 Alright, new version here, casually a walking, I like the details there, and nice, that's cool. Yeah, very cool. I got minor notes, definitely cool. The first thing that struck me was this. This moment through here feels a bit too arky to me, how it just goes around and down. It's a bit too exaggerated there in the arc. Then you got to pin down that elbow. Same thing here, it's just a bit too swimmy all around. I know he's kind of resting on this a little bit, but it seems like, I don't know if it's the occlusion shadowing as well, it doesn't help for contact. I mean, he's kind of floating there, which up for that. I think I'm all for widescreen and this is to me even a bit exaggerated, where I will probably go do something more like that in terms of the composition. This seems pretty, pretty widescreen. Even this, even though it's cool, like I like that, there's something cool to it, I like the camera work there, it's not, it has a slight follow, there's nothing distracting about it. It doesn't follow too soon, it's all pretty cool. Let me, hold on, zoom in on this guy. Just making sure on your end he has a slight feel of leaning back, this cupid angle, and then here it's okay, just double check on your end. Like this here seems really leaning back, either you bring him forward a bit or move that the root forward a little bit, so that we are a bit more over. Yeah, that's mostly that there. I know we have a step and then an impact on both, both as in like the book and the head, but right now I would love for that to overlap a bit more. I don't think this to me is more like a weighty overlap and to me this is more like you would compensate and try to keep that book in front of you. So right now to me this and this, they go down too much at the same time. It's a bit parented right there, even through here a little bit. Watch out that we don't have too much rotation here and why on that wrist right there. It seems a bit loose, again I would have that fairly stiff to hold the book, you got the tension in here. It's a bit swimmy, like that section is a bit spliny feeling. Well again it could be the shadowing, there's something about when you bring this foot here, see that? It's just your that probably that's a viewport render, the occlusion one where it doesn't have actual cast shadow on points, like this was like it's floating. I would turn that off for now or just add a kind of a softish cast shadow in there, actual key light. This is a bit harsh, watch out. This hand coming forward, bam that's a linear key right there where I would soften that a little bit. I like what's going on here in terms of the fingers. It just hits a bit of a wall and then you got this ginormous forearm change, right? You can see the angle. We're going here from this all the way down to here, but the angle of that hand is the same, so this was very IK, right? We're hitting this in a fairly straight path, a bit of an arc there, but it's a bit straight, it's a bit too one key pop linear constraint there and then I would have that come down, like the wrist would come down and just the finger pivot would be off here. Then it feels more like the chair is moving back with the hands attached to it versus I'm getting on there and now I'm pulling the chair back where you would feel this go back, the hand a little bit where the fingers might slide back a couple pixels and then you tighten the fingers with a little bit of shoulder and maybe a tiny bit of upper body wire rotation this way. It really feels like we're pulling. It's probably okay, just I don't know. I see an intersection in here so double check that the chair and the hand is not inside the body. It feels like if the camera is here, body like his hand is here, like super close there. You might have to move that chair a bit over globally and then just end up there, but I do like the complexity of the pull and rotation of that chair. I think that's pretty cool. The thing that's a bummer is just the silhouette. We just get this little finger here poking out all the time. It's a bit wonky silhouette wise. I wish you could have a little hand here and maybe that chair would have to be kind of repositioned a little bit. All that feels just a bit odd where we just have a bit of a mushy silhouette and then we really lose that arm for quite some time and then we come back out. So just watch our intersections and if you could clean the silhouette a little bit. It's good stuff though. I'm looking at the details of how your feet land, little adjustment there. I like all of that stuff here. Little adjustment there. Watch out, there's something wonky in there. If you look at that knee and mew right out, it starts to slide down and if it's a mix between that leg sliding down and then that knee moving over right through there, it's a bit drifty. I think that's to me the biggest feel. Now when he moves left and right, right through there. So we go to the left and then you look at, it's a bit pivoted off of here. We're kind of stuck into the space and then we move over this way a bit too fast. Like that's a pretty big move over a couple of frames. If you watch that right there, I would slow that down and it seems to be coming from the root. If you wanted to keep the root then you would have to drag that a bit more. I'm exaggerating but then I feel like it would feel too spliny almost kind of like a bit too rubbery loose. So I would just slow down the roots. You can still have a little bit of slight drag in the head and the chest. I think this hand here is a bit fast coming here. Even just adding two frames or so, we'll just soften that a little bit. Again, it could be the shadowing on that hand but it seems like there's maybe intersection and then we come up above the table and then back down. Just make sure that contact is solid there. It doesn't have too many bobs and then same thing here. You want to rid of that IK feel so when you have all that forearm movement, especially when that elbow goes in and out right there, you want a bit more rotation of the wrist following that forearm while pivoting off the tips. Like that's nice here right through there but then right at the end here we can see again some movement there and it's just a little bit of movement. I know we don't want this to be like a fully locked FK hand to the forearm but it still has some feelings of IK cut off. That makes sense. Again, I like all that stuff here. Coming up here just pinning this here and adding or reducing the amount of arcing there. I do like this here like adjustment here and bring that down. I would say... I have to make this a bit bigger here but if you look at continuity down here chin up here glass. Watch out also forming a tangent so I would bring that down and even this here I will bring this up just because that corner here of the book that edge is right where his shoulder line is forming a tangent there. So I would bring that book up a bit here and then that way you can reduce it here and then we have a bit more continuity. I think that was it on this one right? The sit down has a good nice weighty feel on that plop there right there. That's cool. Yeah there's some nice stuff there. I like all that. Let's see here. Let me zoom out completely. Okay this is zoomed out completely. It's going to readjust and just frame it a bit like this. Glasses are cool too if happy picky. This feels like it's up in one axis in that rotation up. Maybe there's a bit of left at the end but it would be nice that if you lift it here that on this this corner is lower than this so we're lifting up like that a little bit and then when he puts it back in it goes back to being straight. This feels a bit too clean pivoting off that stem there just a little bit of change in that axis maybe even like translating a bit to the left and then back just a little little messiness since we are in a close-up and speaking of close-up watch out we got some finger intersections through massive ones there and then it feels a bit soft there so make sure that that contact is better here intersecting here again so watch out lots of detail work pinning here that feels cool since you are I'm gonna see no that feels good I was looking at the book maybe like when he puts his hand here it's imagine there's no intersection and you're pushing this down to me it feels like there will be a bit more weight on this as well so on that instead of up I would actually bring that hand down a little bit to push down a little bit just a little bit and that's mostly that I think the rest head is okay we got those adjustments that's that he has a slight Star Trek uniform he just needs to come back here come on don't be genius I'm gonna make a screenshot of that for my thumbnail but that's kind of that all right thanks yeah looks great questions always let me know 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 like and subscribe would be awesome all right thank you