 Okay, let's play this Nice, there's some good stuff in there Excuse me. Yeah, I like this a lot this section here How that heck goes down? It has that little Little moment through there. I think you can push that a bit more. There's a weird It's as if there's a pivot point right there if you put a needle around here ish The head kind of pivots off of that point. So be careful with how much You counter this with this rotation while the body goes forward. I would lessen one of these probably New Jersey you probably lessen this guy a little bit and I would push that arc on the head up a bit more if you track the nose You have a bit of a hold on. Let me do a Frame by frame thing here if you track the nose This is going to be super boring to watch but Just so I don't talk out of my behind Just felt very very Straight now if you go back See you can see that That line there that the nose is doing here. So it's basically doing Almost like this. It takes a bit of a curve through here, but then it gets very much into every angular and linear path As opposed to New Jersey a little down and then over and then settle So I would do a good pass turn is off here Good pass on tracking the nose, you know tracking elements of the head just for for arcs During those those section those moments here But anyway, I want to go through your email because you got a couple Shots couple points here Take me to time I pushed his head acting a bit when he finished saying that's a lovely accent You have Yeah, it's nice It's just missing a bit on you have So it goes up you have hold on let me do the scrubbing So it's kind of like you have half. I will bring it back down a bit. So it's a bit Mustache there It's there's something missing there like your jaw Animation suddenly gone and I would kind of relax that head a bit on the half the tone goes down the voice goes down I think you can also bring the head down a bit. Not that you always want to mirror that but I think in this case you could When he said you have I moved his head down and made him a little bit flirty I See I don't quite see that I don't see how you go down And I think you can go down up and then down with the nose And at the same time lean over says a bit of a more of a tilt kind of leading towards the character I think that would be totally fine. So I would push that more Um, I also pushed the head action when he said New Jersey New Jersey. Yes, absolutely. So that's the stuff that I was reacting to that felt was really really cool Um and leaned his body a bit more Yep, yep, yep. Hold on. I'm just turning this scrubbing off But then you got then it's the tricky thing is you're back into Excuse me. I'm still coughing Fairly linear moves even though here it's a bit wobbly where you have a bit of This going on and then you get into the trouble of I would give this a bit of an under arc like that like a sideways arc into this just because They're done with those moments where you get to this point Or it's just kind of like a short arc if you do a squinty test or Push seven without lights in Maya and just get uh an outline black and white It just feels like a stump with just a box Like the silhouette gets kind of messed up. You don't see the pen of the elbow anymore Whereas this is good and this is better So that's a bit of a I think you can get a bit of an arc in there and kind of help that linear move And it might also help with seeing part of that. Um, what's it called for a forearm? So there might be just enough forearm before the uh, the fist happens there Let's see When he moved his right hand down, I played with the timing to make it look like it is connected to the body motion I'm assuming you're talking about this one right there New jersey Yeah, I think to me it's just the path. I think it definitely feels more connected So I would say yes. Good job with that. Careful if you scrub fast, you can see how there's a There's a bit of a drift move here in that hand That's a lovely accent you have And it's worse when you're playing in real time because it kind of just Slowly drifts over there Now the cool thing is as you do this as it leans forward and you got that move down chest forward What you could do is since that elbow goes up you can bring actually The wrist back this way a bit with potentially locking the fingers in there So it's kind of the wrist slides while the fingers are Are like 90% locked in the tip area So there's still pressure here, but there's a bit of an adjustment in the wrist Whose that still feels fairly cut where you get all that movement But then it's an IK hand and then the hand is is totally separate. You can see all this All that elbow movement and the wrist not really reacting to it Let's see also at the end I rotated his chest and body when he says good day mate Oh before I do this watch out you get a bit of a drift through there That whole move through here how there's that whole body section goes to the right And I think I would do New jersey Good new jersey and I would have a bit of a whole the moving hold this way with Everest was like coming back But to me it seems like he goes towards the subject and you want to do a whole towards that like he's trying to get Take it take it take it there And then austria then he goes back and that's that moment that brings him back with the move This is better with his arm You get chest reaction in there. That's great. That's the best more reaction there. We just great too It just feels like you're austra's too soon Oh, man, I'm just bringing back the scrubbing See that Oh, it's like he's breathing Gasping for air So is that kind of like it? Oh austria Just right now because how big this is it doesn't feel like an exhale or a reaction This feels like a way too early Moment for austra's like you're saying austria You know I'm asking, you know, and you're only listening if you can't respond. I always say this. I'm so silly Yeah, so that seems pretty off timing wise That's better Careful, you still have a bit of a drift of that hand going this way austria See that you can scrub and you can see how that arm that hand slowly goes back This unfortunately still has a bit of a disconnected feel the couple things where it seems like such a big move I'm not quite feeling it through here Sorry if I harp on this but there's just that And I think what you could do is it's interesting that it leaves with the chest first You might be able to cut that in half and then save the rest of it when this happens so when This move happens you have a bit more involvement in the chest And then what I would do is I will counter the head So it's a bit more pointed this way because right now as you do this It has that feeling of chest and head are locked. They're not super locked, but it still has a slight feel So that and I think if you delay the head turn this way Keep looking this way. It's going to feel a bit better and then careful I know this this arm goes down first, but then it has this This section that feels weird where this goes up Whoop and this goes down And not not saying it's at the same time or the same amount, but in when you watch this in real time It has a bit of a weird connected Feel where you could probably I would either I like that it's separate. You can either go sooner So it's kind of like ha ha and it's it's maybe as a reaction to the laugh Like it's part of the laugh or you hold on to it longer and then only by now So the hand would still be up here and only then you start bringing it down Which you totally could but this here This was really nice I think there's a great Waits to it how how the body reacts to the chair and stops moving how this swings down It's a bit fast on your subtle This and this meaning this move and then the move back Right there. That's a bit fast. I think you loosen that up a bit and give it more time Yeah, I suppose a bit a bit accelerated there But especially how this reacts the other arm so that moment is pretty great I think you can afford You can afford a bit of an arc on the head. Look at the chin The chin is pretty straight here. Let's go back So this mode you can see how that chin follows a pretty straight line So if you go back and you lean back there might be a bit of a Boom just as the body hits this They could be a bit of a dip in the chin that the head rotates down a bit more for that just for that section Good day, mate And then hold on. So I am only getting to what you're you're writing here Also, the other rotated his chest and body when he says good day, mate Good day, mate Yeah, not too bad. There's something where This move with the chest and this head both going this way Bit too connected there and it's mainly to me how I would delay this section a bit like half of the head leads And then because of that then it starts taking the chest with it Same when you go back see the kind of return at the same time Just kind of offsetting I would lead with the head more and delay the chest by maybe three or four frames Good day, mate Good day, mate But then the tricky thing is that It seems a bit simple in terms of rotation where the head that axis just kind of rotates over pivots over this way stops And this kind of comes back halfway and then has like a one axis down move which just feels It feels very simple And I think you want to take the awesomeness of this Like you can't push the arc a bit more but the feeling of this like you're pretty close on that And it's a big difference. It's really neat and take that awesomeness and put that in here So it doesn't feel so simple in terms of over and then kind of back in the same path and then kind of down Uh, and let's see here. I am really struggling with the hands. I tried to make them look good But I haven't finished them yet, but I like to show you the progress totally fine. I think they're definitely better And don't forget that when you say Lovely accent you have Um, go back and see my hand here. Where's my hand? So it's a lovely accent you have. It's a lovely accent you have It's a lovely accent you have, you know, there's something where Bit of a that you want to do that's a lovely accent you have you want to do like all crazy finger stuff But there's still a moment of that's a lovely accent you have like on your half You can have a bit of a clenching on the face We'll bring back of the arm a little bit of rotation in the wrist I think there's still some flourish that you can bring in uh in this section That's a lovely accent you have So I think as a whole it's much better I would just like I said before I would take The awesomeness of this And push it go further really track your arcs and look at extremities like the chin Not that's an extremity, but the chin and the nose and really look at those arcs and push those push that frame by frame And then take that feeling of the little flourishes and those accents a little the little small movements you have and bring those into Hand gestures for again a bit more pushing of the the subtleties Um, so you get away from just simple moments like this here where You got that that's cool And then it kind of stops and there's nothing going on But even when you stop there's no real change In the fingers even if you would stop the fingers could go and then kind of come in Remember react and overshoot a bit or just come in for for a different pose So that is just a bit too simple just like Moves like that without an arc And I know you just you're still working on the fingers So as you continue as that hand comes down I like that you have a bit of a compression there like that There's more it's a bit more of a tense moments not that he's tense, but it's there is In a couple of ways, I mean he he leans on this which to me like he puts more weight on that arm Which I think your tensing of the fingers going in is good It's not like he's resting on the wrist Which means that this would push down and it would spread out the fingers So I think that is good. So stuff like that you just want to continue putting it in there so I hate to say this but It's one of those keep going things where The revisions you put in are good But you need to put more of that in there like you're you're getting there There's definitely improvements some areas is a little bit a bit rough But overall I see it's going up. It's getting better But imagine do one or two more passes on that just keep pushing just take it in chunks You know where you can let me just minimize that a bit so you can see my counter here But you know imagine you go from here to here, right Just this section where you can just look at that head move or you can just go in terms of Just this gesture doesn't have to be specific frame count It could just be I'm working just on this gesture or now I'm going to work just on This just that drop here always kind of looking how if I work on this How is that going to affect the chest? Of course that relationship But I will go in chunks and then really just push it and push it and try to go as far as you can And then again, I think about the easins and now it's the arcs. How is that move? Potentially more than just a move. How is that that you know going back to this here? How is that moment with his finger? More than just a move like how can you add flirtatious like you're saying that you want to be flirty How can you do something where it's a bit more playful or flirty or whatever you want to bring? You know character wise with that with that acting through that like you want to bring that that The emotional states just the the flirtiness like I like that you pointed at that at this point That's what the character wants to do. Can you show this with the gesture? What's the timing? What's the arc on the hand and the fingers and the finger post changes? How can you push that? That flirty aspect during this moment so you know and you can put this where flirty here Surprised here amused here You know trying to impress you can have sections where you say well This is the part where it's this and the section is this What can I do in terms of the movements to emphasize that moment? I hope that makes sense So again, I think it's great progress But unfortunately, it's one of those things where it's easy for me to say Keep going and you have to do all the work, but it is really keep going. It's a it's a great update But imagine you got I don't know if you eat, you know Bread with butter or some other spread. It's like you got one spread on there But it's a bit thin do another one or two spreads on there They get a bit of a thicker layer on there to get that really awesome taste of animation on there I hope that makes sense And if not email me, but that's what I have. All right I will concentrate on that and once we're in that really good zone of the body the arcs and everything We can take a closer look at the facial stuff and the lip sync. 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