 all right so I think this is looking pretty good and looking at your email you're mentioning how you you like to drop here now there are two things about this and it kind of informs what we're gonna do with how we're gonna continue with the critique basically you have this whole section with this guy at the beginning that feels fairly fairly real in terms of you know like Pixar cartoony reel it's not it's not overly snappy whereas you continue on and then suddenly doing this section so even the hit here is more like the humans in Toy Story 3 that starts to be a bit exaggerated just slightly in timing but then once you continue on and you go boom that compared to the beginning feels too fast because as you start the shot this is kind of the style that you establish when you start something and you have him moving and then you got this guy moving it just it sets the tone for the rest of the shot so when you have something like here that feels a bit too snappy it gets not that it's bad but you're getting into cloudy with a chance of meatballs or Madagascar type of timing so you're gonna have to decide if you're either gonna slow this down or punch up other parts to make it a bit more snappy for instance it's not like you want to make this snappy because he's just breathing in and out so I think this this can be okay whereas the other guy when Malcolm comes out for instance as he brings his feet down that could be maybe that could be exaggerated you have the get up here fairly fast but then how he gets into this pose could be not that you want to make everything faster but I think it's mostly him that needs to get get drawn more into that style he has a bit more snappy potential I mean it's also because it's still in step mode you know little moments where you just punch it up a tiny bit but I think he would be more Malcolm is more inclined to be fitting to if you want to fit that type of style here then you morph this guy so I would say let me know it let me know the email what your thoughts are on that other than that if I look at this I think everything's pretty cool on Morpheus I like the beginning I like his keep alive I like how things are broken up if I'd be super picky it would be so you have movement movement and then right here right on his on his side here and his thigh and on his thigh his side then he kind of dies a bit I think you continue a bit of the breathing not crazy but it just kind of continues as you go down he continues to up and down because we don't want to distract from that guy coming out obviously so that would be a tiny little thing there but I like how you get the turn let's see frame by frame it's be all anal here it's pretty good I could still have a little bit of more offside on these guys I know the chair starts moving and if the chair moves this whole section moves so both parts get affected more but you know it could be you could push one hand where one hand is just on it and the other one is driving the turn in my absolutely awesome arrow here so that one is a bit now you have this thumb coming up it feels a bit bigger but I think you can make one a bit more exaggerated or you lift one first you know it's kind of lifting up and then pushing over while this guy keeps resting in and just gets pulled along that could be a way to make it a bit more offset I I see you have a bit more head right maybe a little bit this still feels like it's one ginormous piece that's really off-balance going forward so I'm still not sure about this guy I still think you can if you make it work where it's a bit more you know you got the hips here and legs here but it's the rest is more kind of what kind of like that and then he's hunched over like this so it's not just everything is dropping over this way that was one of the notes from last time I thought you can make this a bit bigger I like your your weight shift it seems to be especially here seems more pronounced it's just something about this drop how everything moves forward but it cuts well I still you know if you could just even if you just take your route and move everything back so that everything's ends up being around here you know my awesome drawing here oh that was my thought on Morpheus now as you continue here there's something about this that feels a bit odd it's always been there I was wondering now maybe you know stuff can change and I don't know is but the thing is when you hit that pose he is so spread out with his legs and I think this would be it just feels a bit too not that you want to bend his legs like crazy that's always completely hunched over but it feels like this is almost too stretched and I think what you could do is as you move over to this he could kind of just bend that over and then maybe have a foot roll or just tilt the foot over to accentuate that that awkward stance but there's something about this wide stance that feels kind of odd on a technical note just watch out your knees they are popping popping popping especially doing this section here that guy there's a lot of back and forth and acting wise what I would do you want to make sure that we are always looking at the right person so as this guy turns around this guy being more sports so when he says that hey sports we with this forward movement you almost throwing the eye over here and he starts talking right so to me the way he goes back here that is almost too much you want to keep it either don't go as far maybe halfway and then on your way back a third of that distance wise so that there's not much moving here that distracts from this guy here that will be my note on just on this section so I'm going back to him because he's like what is he going to do if he moves around that much but I want to see his glee you want to see how he is such a distance boom right so he goes back tone that down that's fine and then this is too fast but you know as I said before because of the style differences so I would you know think about what you want to do which direction you want to go but also you have how the Nazi goose step legs here that's also very poppy very fast so you definitely start switching styles here and on the technical note as the ends this breathing part feels too much like it's pose a breathing forward pose B but then back to a and then back to be blah blah blah and you want to go you want to go A to B to C to D to E to F and so on and so on so on so that everything is always a bit different so it doesn't look like a cycle and looking at Malcolm Malcolm but the thing is the way his timing is now like to me it will be better to keep everything you have and slow that section down here because I really like what you have at the beginning with both characters but that is your call I do like his little slow down here on the legs I think this move if we keep it more consistent with the beginning I think his move as he goes forward right there is a bit fast I would slow that down also with the up maybe two three frames bits slower that gets a bit it feels like you're popping and stopping like your your rude starts and then stops it's like it's going forward but then stops and just goes sideways and forward again so as you continue on just watch out how your curves are and how it's not stop and go and there's some pops and his elbows I'm not sure if you're doing IK at this point but just watch out there's some technical pops in there but again the overall timing I do like on this it's here bit fast but then this feels like I like this and I think you could I think you could milk this moment a bit he goes with this hand goes up and then as you get up there you're immediately knocking so there are a couple things here since you move this guy over I will bring if possible not sure how you're gonna do that but you might want to yeah keep this guy the thing is there's a tangent here it gets a bit too close so maybe have the fist around here you're just gonna have to move him back a tiny bit but I will bring the guy up here and almost you know if that's his knocking position I will bring the arm up all the way up to here hold up for maybe I don't know see maybe like five to ten frames then come down and then start to knock so it's a bit more exaggerated overshoot and then back down for the knock this was right now to flowing right into into all those moves together watch out technical issues on your on your guy here he'll pops there and get back into the previous version and as you do this again this offset does a tiny bit I do like how he has that together just you know by a frame or two and then once you get back there I've mentioned before just bring out that fist a bit more so this fist is not in front of the mouth just in case that was lost on the previous take but that is it you know just let me know on your style we can talk about it see if you're gonna do a blend maybe make it less snappy and less real you know we're kind of meet in the middle but that is it all right let me know as always via email what you think thank you all right there's an email you can sign up you can start whenever you want you can submit whatever beyond you get 16 submissions either way like and subscribe would be awesome all right thank you