 Alrighty, let's check this out here. Whoa nice, I'll love it Okay, first comment That turnaround is too simple. I know I keep harping on things It's definitely good in terms of Like I feel bigger changes like in the path and everything. That's cool But what I would do is right now you have a very very Straight wire rotation and then also if you track your nose I know it's tricky because you know, there's a lot of movement, but you can still track that nose Boom see that how you go one up one down a one friend direction change It's a heavy thing and then same thing here You go over and then boom suddenly down and then you get a pop down here and then it stops pops up stops here So just you got to track a bit That head as you continue overall, I would say you know instead of this have a bit of an under arc Here on that turn so it doesn't on the arc like that And I'm not sure why he would look down. It feels a bit weird like to me It's continue the under arc up so that the head is Like that eyes are here. So eyes points towards You know even through here That head would be you know, whatever I Hear which means that, you know, you're gonna probably have to lift Up the shoulder bit and then rotate down the chest a bit more. So it's overall just a bit more of a Look this way, you know shape-wise also that the back is angled like this give us lions a Point over to the screen right this downwards look. I'm not understanding Acting wise but the creature would look up look over and then probably, you know, but you can't always look over there So what I would do is Do a look over points with the face This way and then you can do a faster head turn straight again, right Because then it tries to get away at this point. We're still looking at the dragon Which the dragon still does a very small dissipation for That fire like that was the idea that guy looks over look at the dragon and the dragon comes up and then at this point It's such a it's a bigger arc Really preparing which of course you could also help with bringing legs up not like that But you know up like that and then Straighten out in a way, you know, like you want a big squash And then speak stretch on the fire because there's so much movement We will be looking here and we won't be distracted by a head turn Looking down forward by the creature That's cool Right now what's happening. It just goes up and you can do a bit more like that up and around with a bigger arc It will help you with the spacing as well See this the nose goes up boom and hits a wall here and goes straight down And I think it's gonna help you too with by the time he's here It would be looking bit more towards us in this direction because it's he's running this way and then you can do a bigger head turn To here So it's looking this way bigger head turn to you right now. It's very gradual as an audience you go Why why is he looking over there? Oh reveal here? He saw this thing here. Oh I love this. I so love this jump I Would almost cut out two frames out of here see here. So if that guy is here Even this guy is here. I'm looking. I know it's gonna pop everywhere else. I'm looking at this line The spacing of this it has to get bigger and It's even this It's too soft That's better because you have this awesome feel of And it has that hang time So you want that to accelerate you want that feeling right when it's awesome awesome awesome and then pow and By taking those frames out you're gonna have That feels a bit better So you can see that I took out what that is wait just one frame But I took it more Interesting just one frame 33 It might just be it one frame go further. Let's take this guy out Two I like this. So now I'm taking One two, okay, so I'm taking 32 and 33 out All right, let's watch this again. That feels good. I Shall say let's do that Feel my drag and even taking out this frame in the right. Yeah, it'll pop there, but Just looking at the back again. Just the backside. I'm looking at this line here This and this I want to see I want to see the spacing getting bigger and having impact and not being even and especially not easing in So you get a bit more pain out of this It's almost like Imagine he knows Those are knows that he's gonna impact and he almost wants to pull The head down like here really pull and ram the head into the ground That's kind of the feeling when I get out of this Oh, you probably take a frame out of here when those it does they're More explosive a bit slow this here That was better even then it's just fine-tuning, but it's like you want to take Big move here. I like that. Maybe all of this out. Whoa, that's big probably probably I know the camera's gonna pop Which is a problem, but see that feels a bit better like you want So I'm cutting out a couple frames here Already took 184 out And 188 and 190 as well need some fine-tuning But the point is that you go back and then explode the thing that's now missing It's probably after this frame this frame a bit higher It's almost like stops abruptly Then our frames so here don't do such a huge ease out of this Explosive explosive here, and then you can ease more into this Right, so by the end of the shop You might add like 10 frames and this line, you know will be higher That makes sense bigger explosion, but you want to ease into that a bit more because you have such an Yeah, seven frames is gonna help you to that's it was right now I feel like you're going right and cut and you want to give this enough breathing time when you go Not that long, but you know Then dragon just for polish stuff when you have a really nice big flap Don't forget to start offsetting wings There's a bit here But watch out if you do it's a bit of a pop in this wing Right down here if you go that strongly Right through here, then you want that tip to be a bit higher More for drag. This was what I could pop here But since it's such a nice Big move you can curvature here at some curvature in that chest So head will be here Wings down, but you know something where we can feel a bit more up It's not like you have to do a crazy you up in the path But a bit more strain in the chest right now. I feel like the wings just rotate down It doesn't affect the hips or the chest at all. So you want a bit of a That feeling of on the flap is a bit of up and down Impact a little bit on the path, but also in the body itself Again, I would push this a lot more squash and stretch into this It's cool. Same thing here just a bit bigger It just feels gradual like a casual Versus You know even polish stuff you can have a little bit of a high frequency left right left right in the head So it's not just I'm spitting fire, but I'm also pissed off, you know That's cool though And then what be really neat For polish stuff to once you get into this as the dragon slides You can do high-frequency body stuff where it's a little bit of up and down up and down And it's just not even so could be one to one to be bigger a bit bigger here, you know like something a bit more random But you want some some Shaking scratching, you know it hits this The floor the ground has those stones and everything you can have a little bit of a shakiness in the head The wings can flutter a bit. It's gonna be all kinds of cool polish stuff, you know right now I feel like a sleeping dragon sliding on ice So you want to make this a bit rougher. It's cool though. It's getting so much better. I love it. Super cool Here is a little pop there Watch out watch out what like you don't want to go crazy over extension on your arms You'll be better off folding those fingers in the wrist up and have a bit of a Bend but again a nicer line and it's a bit more of a push-off with the fingers See like so this feels too broken and Then here like you want a frame where there's potentially the wrist is down and fingers up. You want to fill that I move over and then It's a bit tricky. We don't have that much time, but this is a crazy shape. That's what you mean here No, that's not in your mail. So, you know the thing is you want a nice silhouettes With this and you know maybe to paw out and the thing is you just take this piece of geometry and move it over You know, you don't want to I think the timing and spacing is nice of all this So don't compromise that so just move that piece of rock to get a nicer nicer hand shape pose And you know if you need to cheat you can just bring that piece of geometry in you know You can do whatever with that rock to make this work the pop that I'm talking about here You can see it in the head head pops to the left to the left and Then up and then straight up and then suddenly not up anymore and then to the left and then suddenly up again like I feel like there's a lot of Weird stuff like that and you really want to track this track that track the big point of the creature and make sure There's a really nice curvature round It's cool Watch out. That's a bit weird watch the feet From here to here they stop they will continue this will continue to go down the feet will be here But then you suddenly pop into this You don't want to do that just yet All right, so it's overall like it's getting really really a lot better just now you got to start Going also into detail of just tracking things feet You know all those lines and how is the spacing? Especially on big Structures like the head here like the head suddenly goes whoop up and Then over and then up again. This feels very very broken here Like pathways and everything by the way the same thing on the push-off on the legs like at this point You want this toes Feet to go back you want a nice stretch and again It's gonna be okay if you have even if you have one Even if you have that one leg here, but then the toes are back and then this guy's further back you offset those legs You can still get into this It's gonna be fast, but at least you get a glimpse of nicely stretched legs for nice squash and stretch So cool Alrighty. 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