 Okay, let's check this out. So you are saying shot 5 and 6 shot 6 is rough blocking you only animated the first 17 frames You ran out of money to get to frame 18 So check this one out. Let's see here It seems like your pivots. You can't really see it. It's off-screen on that foot here The pivot is a bit much Feeling you know if you have your your foot and And you're pivoting off of here, let's say and You rotate, you know like the foot will be here it pivots off the toes But then your leg is here. So there's a lot of leg movement and what happens here is that you start with your leg here and then you end here So that is a lot of leg movement because you're probably pivoting off the toes But the thing is it looks like the leg is just sliding around and it doesn't give you The sense of weight that she is actually on that foot. So what I would do is on this frame probably Keep that leg halfway through So that on this frame it could almost be Here so you are pivoting But it still looks like your foot or your leg is kind of staying put So while she does all this that leg will be here So by now that leg will be here, you know, I mean like that leg doesn't really change position, especially down here So it doesn't look like it's Translating so much to the right. It looks like she's sliding around So it will be a cheat, but I think visually because we are cutting off and we don't see the feet That's something you're gonna have to do. Otherwise, it's gonna look weird Watch out doing a section like this. It's good. You got this broken up compared to this which is cool But right around here during that moment there It feels like arms and the chest like this whole area is moving as one one big thing So you might want to and she turns delay Her arms her arm will be here in the pot will be here So be the the body that this leads about this drags and Then it can catch up maybe around here because you have this big move then it's pause then it's big move So here doing the same thing again where the chest all the chest area and her arm all move at the same time there Tricky thing if you break that up a bit more It's also really fast That move over here is a bit fast like stuff which was fly out of that bowl Same thing here Again, you can look at this and it's like this whole area the head neck arms and bowl All move as one It also feels a bit post-to-pose like she does this stops right then Goes to here stops this and then it stops Also when you do this same thing again seems like the roots is just moving everything So this would all fall down you're gonna keep that bull up there break it up between the chest and the head Then this feels post-to-pose Where it you know, it's like that's a moment and that's a moment. That's a moment There's no overlap in terms of well now the head is moving You know, she's doing all of this when she's done with this move The head could already start to look up and she's already looking this way and then the body follows to be in the same orientation So it's hard for me to know sometimes because you know, it's as I said last time I know you mentioned that you're forgetting it every now and then but I just seen your email Here's my shot 5 and 6 so I see shot 5 and I don't know well How far into it are you because it's still moving as one unit and it is post-to-pose So is this like how much did you work on it? Are you aware? This is post-to-pose. Are you aware that this is dipping and this would all fall out? So I'm not sure if those are things you know already or that you're just repeating the same mistakes over and over I'm it's getting slightly confusing So it's just again things are clear and I think Having her go this way is better, but you're the buts her route It's still going away from us in a very straight way. So the perspective change is not quite going So that's all it's almost broken up where the route goes back But this goes down here and what you want to do is you want to turn around So that see how the her route is looking straight at us, but you want to rotate that even more So that when she goes back It's it's as if the route was here and then she leans over this way So it's a bit more you can see that the route is moving to the left or at least a bit this way versus straight away from us So I see that being worked on a bit, but it's not quite there. It was the route It's the only the same thing you gotta move the route this way That's all cute that works like how she brings it down. I like how her arm Goes around and that's nicely done how it goes along the surface, which is cool Don't forget doing stuff like this, you know, where she's going to look high blinks eye darts I'm not sure she again looks like just a dead robot like here. She comes alive. She's actually looking Cute though. That's cool. It's a good reaction Just watch out when she does this and she starts moving her head over It's good that you have the rest be involved The problem is that the chest and the head kind of move at the same time and kind of stop at the same time So again, you got to Break up all these sections and they all move separately at a different time And the thing like the way to figure that out is also to act it out and shoot reference So I don't know if you're just animating it or if you are looking at reference or not If you are acting it out and you look at what the body does And during a move like this you'll probably blink as well And then the camera move could ease in a bit more. This feels like your curves are just going In and stop you can ease into that translate stop also when When it starts to ring Boom right there She could probably blink a bit earlier. It just really depends. She seems slightly surprised. So she's surprised about this Then I will probably blink I don't know what to talk about. Sorry for some reason my audio was slipped. Okay. I know that's better Strange Okay, no, you're good. You're good. You're good Yeah, so think about those breakups and all that stuff from body mechanics And then here is your 17 frame animated shot All right, she's looking looking looking. I mean, there's really not much I can say Except out here your arm move That arm in the head they come down kind of at the same time right there So this seems really twin here movement wise And I'm not sure if you need all that that head move It's like maybe on the way up here. She would then kind of have the biggest head move But then here it's all about her hands. It just feels weirdly again connected and parented where these two things come down And then watch intersections you gotta look at how is she speaking? How is she going to pick this up and get to her ear because it's going to intersect And then it's going to be all about eyes eye dots eye dots eye dots eyebrows thinking And then same thing here. How are you going to put this down? She's gonna have to really lift that arm up To get this to go not to go through So maybe what you want to do is bring this phone over here Right and she's still here And then she can just grab it and pull the phone towards her So that when she's in a pose like this this whole thing Is here All right, that's her that's the phone Then she can be here and it's all fine. And then she just put the phone back here Compositionally, I think it would be better It would feel more balanced and it's it wouldn't be also crowded through here The silhouette will be better because that is not overlapping So you know when she's down here again the phone thing will be here So then it's nicely balanced and you just go put it down there Alrighty, that's it. 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