 Alrighty, let's play this in full first. It's sharp, let's play it twice, and shoo! All right. There's some good timing in the ring, in the drop, good timing in the hang time already. I think the only thing I would say here, there's some detailed stuff I will talk about. I'm not sure you need that weight shift. There's something about these being a bit too default. I know you're not, I was fully done, as you mentioned in the email. I would just think about, I mean, this is an exercise, it's solely fine. Like my initial thing would be, watch out, just kind of this great plane. You got object displays, or you got the heads-up display in there. It's not the best in terms of, like the line of action, and just the curvature, everything to have straight on. It's also very 20, you know, the beginning pose could be a bit more dynamic, but these are all, you know, like add-ons to, if you want to make this a bit more appealing and interesting for a real, but since this is an exercise, I think that's solely fine. I would say just for practice reasons, just give this a little bit of an offset asymmetrical pose and pose out the fingers. But that is all detail work. I'll be more conservative with stuff like this. Just kind of clean up of arcs in the sections, so no intersections, and it feels like, almost like an IK arm, and I'm not sure if you're doing it, it's an IK, I don't know if it is. It feels very straight going up here, and then it kind of locks. That's why it's giving me a bit of an IK vibe. But then again, unless this is tricky, a turn in IK, unless you have, you know, the control out here, and that's why we have that overextension. So let me know. So look at this. It kind of doesn't, kind of doesn't feel like IK, so watch out for that. It also is a bit post-apose, where everything kind of starts to way go down. And then again, arc-wise, if you track the head, again, I'm not concerned about the weight. I like the weight aspect of it. It's just clean up in terms of, if I'm trying to track kind of the middle of the skull here, somewhat. It's a bit misleading, but I think you will get, whoa, you get my point, right? So if I do this, you can see this moment, like that is your curvature. So there's no real arc. It's too straight, the one frame direction change. So just work on that. This gets a bit stiff as that arm comes out from here to here. Hold on, turn off the onions getting, and then it just kind of stays put there. I don't mind it dragging because this arm is doing all the work, but at the same time, it starts again with anticipation, but then I would go out and then have that be out straight, and that's the arm that leads the whole thing. Right now, she starts, but then the jump is mainly initiated by the head and the chest. Not that it's wrong, but you can absolutely just jump like that if you want. It just doesn't seem as, it seems really stiff to have that going on. This arm just kind of staying put. So let me know what you're going for. It feels like you're almost starting to dissipate this, but then you don't have the arm lead. So you can get to that point where it would rest there after the arm was leading. I know, to me, I would go down and then pull out that arm, and that's the arm that drives that. But also what will help by kind of tweaking this pose is that you have stuff like this here where the silhouette's kind of wonky, which kind of comes out of her head. You just have an elbow that gets a bit better, at least in clarity, but then that's again very straight through there. It's just general cleanup and arcs. And it almost feels like you want to overshoot a bit with the chest rotation and even a little bit in her arms, and then she can come back during the landing and recover because the thing is she starts this rotation, right? The moment you start that, you can't just stop in midair. Like that momentum is going to continue. It's going to continue to rotate. Around it feels like your rotate curve goes like that, rotates, and then stops rotating once you hit this because it's just a straight down. So to me, I would just overshoot a bit more. Maybe she just rotates only up to here-ish and then as she lands down, she goes down, she continues to rotate a little bit. It just seems very straight one axis. So just keep going without taking terms of this just not suddenly stopping because we're back to facing the camera going down. You know, at one point you will stop rotating, but I would just kind of smooth that out a little bit. For complexity sake, you can probably land in a different spot. I don't think you're landing in the same, but you are. Okay. So to me, it would be just generally, even as an exercise, give this a bit more of a dynamic or at least offset pose, because then that's going to help you with all the different posing of the arms and how she gets into this. And then the jump can even be, you know, you start here, but you end here. So you have a bit of a sideways arc. And if she goes this way, I don't actually jump from here to here, something like that. And all of that is going to help you. Even if she has a little bit of side jump and momentum, even that landing will continue a bit that way, if that makes sense. Spacing wise, that feels really fast. The going up here, bang, just hits that wall. And even her arms are a bit fast. Everything feels like she's slamming things down. And then your arm is countering a bit too much where towards the end, it almost starts to feel like a sticky point here in 2D space and screen space. And then suddenly we slam down over one frame where I would make this a bit more gradual. So it's like you're a bit late by frame. Just watch out, you don't stick so much and then suddenly slam down. Again, I would add a couple of frames. Slam down, soften that a little bit. Same thing with the other arm. The spacing feels a bit better and it's less sticky, but then same idea. And as you come up, then it gets a bit poppy. A little one-frame pop here. And like I said, she comes up a bit harshly. The head and the body just kind of bam, stop. And even when you start, even an exercise, I would just get into the habit of going away from the default. So just kind of bring out those feet, rotate them out one more than the other, just for asymmetry. Just getting into that posing kind of habit so that it's kind of part of your first pass workflow. So that makes sense. All right, that's kind of that. That's what I have. Hope that is helpful. Email me and let me know what you think. Thanks. 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