 Alrighty let's play this in full first here and I checked that your email you talked about the facial setup being a bit of a problem. I think it could still work. It is a bit of a bummer so the question is maybe you can do a rough pass on the faces just see what we have because if you can't do you know you can't do super subtle stuff but if you can do anything with a brows, I mean some compression something in there with the face I think that would still help because then otherwise what's the point of the close-up right so if that doesn't work then you might just have to do this whole thing with this type of lens so you are this you know that beginning but framed like that and if you feel like well nah you're gonna do that then the shot would start maybe there I mean that could also be a thing crazy thing too is seeing this reference I think it's just less rotated here I think this feels a bit broken where we're bringing that foot a bit more towards us but I think generally it's working towards right direction I think what's happening now we're definitely getting a bit more feeling of the mechanics and the weight and the timing of it but what happens is that it gets it gets a bit even in timing as a tricky thing because there's a lot of work behind this but if you look at the steps there you got one two three four five six seven eight nine ten eleven I mean like when you time it out like that everything happens within the same beats I think now that we're this so fleshed out I think you might have to consider grabbing some some elements in your timeline and then speeding things up a bit where you can have turn a bit and then some faster steps maybe some slower steps as it's looking around faster again to turn around maybe here hold a bit for a look and then pop on a bit faster through there so you might have to start tweaking some of that general motion there this is the general timing to give it a bit more rhythm that's the only thing because I think this is all progressing really nicely you know get still some smoothing out to do and then compression and influence on the wrist and stuff like that so it doesn't feel so locked in IK and the rest is moving but that to me would be secondary to the main note of we have to look at the general rhythm of the shot and kind of break away from the reference I mean again if you look at the reference comparison at the top it's already different towards the end but I think now we can push this even further but that is up to you right so you have to you have to decide do you want to do this at the beginning with the face do you want to do some minimal work whatever you can do with that rig to then get into this or you just want to start already that far zoomed out but keep that action do you want to start here and just keep going with that because it's all work that you have to with this is all very easy for me to talk about but you're the one doing all the hard work so you have to make that decision there and then see how far you want to go in tweaking the overall rhythm and the beats there because I'm not really worried about the animation not just you know a bit more of the the pacing and entertainment value of watching something like this so one thing you can do potentially and we talked about adding me more foreground elements to make this more presentable as a shot with some interest there um but it seems like to me like that drop feels better the balance feels better we talked I think I have one point I talked about having something here that it could hold on to but I think it works pretty well you never know ever so slight feeling of off balance there you might have to put that root over a bit more or take that step a bit sooner just a little bit off balance there but the rest works in terms of the mechanics and where it's going there you know there's some jitter in here looseness in here with no contact and losing that contact a bit too soon to me about this is just kind of cleanup because that feels good here maybe even a bit more wobble on the head potentially for an impact there maybe that gets a bit too too easily from this arm pose into this where it becomes the thinker so maybe it's a bit more texture in this where it goes up maybe it holds a bit on the arm and then does this but again that to me is all secondary to the general beats and speeding things up here and there for the flow and that's that I don't even have that you let me know let's email back and forth and have a little plan on this and then you also emailed me sound clips which I'm going to turn this critique off and we'll listen to these separately and let you know in the email all right 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 a like and subscribe would be awesome all right thank you