 All right, let's play this here. It's fairly short and That's it Now you have sent me some notes here. So the animation is still linear Nothing's flying out. You're saying that you know them Legs are the legs the arms are still moving at the end and you're gonna probably add a second chunk I was gonna say yes, and it needs a beat Boom boom, you know like another at least a second Yeah, I would say another second at least just to feel it comes to an end Where just the character can settle So in the body here and in the head it might you know, depending how you want to play this a bit of a role this way They can kind of overturn come back a bit, you know, these guys can swing to an end. It might even be a bit of a High legs out being relaxed depends of what you want to add but for sure it needs another beat But let me see you have also a couple questions. Let me just check those out and The first question is about your arms. So you had some problems with the arms popping and Cleaning them up a lot as you were focusing on this section of the animation there. I wondering if that's normal and It's really kind of depends if it's a you know in an FK mode Depending on the rig if you any of this it's going to influence your arm You can you can change that to IK But then the tricky thing is that when the body moves and you don't you're not careful Let's go to where the body moves here. So when the body moves Goes down here that arm could still be here and start to over extend that IK arm so there's pros and cons about You know IK FK which will be a future FNA because it is a pain Now you're asking is it better to hide the arms? You can you can absolutely and I do this sometimes too where I hide certain sections It is concentrated on something to really polish that or give it, you know, like a good Good pass. I think in your case it might be okay to do that The only thing I be careful in general when you hide arms is that let's pretend It's a big plop back and that arm will go from whatever here. It's a long arm to Swinging all the way over here Now imagine it does this big swing if that arm is you know on the heavier side is beefier arms talking again generally Then at this point that swing out here would pull the shoulder back this way as well And because of that pull here, it's going to rotate that chest around because it's pulling from here Right this pulls this way it's going to take that chest and rotate with a little bit of movement in that chest It's going to influence the hips because of the hips It's going to move the the knees a bit and maybe a tiny bit the feet So what I'm saying is that if you hide arms and just concentrate on this it might be fantastic And then you just move the arm But then it's going to feel like that arm swing has zero influence on the rest of the body I think it's okay as a first rough pass You do this to get the proper root weight and all the you know the impact and the end There's the weight of it and then you do the arms But then as a next pass make sure that well whatever arm movement you have that it's going to go back and influence the rest So there's always going to be a bit of a back and forth So that's about your question one and then your second question is because you do have Facial possibilities here. You're asking me if I am If you block the face at the same time you work the body or you wait to complete the body And then you focus on the face It really depends like the classic things that you do the body first and then the face because the body should read And that's just the icing on the cake Um for me. That's yes and no I usually do very rough hand poses and very rough facial poses mainly because There are a couple of things to this like sometimes people ask For a face cam where the camera is attached to the GoPro and you're going to see the face And they're critiquing things like that where they just want to see the face, you know straight to camera I'm not a massive fan about this because not that this shot Shows it but let's pretend he would sit down and roll over this way. We just see kind of the cameras You know technically behind the character, right? So the camera is looking this way in this but as he sits down he rolls over and he turns the head away We might only see up to here So I'm going to concentrate on this shape the most but then you get notes sometimes on this side as well Which is not really useful unless there's a big anatomical reasons of a jaw that would then move something behind the character hair I don't know what it is, but Usually I want to block things out Very roughly at the beginning again, that's just me. It's usually people do that at the end But I like to do it at the beginning very roughly because once I see something like that I can see that whatever blocked out blocked out roughly The speed of this it's going to tell me. Hmm. Do I need to push this later on? So you can read well or what I did is already enough But of course you can do this at the end I like to do those at the beginning because when the body is not moving at all I can just concentrate on the face. I can rotate the camera around. It's just I can see everything without This you know without this moving because then you might have to attach a camera to the head and so on and so on To me it's just a bit cleaner But then again every now and then I just want to really concentrate on the main body animation Especially something like this because it's a full body wide shot. The body language has to really work And then at the end, oh, let me just block out some some rough stuff Again, it just kind of depends on the workflow But I tend nowadays to do a very rough blocking pass first But nothing is moving in the scene and then that way I already have some rough Rough stuff in there, especially if someone goes from, you know, something very angry to Potentially very happy and that's a angry happy And I want to see That change how much does that change read on top of body animation? That's just kind of me You can you can do this however you want again the classic thing is body first and then a face at the end Now that being said I wonder if at the beginning We are almost a bit too far back I wonder if you want to start with You know a bit of a shoulder droop here Into this and you can there's something about where I would probably move that root just a bit further back And that way you have also a nice silhouette with your back arm So both arms could be behind the pelvis there This might be really stretching it, but you might as well push it because right now This is a bit of a bummer that the hand is right there and it kind of clogs up the silhouette there So or you start with potentially Fully profile with the body actually like this and hands are like that Um, so you have a reverse C curves. It's kind of big sigh going backwards Leading into this Let's kind of up to you. I think for this if you wanted to stick with that I would probably move the pelvis a bit more this way and the whole root Push that a bit more and then you can even stretch out the legs a bit more so the less bent And again, they will give you a bit more room Both arms to fall behind the body But again, this might be pushed much But I don't to me it would help also by straightening this leg. You will avoid The tangent there. I'm a picky about that stuff here where you got that that right where the shin is the tibia isn't it In terms of the weight It's cool. I'll be careful moving the chair because once you move the chair I want to see this move back with the chair. So now you have a sliding chair Where the root is not really involved. I do like interacting with the prop and moving that stuff around and you can even You imagine if he sits this far back, you can almost have a moment of the chair getting off the ground and then the legs are off the ground and It depends how far you want to push this but as of now I'm a bit concerned about the silhouette It feels slightly off balance because of that head being so far back I do like the timing of that you can then probably Have a bit of a little bit of bounce up and down on that roots Not much just a little bit and if for complexity you can imagine that also lands on one of these Sides first a bit of offset in the hip. So it's kind of like a one two That's just for the root to me there You could also argue that if that root is here and it droops it's a bit straight You can also just have a path of a bit like this As it leans backwards. So it's not so I k straight a bit of an arc boom into that I like this. I got that compression there The head as well. I think that's cool. But again, you need more time to swing that arm back and forward And then on on the screen right arm, it's a bit funky you have If it's if the characters, you know, if you start like this to me This seems tired or just really what have I done type of thing? And if it's just kind of plopping down and to me, this is too much of a counter It doesn't feel like the hands or just the arms are just hanging And a bit dragging and then boom on impact swinging back Right now it feels like it's a very deliberate move up And then pose wise it feels a bit too straight Like you're holding that straight for quite some time Which again feels very deliberate and doesn't feel quite like a loose arm swinging Especially the screen right one I do like the feet though that you have a bit more offset there It does feel there's a little bit of rotation in y which is cool and up this way But I would probably again x whatever your rotation is though I mean I see it here you can probably rotate sideways pivoting off one of the sides of the shoe For a bit more complex stuff here since he's leaning this way I don't know there's something about you have that again shoe Pivot off this side And then boom flatten on the way down Yeah, I mean the main thing when I watch this move this seems slightly Off Balance this is a bit of a bomber silhouette wise and we need a longer ending to finish that swing Uh, that is me dragging this around what am I doing here? And that arm felt a bit too held here versus a swing These are the immediate impressions that I had and everything else I've been talking about for 10 minutes It's just me rambling I was going to give you my thoughts You know the thought process of looking at this and also answer your question in your mail Uh, I hope that was a good answer or a helpful answer at least And if not, let's go back and forth through email But as always I wanted to answer this in the critique in case someone is watching this And is also curious about the answer and that is it. 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 the like and subscribe would be awesome. All right. Thank you