 All right, let's check this out. Let's watch this here. All right You show me two different versions. Actually, I prefer this one even though they're very similar I like that you cut out the thing you did at the very end You said I needed something with his mouth, which just felt a bit weird and almost forced like you're trying to Match something to the sound which I don't know. It's a bit weird. So I do like this my main What's the concerns my main impressions are that there's a lot of There's a lot of drag overlap on this Making this a bit noodley At the same time mechanics wise, there's a lot of movement here That doesn't affect the chest at all if you look at this I see shoulder movement, which is good But there's nothing that when that shoulder goes and this goes forward There's no rotation in here. There's no compensation on the head So that just feels mechanically a bit weird and then same thing when he moves over arm goes down, which I'm looking at like these lines here, and I'm looking kind of like what's going on here There's there's no rotation on that and there's no change on the head either That's just kind of a translate over just a bit weird By word, I mean if if you're standing and then the arm is like this and your arm goes down Chest will go over that head will compensate probably this way It's gonna be a slight rotation over or I mean, you know, maybe as this opens Would he go up and react and look at the face? Faster This seems like he is going back. This would make more sense if the door didn't open So he was kind of like knocking goes again, I guess I'm gonna wait and this like around here ish And this reaction Happens in his head when he goes back That's when the door would open then it will make no sense more sense, but right now I would do Nox and then this opens. Yeah, that would already bring up that head and Then the head again feels a bit overanimated goes back But it's kind of relaxed like that settle here blowing that overshoot makes it Just a bit too cartoony and back her to me. I mean just That's not the right word. It's it's just too many It's almost like you're putting in animation principles, but not really looking at the acting. So I would look at When he's knocking like why is he here? See So if he goes why are you here again? So maybe, you know, this would fit because maybe he's embarrassed, right? Or I don't you could go with embarrassed like he's he's come here so many times He's asking so many times for favors and and you know, what not that when he's like this that makes more sense Head is down. It's open so quickly that he has a quicker reaction But then when he looks at him and he brings his head back down again, maybe You know when he has that look here and he has that look that long stare That's when you could have the head down And then that's when he has that reaction You again because right now he's just kind of non the script and I know he is just kind of a Let's say background characters. He's he's the foreground, but he's not the main person, right? We're all looking at him, but I still feel that a when you do this That's a specific animation style all noodley and over exaggerated that then doesn't really match this So I would tone him down so that it's a bit more Consistent with this type of animation this type of acting Even if it's minimal, it'll be interesting to have something a bit more, but anyway, I digress. It's just that beginning Even if you have nothing in here, I would just reduce that whole overshooting back. I would reduce the drag in the What's it called in the wrist And make sure the mechanics work because if that's the beginning of your shot and I see all that being so stiff Then I wouldn't even continue watching that. Hmm. That's not quite ready All right now looking at the other guy opening He feels a bit fast Look like all that Which I guess you could argue if this is kind of cartoony a little exaggerated then this Match where it's all fast and whoop whoop, but then to me this gets a lot more quote-unquote realistic This might be a bit more exaggerated, but So maybe you make this more cartoony or you reduce this cartoony-ness and Make him less bouncy to me. It feels like He's just like too many bounces for the amount of steps like he's really kind of Prancing in there not prancing but kind of like yeah, yeah When I know he has that expression of you know some friends there and they're having fun But I think you can just reduce that into like one or two steps It takes one step over and one step over so one this way to open the door And then another step to rebalance, you know, you always kind of take two steps. You rarely just take one step And especially in this case is a history of a couple steps, but visually one step over and then one step back this way then Same thing here so mechanically And a couple things mechanically and acting wise I like that he's looking that gives us some history that yeah, yeah, he's doing something else You should blink on your turn. That's fine I think that's okay to go this way and lean that gives him a good attitude of yeah, yeah, yeah, and then That freeze is good, but the thing that's a bit weird Is that a little squint and opening and then you have A super separate expression here where in the face and in the body nothing else moves except in here and then suddenly The The mouth corners get dialed in Where again, nothing else moves and I would look at okay. Well, what does that mean? He is in a good mood Yeah, it seems a bit weird. I would you could try this Squint with maybe only this much just a little bit of a change But to me it feels like you want to keep it maybe no more than this and hold hold hold hold hold hold and then As you do this You can open the eyes to what you have here meaning that He goes over there and then has that tension in his eyes to maybe You know, like I said, maybe we're on here maximum here probably say here ish You could try it. I don't know something like that And then I would hold the reason why I'm saying is holding is that it's that stare, right? So you go from happy to what that a little that long look of Like he's almost processing for that long That this guy is here and then when you do this That's the more seriousness. So when you have that You can get into that look you could potentially bring up the shoulders. You can lower this arm a bit Maybe bring the forearm up says it was always holding himself in more tighter fashion Like you have to think about He's happy surprised ish, right And then he's what? He's angry and then disappointed or you have to make sure that When he changes from one emotion to the next that it's not just in here that you want to look at Well, what does that mean body wise even if it's subtle, but there's going to be some reaction in the body That's okay. Like here here. It's cool. And I like that the shoulders go first like oh But then watch out as you do this It's a bit of a simple move in rotation down. You can almost go further With the head rotation and maybe almost lean this way And then when he goes back up you can lean back up this way So there's a bit bigger change in the head right now. You're kind of stuck in that rotation Or that orientation. It's always kind of the same And it's something else you can do that could be subtle. So when he says this here is he Sort of defeated like what are you doing here with a little bit of an attitude or is he challenging him What are you doing here meaning that when he goes from here to here? he could take A step towards the guy with closing the door a bit It's a bit of a challenge And I'm closing this meaning that you give him you give him Less room to come in, you know, and he can almost stand up a bit taller So it's it's a you know It's a bit closer gets a bit straighter and closer to him and goes what are you doing here? So like, you know, I'm blocking this. This is just not right or but if you say this And you open the door a bit more And you have him a bit straighter, but take a step back so that then the you know the head would be That's too much, but let's say just a little step over doors a bit more open Then it comes across as What did you do again? You know, like what else do you need? But Because he takes a step back and the door opens. It means that Again, you're here, but I'm going to help you And right now it feels just in the middle like there's just Well, I don't know. Okay. Well, I see that with the attitude and the and the audio like it with the words That he's annoyed, but I think you can push this in terms of acting. Is he annoyed? And that's it. That's the last time or is it annoyed, but he's still going to help him that could be just Interesting subtle acting choice That tells a bit more what this character thinks Yeah, that's a big thing the If I walk you through my my quick impressions just a recap To to over exaggerate overanimated too bouncy That's too separate just in the face. There's nothing else in the body as there's an emotional change that little A bit louder. Here's the bit He has a bit of an inhale Just something in there could be a bit stronger in the body just a little bit. I'm not talking about something massive, but It's it's a big moment. Hold on. Let me turn this Where's my scrubbing? scrubbing scrubbing There you go It seems like a big moment. That's a bit too subtle in your performance I do like that you have a little bit of a Let's turn this off A bit of a lean over But I think you can Delayed a bit more. You can go maybe half Half of what you're doing with the body in the head, but almost as a moving hold. So you start and then Snap it a bit more. So right now. It feels like you're just going over now. Go hold and then that you hit that on dvd So it's dvd dvd is a little bit of an accent on the head for dvd But then This seems a bit much that That's over one frame So that feels a bit more like a pop. I would reduce that definitely give this more frames, but I wouldn't go as low Broken I'm broken you can go higher then I will keep that but probably reduce the shoulders by half Because that's a lot of movement and that energy in the body to do all this I don't hear that in the in the voice I could see that morning like a head shake a little bit of an attitude there Um, but not as much in the body. So again, that feels a bit overanimated especially compared to the audio And then watch out you're just changing a big change from here To doing all of this and especially the eyes and then we cut out. So watch how we loop around this Whoa, so it's almost like you started a new emotion. There's a new place the character gets in but we don't settle on it And then we cut out right away But I think it's fine again, I will reduce this expression But he looks really freaked out again, that doesn't it's that doesn't quite match the audio But then it's okay to go into this because that's his annoyed like that's more of an accent and that's his state of mind But then I will give this another 10 frames at least just so we can rest on it And if you go further Let's say you give this a second Then you could have him do the little head down and shame if you don't change anything beforehand You know that could be an interesting thing as well. So they have a bit more of a relationship a relationship But in terms of how, you know, he does something he reacts. He says something he reacts, but it's not needed I think you can absolutely just end on him. That's really fine All right That is it. Those are my my bigger, uh, notes Let me know what you think if you want to change that Broken on the beat I would rule in the lips a bit more Broken But you have it over two frames, but you could Close them a bit more, but you can imagine they're rolled in more still a bit rolled and then they open broken I mean, I like it's a p a sharp one, but you want to have a bit more of a I know it's a b but Broken I think you just rolled them in a bit more only because that shape is just always there I just want to get a bit more contrast in the shapes And then you could try to look at what are you doing here Reynolds Reynolds Could be the bigger shape in terms of how far this corner goes out What are you doing here Reynolds? Actually, what are you doing here here could be the big one? Yeah, what are you doing here? We're in here So the reason I'm saying this is because if you look at the corners There's a lot of in and out of the corners. It's very chattery. Usually the chatter is in the jaw But I don't think your joy is that bad, but I think it's your corners So that there's so much going back and forth and I think you can simplify So What are you doing here? So it's more close, you know, they really subtle stuff in terms of your corners in and out except on the here Looking here, because that's this big thing. What are you doing here? And then you have a bigger contrast from the mouth mostly, you know, the corners closer together and then DVD and then DVD you can widen that's a big contrast moment there Broken and then the broken is a bit more To me, I would say within this shape broken Versus that that seems more like he right. That's a kind of a shape broken And I don't think I'm broken. I don't think you have to exaggerate that shape at the end So you have a bit more of a Beginning where it's a bit more like that What are you doing here? And then here you have a bit of a here and go back to closed then you have dvd and then back to Broken just to that that's what there's a bit more contrast and changes in in that Area because right now it feels like it's just always the same you go from here to Maybe this amount and that just goes back and forth back and forth throughout the whole thing if you watch this again It seems a bit too similar and I feel like the what are you doing here is a frame or too late same with it but As always lip sync and reject the player, but Make sure that it's on your end as well. Maybe my player could be a frame off I Do like his eyes though. I like looks down Looks back up at him with a little bit of a Little changes are great Little darts are great Yeah, just the accents in the shoulders are a bit too sharp too quick Just too poppy All right, that's kind of it. I'm gonna leave it at that. 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