 All right, let's check this out This guy Sniffy Sniffy And okay, hold on. Let me Zoom in that way this is cut off All right, let's go Like broader picture first before we're getting getting into the technical Aspect watch out for this like there's a moment not that he Wolf is looking already But it feels like I aligning. It's already there because again, it's not like there's a lot of grass You got to be careful. I would still I would still have more something like this this thick here You know, I mean where it's just it's a lot and it really covers it and It's the wolf is looking down more and it's you might even start like this because the weird thing about this one is that it's looking There but then looks away And it looks kind of back to me this would work, but if you actually just start here Looking down and again I will put in a lot more and you might have to do something where you take a bunch of these You know make it thicker with your pivot down here so that when the wolf goes through there And I would the thing is I would sniff sniff sniff sniff sniff go forward so that it Pushes the leaves to the side like you really want this thing of oh I'm pushing this to the side and now I am finally. Oh I'm seeing this you mean like this should be this should be your Your framing composition where you know, there's a bunch of stuff bunch of stuff, but this is in front of it You know to really make this Visible like that. So it's like it's a cute compositional Reveal of just the eyes. You have some nice eye acting there and then it can do this Then it's totally fine You mean like then it's all above and then you can do this and it can still push the leaves down there Which then in turn will maybe you know Aggravate this guy and this that's why this guy turns and I would I would still have it turn because right now This doesn't work. So you're completely breaking the rig at this point So I would still turn it so this is broken here, you know, it's all the poses are broken So imagine the leaves coming down disturbing the seagull turning around again, so it's it's more like this And then after that it then it's already ready to walk You can do all of this Watch out for this. This again feels too broken. I would I Know we talked about this kind of maybe do something else, but I think I would do something where it's just a bit more Forward okay that forward so you would have more of a pose where? Shoals me a bit higher so we can collapse this a bit more and then have those paws like this as The heck goes forward, you know, so just it's a bit more anatomically correct versus this just feels weird Where it's just so broken and so straight up and then let me see where the rest Like this is the biggest things there's the acting coming in sniffing going forward doing this Doing that and then I think on that turn I don't know. I don't this might be wish you wash your feet back, but looking at this now the wolf Looks and then it's it's this odd thing of and boom then it's just kind of dying Where it's kind of looks up and just rolls back and then it looks up again, and I don't know if we need this I feel like we can go from this pose straight to this it rolls backwards while still looking at it And then it closes its eyes. You know, I mean, there's just something odd about just that moment and watch out like there's this It looks back, but then sequel does this For for what to alert him to look back. I don't know. I'm not sure that quite works very subjectively, of course But I will probably just go from him rolling back like this while looking To this still looking and then finally with different pose Doing that Now from a technical point of view again, I will bring those feet forward so it's a bit more natural like this out like that feels broken This watch out as you have movement you can have some residual movement in there some keep alive So doesn't feel so dead and just up here Careful how much you turn because again the neck gets a bit broken There's a lot of drifting animation your root just goes Like you can't have just a key here and a key here This is just a linear key drifting over like that timing wise and It just doesn't work It would just be something a bit more You look around and then hold and then you just have Eye darts, maybe some like eye head darts But not this long drift. It just is too soft Again a lot of body movement that breaks the leg You're just gonna have to have you can have body movement But then you just have to take a lot of quick little steps, which would also be really cute But he got to move those feet that is full to IK locked Then think in terms of silhouettes like this is just a wonky silhouette where the head is in front of the body You know, I mean like you got to push seven in Maya Just with the rigs in no background And then that's your silhouette and it just doesn't quite work. This feels better. We understand the structure a bit more Watch out for this. We're getting a lot of sliding feet. That doesn't work either Again, I'm not sure about this moment is in general but watch out this again This leg is totally broken pointing this way. It feels like there's a lot more broken than last time You have really over extended legs Going over there and for him. He works a bit better. I just gotta have moments where it's less all Moving as one piece gets a bit. It's just here and there. It's not always like moments like these Feel too rough where all of this feels like one piece of geometry geometry going up and down And they're just gonna have to work just on your physics If you look at this how it kind of pops down and then you got the knee pop over one frame Pops up and locks and then goes out this way as opposed to a nice arc The head coming down here. It's just too fast And then this especially gets really rough where the body moves over locks They move to the left then goes to the right again, and then only this pops down And that pose a bit broken at the end there, so it's a bit of a combination of it's making things a bit clear in terms of Silhouette and everything but just like with your previous clip. I think you're still struggling a lot with basic body mechanics and timing and weight So it really attacked the shot One section by section really do this then you do this then you do that It's just there's a lot to do because also this shot is 13 seconds long, but it's a lot more entertaining There's a lot more stuff happening than the previous shot of the one that I looked at before So that helps in terms of entertainment value and pacing like what we're interested in looking in looking at But it's just it's just a lot of work and I'm wondering if that's just too much for you to handle at this point And maybe just take a one section and concentrate on that. You mean it could be I Would still do the set piece though, but imagine you have all this It's cute. How the set is pushed to the side. We just see the eye acting and imagine you're just doing this Whoa Hmm. What's this cut? And then it comes forward and then this guy Moves the body back in a turn like this pivoting from the head in a funny way, and then you got three seconds There's a lot to do there and you can really push the timing Because I think I showed you that that clip with the maximum maximums horse also really short There's just a lot more to do in terms of mechanics and timing and weight And I think it might be more fun to you to also concentrate on the shorter piece Because this already could be really fun because you get a lot of contrast in there From this to this to that and then as it gets better Then you can go backwards and maybe add this continue on and work on more of this and so on and so on if that makes sense All right, thanks. 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