 Alrighty, let's watch some full here. There is sound on the sound here. Actually, I think for now I would I'm not sure what is going on in terms of What came first like did you animate this and then add the sound or was the sound already there and you animated to it? I'm asking or I'm saying those just because right now some of these actions feel very slow and floaty and Things could be tightened up a little bit a in terms of just timing and also posing in direction And I think if possible I would ignore the sound for now And if that means that you can't have the sound at all you have to remix some things some things I think hopefully that should be okay big question here is glass cars People I think this could be redone into something where it's maybe more visually told as This happens stuff comes into frame and realized there was something out there I don't know there's something maybe that can play with visually versus the sounds just because it gets a bit I Mean, I know it can be all cartoony and you know whatever stuff can happen But it's kind of she's somewhere on the planet that doesn't look like it's going to have a storefront with people in and the car and It's not like that. I don't know today was like maybe let's not concentrate on the sound for now Just as a thought There's also here if you listen to bring the sound back here All that's first kind of There's so much What the end here? That feels like they need to be stuff coming out and should be landing differently I don't know like to me personally I would ignore the sound for now to really look at the body mechanics because right now if I go through There's a bit of a slow entrance And then a really harsh sudden move. It was like a bit of a pop there right there That gets a bit Swimmy and a bit overanimated in terms of that foot comes up and then kind of hovers and sticks in the air They're really over pronounced toe and then gets into a full extension before we completely hit the ground there Then we start having a bit of a disconnect there in terms of how those shapes are pushed Then it gets a bit swimmy in terms of timing here Then as you're going to what is that the silhouette could be a bit better This gets if you push seven in Maya and you stick out the set here Just have just the outline and just we don't quite know what that is even here The upper arm gets kind of lost. That's a bit of a harsh break in that wrist I think some of these shapes could be softened But also does that reaction for her she looks down and then a we're losing the pupils a bit it's a bit too far in the corners and just kind of a Almost pose to pose reaction of the face and body stopping into here where I would give this more of a she can look a bit and Then you know, she's actually still looking here a couple darts maybe and then she would have a facial reaction and Then the body goes back just kind of offset things just a bit more But even this could be what is that and then she goes in right now It's up and then immediately goes forward this it's a bit rushed through that moment That starts to feel a bit Funky there where this forgets off the ground but we're pushing this way But it's off the ground and at that speed she will bounce you'd fall over. So there's a bit of a weird balance issue there Then as you go down here, it starts to feel like this whole thing is moving as one piece Where I would offset these and break these up a bit more where you know that arm could drag for instance She could be leading with that arm first and then going with the head There's all kinds of different acting choices you can have there I guess it's something that she's been looking for clearly this looks like something that belongs to her But I would look at it generally again. I'm going through just all the visual things that I'm seeing but you have to look at She comes down lands and looks around this was more like oh What is that versus is this something she's looking for was I mean is that a power? It's not a holster, but maybe she could land and look look around for it And then she realizes oh, I found it. I know there's something that could be a bit more distinct and clear Watch out. There seems to be a bit of a pop there in the constraints Then we have a bit of a funky silhouette with the wrist turned towards us and the elbow bent away from us So we don't quite understand the structure length of that arm until around here ish right when it starts to have a nice to bend Then it gets very swimmy with weird rotations in here and everything just kind of moving some weird rotations in there Again, it's not a focus you can go into ha ha. I'm a gun back Watch out where we hold those poses, but right now. It's a bit more Always moving back into it of a funky pose where all of that kind of mushes into one compared to Let me see like that is cleaner So that's a bit funky there and again. There's constant moving of body parts You got head turns where this feels a bit separate from the rest of the body Then I'm looking at mechanics like what is going on here where you have this leg is moving and sliding While this leg is moving and sliding, but it's not really a hop So that's just kind of sliding around where the mechanics don't quite work And if this foot gets off the ground, then it wouldn't be flat here. The toe would be lower It's mechanics wise, but also silhouette wise it would help Then it starts to feel a bit like she's really pointing this way But then the knees pointing this way, but the the pelvis pointing this way and then this is pointing this way So it's not super clean in terms of Posing again, we're not holding this. You got a lot of intersections through here. We're not holding that it's a broken wrist And then again, hold it just it's constantly moving you got this going on this the elbow going down this way And then this happens where she goes back Watch out when you have movements that go straight away from camera. This makes it look a bit flat And I think this could be a bit pushed more this way And she's got that reaction, but then again, it's a bit swimmy and it's timing and then She shot all the way this way But then apologizes almost straight towards us the silhouette is a bit funky here got some tangents I like the idea of putting it back and carefully. Oh, this is a Careful thing here. It's a bit wobbly there. It's quite Work in terms of the properties of a hard surface on the rock Then you have very swimmy Swimmy timing there and holding this pose for a bit too long where the silhouette again is a bit funky and then that again feels a bit Swimmy and I'm focused there with those buttons. There's kind of just kind of moving around What what what and then that feels very Slow where she wants to get out of like, you know, let me just you know get out to no one sees that I did this but then it's too slow it should be like a quick exit But then she or it brings her legs up a bit into really big ease in So that is that so these are all the things for me Mechanically that I feel like need a lot of work Now that being said Before you do all of this my question to you and we can we can email back and forth Like what is it that you want to show off? I mean to me seems like okay I'll some pantomime she grabs this something goes wrong then she gets out of there But I think we can make this just a bit cleaner in terms of Where she's coming from what she's looking for her reactions. Maybe a bit more Personality-driven versus just that going oh like something a bit more interesting in terms of oh I'm sorry. Let me put this back. I don't know. I want it. I don't want to dictate things So I would love to have a bit of a discussion in terms of how we could push this a bit further in terms of acting Choices and entertainment value and stuff like that Alrighty, I think that was a lot at once. I'm gonna leave it at that email me for questions and that is that all right. Thanks 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 the like and subscribe would be awesome. All right. Thank you