No worries. Yeah also there's cool stuff about framing if you ever felt inclined to go google it. Framing for film and framing for comics has a lot of crossover too, studying the framing of a key frame in a movie can give you some cool ideas.
I think it's a bit strange that you've shown her eyes in the panel, but have lost the chance to show her in an angry badass pose by leaving her face out of the final portrait. The comic itself seems like it's trying to convey a kind of intensity ...and we are met with her intense eyes at the end of the dressing sequence, but in the end we don't get a picture of that emotion, we only get a picture of her bum, and probably a little more boob than would be comfortable for a normal person's spinal column.
I'm surprised to be saying this, but I think your action panels might be better if they had a little bit of sound effects. like a "shhffff" for the pants and a "click" for the belt to drive home the action of getting dressed rather than having each panel be very separate and static.
Okay your four panels on the left are kind of static. Every object in every panel is lined up almost flush in the middle. This causes your eye to literally slid down straight down the page and you barely examine anything.
Make the layout more dynamic. In the first panel give her back more arch and place the drawing further to the left or right of the panel.
You can then use the hands in panel three to play off of whatever rhythm you create in panel one.
Ask for clarification if you don't understand my terminology.
Also while the foreshortening on the full body is very well done the pose is stiff and boring. Drop a shoulder and have her twisting around and looking in the viewer's direction.