 Alright new version here with lights and everything looks awesome. Let's play this first through here. Hey guys. I was just uh, I was just This never leaves this room Cool. All right Let me just bring down the volume a tad And you're mentioning that as we see here you add the lights all the storytelling Points here. This is cool. Big fan of this. I like how they They just have their look doesn't have to be too much. We're focusing on this character here Now since you do have the lights a couple things I do want to mention if you can tweak those a bit you might want to just change the Pole color or Give it another a light for the rim like on him. It's kind of hidden. There's a lot of I might just be my monitor as well I'm gonna go and change everything here, but it seems just very it seems very dark through there Just for visibility you want to be careful same thing with the hair But I mean you do have a rim light but just watch out for stuff like that. I mean, it's mostly this just gets just disappears up until here You know, even if you had Something like that where it was just a bit lighter. So even through here you have that as somewhat of a lighter background So that we can like this is nicely separated Then once you get to here watch out again, we have the shadow of this Conflicting a bit with that shoulder area It gets a bit better through here. Obviously this is better. It's especially with the rim But then you have some moments that I just wonder if we can push out a bit more You can just change the lighting a little bit, but there's some moments through here that I wish were We're just a bit different same thing with his leg. It gets everything. It's very dark Even if you give him just blue jeans or something. I just be careful with that Hey, and then when you get to here I'm slightly distracted by the eye light or the kicker or whatever you want to call it but If there's any way to just I would take these two out and just have it right there come on more Classical there's just there's a lot of stuff going on in his eyes where it's it's slightly distracting Other than that, I think the way you arrange things for again your separation between the foreground background is good and we can see everything I just feel like This is almost you almost need like a separate a cheat for where that section is lit a bit more I want to see those eyes a bit more It's almost a bit too much in the shadow here and again the eye light or the kicker is a bit much like We're as this if you look at the difference between This how much you can see the eyes with a little bit of an eye light there compared to here Where this just really falls into darkness there. That's a bit of a difference If there's anything you can do to make it or look like this, you might have to have to cheat the lighting a little bit Even if you just parent a light To the face so that it's always somewhat illuminated with a fall off Something like that Let's go back here Now your arcs are definitely better. You were talking about that in your notes here and Yeah, some flashiness to the face. I think it's overall much much better. It's definitely cool And especially the way you have Your trail and the hands and the fingers arcs are definitely clean There are some moments where I feel like this comes down a bit straight And then you have this sudden Off there. I would have kind of smooth that out a bit And I can already sense your eye roll on the other end. They're like really How picky can he be because other than that it looks it looks nice Just watch out for some little moments here and there like here If you look at your spacing here, and I'm gonna bring this In here Where you have your finger then bam, and it's only this happens So this seems a Bit off you can see that so every now and then you got some moments in there, but it's not too bad I think I would be careful in moments through here when I'm turn this off When you have a rotation really just out of the elbow And there's really not much going on the forearm and this kind of gives it that Mechanical feel of just that top part is rotating and I would always somewhat have a little bit of a of an upper arm Movement in there. So it doesn't feel so separated And then speaking of arc I know you must hit me by now But I gotta bring that up again if you go down just watch out how your Your wrist just Has a fairly sharp turn, but then it's also accentuated by that elbow bam just kind of Coming up here. I think we could Smooth that out a little bit more. It's not it's not a shot killer We are getting fast Here, but it's it's a tiny thing. I'm more even with this with this moment through there I would really look at That section that outlined there where it gets a bit poppy through there I think if you want to do anything it would be this And the other thing and this is tricky because it's a it's a destructive note But if you look at the rhythm of your hand Kind of works through here But here it just feels a bit random how that move goes over here Pops and then goes back to the left and back to the right up and I feel like it could be slightly more In rhythm and in sync with the voice Mainly because this feels nice here because that Works with the sync now the argument can be that well He is not really a good singer and this just adds to the clumsiness of it Um, so i'm totally open to that argument there Might want to tone this down a bit that light there, but again, it's on the shot killer Now in terms of more details as you can see there's there's a change in the angle between the forearm And the wrist and as you go through there's a lot of movement in his upper body and his arm and his elbow But if I look at the hand there's really no Tightening of the grip. There's no follow on that on that palm and the wrist as the forearm changes So this is still some detail you got to do here I appreciate this that you have something in the fingers But then it feels like just a slight Down you might want to make sure that you have a bit of a rotation maybe pivoting off of here On that wrist just for your final details Because the thing is now that you've added, you know the extra Awesomeness of the lighting you want to make sure that the animation really lives up to that as well Because you don't want to you don't want the feeling of well someone spent so much time with the lights And the textures and everything that makes it look cool But then there's still moments that animation where like that pop here Or this feeling more like an ik arm Um, you know, you want you want to make sure that all that detail is there Same thing on this you might want to relax those fingers maybe two three frames earlier before that hand goes out And then watch out like your finger pose That's pretty fast. It's kind of looking at how long we're staying in this But they do straighten they just feel then become a bit too even there In how straight they are. I mean it turns into kind of karate chop hands Especially through here where that elbow really pops out Like that feels already a bit more Purposeful, which is cool. This definitely works really well here And I'm being super picky again because we're it's pretty much done And I want to just give you the extra picky notes and the lighting's there and everything's I don't want to skip things Turn that sound off just a bit as I'm scrubbing looking at feet There's a nice little slide there But I feel like there's already a slide it might just be because of the lighting But it feels like this is already translating towards us and not really pivoting off of this section It might just be an illusion because of the lighting if you could double check And it's a bummer I would almost I would love for this Hole to be here. So there's a clear silhouette on that foot here So afterwards, it's okay because we have this and that's totally fine What's he doing here? Then he brings it up Brings it back down here. You can see the shadow move and then it's not a big deal there I don't know. Maybe there's something you can do where you want to cheat Because at that moment you can bring that arm down maybe shorten that whole pole of it Just the thought to give this a really nice silhouette There's something too as he goes down. I'm still reacting. Sorry to that hand feeling so Almost soft. It's like he has there's a lot of tension like he has a lot of movement going on He's getting ready to go And it feels like during that time you want just But tensor fingers like he's getting ready. He's getting ready for that for that And then having those default hands kind of there's energy going on But then it's contradicted by this default hand So I would just watch out for that There's a bit of a wiggle pop in the knee As that knee pops over to the left and then it's stuck And then it pops forward again Watch out in real time There's a bit of a jitter there That's cool there You might even want to have a little bit of a Boom as this goes up a little bit of a foot roll just a tad Coming up coming up coming up coming up And then you can come back down Because you do have the root come down just a little tiny thing again. It's not the shock killer, but Well, so you have some nice detail and every now and then details a bit lost in other parts Careful it feels like your root or head. There's something that stops a bit too abruptly and Right there It's a Bit harsh. I would really ease into this and hold hold hold hold And then come down here And I wonder let's see the voice go back to the voice I think as he opens here because the thing is it's basically he does the Nah It must sense through the eyelids that there's more light and that's why he opens up the eyes And then looks over realizing they're over there But I would cheat those eyes a bit so that the pupils are a bit closer to camera You can really draw here. I mean like I'm I'm not really seeing the black It's probably also maybe over lit But maybe just cheat and put a little black spot there for a pupil So you want to see the eyes? It feels a bit zombie-like And maybe helps to not have that rotation to keep that rotation here instead of profile But maybe the eye the pupil is just it's an easier fix And then don't forget now that is like if you listen to the voice Through all of this there's there's energy. I would really tighten those those fingers Even like the thumb just tighten that and then And then as he goes down You want everything to relax and the fingers can relax the shoulder can come down a bit just the full feeling of relaxation there It's not quite there in those in the detail there Same thing here as you go down you might have maybe like the pinky and the ring Relax a bit more while the rest holds the mic Just you want some changes from a pose change to another pose Hey Hey, guy That works. I like your hey guy the transition how you There's a Cut to cross action there Yeah, that's cool You know same thing almost where you have a little bit of a As he has a little bit of a finger relaxation just a bit like you almost want to To mimic the feeling of way what's going on as he turns that The fingers open up a tiny bit just watch out for those type of details There's still something where I don't feel like that face quite And it's up to you like this is a question for you Do you do you want him to be kind of pretending to sing and then really get into it here? Or is he already full on singing because this is a besides it's very I can't even draw a straight line there It's very symmetrical. There's no asymmetry in the eyebrow or in the mouth shape. So watch out for that You know, like it's it's very mirrored But if you listen to the voice And I know it's not him singing, but I wonder do you want it to be Kind of relax or you want to bring in more energy? So gee This this all the energy goes up where you want to go a bit more But then again you have those tired eyes. So maybe maybe you don't it seems like Like this also feels like he's lost somewhat bored and tired So that's my other question to you. Like what what do you want to communicate during that moment? So before I give you all kind of critiques for it, uh, maybe I just want to clarify what you want to do here Or do you want to go for contrast for like he's kind of Bored kind of and then he gets really into it. I don't see my question for you But don't forget asymmetry in the face He's got scraped me up This is extremely picky, but as you go down watch out that hand is very close to him If I would just move him globally over there and if that means extending the arm of it, that's fine So there's no tangent there and I know this is on a transitional Frame, but there's something about this just grazing this And potentially adding a bit more of a head turn and eye darts I mean, I you could argue go so fast that they don't have time to look But I don't I don't know how much detail you want to put into them Hey guys, I was just uh for this section here. Hey guys Hey guys, I was just uh I was Watch out as you go over we're really also starting to lose the pupil. It's not super crazy But I will probably stay within Looking for a frame where we have a bit more was again the kicker. We're losing this a bit. This is a bit cut off A bit much. I'm trying to find do you have any Frames where it's less like we're really cutting this off here that This feels better I wouldn't go too far because you know, you can totally cheat. We don't know where they are on the on the left side So make sure the the eyes are visible. I also would not Hey guys, I was just uh I don't it feels strange to me to stretch your squash and stretch your eyes There's something about the squash and stretch that I would keep in the In the jaw and opening up and then the cheeks can help you with the squash and stretch But to me there's always something where uh, let's pretend It's my horrible drawn skull here where like I wouldn't do a squash and stretch in the actual skull Friends like in general unless it's like a super fast, you know smear frame type of thing And same thing with eyes, but you know, I can't be overruled It feels like you want to treat those eyes just Without a squash and stretch function if you look at this guys. I was just uh, it's barely visible So you might argue. Well, you know, it's just part of that style and you do have the extreme style here So why not guys? I was just I just kind of sense it and like this feels just a bit odd But to me there's also this contrast of you having you're having that type of detail in here But if you look at the head the head movement if you listen to the audio It's just uh, how's just It just it's one of those things where there's body movement and then there's jaw and lip sync, but I don't feel how You know from the lungs how he says it going through out of the mouth. It's everything. I don't feel the energy in the head How that matches the voice. Hey guys It's hey guys like guys basically has a jaw down and that's it like there's no movement in the head There's no arc in the that you can track through the nose And then same thing I was just you know could be just I was just with the head goes up a bit and just the head goes down So to me again, visually it's all cool But then this is big thing missing in the lip sync where it just feels like the head is doing one thing And then copy paste the lip sync on there and then that's it Not minimizing your your amount of work. I mean, there's definitely there's definitely a lot better work than before But I would do Personally, I would do one more pass of what can you do with head accents so that it really feels like the character is saying those words Hey guys, I was just uh, I was just See this feels better. I was just This never leaves this room Even this feels better. This never leaves this room There's something going on in the body and a bit in the head This never leaves this room So watch out. You might want to also take out that shadow so we can still see his eyes. You might have to do some fine tuning there Careful probably ease into the when you hit a shape It's easy to do that a bit more and potentially not you have to do a crazy arc But kind of over shouldn't come back for the muscles to relax That in real time feels like it's just dialed in And then stops so watch out for that. I was just Same thing here But it's good that you have that little movement through there as a moving hold This never leaves this room leaves this room Feels room is late. This is something where it's usually tricky with software where I don't know The frame by frame aspect and you know, it's the sink off for me But just double check on your end that room that the m really hits that word Feels to me like it's late the room Just buy a frame or two watch out for that Hey guys, I was just uh I was just yeah, that's my main reaction It's the head because then you also have this thing of this seems like it's on the world or or orientation or our IK where I see movement and rotation in y in the body of the shoulders, right? But then It does really take the head with it in wine. I know they can be separate But right now it just feels like they're really separate as in the head is on a different control orientation than the chest Here it almost feels a bit better because the body goes this way and the head goes With it as well a bit That feels better And then watch out now you have body and head turn at the same time With a sudden translate on that head Where that sudden head move is also mirrored with that sudden drop in the shoulders So make sure that you don't have too much of a post-to-post feel to it. You do want to lead You know, is he's so embarrassed that he's gonna That the shoulders are going to slump first and then the head is going to go down And you want that head to be more on the under arc with that feeling of being deflated I mean you can have an upper arc But to me it feels like you just want to get out of that post-to-post and look at what leads that action first It's a bit much and then watch out spacing wise. I feel like you activating that translate and then suddenly stops It's a bit of a hiccup pause there. Just a tad I know it's fast, but just The main thing to me is just how it's a bit too post-to-post And then spacing wise you have that Where it feels like we're hitting this the head like that like it comes down and then back this way Like you have a nice arc going this way But then it it does that kind of thing Hold on So I don't have a sharp point to track here, but If I go by a very messy point here Yeah, not sure if my Dots can really show this but There's a slight feel of this Come back up As opposed to a bit of this I'm exaggerating doesn't have to be this crazy loop here, but Just watch out for that since there's such a big nose This never leaves this room This never leaves this room. This never leaves this room. So then I can go into This never leaves the room. It's a bit again. This is very picky because we are very close to the end here Even this feels like you're going down in one axis and then coming back up into the same as opposed to a bit of a Change there So to me it feels like you have some moments where the detail is really really nice And then some other areas where I think you should still give it another pass In terms of arcs and spacing especially on something like this where your the hand suddenly pops over So to me it's more little things in here And this the main thing to me is that the head doesn't quite feel like it's saying those words But it's overall much much better and it's really coming along. So I mean, you know, I'm just being extra picky because You're paying me to be I don't want to say it looks great. They didn't leave it So as always you can take it or leave it in terms of notes You can implement whatever you need and you know your timetable in your schedule. What do you want to do? But compared to the very first version, this is definitely a huge improvement So I'm gonna leave it at that and thank you All right, there's an email you can sign up you can start whenever you want you can submit whatever you want You get 16 submissions either way the like and subscribe would be awesome. All right. Thank you