 All right, so we got a sit down. It's pretty good. It's a bit harsh on this Basically, I have this exact assignment for my students and I usually just look at the side view basically, I Think you have a good timing in terms of going in slow and then speeding up. That's a big part and then your end Drag overlap with a bit of a separation between these two it's a it's very subtle you can probably go a bit stronger I think my biggest note would be on that impact, but if you go by detail It's good that you have Look at the root here It goes back with a nice arc and at the same time you compensate with the head to keep looking forward like I said, we are a bit of a speed change with a Plop at the end, but what I would do and this is maybe Like I lean that way because of an exercise and not in terms of Realism whereas like when you hit this and the body goes back I see a little bit of going forward with that a little bit, but usually what I try to push for the students is As that hits BAM on that impact I would have a little bit of compression in the body going down While the head goes up a bit with a bit of a drag, right? So this goes down this goes up just a bit it gets very exaggerated in terms of Impact down and then back but it's just there to kind of push the idea of Momentum changes between these three meaning that this goes down down down down And at that point it can't continue as the chair is there But the downward momentum on these two is still happening So chess goes down next frame chess would still go down You can already go back if you want, but there would be a compression and Because of the proximity of this this and this this being first this Compressors first and this will drag a little bit like I wouldn't do BAM impact Chest down and head down then it becomes almost too post-to-post I would have a little bit of separation there where BAM next frame the chest leans forward a bit Slight drag a bit of a forward and back and then you go into this and even here I will probably push this a bit more as The body goes back and forward a little bit and this has a bit more drag overlap For separation. It's it's definitely more in the realm of let's push mechanics and not really thinking in terms of Realism even then if you don't want to do that. I would still have more impact and at least the head You might argue I was going to sit down and immediately go back and you can have compression in the shoulders BAM BAM BAM or I have a couple frames shoulders go down You can have a bit of a tremor in the in the elbows and the head goes down That might be the more natural way to go and not compress because your compression comes as the body goes back The lower part your upper body torso can go and compress a bit I mean you can you can have it that way But if you do that and have less here down and back then I would definitely do more in the head because if we track that chin Going down down in my horrible points here BAM look at that That's a harsh hit here That's your linear Stop so I would at least have BAM on this the chin would be down here. Maybe even well, I make it, you know gets too low but I Would have that next frame you can have this a bit lower the chin could be down here then we can Maybe one more time again if you're going back this fast Then you also don't want this kind of look where it's all broken So it all kind of depends how quickly you go back with this and you might just rotate out of here With a little bit in the neck but mostly in the head so that you're going nose here Right nose low and then already less and then we follow back into this But then you have at least that kind of arc as opposed to this what's going on right now That's mainly that because it's a it's a straightforward or straight backwards Sit down so like I wouldn't be concerned about any kind of twisting or anything in here to me This is like a straightforward or straight backwards Sit back and impact. There's no you know a different kind of stance with a rotation He's looking this way and as he goes down you got you got more complexities in the arcs That's not the case. So to me. I'm not even going to look really at the front part and this is kind of for your For your end and for me. I'm mostly looking at this Because we're not taking any steps. I do like the little winding of the legs at the end. That's great The arms I think they are doing just enough again You can potentially if you want to go further bam on that impact those elbows will go in for a bit of a tremor Not like a muscle power tremor, but that would have a bit of an impact again as as this collapses in and then You might have to change maybe the chairs. You don't have any sections So I don't know if you want to flare out those elbows and it goes back It's kind of to you there But that's kind of that it's always good to do a sit down example like this Yeah, for me the biggest note is just that harsh impact as we track that chin. How he just kind of stops here, right? If you just have Onion skinning here, and you have your invisible boom. It just hits Boom hits that thing there. 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 a like and subscribe would be awesome. All right. Thank you