 Alrighty, let's get through this without coughing. Let's do this. So looking at your email, you are talking about, I think my hands are still looking okay when they are planted on the table. Could you give feedback on those parts for sure? Let me turn off the scrubbing or the scrub there, let's see. That's a lovely accent you have. So you can, there's something also if you actually scrubbed fast through it, it seems like from here to here-ish. You have a bit of a drift where look at the lines of the fingers, right? So if I go back, you can see when I scrub fast, it has a very, very slow drift. That's a lovely accent you have. Going over there, so you would have to stabilize that. The thing about IK is that for instance during moments like here, when you have the elbow moving down this way, especially through here, that's probably the biggest one, because you have lots of small movements in the elbows and then this here. But the big thing here is that the moment you have that amount of movement that's going to move the forearm, the moment you have that moving and you see a break where this is not moving because of it, meaning that the forearm, basically the hand is always going to track with the forearm. So unless you do very exaggerated waving where the hand is really dragging, the hand is pretty aligned to the forearm. Generally speaking, obviously you have some poses or things where it's going to be different. But when you have a hand planted on something and you have all this, I can see anything here, let's see this hand maybe. So when you do a lot of movement through here and you can see, if I just loosely hold onto this wrist and I do this, you can see how the wrist here, this guy, is moving with the forearm. That forearm is pulling that hand with it. But if you try to lock this and do kind of a weird look like this, that's when it's going to feel broken and have this separation through here. So when you do something like this, let's take this drawing away here, when you do this big move here, you're going to have here, it almost seems like he's moving over, especially because he lifts his hand here, there's going to be more pressure on this hand. So A, this is going down in terms of the elbow goes down, it takes the forearm down with it, which is going to, let me move up that wrist this way. And at the same time, you would flatten the wrist and spread out the fingers a bit more because there's pressure. This is planting more onto the table because of that move here. Not that he's fully resting on it because then it would be different and the shoulder goes up and there's a bit of a different lean like that on there. But you still want to have some movement in here when all of this moving, when all of the forearm section here is moving, that's going to influence the wrist for sure. So as it goes down, the wrist will go up a bit and the fingers can still track and stay on the surface because that's where the contact point is, but the stuff can still move, see if I move my wrist, fingers are still staying put there. Then another IK sign is that when everything is moving back in one straight line, because it's IK, you're not going to have the arcs of FK joints. So that straight path back while all of this is moving and not affecting the wrist orientation and rotation, that's another sign, especially through here, you can see all of this. So doing this move, think about what is he doing? Why is the wrist sliding forward? Would it still be planted? Or you just kind of, is the arm pushing away? I mean, you can play like that where this move is potentially him pushing away and then taking that arm back, that means that if this happens and he pushes, you could slide it forward, but then I would do some spreading of the fingers as well a little bit and then again flattening a bit to show pressure on that with a little bit more shoulder involvement. And then through here, it's not too bad. The problem it's through here is that you have this very, very flat line where it's almost now the opposite that I would say where you want to break the wrist orientation from the forearm, just because of gravity, this is going to droop, not that the wrist is this low down with the fingers down here, but it's going to have still enough of a drag down. That's my hand and probably at this point, what is he doing here? He goes back, so then I will bring up that, so he will go up from here, sorry, it's a horrible drawing. And that elbow will go up higher so you don't have that flat perspective. You don't really want to have an elbow that's flat towards camera, see the down or up to show the break in the arm, so we know the shape of it. Like this, if you squint, especially through here, it feels more like it's a very short arm versus that has a clear break there. So just to go back, as you go back here, I would A, relax the fingers and not having so spread, they will go back into more of a default relax mode. So the index will go in, these guys would kind of have less of a spread, but relax and fold and rotate down, but then at the same time, the wrist also because of gravity the whole thing would kind of relax more. So the unnatural feel is that the wrist stays so straight with the forearm, that's one of those moments where I would break it, where it's not aligned with the forearm, it's aligned to me this way, but not this way, it would have to drag because of just gravity. So there's always an exception to whatever rules I'm bringing up here, which are not really rules. And again, like that, limb feel is nice, but then it has a little bit of a weird feel with this gap here, where you almost want to close in that thumb. And to me, it seems like you want your index to be a bit straighter, where your relaxed index, it's your hands, it's gonna be a horrible thing, but I have to go this way. I wouldn't curve fingers all the same, so I would might be pretty cliche, but it would be this type of rotation where the index is mostly straight, a bit of a bend, and everything kind of relaxes in the pinky in the ring finger area. But the moment you have something like this, it feels like a very distinct pose with that the character wants to hold. And seeing this here gives it that weird claw-like feel, so like a Lego figurine wrist there. But going back, this is just for the hands, so watch out with a straight path, you want this to be always in an arc, even if it's minimal. But I would look at, before you do any of this, you have to look at, well, what are the mechanics? What are the bottom mechanics of this section? Again, it's just, is it just him, if he's sitting like this, moving over? So it's just going to be the body doing this, then you could raise the hand sooner, because it's all in here in the chest, or is the hand pushing away for that lean, with the shoulder going up and really showing a flattening of the wrist, maybe a tightening like this, and then you bring the arm away. So you need to think about how you want to act this out, what your look is. And the other thing that's a bit weird in this is, even though this arm goes first, so there is an offset, overall it has that feeling of this and this moving together as one weird robotic wooden piece. So what's the end pose here? See with that lean here, which I like, you can easily just have this arm droop down off the table. So when you do this, that arm is still here. So you just kind of, just that arm goes back and it's just this, and the other arm just kind of slides down off the table into this pose, and you don't have to do this move over and then down, because this is a weird mirrored, you know, twin pose there. I think that's super twin, because there is a change in posing, but overall feel feels too parented, like it's too, so what I said is that moving as one, just the chest and the arm was moving as one big piece, which gives it that stiff feel. And then speaking of stiff, the weird thing at the end here is just, good day, it's kind of like, he kind of, nobody yells it out, but it's kind of, good day mate, like there's a bit more in the chest, and right now in your animation it seems this is the broken, the cutoff point that everything is in here, all the animation is in here versus good day, so you might have a little bit of a neck out, reach forward, you know, shoulder down, maybe with a chest out, a tightening of that arm and this, because it's kind of, good days, it kind of pushes himself forward, so there's more involvement to me in everything in here, and so it's not just located in his head, so that just feels a bit too isolated there, yeah that's actually there, that's not too bad, it just seems, once you get after this point here, hey, besides the jaw and the lip sync, I'm kind of missing, but again, I would, there's still some body mechanic stuff that I would look at before you go further into the lip sync, but, well accent you have, even on you have, you can have a little bit of a, if you track the noticeable arc over and accent you have, you have just a little bit of something in there, and right now everything just kind of dies, just through here, there's nothing going on except a little bit of a drift in here, which is again adds to that stiffness, I don't feel like the words are coming out of his body and his mouth, however he says the words, intensity, how loud and how fast, I don't see that replicated in the body, meaning that if you yell, your chest is gonna, you know whatever the acting is, the chest is gonna react to a louder voice more than to a smaller voice, and the way he has his, that's a lovely accent you have, like his little swarmy or potentially trying to be flirty body language is not there, just all feels very stiff and empty, even this feels, even though the arm is going first, it still feels very post to post, kind of going back into this, that feels post to post from here to here, where you might anticipate this whole thing, where he's waiting and looking at her, and for me it would be a bit of a dart and maybe looking up and down, he's observing, he's thinking about it, he's trying to figure this out, he goes New Jersey, so you could have a little moment of the hand going New Jersey, so a hand first, maybe a head tilt, and then he says it, so to me there's still a lot more you can do acting wise to kind of push this, right now it just feels like the animation is waiting for the lip sync, when the audio starts, then there's body movement to it, but it doesn't feel, I hate to say, it doesn't feel like the character is alive and thinking, which is super easy for me to say, it's always really hard to do, but it does come across that way in this section, New Jersey, even through here, New Jersey, just kind of comes down, I do like how you have a bit of a change up in the shoulder and in the chest and in the head of it, it's, but it's very subtle, New Jersey, and it could just be New Jersey, a little bit of more of a little accident in the head, and this seems also a bit subdued, I do like his blink, because watch out, you have a bit of a floaty eyebrow, it kind of floats down, I would hold this a little bit of maybe like again art, like a little darting, and he's looking, what is she's going to say, and I think I would bring the blink down, maybe two frames later, it's just it's pretty close to when she says it, to me it seems like she would say it, and until that hits his ears and triggers that blink, where he goes, oh I got new information, I got it now, he construct that whole information, that's how I would bring it in later, and then it would be, it could even be a bit of a look down, Austria, like it just, because he's not the smartest guy, so I think just that one word is going to trigger a lot of turning of wheels and a thought process in him, because he's not that smart, and again it seems just a bit too simple for him, that's cute, I do like this though, that's cool, I like that, but then watch out we're back into the category of a lot of movement there, with the wrist kind of separated, also watch out we got the same thing here with the bend of the arms away from camera, so if you do your squint test or hit seven without lights in Maya, it would just be a very short arm, versus potentially the arm that's a bit lower, it has a bit of a forward, forward and back slide right through there where I will plant those hands a bit more, you can have some movement in arms and even in the wrist a bit, but then where's my hand, like the fingers were kind of, you might go Austria, then the fingertips would be locked, with that slidey hand that feels a bit unfinished, and this seems like a weird deliberate move back, but it's kind of got to move my hand back, as opposed to let's see, Austria where it's to me it almost seems like everything needs to be driven at this point, I'll tell you through his head, but it's all like oh oh Austria and it's kind of, it's almost like the head is leading the movement and just the hands are kind of readjusting to his new head and head position, which in turn affects the body position, if that makes sense, I don't know if that's very cryptic there, but this just seems like a very separated joint move, but you are getting closer and I'm just being extra picky because we're getting into this, you know towards the end feel where I still, there's still stuff you can kind of push the acting choices and kind of the body mechanics, just to give it just that extra layer of life, and I don't want to just say yeah it looks good, just look at your arms and hands to kind of give it a layer of here's the final technical polish, I think we can still push this and I think from where you started to where we are now there's there's a lot of progress, I still think there's more in it, I think there's more that you can do and I think you can you can do it, but of course it's totally up to you, you're the one you're the one doing the shot you're the one paying, you can say no I don't want to push this further just give me technical notes and arcs and then I would say then look at your IK hands the way I you know the fix that I mentioned and start getting into the lip sink and leave the body mechanics in terms of acting the way it is that's totally up to you, I would recommend to push it if you're going for a demo real shot, but I'm gonna leave it at that 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