 all right let's play this I think this is overall looking a lot better it's really coming together just a little technical things some timing issues here and there but it's it's good some body mechanics stuff it's cool though I like it yeah definitely with the camera coming in reframing that's all cool let's see I wonder I like how close the dragon get gets to the baby but there must be here it's very edgy my concern is that if we my instinct would be to pan over to give you know so the head would be around here but that would really cut off the baby but at the same time we've seen it already I think that should be okay just a bit more room and then you can walk into that new framing and you still end up here that's all cool and the end framing school too I like that that we only my only camera comment I would say just looking at that it's been a while sorry gotten really busy so if I had any other comments I remember you're saying something about that you're going to I added a bit of rotation to camera to reframe the parent dragon based on the last feedback I will add your take on the camera later I have to admit I don't remember what that was horrible horrible on the record horrible all right in terms of animation this entrance feels fast in terms of just flight mechanics and body mechanics and weights there's something about it the couple things a you would have to it's very flat here so I'm not sure if there's enough time ideally I would say slow this section down 15 frames see if that's enough might just be enough it just be a tad slower the other thing is that there's not a lot of post changes or in terms of head legs and everything I know it's it's gliding down but it has a slight feel of a 2d card being translated in after effects so you could do something where actually comes in this way where the screen right wing is lower so that you have a change from this angle to this angle so here is he also feels a bit too flat she so I would angle the dragon a bit more like this and having that change from here so that this side goes up might be a cool visual contrast taking away that 2d card elements then it feels a bit weirdly on a path yet crabbing where there's a there's a change in orientation in a very flat way there to me it feels like you want to be tilted more lead with the head of it more into that curvature and he do the wing was like you want to do the wing almost later comes in I think you could do the orientation this way I will bring in the legs back a bit more tucked in maybe like a slight curvature in that tail I mean it is dragging falling it just was a bit straight a more interesting shape to it and then by now I would rotate over like I said for that turn lead with the head orientation so that the neck kind of curves in there then bring the legs into what you have now so they go from flat to back dragging to kind of lower so there's again a bit more visual change but having that turn and leading with the head and kind of having that the glide into that turn is going to help and then potentially delay I know there's not much time but I would delay that flap by five six frames and you might have to make this frame just this flap faster anyway for like steel frames out of this flap and add it that makes sense right you want to add the this flap a bit later we're just going to compress the time of this one but I think it's going to be okay because you want that to be a bit faster to really sell the idea that it's breaking which also means you could make this guy a bit faster this flap and I would I would actually go further with the flap close it a bit more so it's a really strong momentum stopper for it just make sure that also from the top view it's really following a nice path and in the legal way and it's not doing come somewhere grabbing sideways translate just something feels funky through here and you're probably by now I would be in this position whereas through here I would still be curved this way so this side would be higher so the whole body would be tilted over just kind of more to a turn and lean into this and slowing that beginning down just a bit fast especially through here it comes in and it feels almost like there's a little drop here right there a bit of a speed up and with a drop and then same thing here right there through this section there is a speed up as well it's a bit slow and speed up so make sure that in your graph you don't have a sudden like that in your translate where that would be your speed up there so just through here it's a bit too fast then as you continue you want to start offsetting you want to avoid shapes like this when the wing comes up you can delay that membrane a bit more so it's not just that very thin line especially on here something like this too so your offsets even if with the overall change of that angle you still want to offset one of the wings and you have some membrane showing up here for the wind resistance just to get some more interesting shapes in there and then overall just offset the wings for asymmetry I mean you can easily get in there drag that tail a bit more for that section that's also kind of feels a bit stiff you can always hide that tail till the very end if you want I know I'm not a fan of tails I'm really bad at it so I understand your pain watch out that right there I think that hop up with the head is a bit fast my potential to be also a bit too high it's almost like you're starting to go high but then it goes right down versus that would be a bigger jump so it might be a combination of maybe not going as high but I wouldn't bring up the head so high because then here it's a sudden change in drop but that in real time and it's not by much just a little adjustment it's just a bit fast I'm just looking at the scale and weight of it just that that curvature is just a bit fast so if you just dampen that a little bit we'll give it a bit more weight and then on on stuff like this when the head goes out and has that nice you know all that curvature stuff which is all cool you can have that head slightly tilted you know depending on that on that angle and then as you come in here it could be straight out like this but then as you go into something like this you could have a sideways tilt again just to kind of engage all axes of that head so it's not all one one straight axis and always horizontal so you can make that a bit more complex this is a bit it's all a bit twin then it gets a bit muddy in the silhouette there I like your offsets and poses there that's all cool here too you could potentially offset this but one more frame uh I will bring in those toes boom so on this frame by nowish that would be spread so there's a bit more spreading of toes as you go on here bring them back that's good but on this I will bring those toes what are you a bit more in same thing here at those the hands here they go up up and then down it's a bit of a one frame direction change there there's anything you can do again by not going as high you just want to flatten that a bit more so it gets a bit more of an arc versus just a very flat uh linear sorry like an angle there then as you get in here you're starting and move this way with that paw and then it goes straight down so make sure it continues forward I thought here I would flatten that ankle there for compression stays a bit too long in this shape uh same thing bring in toes fingers closed so that through all of this they can spread also seems a bit even though this guy is catching up a just watch out if that's the top view head legs and fingers that when it slides forward it could have a little bit of an outward slide so that this last pose is a bit different just to me you want to be stabilized so it'll be almost be in a triangle position for a stronger visual thing of I'm stabilized and strong versus getting closer okay hold on but you do have a step here so hold on let me take that back yeah it was you have that here which is cool nah then I would say leave it yeah I take it back forget everything I just said because I like also that you have a certain distance and then you get closer for that contrast and then you do have this for the triangle which is cool so forget everything I said leave leave everything you have just do the compression on the ankle same thing here on that step bringing toes together and spreading out the toes and you can be pretty lazy with the toes and then they flap open almost like a lion or bigger cat they have very lazy paw and then they flip over just at the very end it's gonna be neat not that this is a cat but you know it could be something to incorporate so it's not so also let's look at the pose it's so straight it's giving a bit more visual interest by having that curve and then that change and gives you a little bit of visual snappiness which could add to the but as you do this on all those steps but especially this one this leg feels very independent I don't see a rotation in y or a rotation over in the chest for some balance and on that plant a bit of an impact and a little elbow jiggle with an impact in the neck so that that type of detail you want to start putting in there so he comes in and I think you can have a little bit of curvature like that or the head is a bit lower to then do from a you know curve like this to a straight into what you have now not you know you don't mimic this too much but right now the head is forward and just opens the jaw a bit this could almost be like he's coughing versus coming up and then into curve into a into a straight into this a little bit more power in this because the dragon is you know story wise kind of chasing away whoever did this so a bit more energy in there and then again as you move over and all the way that's going to be on this leg you would definitely want rotation up imagine that's like a hip you know clavicle whatever structure there is you want a bit of a change there same thing on all of those steps see this is cool right here right there that feels cool in here but then this feels really really dead it's kind of again I don't know I know there's not a cat but it would be neat if as you do this step to feel more imagine there was a scapula or something but some change pushing up to feel that that weight on this with the slight rotation of the chest be neat I really like your your tweak into the timing it's cool that it's hold fast fast I think that's great uh watch out just watching this here you get a bit of a let's get on here with the toes it's a bit fast here flip like here I wouldn't do it just because it's a bit more delicate and it's a bit more sensitive I think this one works better what's the idea you want to put the toes together and then spread on compression here so it kind of mimics a squash a little bit like that little hesitation lift on here uh same thing here you still don't want those fully splayed out toes here you want rotation curl as much as you can and bring them in together closer that's all cool and even here you could I would leave those wings maybe around here in terms of closing you can still rotate them down a bit and get into a less pointy shape gives it a bit of a less busy silhouettes but mainly because I wouldn't be so closed here so that when you get to this you can close more it's almost like it's a bit more relaxed and the closer the dragon gets the tense the more tense it gets and the more concern and maybe that can be a visual you know add-on through the wings tensing up and getting closer so they're not just this dead wood here just feel kind of dead so you want to do a bit more so I will probably tense up through here and then as you go through here relax a bit more just a bit same thing here that step on this feels weirdly dead in here so I know need to retain the contact here but just watch out for body mechanics same thing here you want to do a little bit of a lift even if it's just a little foot roll with a slight you know adjust in the hips here so it's not just a leg slide forward with nothing in here subtle but still you I think you want to feel the mechanics there that's cool it's a little bit of a fast dip in the nose there I'm not sure if that's bad I think it adds to the going forward I think maybe it's just two frames delay when the lowest point by two frames honestly super picky that's just an ever so slight feel of a fast dip it's almost like you could keep the speed but then almost go a bit lower like it goes down and stays versus down and a bit lower into this being piggy mode here piggy piggy I feel like you could through here ish open the jaw a bit to relax us a bit and it's almost like a it would make almost a sound of all like I'm sorry or it's just some some emoting and then it would still be open and then as you go back but you open into here because of the shock I see that here I know it still feels like you want to open it through here a little bit so it's not this constant shock thing and then as you do this through here you can close it careful when I move through here it feels like the head is translating only he needs a bit of an IK feel make sure there's always a bit of a rotation in there this was a bit too translating I feel like it could be more and more palms right through there when it turns and opens the mouth I would just pause it a bit more although I will clear that gap there it's just not such a tangent right there it's almost like you want to be this far away for nice negative space through there after this I just feel like you want to go that idea versus head goes up moves moves moves moves yell so it feels like you want to have a little bit of that one and if it's just a couple frames just a little bit of a more pronounced slow down realizing what's going on and then this versus so this instead of just going up I would push that into a a bit more of an arc out into into that and then if there's any way you have a controller here and bring that down so you have a bit more of a curvature into this versus that that makes sense because you have that till the very end it'll be nice to get a you can with that she even lower the hips a bit more maybe you can and then get a bit of a I was looking at it at a cleaner shape like this this is this especially feels a bit broken there kind of bring that thing down but also head wise right at the end through here it feels like there's a very big pivot off of that side where it's almost pivoting in place that is my alarm even though I got up earlier than 7 a.m so that the pivot is imagine the head is here horn so your top view it feels like it's pivoting off here and it feels like as you do a rotation like that you want at the same time have it translate over just feels really isolated and broken off I don't quite feel like it's like a not that it has to be like a sneaky move but something where there's a slight rotation as well with a translate that takes the translate with the rotation that takes the neck with it and a little bit of the chest it just feels cut cut pivot off here and then as you go I don't know how much room you have to move the body forward I don't want to over extend this leg but looking at here to here it's mostly just head up and what we need to get a bit more of a forward thing so that this leg is a bit more leaning forward there's a bit more forward drive in this but again I'm not sure if it will overextend so maybe a foot roll can help it or or on this step you just go further forward potentially the baby is pretty good I think there's the last bob there boom right there that last one up feels a bit weird I would take that one out the last up there and then on your way up your breakdown could be either the head towards us or rolled away from us but I would have a slight side rotation so from the front view it's not just up but it's a bit of a I like that with a slight you know side tilt give this a bit more complexity I'm not sure if you want that slow roll at the end this one as much I will reduce it a little bit I like seeing a change in the horns there but I would make it just a bit less but sharper the thing that I'm like the main thing that I feel at the end is softness and if that thing is going you want to have a high frequency jitter if this was muscle sim it would you know it would jiggle the skin there really it's it's a painful she's in pain so that's why a forward move high frequency jitter just a bit more tension in there and a little bit of a jiggle in here it's all for polish but I would personally I would give this a feel of of pain and tension and right now it's mostly I'm getting from A to B into a pose with a slight rotation it still seems a bit off but I know you're still you know working on this I know I know this is just for final notes careful with too complex of a shape there that'll tail up and down is a bit funky I would just keep this fairly simple towards the end but that's about it lots of picky notes I'll leave it at that don't want to harp on for too long it's already a long critique but again it's coming together really really nicely I think out of everything this beginning needs the most work because of that 2d card and that fast shape there the speed up there for sure and then overall mechanics of when you take steps that the body is a bit more involved but everything is is really falling into place 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 a like and subscribe would be awesome all right thank you