 All righty, let's watch this info first here don't didn't have to whoa Yeah, that's better cool boom boom boom and Bye-bye Cool Cool. Yeah, I'll go on so since we have this this isn't this I'm gonna move myself over this way So there's more room there Well, I'm looking at the guy first The only thing I would say is careful when you have big rotations in the chest that the head has a bit more influence Right now it's a very like top model catwalk thing of The head is very straight as the shoulders and everything moves So as you move this way I would have a slight ever so slight tilt and it never so slight Rotation like this rotation is gonna pull the head with it But of course the head it's gonna counter, but it's gonna still gonna take away that IK head Curse you can see as you scrub through there. I think those Thoughts are cool looking at what's going on and that is cool. Not that it Yeah, I think it's okay I was looking at frame by frame like taking the hat off Is that really gonna push that head that much forward and if you do careful that it's not just from this joint But also from this at the same time we're talking frames here So it would be here first and then as the head moves the lower neck gets more engaged Now that being said in real time It feels totally fine And you have an offset in those shoulders You can probably maybe give this guy a bit lower and it's got a bit higher because that arm is higher I Mean the only thing I would say this is not a shock killer. I don't think you have to really really do it I'm just throwing out idea ideas that Since he's so flat towards us here and then on that It might even have a slight turn in this watch out the silhouette. I would not do I know you want to go for the arm but Not that he has to go like hey and go after her But it could be something where instead of just doing hey, it's more like hey like a like a slight turn again Not that he wants to there's enough time to go my hat and reach after her But it feels like he's walking and they react just mostly like this and it could be somewhere It's like whoa, like he she comes out of his right side So maybe the flinch has also a bit of a turn in the chest that he ends up a bit more Turn either way. I mean it feels like That happens and they would maybe turn towards This side towards us which kind of closes up the silhouette. So maybe It's just whoa I should try to find a pose that's different from this when we hear again. It's that picky. Yes Is it really super necessary? I think as it has a bit of more complexity in terms of what the body is doing a koopie kind of need though Stuff something bit more but generally like that's fine But careful how you are linger on a bit of a muddy silhouette and only towards the end we're there And you could also could also just be this and instead of that You have your arm out Towards this so that the last frame actually is the end of the arm with the hand So we don't have such a big pop out on the on the character visually. It's kind of pops away. So You know, it'll be then this arm here and of the arm hand And that could still be somewhat here and I guess and yeah, we're just kind of cheated and then bring it lower there It's a bit more of this. I know I know that again, it's not a shock killer, but I think it could be Worth an exploration totally up to you The only thing I would do is on this did these feel a bit too nice nicely posed I think at this point he would be already kind of like whoa and fingers spread out a bit especially towards the end I would kind of work on this. These are not the right fingers though my awesome drawings But kind of bring these out a bit more where you have some of those fingers a bit more curled and Stuff like that on him Then on her That's pretty cool. I think again to avoid that 2d card feel Although I do a see a change in the legs. I think what we can do when I bring this a bit lower So we see the frame as she comes in, you know, those arms and like that whole shape feels fairly similar to here So what you could do is What is she doing? She doing is okay. So what if? She's slightly more turn like that, but the chest a bit lower head a bit lower and Either like arms behind her so that when she comes to this She gets into this because head is down and the head starts to go up I mean, it's not like she has to look at the ground I know she's looking at the targets, but imagine it's just a bit Flatter her chest and their head where you might just see the eyes like this and from here To here she gets into the pose. Hey, so there's a bit of a and again, she'll be slightly more angled sideways And I know she comes down here. I mean we could come from here. I'm just looking at a bigger contrast from this It just feels a bit flat so Imagine slightly more angled maybe just to come a bit more from the right chest and head a bit lower so that you have a Change arms come forward head goes up. There's a bit more of a whoa. Let me get ready here Because here it's nice. You have that with the hands and that's cool here. Let me watch this again. I Think all I would do is Wait a bit with that hands that hand is a bit soft as it goes forward. No It makes it very clear. I'll give you that it's a nice clear move, but it feels a bit even in timing No, all I would do is Go into your pose here and then Hold this a tiny bit longer and I'm really talk about two three frames and then come forward into that Really, it's just like even like a two-frame thing just a slight texture So it doesn't feel like this is so even there's a slight pause around here Oh, and then because of that, this will be ever so slightly faster This is great. I like that we can see her And you have your trees there. Let me see you Definitely very smooth and since we're so close here I think you can afford to overshoot with the camera come back a bit be slightly looser It's a bit Bit harsh just a tad I Think we can afford that was the imagine you have your action save or like, you know your theater crop Not that this would will be projected on film but I think we can easily go up so that there's maybe this much room and then we can Come back because the thing what happens now is that a we're very close and as she comes down We're really maintaining That gap here and what I would do is set that a little overshoot there And she could be framed maybe around here to head instead of here if you want to be on the slightly higher side But again, nothing really Forces you to not reframe properly Then have her go down so that her feet get to here and then have the camera follow. I Think we're just a bit to here in sync. You can see the camera and her bit to in sync Because it's okay to even break frame a tiny bit and then a camera catches up by maybe here for that land And I think for that turn. I think what could be cute She's definitely in control and I like that you have your hands and the arm go up It's just a bit of a bummer that we're covering the face So I would probably go And then she opens more into a lower hand pose into the arm out With even a slight Slight more almost at us. I don't mind this being Tyson and Snappy there, and I like that you still have softness in the arm and the leg I would just again, I will probably I Personally, I don't like to cover faces because I do want to see at this point Who's that? What's her reaction? And now a she looks this way I would even even if that's technically correct I would still cheat bring the head down so she looks at the guy was to us it's she's in the air He's not I would just visually reinforce that and personally I would bring that arm below And potentially on that Turn so you're like this and then shoot that leg would already be here That leg already be here pop up up up At that point that I could even come into a strong or offset and that leg coming up is that Overshoot so even though the body stops Rest continue so you're a bit sooner into this and I know you bring that up because of the drop. That's nice But you can still have a bit of a that in the leg The leg can drop a bit again as she goes down and as she picks up speed the leg goes back up So that it's not so stuck through here either. I think this could all work and probably That arm feels a bit IK watch out how he goes down. It's a bit straight there in its path But what I would do is that arm the lower with the hat so that you have More frames to come up to where you are now Overshoot a bit and then come back into where you are what do you have here by now whatever this is? 15 80 90 90 frame 90 Feels like that arm that hat arm Is a bit fast to a stop and it comes down a bit Bit IK ish the rest is cool They're like they've incorporated the move backwards and again I would have that head to that way the head can stabilize right from this to that Like your impact works with the boom with the move back Only thing I would say is that the root Goes down but kind of sticks Not super super, but instead of going this way kind of sticks it and suddenly whoa moves fast Just a tad Whoop right there, and I know it's you want to go backwards and then bring that leg back But it's somewhat also tied to that leg move root doesn't really go back now it goes back So I would just go Boom and already be slightly back and then not so quickly I give that leg kind of a lead So that this leg has time to push and the body goes back into what you have here Which is cool That's all cool turns cool That's cute too The only thing I would say is boom on that impact On the head. I don't mind it, but personally I would I don't I would just bring that head a bit lower She has a slight feel of head this eyes down. So it's kind of Looking like that That's what you want to go acting for it feels like I don't feel like I want to be slightly slightly lower with the head That's all cute and I will probably Lead a bit more with the head again dessert objective. You don't have to know that this is not good To me if it's like she does this now she's done. I know she keeps looking I mean you do have her looking at him. I'm just reacting to this how the chest and the head kind of go together Could it be something where you do this? Again, it's not a killer not that the shop breaks because of it But throwing out ideas feel free to absolutely ignore everything I say here you hold the look which is good And then the head start the body starts to turn but then have a slight pause through here here here these three frames Where the head can now lead so that the head is already looking this way Profile So that that point the head leads and then the chest catches up and then I would personally do a slight Root dip here for push off. It's a bit We're a bit fast We just kind of disappears as if she's being pulled And I think she's very playful. She doesn't have to you know rush off or anything unless unless that's the internal process That's what you want her to do but Like it has this nice soft feel playful feel I feel like it would have a playful hop and it's more her jump and so Out that kind of feel versus out of here That's the only thing I would say towards the end So picky stuff some ideas for free as always and you know, I trust so you're really good animator So you will take whatever you need to do this To do whatever you want with that. So I will end it there. 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 like and subscribe would be awesome. All right. Thank you