 All right, new version here. Let's play this in full as always pop and Alright that's all pretty cool. It's a good update and Thank you for your breakdown. I'm gonna go in there One by one. So this is the spline version With a few more keys a few more details. There's more with the sets no colors yet. That's fine You're mentioning that you're struggling With the hands Don't mind too much actually like the detail There even just kind of the end gives it some it's a bit of difference and Contrast and complexity here how it opens up. I think I have more general body mechanics comments Compared to details detailed comments as well like there's some foot stuff I'm gonna point out but stuff like this and I'm starting at the end When you have movement like this, and I know it's just a dangling arm That wouldn't really you know, it doesn't affect the foot or anything major in the hips, but it would still be nice because even with this year when you have quite the Flop from right to left there would be good to have a little bit in that shoulder and then because of that Some residual movement there if that makes sense So it's not so even a good trick is to scrub through your shock And you can kind of see where things are moving just this there's a there's a very specific Kind of separated feel to this move Like when you have this here, this is nice You got all the ambient movement in there because she is leaning down and over that's gonna affect this It's gonna pick that and so on everything fans down in terms of the mechanics influence like that's nice But then you you're in the section with the arm, then it's a bit Just a bit too separated now the head note So generally when I watch this and this goes into some other things that you talked about and you haven't touched the ponytail you mentioned here, but There is a certain Speed to this and you mentioned that you feel like it's a bit fast Sometimes you feel like it's okay me watching this for the first time. I feel like this could be slowed down this whole Move and there are a couple reasons it might be okay to do it if you had a little bit of lean back in the body in the upper the torso and A little bit of rotate back into the side on the head as in if you're moving this fast The root over like that, then you would have a bit of drag in this not huge It's not going to be you know, like when you those cars at least in America Sometimes you have those car dealerships and I mean, you know, that's that's my car, but then you got those inflatable things with arms and there's the pump there and goes Am I completely move over? That's not what I mean like it wouldn't be Huge but just enough and that's my concern at the beginning when you frame through There's a drag in the arm, but the tricky thing too is that the drag is almost too Clean counter, but that I mean here. Let's see what it's getting on See how that wrist is the amount of forward movement you have in the body is the same amount that you have in the wrist So when you look at this you can see this bit of a stickiness in the hand Then it gets a bit bigger little pop to the left, but then After that pop it can draw a line here You can see how that hand stays put on that line too and then it goes a bit forward But then it goes a bit back and now we're back into stickiness here. We're kind of sticks in on that frame 2d space, so you got to look a bit more on your clean spacing of that arm going back and Just looking at this you can see that this whole section Visually actually including this arm See that everything is stuck until here And this final is moving and there's some movement here But then at that point is almost as if that head tilt and that arm swing are kind of happening at the same time I know it's because she stops and then the whole momentum carries over and then the looser part of the body But I would still find ways to offset things a bit more, but my main concern is yes speed And I think even if you would add some drag in here, I think it would still be fast Just a bit fast mainly also because you know, she is tired So Yes, you could combine some speed even if someone is tired because they're finishing You know rushing through and then they finally collapse, but given the overall rhythm of Yeah, it's like she has like a chain on there. I would slow this whole thing down Give this a bit more Breakup basically between chest, neck and head to loosen it up a bit And I would still bring that head back a bit And then down and especially on that step You would have a bit more compression even if it's a little bit in the chest down a little bit in the head That then goes down and up again and over into That move but then careful you have a move over this way And then bam, then we stop and actually go back And then over so this in real time It's not poppy But I think we can Take that looseness But bring it into the beginning where it's a drag and then compression it goes down And then goes into The right move over here because again once we hear she didn't again feels kind of stuck This is what I was talking about before she's always Leaning this way throughout the whole thing. I think this will give us a bit more contrast as well I don't I'm again this subjective, but I feel like we could start here further back right leading the head back Go forward and then she can always rest a bit more Straight on and then already start to go over there And then go back up. You mean like that could have some looseness through there as well This is a bit of a fast move right there That root movement and you can see this when you track this line Right there everything kind of stays put let me bring this When you're skating right you're kind of stuck on that line and then Suddenly goes to the screen right and then you have a bit of a pause through there Pause and then over so I think generally you need a lot of cleanup in your spacing So I will give this forward move a couple more frames Loosen up chest neck and head Give this a bit more Contrast in the head orientation Watch out your spacing in that arm I think even uh take this off here This arm here Is also a bit fast. I would give this a couple more frames And this is all based on here This kind of move and down Like all the intricacies here and it's cool. I like all of this. I like all of that. It's cool. Again Suddenly this arm Goes a bit fast right through there But generally this whole section from here to here and that And that It has a fairly realistic feel to it. It's not photo real, but it's more naturalistic and it's cartooniness And this is why sudden moves like And then that sudden body move and then that little speed up in that arm. That's why it sends out to me Now if you want to go fast here and fast moves, then I would still adjust this Here it's basically you want to have you want to have a consistent Feel and style to your animation in terms of timing and and exaggeration Now detail wise what I was going to talk about is that when you have your weight On the shoe here in the foot and then you're leaning over as you can see there's a big lean You can see how this section is completely locked There's a bit of a raise here and if that's just the body stretch or for some reason extended Okay, doesn't mean it doesn't get off the ground but watch out how Goes up here But it would be nice at this point to have a pivot off of here to lift this up Maybe a slight foot roll and then when she moves it forward like that. I like that back pivot here But still could have a little bit of off the ground Now that's like it's up a bit But then also ease in a bit more it's a bit of a linear key Boom how that foot stops now your foot roll seems to go in one axis you just dial down But she has a bit of a return this way in terms of the weight see this she goes this way And then this way so to me it will be down with a slight Move like you want a compression this way not just to roll down straight because that's what the channel does A little bit more now that you have to pivot off here and get this foot off the ground But I think you want to give this a bit more life Again here the pivot or the the foot roll is just dialed in Without a bank. I will give this a bit more movement over this way Again that foot that's a linear key right there. So I would peel off Pivoting off of here Peel off foot roll with easing into that move that feels a bit better That's nice get a little ease out of that lift of the of the heel there Into that So it's there every now and then I would just Go back and really look at every single section for your spacing And in timing wise you're getting into a bit of a slow even feel through here That whole section I know there's some differences in terms of them We'll suddenly now the head and chest are moving a bit faster compared to the whole thing But there's a general feel of Lack of contrast and texture to the timing just feels kind of Even till there So that these are to me the biggest things just little spacing issues some acceleration moments that I would watch out for goes back into your spacing a bit more Consistent contact here like your hand goes up again. This goes back into Your spacing like hand goes up here stops go straight up Goes a bit to the right and then slides over and this feels like wait. Are we already on the chair? So there will be some chair movements Then she starts to grab but then that grab has a lot of slippage here But now it feels like well, she's really putting all the weight on there So this would have to go down a bit. There would be some lean back This my thing might rotate over just a lot more Sense of I'm leaning on this. Yes, there's weight on this But needs a bit more on there and even on this pole Chair goes this way, but I feel like that thumb moves sort of right So there's a bit of looseness in terms of contact and then suddenly It feels like we're almost intersecting here. Watch out And speaking of compression When she's like this like all the weights here hips are like that But now she's going to put all the weight on here And I think you can you have a little movement here in the hips But then it suddenly stops. So I would just Start to ease in a bit more just a bit sooner And then have what you have here It's not just that separate section and we kind of feather into that tiny bit more Then you want a bit more influence here. I see it a little bit. I think it might be okay Maybe just a little bit, but the main one it feels like here But we're so off-balance. That means that there's weight here and there's weight here So I'm saying compression here and then I will put more force up on the hip on this end Especially now that we're lifting off the ground Could have a bit more again. It's subtle You don't want these two kind of sway back and forth like, you know, like a tipping boat all the time Just a bit more you have it here But even then I feel like it would be slightly softer through there And then continue bits because again all that weight continues. So just a bit feathering out a bit more Because you're already going down and I will keep that hip Up a bit higher I know she's lifting and stretching this but that means that it's still off the air off the ground in the air With more pressures. I would wait before you dip down with that hip there But you have compression here, which is good I do like the feel of the the plop and drop here boom That feels pretty good But then again a little bit of fast move in the head Although that I don't mind this could be like your last collapse of uh But then again look at contact. So when this the forehead side of the cheek everything is Going to hit the forehead the forearm It's going to have some compression some residual movement contact movement in the hand Just a bit more detail overall All right, that is that. 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