 All righty, so you have two versions with the cars and Yeah, I think taking this guy out is totally fine Because there is no sound but a first car, so it's a bit weird and you wouldn't want someone Overpowering this so I'm totally fine. I'm taking this out. Let's go to this version Take down the sound Now you're mentioning that you want to take out the steps because of Opposing motions and everything that's totally fine. I can totally see why you would do that personally, of course I would say it It would still be good. I Would still add it, but I could only see why you don't want to do it I would just be something I would just think about that for your next shot Maybe something you can incorporate into your planning But the way you also have it is that because of this turn there is just a bit of a movement there that gives us more movement here then you go back this way and Straighten up, so I think there's still enough movement and contrast It would be cool to see, you know I'm just curious to see how because you're really really good at animating how you would incorporate those Those steps, but totally understand that you want to potentially do that for another time or not at all totally fine as well It's a great shot though. I have to say like you'll figure detail If you do a big turn like this you might for polish Consider things where if she turns she's gonna tense up muscles are firing for that turn It's a bit of a detailed polish thing could be then tighten the grip here not to kind of squeeze out those flowers But you would tighten here as an anticipation you could see almost you could almost relax the fingers into or meaning in a relaxed pose You can see a bit more of the fingers then tighten them into something like this You might also have a little bit of and I know this is super picky because it's so fast But maybe potential a bit of tightening of shoulders just a bit so it doesn't feel like it's just a root turning But it's a nice stop just enough Body movement through here you could of course also say well, what if it's a bit more 10 stuff here and then when she stops She wants to hold on to this as she turns and when she's done here They could relax a little bit nothing, you know again Nothing crazy where the thumb goes here and the fingers go out just something subtle since we are in the polish phase Same thing here, so you don't want to have just the pose that never really changes except for here We're just good If you are taking out this finger though, I would relax that one as well So it doesn't feel like it's such a separated finger move So there's also a bit influence some influence on the surrounding fingers So as you relax the top grip it would relax The middle finger as well and it seems like this is My key arm right It just hasn't ever so slight feel of This connected wrist during this move here This is super picky And it might not be might just be the weights right there It's not something that stood out on the first viewing again. I'm just going from my frame because I'm picky You're also paying for this So I want to give you as much information as possible And of course it's totally up to you to see what you want to do with this and going back to your finger again If you do a big move from here to some surrounding animation on there, so it doesn't feel so separated Even here when she goes oh She has that realization. I think you have something in the finger here I think you could push that a bit more since it's such a big move Careful that you don't twin too much. I would look at how she holds this scoopy bit You know like the weight is different again It's not a massive weight difference But the properties of these two objects are still different and you can use that as a An excuse so to say so to speak for offsetting those arms a bit more subtle, but They do feel a bit twin through all of this And I'm wondering if you're doing this Do that that you might go either higher Or a bit lower so that when you hear that the forearm doesn't grow out of the wrist Look at the colors and everything feels like it's one continuous long arm So it could be a bit of a breakup silhouette wise even if it's something like this where you can see part of the sleeve During this section will be better I do like your shoulder roll and come out here That's all great Actually also offsetting a little bit more my thing for this would be This is all cool. You have nice arcs I'm changing the fingers. That's all good. What I'm reacting to is the head orientation, so I like all that movement here All the little darts the thought process is all really good. I really love the shot. It's so well animated My only thing would be here This all still feels one axis The head goes up. There's a little bit of y here But then watch out Because like we're ever so slightly locked Where I can put a pin into her nose and everything kind of Pivots off of that and this seems to be a little bit of a stretch in the face where again the nose seems like it's pinned In the screen space watch out for that. What you could do is through this and especially that As she goes back with a slight rotation y either way whatever side you want to turn a slight complexity in her arc and then Ending into this which is totally fine Because I like that she is straight. It's a bit more alert It doesn't have to be a tilt But it's something where when she goes through a little bit of this It could have a little bit of an outside arc into that and maybe Something like this where it's just a bit more complex Just it feels a bit too simple. There's so much good stuff in here that this move back on her head Is a bit simple and again. I'm talking subtleties and then speaking of uh changes there watch out for this when That's a great pose. I like that. It's open up through here. We're looking this way. That's all great But then it feels like a hook comes in here and Pulls out that shape So you might have to delete it delete it delay it Which gets into the almost pose to pose thing, but it feels like this corner is so early Drawing so much attention to that to that change there Which is something that is a bit a bit strong And again, I'm talking a couple frames where you could have that happen a bit Later or just not as fast not as far So by now you'll be maybe only here and then as she does this You finish that so you still get into that big shape But the ease in happens throughout something through here So that whole head move softens that ease in if that makes sense So it doesn't feel like such an isolated Shape change to there What also softened that eyebrow it seems like Then we hit it Where you could almost go, you know only 20% as far and then This amount of movement maybe It's just that much what happened through this Which again might not be visible because of all that head move But it feels like we're stopping this too harshly and you want to ease into it a bit more And you can almost Relax through here to go a bit down and then whoop as she goes back up Doing all of this Up a bit again. It's cool to switch out that it's not too One axis going left and right on that shake there I think it's okay No, that's great because you're having Down and then hold in a relaxation up with the head. It's great I don't think I do that That's all great. Yeah, sorry. I was mesmerized by the animation was looking at her eyes How is that little that stare and then it's the shift I was debating Do we want to do an eye dart right before? But I don't think so. I think she snaps out of that moment through the blink where the blink goes wait That's something else. Didn't you got the darts? That big this is great this move here I did it. Yeah, it just seems like those arms a bit twinned the shoulders here. I think that's it Sure a ton of it was just crazy picky Like if I scrub through I see this box going up a bit by itself. I mean I see some wrist movement It might just be It might just be a bit too much. I know we're getting into this. Okay. Whoa, hold on You are framing through things. This is ridiculous. Yes, it is But you are an awesome animator. So I feel like I can just give you all those notes and you can absolutely take what you need from it And this side of the box going up I think I would just mask that through this section here So it's not that isolated move up here that I'm not seeing as much in here Here it's okay You are switching like you are bringing that wrist up so for this to go down again You might argue on this you could potentially buy a here ish as you go down Bring that thumb down a tiny bit and potentially have a little bit of a change in these again This is super picky polish stuff As she changes posture the grip strength all of this Could be seen in some finger polish Speaking of picky as you get your roses here. It's a bit of a tangent You got the edge of the roses right where the cheeks are Personally, I would stick within something Like here that much negative space picky picky. I know I know but it is so awesome. I was going to bring out everything here Yeah, I think that's it Yep, any questions as always let me know email me. It's such a great show. I love the progression of this. It's absolutely fantastic Thank you so much for sending this 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