This communicates the plot action much better than the previous version, nice job. But enough of the useless flattery! More important comments:
General reaction as it relates to dialogue flow: It seems to me that the facial expressions, which I think are great and insightful in a nice subtle way, are "twitching" a bit...meaning they progress too fast to let me enjoy each one. This communicates restless anxiety, which the guy is definitely feeling as he puts together the pieces of the pop-puzzle, but also sort of looks like he's got an ant in his shirt sometimes. Maybe you should punctuate certain moments by holding key expressions for more frames? Maybe give some the boot(which sucks, because they could all be useful)? I watched the clip from the show on YouTube, and from what I can see the main guy uses fewer distinct expressions...though you definitely nailed the general simplicity/complexity curve- you amp up the number of distinct expressions exactly when the actor does in the clip.
The combination of body movement and face movement is really nice, fun to watch...I remember the samples we were watching the other day were too extreme in either the body or the face...
I tried to pick out some faces that seem out of place:
The one at the beginning of the 8th second where he leans his head gradually to the left is nice but seems out of place...love the two right after it...
The face at 11 seconds, right before he pulls his hand off the guy's forehead, seems like it doesn't belong...why not hold the previous face a bit longer?
Dimitri's "ants in the pants" comments strike me as a result of your translation of Buster Bluth into another body. The character has a relaxed ignorance, completely oblivious attitude. I imagine translating this humorous character to another medium has led to you consciously or unconsciously making your figure more real or at least how you perceive typical responses to the words and their meanings. In my opinion, it's your creation now so push the direction you want to push.
The "pop secret" whisper to himself is my favorite part of version 2. I would tidy up the face afterward, on "real". It gets muddy for me at this point in the dialogue because it seems like the stress/face reacts in two parts: to the "eeeal" and the "er" in "father". I would imagine its a three to four part move, but maybe its only adding some bite lip "f" emphasis between the two for "father".
2 comments:
This communicates the plot action much better than the previous version, nice job. But enough of the useless flattery! More important comments:
General reaction as it relates to dialogue flow: It seems to me that the facial expressions, which I think are great and insightful in a nice subtle way, are "twitching" a bit...meaning they progress too fast to let me enjoy each one. This communicates restless anxiety, which the guy is definitely feeling as he puts together the pieces of the pop-puzzle, but also sort of looks like he's got an ant in his shirt sometimes. Maybe you should punctuate certain moments by holding key expressions for more frames? Maybe give some the boot(which sucks, because they could all be useful)? I watched the clip from the show on YouTube, and from what I can see the main guy uses fewer distinct expressions...though you definitely nailed the general simplicity/complexity curve- you amp up the number of distinct expressions exactly when the actor does in the clip.
The combination of body movement and face movement is really nice, fun to watch...I remember the samples we were watching the other day were too extreme in either the body or the face...
I tried to pick out some faces that seem out of place:
The one at the beginning of the 8th second where he leans
his head gradually to the left is nice but seems out of place...love the two right after it...
The face at 11 seconds, right before he pulls his hand off the guy's forehead, seems like it doesn't belong...why not hold the previous face a bit longer?
What do you think?
Dimitri's "ants in the pants" comments strike me as a result of your translation of Buster Bluth into another body. The character has a relaxed ignorance, completely oblivious attitude. I imagine translating this humorous character to another medium has led to you consciously or unconsciously making your figure more real or at least how you perceive typical responses to the words and their meanings. In my opinion, it's your creation now so push the direction you want to push.
The "pop secret" whisper to himself is my favorite part of version 2. I would tidy up the face afterward, on "real". It gets muddy for me at this point in the dialogue because it seems like the stress/face reacts in two parts: to the "eeeal" and the "er" in "father". I would imagine its a three to four part move, but maybe its only adding some bite lip "f" emphasis between the two for "father".
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