View Full Version : Fighters/Vomit Bag???/Code Brown
08-20-2009, 05:49 PM
Hello everyone!!! I just wanted to post my recent demo reel (August 2009). Im a recent graduate from Full Sail University and hoping to make it out there in the industry. This is my first demo reel and I NEED YOUR FEEDBACK, positive and/or negative. Any comments would be greatly appreciated. Also, any advice on how to possibly get my foot in the door for a career in animation would be great!!!
Go to my website www.cacox3d.com (http://www.cacox3d.com) and click on the "Demo Reel" button to check it out. Thanks in advance for your time and comments.
In this animation, I was aiming to challenge myself by animating two characters interacting physically, while also keeping the movements realistic and believable. It was the most challenging, but I definitely enjoyed it. Shooting the reference videos for this was quite interesting to say the least. This is the kind of animation that I would love to do for a living!!!
This was a lip sync from the movie "Planes, Trains, and Automobiles", with Steve Martin as the actor. I actually haven't seen the movie myself (I was a little kid when this came out), but I hear that it was one of his best films. I chose this sound clip because of the "annoyed" energy he gives off.
This was my attempt to show my sense of humor. I wanted to do something that not everybody would expect from an animation, but still something you can relate to. And this is not from personal experience!!! Haha At least not exactly... If this makes people laugh, then I've achieved my goal.
08-20-2009, 06:40 PM
You have some nice stuff on there, the vomit bag being the star of everything on the reel.
I feel the fighter segment could use a bit more polish, especially if you are going to have it as the head of your reel. There are some weight shift issues here and there, and some other minor things that need to be cleaned up. It would also be nice to see a heavy, light test of some kind to show weight. Most studios want to see it because it shows you have a good grasp of how weight will affect the form, and a pose.
You definitely have a great grasp on posing, and create well thought out open poses. I just think that you need maybe one more piece on your reel to really round it out. I don't want to type up a winded crit of this, but if you want a more lengthy crit pm me and I'll get back to you with what I think needs some work
Keep up the good work.
08-22-2009, 07:34 PM
Thanks a lot for your comment. And please, feel free to write up critique as long as you like. No shame here...
I welcome all comments: positive, negative, long, or short. Even a simple :cool:,:sad:,or:shrug: would be nice from the shy ones.....haha
08-23-2009, 06:42 AM
Ok well here we go then.
The fighter segment has some issues in weight shift here and there, and some issues with the objective of two characters interacting with each other. While you really did a good job not to pass through geo by accident there are some things that need some work. I'll just go through it chronologically so that way i don't get confused lol.
The opening shot is really stagnant, I would like to see motion on the female character immediatly as the reel opens, the camera pan is not enough. Also instead of having your name on the opening frame make a slate on the black with your information that crossfades to the animation. Starting at frame 335 on the reel the female character goes into a moving hold, but that hold needs more motion, it would be nice to see a torso and head turn to make her look more alert. When the attacker finally grasps her at 360 she has little to no reaction to it, and becomes a rag doll. Its understandable to go that route, but she would still react with surprise or some similar emotion in a posture change. At 448 when she elbows him it would be nice to see more of a spinal reverse which would explain his lifting off the ground as well. If she put more of her whole body into that hit the blow would seem more powerful. Something along the lines of a half judo throw would work better than what is there right now. When she comes in to punch him in the gut I would like to see a more extreme dip in the arc of the body, and she also brickwalls at 519 and makes an extreme turn that would not be possible it needs a little more easing there to make the transition smoother. Instead of doing th complicated motion you have her doing now where she goes down, up then back down it would be easier to continue the arc down and just have it go up like a nike swoop. Thats what the cog is doing, but the head and torso arcs are not as clean. When the attacker stumbles back at 540 he places both his feet right next to each other, and with that he would fall down the pose needs to be varied by putting the leg thats in the air down farther back behind the pose. Also his movement slows down preempting the punch in the gut, He should move at full speed, your spacing there is not as clean as it could be it varies from far to close to far it should just go from an ease out to a full motion, and then brickwall because of the punch. Also I would like to see a much more extreme arc on his punch attempt, If he were to swoop below her head and then go up over it the tangent between his arm and her head would no longer be there. At 598 when she goes into the leap on his leg it would be nice to have a much larger inticipation in the down of the cog. At the height of the kick around 613 or 614 it would be nice to also see that pose really pushed into a big spinal reversal. And the fall out of the kick could be kept in the same way pushing the spine in the opposite direction so that when she lands you can cash in on that reversal when she shifts her weight to land. The other character has these things applied to him, I think you just need to go back into the female character and add the same reversal ideas to her as well.
There isn't much on the vomit bag piece that I would change, but there are a few things that need to be addressed, they are a little more nit picky than the fighter piece. The motion of the torso at 770 needs to be cleaned up the arc is a very small s curve, and you either need to push that which would look ridiculous or simplify it. I think simplification there would be your best bet. If you just make the arc one smooth motion it would fix a lot of the odd motion issues that are going on there. The arc of the hand on the right at 800 goes in and L shape with an ease in and out at the corner of the L it would be nice to see that arc cleaned up and just go directly to his head without that smalle hiccup. Its the same when it transitions to to leg at 880 it has that same L shape it needs to be a smoother arc. It looks like you animated this whole thing with the arms in IK which is a good idea for a shot like this, because you can heavily alter the body without actually bothering the placement of the hands in the scene. You may need to tweak the pole vectors, but in the long run the fixes on this piece are very minor especially if the former is true.
And lastly the code brown one of the things that really bothered me about this piece is really a personal thing for me. Having the character address the audience through breaking the fourth wall is something that is unnecessary. I understand its usage, but at the same time what is going on is not whacky enough to really warrant that. Its a way of solving the problem of not having a second character to interact with but if you look at old warner cartoons where they use it only to really completely involve the audience in the experience. Such as the is there a doctor in the house line where a shadow shows up on screen raising their hand. If you saw that when it was originally shown in theaters you would have been looking for the doctor that responded. Also the old gag of spots before your eyes where they tell the audience the symptoms and then you experience them through the screen. Those are incredibly effective ways to use breaking the fourth wall. Also the Coyote in the road runner cartoons does it frequently but in a very over the top way he even waves good bye to the audience when he falls to his demise. I think that those things need to be addressed before the animation gets critiqued only because those are major fixes. The question you have to ask yourself is how often in a feature film do I see this, and how would I be able to apply it correctly without over doing it.
I like your work, and as always in art nothing is ever finished keep it up.
09-11-2009, 12:23 AM
WOW!!! Thats what I call a critique! Thanks a lot for taking the time to write all of this! I see where you are coming from with some of the things that you said. I know there are things that could be fixed with the animation, as with ANY animation, but I'm very proud of all three of my assets. Ultimately I hope that it was entertaining for the viewers. In my opinion, the best way to improve animations is to just animate MORE ANIMATIONS haha. I will definitely keep those things in mind the next time around though.
09-11-2009, 12:23 AM
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