 Alrighty, let's watch this here We got a background That's your idol Okay This crack map here says almost like Pa-pa! It's gonna pop the... I don't know, it's silly, but I would just bring this lower It's so silly. Although my question for you is it's an interesting... I don't know that it's wrong. So I mean it's your design I'm just curious that she's floating those balls amidst trees. I'm just curious No, again, nothing wrong. I'm just curious what the thinking behind that is um, and then Looking at that. It's pretty cool the contact on that elbow feels better Maybe now and then it feels like it goes up And then the ball goes to the left and then the elbow goes down, but the ball doesn't quite react It's ever so slightly Bit swimmy off. I think it's better than before, but it's it's a bit Swimmy just feels nice though I think, but you know, it's a it's a minor note. There's some good distance there The head to me maybe it's a little bit too Translating so as you rotate that neck forward the amount of rotation on the neck just feels like it's it's an IK head translating forward again I'm being extra picky just because my first instinct is like, you know, this is done. It's fine But if you want to go extra picky, it will be stuff like that offsetting fingers It'll move all at the same time Stuff like that, but you know, that's really into the picky I'm also kind of depends how far you want to take this and And all that good stuff and then go forward here This guy just like with this one though, I would look at the clipping plane in your camera You can see how this is shimmering here Then as we're moving the camera you can see this so you got to adjust your uh, near and far clipping plane seems like in Point one uh 1.0 on your near Hope it's I would say well put active far than a million or something just be safe Other than that Feels better. I remember doing a slight tweak on this Because you have your Hold here the first thing that I feel like is that that big arm drop from here to here It's a bit too isolated I wish I would have a little bit more of a shoulder drop and a little bit of a Like an overall, you know spine droop to the left not huge It's just shoulder comes down because of that It's going to pull the chest down a little bit and maybe the head will counter a little bit this way Minimal but just enough it feels a bit too separated On that arm and watch out That elbow you're going up and then we're starting to lose a bit The structure and silhouette. I mean like we see it here It's not like you're resting in something like this for too long But then we kind of start to lose that arm So my question to you is but she's basically moving that arm up with a slight rotation Could you do something where I know this is a bigger note, but just seeing this Do you have the freedom? Could you bring that arm out this way in her other shoulder here? And then that arm would be up here. This is super twin. I will do what I just Do there A massively long foot but something where we have a bigger twist even in the root or You know, so you have something where it's we are Not so hidden with that arm that gives us a nicer silhouette I know she's pushing that ball forward But she could also have that arm up here ball is still here and then it goes Towards the ball like that just throwing that out there. It just feels we're a bit too Like it occurs from a sea to the reverse but without a twist in it. That makes sense Then this feels a bit too Everything is moving all at once Where I will bring, you know a little slight anticipation before you go if if you have the arm back there And then it's the arm shoulder and then the chest You know, it would be this this chest then the root and then legs So you're really driving with your arm Meaning that that foot here at that point would still be here And the root would still be here and then she might be Really pushed that arm might be further back. So it doesn't feel so It feels a bit timid through there And after that after she is really Really stretching forward where you could have you know, a really big stretch in my awesome drawing Then you get that forward move with the leg Overshooting overlapping although I would say it's a bit fast How those legs go forward and then stop and then come back Also spacing wise you can see how This goes suddenly I mean the overall shape you go from this to this. Let me bring up some onions getting here Right from here to here And then that foot is here down here down here and then it sticks I know we have a slight moving camera. I see this but still in 2d space It feels like it's sticking then a little bit And then we go off to here. Oh, my little dot was wrong and then it goes straight down The wood and suddenly to the right So see this it's a it's a bit messy Spacing wise the whole thing I would work on that but I would I might have forgotten your initial turnover where you talked about how what you want to do with the character, but Just ask yourself how much you can push this in terms of rotations and the overall pose to make this a bit more dynamic So she doesn't feel you know that has a bit of like a lot of angles there Where you would think it would still be This is but the arm is pulling the character forward So there's a lot of drag in a nice clean line of action versus All of that that's going on there and then you have this By this I mean the legs shooting forward going back And then this arm feels like it's a bit stuck back there stuck stuck stuck stuck stuck stuck stuck and then suddenly going Forward and then suddenly up, but then also hitting a wall as you go up bam right there So I think generally just there's a lot of spacing cleanup that's needed That might not be the best either you have a little tangent there and there just feels more like She's on the chair and she's the thinker So even then it feels like she's almost towards us where you can I would rotate her more We can see a bit part of her back. So look at some twists kind of pushing the twist aspect of it And then the way she goes back it feels a bit more Here's a pose Here's a pose Where you go from a to b Versus well if I'm here What's gonna go first what part is leading and imagine she's floating imagine at all Let's pretend she leans back with her body like oh like that Then the body would be here the root would still be here And then the upper body would stop and then the root would follow And then at the end she'd be there So it's not so pose to pose, but you have Swaddle you can also leave with the legs back you can relax her arms And then legs and then she's kind of backwards floating back or however you want to do that action I would just make it a bit less pose to pose And again spacing wise if you check for instance this hand it goes up up up up up bam Then we got a 2d space lock and then suddenly goes down Just a bit messy even through here feels like we can draw a line here She does this and it's just one constant straight line Where she doesn't have any break up between these sections there Again with leads and follows This is from the gecko watch out You got a tangent right there with the elbow and even here I would separate Foot out bring the arm a bit higher That's a new one though. I like the idea here That will probably go Because you're lifting that elbow it feels like all right. That's going to be a big smack up here to lead But then something that we're dragging with that elbow. I would probably go higher And then here already be in a cleaner silhouette. So it's not so stubby here So you have an arm up there that almost forms that line of action So it doesn't just stop there. You continue with that arm And then you can continue and you can almost bring that arm further out into a nicer sea And that's not too bad. You can break the armor lift Into that which is cool Same thing here. You got a couple sticky frames where the head is stuck in 2d space While the rest comes down. We're really bending her But it's mostly some spacing issues And then the ending you see It feels a bit like We're coming to a rest too quickly with such a twist and turn Let's see. She has a rotation back with that arm Yeah, same thing here. So you you have to look at this here how we are going Like that. Hold on I mean skating Onion skating back This That to that It's almost off my drawing, but by point So we're hitting that wall And then down and even then if you will go down here It's almost like you want to swing backwards a bit which I know it gets muddy silhouette wise There's just something a bit odd of having so much rotation this way overall To then stop and suddenly comes straight down. This feels more like She fell down into this And discounting all of that rotation And backwards momentum where I feel like she would almost have to Be kind of need to almost lean back a bit arm swing back and then she could So it was like she would take a step back and maybe another ball would form and then she would Stand there. I don't I don't I'm breaking A lot here, but just something feels a bit off in that turn I hope that makes sense. Just feels like she just comes from straight down and disregards all of that And watch out. There's a bit of it an odd Sticky with that really rotated back ankle here, which is very straight Straight path here. I will just relax that foot also a bit And she gets back into this And then the question is do you want to end it like that as in we kind of ease in post-to-post and even have a couple frames of nothing Or do you want to do you want to overshoot a little bit And then relax or do you want to just have a bit of a softer ease in Over a long period of time with a slight moving hold and then cut You're gonna watch out for that. It feels like there's something Kind of missing at the end there And that is that okay, hold on. Let me check the camera or something I think it's okay. It's a bit harsh If you look at this, it's not a super linear key, but it does feel a bit harsh as you go back At least you're overshooting and coming back But then as you come over here, it kind of blocks It's almost like you could Keep going with a slight handheld just because you're suddenly moving the camera here again And just a little bit I don't even think you need the camera move right here because we're not really reframing the character Where you know, she goes over there and we need to pan or maybe tilt So that looks like move. I will probably take that out in the camera And that is really that for now. 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