 Let's try this. I think my voice is back. Do some degree. So I'm gonna have two clips here, your sit-down and the acting piece and then looking at this, this is pretty good. I think my only note was for this section through here that Arm is doing. I think this, let's go in there. Once you spline this, you want to make sure that like at this point he is kind of leaning forward holding on to this and then this starts to move here at the same time. So even in step mode you could technically put in breakdowns that show well you know is he gonna start leaning over with the hips first and then this comes over and then the whole body leans over and then pulls because he's pretty old so he's gonna use you know his full body lean to pull this or is pulling with his arm first sees that it's kind of too heavy starts to lean over with the body and so on and so on so there are different ways of showing what he's going to do so I think for your next step you really have to get out of your step mode or at more keys breakdowns in your step mode workflow just to kind of get a sense of what is he going to do. The other thing is also he just goes over for one frame I mean a step meaning that he just goes over and then stops and then takes a step forward. Is he gonna go over there hold on a bit and take a step or you know is he gonna go over and then take maybe another step for balance and then take a step forward. So it's a little bit simple I think you can push that and show a bit more of the mechanics and then timing wise this also feels really fast and I notice a step but if I'm looking at the general timing of recovery no if I'm making sounds he goes and pulls this it feels like he will pull and then go forward so this reversal here on the on the route going left screen left and screen right it feels too fast. Just wait wise. Versus the steps feel cool. It's cool I would probably here give it a bit of a pause so he pulls and then step step hold hold hold and sit down. Kind of gets ready to sit down although you might argue that you could do it here. They're both kind of the same in timing so it's up to you if you want to kind of hold here hold here. The reason I was bringing it up here is just this feels a bit too low I won't go as far and I would probably round this out a bit more and I would round their hips down first. This feels like this is a 90-degree angle so instead of going so low with the upper body I would rotate the hips down so that it kind of flow more into the legs and then you can have a nicer bend and then not go as far you know with the head. I think here because as you go here this feels like he's getting hit over the head how fast this goes down. I'll give probably here a bit more time and then he goes then I will keep the timing you have here. I just wouldn't go as low I'm just going to slow the whole thing down if you keep the timing but I like the timing that you have a little bit of a pause. Again for contrast and texture I think that's cool. I think the balance is a lot better. I like how that drop is a lot faster but he is getting out of off balance here and because of that he plops down faster which is cool but then I'll be careful with how quickly your head home goes down and especially up. That impact there feels too fast and given how old he is and how he's just kind of sitting down and this would be just a compression. I would again I'll probably rotate the hips forward a bit more and then maybe do more out of here so it's less concave in there or getting that that weird break in the shape. I'm just going back if there's anything I think what's going to help you too is by staying over here longer and doing all of this delaying this maybe not going as far screen right you're giving the hands more time to go back to where you have it while the body is maybe here and why am I saying this is because at this point here we're already kind of losing the silhouette it's not too bad we see the upper arm a bit but once you're here it's just kind of a hand shape coming out of his stomach it's kind of like a quadro from a tall recall so even here that arm is very aligned to the upper body where you know I'm looking for something where the arm will be a bit more separated there's more negative space in the bit of silhouette this just feels kind of we really have to kind of stump coming out of the stomach there in the crotch area but overall definitely much better and then don't forget even as we don't go I would suggest not go as low I keep the timing don't go as low maybe just hips and only going this low which will slow the whole thing down but it's going to be a certain amount of speed going down so make sure that the head has a little bit of drag as it goes down so you know the head could be up here or not so a align with the chest but it feels like he's looking straight down for no reason so you're going to keep the head up a bit more you know looking maybe this way so that it feels more like he is trying to keep balance kind of look at where he's going you know unless there's always there's always a reason for something unless you're saying well he's so exhausted that he's gonna take a break there but then if you do that sure that you can do this but then I would really push this and sell the idea where he does this waits a bit you can see some breathing he puffs his cheeks feel a bit of a and then it sits down you know kind of getting ready before the big sit down which may be a lot of exertion for him so I mean then you can start putting a bit more acting in there where you know really play up that he's old but I thought you mentioned that this is purely for body mechanics so it's up to you I'll probably keep more simple it's just a pose and pushing some acting in there and then what I would look at here it still feels a bit like she's getting this clamp and everything moves without that arm moving and it doesn't really affect the rest of the body I mean I see here something where this is low and you're going back and it adjusts it so maybe what you need to sell this a bit more with an adjustments but bringing in that elbow in kind of Latin that visual shape there and I don't know if you need to push it over more this might be overkill but you can try it something where this seems like such a deliberate grip if you look at the posing too it's not just like he has his his hand on there and the fingers kind of droop over this feels like I am holding on to this this is my chair so it feels like there's so much purpose in this grip that you want to see this played out in here again this up to you so you can loosen that grip and you just kind of puts his hand there or if you're doing this for a nice steady grip doesn't want to fall off then you could almost have this and then he pushes himself over where the root goes from here to here he holds on to this straightens his arm he goes up right it gets off the chair a little bit to kind of get off and then down to sit at the end maybe here right maybe a bit of a positional change if that makes sense like he re that's an even arrow so he just puts his root over but most we left all right I say all right all the time and no one's listening you mean like there's no interactive thing where you can tell me yes so I never know why do I say this that's for that but overall definitely better so either I will go for your next step put in more breakdowns to look at the timing and posing and all that good stuff or switch it over to spline and look at the timing and the posing but with spline you will definitely get a good sense of what's going on how fast things are and do we need more hold somewhere and so on and so on excuse me and then it's good to this guy it's thoughts on this one so I'm playing this a for people watching but also because this is we're breaking the audio is this the moment where a queen of Paltrow starts talking I know the scene in the movie it's just from seven it's a good scene at first that was a bit really you want to go and take that scene because it's a good scene but I think the biggest thing is also on her like her acting is great her little breakdown but you don't have in here is it's mostly on him so that's I'm assuming you're cutting here but it just feels weird is this something where she starts talking or he has a bigger pause is there a way for you to take out that that silence feels weird you gotta fix that and I don't know what this is does he say all of this I don't know I don't know there's a gap in between and that so I would fix that and I would cut after the sound right when the sound ends or if there's more silence or you find I mean you know I'm sure there's a moment where they stare in that sequence you can add some ambient sound that you can kind of crossfade into not a hard cut but it's always we're in there sounds and it's only the sound ends it doesn't feel as clean I think you want to make your presentation as clean as possible so that's kind of the weird thing that's number one number two just visually gotta be careful when we are this big in frame with a face this is so much going on with the head going down really low really high and let's have side to side wiggling this like stuff like this here very fast this is really low we're getting close to the chin here oh and then it is really fast up here and you got so many pops I'm just curious like this would be a candidate to spline right away like what does this look like because right now it could be slightly deceiving because it is stepped and that's why you get that super poppy feel but my gut feel here is that once you spline this it looks like he just is shaking around all the time so my main thing would be calm your curves down there's too much stuff going on acting wise I do like I like how you have your inhale here and I like how he deflates you know how can I do this and it's such a devastating thought for him and you show it up by going visually down and then he has a little bit of a resolve there you know where it is a bit more why would you do this it's not like oh this is so sad but this is more like let's not do this and that's why he gets up I think that's a cool choice it's just too wiggly and especially once you get into stuff like this here the other tricky thing is when you have such a moving head and there's nothing going on in the neck and also visually we're losing the neck in the silhouettes so you just have a bobble head while the body is not really moving just a bit distracting and that just feels too much now you just like slumped over and head down so you know you can easily just go from here to here a little bit of shoulder droop and sell the same idea I like the idea but I like the thought behind it it's just way too much same thing here and I don't sure excuse me I think this his voice here it's almost like he's resigned and yeah I'm not gonna have it that type of thing and I think this dramatic up and this angry look and all that just that section here feels out of place this doesn't quite fit up to me at least objectively it doesn't quite fit the audio whereas this fits more I would say within this emotional range but not go as high where you can maybe stay within this height even though I mean technically if you go by thirds it's a bit more pleasing and we're a bit a way too low here my argue that we're a bit too center here so maybe a bit higher but I wouldn't have this crazy big change you can also say all of this so from here to here he takes all this time to get to maybe the eyes are lower here but to a higher point like he slowly raises where he says the whole thing with that shrug at the end I think that's cool same thing here I wouldn't drop this much again this is a big move and then overall once you come all that stuff down the same thing with eyebrows in the mouth shapes it seems pretty good till now again it's all stepped in it's gonna be different once you spline it but it's nothing standing out crazy but then it kind of starts with stuff like this where oh you're really breaking that upper lip and then here where it's kind of feels off to the side it just feels over complicated careful with sudden shifts going from left to right again with your jaw this once you spline this you're gonna have to take out a lot of keys space inside a bit differently there's just too much stuff going on even through here where you have these sudden shape changes so I think in this case just like with your sit down it's going to be helpful to spline the whole thing and see what's going on because even stuff like this where you have this sudden corner shape bubble kind of simplified that a bit more and not go into are you to suddenly this this seems a bit better I'm just gonna reduce this a bit and then watch out for your geometry overlap there but I wouldn't go from here to here just it just seems like too much and then you go back down here where according goes from here to here it just all seems very very busy I think if I have to say one word to describe this take it's just very busy I think in general it's cool I like your your acting choices I like how you're the body variation that you have this is all very cool it just seems very busy and messy so I think spline this and go into your cleanup mode and then we can go there all right 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