 Alrighty sport isn't full their sound. I think donkey con is the best game ever You know something you suck Ladies and gentlemen the volume inside of this bus. Oh, I think donkey con is the best All right, all right, so that is your submission to previous demo real animations All right, the main impressions that I have gonna bring down The sound the bits is that once we start There's a immediate movement down here and he moves From there over and it gets a bit tricky in terms of where to focus now He talks and that helps but there's Like if you want to make him fidgety, I think this could be something where maybe you start the shot earlier To show him how he is Then this guy moves and then you calm him down a little bit And then you have that moment of you imagine this moves first kind of antsy Then this guy moves over starts talking. He kind of stops just kind of listening Then he has this bigger reaction. So we go back to this guy And then careful Even though I'm now at the kids You know the focus there. I want to look at what the kid is doing But then he got this ginormous move on this guy So I'm going back to this guy and watch how they are a little bit Tied together in terms of their movements. There's a what they're doing. So a little bit of a dance move there In practice sounds just for this and I think His reaction is a bit too soon to sucks. I think you can have um Four or five frames later so you can finish this so he hears it and then he reacts You know something you suck And after that, it's okay because then he moves over looks gives us time to move over to the kid He says his line and then he has his reaction And then that's the end of that Broadly speaking, um I think in terms of where we're going where we're looking that could be that could be helped a bit I'm not sure you need this this could be pushed over to the side. Maybe some stairs here Just because he got a lot of lines in there that kind of Cut into That's the cleanliness of the silhouettes Gages in terms of the shot I think it's needed from a technical point of view There's a lot of stuff going on where um, I see mostly a lot of ik arms And a lot of there's just a lot of movement throughout where it feels very busy It gets a bit better through there And definitely better through there the beginning this feels very busy and swimmy and spliny Where does things move back very separately where there's a interesting pivot almost in the middle of that wrist Breaking that wrist a little bit And then you have a lot of straight lines in those arms It's tricky because I know you want to hold on to this and keep that ik But I see a lot of straight moves sudden stop and it'll pivot point changes And even this here feels very straight as it goes and then stops then we kind of go back the same way Then we go straight the other way And then watch out there's some Very separate moves in terms of what the shoulders are doing with a very strong I know this is like a a reaction But it gets a bit poppy in terms of what that elbow is doing what those arms are doing And then this gets a bit strong and how quickly that chest comes to a rest Because it's not extremely cartoony So when you have those mechanics in there, it gives it a bit of a harsh feel But the main thing I'm seeing is that like here is he still playing while he says this Is that the idea versus wait a minute and then maybe You can do this where he might watch out for the silhouette to it It's a bit of a short arm where we could leave this and then that could hold on to The controller while his arm is out here on that kind of reinforcing that lean like wait a minute I'm going to stop playing to tell you that you're the one that is not correct here and so on and so on That's the other things. I feel like we're stuck in this constraint of holding that prop all the time where I like that you have some changes. So it's he's not always stuck in this But it just feels like we could push What he's doing his arms and silhouette wise and just body language wise a bit more And I think This is a bit too relaxed. He gets very sleepy in his facial poses. It gets a bit better through there. He gets more concentrated and then for the kid getting broader notes, but There's something really wobbly in his thighs and even the pelvis where I feel like they're really It's like he is holding himself up in the air. So the butt is not touching the couch. And now he's just wobbling things around That's mainly what I'm seeing here in in this area And this feels Getting very straight very IK which I know what eggs are but you know all that path And you can see how this is moving and sliding over while the orientation of the foot is the same It's a very like the arcs need to be worked on a bit more if you want to do something fidgety At the same time it could just be simplified where you just kind of kicks his legs in and out Maybe put that foot out this way. So we have a bit of a nicer silhouette then Then the foot aligned with the shin there Then as you go into this Careful when we have a lot of rigs have that where like the the lids are aligned like this Just like the eyebrows or everything turns into this and we can Hold on. Let me just delete this here And I think we can counter those eyes a bit that the lids are a bit straighter And you do the angriest just through the brows I think we are a bit high with the lower lids there Same thing here. See for me the lids come out come in this way versus From there. So watch out. You might have to rotate those eye sockets around Speaking of IK you got some intersections here, but this feels very IK because the the path is very straight there In terms of what the arms are doing. Same thing here It goes through there and it feels like hey, the silhouette's a bit wonky with four arm upper arm Overlapped the wrist kind of broken for how much it's delayed through there And especially here broken get a tangent through there I could have a cleaner wider arc for a nicer silhouette But this feels all kind of broken through there where bring that elbow lower And then it's almost feels like it's his hand is pushing his face around I'm not quite sure there and then same thing with with the other arm Like as you go up it gets very straight pathways and then straight pathways up there muddy silhouettes because if you hit seven In your uh in your mind without any background there just to be like This kind of sticks out there versus this gives us a better idea this for sure And again bit of a Broken feel the wrist right through there just quick and then you have very default looking Fingers in terms of the spacing. I guess it's not really an appealing Hand pose where it could be either more tight or more relaxed depending on the motion there. It's okay here I don't mind that gripping the other thing that happens is that when he is like Yeah, you know what don't know sucks. He could turn around And be more like I don't want to talk to you and then that way we have a change in posture We get more of the c-curve and reverse We can just be more aware of that line of action and everything play to camera This guy is a bit three quarter that helps. It just the silhouette gets a bit wonky in the shapes And in that way it goes, you know what he could turn All right, he could still have his his legs, but he could at least turn a little bit and then whoa and then he could really have You know his legs over and go like oh like and hold on to this like don't don't yell at me type of thing Because if you look at what the legs are doing See that there's just basically stuck in that forward pose and I think we can then also play up How he's bigger heavier Saying where he is but he still plays with invading the other person's face Versus this kid can you know if you make him fidgety It could be fidgety in terms of how he kind of moves around and sits differently and stuff like that versus just going I kill eggs with this, but that's my main thing. I feel like there's a lot of IK problems And it's just general Posing that I would revise in terms of how to approach the contrast between an adult and a kid and And how to sit and move this gets into my my usual pet peeve of I wouldn't put a character in front of a photo Just because it's such a such a Style clash of what's going on here In terms of what she's doing Let's go back here put some Volume back and see here so here Hold on Where's the sound My sound is gone. I don't know what I just did That's strange. That's okay. We can watch it without the sound Oh, because I accidentally hit The uh speed change ladies and gentlemen There's some moves where ladies and gentlemen Like this really pops down it gets a bit fast in how there are moves and how it comes to sudden stop Okay, just wanted the object in terms of if I need I think for the sound I'm just gonna look at it in terms of animation Now even like that flip up Feels a bit fast and then watch out it gets a bit gets a A bit all with like the upper body and head I know she has an extra rotation there But there's something where everything kind of moves as one there and this feels really broken How that hand holds the mic This would be rotated in To hold the mic I would love to see any type of reference you have for this How you got to that pose so watch out stuff like that sometimes she feels almost Off model in terms of how you push the shapes But the main thing to me is just the fast movements that feels like timing breaks And then we kind of pop into and moments It's kind of an odd moving hold And then yeah, it was almost like a pop and I don't that's an ik arm again there Where it kind of holds too much on which at the silhouette it's kind of the forearm overlaps with the Upper arms so I'll either bring this, you know, you want to break the arm either down or below to see the structure of the arm That gets a bit better. There's a timing But then it gets a bit wavy in terms of what this arm is doing Especially with that turn there And then this gets to me again a bit a bit fast It's almost a bit post to post where just everything moves over I know there's a slight delay on that arm, but as you play this in real time And this gets a bit too, I know she wants to go out and bra and it's gonna be awesome because gets a bit twins but I think what you could do Is put in geometry for this pole maybe for some of the chairs And maybe there's another pole here something and then you can maybe play A bit more with the set where she could hold on to some she can lean on something I think what's happening now is She is just constantly moving. That's my main thing. I know there's some moments where it feels like she's stopping but Like right off the bat the shot starts and it's hard to focus on what's going on in her face because immediately stuff is moving And all of that is moving until here. So okay, there's a little bit of a pause But then I feel like that's a bit of a harsh clunky stop through the mechanics, but then Back into a bigger move and then distracted by this wavy move here And then I'm following this arm and then it's another big move And then it's another big move and then that and that I'm with a really big I dart at the end switching where she pretty much looks at me and I think there's just Besides that hold there It's just constantly constantly moving where hold on set timeline limits here where I feel like we want to work a little bit more on On specific focus moments where she can talk hold and maybe play up a bit more with her face And then go back into some broader acting by where you have maybe one or two gestures total And not something here something down here then down here then upper gesture up there down again And then a broad gesture and another kind of a sub gesture the same of the Sub pose there. There's this constantly. She feels like she's constantly there's no like Build up. She's always there right off the bat. We're going into that kind of level And I feel like we could have a bit more contrast in terms of what she's doing where the accents are And again, maybe play up where she is and use the sets You just kind of again replicate that with some simple shapes Or, you know, or she you put her in a different environment, but visually I would not have her Um over photo And I know you say bus It's gonna say maybe she could be somewhere else, but she does say bus Because the other thing that you could do I know this is more work But imagine you could stage it where it's a bit flatter or maybe but again You put this as a CG model and then you have people here and you don't have to really animate them But I think it could be really fun to like they're just trying not to look at her Like someone's really loud in this and maybe she could have you know, something with some speakers in here Like it's like, you know push this in terms of I love performing in a bus. I got my speakers around me I love to sing maybe she has a backpack with speakers kind of really Stylize this and all of these are kind of maybe there's on the phone or There's kind of looking down like I don't want to talk to this person That's weird and then you can have something where if person is here She would lean over to talk into that character's face and then turn around and you know There's not a character and then she could lean in there. So you have a broader Movements of what the body is doing some fun interactions with them and again They're just kind of there's kind of they're looking down that way You don't have to do too much animation and then at the end you bring one broad thing of Oh astronomical and you know, she has her her big singing moments type of thing in terms of the posing And I would kind of play with that since you're saying these were demo real animations Like this feels a bit simple of character centered over photo and that's it where I feel like, okay Well, we placed them in a bus What else is in a bus? Well, you got the driver driver could complain and look back. You got passengers. What could we do with them? um What happens if you put, you know, this the personality of this character Then you got the situation of where that character is in a bus Potentially with other people. So then what is the result of A big boisterous but happy and like excited person Maybe in the middle of a bus with lots of people who are just you don't want that attention Then what happens and then you can see a kind of interaction between All these characters and that could be more interesting. That's what I would push In terms of it being a a demo real piece But that's just me because there's a lot more work So I was going to leave it at that you tell me what you want to do with this. How far you want to push this? And that's it, 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