 Right, let's whoa loud. Let's take a look at this This is the only thing when I was watching you before where she I'm slightly freaked out at this point This is almost like as if she was pulling down her Cheek skin to look giving back a freaky grimace This watch out for that. There's a lot of crazy intersection through here. You're going a bit far There I say of whoa Creepy two-phase from thing But anyway Let's see here And there In your email you are saying that you fixed the timing You think for most of the problem spots. Yeah, I think so. There's some areas here and there a bit Fast, but I understand that you want to go for the big parts here I still have some work to do on IK feets And wobbly knees. Yeah, there's some yep through there There that stuff there Yeah, especially when you have knee stuff and uh IK, you know, like you said the ankles Kind of lock there. It's definitely better though. It's good stuff there. Um But before that, I just want to make sure all the major body mechanics and timing Looks good. Yes, uh, I don't want to have to animate all the small things all over again. Absolutely agree So let's see. You have very specific notes here. Um Frame 45 to 65 to spline you when she comes up 45 So from here to here No, then I need sound but just in case 45 I think so But I would work on is you got your linear keys kind of Pops out with those arms and you can anticipate that move It could bring in those fingers for instance So two three frames before that finger start moving into a new pose For that because I mean you go pretty quickly into the straight here, but you could start a bit sooner But I know that is a detail thing that you haven't addressed it. I'm just going to mention now Just quick She was like the mechanics are Right Goes back. She can pull back then she pushes herself up. You might argue that you might want to delay this move up here By two three frames so that this hand can be Below because right now she's kind of getting up, which I guess you could Hold on Let me act Anyway, this is just a split second for me. I paused The review got on the ground. I mean the thing that Strikes me here. Watch out for the pick up star When you go back, I mean you can lift this here But then I started putting pressure on here To stabilize this and let my root go up or You wait and have this arm go back Then push up and stabilize um Just either or It feels a bit magic. I'm what you could do is Do this, but then I would have that wrist oriented a bit more With that forearm made of you a tensor Finger pose and and really lock this down so you can feel that there's more pressure here That could be something But to answer your question, I don't feel like it's spliny So watch out visually. There's a bit of a pin here where that neck section there See that everything kind of pivots off of that part so You can lower the neck a bit more so that then those neck lines here this and this would be here and here Or you raise a bit more whatever you want to do, but just a little bit of a pivot off of here I think that should work fine. It's pretty fast I don't think you need more drag in the head through here You get a nice There she's pushing. I think that's totally fine. I think it should work. I'm just kind of looking at the overall timing And again in rough form. I think it's it's fine. I would just look at like I said the finger animation Uh anticipating a little bit you can offset these guys so it's not so twinned When the root goes up The head goes sooner, but is it ever so slight feel of this goes up and this goes down Happening at the same time, so it's mainly offsets. I think otherwise otherwise My main reaction was not that it was spliny. It just has just enough snappiness without being too crazy I still believe the weight It's definitely fast But I think if you if you sell the weight lean either on this or this arm We're going to buy just a bit more. So you might have to just delay how this goes up Which means that instead of hitting the max here, it's going to happen Maybe throughout here it might be slight overlap between this is settling and then this moves over there Um I've also been struggling through the entire frame 90 to 150 area. What is this? So once we get to here through here the creepy face from here This feels spliny From here on this look over this And then coming back feels a bit spliny and mostly even in timing. I think that's what usually I'm reacting to There's no she gets up And maybe you might hold this long but she can't she doesn't want to look away Then quickly looks over there And then quickly I like that you're anticipating with her eyes It's just a bit too soon or we get kind of creepy extra cyst eyes You see you want to see the older pupils, but I like that she wants to come back right away But then you could make that snappier So she's looking and then here here and immediately immediately back to the screen But you're starting off here. Let's see Maybe out of um in terms of repetitiveness The thing is I like that she does this I like that it's it's different than that I like the changes in poses, but then you might argue there's one and then there's two Let's see she starts to be like a gorilla I think personally I'll probably keep it here There's a bigger push for her to change the pose here like she has to move over with all of this More strength here and then for contrast, it's not the same again Because the adjustment is smaller you can get into not flat Wrist with fingers out and the thumb you can do kind of a wrist And then the thumb And then your fingers spread out again. I can't draw I'm trying to mentally Imagine something better I really need to practice drawing again is absolutely useless Uh, but something like that if that makes sense Other than that let's watch this again You might not have to go as low with the head I think that's something that you have before as well. I'm not sure she needs to go All the way down. I think You might be able to get away with something between here and here So we still have a bit more of her body versus here where it's kind of massive head and then Stuff coming out just silhouette wise Because the thing is it gets a bit fast. It's just a lot of mass this plus the big head Moving up and down isn't Bit fast there I say And I think at this point I just like again, it's very subjective But I like the idea that she's looking she just can't keep her eyes off of the screen So then to break contact and go this low. I think it would be funnier to keep that head up She's always trying to look at it But speaking of eyes just be careful how far you go with the pupils You can totally cheat and bring the pupils a bit over there. I know she won't be really looking at her at all But When we start losing pupils, it's a bit tricky But I know this is a detail thing and you're not looking at people's just yet Uh, try to change the timing and all that and make it smoother not really hundred percent sold on it This is that region though I like this a lot that you're going from slow to fast But you might to Again, this is detail work. I know I know you're saying Besides the sections I would start like that with like a big slap And then I guess you can keep this for traveling you get present there. Here's there But then once she gets into the fast moves Then I will be a bit more Curled almost down with like a picking but you know something where it's broad slaps down to very precise finger taps where like That section is hitting here It feels like this is all the same. It's just accelerated. I like the The texture in the timing. I like that there is contrast in that But I think you can go broader with big slaps of watch watch watch watch and then when she gets a bit more Uh, picky about it that the fingers would be that Hank might go a bit over there and it's more like You know, not like fingertip tapping just a bit more precise Yeah, and I think And then probably what's going to help is Offsetting I know this detail working for saying offsetting the fingers. So you get to this As late as you can so you don't have that thumbs up pose Which might make it feel also a bit awkward. So just kind of she's adjusting And just at the end getting into that fist change And you can still I know it's very short but from here To here so she's not constantly in that um That fist pose But that's super picky. I don't think that would matter at this point. I'll just be careful more in terms of breakage of the wrist where the wrist kind of points This way and then this goes over this way And then down to here where it's pointing down, but then this goes over this way It just feels like a couple broken wrists there But I do like the nervousness in her pitching around Now it's tricky kind of see if you would keep that head longer on the tv She gets her hands up here. I'm not sure if it's You know how post changes through there I would rotate the wrist over so the hand is a bit flatter So you have a nice review on the thumb and then probably once you get to here That the fingers would be a bit lower and then slide into this So it doesn't feel like a snap constraint But I'm just imagining if this was all there Do I still like this Try to change the timing and all that to make it smoother. I mean I'm looking at your notes and I would say just I would definitely fix the head So it's not so even in timing and that might just be enough because you don't have to adjust the timing of When her hands get to the face and everything and I think that might just be enough to give it Some life I have I'm afraid that by trying to make it all smoother Especially through here It has made it all so even because right now it just feels like her hands come up mechanically And it doesn't feel like it's character motivated, which I know it's one of those BS things to say and very easy to say and hard to fix because you're the one animating But if I listen to her let me up the sound just a bit You know, he's so hot. There's something where I feel like you want to Like I buy this It just feels like she gets into this Pose and into all this almost too soon. It's as if she's holding and then she just can't contain herself anymore It's he's so hot. It's almost as if you want to delay that pretty By a lot of frames Again, it's very subjective just thinking out loud here where she does all this She doesn't want to keep her eyes off the tv Then she just can't hold anymore because he's so hot and by saying that right when she goes he Right around that point That's when she brings her arms up and it's more like oh just that that that burst And that's why she brings her hands up because she feels like she's going going to explode her head is going to explode And that's why she puts her hands there. I'm overthinking these of course Uh puts her hands there to avoid that her head her head explodes. I know this is all silly, but That's kind of how I would rationalize the timing of when this happens Whereas now it feels like someone going through a checklist of okay got to put down the hands now I'm going to bring them up and then say this line if that makes sense It still cracks me up though Mechanics wise be careful if you bring her down this low interesting what you could do with Either bringing out that leg it's almost like if you bring her down It's going to squash the whole thing and you want to bring out those legs out and not keep them completely You know completely still and I know you're roughing stuff out on her yet You're more into her But something to think about in the future that when you do this kind of a compression that brings out the legs out this way if that makes sense uh hold on Uh was trying not to lower the head that much but it seems like I lost a lot of weight in it honestly, uh It might have looked better in the previous version. Do I have the previous? All right, that was again a split second for you, but I paused it I mean back to your previous version and I definitely preferred this one I mean, we both probably looking at it for too long and losing some objectivity, but looking at your previous version This feels a lot tighter. It is pretty low still. I would still go higher like I said before on this part And the timing is just a bit even through here and something like here On she goes she goes up and then on that'll be faster a bit more explosive through here And I think all that is going to take away from the splininess because I think you're reacting to a lot of spliny stuff Like that's nice The ending is great So let me see at the beginning here I'm just going to look at her in general her as in the screen left one Maybe this is not mechanics thing, but maybe something that I could do if you don't have her Go as low and you might feel that. Well, what else are you going to do? It feels a bit too simple There's something that I like a lot about this That you could technically translate into the whole body acting where she's just kind of hoppy and skippy meaning And it's simplest. It's just probably through here into here Where imagine there's some bobbing up and down in the chest and head and again I know I'm with you if all it feels like I'm adding notes to make things Sometimes longer but also more complicated, but I know you're really good I'm just throwing stuff out there. You can absolutely disagree and say no, I'm not going to do that Again, just thinking out loud about it could be need to show some You know when people are like a double take on the walk or something or like a like a skip hop It's something about having a constant rhythmic up and down because she's so excited Which I think could be need because it starts off here. She's so excited to get up And then the excitement, you know gets in here like come on come on come on come on And then because she lets go all that that jitteriness and that excitement is now in her So then she does all that Bounciness and it's almost like a slow build up Into here where she goes. I can't take this anymore and then she's holding herself steady And then then you go down and drop my face bam for the end, right? So you have your excitement then this is your contrast where she's kind of I'm sorry grabbing her and then bam big explosion bomb I think that would be really cool, but I know this is you and you have to animate this As always, this is very easy for me to say But I think that's about it on her You might argue that through here at this point You know you have this here that will bring up her head first really lead with the head So that you have you know, like her head will be back here mouth here nose here That gives you more of a pull back with her chest So that you have and maybe her root is a bit more forward. So you have a stronger c curve going back So it's not so straight. So you really have You know, like feels like that neck So pretty 90 degree or even lower So that you can have something where this is here Mouth is here and she's really going all the way back and pulling her And as you get into this doing this hold, I wonder See how you have a little bit of a hip thrust going up If through all of this up until here, she lets go if you want to keep going up this way So that on that moving hold the root goes up up up up up. So so she goes Up up up up up up up and drop you know So you go hold drop As a as a visual in there And then watch out for this this bigger things if you do such a big roll with her chest and head That will be a bit more in the butt. And then because of that the hips and everything take the The legs make that leg and come out of it. It's not just that flat foot here You might have something where we can see You know the foot might end up being here so you can see the back side of the foot which gives us a little bit of the view of One leg and then the other leg can be Coming out a bit more. It's a horrible door. I don't know what I'm drawing here But so that it doesn't feel so dislocated or it's just from the hips on this is a lot of movements But then the bottom part is not really reacting to that role as much especially this one Which you might call yes, I know I know I'm looking at the big parts, but that to me seems like a bigger part You want to fix? We're getting into details And the girl on the right Obviously the magazine you mentioned that I Think because we want to look at her I'd be careful with all of this movement through here Look at her head and everything. I would just really keep this into her Her hand just I would just read I would even do this I would just have your magazine here and just eye darts and head Going a bit left and right for the reading part or you know photos or whatever But that way we don't have anything conflicting through here. This goes up, but this moves So where am I supposed to look? I know her move is bigger But I think we just make this super clear and not do anything on her Then you have this move and again go down when this goes down. It's just it's just a bit competing there That's so then she taps her arm. There's some movement there. I Think that you okay. I like how subtle this now. She goes. What the hell is this you could potentially Bring that chest over so she's leaning a bit more over And looking to that to that the body has a bit of a going away from this. It's like this is invading Mass here like what's going on? She's slightly leaning away from it, but That's up to you Because then I'm just thinking that this move is very simple one axis just the head up and if you just do your Your eye and head over with a little bit of root over this way Then when she looks up you can go from this back to the straight very subtle, but still you have different pose Changes and posture changes between each moment there Same thing on this when she turns This feels like a rotation where at this point you can really start at this point we really lean her over more So she's looking at her And that way she can then come back into this straight Like she's she's trying to get back to her default The stiff straight versus she's so excited getting on to all into all kinds of C curves So for me personally that would be a cool contrast and every now and then when she's taken out of her Concentration of I want to read this. This might be some physics magazine or something. Um, then Then she leans over it's always kind of interrupted and I mean she goes back. That's when you have her straight This I would just do this feels a bit gentle how that arm goes over All right, so I don't know if you want to just have that arm kind of Bent like this like what's going on is kind of being pulled along and then Then a bit later get on to her Uh thigh and maybe tap it. It's almost like a wrestling like tap out like come on What's going on or start to push against it such a bit more than just this passive move This I hope will get fixed through You know a bit more of a dynamic hand pose. I'm just concerned about this very straight Besides that kind of broken wrist look I'm just concerned that this is a bit too simple Just because she gets pulled up and then it feels especially through here. It's just so straight It feels like a very weird deliberate move and gives it that very harsh not harsh, but just kind of Weirdly blocky shape and especially again with that wrist break here I do like that. It goes into up and no moving hold and then for that drop here Like I like that. I'm just not quite sure if this feels this feels forced And not something where If she pulls her like I said, if this will go faster No, not faster. She has her her stronger pull there in her pose Yeah, I think no, I think the tap sorry the timing is fine. But what if Because she's being pulled You prolong the drag And then that arm goes up And then you'll eliminate the amount of frames where we see a straight arm. Maybe that's gonna help Was that arm up feels a bit slow Because of that slowness. I feel like I'm really paying attention to that straight arm But there I say you could experiment with She goes Where that arm actually goes up into something here where she's Trying to pull her arm away So that we have This your knee might be too far out. By the way, you might have to bring in her knee or something more in But that arm is here. So it's almost like the arm pointing Towards that face. So you kind of look at her But you would have to have her arm You know like something like this so that this forearm is not aligned with this upper arm That could be something too. I know we're gonna take this away But I mean, I know if you want to do this like a five minute quick block See what it feels like this could be something where she's pull And then with that arm coming up into this pose, maybe the eye gets taken up into I want to look here. I'm just also concerned that Even though I liked it. It's just because I'm also used to it but I'm just concerned everybody's going to look at this. I guess she's what is she going to do with this punch her or We might I don't think about it We might have to bring it up so that she's holding or just suddenly having that hand there or even if it's floating and She has that with a you know somewhat tense hand pose I think that could almost in a way mimic the offset glass as everything is kind of tense and broken um So I don't think about that totally totally up to you. I'm not sure what your thoughts are on this Um, I think this might be worth a five minutes week of just it seems like an ik arm Just take your ik and then bring it up here And just see what it looks like All right, I'm going to end it there to me. Those are the big notes I say this and I'm looking at her how she drops here. I might say drop And stay on the ground here. It feels like you're lifting her back bit too soon I would keep that all down and I will hold her on the ground Maybe 15 frames longer. It feels like she goes boom and up versus After all of this, it's kind of a boom What and she could be coming up much later so that you have Drop her so it's one two roll over three her four Which you kind of have Except that she goes up and then she rolls and I wonder I wonder if you couldn't delay that again. This is not that it seems wrong My the thing that I was reading is that she just It's like it too fast of a recovery. She drops down and immediately goes back into That acting choice to where it feels like an actor rushing through things Versus not a natural. Oh, holy crap. What was that? Huh? Or you give her time to breathe and think just a little bit and then get up and I think this could also work because you would have Drop drop eyes are here She rolls over eyes go over there Now we're already here and we're losing her eyes. We don't look at her anymore. Anyway Then she gets up and the eyes and the audience's eye goes To that and then she ends the scene I think that could be something Start with her and with her Anyway, I'm gonna end it there. It is almost half an hour. So let me know I hope this was somewhat helpful. Thanks for waiting. I think my voice is back No coughs pretty much. So Starting now again much more regular feedback schedule 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