 So this is looking very cool, really like you're the way you curl the paws is the feeling of the steps and everything it's cool. I think the overall impression that I had was we make this just ever so slightly faster than that. What is this? It's about 10% faster and 15%. I think the only thing I would slow down with that is right there, that last step. So it's going to be complicated basically. 10 to 15% faster on everything. That step though, that move, you keep the way you have it and then again 10%. So that gives you just the right weight, just right now it feels ever so slightly slow except that step. So from here to here, leave that timing. Then so you're having questions, because the rest looks really good and your questions are spot-on. So the back legs on the turn, what's weird about those is that step there, it's a tricky thing. Visually you're moving this, this guy, hold on, these two are turning in Y at the same time, pretty much visually at least. So I know the back leg, it's left leg, paw goes first, but you see right here, this feels like they're just kind of sliding and that foot comes to a stop a bit too quickly and by that foot I mean the screen right one. So what I would do is you do all this, it's all correct. Then on that step try to make that step this way lead more, delay the hips which will help you delay the turn on the other leg because as you go forward see you got hips moving and you got the visuals of these guys moving to the right as well, everything's moving kind of together versus that leg here goes first, there's a little bit of up and a little bit of rotation this way of the hips you know so you can feel the mechanics of okay they're raising hips raise a bit and go a bit this way because of the weight shift and this leg is doing most of it and the moment it's kind of setting it's from part of the paw on it you can start moving the hips and then because of that then you can start moving the back leg that's kind of to me the biggest thing it's just the movement in units and even stuff like this feels a bit weird where that part when you rotate in Y because the thing is you also rotate you know when you've got where I can't draw it's going to be probably massively uh unhelpful it's actually this one so your pivot point on that turn feels like it's here and you do your rotation in Y whereas I put it here front loaded it's like imagine you know when people throw the cigarettes on the floor and they do kind of the toe you know they put the foot on the cigarette to kind of you know press it out kind of extinguish whatever you want to call this and it's you're doing a toe rotation and right now this feels like a weird independent rotation on the leg see this like everything is kind of rotating from the from the heel and I would just probably start it a bit sooner because right now what's happening is that your knee really points this way and this really points this way it gives this cowboy look so you can start earlier so this is already more flat towards us and goes more back out this way earlier and then just for complexity you can make that turn while you know leave the toes on the floor but then basically you lift up the heel a bit more if that makes sense right so this will be on the floor but you raise you raise this I don't know if it makes any sense here you should know the technical terms there you go if you watch this all right this is what you have and then you're turning and you're pivoting off of here pivot off of here pressure on the toes and then as it turns be in this pose so it's a bit lifted it's still pressured on the toes the tips but the back side goes up a bit in the air so it's not just a flat turn that's just the rotation wide it feels too computer-y and I'm talking during this screen right foot on this turn it's a bit more complex that's cool right this is awesome not sure if that is too much it feels too much but then again this could also be in a reference and you can have a little sand puff or something as this the toes and everything the paw curls back maybe that's too much but you know just watching this or right now feel like it could be too much but maybe it's in the reference it just feels it feels animated it feels like an extra rotation that's too exaggerated I would personally tone this down 50% even if that's in the reference and then you're not convinced about the head try to lead more with it that's fine but then when it walks and stops I'm not sure I'm doing the right thing so I like what you're doing with the head my only concern is the zombie look of it and then there's an impact weight that's missing so what I mean by this is this turn it's just overall slow right so if you go again 10% it's going to help that's already helping right doing it a bit faster so what's weird here is that your rotations in y they go like that's how they feel they don't feel like he's doing a turn looks a bit turn some more looks a bit looks looks you know there's needs a bit more variety and complexity to make this more photoreal so this turn is a bit even and it also feels very much in y don't forget to also have a bit of the rotation if needed even like a little dip so a bit of x it's a bit more complex in your rotations this is the tricky thing now you know you don't see pupils but even with darts and things and you know ear flutters it just this feels very very slow and mechanical so this will be one of those where it kind of looks in a cookie on it looks wait a bit look a bit more wait a bit and then on the turn like this to not make this feel so detached I get I get your feeling of detaching and feeling too detached what's going to help is rotating the head to eye line goes into this just move it over kind of clockwise like that so it's not just in y like to me it feels like the the the angle those eyes right they're always like that see it's always horizontal and that makes it very too clean to computery and too detached while there's awesome stuff going in the chest and everything else the head stays put so even on something like this when you have big steps and its capillars move up and down I'm looking at the nose if I distract the nose it feels so straight on I see a little bit dip here but imagine doing a step like that you have a slight dip in x down with a little bit of rotation in z just something more complex so the irregularities and the rotations through here is going to help that turn and that's cool even here when you go here to that it feels your downward rotation feels also very even you can have I can ever just like dip like this this could be your curve or just a little bit suddenly it dips down a bit faster or rotates down faster right through this section especially through here this feels like it's an I can't hit going down so you need a bit more rotations and more NZ and a bit of downwards and then the other thing is boom on this I know they're very graceful and very subtle cats if they want to they can but just to pump it up a bit on that impact here right through there you want a bit of a sharper down in x so that the nose would be here and maybe again a little bit of a side maybe even in y a bit like it'll just complexities of in all three axes on that impact so it feels a bit more right now this feels soft taking out the weights you know just on impact here you can have a bit of a almost two frame like a three frame sharp dip like imagine the rotation down like you're rotating down and over three frames right just go much faster and then you continue this right so you will feel that little impact through here because it suddenly accelerates but you wouldn't actually that's not true you wouldn't stop here you would go more like that it's a sudden drop but then the recovery is slow which gives the what you have here this majestic feel and this nice control look of that right also what's going to help you a bit selling the impact this is going to be later on like as you go like this close the mouth 50 percent more boom and on that impact open that mouth same thing here with two or three frames open so it's basically your jaw rotation goes boom and then recover like that right but you want a sudden dip and the thing is what's going to help sell realism in this is you know like if it's people usually do big if it's big it has to move slower yes and no big pieces chest and hips and to a certain degree the head the more mass the slower the recovery right if you go somewhere it's going to take much longer to change direction that's going to show you weight if you have big mass that suddenly stops and changes direction quickly that's not a good idea to portray weight but small things like ears and jaws they will impact quickly and that will give you the the photorealism of of smaller things reacting and moving quickly it's like if you have animation then you put clausim on there and if someone you know makes quick moves or direction changes or hair or whatever you get that the difference between slow moving parts and fast moving parts but so everything is not slow but then you get that weird swimmy slow feel boom so on that on that impact you would have a little bit in the jaw and a little bit in what's the word ears all right that's it that's it for me great job though it's a great update the update uh i haven't seen this for a while so um i'm just calling this an update looks great all right 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