 right so you're saying here that for the last shot I think the only thing I mean there are a couple things here but it's not that bad actually I like it so this is cool love all this here my main comment is this hand is super floaty just the way it goes in and it's very like that's probably the most successful part so you can keep this you know I would scale down those curves a lot but there's there's something very floaty about it so even for something like that you can shoot reference you know look at you know how do you behave how does the arm move to the bones a bit funky on your guy you can probably cut in you know cut in on frame 13 there's no need to have that dead space so it starts nicely on action there that's all cool I really like what are you doing here here and that look too excuse me I think what you could do here my only thing would be is that it's cool how he starts to turn but it feels like that moves down and the arm moves down and the head moves down and it's all as one and I think it would be neat if when he's like this maybe on 105 let's see how far back no not even 108 start the head turn so that one two three that head is already the nose it's already a three-quarter view to the left about a time you're here the head is already almost looking at him so it's more like a head snap you know he does the whole head turn over into this so it's not just about it's fully leading with the head because you can smell him or something you know and then same thing here you want to cut in on like 122 there's too much dead space it doesn't quite make sense there that you definitely want to cut an action so if he's here and even this even this hand move is too long it's basically visually you want to go look set him you could cut all of this pretend cutting all of that out back here see that's so much better and and they just need the energy of the head turn like I said faster turn around he was whole shit even then like that finger stuff is almost too late and you could still cut it out here so if he turns around to here yeah I just need that faster turn yeah I like that definitely like that so it will cut out at 133 and start at 122 that way you just have a glimpse of the finger moving see this there's just that snap of holy shit which goes into this and even that goes into like whoa you don't want to resolve and stop you want to end on the biggest move so that this feels like it's continuing action he's really freaking out and this is your freaking out moment so to me it's like here you want to cut out so he goes oh it's a bit early this out let's go back yeah more like that so you're cut out like 159 yeah and the thing is also by the time you go here we're really below centerline so you have to tilt down to follow the guy so that your composition is always it's actually higher like your your nose needs to be here his eyes need to be here I don't need to I mean the nose could be here and eyes could be here it's to that way you got the full head in there but that is too weirdly centered and then you go below centerline there then I don't quite understanding the bush here I would take that bush out keep the trees in the back don't put a bush in there you might say well that's why he turns around I don't know it's feel super weird was to get one of those you know regular Maya characters and you get this grass thingy there I don't know I would take that out it's cool this is too low so once you get into here like from here on said he like 280 and go down so that we are framed higher you know you have to be here and then when you cut to this it also feels weird that we cut to this it need to be at least here you know so that he continues has all of that and that's you know your frame continues on and even though that you know a slightly off-center in that way can it can move to the right feel better and the only thing I would do here is then you doing a translate again like don't to translate and there's no no movement in Z that occurs there's too funky just kill you know root move the camera so that the framing is like this like I said and then delete all keys and just rotate in Y to follow those guys and they might have to adjust the rotation of them how far they go like I like how they are here but just do a rotation for a regular pan and we can always add some handheld but don't do any type of translate no rotation in Z just X and Y and continue to move until the end you know then watch out your IK at the end was it though it's really cool shape I like it and then back to this one play people weren't alive anymore because of me see I'm not quite sure I know we mentioned we talked about this and everything but seeing it here like that so below if you could see the face you know there's something about it where a feels really go straight here and it starts to rotate around supposed to like getting that body a bit bit more like that I wonder said nothing we can do to get that arm like that so we do and maybe rotate the head up a bit and then you can put the other hand here maybe I don't know there's something like I wish we could see his hair here so we can see the face a bit more it's the only thing I don't know it feels like a copy really neat if we could see the face I don't know for the beginning so it like you know he has something where it makes that sound so you got to start you know going to detail where I think that comes can out of chest mouth you have to have something through here this three people like this is very locked looking down and I think you know all through stuff like this you would have a slight rotation in the head looking around a bit is a lot more complex stuff you can do with the hands and especially weren't alive like doing alive the volume really goes up like that means that your nose tip to me will be like up here like he really goes alive and it goes up and then moves around it's much more agitated I think I've any more because of me and that feels good as he goes down on that sound yeah and when I mentioned that the end which is not you know critical this is just this very subjective thing so if you prefer to it like that and then played up with the the shake in the body and the tension in the head and like you know like you can get into curling up fingers my fingers into the hair you know I'm getting really tense and taking that hair around you can also settle like that so I'm not saying you have to see the face I'm just curious if you're kind of need to play like that to make it much more comfortable remember that note one time you know I said like you can just see the head resting on the table and then arms arms are to the side to not make it like he can it's not like a soft head I hurt the hands cushioning the head but make it really uncomfortable and weird but anyway that's about it it's up to 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 like and subscribe would be awesome all right thank you