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Assesment blog for my screen of media advanced diploma, specialising in 3D animation using Maya, After Effects and Premiere software.
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Olly. I'm sitting here thinking, "This is his first EAP! The first one." What tends to happen in second year (for the animators who get through the learning struggle of the first essential animation principle scene), is that the skills and learning and passion get set on fire and a volcanic eruption occurs in the student's brain and skills escalate and speed up, finally with the student surpassing the teacher. This is your first EAP, wow! Get to work on your next ones. You are on fire.
ReplyDeletewooow olly that is frikin amazing! It looks like a video game or something haha.
ReplyDeletei am critiquing this for Frank... just so you know :)
Mechanical Lobster thing:
Principle: Spacing
Greeeat timing on the movements! I like when it gets ready to shoot, how it slows down and then after it shoots it slides in really quick. It looks awesome.
Man:
Principle: Secondary Actions
My eyes are too slow for his fast actions -_- ahaha. It is very sudden when he goes on his hands and then back again. But i love the part when he's swinging and reaching his arm around behind himself as if trying to get more amo or weapons or something from his bag.
Great work!
Good critique Jess. I agree that some of Olly's later animation in the EAPS moves a bit fast to be 'readable'. The initial backflip to avoid the rocket is nice and clear. The throwing of the rifle will benefit from referring to some video reference for timing and maybe taming the camera move (that shakes with the explosion). Thanks for critiquing Olly's work.
ReplyDeleteFrank critiquing time...
ReplyDeleteI believe it is important to find one particular element within the principles of animation. Here I can see a couple that, when married together correctly, will make this EAP flow smoothly and organically.
I find the soldier jerky and rather stilted and I believe this comes from an un-organic line of action. If a human form were to back-flip and throw a rifle at a mega-ultra scorpion t'ing, there would be massive arcs, allowing for huge, over-exaggerated movements to capture the anticipation and overlapping action.
I would love to see you slow down and dramatize the back-flip, really over-exaggerate these natural poses and nail a smooth line of action, not to mention add some mega weight to the character. This would give the viewer a chance to breathe and take in the beautiful and totally-kickass-gnarly overlapping action and anticipation I know you would throw in there.
I think some Vin Diesel/Chuck Norris/Parkour videos for reference would show you what I mean, I know you referred heavily to game animation for this EAP but just as live-action rotoscope kills organic movement, so can emulating a synthesized acting protocol kill the illusion of fluid motion.
But I really love your narrative, I think it rocks my socks off..... *whisper* i love it...
Olly, This is it! You will be animating at Krome!You've out-ollied yourself!
ReplyDeleteI really love (besides the impressive action, sound and lighting), your staging, because the eye is captured by that great sillhouette and movement of the scorpion vehicle, which isn't lost in the distance but is perfectly surrounded by light! I can see some glitches in the too rapid movement and sadly some of your impressive key poses are too fast in the foreground figure. However most of your spacing and timing is perfect rapid and clean game movement. This is your thing! I'm blown away, no pun intended!