 All right, let's check this one out cool. Yeah, the door works a lot better. Whoa. Oh, I like it. It's great It's up in there looks around Just make sure as we continue to polish that every time you move The head that there's some form of connection on that neck now If you want to tilt that neck over this way a bit if there's a way to rotate a bit Bit of involvement in the in the chest It just feels a little bit like it's caught up at that top joint and then the edges moves around and that's it It's a tricky thing was you want to be subtle you want to be not too cartoony because it's a bit more of a somber moment, but you could experiment with slightly bigger arcs if you track the nose The nose feels pretty straight And you can do maybe a slightly bigger arc See how far you can push that before it breaks So cool for polish stuff You know during things like this it feels like the door is sliding against the fingers you can start working on Better contact points. So when he starts moving his hand down There will be a post change in the hands couple frames before that and it's gonna be a post change through here So it's not always In that curl position it feels like this the fingers would almost intersect with the door at this point And then watch out the hands You can see this on this elbow the hand goes back the whole arm and then Boom, it's a very hard edge here. So it was a linear key On your hand on the arm translate. That's an ik Same here. It feels like the whole hand just rotates down But then the fingers are not compressing against the door. So the shot looks great So you can start going into these types of details I think this works a lot better It's cool and the hook up is great with the neck shot Yeah, that's great Watch out for something like that just for polish. Just how slowly that thumb goes down for the grip So it feels a bit slow and even No So you can probably get to there a bit faster You start working on offsets so that not all the fingers move at the same time as they curl out there Sorry some Trucks drying by here. Sorry. This is a temporary setup So the sound May not be the best in the world Probably one of the worst in the world Same thing here finger details Watch out through here. The rotation of the wrist is kind of staying the same. You can probably Change some tilted towards us and see the top of the hand And then as it comes down it flattens back down stuff like that. I think you're ready Shot to bring the stuff like this and the facial stuff Yeah, that's definitely better as well They got your separate finger movement and some intersections But I think in terms of what's going on and what you want to do with it. I think that's great You start working on your on your transitions second when he when he gets to here And he goes back down it still feels I'm sure you're totally aware of this. I'm just mentioning what I'm seeing again Um, then he goes down in a very simple arc, you know as he goes down There might be a slight rotation in why you know, you know, everybody's either lefty or righty Mostly a righty So there might be some latent something in there how someone sits down Maybe that he's always used to sit down on his left or right butt cheek You know stuff like that give it some texture. So it's not just a straight down You know, he goes straight down and goes straight down his chest as well So that could be a bit of a slight adjustment. So once he sits down here Could be kind of a side rotation on the butt cheeks and twist in the body just to kind of reposition Nothing huge but just enough to make it a bit more complex I don't think you want to do a big impact on the head But it could be interesting to see how far it can push that as well So that the head is a bit higher sits down is a little bit of impact on the head Just for the physicality. Um, it might be too much but it would be worth exploring. I think The same thing here he goes back into it feels like all the rotation Um joints, you know the head the neck and the and the chest are rotated back in one axis only So just start getting into a bit more complex stuff Probably involve the chest a bit more if it's like the chest goes back a bit I know it's for breathing or just kind of straightening But kind of following the head a tiny bit again, if it's just 10 it's fine just so that You always want to feel that if this the head goes over there Well, it's going to affect the neck in this way It's going to affect the chest in this way. It's going to affect the hips So that will affect this that will affect this that will affect this but obviously it will be diminishing right so the strength will fade out of the How much influence it's going on here Stuff like that you can you can get into it now The idea is in the timing all that I think it's great Getting into the the nitty gritty of All the transitions don't forget to involve shoulders as arms are moving And you can play around with as he goes this it's just kind of like that Is he resting maybe his head a little bit on that? On that wrist so when he goes forward is there contact? So you will see some pushing of the lip and facial structure here Is that going to push down the wrist as well? You know like stuff like that you think about how complex you want to make that Cool, and if that makes a shot couple frames long, that's fine too. I mean that's to me. Um, that's all up to you Alrighty, that's it. 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