 check it out here. It's the cracks we have. Alright, let's see here. So you're mentioning that with the rigs being a bit larger, a lot of the movements all seem too fast. This guy, potentially, this probably I'd be careful with just how you get up. She goes down and it's a bit simple in terms of this one shape just goes up with not enough a breakdown between these. I think you can, I think she's so into this that she will go down here to adjust and by here ish the head will be back up so she's trying to look at it you know all the time. She doesn't want to miss any frames so you would lead with the head up and then readjust into this pose and probably instead of, I love this here, I love the offset and I love how you get into this. I would just lead and then potentially just maybe push push it a bit more in terms of the offset and she might not that she's doing like a crazy sideways arc you know swinging it to it that would be too animated but something that kind of breaks up the one axis rotation back that seems a bit simple. That probably a bit fast but the same thing in terms of the mechanics. There's something that just feels a bit stiff how. I know she's bending over through here but it just seems like it's everything is moving at once and stopping at once. It's everything's just slightly pose to pose. I know fists come in first and the head overlaps and everything but there's something where it sets the offset on these guys coming up at the same time. It might already help to really offset these and again to you know as you offset it will have that type of effect of how to exactly tilt it that because of one arm offset the chest will be slightly rotated maybe that will be enough in terms of complexities careful when you do something like this where it feels a bit too stiff through here with all the both of her arms moving I see some movement in here but and you mentioned something about the head being slightly off so that would definitely help but the main thing that I have here is that there's so much going on in her arms that doesn't really affect the chest nor the head. I think she would go up into here and as she does this I like that her head gets into this pose but if there's anything you can do at the same time to potentially shift the weight in here a little bit a bit more complex in the chest just ever so slightly through there that feels just where her arms are kind of moving separately careful here yeah this is gonna this is gonna be fast again it the reason I'm mentioning this I mean you're mentioning it as well but if you do this right and I don't mind being it I don't mind that the speed of it just be careful how you stop and you are easing in and as long as you do this with are they completely connected there or is she push pushing her head first that might just be always connected but maybe there's some more drag in them what is she doing here she's on the head going down and then just enough drag overlap overshoot there in the head you know just a little moment where you can have proper mechanics so that it kind of be kind of by the physics it's like if spider-man would be jumping really really fast really far away when when he lands like there needs to be some momentum where it doesn't just stop on a diet like arms and legs some some overshoot just to help that the momentum is not stopping right away and this is cool here I mean I don't mind the stretch there yeah make sure that when you stretch through here that there is probably some rotation away from us with the head so it doesn't feel like just a translate through here it's like there's no rotational change through all of this making this a bit broken on top of the stretch so about this point you know you start here here is right and then by the time you're here the nose will be a bit lower and tilt it away from us to her right the drop is so much better it's up here yeah it's so great up that she rolls over at the end there that all we see is her just careful what you're gonna do with her glasses right as you hold them but then you go through I mean this could be when you do this that then her glasses are actually up the other way they kind of almost off her face and then she comes back down they clack down into what you have here the little bounce detail there yeah I think that's it I mean I'm not too crazy about as long as it's not stuff like this where it's just one big piece body wise that moves up and proper overshoot when you have quick moves down so we can kind of bind the momentum stop and change then I think it's going to be cool that will be tricky I don't mind some squishiness in there just make sure it's not too wobbly once you go into full on spline there just for more some contact you know stuff like this here which I know is a pain in the butt other than that her friend I like the look here there might be something when you go up and she looks what is she doing here she is looking up huh if you do this we're going what's going on that might be you know maybe some more tension the shoulders what and then actually looks a bit like maybe a drop again really like through here maybe she drops her shoulders again like really and then do this and all of this careful with her arm it looks like an IK arm so once you spline this don't have those sticky arms this was supposed to be broken pointing this way but in this way you probably straight out that foot which will probably give you more room maybe lower it a bit more which gives us some more room for this leg to come more towards us so it's not always kind of the same position there that's about it it's all very cool I love it I think the scale change is so much better it doesn't feel so really creepy anymore I buy all of that that's about it all right 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 like and subscribe would be awesome all right thank you