11sec October crit

Oct crit with Brian Mendenhall.

it's hard not to pack Everything into a shot to show off all your animation skills, but it's good to hold back sometimes for the scene, if it's a subtle scene have the guts to play it quiet.

the reason to put variety in the fingers is that you want to bring out the 3 dimensionality of it, which is why you don't let the fingers all line up in a row perfectly.

believable contacts bring the scene to the upper level of suspension of disbelief. A hand touching offset the fingers contacting, and don't be afraid to reverse fingers because fingers reverse themselves all the time.

Always make the face assymetrical, even if it's really really subtle.

less is more in head acting. don't hit every word with a head accent, choose the strongest word, the operative word, and after that then you can pepper in some more smaller accents, but that way you can easily stop before it gets to much. Always good to break up repition, the line is "on and on" it would be more interesting if it wasn't a vertical nod both times, but the second was a different direction might make it more interesting.

You want to feel like there is something happening, some accent on the strongest sound/word.

Usually expressions change pretty quickly. So can't just key the brows 20 frames apart and let the computer slide them.

The first thing you have to worry about is clarity, make sure that what you want the character to feel is clear.

It often feels like a pop if the head hits a pose and a frame later it's pixel for pixel in the same spot.