 All right, let's take a look at the whole thing first You send me an email with the notes updates. That's all cool All right, let me have an additional shot at the end. All right, I Think it's for sure better But there are still some some of the issues now. There's some detail stuff I'm assuming gonna get to it later, but you get to get the same hand pose especially this one The right screen right one that feels really static like fingers out and how the wrist is up instead of looser And there was something about He still feels like he just kind of goes Where it just feels there if everything feels very post-to-post everything moves at the same time So I think you still want to have that moment of him leaning forward You want to offsets the offset the arms you want to look at what is leading is he leaning forward and then looking up with the head Or you want to go back a bit and then forward a little bit of anticipation There's still a lot to be done in this one I think the path is better, but it still needs more if you look at that energy How there's something where You know, I mean I could still still need to go at least Split that difference, but I need to go a bit further And then it still has that weird feel of just arms just kind of hanging they kind of both go back The feet are still very flat like they're not angled out to be a bit more dynamic Everything just feels kind of he still feels like a corpse. These are very very Twins feet are too similar. So you really need to look at a few more dynamic poses For this jump and flip over there I highly recommend that latest multiverse spider-man trailer For dynamic poses. I think I'm gonna do a trailer analysis this week for it So I think timing wise it's definitely better. I just look at how far it goes and it's pushed to poses This still feels slightly rushed Through there. So as he comes down At least here. It's a bit more. You can still probably Break up. It's a horrible drawing, but break up the legs out They don't I know there's an offset there, but you could still push it And as you go forward see there's the thing is that hand is kind of in that same position And then this the web just kind of peers versus imagine Excuse me if that and if you're a bit more angled arm here and the arm could be bent And you know, however, I don't know. I have no idea. I can't draw what I have in my head is not gonna be Yeah, full at all But the point is that you would have an arm back here And then you can move that arm forward and then shoot the web So there is a move forward so that tells the audience. Oh something's happening It's the arm that shoots the web right now It's just kind of a pose with kind of a static roll and then suddenly that web appears and the thing is We're so close to the edge here There we kind of lose it. So I would try I think the camera drops too fast. So what I would try is to keep this size In terms of how big he is. I know he's he has his legs out But he's so much bigger in frame if there's anything you can do to have his head here And again, it could just be slightly smaller some offset in the legs But that his arm at least You know, I would I would have that fist maybe here so that we still have this much Within your action save or whatever that you have here You know, you want to see more of that arm in that in that web And then as you go down here This still feels like the whole body is pivoting off of the midsection And the chest the head the legs they just kind of rotate the same With there's no drag in the legs. There's no change Or maybe at this point that arm was back here and then Moves a lot faster to then hold on to this So it just doesn't feel like it's just this one piece of wood that rotates Once you get to here Again, you can probably bring in the legs a bit higher For a bigger swing and it gives you a bigger silhouette and bigger post change And I guess the end is okay. I would just take that building and move it over here So we have a clean silhouette of the character not right here in the middle Kind of a somewhat tangent, but just kind of weird overlap Same thing here. This just feels too straight and static for such a long time There's anything you can do to You might still have a slight twist in it one leg might be out There's something where you want to push those poses But just give this a bit more an interesting silhouette too around here ish That's okay. I'm so Confused wait you're saying So that edge Is here it's so confusing because these are the same colors He suddenly disappears. I would just cheat this and take this down so we can see the ground so we can see him Till the end. It's just a weird cut off Especially with this cut off here in the hand right in front of there and this being the same color No, maybe if there's different textures and focus. I don't know but I personally would take it out so we can see the whole thing Was it so short When it comes out, I think it would help to see the last pose so you can connect with this cut here And I will bring that foot down and not roll the feet up the toes Because you wouldn't really land like this. You're more land toe first And then this still feels too stiff. I think you have a bit more downwards. I think But you can go harder lower the risk and kind of snap down a bit The screen left arm feels better Same thing here. I won't go heel first just this range But you just need more impact in that so it feels like a lot of the nodes from last time still apply This still feels a bit fast This section and then how quickly you lock in if you want to make this photo real It feels a bit too Stiff through there I think you want to overshoot a bit more in your route And then ease into the ocean come back a bit more and have a bit more twist in the body It feels like it locks a bit too much And then through this you can have potential change in the fingers finger poses Same thing here I will probably bring in that thumb or bring it out a bit more to something where it doesn't feel Like the index and the thumb are the same And then here, you know, there's so much movement here I don't think you're gonna be distracted by spider-man doing something So I will watch out a it's a bit close here, but you can have a little bit of a Move here like a side step and adjustments arms can go a bit higher The fingers can tense up into fists something where he gets a bit more battle ready Or he takes a step back because he didn't expect this to be this big There's a couple of things you can do but right now there's a weird drift in the wrist Going up there You can see that when you scrub Definitely add some business You know, even in like small adjustments. I don't think I'm going to take away from this massive thing here Speaking of which That's a bit Let's go see a bit fast. Let's see Yeah, I guess I was losing a little bit more those fingers. It's a big big big object And it would be cool It's going to be very staged But if that finger will be here Then in the middle finger will be here and I guess here you can start overlapping So it's a bit of a nicer silhouette Just that block in front of the leg I would kind of switch that over a bit more And then as this creature comes up here, Benham It's just very much in one axis just rotates back and head rotates back without any side to side or tilt in y Or rotation in y Change in the head he could come where the the head looks maybe You know eyes are this way looks this way and does this big turn Just something a bit more complex than just a rotation up that feels Too simple and then that mouth open, you know, probably keep it closed and then open And I don't know if that's kind of a He's breathing out. He has bad breath and he goes Is that supposed to be kind of a roar? If so, you got to make that Intensive payback come forward with the chest. Yeah, if you want this to be a big roar There's just a lot more you can do You will then you bring up that second arm maybe trying to get up And then maybe you change that rotation into this or the head is like that shoulders like that Arm comes up, you know, he's trying to get up there And it doesn't just kind of lock in this pose There's a couple things you can still do same thing here. You have still some twinned arms In terms of timing, I know this is more bent, but just kind of move all at the same time stop at the same time And again, it just kind of moves Like the silhouette it feels like you go back participation and for the web slinging but We kind of lose the silhouette if you squint your eyes you do a silhouette test. It feels like a stump Where you want It's never really there. You want that little bend That arm, you know, you can kind of cheat and see what you can do to see those elbows And then This feels a bit slow So if you do this I will probably bring out those arms forward stretch them out and then pull them back for him To propel himself forward But once you reach around here He feels very slow and then he starts to kind of fall down Which feels a bit weird. I think you want to Keep Moving at a certain speed definitely faster. Keep having go up. You can always tilt up with the camera And it's weird that he he doesn't exit To me it feels like you want the head here and it's the chest That hits the camera that then blackens out the whole frame per cut. It feels weird that he goes in Punches the camera. I know you're saying it probably goes into punch venom. It's just a It's just a weird frame to cut on and if you're going for a for a punch Then I would have something a bit more of a tilt that arm really really back Something where it's just a bigger dissipation with a bigger Smack into the face, but I'm not quite sure if that's gonna work So right now it always feels like you want that web to be closer To camera if it's hitting venoms the head or something That's a tiny detail, but so they feel kind of Twinned It will offset on those on those webs, but it feels like you want to give this enough time Let's see you Yeah, I don't think you have enough time to do Pull for a web sling and then a punch. You might just have to go into Pulls himself forward to then Just fly towards camera and like I said the head would be higher and the chest goes into the camera It's a bigger mass that can black out the frame for a cut I don't think you're gonna have enough time and you don't want to slow the whole thing down to do a pull in the punch Unless you start a run jump up Or you can take just one arm for the web Take like one step forward jump off Pull with this side Only this side has the the web So one two step jump up Spy the web pull so that throughout this whole thing You're already in that anticipation of that punch So it reads longer and then Punch into camera, but again that fist, you know, it's gonna take up the whole Camera to then black out the frame Yeah That's kind of it. Let me know what you think. 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