 Alrighty let's play this in full. Oh, yeah, it's pretty good. Alright, so we have I think you might be able to to drag the tip sooner as it Goes down here. You might be able to be already higher with that tip So that by now, you know, you would have a straighter a Straighter ball. I'm so weirdly I'm weirded out that this is not the ground and that it bounces here I think you could also On this have it's like her which you hear with that tip down there and then come back up into this All of these tiny tiny things, but I think overall Like it's let me just double check something just checking spacing if the last one Yeah, I think the main thing would be to drag these a bit more Like you can go a bit low Bend down and then come back up and I wonder if that impact is a bit fast From here mainly because you go from here It snaps down, but then doesn't continue With that momentum down, but hold on you are mentioning in your email that you Let's see here the arc of the tail has to be proven the part when it hits the grounds. Okay, so you're totally aware of that So I think just keep going on those details. You're mentioning no squash and stretch, but that's totally fine to me If you're really into it, you can always put a lattice around it and then just manually Going to that but I don't mind this is mainly just for for that aspect there And it's already working really well And then you have other questions here. Let me see One of the question is how I work with overlap. Yeah, I don't really do much with offsetting Key so for something where you have, you know, all of that happening here I usually put that into the pose unless it's a really light rig So maybe on a bouncing ball, which should be honest, I haven't done in a while bouncing ball with the tail Excuse me. I might go into the graph editor and and tweak it in there, but usually I pose out the the offsets and the drag overlap and The other question is not exactly ball related. It's more You're asking between auto tangents and spline You know, everybody has their own different workflow and I usually I mean for this I would use Linear keys. I again as I've mentioned others in my Q&A's I'm a bit silly where I have Linear keys by default so that something like this happens. So you got that But then everything else would be, you know, it would be pretty crappy unless I put in a lot of keys But I my default is linear So I have that and then I just convert into spline to get into that type of motion and then, you know, for this I would spline it out and then Work on the poses, but I might explore also offsetting the keys like you asked before but to be honest I've never worked with auto tangents and If that works for you or if you feel like other people are doing this and you want to explore that That's solely fine too Because your question is why do most of the animators use spline tangents? I don't know. Maybe it's how we were taught in school Maybe that's I was that's kind of my My approach, but I could obviously change at one point, but so far I'm pretty comfortable with that and then Your last question again, that's not really specifically for this or anybody watching this Looking for feedback again. I think this is the timings good boing boing boing. I think the bounces are good and I think the tail is good and might explore adding a frame or a frame between these So you don't have that, you know from here to here It's not a massive change from here to here to big change and from here to here It's really not a lot of a change So I will potentially explore on all of these bring this just a bit higher And then here and then that So that's a bit of a smoother impact. Maybe right now that tail snap is a bit sharp But just something to explore. I don't think it's a shop breaker Again, that's just my my general thing For you to tweak and anybody watching these are my general comments for this ball because it's already really good but your last question is You were watching Kenyatta tutorials and a lot of people use stepped tangents versus Linear Again reason why I use linear is because we don't use step that work I'm just so used to that workflow from linear spline, which again I might as well use spline in this tweak some to linear but because of working with live action plates We can't really mix stepped keys Um, I don't know if I would to be honest to step keys on this probably on a bouncing ball I will go straight into into those poses and spline it and get it all done but For something character driven, I think stepped is is very good. It's very important because it really focuses on clean poses and telling the story with Asic pose if someone's over here walking over there and staying there how you know What are the main poses you can you can put in there to tell the story? And then you can focus on the breakdowns and in-betweens and really start sculpting away Uh, and really focus on very clear silhouette and clear story telling pose. I think that's cool I'm not against it My main two things are I don't use it at work because of work constraints the way it doesn't work for clients Um, and the other thing is that my warning for the students is that sometimes they have someone that sits And then they stand and in in their blocking. That's their stepped process There's a key and there's a key But there's nothing in between is this person, you know jolting up to come to a stand Is this person leading forward slowly, you know putting their arms on the knees to really slowly get up Is that person first leaning backwards putting one leg out to then get up there? There's just many many ways of how you can get up And there's just they're not enough keys uh breakdowns that in between With student work that you stepped. That's just my my my caveat now saying don't use it I think it's really good to do just be mindful that you need a lot of information in between You can follow that a trap of even if someone has an arm up You know and then the next pose is arm straight To go from a bend to a straight there are many ways how you go from this to this So you need more more poses and like more breakdowns And then what students do usually they go from this To that they spline it and then it's just this crazy mess and then they're freaking out which I understand So you just have to be very disciplined to put in more breakdowns And and I would always back and forth back and forth spline Spline and stepped and splines have to see kind of what it looks like so you don't lose your initial timing um, so that is my Long-winded answer in video form. I could have emailed you this but maybe people will Learn from those answers or just hear a different opinion Not that it's something I need to learn. That's just my point of view And you can always agree or disagree And if you're watching this, you can always leave comments with any comments about anything I said as always I want to stop rambling and leave it here. Thank you for the submission 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