 All right, let's take a look at this Yeah, I need and you also set me reference If you look at the beginning though looking at this There's something that feels a bit more connected with her looking at the staff There I don't know there's something it is very subjective. I mean, you know, it depends how Performancy you want to do this and how she wants to look at the one or maybe she doesn't have to it Doesn't want to it just seems like throughout the rest of the shock there's a lot of Connection that she really follows follows It's all very nice all very smooth It's all good stuff nice poses. It just feels here eyes closed and then she kind of just looks up and And then just kind of casually grabs this and I wonder If that would be something like in a reference where she would actually look down To see where she grabs, but maybe that's your whole point So I don't know I'm not quite sure about the history of this and I don't know. There's nothing in the email That's not kind of the only thing that kind of caught me Or that caught my eye. It's probably just off It's kind of so casual and weirdly it just felt like a move I'm animating arm up arm down and I just catch it While the rest is so focused where I have to look at it. I don't know. I don't know. I know I'm reacting to this Just that section so much It's also because of just from an animation point of view it goes back this way Let's turn this on here And then it comes back pretty much the same way and it's just one of those things where you don't really want to do You know, you don't want to go one way and then come back the same way If at least there's a bit of a different arc and like imagine this is your a and b and this is your c You don't want to go a to be back to a you want to have some sort of difference in contrast If it's too repetitive if it just makes it too cg Yeah, that's I mean And I'm also have to be careful covering Characterize especially when the eyes are open. It's okay. I guess when it's here was your eyes are closed But I think like that then you could technically just do When we grabs it like this and it's just a different type of grab I don't want to linger too much on that beginning, but that's just kind of something I do like how that staff moves though how the back goes up first giving this more weight. I think that's cool Same thing here with this arm going up. It kind of goes down the same way It just feels hitting one pose and then I go back to where I was Where's the ending here? Kind of ish here. See how it's pretty much the same thing So that'll be my biggest comment for the beginning Once she's here those moves are really nice I like how There's a change there for super polished stuff once the foot's down here You just have feels like just a foot rolled out in but even She moves it over here the foot. I mean with the whole leg and then as As she does the foot roll down you could still have a slight rotation in y With that heel going over here pivoting off the toes. That's for some super polished stuff I was a big fan of foot details. It's like here where it feels like the Foot roll just goes straight up And then the leg comes out But if you're already going to do an arc like this and moving out you can imagine that a As your foot goes up you do a foot roll plus a tilt over this way like your leg Muscles are already kind of firing this way and your roll is kind of going off this way to kind anticipate That rotation over if that makes sense cool There's so much detail. I'm gonna look at where I'm What I'm focusing on. I should technically focus on the root first Not on detail things You got good moves here I feel like through here Just looking at this I will probably reduce the amount of Weight here on that hip and go a bit lower So that when you lift this leg now all the weight is on this because it feels like through here There's still some weight on it. I mean you are leaning on this But you could still imagine there's a little bit weight on this leg And now that you're letting go and lifting this all the body weight is on this hip side here So you could have that side of the hip shoot up just a bit more and right now as that leg goes up I don't really see the difference in the hips. So I'm cool. So you got your Weight on there Now you take a step forward and now weight is on the leg same thing here. You can probably go a bit lower So that when you do this again, you can feel how that hip is taking everything weight wise There's something this is going to be super picky, but I just feel through Here and I know that's the legs swinging over, but there's something this is super subtle, but there's something about the root Just doing this section. It feels like it's accelerating like there's not that much movement here It's pretty still. I know it's I was pivoting off here of that leg but then it moves really really fast and then Stops a bit quickly right there And I know this comes down and stops that move and you do have your hips Straightening which is good because that's this this part of the foot, right? So this is stopping the root going forward. So this shoots up As a stopping point which then should shoot up the hip Which I feel like you have right here But you could push that a tiny bit. It's there There's just something when I watch this Right there just something it's super picky. This might just be like a frame or two spacing, but It's just something where everything kind of moves over too quickly It might even be more what's going on up here So it might be a slight reduction in spacing in the root But it could be because the roots And the head and everything else is moving over this way So quickly and stop so quickly where I would drag this part It feels like the leg is going to swing around and drag and pull everything with it, right? Look at that swing Right there That's the swing that's going to take the root with it and then the root stops During this section right there. I feel like too much of the upper part is moving Maybe that's what I'm reacting to too much of this is moving where this should be delayed and draggy When an overlap through there The other thing is and I'm looking at overall style where It's not super Cartooning or stylized. It's fairly nice and smooth fairly sticking to the reference Sort of timing, you know, I look at our movements. Even how quickly she throws this Up in the air It's all pretty good And the reason why I'm mentioning this although careful you have A lot of movement right through here Especially this That's a big big move. Look at the head too Almost feels like a pop because then from here to here. You're slowing everything down a lot So again a super picky note. This feels too much I would reduce how much the head goes back and the arms because right now we're slowing down a lot right through there So watch this in real time Right there. It feels like a pop But again, the reason why I'm mentioning this why it's so smooth is because when you do this That move right through there that leg could use a frame or two more Going this way meaning it's just a bit too fast Right there it just a tad just a tad It just feels suddenly supernaturally fast And stylized borderline stylized. It's not I'm not saying it's you know, super cartoony. You just suddenly the movement becomes Exaggeratedly fast versus here. None of it is except the section where there's a pop Yeah, I think that's what I'm reacting to then This is weird too I'm looking at the root and back to the root She goes this way And then stops This is the tricky one the speed at which the root goes back And the reason why I'm reacting to this is because the only way she can go this way is by pushing with this leg Pushing down to propel her back if that makes sense in terms of purely body mechanics so In order to do that the only way she's doing it right now is through a foot roll And again spacing wise this this is a lot if you look at the lines here Right there That's suddenly a lot of movement and it's also only over this frame. So again, this feels like a pop And the rest is a bit too smooth but in order to make it work that She moves this far this way The couple things you can either suddenly go down with the root and then go over So that not that she has to fully bend this leg and it would take away from this nice line But if there's any way you can just subtly imply that the root she goes down a bit to push herself off Or if you want to keep this line, she does a little bit of a move this way to anticipate and then you And then go back So there are at least two ways you can do this where you can make the physics work a bit better I'm just not quite buying That quick move through a foot roll and then the other thing that's a bit tricky Again, this is all because of the timing you're setting at the beginning the realism or somewhat realism When she goes back here, this was too fast. So she goes this way that That's too fast because right now she is straight up here The only way she can move this way and fall forward is through just physics She's up here and The off balance of this leg the leg going this way would make her tip over this way But there's nothing where this leg is like this and she can again through a Roll and calves and leg muscles have her go forward. This is purely. I'm pushing over Hold and drop. But if you watch this timing Too fast you would have to go here and give this maybe three or four more frames Just so she hangs a bit more and you can buy it that This leg and this move Will bring her back because this just seems like I'm pushing myself up and I'm dropping But this speed feels like I'm really pushing myself forward, which doesn't quite work Right there that it feels like a magic which you can argue magic magic But in terms of body mechanics, it feels like she magically moves over there And that stop is abrupt too She goes over here Right there Uh, I hate to say this but look at her um What crack here right there? That's where it starts to lock So if you look at that Is even a bit of a pop if you look at the lines here how he goes over and then Snaps into place and then it just kind of rotates over and then visually you have that weird lock of this line This line. Hold on. Let me just bring this back line here You can see how it totally pivots off of that visual line there So it's a bit of a weird combination of you moving over and then pop into place Stop too fast like there should be a stop stop ease in and then come back It's kind of over here. I'm exaggerating how far she has to go over here Not this far, but you want to go over here Maybe till here and then come back Into this and I think that is also going to help you in terms of not pivoting off this super straight hip line here Just kind of the visual weirdness there And it's almost it almost was like you want to add half a second To the end we're getting To the end here. She goes over there I buy this there's a bent leg which means that she can push her leg This way and she's leaning a bit. So I think that way shift I buy but then You go over there Oh, it's the way you cut it. So you have this frame and I have Two more frames of nothing. So I would just cut that Because right now we're heading into energy freezes But even then it feels like you're doing And you almost want It depends what comes afterwards But it's almost like you want to hold this pose kind of ease into this with a little bit of overshoot and come back There's something where it's almost like introducing a new idea and then we're cutting out of it. We're not finishing it So I think that would be Generally for just way shifts and the roots and all that good stuff. I think overall From here on like your hands and your arms seem really nice. There's some good stuff there. Hold on. Let me just go Let me check one arm here. Look at this guy And by this guy I mean the arm This feels a bit weird spacing wise When it goes over here right through there as a nice arc And then right there It's a pop Oh, we're back to where I mentioned the pop in here. You can see it in the arm kind of pops over and then it's small and spacing again Then it has this weird lock of almost through here That wrist is locked in space versus going over this way this way this way and coming back Watch out for that It's nice. That's cool. Let's look at this one Again a little pop there, which we talked about It's nice. Oops Right there Again a little pop there There's something that's suddenly too fast. Look at the spacing and then here from here to here It's suddenly too fast which and again That's where that leg suddenly feels too fast and pops but hold on hold on What is this? Frame there's a frame 121 for me. Hold on. Hold on. Let me just quickly check something here This might be it your render. Sorry. I have allergies. I'm just for some reason this morning really Kicked into high gear Okay, hold on so you have One frame. All right, so we're here And then you have one frame here. Oh, look at that. It's your render Your render is missing frames Ah, see that we're missing this frame. Ha I see so That with that in mind, let me quit this And look at that Well, well, well, I thought well, let's look at the render. It's going to be all nice and I could judge the motion blur so performance wise Be the same at the very beginning but Yeah, yeah, yeah your your pops are gone Ah, okay. So all my pop comments, I would say This regard it's like This regard a lot of my first 18 minutes. Holy moly But interesting that's still good to know so that if you put your render on your demoreal, um red flag don't And put your playblast on there check your render All right. Well, let's continue then Looking at arms Yes much smoother So we were stuck with this arm here. I have I'm suspecting this is an ik arm Or it could just be a visual Thing goes right through there, but it feels like it was a bit too straight giving this a little bit of an ik arm feel So how the wrist is kind of changing but that I don't know that's kind up to you to check This seems pretty good even though through here That arm seems almost a bit separate compared to what the rest of the body's doing giving this potentially An ik thing but right through there. It just Too ik is for me even if it's fk. Uh, it feels like you want to add More of an arc To get into something like this it just feels like suddenly you're a bit too straight Careful through here. We're we're in a sticky frame again where that wrist just kind of locks Then comes down a bit too straight. So if you're going this way, you want to maybe that kind of a move A bit more of an arc in there if you're coming out here, which is nice, but here you're just getting into Sticky frame right through there coming down a bit too straight. It feels a bit too ik-ish Hold on. Let me see No, you still have the sticky frames at the end. So I was still cut out sooner Looking at the head So same This the stuff that I talked about at the beginning still applies how this comes back the same way same way We're no eye contact, which could be subjective. That could just be me But definitely none of those The pops in that leg and this way Yeah, and even there was a pop at the beginning as you go up through here That is all good. The staff is good for sure There's some funky right at the end here. Let me do this. We're back to This is doc those It's a tricky thing every now and then you have those visual things where it's kind of like the head is stuck through here Where everything moves, but it's almost like there's a clamp on the head And then through here visually it feels like that wrist is stuck in space Where it moves and then for Two frames see that it's kind of pivoting off here And then suddenly it goes up again This feels ik where it goes straight up, but then the wrist is kind of locked I have a high suspicion that this is an ik arm But to go back here in order to avoid this you would have to kind of move over with that arm And you might have to help yourself with moving the chest over a little bit And this is a bit of a strange feel Hold on It's very very picky, but there's something about It's almost like this elbow is locked. I know it's not. I know I see it going over to the right But there's something about here's a dividing line And now this four arm rotates this way and then the upper arm rotates this way And it feels like there's that that line where we just kind of equally evenly Unfold this arm Where you might help yourself with raising that arm a bit through this move So that the um the upper arm is a bit in a different spot And giving this bit more of an onwards unfolding and then you come back down into what you have here Little picky picky visual things Excuse me stuffy nose, um, then we talked about What's it called foot rolls a couple of things in your feet here Same thing here. This just feels like you're just activating the foot roll in that one channel one axis That's it. Even though she's leaning this way towards us So you're gonna have to pivot off this side of this shoe and tilt over towards us So if there was a camera here, this would feel probably this is the shoe and then this is your your shin Versus shin like that and then the shoe is like this, you know, I mean you still have a slight curve But it would if that's your Toe and that's the backside of the of the boot and then here's your shin, you know, you want to pivot off this side so that you have I hope it makes sense here so that then the Toes of your boot are like this Then you have your the backside of your of your boot and then your shin like this So you're kind of leaning more of this side, right Not sure why I need to go back to red but let me just do it And then speaking of legs carefully you have a bit of an over extension of your ik Then pop Pop into this and you pop out You can see how far you're kind of crashing your Achilles heel here But you can see that big pop. There's a lot of movement while the foot doesn't really react to it Given this that ik feel again where everything's kind of cut off That feels a bit better Even through here as she goes forward Um, you could tilt one way or in y By rotation where you have the backside of the foot going either way What is she doing here? It feels like she can go almost come towards us for more profile But just be mindful that throughout all of your, um, animation that when you have foot rolls Do not just activate the foot roll until it just goes up in in one axis So straight up you have to look at well, what's the angle of my leg? Where's the body leaning towards or going away from or and so on and so on Then you want to kind of make sure that the the foot roll is following that angle if possible get a nice Nice thing pose. I really like this how you go from this to that Into a nice simplify triangle Then changing the hands again This might be a bit weird that's finger just being separate through there. I'm not super fan of that one I mean, you know, some of those things are just between you When you frame through it if I watch this I don't see that finger. So like some of my comments are for sure ridiculous, but Framing through this one finger feels weird but with motion blur Let me just ignore the pops, right and look at the render version I'm gonna bring this up here so we can see What that hand is doing blur wise You know what I mean? I mean come on If you have That much blur. Yeah, you know my finger comment is not gonna matter But why you know we're frame by framing things and It's a little just but I see some finger waggle there, which is nice There's some nice stuff there Like that you're changing into something different, but again has like a one specific finger out But again the blur you wouldn't see it and then just look at Yeah, just really just really bugs me where in terms of this is pose a pose b Back to a there's not even a bit of an overlap or drag in the head. I mean there's a little bit there, but Just watch out for that. I'm not gonna look at the head. I thought I saw some other Head issues in terms of drag and overlap That's okay. She leads there with that tilt right there, which is really nice That's cool like through here if she pushes herself off You could have she feels a bit It's staying the same line. You can have a little bit of chin drop like she could drag that head just a bit more Through there, especially through this this still applies that weight shift that feels like she's being pulled That has nothing to do with the one frame pop. So that still applies and Let's pretend you want to keep this even a bigger reason to Bring that head up a bit for some drag That's all cool here. Then she leads with the head at the end Cool, I think I'm gonna leave it at that. I think that's about it. Whoop. I'm watching something with that hand On this side Right there. It's my dog winding out if you can hear that. He won't still go out I think what I'm reacting to in real time is how you're doing this and it's It feels like you have a sudden straight line again. This could be just your ik thing right through there What I'm reacting to is that you're having this Then for a short moment a straight line through there And then a drop And then through there It's kind of that reverse where it's almost locked here But there's a lot of movement in the elbow And then we go back up and then the wrist drags Meaning that right through there again, this feels a bit like an ik arm Right there. There's just something funky, but it's also mainly how you go here then you flat now and you go straight down like this It just has this kind of feel versus giving this Just smoothing out a bit through something, you know where your your um curves a bit softer This still applies this still feels a bit slow and straight even I mean you could Go over here hold so at this point that arm would be further out this way and then through this Speed up that part just a little bit It also feels a bit soft and even in timing Right through there and I'd go I know she's slow and elegant, but Or just a bit even and I think that even is in timing combined with that straight line of that I suspect ik arm Gives a bit of a weird feel All right, I'm gonna end it here. There's so many picky things you can find, you know, there's always Again, I know I would look at all those little picky notes Fix your render in terms of the blurs. You don't have any missing frames and then you can still judge on your own Yeah, do I really want to change those finger poses because I mean it's going to be massively blurred It's like, you know technically here It's a weird pose because your fingers are right in front of the wrist. It feels like that it's a stump Where that feels fairly broken So you want to bring up that wrist a bit here. I will bring up that wrist a bit here So it's it feels a bit more like that, but even that feels almost broken Like you want to go up a bit higher But the reason why I'm saying this. Yeah, but but but it's just it's fast and it's going to be blurred So it's kind of to you. Do you want to go full hardcore and really fix those poses and even in the blur? It might feel nice Even though looking at this now, I have to say I would fix this it feels really broken But again this in front of the hat with the blur. I don't think you're gonna notice so You know take a lot of speaking notes with a grain of salt in terms of well, if I fix the pops though But I add the blur back is that really unnecessary? All right, leave it at that half an hour critique. Um It looks good though. I mean, I like it. It's cool shot and the render is nice with the glow big fan of that Um, but yeah, I'm gonna leave it at that. Thanks everybody for watching. This is a long one. 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