 Alright, new updates here, let's check it out, ooh I like his badge. Your internet activity over the last 10 years is being screwed. Sorry I should have watched everything, but I'm immediately bumping on yours on a slip sync. It's a bit late, there's something weird that we're closing the mouse so much. Activity over the last 10 years is being... Activity over the last 10 years, last 10. And I say last 10, I don't close my lips. So this is confusing shape that he goes so, so close. And in years, this just feels more like y'all, right? This is the year sync, the years would be like all the way back here. I'm exaggerating about years, you really want to open up that mouth there. Careful here, you go up in a very straight way and then your wrist rotation is always the same. Remember my little IK lecture, this is the red flag right there. You gotta work on hiding that IK. Same thing here, just the way that rotation turns here on the wrist. And then the very straight translate on that arm, so the IK there. You can fold that little wrist rotation up, feels a bit drifty. This just happens very slowly throughout. Rest is good on his arms. And then when you say years, see how it just goes down with the whole body and head. It would still have an ever so slight, even if you try to know, ever so slight arc up. So it has a bit of a years, he lifts the head just a bit during years. Nice. Even through here, it's a straight up. You could have like a slight little scrutinized, like a little bit of an arc and then back. That's great. And I would still take probably a frame out of the first two left, right. It still feels a bit, a bit of detail versus a bit of detail. You know, you really want to feel that vivid detail and the shape there. It's cool though. Definitely coming along really nicely. That's a bit funky, first impression, because I'm seeing, you know, like what is going on here. I'm not understanding those shapes. And then you got that, it feels like, it feels like it's punching. If you hit, you know, if you do a fist, you would have, you know, your fingers in like that, but then your thumb is over. You know what I mean? It's over the whole thing. And now the thumb feels like it's inside the index. You're going to break your thumb. You're going to want to put that thumb over there, just pose wise. And I would do the fist here, you know, like that would be your composition. And I probably would not linger so much, because then A, you get a tangent between these two and it looks like he's looking at the fist. It's like a ginormous fist. If you're saying that, well, I'm hitting, that's, you know, that's the size of my fist. His fist is still as big as his head. I'm still not quite understanding. Maybe this rig is scaled up much bigger than this guy, or you got a crazy lens. But there's something really weird. Like at this point I would do probably like a 45 lens or something in Maya. What are you doing? I'm not sure he needs to look out this way for so long. Even in peripheral vision, if you open the door, you're going to see this mass standing in front of you. So you can, you can have eye contact earlier. This feels just a bit weird, especially this, that he turns the head. Why is it looking like, what is he seeing over there? That feels weird. What are you doing here, Reynolds? You're DVD player broken. And then I would just say, keep animating. You know, there's nothing there except the face, which I think in terms of the looks and all that stuff, I like. What are you doing here, Reynolds? You're DVD player broken. I think you could have one more change. What are you doing here, Reynolds? That is fine. And then... You're DVD player broken. Even during this part, you could, I would already go into something more like that expression-wise. They're broken. And then at the end, you know, the last accent can be what you just did. All right. And then you got this guy. It's not shorter, huh? What are you going to do with this one? It's just going to be... That's the whole shot and not the ending, or? That's curious. For polished stuff, you know, you see all that root movement. There's so much going on, which is great. Nothing's going on here. There's no foot rolls, no compression, no sideways tilts or anything. And then now his feet slide backwards. See how the toes are here? I mean, I'm going back. They're back here. So you want to maintain that toe position. So it feels... At least the one, maybe, you know, you might argue, well, maybe the other one slides back, but then really make it a slide. And now it's kind of in between those two worlds where it feels more like a mistake. And then on push-offs like this, there's something about, you know, I mean, you've got to keep on going with having fingers just for frame or two. You want them flat like that. Like you want that flat finger thing and not going... Hey, it's definitely not going through geometry, but I wouldn't have them always bent down like that. It feels like there's always a rake, you know, and it's never compression. Even through here, then you want to have them. Maybe one index koopy curl, but then the other ones would be flat. Like you want to feel pressure on those hands and fingers. There's some funky in the camera where we have really big left and right, and you zoom out at the same time. I don't know if it's a translate. It feels like a translate. I don't know if that's a lens thing. Slightly confusing because the relationship to the camera, the distance of this guy's top head there, always the same. It's slightly weird because it feels almost like you're translating and doing a lens change. You know, if you're going back to see more, then don't move this guy as far back. I mean, does that make sense? Like it feels like you're moving either the camera back in physical space or with a lens, but at the same time you're trying to keep the relationship of the guy's head to camera the same. It feels really weird. So this gives me a really weird movement at the end there. Yeah, and I would slow it down just because you have that big move right here and then we cut. So it's a very discerning thing when you start with a big move and then you don't finish it. It feels like we're cutting too early. Or if you're going to continue with a neck shot, maybe that neck shot would have to have a crazy move too, but I thought we were on his close-up and on close-ups you don't really want to move as much as this here. It's just going to be all very confusing. So I would just go this, maybe, maybe this, but then really slow it down. Have a very minimal, minimal stuff there. And even here, see that if you look at that tree, it's here and then here, from here to here. That's a linear key how you're starting that camera. So definitely ease into that move a bit more. And I would probably on this have his eyes looking here. You need to look at the guy's face. So I would rotate the head from this to this and that starts first. So maybe by now you start so that by here you have a clear, like a lead with the head. The head goes up first, getting into this. And then hand contact controllers and stuff like that. Arm arcs on this guy. It feels like this guy's doing this. And I know there's some shaking in camera, but it still feels like it's something in the anime, not the camera. So you can make sure that when you do those arcs and that stuff at this point, you mute all your handheld. So it's just a kind of a static camera so you can have proper arcs and then you put in the handheld. Also watch out. Once this head goes back here, it stays in the same orientation throughout. You know, there's no side to side tilt or a bit of up and down. So I'm like panicked, like get away from me. Not that you have to have a crazy shake, but it's not so static. Alright, thanks.