 Let's play this info first Okay, I think you got two places that are a bit fast And I think the hang time could be just a bit longer as well So if I go back here It's basically the couple things here. Watch out how strongly those legs bend over one frame It's a bit of a pop you can reduce that you can also see spacing wise how The head is small small small and suddenly gets into a bigger Bigger pop right through there, but it's mostly in here how the root goes down So ease into that a bit more And then for a jump I will probably start lifting the head a bit earlier so that Imagine the nose is here right now so that the nose will be a bit higher so that it's a bit of a lead with The head so it's not so I'm looking at the ground Then you can have a nice, you know lead with the head into that curvature there And then there are a couple things On that push-off I will wait until the very end where you are Fully stretched almost fully stretched into a foot roll So that you're a bit more like this Stretch that foot roll and then you can be actually further along that spacing is a bit small from here to here And then suddenly it's really big there It's a couple things gotta unwrap this little bit So basically there's so much pressure that you're gonna put down on the feet with the leg on that push-off here That the foot is going to stay stay stay stay stay stay and not start lifting But you don't you're not even on a foot roll So now you're really just it's almost like horse where you're on the on the hoof there Where you're really pushing off through this that's not quite as powerful and how you would jump So I will keep this flat flat flat flat flat even here be flatter I mean we'll have a bit more an extended leg and then you can start going into a foot roll Foot roll into again the spacing would not be higher into a full extension and then you can go up into this now For the spacing of the roots, I'm going to some onion skin here Let me see I can probably just use This section just because it's so clearly visible Somewhat to me as I'm going here frame by frame I know that's not very exciting to watch, but that's something that everybody needs to do And then hopefully with any type of software that has Ghosting in there. I mean you can also do it within Maya. I Mean you can also just use a motion trail like anything that will give you an insight into spacing And this might not be super super precise, but it gives me a good idea It's well actually when continue as you're here down here, and it's really almost no movement there for couple frames and then we're lifting up some skipping up frames because they're so locked and Then you're going up and I think that should be okay. I mean you're a bit strong on this stop anyway Now as you go back You can see what is going on here so much colors just quickly So as you start you can see how the spacing you started with an arc That's pretty good. You're going up and it starts to get a bit wider in the spacing not hugely though Imagine that it's a bit slow And then you start really speeding up through this section for a push-off, but right now it's a bit even you can see here The spacing is fairly even until here Here from here to here. You're just you barely moving up So that's a bit of a weird slow down and then from here to here. You can really see That massive pop so you can see the dots or the lines how it's all small and then bam Really shoots forward and the same to here and then it's kind of smallish again But what you also see is the arc you can see hold on real super fancy here As you go up here, it's almost like that trajectory of what the root is doing is telling me You must shift actually different tool here So if I look at this especially throughout the end here, it's like all right. I'm gonna shoot this way up But then you can see that whoa, what are we doing here? We're suddenly Going away from that arc. You don't want to expect something like that as an arc a rough Rough arc there. We're not that high But you can see what's happening here is that instead of going up and falling we're doing that You can see that here and then we have that. That's not too bad if that was just the arc here You know if that would if you go backwards From that it would fall down to here But that is okay. And then once you go here, you can see now from here to here that we're going very straight So instead of following through with the arc we're doing this Which feels a bit off and once you're here, you're suddenly shooting up You can see this here when you track just all those dots here This is what's happening Into that and then straight up So that just feels you can see here that change in all those arcs You're going up suddenly to the right and then into a nice arc and suddenly very straight and then suddenly over to the Right and it's only straight down and then stop and then straight up So what I would recommend either without usually doing this case I take a dry erase marker. I have two of them. So one color is what we have before which are just erased But it's basically you're showing kind of this is what you're doing like obviously I'm exaggerating But that's that's roughly what you're doing not overlaid But kind of what your arc is doing and that's what I would Track with one dry erase mark again anybody can use whatever tool they want to use I use that directly on my monitor and whatever it is, right? This is not spacing wise, but you know This is basically what it would be with dots so I can see what's going on Then I have a second area dry erase marker and I go all right. Hold on hold on. I'm here I'm down here and I want to jump and I go Into that and I draw the arc that it should be and then you can see now How your root is not following that arc at all and that's now your guide and you can use this with the motion trail Where you start readjusting your curve and you can you know, you can also take a sphere I mean you can do all kinds of stuff You can take a draw our nerves curve as a guide You can create a sphere scale it up and have that as is, you know, whatever somewhat sphere I mean you can do it like this where that is your helper sphere in terms of geometry and now You can have your guy jump and follow that arc You know, like whatever is useful for the timing and spacing well spacing first here, but I Think the timing is not too bad It's like because of those arc changes that you have it gives us that that up slow down pop and then the bit of it and even drop through there because it's so straight and This coming up a bit in that ending is just a bit harsh and you can see this mostly in here Again, I will probably keep that head a bit higher so that we're not looking at the ground and then as you go back up It wouldn't be again spacing wise you can track just the back of the head Go back back back and then you can see the next frame from me or 52 53 You can see nothing's happening. So we're going So this hits this invisible wall bang and then that's that versus I'm going back Maybe overshooting a bit and then coming back safe a bit of a little move like that So that is what I'm seeing here. You have some questions here Some weird feet sliding issue our frame 39. So 39 Okay, so basically your pivot is here and now you rotate the foot down That's not even that then the pivot would just be down flat here Well, sometimes when you have a foot like this and then you just rotate down the pivot is not really from here It's from where the controller is. So if this is an actual contact here, and you just rotate down your foot is not going to be Here it's actually going to slide back, but this is more than you would think Yeah, it goes back a bit to the left as well. So basically again, you need to just track that moment where this is the contact Go down and I'll translate the foot forward so that that heel is actually here And this could be visually you can put in a cube as a helper guide But that is just a try the continuation of some keys going back And you can see how it kind of moves forward a bit here. So that feels like there's a key Here and there's a key here and in the graph out of there when you have something where it stops But you have a key and key and it's you spline everything. It's gonna have that little spline bump in there So that makes sense, right? So if you have keys like this key key key key if you would spline this and you would have that Do something like that So you have to put that on a linear key for the translate and then it just locked to no more splining on the translates Yeah, it moves all the way to here So really check that in there and then use the fk ik switch to pose the legs better in air And you take the advice on that will be helpful Interesting, I don't know if I would actually switch to fk Because what's also happening here was you're not in the air for that long So it's me. This would just be posing it out using ik throughout if you track also This if I just track the ankle You're gonna see here as it goes up. Whoa, there you go You suddenly have this This and the sudden drop and then the backwards move But you can see it through here that that is not an arc. You have clearly a triangle through there So again, you have to track this using whatever means motion trail dry erase marker Like whatever you prefer But this just comes down to you you're taking knees ankles to root Shapes, you know, if you had arms there, you would track elbows and shoulders and and that's just you got to go in there Frame by frame and sometimes it helps to draw out the arc first We're like, well, I want to follow this arc now and then you take your roots And you track it along that arc now This would be very even spacing. So then you start easing in for hang time and then easing out into acceleration into a drop and so on and so on Alrighty I Hope that's clear You did give me the Maya files, but I think that's fairly into detail But you tell me let me know tonight tomorrow and I can always go into the Maya file and Show you how to track things if you want. That's solely up to you. Whatever you prefer But that's it for me. 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