What are the best strategies for critiquing character animation?

"Character animation fundamentals" In general, character animation must adhere at least loosely to the laws of physics. If there is a planet nearby, gravity must be respected. For every action there is an equal and opposite reaction. Every body part of a character should move at a different speed/ acceleration/ deceleration than every other body part. And brain processing speed needs to be observed in order for acting and action to be believable for human audiences. But the one thing that will never be equaled by non-organic A.I.? The creative representation of the individual human condition. It's time to leverage our humanity and ensure that human creativity has a future and vital role in art and animation. Are you up for it?

Effective critiquing of character animation involves several key strategies. Firstly, analyze the overall appeal and believability of the character's movements, considering factors like weight, timing and fluidity. Assess how well the animation conveys the character's personality, emotions, and intentions through gestures and expressions. Pay attention to the consistency of movement styles and adherence to the character's design and traits. Provide constructive feedback on areas for improvement, offering specific suggestions for refinement. Encourage animators to experiment with different approaches and techniques to elevate their work. Finally, foster a collaborative environment where feedback is constructive and respectful

When providing objective feedback on lifelike human animations, I try to focus on the "personality" being presented by the animation. Should a seasoned warrior be fidgety? Would an imposing figure have a jolly bounce in his step? Focusing on character performance can help develop the artist's eye to think critically, plan ahead, and spot these issues on their own.

"How to helpfully critique animation" In studio and in teaching, my goal is to give animators the best chance at growing, learning, and getting efficient approvals. Many supervisors and directors seem to focus on making observations, or expressing feelings. But it all comes down to two little words. Actionable. Directions. As a supervisor or director, if we're not giving actionable directions, then we're just talking to ourselves. When I write a note, I re-read it twice, and remove as many words as I can while still conveying the message in as short a time as possible. When I talk, I pause and wait until I can give directions clearly and accurately. It may appear to be a slower approach. But everyone else gets faster as a result.

"Reviewing scenes respectfully". I really enjoy reviewing animation. The fact that I get paid to watch animation and determine what needs to be modified/added/ removed in order to match the style, quality, and believability required in a given situation, within the time available, is a blessing and a responsibility that I don't take lightly. But it is not an easy job. My own aesthetic and ideas, my mood that day, whether I'm hungry or slept poorly, even the state of my relationships outside of work, all influence my ability to be objective and direct artists to satisfy the project requirements, while also keeping in mind their abilities and goals and helping them grow long-term. It's a challenge. But I count myself lucky for it.

Be respectful of the work, since a lot goes into whether it is great or so-so. Point out the positives in the work before getting into the parts that are not working. Be constructive with the criticism and explain that everyone has gone through these “mistakes” before and that they can fix them. Encourage them to keep at it.

"Two-way communication in reviewing animation" Animation requires us to put a piece of ourselves into every scene. Generally, when a supervisor kicks-off a scene with an animator, the goal is to provide direction, set an artist up for success, and help get to an approval as efficiently as possible. The animator can (and should) ask questions, but the supe also has other opportunities to listen. When it comes to animation, the results are self-evident. A submitted scene, WIP or not, tells the reviewer about the animator's workflow, where they spent the most time, and strengths and weaknesses in their approach. And therein lies the two-way communication. A picture says a thousand words. A moving picture? A thousand more times that.

Make it simple, low poly, and clean if you want to make high poly add more vertex after the basic shape but don't start with the high poly object.

Criticizing an animation in front of a group can often become more challenging because it is an exposition of a shot at a point that needs improvement. Certainly, this point is being exposed in a scene, but it needs to be shown to the group as it may be a recurring point of improvement that needs to be communicated to the entire group. The leader should avoid taking examples of shots from animators to point out improvements, but if it is very necessary, it would be interesting to first agree with the animators who own the shots they are comfortable with for their shots to serve as examples, respecting their responses. And the environment must be prepared for this. It remains very healthy, even in an environment of constructive criticism.