What should you look for when evaluating animation work?

It’s crucial to keep in mind that emotion is only one motivating factor in creating an effective acting performance. You aren’t animating an emotion - you’re animating a RESPONSE to an emotion that’s been triggered by some event. For example, if a parent receives terrible news in the presence of their child, they will of course feel the emotion of sadness. BUT - do they struggle through the moment by putting on a brave face to protect their child’s innocence? Do they break down in tears despite their child being there because the news is just that bad? Think well beyond just the emotion when animating. That’s how you achieve a relatable performance with depth and layered nuance.

It should be clear within the first 5 seconds what the animation is about: in what type of journey are we being embarked. You can ask yourself after just a few seconds: Do I know where this is going to take me, on a story level? And if the answer to that is no, then: Do I want to know where it will take me? Am I connecting to something in particular, be it a character, a style, a narrator, a visual, etc? If an animation can't provide you with satisfactory answers to these questions, then there's a very important part missing!

A clear narrative is Key. If you're trying to say too much or have conflicting messages, it can kill your audience's attention. ?? Keep your message clear and concise. ?? Make the first few seconds count. ?? Add emotion. It's relatable and holds attention. Being aware of your audience and what you want to communicate will help produce animations that not only look good but tell the right message.

When evaluating a reel for vendor association/ student work, the best way is to assess if the talent has the prerequisites of what you need for your show/project, viz: a. good with acting skills and facial acting delivery ( for a sitcom, emotional story) b. understanding the style of action & timing of the show stylized action-adventure show) c. good with handling simulation ( crowd, hair, fx) d. a re your animators interacting with the pre-lighting team? e. confo- process and tech-fix to ensure a cleaned and ready product is ready for delivery Are your animators good at communicating with the director? G. ACTING OUT your show and using them as references for performance shots? h. thinking from WITHIN the character and from OUTSIDE.

There are 2 top things when evaluating the quality of an animation. The first one is simple enough: Making sure that the message is communicated clearly. The second one is not so simple: Evaluate if the animation follows good practices. These are often referred to as Animation Principles, and there are plenty of videos on YouTube that demonstrate each one in less than 1 minute. Having an understanding of these principles will give anyone who is in charge of reviewing a video the tools to know if the format is being used correctly. Animation has its own visual language, and it is paramount that this visual language is used correctly.

Overall, I think there are some points to consider: - Visual appeal: Does the animation look aesthetically pleasing and capture the viewer's attention? - Technical skill: Is the animation fluid, with smooth transitions and realistic movement? - Narrative and storytelling: Does the animation tell a clear, engaging story that keeps the viewer invested? - Character design and development: Are the characters well-designed, with unique personalities and compelling backstories? - Sound and music: Does the animation have appropriate sound effects and music that complement the action on-screen? These are just some of the factors that can contribute to a successful animation!

Yeah.... Understanding the 12 principles of animation is very essential and goes a long way to help anyone going into this filed professionally. While the principles are King, the style, techniques differ and this is what makes animation special. Every style is notably made by its creator and team, and this is also very crucial

Consistency is key: You want to make sure that the animation sticks with an easily identifiable visual system throughout. I like to think of visual systems as the intersection between context, requirements, and audience. If an animation has characters in it, we want to make sure that all characters are done in the same style, same color palette. We want it to be consistent in terms of colors, textures but also animations, transitions and sounds.

I'd like to expand on the secondary animation point raised by Diego, as it's a key tool in achieving interestingly layered performances. In its truest form, secondary animation is just what it sounds like - a secondary action a character is doing at the same time as their primary action. A character having an intense conversation, for example, may also be doing something like cooking at the same time. Cooking is secondary to the conversation that's actually driving the story. As the conversation intensifies, so too can the way the character stirs a pot, or absent-mindedly gestures with a dirty utensil. Some of the most entertaining performances in animation history have been achieved thanks to secondary actions.

Two words: Secondary Animations. Polishing an animation always simmers down to adding secondary animations. These are things like the movement of the hair or clothes on a character. Bounces of expanding elements as they reach their limit, little things moving in the background. In short, polishing an animation requires to animate as many things as possible in the frame without deviating the viewer's attention from the main message of the video.

In animation, the more often you get the possibility of providing or receiving feedback, the better. Each step in animation is time-consuming and requesting feedback too far down the line will greatly impact the work. Often, an animation will be broken down into several stages: -Storyboard -Styleframes -Animatic -First Cut -Final cut Clients and creative teams should start feedback rounds at the style frame stage. And closely work from there on with whoever is managing the process.

Feedback is one of the most important things that can help you improve your skills. You can obtain it from the internet, social media communities, or various organizations. For example, I receive feedback from "Rise Up Animation," and I once had a session with an animation director who provided me with valuable advice. The best part is that it's completely free; all you need to do is sign up for it.

Related to feedback and improvement is collaboration. Animation is a unique method of acting in that no one actor (animator) owns the performance of a single character. Dozens of animators will contribute to the performances of multiple characters. As such, it's imperative to ensure you remain as open as possible to input from the full team, as well as from lead, supervisor, and director feedback. While it is tempting to try to "own" the character with your unique take on who you think they should be, the openness of healthy collaboration is the best way to deliver a top-notch acting performance of an engaging character as a team.

ACTING! At the core of animating is acting, yet animators in schools and studios tend to receive very little acting training. This is the byproduct of a long history of hyper-focus on understanding believable and appealing poses and movement, but we can no longer afford to put our understanding of acting in the back seat. The most beautifully executed movement in animation will still fall flat if it does not deliver the acting performance the moment demands.

When evaluating animation work, I focus on several key aspects. I prioritize compelling storytelling, ensuring the animation effectively communicates its message. Smooth and high-quality animation, along with well-designed characters, is crucial for engagement. I also consider the visual style, attention to detail, and the overall pacing and timing. Sound design and music play a significant role, contributing to the overall experience. Ultimately, I look for animations that successfully capture and maintain audience attention, and I appreciate technical innovation that adds a unique touch to the work. By considering these factors, I can make informed judgments about the quality and impact of the animation.