 Alright, so this is another video review looking through your mail You're asking if things are looking better. Yes, I totally agree. I do think they look a lot better I think I really like what you do with the hands Keep alive wise and I really like what you do with the elbow But what we're going to do here is a bit more polish work And it's what's really helpful is when you scrub through certain sections. I'm looking at his arms. So Look at this section here if I scrub especially through here See all the body movement and the head movement, but there's nothing going on in the in the forearm and in the hand So watch out for sections like that What I would do the main thing I would do for your next pass is Make sure that that things don't feel too isolated. So if I scrub through here See how his arms move a lot, but there's not you do have this involved But there's not that much going on in here. It looks like Mickey Mouse here And when the moment you have the chest involved you can have a little bit of the hips and depending on the move So if he is going, you know, he's going for instance back here That section also feels a bit isolated where you're just going from here to here So during this I would involve the hips more and because of that you can have this a bit earlier I like how you have the knees go out, but that idea you can put into something like here So if he goes into this pose where he feels a bit more like he's open here, right with his arms But then Getting into this he's probably more tense, right? You've also given the look so to reinforce that attitude what you can do is with all this movement In the upper body have a bit more in the hips just for adjustment, but you can bring in The knees a tiny bit so the bit more squeezed together and makes gives you contrast and keep alive but also reinforces the attitude of him being a bit more tense and Then I like what you have here, which is great But now when you do this you do have the root moving But then you can bring out the legs just a tiny bit just bring them out this way just a tiny bit for more Keep alive same thing here. You can maybe ex Go out like he brings he opens up his hands. It's a bit more an open pose open feeling So you can bring out the knees a tiny bit more And then you go back here you can bring up the knees again in the in and out He's not exactly Confrontational as he goes back here definitely move The legs and the knees if it feels a bit like this is one Big piece that is not moving independently not that you want it independently as in like this, but When everything moves it feels like this is one piece of geometry. That's what I mean So if you can break that up by moving the knees just a tiny bit more During this that feels like a fairly big shift in weight Going from here to here. It's not exactly this yet, and I like that during this move You have the hips moving And you can probably have more knee movement as well But during this part definitely involve the hips more and because of that the legs again So whenever the hips are moving you gotta move the legs. I Do like that you have the weight on the shoulder. I think that works really well And you were asking about to keep alive at the end. What you can do is He's doing a an exhale so you can have a little inhale in here Nothing crazy, but what you can do is just to add more than movement up here If you have him inhale you can close the mouth here So it's not such a static pose. So give you some contrast because it's just a kind of a silent inhale you will have This part of the chest go back a tiny bit You can bring up the shoulders a tiny bit because of that this can come out a tiny bit This can rotate this way a tiny bit the finger can come in a tiny bit Because you lift the shoulder this can come in a tiny bit and then because of that movement You will adjust the knees a tiny bit. So there's still a lot of little things you can add Just at the very end for an inhale Bring out the volume I Think that will to me it feels Like a step you definitely have to do just one more thing here Since I'm on the picky train careful here. You have rotation in your in your chests You go one way and it feels like when you go here you kind of go back the same direction that you came from And I think you can ease Into that a bit more It feels a bit harsh that that stop and I'm kind of looking at this area here See if you track just that neck area It feels like it just stops a bit harshly and it's going to help also when you go forward to bring out That arm and and put the wrist back a bit just it feels less separate when he goes here that Start here You could ease in a bit more or ease out of it Just for contrast it feels like you curve even though you you might flatten out It feels like you're doing a lot of this as opposed to flat and then maybe do something like this just to give you this variation in timing in those Curve changes is right now that move Feels a bit too even and then as I said here You know if he if he brings that up and he moves the weight off that elbow Probably the chest is going to come down I mean you prop your weight on this, but you take that support away your chest is going to come down Just doing this section, which I talked about before just being that will first isolated And if the chest goes down then at that point you can bring out the knees a bit just to give You know if you open this up the chest will have more room to go down. That's the idea behind it I think that stop here You do have a little pixel move here But it's still the main stop feels like it's going from here to here and then nothing and it feels like a fairly comfy chair and the thing is It's a lot of work, but what would really help is when you do moves Like here like adjustments through that that you have something moving in the chair like the chair could rotate a tiny bit This section could just tilt over tiny bit was you putting all the weight on this side, right? And then now as you move it's more balanced so the chair should Have that change During these sections, you know, whenever he goes forward you could have a slight rotation this way and a slight rotation that way and Then during these moments You know when you have that moving the root is great for the body But then because the chair is not moving it feels very static and especially at the end here when he gets on There would be great to have, you know that part of the Of the chair if you outline this it will kind of tilt this way So this arm will be maybe that low and then this guy gets up that you know You want to feel the interaction between the body and the chair? So I'm not sure if you're saving this until the very end Let me know what your plan is on that. It's not like this is very sturdy So be a cool moment as he as he pushes down, right? He brings up his butt, which means pressure down on here Which means that this this part of the chair should come down a bit and Then as you release that part of the chair can come up and then Into that since the arms off So if you're really neat and then you might have I don't know if you have controllers in these guys Otherwise if you have a main pivot off here to rotate the whole thing left and right which can just go You know, maybe you can have it parented to the root somehow We're in the herit's the movement of the guy and then you can take the constraint off and then adjust The animation a tiny bit out of that makes any sense But a form from an animation point would be really cool if you could marry the chair to the guy's movements All right, let me know if that is confusing or if you're any questions about what to do with the chair Let me know but that is it. It's nice work 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