 Alright, so we have a bunch of stuff to look at it here. Let's take a look at this shot. It's a longer shot With the monkey Going down here It's pretty cool. There's some spots here and there I think in terms of weight and snappiness we could kind of push Well, that's that one and then we're gonna take a look at the fox animation here cute It's pretty cool all right and Then you are also asking About how to animate things here with some screenshots. Alright, let's go one by one First I would say I usually actually use this method It could be Kind of it kind of depends on the complexity. I usually do this and then do the offsets with the hips and the chest controller When the character has to turn but if you get really long That so far has helped me the most if it's a shorter shot and You know, there's not too much movement I guess sometimes I do hips and chest only and leave the main control control at the origin but I don't know I don't remember many times when I did that just because then sometimes I get lost in too much separation between the hips and the chest and it's also if suddenly the shot changes and I have to move the character into a specific direction where you know Like it's pretend in this pose and there's a bigger jump or I could pick a turn or suddenly has to walk instead of being static Then it gets pretty tricky because I don't want to cover a long distance animating hips and chests separately, then I prefer the main You know the main controller like here that can move the character forward and then I just Do the offsets and the breakup separately with the controllers. That's kind of how I approach it. It's mostly Future-proofing it might not always be the best. Sometimes that might have been the better approach than the main controller approach But so far, you know, there's there always so many changes at work It's rarely to get a shot and do a version of two and then you're done So I prefer to do kind of a future-proofing and it's being ready But ultimately you can always constrain things locators bake it out and bring it back to other controllers I mean, there's always a way to fix things but As a whole I would say that is my approach Now looking at reference for this here, it's cool. You got all that stuff here. It's neat little shake or it's like they'll break up between the Heco's first goes all the way back as a as a cute little Move back there and then you have this one see her Getting up again. All right So and you're mentioning that you're not going for photo reel It's still not super cartoony. So I think looking at reference is still pretty helpful and to me this is Probably the biggest thing is where you can show your cartooniness in terms of your snappiness But it seems pretty real up until here With that faster pull in there, but it's cute. I like all of this It's great. Yeah, I think the only thing There's no reference for that. I know that just visually there's something about those back legs being so far apart And I think it would be something where the steps would be Closer together. That's why it's not always angle out this way So it's a bit straighter and then that on that last step You know, you can take a step out into that pose for balance and a nicer silhouette So you got these guys separated. That's kind of my only Only point there. I think it would be cute if Once he turns here To have an ever so slight where is he he goes in there? Okay, so as he goes in here Now actually curious how you're doing the That stuff in here if you're just doing a bird is vertices Pulling these are pulling Some form of the former on the surface. It's nice a nice little detail But anyway as the creature looks over this way and this is happening here Be kind of cute to do a little bit of of lifting over that surface just a little bit of a like a faster move up so that it Catches the foxes attention and because of that I will make that head turn just a bit sharper at the very beginning just a bit more of a reflex down to look and then You can do another one just another little move on that surface and that makes him go. Hmm Okay And it would be all like just small little moves and then right before you do this You would have a bigger a bigger pop. Well, maybe even like a little piece of snow Doing this and that prompts the creature to go down and wait and wait And then do this This is all super cool. I really like that. That's all really great. That shake is great Yeah, I don't know on that koopy Curious maybe maybe there is reference that has exactly that it's just something that seems Hey, very lini over this way with every leg like angle like that And then towards the end how that back leg is just always so out There's just something that visually feels like you want to be closer together and then on that last step get into this And they're just those changes there And I wonder if you kind of push since you're not going before the reel You can kind of push potentially the the ears back or Something like a post change in the ears to get into this just kind of like it's almost like eyebrows that go into a new emotion It's like what is that? Let me see and then as this happens same thing you might bring him back to be You know Slightly more alert streamlined there Some things in the ears Since you have awesome stuff in the snow already, you know here Pieces of snow come with it and a drop it kind of cool not needed obviously at all. It's not that important But yeah, that's the only thing I would have some interplay between these two in and so that the audience can go back and forth and kind of Motivates and changes the behavior. So it's not just we're just looking at the fox all the time That's kind of it's kind of what I have for this All right, and then looking at the monkey. So at the very beginning When you already have this like he's cleaning himself and Getting ready and then he hears something so to me what I would do is I would start with this Which is a nice line and as you go down even if it's subtle Up until here he would still go in a bit just start to lean him down a bit more and I would look at I Think that's pretty okay in the island. Yeah, and then as you do this It's a bit more there's more involvement So then I will probably go even further down and doesn't have to lean all the way down But my point is that right now as you do this this I don't feel there's enough And it will give it, you know a bit more movement It's not so static because there's a lot of arm movement and then the whole thing just feels kind of stiff also if by the time Here imagine the mouth could be here. It's pretend you go this far down this this that much of a change Then when this happens It's not just the head turn because again, you can look here at all those lines. There's not much of a change But if he's lower and he goes up and gets back into this There's a bit more contrast and a bit more alertness and a change in the in the in the body there Again speaking of body There's a pretty big arm move here and I would incorporate the shoulder a bit more and then by now definitely have more Movement in the chest and why the Y rotation? It seems like that arm move is a bit isolated there And I will probably on that leg move start with a rotation up first on the hip and Then go up and I feels like you're really scaling and stretching and translating that pelvis So to me I would wait till at the very last moment in here where Both legs go up and then kind of squash into this but right now this feels more like you're translating the chest It feels just a bit strange So let's go back here There's just some tiny detail things where this feels like an IK hand Because you got your orientation of that forearm here and this is the wrist and then this goes straight But the wrist is pretty much in the same orientation There's no rotation in this angle. There's no change there There's no probably do also a finger change. I know there's a relaxation in the pressure there, which is cool But because there's nothing else it just feels like this is Mostly the same pose in the rotation throughout until around here So it's a bit more detailed work Do the hand seems better and then When you had those jumps you have a couple of those in here I think what I would do is I will probably get into like during that section Just speed it up a bit. I would zip into this hole. It's just a bit faster at the very beginning It's a bit more zippy and then you can hold this and then you can zip down a bit more right now There's just an ever-so-slight feeling of floatiness just because Especially that drop. It's just and I'm talking to three frames. It's just a bit zippy here hold and a bit zippy you're down and Because you are zippy you're then you could potentially bring up the eyebrows a bit Bring the ears back a bit just kind of a for a visual stretch It's not zippy enough to do a smear, but just a bit more so it doesn't feel like well once you're here. It's just kind of I Know it just feels a bit too stiff and just overall the timing It's just ever so slightly floaty Right there. I think you can push that since you are pushing it already. I think it's great I would just push it a bit more What's cool though is that you got compression here on the toes So as you put pressure on here, it would squash this and you got the toes that go out You could potentially even push out a tiny bit more Definitely on this guy just a bit, but it's cool. I like that you have that in there Then at the same time This suddenly feels fast where I feel like you want two or three frames of hang time and then drop Let's watch this. Let's see Yeah, just a bit. I know this is so picky, but like I like to shot a lot Some super picky notes, which obviously do as you wish with them But there's just something where once you get to here what that drop suddenly feels like he's really being Pulled down, but not in a zippy way like it would be here. It's just something That just feels suddenly light and Probably also because you get into this where the couple things were not you have to do that Ginormously huge chest and head drag Boom and on the compression a crazy overlap But that being said I will put a little bit in there And then adjust probably the hand the arm pose out to here now you might run into some twinning here So might not be the best Example drawing wise, but what I'm reacting to is how you got that shape and color Going into this just kind of like that hand grows out of that head Even this feels better if there's anything where you can show No, even if it's down here Maybe that wrist is bent even more and then you got just that might already be different enough But it's that and it's the idea the bent head here That also starts to feel like that head and that chest feels a bit Locked so that by here I will lead with the head more bring the head up to get into this That's cool That's cool Right through here feels a bit light right there Yeah, that just feels only slow. I think I'm reacting to how long it takes for the legs through here To get into this and it's also you're hitting this pose and this orientation and it stays put because it's so slow Especially on that impact I know that to me just kind of stands out more so I would speed that up and And have you can I think you can have that over one frame that he's so fast That's cool. See here. I think here Think it's pretty cool. Hey, I mean he goes pretty fluently up and stops And I wonder if I will I would try not the end. This is a huge note But I would try to bring up that route a bit higher maybe to here so that you can drop a bit more It's a bit more up and down And I know they can have fluid moves and just stay puts But I think I'm reacting to how this goes up and then this drops this upper section But then once you get up here with his butt, it's just kind of that's a distance. That's a distance It seems like suddenly locked through there Giving this a bit of a stiff feel while this moves a lot where I feel like this gets a bit too isolated isolated so I think if you do a Bit of a bigger turn in the Y in terms of your hips and then as you bring that head up That head that left leg up take that hip up with it and a bit of up and on in the route Just giving this a bit more break up. That's cool. That's cool It's cool hold Something right through there. I think it's if he swings here And goes out what I would try to do I would try to not overlap the hand and that legs You don't have that that line that goes into The leg there. It's a bit too much overlap even through here I will start to separate these and you might have to cheat on a frame-by-frame basis So that's a bit cleaner and the silhouette But I will bring this to a point where the legs are a bit more bent especially that left leg You can see that bend clear so that by the time you go out This section you will go from bent legs to Straight legs and it's kind of like he swings hip and the any straight into the leg to get that Forward momentum into this Right now it feels a bit magical How he hangs on to this and then suddenly there's more momentum going forward I would initiate that moment a bit more with the legs and the hips That's cool And I think that sudden drop there over one frame something where I would You want to delay that by a frame. Yeah, it's pretty fast. There's just something that feels very poppy as you go down And I'm mostly reacting to The relationship with that head angle the irritation is always the same This all kind of stays the same for quite some time and then it pops down over one frame Even here you could have a drag in the head, but then once you go up here There's something again in that head where you have some stretch But then it gets into this and then it kind of stays put There's something about that something move and then when you go up here where I feel like either you want to bring the head back a bit open the mouth just do a bit of a Just something where you have already that ginormous move which I still think is a bit pop You can probably reduce this by a little bit That's just me, but there's something of let's pretend this all stays and you got that round that That son snap There's something about this face never really changing that makes this look weird Again, this is very subjective, but I feel like once you go into here you could go into a bit of a open eyes open jaw just more in the face That has just a change and then get into this and I know you have it here But it's just something where it feels just so Especially through here, which feels almost bored I don't know there's something where I feel like you could do more during that hold since you have a hold I Do like it here because it's so fast and it gives us a bit of a change and you just kind of feel it as it goes through That's cool. I'm a big fan of that Careful here. This feels a bit weird just visually how everything moves to the right and then we have a bit of a Stickiness in that framing it else kind of stays just gets away from us and then suddenly pops forward and Then stops again. Let's be careful here spacing wise You might have to move the camera bit so that you can have this more gradual fluid Transition into that with that stop. There's just something visually into these 2d space how? big shape going forward forward and then receding away from us while not really going forward anymore and then suddenly popping here to this and Probably with all that for momentum Here I would cheat and bring that in that head out here even if that elegance Elongates the neck but there's so much momentum and it stops and it puts that arm here to stop that momentum that I think the Rest up here would still have more momentum forward. Maybe the hair can go forward a bit It's gonna cheat that a little bit and Then into that stop and then back to this here There's a big arm move and I see something in why but I think you push that this way in the shoulder bit There's something about this feeling very separate Even though I see a movement because I see the texture on that chest here getting bigger But even through that I'll probably bring that elbow in a bit just feeling how arm reaches up Involves a rotation up in the chest and then that will influence this I just feel like once you get to here. This is a shape that doesn't really go away Despite movement here. It's a bit more connected body mechanics All right, I guess it then this cool. I like the roar Or Might even experiment with once you hit this Here's that line and then At the end that line is up here Just a little bit of up in the chest translating up but also just rotating the head up a bit. It's just a bit more Right now just feels like I hit this pose I'm holding it and I'm just adding shake versus I'm starting somewhere and ending somewhere else a little bit to continue that aggression and movement forward Right so that that line would basically like this to me We'll be here a bit forward and a bit up and it's subtle just a little bit all right, I Think that is it for me I'm looking at that last pose. I wonder If you want to do a little bit out this way, how far are we at the end? Okay, it's got this Has a nice lean forward. I'm just curious. How would it be? If that arm, you know, if it was here to give this a bit more of a Triangular shape for a bit more strength. You still have that nice line of action there I'm just curious. This could be something to explore and also takes away a bit from almost the parallelness of it. I wonder if that and Then with that line, I know there's something that Nicely flow into into the head so that you put that potentially even bring the shoulder in a bit more Well, where it's something where might have that So you have that's your outline. So we got that negative space there But then overall gives you Not that much of a bump there All streamlined in into that head All right, that is it. I'm gonna be quiet now. It's a long critique. I hope it was helpful and that's it 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 and like and subscribe would be awesome. All right. Thank you