 All right, so let's start with this guy So I think this is definitely getting better We'll talk about the chair later. Let's just go through the show. If you did teach you'd be steady income Those women were into us because we were artists and then reality hits so the thing is It is getting better the overall feeling the roughest part to me feels here If you did teach you'd be studying this and it's only because how you go how you go from the shapes here and Then you stop and you see how you stop and then nothing's moving Like I can go through there and there's nothing going on So it feels a bit like you just dialing the shapes in and out in and out in and out and then everything's dead And then you go to this and even on that turn Just overall even in the face and the head animation See how everything just dies So I think at this point you can have you goes You get like a tiny tiny bit of a hold here not that you want to get into a smirk But just so it doesn't completely die and in that way you can have The whole thing bleed into this moment where see how everything is dead until The jaw starts moving and the jaw if you look at the spacing That is like a linear Linear key at the start. So I will put that on a flat tangent so that it starts a bit slower and Then you can have the whole thing start with like a tiny tiny bit of a brow raise Maybe two frames earlier just so that there's something happening right before the whole head moves right now The jaw starts moving the head starts moving and it almost feels like everything is moving at the same time So you can kind of bleed into the poses a bit more That's just for the beginning I think this Don't be disgusting I feel like Disgusting and I feel for the first couple frames. It's okay to like 126 127 526 and then I will go in a Faster so basically it feels like you're going when you goes Don't be disgusting Don't be disgusting and that's a key here and then you have a key from this shape to This shape and it feels like it's still fairly Even and I would do disgusting slow and then Something like that you it's as if you're having a disgusting and it's kind of soft relaxing She's still kind of holding that thought and that moments and then it bleeds into this part Where the closing of the mouth just accelerates just a tiny bit Into that just so it's not so Floaty those women were into us because we were artists and then I think the artist works better We're into us because we were artists and then reality hit the only thing is because we were artists and then reality Then the thing is after you have and then reality hits and it's It's better artist and then reality hits and no the only thing that Starts happening after this point is that you have this mouth shape where this ends is always curving down And if you go through curves down curves down Use all not even here it curves down Curving down curving down see it's always down and I feel like the moments where then reality hits reality and Then reality hit so in reality around this section right and then reality hits and then reality hits I Would have a little break of shape where it's not pointing down And it's and it doesn't have to look like a smile They might even it might look like a smile, but it's just a couple frames where this shape actually goes up And it's just to have a little bit of a contrast and to feel more reality E it's difficult if you say e to curve your corners down and then reality hits and no money And no even on ends ends you can bring it up ends and then no you can have it down the way you have it Oh money and no real future and then you know, let's And then the rest is fine. It's just those little moments there And then for the ending I think this works definitely a lot better. My only thing is I would tone this guy down by 50% So if I steered you that far, then sorry, it's always good to see things big So we can see what works and then we can start dialing things down was the only thing is looking at this hand I see a gap here So with the movement going up to the right, it doesn't feel like it's resting There's something where it feels like this part is resting on this knee But the rest isn't really because if it was I feel like this knuckle line will be kind of like this it would be Folded and draped more and and this finger will be lower Just lower and then this pinky higher just because it would rest in between the gap of the legs There's something off as the hand comes up and then back to the left So it feels a bit like this section. I know you make it look like it's going with the knee I think it's just just a bit much. That's all but the rest works out better And then you know, but if you did teach you'd be steady income Don't be disgusting Those women were into us because we were artists and then reality hits and no money and no real future and then you know Yeah, it's really cool. You're really getting there getting there meaning you're almost done Don't be disgusting But stuff like that is great. That's really sweet polish Now for the chair So remember doing an animation the same way what I did was If that's your chair Get this guy here. You got your arm rests And then what do you have you have something with flat like that? I used to have one with you know, thinking in the rollers, but I went all out and that had I Guess it's make this here. I had a joint here and a joint here All right, so I could rotate It's my chair. I could rotate this section from here on Like that, but I could also rotate it left and right and Then I would have I know if these guys are going back to something here, but I would have a joint here So that take this out So you have if you have a pivot here that the whole thing this whole piece can rotate up and down and It would be no deformation I would have this as a separate piece this as a separate piece and just parents this whole section to the joints All right, so in your setup, so I would have if that's your guy here I would have a joint here with the pivot here Well, no, let's keep it simple I would have if Your guy goes down have a joint here going up to a here up to a here so That way you can have the whole chair pivot off this guy To the left and right so when he leans over then the pivots With the little joint here so that this guy can go left and right and obviously back and forth So it would be that's your chair going This way and if that's your chair from the front Going sideways And then I would have joint here Where this connects to the back so that this whole section can go up and down, but then also left and right I hope any of this makes sense But that's how I would approach it. I would have like a reconstruction of the chair, you know, so that's that's your ground That's where he sits on and that's The backrest and then you could always have something like this So then I would have the joint down here going up into here up into here One here here Here and here. All right, and that way you parents this guy To this and then you parents this guy to this joint, right? And then you have the armrest that's parented To to this section of the joints, right? That way if you move it from here and you go This way that whole chair is gonna, you know, that whole thing is gonna pivot like this And I think that would be you know, you can You can cheat that this goes through the ground because I think your your animation might go from something here Down to something here very minimal You know and if you want to the thing is if this is your render area This line is the lowest you'll ever see you won't see your thing is here So it won't look as if this section goes down into the ground. You only have this cushion moving Now if you're saying that this is just your your action safe or something and you do see up to down here Then that's that will be a bit trickier then I will just not include those guys And just have this geometry move and even if this moves and this doesn't It might look as if it's kind of squishing into this part and be separate. I think that should be fine Again, I hope this makes any sense worst case. Just send me the chair and I can do it if you want to you know So you don't have to Do any technical things while you want to keep working on on What's it called on animation, but if we go up to this guy You know worst case you take you swap it and you take this chair You know, I don't know how this chair is is set up But it seems to have lots of pivoting things which might be already enough You know, you might have to rearrange this guy hide this geometry and take your other armrest and parent it here You know, that might be easier then you can just rescale the chair Not sure that would be something that you can let me know in an email about you know If it's if you prefer the other chair or something I I can take a look at it. Don't be far faster alright, so brought this guy up here and Per your notes. We're just looking at this whole beginning And you're saying you worked on Morpheus. I'm looking at the other guy in Malcolm here And it's all in your step mode. Oh, it seems It seems That's what you wrote in there, but that definitely seems more detailed I mean this this guy still looks fantastic in your in your poses and your timing I would just keep going the only thing will be quick moves like here Or it might go through the leg. I should be careful about stuff like that And then as you continue on, you know that this arm doesn't just go Swoops onto that hip But that it goes, you know, the hand goes up a bit higher and then settles in things like that But I'm sure you're fully aware of that if you look at Morpheus. I really liked it because I'm looking at him It's all really good then look at him and nothing is distracting me from him And he's doing no thing and then with that knock you got that bigger action here. I think that's all great Look at your body thing. There's just enough movements The only thing if it be picky if I scrub through this you see all the stuff that's moving But I see this line is not moving at all It feels like your guy is frozen in this section and everything else is animated. So I would just do a bit more hip and What's it called? Root animation same thing if you go down here, I see movement in this guy now But it seems that everything is going down the same axis So it's okay to have the shoulders go down But you know might one might be a bit stronger than the other maybe go a bit more in but this Should not go down here might go down this way just so it's not all the same path It's just all one axis all going down. That's very dangerous It looks too robotic the same thing on your up You know when he when he goes up here You can have side to side movement in your elbows, right? So this guy can go in he can go What is he doing as he inhales? It's just like your knees in your other shot Those guys can go in so everything kind of compresses and then on the down it can go out again as it exhales So it's it's a bit more loose See on down here This elbow Can go just go out just a tiny bit And there's a lot of up and down up and down, but it all looks like it's all one axis So again doing all those things you can have tiny tiny little weight shifts where that line just goes a little bit To the left just so we see some Awesome line here horizontal pixel moving Finger thing again, that's great And again, I do have to ask Just let me know an email if this is your render your action safe or where you actually render Because that was a bummer to cut off Right where you don't see the feet and right where you don't see The fingers So I would prefer that this is your actual Render thing and not this Let me know Other than that again, I think this is working really well. You got some nice stuff going on here It's like it overlaps just the right amount your eyebrows My mouth just gives a bit longer than the eyebrows and might just want to have one a bit longer, but This is really good and that all seems really good It's looking at your timing for this as your brows go up That's good for your reaction here, but then as it continues on I will bring those guys Just a tad higher and you can just back off your your your sad shape a bit and go Not into this But just dial that a bit down you can go slightly into into a little curve if needed, but Just you know to get from a to b because the thing is you go from a to b here And then you lock in that shape you have a little bit of the mini frown here I mean the the middle part, but there's it's as if it's a global Change from something to something like that and there's no actual shape change, you know into something different Now we just have that reaction And as he's doing all this Up until That drop here continue on just with a little bit more of a change just it's like a moving hold on your on your eyebrows But it feels like he pops into that Into that shape and then stops and then goes down Hey, the biggest thing to me was How It's tricky since you know, I would delay one of the hands I know this guy seems is bigger than the other but because of that it also feels like a massive linear key So I was I would ease into those Movements a bit more And then careful here it looks like your wrist is really going over here and it feels really broken So it would help to bring out that forearm as well and maybe you can bring in The elbow but this top view feels like forearm and then wrist And you want to align the forearm there and the wrist a lot more So this guy feels a bit broken up until the Fairly very end here even here. It feels like you're doing something like this that Works this I think you're holding this pose a bit long. It feels like a little claw hand I think you know, you can go into a section where It would be Your index or your your middle and then that would be your index and you got your ring and then your pinky You know then with with your your thumb out there not out there, but It will leave it down here, but I would take your index down here middle Just keep it a bit more relaxed This just feels it's always awkward when you have all the fingers curved, especially the index So it's a bit too claw-like And then on your turn It feels a bit too connected where I I see a rotation in the chest and the head All going down at the same time And stop at the same time and here you got the big Direction change going this way Where it feels like everything is originating now from the root. This is all one piece going over. So what I would do is Don't have that Head go down as much because that way you break it up You have more movement in the chest and then the head says a bit more level So it's a bit more broken up and before you go as far with this I would bring that chest back A couple frames so that the head is leading The head is leading leading that whole action a lot more like three to four frames It's more broken up is right now as I scrub Oops, excuse me as I scrub through This section here. It just feels all one piece. It's too connected So break that up a bit more so, you know at this point That line of the chest would be here, you know More more towards us with the chest and his arms And then same thing here. This feels like as he goes forward This is really one ginormous piece is like one piece of geometry going down And if you want to go into This I mean I would have Almost keep this the smallest Then you can have this go down and then the again the head stay a bit level Or if you want to have the head down then I would lead again with the head and really hunker the head first So that just not everything feels like it's just being moved and pushed over especially if you do this I would keep That root here and have the chest more like this more like a slump and the head down Only because at this point I'm looking at your leg orientation And all this and then the head here. He's really off balance So you're gonna have to have either a leg down here Or again, it would help to curve that And just bring the center so that the head is still around here But then your your back curve is more something like this You know, and you can still have that slump like that So he doesn't feel like he's suddenly just fainting and moving over down this way That'd be my biggest No for this guy here And it seems like he's doing He's shifting weight right and he's going over This way so what I would do is Take this part of the root and as he does this actually move This line here this line here. It's a bit of a move this way. So shifting the weight over there All right, which means that the hip goes up here It will be down like this It's gonna go a curve like this in your body and then when he takes that step It will give us a weight shift where suddenly this side of the hip is up and this goes down So I don't see that much in the in the hip going on and then that way you can also have the root Like I said going from here a bit to the right and then back to the left Doesn't have to be crazy big left or right, but right now it feels like it's a very straight simple line over there And I don't see anything happening in the hips Where he does a weight shift All right, that will be my comments Oh those would be my comments As always email me. Let me know if any of this doesn't make any sense. 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