 All right, let's play the whole thing here as always My main thing is that Z looking a lot better and I think there's some spots where Yeah, it pops there's some pops and something stops and then some spliny Aspects which you are Mentioning here in the email that you tend to make things soft and spliny Now this is something that's massively subjective, but I'm not sure that you want to bring out that arm That screen left one here so much at the very beginning I know there's something about this that feels slightly forced, but at the same time you could argue It's just kind of like an offset as you walks So I mean the only thing that I would probably say is that I would probably There's a moment of almost stickiness here You go back and then it sticks and then it goes forward if you could just ease into that and out of that a bit more Maybe that's how I'm reacting to that. I see this moving when I see a little bit of a harsh hit. It's not Super harsh, but it's still a bit there and I just kind of catches my eye And you ask to be picky so I'm gonna be picky on things like The knee as it comes forward. There are some moments where it travels and then it sticks for a frame You can see that line here how it kind of locks and then locks it out of that see that pop forward And even through here it comes back and then boom suddenly stops. That's notoriously difficult to do Also, what I would do just a little bit is bring that foot out So it's not so straight, but it's a bit lower in Frame there the tip mainly because when you get to here it feels weirdly, you know walk like an Egyptian type of thing I feel like it would just be a bit more relaxed by bringing those the feet out a bit Just because you're doubling down on the twinning when you got when you got this So if at least here, it's a bit more offset But I will probably still I see swings forward, you know unstarts that little Stop there you can potentially just bring that arm a bit lower. What's the other one doing? Hold on before I give you stupid notes here. I mean the screen left one could be swinging more Well, yeah, come up. I don't want to ruin that but I Mean what I would do is I would just probably bring this fight I would try to bring this down a bit lower so that you can have this here It's just the bigger contrast and not so I'm just a bit worried about That twinning aspect and I will probably delay that move up as well So that when we stop we really want to look at that face And then now I'm 10 I'm tempted to look down here and I miss that moment of and then this So I will keep that really on a more of a subtle moving hold and speaking of Sticky things if you watch any line here on the face it goes forward and then bam just for a moment there right there Starts to stick and it's almost like a pivot through the forehead So she through here you can see that you're countering Backwards with the chest in the head so that we're really pivoting off the head and then he goes Forward a bit and then stops and goes straight down And I think that's something that I'm seeing a bit all over in the shot Super tricky is one of the painful things to to fix once you're in polish But since you ask to rip this apart This is what happens when I when I frame through things now As a caveat to everybody listening and to you as well I mean, you know, I watch this and I feel those little bumps and hiccups But I'm still watching the performance and it's still a lot of fun And probably the biggest thing that stands out is This moment here you can see that pop if you look at the chest and the head BAM right there. That's the pop And you can see this in the spacing of his office ear ear is here. Let me just do some crazy Skinning here. Let's go by the ear BAM pops here And then it's an immediate stop and maybe Maybe red is not the best color because I am clearly Not the smartest here and it's lonely office in the morning All right, let's do this again with yellow And then you can see fades out a bit quickly, but You can see this here You can see that This happens it's very straight and then a pop and then that's on stop here So when I watch this and I was just for the first time That's what I felt is the big pop and then some moments like here when it kind of Moves over and stops, but then his hips have kind of the Kind of a fairly separate moving hold So to me that's the stuff that I noticed so when I go through here Let's go back and I say oh watch out little sticky frame on the head here I feel it, but it's not like it stands out massively So the reason I'm saying is all this because once you start framing through things You you see all kinds of things that might need fixes But as a general, you know, a general audience might never see this These are just the picky things that if you really get into it You can you can look at those things But generally like if if you have only three things to fix because of time constraints to me It's just that pop that really just stands out like I wasn't sure if this was my player or something happened You can see also that IK arm where it's almost overextended the wrist feels a bit broken and then it pops up But then from here it goes straight down and it has just the IK feel of bodies moving But then this is kind of stuck in space. So to me, this is the biggest moment through Throughout the shot with that kind of needs fixing Even something like this here where I feel like there's so much movement here And I see a little bit of pixels moving in y a little bit of rotation But I feel like on such a big chest move that I would have a slight bigger rotation in y But then also a bit of a translate and then bit of a movement forward in the hip So it doesn't feel so completely cut off Even through here. It just all feels a bit too separate between those two areas. I Mean the end is all cool and I like all this and I like the slide and the timing is good I think the Super picky, but I feel like that glove stops a bit on the dime there right there I think you can have a little bit more of a softer ease in since we're establishing that this has a very soft That unless you make this harsher and it's You know, it's a bit harsher in its Mechanics, but I feel like because it's so soft here You can ease into that stop a bit more and if you look at the second one see second one has it going going As a little bit of a stop and then the root the down my argue at this stop is a bit harsh It's almost like you're holding this for two frames But then it softens into a stop there, which is good So picky picky notes since you asked for it. We'll probably do it here as well, but going back Going back to this and you mentioned you're gonna do some more Takes your on the on the finger Or the fingers See, I think when you play it in real time the screen right arm Seems okay But then when you frame through it it feels a bit To me you want to How would even sacrificing the silhouette just turn that that wrist down a bit more so it's not You know more this way versus this way. It's just feels a Bit broken there, and I know you're dragging a lot, but there's just something where From here to here it has the IK feel again because the orientation of the wrist is fairly similar especially from here to here We just kind of smooth that out a bit more And then there's something about this kind of staying in the same line like you moving over from here to here but then it's straight up and then and then Kind of the end the ankle the wrist stays almost in the same position I know it's up here, but there's something just visually that stays kind of put in pivots off here And it's only pops over here, and I know again this in real time feels better But maybe you can smooth that out bring that arm over here We'll then keep that here, and then maybe have that one a bit further out and Then this are already a bit further out, and then you can stay here Until my drawings are great, but something that feels maybe a bit smoother, but again again real time It didn't really Feel that bad the only thing I would say if I watch this there's a bit of a long drag If I pay attention to it his wrist feels like it's it's low for quite some time I think it's okay for a drag, but by now you can probably bring it higher So I'm gonna say actually don't do what I said bring it down here. I would just Start bringing it higher like don't do such a massive Drag and then that we can have it high here for nicer silhouette, and then it's already high here So I'm gonna say this regardless my previous note to that Even here feels like once you hit this pose. We're staying in this for quite some time. You can see how There is an orientation change in the forearm, but it's minimal especially through here We're holding holding holding and if you watch this in real time once you start paying attention to it That screen left arm starts to float Like you're really actively trying to hold that and glide that pose down Versus someone that goes holy crap, and then there will be bigger swings in his arms and a bit more panic and Then watch out spacing wise This one's a bit harsh here. You go from here to here Let's go here To that to here right and then you stop here. That's my main thing So I'm super accurate on my drawings here, but bam you can see that arm such a swing And then suddenly here we stop where and actually you stop but you go in with your elbow And then you come back out giving this a bit of a pop To me if you do such a swing You know that arm would be back here and the chest turn over to you know that arm is gonna Swing over there and pull that chest over. I would finish that swing And the other one is not as harsh Because you you're hanging on this for so long, but Since I would fix this a little bit even through here. We're hanging on this very Yeah, for quite some time. So it feels like you want to do bigger swings or you know even here I mean, I think it will be okay to even back here The chest will be turned over maybe a bit higher You know one arm can be back here, but even the other arm I don't know me probably too much but imagine the arm is back here and he's just fully going back Whoa, like the whole body feels like it's going this way trying to stay away from this and then you can swing back up here into this Just as the thought I mean I'm saying all this but you might put that in there And then it might feel too extreme, but I think what might be helpful is that with all the swinging They would swing back through here and give him just a bit more life Because once you're here It's almost like he gets And he wants to get back into a more relaxed pose where I feel like well He will be just slightly a bit more. Whoa. Whoa. Whoa. Whoa. Whoa. What was that? What was that? Oh, wow, you know what a bit more active Panic I feel like he's a bit too Here just a bit too relaxed a bit too soon and this is just tiny tiny stuff I think by by giving his arms a bit more to do speaking of arms the arm kind of pops pops to the right and then kind of the spacing is very small and it comes back up and then here it Drags a bit too much. That's your IK arm. Probably I'm assuming it's IK just feels very IK Especially through here where just kind of resting not much going on while the rest is moving a lot It's just feels like it's hanging in place because of an IK arm As I'm framing through this gets a bit better here Watch out. I feel like there's a bit too much of your arm pull vector coming out giving this movement Elbow a bit too much attention there And then spacing wise again here arm goes here here here here and once you're here BAM It changes direction right away, so I will overshoot that if you want and clean your arc of it The tricky thing is you're having a lot of very deliberate Drags on your hands Like making this trying to make this smooth visually, but then your pops in your arms kind of break that But then you also have that some pop in your wrist up and then pop the arm Suddenly pops down Into two big moves here. That's a big big step there in his arm But then from here to here it feels like it eases into it a bit too far too quickly Because you gotta imagine that so much momentum cannot suddenly go away That's why when you watch this in real time that arm there pop pops Pops down really fast through here and then stops it too quickly and goes up this way versus a bit slower with a bit of an arc like that Of course the dangers always to make this all a bit too arky and smooth But arcs if you look at this here, I'm really focusing on arms a bit much here But it just stands out a bit where the arm goes up and then these guys this guy goes down here And then this guy they feel very straight in their path again giving me a bit of an IK feel and Then probably What is he doing here? He goes up and then brings it down So I know he turns away, but you can probably keep that elbow out just a bit more to see part of that wrist Just because now if you do your squint test for silhouette all I see is an elbow stump So even through here, I think the silhouette could be a bit nicer Even this is a bit better even though you're pushing it here But at least it gives us an inclination of of the break and bit of the wrist And this is for everybody listening you don't really want to bend your arm away or towards The camera like this meaning on your bend on your arm I would always have a bit of a either an under or upper bend like this so that we understand the length of the arm This gets a bit like I don't know how long this arm is if you in silhouette wise Versus here we understand a bit better and always do something like this we get it a bit better And obviously anything like that. It's very clear how long that arm is But just a little bit of a silhouette thing on elbows But then that arm suddenly goes whoop goes really fast down and then locks again Even through here you can see how much movement there is here in the forearm Especially through this you can see how that elbow goes forward while the wrist is completely locked Giving again this this I can feel which I understand I would make this I can as well But you're just gonna have to lock the fingers a little bit of ambient movement But rotate that wrist up with a forearm a bit more So that's my my picky view on arms now, I don't know if I want to go You know further. I think I think I hope you get my point That's like my my picky view on on things on space, but I understand that it's tricky to see It's easier for me to look at this and comment on this then if I would animate this I would probably make all the same mistakes because you're so into this and as you as you're writing It's been it's hard to see the problems when you work on something for so long and I 100% agree It's tricky Even this head here, right as you go over and it lands. There's a sudden drop but then Bam here hits that invisible wall when you look at the chin the chin is here and here Let's do my thing here One of yellow is the best color. What good here. Let's go green Can I see green in front of that white here, right and then that chin is here? Bam, that's your one frame direction change right there And that feels like well, there's there's a table or something where it hits that chin Let's go back to some So I would watch out you can argue this is sudden acceleration because of the root stopping Stop momentum going down and the rest still has to fall through and there's still momentum there I get that but if you do that, then you got a lower that chin Right come back up and not suddenly stop it. So watch out for that and again It's to me seems like the the general thing of this shot Which is still awesome. It's just now you're in that in that cleanup phase And things like this where you got that very distinct hip Hit move up while the rest is kind of like he would do like whoa and stop But not have that such of a visible moving hold And it's also kind of that's enveloping or just a perspective thing But like his lip but she seems like it's this big and once you go up it feels like it scales down Which again that could be just an enveloping thing But it was like that seam here of this shirt doesn't go as much in your hip rotation But his pelvis But here such a shrink. So that plus the added softness. Oh that hold stands out a bit This is fine, I would probably It's a tricky thing if you flatten this it's gonna look like your Achilles heel is gonna pop It gives you a little offset. I think it's okay You think that you know with this everything will be compressed and maybe on that frame. It's okay to be that compressed because it's your Compression frame and we can completely break that Achilles heel. That's me. That'll be my only thing. This seems a bit Even though this is fast this I would still bring up the root a little bit. This seems a bit too separated Alright, I'm gonna leave it at that Let me know What your thoughts are on that? You got stuff going on in the background here It's very loud. So it's a perfect timing for me to end. This is a long critique anyway And I think I made my point about all the frame by frame, but let me know if you have any questions. 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