 All right, let's take a look at this Shot one I Slowed down the drop and made changes to his poses along the arc Seems a bit better So I think how about you send me your Maya file and I can do some camera work for you Just kind of illustrate my points. So now that is a bit uncomfortable how we cut off But then and the continuation go a little bit there and a little bit down, but I'll show you this just send me your Maya scene, you know all your references or you import all your references Into a raw or a zip file or Dropbox, whatever you have and take a look at that. I Think this is a lot better That seems cooler. It's more streamlined silhouette. You got full extension on the legs, which is cool But to mirror that you might also already have your arms extended So just we're gonna feel that that arrow coming out like that feel is cool But then having those arms constantly bends Even if it's for a short moments straight, but kind of takes away from from the From the push And how the arms go back are a tiny bit slow. I was to take like a frame or two out But still better and then don't forget to have your head to your head could potentially At this point. It's already going down. I wonder if you know, you want to look up So that it's in the ends up here is about doing here. It's looking up then it's here and Then at this point I will bring it further in like it needs to roll in Versus this feels a bit Casual like this post for instance, you know head already down arms like that. It's just a bit too casual But you can help us with the head. I think your arc is better though Yeah, I think you arcs good If I be super picky and I can take a look at your scene. It still has that right there Let's do some onions getting here. You got to look at your route Let's pretend. I'm gonna look at kind of the middle of the pelvis Then actually for this example, it's good that there's no camera move because the camera move would sounds a bit off It's probably right here the camera would mask my point here That I'm trying to make. All right, so if you look at this You can see here, especially through there how flat it is Right you're going up and then it's boop flap here and down versus Up and you have just a big arc through here. You got to continue with that arc So you got to go in there and track things frame by frame Careful with the turn when you look at this shape Seems like everything is moving as one big plank I know there's some changes in the arm But what I would do is you got to have that that body curl. So when it's out like this Imagine See how the legs are just coming up. It just feels like one piece of wood Turning and you got to keep those legs a bit lower They're still dragging and then on your curl You got to imagine that even if the legs are here that you have your lower body And then you got your upper body starting to curl then you got your head I'm exaggerating curl in here and whatever you want to do with your arms if the arms are still there or They're going in for the right, but you want a curl you want that part to lead the action So it doesn't feel like it's one big piece That's why it still has a little bit of that dead weight feel because it's just this whole thing rotating Which has been the issue from the beginning because you got to make sure that at this point You tuck the head in that leads and then you tuck the body in that the body has this curvature For a nicer roll and then you can get out of that roll into this It's just a couple frames, but you got to get rid of that stiffness and I know I'm harping on this and this is You know, I know you feel like you don't move on from the shop But you know my job is to point out the things that you could improve on And if I watch this, I Think the arc is less of an issue. I'd still feel like like I said, there's this little wall hit right there, but the overall timing is So much better and I do like how you how long you hold the arms back like it has that feeling of Explosiveness and then you hold and then you turn like that is so much better Just tiny little things Exits the frame which is good That's cool But you're still pointing this way while it moves this way You got to have more in alignment towards that. Otherwise, it feels like it's crabbing They just kind of slide sideways, but the timing of it It's cool. Yeah, it's just that end that feels funky So the drop feels better. It feels like he's actually getting away from us There's that little wobble there that I think I like You can potentially Here have the legs a bit further out just a bit and then during this wobble you bring them a bit closer Meaning that I interpret this wobble as this is the moment where this really gets tights like the web and it It straightens out and it kind of we kind of snaps him down and then he swings and that snap down is going to Bring the legs together So that's why I'm saying you want to bring a little bit more just a tiny bit not to you know Not like the crazy stiffness, but just a bit and then just a bit closer here and that way you have Visually more of it out and in change. You just want to see it more, but this feels a lot better Yeah, just the exit feels crabby to this You're you work on you're saying here I worked on his legs motion and slowed down the swing at the end. Yeah, that's great Much better I moved his body screen left as he falls and changed his hands and legs like poses Same thing here. He not that he moved it. He's still crabbing, right? So your movement is good. I think it helps Even though it feels like you're doing this and then it's pretty straight down you might have to cheat a bit So it feels like that arc continues that trajectory and translate continues green left Just at the end it feels like he goes down straight and I know it's not because I see the negative space closing in but The problem here now is that your knees are pointed straight ahead and The body pretty much as well as a slight rotation in there But you have to make sure that when you look from a top view and if he travels this way that the body is Pointing this way and right now it feels like the body is pointed this way with the legs while it travels this way So even if it's slightly rotated you might just have to push it visually like this feels it straight on even though It should be pointed this way Think legs are cool your offsets Just watch out. There's a funky spacing. I don't know if that's your legs or your roots Through here It seems like it's again floating in space and then here it's only accelerating I think this is what I'm reading in terms of the arcs only dropping So if you look at his shoulders They go up up up up up up and here they kind of hover like the spacing is very small Whoa, and here it suddenly accelerates. So from a side view it feels like you're going up Then you're slowing down and then whoa, you're suddenly going down versus easing out of that and then accelerating So watch out for that that's going to help that visual look of that arc and It's going to help especially this foot you can see with this foot from here to here It's pretty much the same height and from here to here. It's only drops down So it's going to make sure that that's all smooth out I get rid of the break Here's the brakes in his right hand and animated chest a bit. Okay, cool stuff in there It's good beginning here But then the problem is that as you go up right this hand is the arms like this Continues to go up. I think you might get away with dropping this just for the impact. Let's watch this in real time It's definitely better Yeah, impact is definitely better and I like your shoulder your elbow here going down So as this stops you got the wrist going down, but it's a bit too slow I would take a frame out of this this feels a bit too slow if you watch this in real time Watch the wrist room. I can see it. I can see it rotate down even though it's not So it's a bit too slow cool stuff I would just take a frame or two out of that snap Then you could potentially right at the end curl those fingers in a bit more for some tightening and at the ends The orientation will be down here instead of like this. It'd be a bit lower so that the head the arm drags a bit That's all you got to do Dress is cool Left arm is always cool. There's some stuff in there. That's cool. You could Just thinking out loud and I know you got to bring in those knees so those arms go Go over but I was looking at well as you go down and push off You want some rotation this way and compression in the feet because we are going for more realistic And then this section is completely frozen right so imagine on this the foot will be a bit flatter And then as you go down it gets into this rotation where I can see a little bit of the underside of the soul And then as you go up it will rotate over and flatten again as I was thinking this I'm going away if you go down And you squat when your knees go out Because you need room and then as you go up your knees go back in So I would act that out a couple times and see how it feels Yeah Sorry if that if that has always been in there apologize for not seeing that before but to me it feels like as you go down room Your knees will go out I'm actually wearing a t-shirt and undies. I'm not gonna turn on the camera, but I'm gonna get up And I'm gonna stand and squat and if I go down I Don't know if to me I'm gonna go further away. I know you can't see this was I have my on these on but my knees go out So let me roll back in People wondering what this is. I'm rolling back in So yeah, to me I would bring in just to the exact what you're doing, but the opposite so your knees out And maybe even if they intersect with the arm because it's away from camera on the other side We don't see it. It might be okay But I would look out for that and even then you have to watch out. You can see your your thigh here Your thigh your tibia to call the shin Rotating down and then it stops here. It's locked here So stuff like that you want to avoid because as he pushes To me it seems like yeah, you will go out here The knees will go out and then on that push because he's pushing this way this tightens the knee goes back in All right, I Easied his upper body motion. That's for the shot. No man. Sorry. I'm just so harsh on this, but I feels I feel even stickier And now this is super short and it's probably okay But what you've done now visually if you look at this wrist See how this wrist is stuck in space it goes up and then sticks as if it was There's like a needle going through here and that's where it pivots. I think it's okay And if it's my initial reaction, but so all I would fix is this it's not so sticky And watch out you got a bit of a Rogue thumb here like none of the fingers are Going in or closing the gaps here, but then the thumb is doing its separate thing here So watch out Again super picky, but this is how I would approach it at work You know, you got a really buttoned the whole thing up to make this a final shot So watch out the thumb watch out the sticky wrist. I Change your camera angle and worked in Venom's animation and Spidey jump Spidey jumps nice a bit fast. I Would slow This down a bit give this in me two or three frames and then from here to here a bit slower You want to ease out of that and then you can Explode into that jump a bit more That feels cool, but how you get to there is a bit slow So a bit slower on the down and ease out of that more and then to explode out more It's cool though. You can potentially bring in that leg a bit more and then leave that for just more exaggerated like pose but This you got to slow down He feels just a bit too light And I would it's cool to end here. The promise that the shot is so short. Yeah, it's a tricky thing I it's almost like you want to exit frame, but One thought would be Close the mail here What if what if this was your framing imagine it goes all the way up here? And Spidey is up here Like you add the time it takes for him to jump and reach up here Because that way we give you know, there's not so much overlap here You have only one frame of clearance here. That way we have more frames of him being You know in his pose. It's my fast body More time for us to read this more time for this guy to slow down So what I would do is I would just Add a second or two See if you can make that jump a bit higher and you can always go up and then drop a tiny bit and end in that cool pose Just pushed a bit and that at a time Take the whole animation and scale it out so that this last frame is happening at the end of whatever this ends here and Then on that impact just have a bit of a sharper Heterotation this way like to make things heavier You don't want to just take the whole thing and make it slower You're still gonna have some sharper smaller impacts So if the wrist is like this imagine the wrist instead of angle like this is here and then over three frames It angles this way because it would roll off this side on that impact So that can be a bit faster on that Impact going through the arm in the chest that ripple That you know the arms that stop the chest from going forward is gonna have an overlap in the head So the head going down and the bit over to the side can be a bit faster So you still have scale and weight and especially weight differences in this and this While you overall slow it down Just a bit especially this arm up It's too fast also watch out this feels very straight Like an IK arm. Don't forget your arcs You know, you can easily go out or out You gotta watch out what you could do there and that way also by extending it It doesn't just end on the impact. You can have a little bit of settle in here So maybe two seconds longer, I guess Maybe yours just a second. All right, that's it. 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 a like and subscribe would be awesome. All right. Thank you