 alright let's check out the shot first oh nice, I like that phone ring let me bring this movie down and actually this one too so you can see the frame count, I need a frame counter so you can see I'm starting at frame 1 for this shot and it continues so don't forget I need frame counters, so let's see this is pretty cute, but I think it's a bit even in terms of it's always moving I think there could be a bit of a ring stop, ring and then she grabs it, so it's not always moving around and then this is a bit much, it's a lot a lot of big shape you're coming in you want to be like that first frame, like just a little bit and then the next frame this and the next frame that, so it doesn't pop so much into the frame and then watch out, you got some intersections here and then she picks it up like this you could start probably rotating the hand this way and kind of curl your thumb around so that you get the sense of the hand is going to come in like this, to grab the phone, you can see the thumb coming around here, so you're getting into this a bit sooner but I think that's pretty much it for this shot it's a quick one, the only thing I would also say is it's a bit of a weird, you have your pivots here and then the whole phone is up in the air, it just kind of wiggles left and right, left and right versus it would have to pivot off of here, imagine it's flat on the ground and there's your pivot and then it goes off like this and then boom, then the pivot is here and it goes off like that, like that corners down, that corners down and right now it's kind of pivoting off of here and it's never, and it's kind of moving left and right, it's not quite what it should be doing if an object is bouncing around so something feels weird and wiggly, so just make sure that you have to go for my frame and you've got to put the pivot here, pivot here and then just go left and right, left and right alright, that's my last one, let's move to the shot this is a bit floaty here, you bring the phone there, it's better it's definitely better, it doesn't hit her face anymore, which is good but now it has that moment of you get to here and then it's boom, it's this long long rotation, especially in the head it starts to feel a bit floaty and I saw your mail, you mentioned that sometimes you already do the shoulder and offset part but that's not enough and sometimes you forget it yeah, that's the problem is that you just got to you got to put up a list, like, you know, have a one, two, three, four, I got to do this, this, this, this and tape that next to your monitor and every time you do something, you follow that list because right now, if I look at this right, I look at this arm as this arm bends there's nothing in the shoulder there's nothing in the chest right when she moves her head it seems to be all in here and not really anything in here I see a slight move, maybe also she's doing, let me do this here here, there we go it's pretty much on a straight path right, there's no arc she doesn't have an arc in there you know, there's no like, you can do even simple blinks I guess it feels all very robotic she feels like a mannequin, like a robot moving around there's just not enough of life in there and it feels like you're doing pose to pose and then the jaw goes up so you just have to start overlapping your movements more you know, I feel very much beat this is a beat, this is a beat right it's a bit funky it's a bit too floaty that gets better, let's see see how much this helps just the blinks and darts you got to definitely have something here so so the reason I was mentioning it just sometimes it's not quite clear to me at what point you are in the shot because you have blinks and darts here so why is it not happening here? is that because you don't want her to blink? but then I'm not sure about the acting choice, right? so sometimes I'm not quite sure is this an acting choice or have you just not gotten to things yet the way you've gotten to them here so that's why I'm asking at this point like this is beyond blocking, right? you've blocked out the scene already so you have to start putting in all the details so I'm not quite sure why stuff like this is in there that's why I'm mostly confused see that's much better like I like from here on she's totally alive she looks, blinks come on, what's around here I'll probably make this dart faster this dart is a bit slow and this feels a bit pose to pose she goes from here to here this moves, this moves, this moves it's all at the same time right, so when she's done here she might lower her arm first then look around to look at the phone you have to start thinking about which body parts are moving first and all based on what story do you want to tell same thing here all the better you have one, two, two frames probably push push that so same thing here, you have a sudden pop here, I don't see anything in the shoulders this is a bit too straight it feels like you're extending your IK arm there potentially this section is definitely better it just still is from a technical point of view a bit tricky but I hear you I mean I see your email and you're asking how to do that in Maya it's a bit of a tricky thing to show it in here so you're right but I see a lot of people having the same problems so I'm probably just going to do like the cheat sheet that I talk about you know when you have next to your monitor look at your root first then chest and head, basic blocking and then splines for arcs watch your easins and now I can probably come up with a list like this and then do it in Maya and show like little small examples what I mean that's probably better this is better, I like this feels like she's not quite here taking a step but here feels better, she's just taking that step there so I think you fix that the rotation in Y for sure just through here it gets a bit funky because it's still pretty much moving as one unit that whole thing is moving and then again she has no blinks or no darts eye darts, nothing, so it feels a bit dead and it's also a bit slow like slow and even the timing of return there's a bit of robotic in places you might even be able to cut it here because you're telling the story that she's done imagine watching this goes huh, weird maybe a couple more frames to read it but alright she's this, what's going on here cut so you might be able to cut out sooner instead of doing this whole turn I'm not even sure you need this plus it would help you too let me bring up the other one alright ooh that's weird not quite what I had in mind moving up the... so I think the forward translation is better I think you're every now and then you have a very sharp drop in the route so you can see it here she goes forward that feels like a linear key, boom boom like that that's a linear key I can follow this line here right that's your linear key right there so in your Y your TY suddenly does this on a linear key there's no spline there that's something else that I talk about where you gotta look at your easins and outs so for something that would be confused if you say you know the rules like ease in and out but then how do you do it again I'll show it in a separate clip but if you have a key that's like this that's a linear key you would hit your spline option and if you have another key here you have a spline bump but then you can move that key down and then you end up with something that's smoother like I'm slightly confused if that's what you mean like you don't know how to do that and if you're not sure about the graph editor you can always go frame by frame you follow this there's a line there's a line whoop and now it drops here so you can see whoop that's your spacing right and then here you stop again so instead of doing this and then a sudden drop you want to introduce a frame here and a frame here right it's basically like a bouncing ball so if you have a bouncing ball that goes up then you have your spacing like it's smaller smaller and smaller and then it comes out again I mean that's the same idea you don't want that sudden two frame drop here so it's the same idea same principle as with the bouncing ball just got to look at your spacing this is not too bad so what I would do now now that you have the forward translation that's kind of ready you have to start adding some left and right so every time she goes over one leg she would move this way right she would be doing this that's your your hips would be up because this leg is taking all the weight and then you have that I'm exaggerating it wouldn't be this big but that's the idea right so every time she goes over one leg this one going over this leg now she has to translate over this way so she's kind of leaning that way same thing here she would lean over and then lean back this way and then stop and that stop would be also less linear it feels like you're going forward and immediately stop versus coming and maybe settling and maybe taking a step back there's not to be much just a couple of frames it doesn't feel like you have a nice overlap on the head so it's really just one or two frames here this the arm stop a bit abruptly right there that gives it that kind of bit of a hard feel now what's a bit funky is you go now we focus on our hands which is weird and now we go on her face so you want to do what is this is this a translate again I know you want us to you want to stay from here set a key and then do your lens change right this looks like a lens change but now you're translating because I can see the parallax I can see how this is moving so you need to set a key here right there set a key on all your camera like translate and rotate right and your lens then you go boop but then now on that frame you're already rotating the camera up right so if the girl is here and this is your camera before that you had a nicely in frame but now you zoom in and you zoom in do you only see this so you got to move up but you don't translate you want to rotate the camera up into that point so by the time you hit this on frame 60 what is for me frame 60 you would already rotate up to this framing you don't want to translate up that's all good it's a bit floaty watch out your moving floating on those hands it's not too bad though this feels a bit weird where I see an offset this is great I see shoulder stuff great you can push that a bit more just a bit more that's all great but then the weird thing is that now this section stays the same like it feels like she's someone's holding her chin and everything drops but it's kind of holding up her head see that so by the time your arms are down that neckline here she could be rotated down and then that chin would be down here and the head has come down as well and in that way when you do this you can bring up the head a little bit more and then end up with this although this is a bit funky again here see this section you're moving everything up at once again arms chest neck head it's all moving at the same time there are no blanks she's not blinking you go back into that robot mode a bit weird but in terms of how you would have to approach offsets and body involvement this is great right so from here on just look at this section don't look at any of this look at this right offset a really nice big offset involvement in the chest and the shoulders all that is top notch that yes great that's exactly what you need to do with all of your shots all the time just weird that it kind of stays put there and it pivots off the head it's weird and then let's go to your last one bring up the frame counter bring this down a bit alright so that's her second time moving away this feels weird because you're lifting this leg right the moment you lift this leg all the weight is going to be on this leg so A your pelvis is going to be like this right now it's like this it actually needs to be the other way but then while you do that everything moves I guess she's pivoting off the toes for a spin so what I would do is here's the offset again so you have to first lean over to your roots oops excuse me so your roots ahhh I need to draw here so there you go that has to happen first I'm going to draw a couple things here so first your roots has to translate over so that you get this angle and while you translate over your pelvis is going to go up because all the weight is on this leg now that you're ready for the unbalanced part you can bring up this leg and by now and when the leg goes over afterwards this foot is twisting and the thing is you can figure all this out if you would shoot reference if you act this out right and then you analyze your reference you would see that well if I do this I have to first move over for balance this affects my hips then I move my leg around which in turn takes my roots and twists my whole body and only then is my leg rotating around here and watch out once you are here you're over stretching your IK you can see how it pops your IK popped here in your leg you're over stretching that the tricky thing is that you're moving your hips away from us so the silhouette is not as clear it would almost be better if technically you know it's kind of pointing this way your whole body would have to point this way right it's just completely flipped her nose is here her eyes the bowl is just holding it here the body everything so that when she does this it's actually more like that head is here, the butt is here legs are here, she's holding the bowl here why because that's a cleaner silhouette we understand because the move goes this way and it has to go this way because of the door has to go this way right now you're moving away from us straight straight away from us which means the perspective is not really nice the silhouette is not really nice you kind of get it but not really that's a bit of a tricky silhouette that's super sharp, again you have really really harsh keys there, you can see that two frames one frame even you have like a one frame slide ease out, boom! one frame drop then it stays put so your tui looks like it's doing one thing and then like that and again this should not happen so look at your curves go frame by frame if you need to but yeah I'll come up with something and present something in Maya send it to you, actually the whole class and even the character class that's not online everybody's suffering from the same problems starts to feel very terminator like boom boom boom but it's a cute move, again all that stuff is cute it's just from a technical point of view alrighty, and don't forget even in your rough blocking you can start adding, well where is she starting here, start adding in where she's looking and basic blinks that is going to be a huge help just to so I understand well what is she doing is she spaced out, is she freaking out is she on drugs, is she looking here so all that stuff is part of your storytelling in your blocking so that has to be in that pass as well alright, thank you alright, there's an email you can sign up, you can start whenever you want you can submit whenever you want so either way, a like and subscribe would be awesome, alright, thank you