 Let's see. Let's play this whole thing here, and I'm gonna go through your email this time I'm gonna read the email before I critique things Check it out Okay, hold on. Let me turn down the volume. Look at everything, but you are talking something about Timing is a bit snappier especially to the problem areas 8 to 165. I mean 80 80 so all of this 165 So up to the grab She gets up. I think that's okay. I feel picky. I will probably add a couple more frames here or more drag in the head Just a bit if you're making this So fast, and I will probably leave this arm down a bit longer So you can sell The idea that if she goes back so quickly it's through the help of this arm pushing down Because if you don't do that, and you can see how Both arms are off. This is all not purely through her upper body. It's just a tad fast Only because it's just so much mass With the head and the body there you could sell it if you are I Don't know you said you're gonna fix details like fingers and eyes later. I'm not gonna comment on that But you could technically you could Technically once she does this here careful Here if you look at the chest and the head they all move as one piece especially through here See this is one ginormous piece of geometry moving There's no break up between chest and the head and through the hipster And then once you go down here, it's the same thing. So Chest and head through all of this are Massively locked only through here is a bit of drag, but it still feels like these are all just one big piece So what he could do? Since you have to break that up anyway, so it feels less stiff you can If she's tied to the TV and just tapping her here once she gets into this I Would buckle the body. I'm not sure how far you can go if you see curve there to get into this But just a bit so there's a break up there. So that when she's into this mode It's a bit less curve like that. You're starting to curve more this way the head can stay put looking at the TV and Then once you're down here again, you're more buckled And what he could do round Here is when she's down imagine the head goes is lower like we see maybe You know, I could be that this hairline will be maybe down here And then she could start this throughout this area where the head goes down The reason being is that here when she goes up. It's actually the head that goes first. So she snaps the head back That's a massively complicated arrow that I See see she snaps the head back and then the chest and then stops and again, this is all going to be Quick and short. I'm just trying to a get rid of the stiffness through all of this here And then you can also do the thing of when she gets out to here since she is leaving or letting go of the hands for for What's the word for? You know holding her steady there. She would I can fall over and if she holds on to this here Oh, I think that would be there will be a lot more push-up on the upper side of the The higher side of the back and the shoulders and the arms are kind of pushing her up Which could also help again with the change of the seeker of your body But I think snapping the head back can give you a bit of a excuse me a bit of a license of moving everything faster Because right now it just all it all feels like it's a lower back That brings her up so a feels a bit weird feels a bit safe and it's a bit fast But imagine you snap back again by here the head is lower Then you you snap back with the head you can use that movement to kind of indicate that I'm Whipping my body up. It's the head that leads and then the rest just comes with it. I think that could be a way To get there Even this like this kind of pose there Just also feels a bit more comfortable a bit more natural through there And again you're doing details later, but just as a thing here when she goes So hot there's something where so hot I go on especially on the hot where I would I Probably when she goes back here and Goes so I will probably bring the head back a bit Which brings her hands back a bit and it may be straightener up a bit and then so hot and on the hot You can get into this pose So there's a bit more lean forward with the chest and a bit more forward movement with the head She goes hot just right now, and I know you're doing this later But just be mindful that when she says big things like that with like a lot of energy and air there And her lungs that you involve the chest and that the head is affected by like that by just a lot of Of where an energy is the right word, but it's just a lot of What's the word? lung capacity It just feels otherwise like it's just body movement and the lip syncs just kind of copy paste it on I just be careful about that All right, the girl the rise. I need to be to work I'm gonna take a look at the whole thing you go one by one, but I'm gonna go through your mail again I worked on having her left hand come up on to the other girl's shoulder at the end Hold on what you're talking about here I've worked on having left arm come up to the other girls shoulder at the end Okay, see if you do this I'm not sure if you do this There are a couple things a besides the straight path so watch out. I can arm is yelling here Give me more of an arc But then if you do this to me it feels like you need to have and I know you're gonna do this later But some claw fingers and then move that arm back down back up So she's kind of to claw her way off or she's pushing that arm off or she puts then her arm here And then here to push her off to me. I need to be a bit of a reason of Why is this arm coming up right now? It feels a bit contrived force like oh, I gotta put my hand there. That's what the director said and then But it's not really a hug either it just seems it seems a bit out of place I think you might be better off with imagine she has the magazine So now she lets go of the magazine. So are you saying the magazine is gonna be down here and just there But she could still technically hold on to it So during all of this if you don't know what to do with her arm She could technically hold on to that stuff in a scoopy flapping and Then as she drops she lets it go and as everybody falls down even the paper falls down That could be something it just feels slightly forced through there Not not crazy. I mean if you want to bring her arm up to me personally, I would bring up the arm here Why because she has her hand on her glasses and I wear glasses in them You kind of protective when someone has their hand like my little my six-year-old sometimes He does something and then he puts his hand on my face while I wear glasses and you a you worry about stuff breaking the You know the lenses and smudges It feels like if you're going for a defensive arm move then I will bring that arm back there So she's trying to hold on to this hand and her glasses so that she doesn't break anything Which why not I mean that could be cool Then could be a bit of an in-character thing of that's what she does with her big glasses Yeah Let's see here. It works kind of just kind of feels forced. I Was going to say that I'm gonna read through and I did at the very beginning and of course I already forgot But yes, it does kind of feel forced. Maybe it's just my timing on it. They might come up a little too late I wanted her to be tapping on her wrist. Ah, see there you go But it was too busy and took away from the left girl's performance. Yeah, that's why I'm also concerned about This and then holding on here, which I think then we should go with this She just puts her hand here as well and that way no one's moving, but it makes more sense why She has that here. I just love that again. I forgot what you wrote in your email That doesn't speak highly of me, but we are synced. We are thinking the same yet again All right, and then that's it so let me just go through the shot and just check things out. Yeah That's all we talked about what? This is a bit fast This section through there Because it's not it's not just her moving down and you could argue that's could be a certain speed because it's her muscles And her energy and her drive and all that blah blah blah right at this point She is pushing another human being down who is technically not completely loose. There is some resistance there So I would slow this down if you can I think you could because you know a steel Steel stuff out of this move. You know mean like you're going over here and Instead of going all the way back and up here You can already shorten this and then bring her down and use just a couple frames Through here just to give this a bit of time. It's not so fast See like this feels a lot better Yeah, it just feels like this arm You know the thing that fills forces because as you do all of this here a it looks like an IK arm It's just too straight, but I don't see a shoulder involved and I don't see the chest involved So having the head the arm back and then moving that arm all the way all the way over here You're gonna have to have a wire rotation in the chest. So just mechanically it feels more connected I think that's gonna help you but the way she pulls her Hold and then drop And it's great. I love all that And if you drop down here And you got that momentum going boom to the right see how we kind of hitting a bit of a stop through there She's she goes down here starts to move over here and then we kind of dropping and already going down I will give this a bit more mechanics there in terms of just a bit for physics She goes over here and then by now her ear will be here Just you give her some more time to bounce and go over there hang and then drop And then also right now just in general the timing on her It feels like someone's pulling her down So if you give her and you need to give her a bit more time so a bit more Bouncing over here hold on so it hold on So she might end up dropping at the same time as her which we kind of want to avoid So you can always look at potentially try to give her a lot more frames so that she drops Three frames before this so maybe 282 or after it's okay to for her to drop after because we have The legs coming up so the focus is still gonna go back to her audience wise right so we have all of this audience is on her Then she drops and she drops so there might be somewhere around here if the slightly unfocused But then the legs come up so then the audience is for sure going to go back to her So and then she comes back up And let's pretend that the audience is not going back That's not a problem because she comes up anyway at the end So if we all linger on her that's okay, too It just right now It feels any timings even it doesn't feel like a drop and fall and It feels like she's being pulled down and I know it's a long shot, but technically You know if you have her drop later, so let's say she drops boom And she goes bam and then she drops bam and then legs come down. You just kind of look at maybe she drops a lot later But the thing is I will bring her up at the end I like that she rolls over so we're kind of leading the audience back to her if the audience is here But I would delay that a bit Just so she can collect herself a bit Oh, whoa, what happened and that way she's kind of the last exclamation point on the shot Now that you want to move her over and then a beat of silence and then she looks up even though you could But I would just have her roll over and maybe Maybe almost right before I mean you're snapping to an end here So you're gonna have to have some more overshoot and settle Throw up big words here, but maybe around 307 308. That's when she gets up So she really is that lasting but isn't that many frames later? So could make your shot that much longer. Let's go look at her again I love this I love how she goes from here to here With the eyes like what and then look over to there. That's great Then watch out this feels a bit soft on her. So I like all of this Like she realized okay wait what's going on so then I would I would lock Look and then take frames out so that this Is more of a dart Because there's now a lot of movement right next to her a lot of arms and she could be slightly worried And she's a bit more alert like what is my friend doing here? And then you can so you can snap that head over a bit more. I'm not snapping but this is very soft So I would make this a bit more of a dart And that way you have a bit more Wait what and then you can slowly go down because now she's a bit more relaxed You know, I mean, she's a bit more alert because whoa, she got up and lots of our movement right next to me What's going on and then she relaxes because okay? It's okay, which means that she can relax and now the timing is slower And once you do that, you know, I wonder what you're gonna do here big eyes or open mouth But there needs to be some sort of either panic of what is she doing or? Complete an omen like maybe she's annoyed because she's done that before That could be fun for you to explore there And then especially through here this at this point that would bring really big eyes almost looking at camera Bring up the lids really big just for this short moment where we see her face full on panic Such a good shot. I know it's a lot of work and you've been working on this for a long time I still love it. It's such a great shot. I'm really really like all of this that pull is great at the end The lines are great. I still really really love that job Alright, that's it for me. 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