 Alrighty, we got a cycle very smooth cycle. It's very cool. I'll like it. Yeah it's neat. Hold on. There is this. Turn off the sun here. Well they love about these. These are always crazy. Look at how much that paw goes in. Nice little angle there. That's the biggest thing about cats. How far in they go. I feel like lions go even more than let's say tigers. That's cool though. That's good front view. The big thing, I mean the head is a bit different there but there's a really big foam on the head. That's my head impact sound. Which is definitely cool to see and I think that's one thing we could push in yours. You get to see the big shoulder stuff. And usually tails are a bit more erratic and references per termination. I think that's fine. It has like a slight soft feel to it but again it's a cycle. I think it's fine. That might be maybe a little like a bit of a stronger up and down just here. Keep this stiffer like a little bit here. But I think we have this here which is great. The biggest thing to me when I was watching this is how we could push the impact. There's just a moment through there. You can see this here where the head and the rest of the body feel like they're a little bit disconnected. If you look at this, see that little boom. That downwards move. That's cool. I like that. I would make that like take two frames out of that and make that a smidge and sharper. And then in the front view, same thing on that rotation. Just a bit of a stronger impact. To me it's like when you have this here and then going back and then with this move here. What is that? That's across the loop. You can see this here. So when you have that much going on right through there. When you see how this part goes over and then it goes over there with the shoulder up. I wish there was a bit more in why. Like how that this section here through that influences this a bit more. It's a dangerous CG to make this a bit too isolated. I like it in the front. The side view. Side view is great. Good stuff in the shoulders. Yeah, it's cool. So silent critique as I'm looking at things. I wonder if this is a bit too over pronounced. Then again, I rarely see top view reference. Now, there is more. The sound out of this guy. And you can see this here. Usually with walks like that on big cats. Like there's a bit of a harshness in here and in here. And it's usually more like in muscles here. The hip is to me always a bit softer than this area. But you can see, well, I know tails are right in real life. But if you look at that to me, it feels like we want to push the moment of this through there. Because you don't want to raise the clavicle here right when this touches. I think you're just okay because you have contact contact. And now it starts to go up. You could potentially delay this up here by one frame. But then technically take one frame out so that that that impact is a bit sharper. To me, it would be making that that impact sharper. And in turn, because this is there's so much strength and like stopping over the chest, going down on that side here. That's when this will shoot down a bit faster. And again, I'm talking like one, two frames literally, just it's just a little bit of a stronger accent. Here's another one. You can see that little wobble in here. It's literally just a frame to you want this to be a massive impact. Just a bit sharper and you can you can sense it here too. See that right there. That it's like a one frame pop in real life. Just to give this a bit of a stronger edge again, in here and in here, maybe a little bit in here and a little bit in here. So that there's a bit of an accent here and there to make this less of a soft spliney walk. Cool stuff to all like all that here. Happy picky here when you look at that coming up here kind of hits a wall goes up and up and bam. Right. And then down right on that frame to feel like the strongest it's in this view, just a bit softening of that just a bit. But you got something that's really cool. It's not like this is a rough first pass. I think the ears are a bit soft. You can see that here. I think they're a bit spliney. I would stiffen them up a little bit. Again, I rarely see top view. So this is not really a definite. I'm an expert in this, but this just feels too bendy and soft. I could be totally wrong. But that that feels like something I would tone down. And then just because of an organic asymmetrical nature, I wouldn't go the same amount in and out. So it's like it's lower there. And the other one, which is good. It's not a problem. So I would do one that's a bit lower and less out, which then in turn, for like final pass, like if that's where this pause that height and stuff right. And when the other one comes in, different height, different angle. So you make that really like a bit pushing the asymmetrical nature. And then you can take that overall head and tilt it over by a couple degrees. So there's a slight overall tilt. You know, like one of the pause doesn't go as high. The other one doesn't go as high. The tail left and right is not the same mirrored. Just to give it that extra little organic offsetness and imperfection. But yeah, upon pursuing my my biggest thought was this feels soft in the front view and it feels dislocated from the rest. Or every now and then I don't know if it's like, you know, a world space thing, head aligned type of thing. I know how you animate the creature. While it's cool. It's definitely cool. It's all I have, right? This is all Yeah, that's all the reference footage there that you set as well. Really cool though. Nice presentation. I love this. I mean, don't get me wrong. I'm totally going to save this and use that as a reference for my students as a great example of what to do. 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