 All right, let's check this out here bling bling I think given that we just see that I think it's okay. I was wondering if we are you know, let's just set the frame emptiness I was gonna say what if You would put you know the phone here ish But then if she brings her arm then we see already the body, which is a bit weird too It's just such a huge So probably say it's okay Comes in grab the phone. It just feels really hard still how Like how hard you hit the phone on their ear also the arm comes over and gets to her ear when it gets there The whole body animation stops. So it's very close to pose. Here's a pose here is a pose And you go in between the two So you're gonna have to do something where she gets to this point Soften how quickly she gets that phone to the ear and when that phone is on the on the ear Then you will continue with a little bit of rotation in the body and maybe her head turns a bit more when a bit up of it You have to layer which parts Come to a stop just like which part starts Right And few things here, which is good her arm is a lot better. That's pretty good. This is a bit weird when she gets to here it's kind of It's almost okay, but there's something about she moves forward while this arm ends back Here to here again. It feels very close to pose. Here's a pose here's a pose. So again, you got to offset sections of the body You need this I'm not sure what she's doing behind the phone here That stopped there and you also extend your arm almost looks like and then it comes out. So maybe She puts that down she can take that arm put up here To get into this this was a bit weird back there and at the end she gets very weird where a She at her eyes are locked again. Like there are no eye dart. There's no blinks You just was like a puppet dead puppets and then that massive turn feels like there's just a rotation in Y in the roots Without taking any steps. There are no way shifts. There's no break up in the chest It's just one big piece that turns and you want to break it up between the chest the pelvis Pelvis chest and the head So that's a bit funky there and then coming back to this one Better I don't know. It still has that massive feel of her roots in the graphite There goes forward stops forward stops forward stops and you want to Soften that a bit more like that where it comes down and it doesn't the full stop kind of Continues to go forward goes back again. So it has him always a slight dip Just doing a massive stop through here It's better though, but you can still Soften it This feels also a bit IK it was like your arms the way those wrists are rotating It's a strange again post-to-post thing where that arm goes down and the and the The wrist counters are rotating up and it comes to a stop exactly when The arm comes to a stop this again feels very post-to-post Good IK there This a lens where it translates looks There wouldn't be that much parallax here Just make sure you're you're changing just the FOV and your camera the lens don't do it translate There's a feeling of a maybe a lens and you translate up. I don't know what you're doing here. Just make sure it's only only a Lens change and then you're going to focus on this which means that you're going to start rotate up to her face All right to reframe this you want to that's the camera. That's the girl You would stay here and just rotate up and over to get to this frame. She sees that the thing is gone Again, same thing here Guys are very post-to-post. They're very twins. They all move at the same time. There's no offset Her arms are moving down while her jaw just moves up and the jaw is just very very Even in timing and you probably close it here, but then you got this big impression here Like This feels better. I kind of like this The problem with that is that your your lids are just massively Your eyelids They have a curve like the curvature on the on the lids like this But you don't want this to be like that. That's fairly broken So you want that lid to be And at a normal angle and then the emotion of hmm or whatever that's being done through eyebrow All right So one thing that I keep seeing though in all of your submissions I don't see in your email. You're saying that you're fixing but I don't know, you know What else you're doing here? How far into you are so for instance on something like this on her arms Or in the previous shot like I don't know if you're just not that far along And you know that you have to offset these But even when you lower her arms, there's nothing in her shoulders And you remember the first shot when she opens the fridge and she grabs something every time there's an arm movement You got to make sure that the shoulder gets involved and because of that the chest gets involved and so on and so on So there's something that i'm noticing that every shot seems to have the same notes Right, so if you have a character, it's my character And you move change of color here. It's fancy If you have the arm that goes up It has to involve the shoulder and because of that it's going to involve the chest The hips and that to a certain extent right, but it's going to phase out to a point where you might have most of the movement here Definitely a lot more in the in the shoulder a bit more in the chest Barely in the hips and almost nothing in the arms. Definitely a lot more in the head So that type of bottom mechanic Uh, I just don't see in your shots Also again when she moves stuff around Like her arms at this point like a lot of times I mentioned breaking up things where you got to look at Things have to be offset for asymmetry and you also want to separate the the head Chest and pelvis through the neck here Uh, so that it doesn't feel pose to pose you want to change your pose and you have to look at Which body part is leading and then you have to offset things and But i'm seeing these notes on every shot So at this point if you submit something like this technically You know all the shots that I've given from previous all the notes that have given from previous shots should be applied to this So you you should already have a pass with Offsets no twinning no even timing. These are all linear keys Like you know how the jaw goes up and your arms go down and the graph out of there It looks like this that's your curve versus some ease in and out You know also all those things at this point. I shouldn't really repeat myself I obviously I will and I want to give you the notes But it's just i'm slightly confused as to why those issues come up in every shot So I would highly recommend that you take note of What i'm telling you right to have a bit of a hit list I got to look at this this this this this and this then every time you do a shot you do Okay. Well, did I do this? Yes. Did I do this? Yes. Oh, I didn't fix this Let me fix this. Okay. I did this and then you can go down the list and say, okay I addressed all of those things now. I'm ready to submit Right, and now I can send the clip for feedback So offsets a symmetry linear timing breakup of body parts all that stuff should be in your Blocking pass because otherwise it feels more like a layout pass which is fine technically But then you got a note that in the email because i'm just not quite sure If you know that something's not quite there yet or Or if something is not quite clicking when I give the feedback So that you you know, so you would implement it in the next shot. Anyway, slightly confused. Let me know what your process is Uh, there's just a couple things that I feel at this point. You shouldn't Do anymore given all the previous notes I hope that makes sense. If not, let me know email me. 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