 All right, let's play this in full first, but you can't do this to me. I started this company You know how much I sacrificed All right, I got a couple thoughts. So you are mentioning a couple things here first. Let me get to that first here So I was a bit confused about your note here that the legs are going through his face I'm assuming you're talking about this With that I think you can just cheat when it takes that off How that hand more move more towards us You know and rotate the glasses a bit over I mean because the backside you can cheat as long as we don't see it go through the eye You can go through the face. We don't really care about this. It's just about this one. So Bring that wrist a bit towards us and or rotates You know pivot off of here that the glasses are a bit more here so that this would be here I think that would be totally fine now speak of which But you can this seems a bit weird because if he's holding it here For that to pivot down like what is he holding on now to me seems like what he's holding on to the To that side of it So I'm assuming you're dealing about you're talking about when he does all the gesturing that this is here And it goes through the face Again, I would just cheat this where He takes the glasses and when it's here just rotate that wrist Towards us so that or or away I mean they're either way either the legs are pointed more towards us so perspective-wise it would be like this or You know with with we see the The inner side of the glasses all you rotate the hands away from us So these guys are going away and we see the front side of the glasses. I would just do it like that I wouldn't do this because this seems a bit weirdly Not possible and now that now the glass is kind of floating in that So that to me will be the first thing here Also watch out your spacing that arm comes out really Fast and bam and it kind of harshly stops and then changes direction going this way So it feels you watch that wrist That kind of stood out there a bit, but you can't do this to me Then you mentioned about I darts and like a stare and to me seems like here is kind of the starey part And you're asking how I make I think you're asking about how I make I darts and and head moves Work together. I wasn't quite sure what you meant here You try to make them work together somehow so to me. Yeah, it would be I mean the thing is the moment You have head moves it's going to minimize the eye darts because there's too much movement So you have to kind of look at what point I wanted the head to be still for just like a more existential What am I reading in processing? But if you're also moving the head around then you just make the darts just a bit bigger and Then it becomes more of a searching. I'm searching with the head and my eyes for memory or information. I Look at that, but if I look at this here It was down this system is weird that he He is looking at this, but the moment you bring this Down I see how the how the eyes follow but the danger is that that as an audience We will also look here because there's so much moving now and then I'm going back to the old man And now all I see is a stare. I'm not sure if I'm I'm a fan of that stare You can't do this to me Because the couple things to me he doesn't stare, but then this becomes very slow and spliny and Also with that camera move. I'm also not a massive fan of the camera move. That's a different issue there to me to me it seems more like you want to Go from this and then when he does this you do a bigger eye dart where he looks this way So we don't think that he's still looking here and it gets confusing to me I would dart out this so he looks out into a distance here and then before this you might have one bigger dart Imagine your your eye box is here and then you dart over to this Make one big dart out of this and then a stronger blink and that's such a slow like oh I'm so tired to get up because he is he is now fully alert and Processing things and getting angry So having that slow blink to me takes away from all of that energy And then I would be also careful with his arms both of them feel like they're going back at the same time So to me it's like this is the document of despair here where I would I would almost Hold that a bit higher. I don't move it as much or if at all and it's just this and Then on that getting up then you can lower the arms a little bit more offset And you avoid that type of stuff and then yes There's intersection here intersection here like to me stuff like this seems very obvious and I know you're gonna fix Sometimes since I'm uploading this on the on my channel sometimes I get comments from people. Hey, what about this again? No, I know I know so I'm gonna make sure that people know I know I see this but also know you and you're a great animator You know all this the constrained pops and stuff. I don't feel like that needs to be addressed because that seems so obvious So what's happening here here is that you go up and you have that big exhale But then also the camera drops and it makes this all overemphasized and then it makes it all very swimmy and And it's a tricky thing was if you just tilt up To me it seems like we would have to be such a tricky thing You would have to be almost globally further away. So it's a bit smaller in frame so that we can tilt a bit less or You tilt you start tilting here ish the way you have it But you end maybe here so it's it's a slower tilt with a little bit of a translate raise Because right now to me that tilt is so in sync with the body Like it tilts up as the body goes up and then the body exhales goes down and then the camera goes down with it It feels just weirdly in sync. I'm not sure if this would work with the camera If you start here, but you end maybe around here and make this a much slower transition I Will concentrate on the animation first and how about this email me your scene And I can take a look at it so I'm gonna play with the camera around a little bit I'm just curious. I started this company After that, I don't mind and you're also talking about adding some more jitter and in his hands and making him a bit more Old-manish which I would agree that we kind of need but also ramping it up So that a ramps up more more more more into this especially during this silent moment also against view of the camera once you're here I Would leave the camera the way it is. I know we don't see this But here's the thing I want to concentrate on him getting more and more Matt all the thought process and maybe this little shaking now in the hand and then the explosion and this camera Is going why is this camera going back? Are we going to reveal something here? Maybe it's a boardroom full of kids and it's like airplane too So to me this camera move is very distracting So either this is the end of your camera, right where we see all of this So maybe we can also try is take the keys delete all your camera keys. This is your framing and imagine Here is this camera position and then from here you just tilt down to where he seated But again, we're this far away. Hope that makes sense because it feels like we're we're tilting up And then we're translating the camera to the end position Where I would say well, you can try two things what I said before where You might want to start globally and stay there and maybe tilt and go up a bit and translate or You take your end position and you delete everything before and all you're going to do is tilt down When he when he sits down if you play this backwards, I hope that makes sense again You can save me the Maya scene if you want then I can I can do that for you So you don't waste time with that since I'm To me this is something you need to explore and test. I don't have an immediate solution I don't want to I don't know how that scene looks like if we just tilt up and leave it Or if you start back here So feel free to do that. But if you want me to take a stab at it, that's no problem. I Started this company I'll be careful with this. You have a bit of a One to two and you do it like a one two and it up and one and almost a two here I feel it's a bit too much in terms of how much our movement and waving there is started this company I started this company And there's a tendency in a lot of animation clips to do a double arm gesture move a lot I'm tempted to say keep this Down and that's it just to one Don't do the double and then I wouldn't do a second one to me this This gesture is already in the head going. I'm addressing you. I'm addressing you Or you do I mean there's so many ways or you do nothing here And that's the only one you're doing. I just wouldn't do as many here Again, I don't want to dictate all the acting choices here But to me it seems like you want to do either one boom and that's it And then he just uses the head to gesture or you go up and you just tense up and you leave the tension until Here and they does one gesture here and I'm not sure if If you start trembling and again, there's no camera movement. We just focus on his eye I wonder if it's if it's enough It's such a long pause where I feel like do we the question do is do you want to keep this very subtle? Or we just do it like this and you got more trembling and maybe there's a bit more action in the head with this bit more I darts, but then looking left and right just a bit more and it gets more more more more until he just goes Or which could be too overactive and too busy. I'm just throwing it out there if he does this and as he thinks And does all of this all of this he's almost taking one or two or three steps backwards Just small steps like he's just I can't believe this is happening and then And then when he does this he takes a step forward Right, he goes back back back back back exactly long anticipation To coming back into this And then you mentioned that you have you want him spit and that's why he does this And and it's very subjective, but me personally I wouldn't do it only because he has such a He's so mad Jun that to me it would be you staying here And it would just be this mad look with maybe another look over here or just a lot heavy breathing And then that's it like you want to link it just on that sacrifice cut And now it feels like you're adding one more thing and it's almost this little polite wipe of his mouth It feels like we're adding one more thing that takes away from the energy and the impact There's something to me where you want to go Cut But that's just me So I almost have more questions than critique points But it's been a while since I've seen this and since you sent stuff. So how about I leave it at that And then email me back and we can talk about things Do see what your thoughts are about the camera and then if you're willing to take up steps here Because it would change a couple things always the animation wise You know you can also do go back a couple steps small steps and then Um with this but don't go back. It's like he throws it But you end up with him like this arms on the table and he's Almost like a you know like an animal ready to pounce with arms on the table. That's an awesome drawing by the way And that's one way to end it. Um, but again, I want to leave that up to you Uh, it's it's been so while let's let's discuss things and let me know. 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