 All right, let's take a look That guy Yeah, I'll show you the cameras right now the camera is moving too soon We're anticipating and we're starting to kind of encroach here and you want to wait We're very close to the frame like you want you want to stay there and by now Ish you want to start moving the camera so the dog is really leading and through all of this we can still follow He looks more miserable and he doesn't have just like one arm out, so he's not They're not quite understanding what's going on here with this piece And that kind of cracks me up There's still a slight feeling of your dog as you go out here There's a lot of like the the legs stay here, right? And the dog doesn't go that far Which gives this is weird stickiness and then and then really fast move with the legs here It's not bad. It's definitely better But it feels more I am going over there, and I'm kind of leaning and falling over versus I am Pushing and for the amount of post changes and squash and stretch and the force that is implied here You would think that the head will be around here. I would I would do this much more Translate to the left. I would just push it. See how it feels Still a bit timid but it's definitely better But he just need to go But then it gives it also more power more urgency the camera can follow faster. We'll see this sooner I think story wise and context wise for the setting and what's going on shot wise. I Think that's better What's a bit weird is that it's almost like you want to You want to do the slide and then see your your body goes back at the very end So what you want to do this and it's almost like either you want to cut right before this ends Because we're having animation here and then nothing's going on here tail Especially nothing in the head. The head is not looking at the guy. There are no blinks or kill head turn There's just nothing going on there. So it's an odd thing where Even here the eyeliner is weird like you want to make sure that the eyeliner works and then with all of this That it doesn't feel like well, I'm just animating here I mean like this like no ear stuff. So I'm not sure I'm not sure how far you are. There's nothing in the email notewise So a couple things there's still some feelings where this whole section chest neck and head move as one as you go up and down In terms of especially through. Yeah, there's a little nose drag here, but it gets a bit stiff through there And definitely definitely look at your eye line and through here you can start turning the head over And and almost Turn the head over and almost slide with his paws This one here and then this one maybe here. It's almost like a slide over You know, it feels like the dog in the top view is here and the guy is here And he's looking and going this way versus doing maybe a slight turn to look at him Well, it's a pain in the ass. So what I would do I would just make sure that that guy's head Is here or you know, that could be another rock and the head is here and arm is down here Draping over but it would feel like it's closer to us and then the eye line will work You just have to lower the head a bit to make sure the eyes are looking there So I'll probably do that first before changing all the animation stuff But still I would have as you do this right that stretch, which is all great More I could see this I got the very end. You see just the legs here. There's nothing in the hips There's no scapula change. There's again like no head movement ear stuff Maybe a little bit more in the tail So that just feels a bit weird like you're just not done animating And then watch out for big tail changes like this It's stiff through there. So here I would do definitely some Drag overlap and in here it gets into this then you go into here That raise would be dragging here. It's just the tail feels really Not in sync. You're not really reacting to the actual movements there All right, I think that That's what I have For this section here. All right. Look at all of them. So you are telling me, um I attached you on the finished reel. I think my favorites are five six or seven All right Let's see five six or seven. So you have this guy Five six classic. Yeah. Yeah, those are cool Yeah, I like this one especially This one's a little classic Lots of bottom mechanics It's good stuff at the end Yeah, it's good stuff. I like those Um, but going through your reel and you have this one This one might be a good one to replace even though it's nicely rendered. It's very simple Compared to all the complexities you have now the shots You have an active acting piece. It's a bit more of a downarm or subtle part of mechanics but you do have a lot of This is chest up but a lot of Chest up. I was gonna say waist up, but it's mostly the same you chest up. So you do have a bit of mechanics here, which is cool So looking at this Even though I like this one a lot This has a lot more bottom mechanics in there, which will be cool to show even this one I would then probably go with this one. There's a lot of stuff That we can push. I would just start change a bit of the What's it called color temperature at the the saturation and you know all that good stuff there so that you don't blend in all those browns and we're starting to lose Silhouette and what's going on we can change that for sure That works a bit better. You see the green and the skin tones help Here it gets a bit muddled the box don't really help there But in terms of actions, I will probably pick that one Unless you of course have a favorite and you want to work on something else. 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 a like and subscribe would be awesome. All right. Thank you