to around x24, so make that contact a bit more solid

- the finger gesture of the screen right hand around x30 is a bit even in terms of pose to pose. The fingers all move at the same time and they also feel a bit even on the closing around x48. So offset the fingers a tiny bit, mostly index and middle finger.

- the screen left finger/hand contact with the sign gets a bit loose from x185 to 202. I would make that contact stronger and simplify it a bit, no need to move the hand around that much

- the screen left hand sticks to the same pose after x218 and while the elbow moves around a lot up to around x235, the hand would have to inherit some of the elbow movement as well. That way it doesn't feel so stuck to the ground.

- there's something off about the screen right hand from x297 to 309, it feels like it's always in the same pose. There seems to be a little rotation when it goes down, but still, you could have a little sub pose after x297 and maybe rotate the fingers back when the hand goes down; something like that to push the contrast in poses

- There could be a little reaction in her face when he puts the case on the scale around x425. Nothing big, maybe just a blink, or a little wince, something in her face that reacts to that huge, heavy suitcase plopping onto the scale, so that she reacts to her environment.

- when he pulls his suitcase up, you have a headturn and an eyedart on her starting at x492. I would lead with the eyes. Keep the head still, like she's focused on her screen or whatever she's looking at. Then an eyedart screen right noticing that the guy is doing something and then the head follows/catches up with a turn.

- her facial expression feels very similar from x507 up to the end. You could have a little more emotion when she slaps him and/or when she pulls back and looks at him have her emotion change a little bit


Now the guy:

- the body and head feel locked from the beginning to around x11, as he goes up and down

- same goes for the arms/hands. They go down and up with the body and it all stops harshly around x12. It doesn't look like the hands are grabbing anything, they just float down and up.

- from x229 to around 303 the wrists feel a bit locked while the arms are pulling and being stretched. It's a pain to animate, I know, but as the forearm and elbow move around, the wrists would move 30 to 70% with it, so you'd have to keyframe the fingers so that they keep the strong contact point with the luggage handle. It happens afterwards as well, around the pull from x330 on.

- same thing especially for the screen left hand from x357 to 367. The screen left arm does a big move, yet the wrist orientation is totally locked

- the screen right wrist floats/rotates down from x347 to 351, then is locked despite the big screen right arm move to x372

- the screen right hand moves too quickly from x374 to 375, it's too linear, flatten the tangent so it eases out more
​- the screen right forearm moves a bit too independently from x157 to 162. I like the move, just move the upper arm with it a bit

- looking at the jaw line the head moves in a very horizontal way from x311 to 317 screen right. Add an arc and have the end pose lower so it flows more into the lowering you have later

- on that big body move back to x334 I would drag the head a bit more, so that the body and head are not so locked together, same as it goes forward to x344 (not as much though, just a little bit here)

- same with the head from x361 to around 367. The head feels like it's just moving horizontally, almost IK-ish, give that a little arc as well.

- same again from 391 to x397, the head feels very locked to the body

- his right arm has a little bit of an elbow wiggle after x508 and with that arm moving around so much the wrist would move with it a little bit more, so it doesn't look so locked

- after the slap on x516 he should move the hand back right away, as a scared reaction, something instinctual, right now he holds on to the suitcase a few frames after the slap and then slowly takes it away, which feels too delayed


Alright, you wanted picky, you got picky! :)


Cheers

JD

Wini Wang - Jump - Critique

That's a fun jump!

Here my thoughts!

I need a frame counter. :)
I'll use the quicktime one which starts at frame 0.

- x8 to 9 the foot roll happens too quickly. I would start it softer and at x6 (flat tangent)
- I would bring up his/her right leg in one continuous motion; right now it shoots up to x11, then down to x13, then up again up to x17. I would have it go up from the beginning so that you can feel how swinging that leg up is helping with the jump momentum
- on x12, with the right leg going up, I would rotate the ball up (sideways), so that you get the "hip" in there
- the left leg goes up to x16, then pretty much stops the up movement and goes mostly screen right, keep going with that arc, don't flatten it; it dips from x17 to 18, then back up to x19; so overall, track your spacing and arcs
- on the landing, the left leg has a little move from x23 to 24, but then a quick slap down to x25; I would take out that little move to x24 and make it less snappy
- right leg snaps into overstretched pose from x19 to 20. Smooth out that transition
- x22 the "hips" are straight again, I would rotate it up (left side)
- feet could be tilted sideways during certain poses, like x22, so that this rotation is not untouched and default

Cheers
JD

Wini Wang - Jump - Critique

Hey,

that looks really great! Nice work!

My thoughts and picky notes, since it's so good. :)

- x24, hips, the left side could be lower and his right side higher since that leg is swinging up

- x25, I feel like the body could be rotated back a tiny bit more (looking at the right edge of the lower body up to the upper body, it's quite a straight line, so getting a bit more of a C curve in it would be good)

- picky note: x33, right foot, could be tilted sideways so it's not landing flat

- if possible, have a little downward move in his left leg from around x33 to 37; with him landing the downward momentum would go through his left leg which is just dangling/hanging there throughout those frames)

- could just be me, but I would rotate the forearm a bit up on x36 so that his right arm is not swinging in such a straight line

- the upper body rotates forward too quickly from x43 to 44 (compared to the spacing on x42 to 43); the head could also drag a bit more; right now the whole body and head move as one unit down from x43 to 48, so breaking up the body from the head and rotating the chest back on that down move will help with the drag

- I would move down his left arm from x44 to 47 then back to what you have on x51; when he lands the downward momentum would carry on through his arms a little bit for some overlap

- the head pops forward on x59 to 60 and 61, then stops, then again a quick move forward to x68; in real time the head feels a bit poppy; if you could smooth that part out a bit it would help

- x73, left leg, a tiny bit bent, so that x74 is the straight leg frame (it pops a little bit into that straight pose)

- the upper body and head move in one unit back from x92 to 96 and then the back move stops; I would drag the head a tiny bit and rotate the chest a bit forward during that move and smooth out the stop

- the head could also lead the action from x97 down to x102 and on to 108

- the right upper arm could be rotated higher on x106 so it doesn't look like the arm is horizontal

- smooth out the arc and spacing of the left arm: it swings up to x105, but then goes forward to 106; you could take out the pose on x105 and not go further than 106

- right foot could rotate down from x103 to 104 so that the foot doesn't stay in the same rotation angle during the lift off

- the body has a super quick exit from x107 to 108, which feels like a pop; give the body at least one more frame where we can see the lower body

Almost there, keep going!
Cheers

JD

Wini Wang - Jump - Critique

That looks really nice!

Picky notes:
- x14 the left foot goes up but there's not enough weight change. I know it's a fast move, but it would still be good to get a little bit of a hip rotation and root translate in there so that the leg raise doesn't feel so separate.
- I would keep the left leg extended on x30 as well and then start bending it for a nicer full extension pose
- involve the hips throughout; for instance, x33, the hips need to rotate forward in Y and up a bit, so that you can see how the right leg pulls it up and forward
- I would add a little root roll on x40 for the right leg
- extend the right leg a tiny bit on x43 so you don't just have one frame of leg extension for the push off
- left leg arc is flattened after x43; space out the left foot from x43 to 45, then from 46 to 48, the arc suddenly stops and the foot just goes down in that 2nd section.
- left foot would be flat on x49; after a jump and all that weight I would have a two frame plant
- from x55 to 56 I would rotate the foot down, so that the toes are not in a horizontal pose on x56; they are flat from x55 to 59, so that hop feels weird with the toe orientation not changing
- ease into the full extension on x65, the leg is bent and then pops into a straight and then stays locked
- leg and root move at the same time on x83, I would start the leg earlier than have the root move down (ease out of that more)
- keep the root a bit more screen right around x88; it looks like he's sitting down, so it's borderline off balance to the back
- I would have the left leg a TINY bit bent on x97, then straight on x98, the a little bit bent on x99
- reduce the foot rotation, it's bit pop from x98 to 99
- watch the spacing on the foot from x99 to x101, how it goes mostly up, but then from x101 to 102 it's more to the right than up, then from x102 to 103 it's a big jump to the right; overall work on that arc and the spacing

Picky picky but it's already looking great!

Allison Myers - Getting up - Critique

Hey,

that's looks overall pretty good. It would be good to know a bit more about what you're allowed to do with the shot and what the direction is.

Right now, I like how he sits and how he gets up. After that it does get a bit funky pose wise. For instance, x51, screen right leg gets overextended. The walk afterwards feels a bit funky because of how high he lifts his legs, like on x83.

I'm asking about the direction because the pose you have when he sits looks very relaxed, maybe even bored, but not excited or energetic. But once he gets up, his attitude changes. So without any shot knowledge I would say either change the sitting pose or change his get up and walk anim so it's more consistent. But that's up to your teacher, I don't want to interfere with the direction.

From a technical point of view, watch out that the hand is firmly planted on the armrest when he gets up, so that the feeling of weight is there. Around x50 I would keep the screen right arm angled back instead of forward, so that when he uses that arm to push himself off, you keep it back there to reinforce that visual point. So I would delay that forward swing a bit.

​ As mentioned before, don't overstretch the legs and once he starts walking, make sure that there are no sudden forward movements root wise, like from x64 to 65.

Cheers
JD

Allison Myers - Sack - Critique

That's cute! :)

There are little things I'd tweak:

- it looks like the body back and forth at the beginning is done mostly through translation? It would be good to cut that in half and add rotation as well. Right now the upper body part with the arms and hands is stuck in the same pose and it globally moves as a whole back and forth

- when he gets up on around x130, it doesn't feel like he's leaning over his legs for proper center of gravity and like he's using his legs to push off. But if you want to make it an explosive jump, you could cheat it by having the guy squash first and then jump up, so it's more like a 2D take.

- looking at the path of the root from x134 to 137 he moves screen left, but after that frame he stops and falls straight down. You'd have to either continue that screen left arc or jump up in a straight line. You will also have to add a few more frame for the hang time at the highest point. Right now it feels like he's accelerating up and then suddenly coming down.

Hope that helps!
Cheers

JD

Wini Wang - Walk and Pill - Critique

Hey,

The walk is very nice, I like it! The immediate reaction was that he's a bit slow, you could speed it up by 10%. There's just something soft and slow to it. But I would try this first:

- reduce the overlap in his wrists (sideview), especially on the front part. When the arms are back and coming forward it's better, but when they are in front of him and going back, that drag is too big. So reduce that by at least 50% and speed it up.

Part of that slow-mo feel are those super slow moving hands and huge overlap.

- speed up the downward movement of the head after each step, which will give it a greater impact and feel of weight.

I think those two will help you with the slow mo feel.

Other than that:

- front view: x19, the screen right side of the hip is already tilted up, but the character is only now putting his weight on that leg (just because the foot is down doesn't mean that the weight is on it). So on x19 keep the hips horizontal, set a linear key on that frame and leave the rest of the key so that on x22 for instance the hip rotation is the same as you have now. It will give it more weight too.
- front view: make sure that the fingers don't go through the leg (especially screen right)
- I would reduce the shoulder down movement after each step by 50%. It makes them look very bouncy and soft otherwise.
- it might just be me but it looks like you have some eyebrow bouncing stuff going on after each step. If that's there, take it out. It just adds to that squishy, soft feeling.

The pill clip:

That one is great, super cute!

My only comments would be:
- add a little piece of black on x299. The amount of his body that's exiting frame from x298 to 299 is too much, which makes it feel like a pop.
- acting wise, the moment around x87 is weird. When I first watched it, the pill looked like a ninja. He hurries in, slides, stops and then looks screen left. So to me, it looks like he's on a mission and it's not a relaxed Sunday stroll.
But then he looks back to screen right and just stands there (x92), then he slides slowly to a position around x119 where people would still see him outside. Only by around x150 does he truly feel hidden behind the wall. So that whole middle part just feels out of character.
I would go from x74 into a squash while still looking screen left and then do a super quick slide to x147, then continue with what you have.

Nice work, keep going!
Cheers
JD

Charlie Hong - Fight - Critique

Let's look at the cuts and the sequence flow first:

- shot one works pretty well. Since you already have a moving camera, you could add a few thing. Either keep it the way you have it until x168, but then when he stays in that pose, pan a bit to the right. Right now the character is smack in the middle of the frame. The eyes are in the center both horizontally and vertically. I would have it at least more screen left, so you have more empty room screen right. I would also raise him a bit so that his eye line is above the middle center line.
Or. You have composition so that on x154ish he's more screen right, a bit off center to the right, and when he gets into his fighting pose on x167 you pan the camera to the right so that you get to the above mentioned composition.
When he exits frame at the end, you can leave the camera, or pan with him to the right a bit. I would try the pan, and actually continue with the pan at the beginning of shot 2 until the guy lands on x17.
- shot 2 works, but you might want to give the above not a try. Since it's a fight sequence, a little bit of camera work could make it more dynamic. It's worth a shot. If it's meh, then you can just leave it out.
- the cut from shot 2 to shot 3 is a bit weird. Frame back and forth between the two shots. It feels like it's the same angle, just zoomed out a bit. I would find a different composition so we're not going from center framing to center framing and also change the angle. So maybe we see the back of the mustache guy and when he throws the other guy around by the end he's facing us again.

​ - same thing with shot 3 to 4. Frame back and forth and you have the same size for the bald guy. At least his angle is different, but it's still so similar, that it feels like the mustache guy just disappeared. Your symmetrical set doesn't help, since any camera angle change will end up being similar set wise.

- the cuts afterwards work better.


Alright, let's look at the anim, which is already really cool! There are few things I'd look out for as you continue.

Shot1:

- watch out for twinning and repetitive actions!

- the arms come up and get together pretty much at the same time with the only difference being the screen left wrist

- when he inhales and exhales both arms move together

- when he strikes the attack pose, it's just a back and forth between pose A and pose; break it up and have maybe an overall body rising (spine up rotation?), so that there is a gradual difference, and not just a repeat

- the tension after x210 gets lost because he relaxes his arms and the walk off is a bit slow; you have that "YEAHHH ATTACK!!!!!" moment followed by a "Alright... let's start moving along..." moment. So that intensity deflates. :)

- watch out for symmetrical facial shapes, vary the left and right sides a bit

Shot2:

- works much better!

- watch out for silhouette and overlapping characters: x19 for instance, since you have room, I would separate the two guys so that there is negative space between them. The mustache guy is in front of the bald guy's hands (there's already an overlap at x14), and it stays until x31, where both heads over overlapping, the arms of the bald guy are almost hidden, etc. Look at x34, 35 and 36. The fact that the bald guy is blocking the mustache guy's arm is a bit muddled by the silhouette. I know you have big heads and small arms, but that moment doesn't register as well as other moments of the fight (x53 is cool!)

- arm silhouette of mustache guy on x76 is muddled again.

- the bald guy is reacting to the foot kick too early. There's a rise on x78, which should be on x79 or 80

- the kick makes the bald guy go up and down in a way where it looks like he's at position A, going up to B, then landing back to A. Make sure you go from A to B to C, for maximum contrast and complexity. You don't want to repeat poses, actions or positions

Shot3:

- the bald guy goes up before the mustache guy is pulling him up before the push off. Make sure that the mustache guy is driving the action

- watch the path and arc of mustache guy when he lands. It's going down and screen left until x40, then down and screen right for two frames to x42, then just stops. Don't change direction and give the character time to settle.

- the body of the bald guy is a bit simple as it flies. He could rotate sideways a bit during the fall so that he lands on his shoulder first, instead of flat on, which would give it a bit more of a complex landing; right now it's a bit too simplistic

- if you do that it will change the bounce, but as it is now: the bounce and body/head rotation up feels a bit too simple. The body rotation just goes up and then down, no sideways or twisting motion; the arms are a bit soft on the impact and there's a sense of twinning again. One arm could be back just for body pose contrast

Shot4:

- I'd separate the two guys again, so that mustache guy's hand is not in front of the bald guy's head (x58 area covering the eye and at the end)

- it looks like you're overstretching the bald guy's screen left IK arm; don't forget to involve shoulders

- after he gets up and looks at the mustache guy his screen left arm feels a bit floaty, the head also rotates down a bit slowly

- at the end of shot 3 and the beginning of shot 4 the bald guy's eyes are just staring forward, which doesn't make it look like the guy is thinking, there are no eye darts, nothing that indicates thought process, which makes them feel a bit puppet like

- mustache guy's right foot lands pretty horizontally, would be good to rotate and tilt it a bit more so it's not so conveniently flat

Shot5:

- works pretty well, just keep the body animation going. It feels like body parts gradually stop moving until only the fingers move for the last few frames; it will also help getting rid of the everything-is-stopping-at-the-same-time feel

Shot6:

- don't forget to animate mustache guy! :)

- the body of the bald guy feels good, except for the huge head rotating around! I would minimize the up down movement while the legs go up, it will help break up the body and head connection. Right now it feels like the body and head are one unit that rotate together

Shot7:

- this one is tricky again in terms of silhouette; look for overlapping moments like x22, 29 (turning wheel thing if front of the face), green guy's punching arm not visible on x45, 46, 47, 48, even 49 (upper body and forearm feel like one piece visually and fist is in front of chin

- huge pop on mustache guy from x27 to 28

- mustache guy's hips don't really move in Y during that body rotating back move to x28 and forward again to 43

- another big pop from x48 to 49 on mustache guy, same from x49 to 50 (like his right arm swing)

- the both kinda freeze at the end, although bald guy doesn't move a tiny bit; is that supposed to cut out earlier?

Alright! Hope that helps!

Cheers
JD

Allison Myers - Bouncing ball - Critique

Hey,

Alright, looks already good! Let's check out the left ball first:

- I would keep the frames 5, cut x6, keep 7, then cut out 8 and 9, keep 10 and 11. Right now you squash, the slowly go into a stretch pose, then it lifts off. You want to a squash and then a quick push off. So x7 will ease you out of that squash and then x10 will be the transition into the quick push off.

- after x51 you're slowing the ball down a bit too much; it could hit it a bit faster and therefore sooner. The ball would then bounce off immediately to the left, I wouldn't have x56 to 57 where the ball slides up

- the tail overlaps a bit early on x17, I would delay that by 3 frames or so; same with x29 to 30, that's a quick forward move over one frame; same again at x44 to 45

- there's a weird tail section where the tail goes down from x73 to 74, then the tip seems to stick in the air until x76, then suddenly drops on x77; I'd rework the spacing during that section

- watch out for the tail at x163, it's moving screen right and then left again, keep it to the left so it's just dragging. Right now it's a bit too jittery.

heavy ball:

- it's a bit weird how the heavy ball goes back and then stops abruptly at x61; it then sticks until it moves again on x65. I would have the block move in a way so that it motivates the ball to roll forward again. Right now with that stop and flat surface, it looks like the ball is moving forward on its own.

- The drop from x80 to 81 is a bit big, I would ease out of that a bit more and have gradual spacing and acceleration

- You could lower the first bounce a TINY bit; watch your forward translation, it's fairly big and then from x86 to 87 it's suddenly small, there's a weird slowdown, and then it gets faster to x89 again, so smooth out that forward translation

- reduce the height of the 2nd bounce by 50%

- ease more into the stop at x122 so it's not so abrupt.

That's it! Nice work, keep going!
Cheers

JD

Mark Droste - Monster - Critique

Hey,

That looks pretty cool already!

Quick notes on the visuals, it would be good to add a frame counter (I will use the quicktime counter starting at 0). I would also hide the locators and the grid, plus expand the camera framing, so it's more widescreen and pulled away from the creature. Right now it feels a bit crammed.

Animation wise, it's cool! There are just a few little moments where it feels too fast and other details which would need tweaking:

- x6 the head seems to be going through the screen right leg

- look at the screen right tip of the leg, from x6 to 11 it shoots out and then kinda rests in that position. I would have it settle a bit more

- there's a weird isolated chest rotation from x62 to x74ish, leading into that leg move. The isolation is accentuated by the fact that the head is also very locked

- x70 the front right arm shoots up to x74. It's a bit too fast, so the weight is missing, it also stops a bit too quickly. You want to give that creature as much weight as you can.

- x106 to 107 there's a weird chest pop, same from x117 to 118; you might be able to fix it by moving the chest a bit more screen right and by involving the hips a bit more. The chest up move feels very isolated.

- The leg slip at x162 is also too isolated until x164, then there's a sticky frame to 165, and only after that the body reacts. Make sure the head doesn't snap up from x165 to 166. Quick moves like that over one frame also take away from the weight. Same goes for the hip move up on x170 and on; and the back leg slip at x175 and on.

- The head slam on the ground could also be a tiny bit slower and a bounce to that head would be good. The head just drops and then rests on the ground.

Hope that helps!
Cheers
JD

Saberi Knakon - Dog - Critique

I would have to have a full orthographic front and side view, because I feels like your paws and having a little pause after they go back and before the lift off. I would add a little tail wiggle at the beginning too. The snout move is super cute but technically it feels a bit too separated from the head. Looking at x81 he looks like he got punched! HAHAHA! So reduce the snout rotating a bit a bit and add a bit of head rotation, that way visually you end up with the same pose and silhouette (in terms of how far screen right it goes), but the the snout is more attached to the head (if that makes sense).
Last thing are his eyes. The first eye blink feels to mechanical and a tiny bit too fast. I would add a frame or two of ease out when the lids go down and ease in when they go up. The second blink at the end needs the same ease out and they open too quickly too, add two frames of opening (maybe one, but try two first) and then one more frame of ease out.
The eye darts are a bit funky too. The pupil pose on x25 is too far screen right, you can barely see the black part of the pupil. Bring it more screen left. That way the dart from x25 to 26 won't be as a big and fast. Right now it's so big that you'd have to add a blink. They eye move screen left from x55 to 77 is too slow. That's more of a I'm-on-drugs move or spaced out. Break it up with eye darts. You can still travel that distance in total, but lock the eyes, then dart over a bit to the left, then pause and lock again, then dart again, etc.
Watch out for geometry intersections on x77 with his lids.

Super super cute, love it!

Cheers
JD

Alon Helman - Spidey - Critique

Hey,

If possible, could you include a frame counter? I'm going to use the quicktime one which starts at x0.

Overall it's already looking great, I like your timing! Few things I'd look out for as you move on:

- the hand on the window frame starting around x46 to 75 is super locked. Especially when he gets up, you'll have to move the wrist with it.

- when he gets up during the x60 area, you could move the screen arm up a little bit. I know he's bored/annoyed, but right now that arm is just stiffly hanging down. So either have it swing loosely or bring it up into another pose.

- the body rotation around x55 is a bit simple, it looks like it's just rotating in one axis towards us, you could make that move a bit more complex

- watch the silhouette of the screen right leg at x69. I would make sure that you can see more of the thigh. If you squint, it looks like he has a short leg. The knee also rotates very quickly around as that foot moves and at x71 that leg looks broken, with the knee to the left and the foot almost horizontal. Watch that whole transition

- you could bring up the screen left arm up a bit at x75 for a clearer silhouette

- the head could also lean a bit to the right at x75, so it's leading the action a bit. Right now the head is mostly vertical throughout the clip

- around x83, wonder if you could scootch Spidey more screen right, so that you don't hide his screen left hand behind the body. Kinda works though, since the arm is clean silhouette wise, but just give it a try to see how it looks like.

- I would lower the hand around x83, down and screen left, so it's not so overlapping with the right leg

- silhouette on x95 is a bit muddled in terms of right arm and body and left leg. A clearer silhouette would be good.

- and if you move the body more screen right, looking at x103, you could also get a nicer silhouette for his left arm. Right now on that frame there's just the upper arm, would be cool to see the forearm as well

- when the foot goes down from x85 to 90 it's a bit linear, there's no arc and the foot pose doesn't change. I would end up in a different pose so that from x100 to 139, the shin is not so centered with the foot (visually). You could rotate the foot more to the left (hope that makes sense)

Cute rig! :)

Cheers
JD

Jaewon Rho - And free - Feedback

Hey,

alright! Getting better though, I like the changes so far! The guy is definitely better, the tie moment and how he grabs the chair is good and I like that he turns her around now. I would continue with that and start adding more breakdowns and more facial work for him.

The woman still feels fairly similar. I would concentrate now on the beginning up to x250. What you want to establish now is more visual contrast between the two characters. Having him be tense and feeling how he's bubbling up inside yet trying to keep it together is one side. The woman, and given the audio as well, would be more alive, perky, with more body movement as she's mocking the man. That way visually you have one character moving a lot versus the other character not moving that much.

Then, when the guy grabs the chair and turns her around it's a reversal of that energy, where she gets very tense and afraid and not moving, and him getting into her face and more agitated.

So with her, think this approach:

http://www.youtube.com/watch?v=piimPHFFqtA#t=2m03s

the movements would be slower of course, but you can get a lot of her personality through her head movements. That and eye rolls, closed eyes, high eyebrows, etc. Keep the actions that you have with her arms, just give her more attitude.

But for the guy, keep going with more breakdowns, look for arcs, overlapping actions (like during the tie adjustment so that you involve his shoulders as well) and I'll get into the nitty gritty.

Cheers
JD

Jessica Gamio - Check out - Feedback

Hey,

I think that's work pretty well! About the individual shots, here my thoughts:

Shot 1, with the title at the top, works. All I would tweak is the camera a bit, so that instead of mostly rotating down to keep the guy in frame, you add more of a translate down, so it's not such a security camera/birds-eye view shot. Imagine a camera on a crane and then they lower the crane.

Afterward it gets a bit tricky because you're breaking the 180 rule a lot. Look at shot 1, he's looking left to right, then shot two, it's a right to left composition. I know where are looking over his shoulder, but imagine you'd horizontally flop the image, you'd get the same thing, but the eye direction would be correct.

At the end of shot two, he turns his head and we are left with a right to left direction (looking at your current shot),

then shot 3 has left to right again.

From shot 3 to 4 is good because you're keeping the right to left movement.

So just be mindful of how you position your camera and the character for future shots.

Hope that helps!
Cheers

JD

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