 Right Let's play this Let's check this out. I got your notes in the email and address these, but let me just play this Shot definitely clear. I think the silhouettes are great These are all great. You are mentioning that this is rougher than before With temp camera work and that's totally fine. I'm just gonna mention what I'm seeing which I know you're totally aware of but I'm just gonna so that you're on the same page So I would watch out for the speed That is a bit weird and it has a bit of a speed up during this section here and Then it gets pretty pretty slow So overall I would just make sure that it can accelerate here because it goes down and then we're on here starts to Potentially a bit slow down depending how you open up the wings. So I'll just look at the flight dynamics as you Go into this and I think once you get into the wing flaps There will be definitely more this way and faster. So it's kind of fighting this way to stop going You know to the left and kind of get that backwards motion In break going there because I wouldn't do This I wouldn't go as high. I will keep them pretty low. You can go And then drop but this seems a bit Drastic at this point I mean, you can always adjust the the camera to follow but there's just something about Imagine that speed and that path Coming in here and it's only stopping it would you would have to flap that flap that whoa That was my framing flap flap flap flap flap and it would It would land a bit differently like it wouldn't do a such a drastic drop So try to maybe start flapping right here Back back back back back back back so then it can have a smoother landing, you know, I mean that that has a continuous Forward motion and in that way this makes sense that that drop here So imagine if it's not going that high and doing this it would be That would almost make more sense in terms of momentum But as of right now, let's pretend the shot would start here This will make a bit less sense because it's pretty straight down and then suddenly Shooting forward that forward momentum is too fast. It's not quite clear how he can go forward this much, but again changing this to Something a bit more like that will totally work So then Again, we'll work on the camera. I mean you might have to potentially Probably be further away which might be okay. We can have and a slow Dolly trucking in here Sorry, my voice is kind of weird And I think it will be okay because we are kind of cutting it off. We're cutting it off just right right here It's almost a tangent there. I think if you're further away, it's that the babies maybe this size So that when you land, you know, it's not cut off here and it's not so edge heavy here. So the head could be here The baby here that would be okay, but we can gradually move forward Which you know, you can have some arrows here and whatever and maybe not arrows Maybe they're closer to here, but maybe some stones and then we understand that the camera's traveling forward But again, we can do camera work at the end because as you do this like you don't want to travel Right away with the creature you want the camera person to be always behind the actions Because the camera person that does not know what the creature is going to do They can't anticipate. Otherwise, it feels a bit too staged, but again, we can do this at the end She goes over Just slow move forward and then And you can probably do a little bit of this and hold a bit And then This is moment of oh no, it's dead and then it's you know, the wheels are turning It's dead. It's dead. It's like this build up. Oh, I'm so mad. I'm so mad. I'm so mad Into this versus moving moving and go straight into it. Then I know, no, no, you said it's rough I'm just mentioning what I'm seeing and just as a potential caveat Now that being said You are saying It would be cool if at some time the arrows flying over there would be arrows flying in at the beginning of the shot So it's clear that the dragon is kind of roaring at the people who killed the baby Not sure if you need it. I think it's pretty clear um mainly because this sword Is so straight down and I know this is rough But the reason why I'm interpreting this as the way I'm going to say with the sword being straight down It almost feels like everything was done and the person did its last. Let's kill it Straight down and the woman walks away But you know, I mean if you can put it kind of sideways and And you get more arrows and you know, then it could be just I don't know the scene of the crime This seems like it's the last blow of the person that had the sword That way because of that to me it feels kind of done um Now the thing that I missed actually Because you're saying maybe there's too much happening with the arrows now that the baby is still moving So I started the shot and was looking at the dragon dragon dragon dragon dragon Coming in all awesome Then I went back and then I looked at the dragon here and then oh wait There's a tail. There's this. There's that I totally missed that upon first viewing so I don't think that's needed because it's not If you want to keep it then again, I would just Move the camera back a bit. It's not so edge heavy there Then have the movement and then I would say I would do the wing first because it's the biggest thing moving so that because the empty frame There's so much emptiness like where should we look? So if it's a bit more to the left and a big wing is moving the eye goes Right over here. Then we can see the wing go down the tail and then the head And then the creature comes in because it's so You know coming at the frame the audience's eye goes right here We follow the creature and then as you do this. I mean as all of this happens you can have this type of small movement in the head And then as it gets closer here Then you could bring up the head and it gets just a bit off the ground just a bit And then you know they can have their their last snuggle and then Then it falls to the ground and it's finally dead And you could potentially imagine I'm just speaking out loud here imagine the dragon is not as far and The little head is up here the mom or dad or whatever Uh, you know head is here. They snuggle then Head falls down because it's dead and then dragon is a little bit of a Bit of a here like a quick recoil Because realizes it's dead if there's maybe a second and then Then you have that right so it came together They're still snuggling little kid dies recoil a bit going into Wait, what a quick one like oh, it's dead and then That could be something and if that's too much and you want to keep what you have here Because I don't want to keep reshuffling the shock but totally up to you If you don't want to change anything then to be honest, I would leave this as it is The only thing I would probably like I said if you move the camera out, it's going to change the horizon I would assume a little bit Um, if not, maybe make the sword a bit longer so that the top part is here And then the sword in you know, so there's that intersecting line right now You're forming a tangent with those lines called connecting there connecting or collecting That's about it um And I wouldn't do that camera translate back. You really don't want to do too many translates Especially in cg because they can be very fast and kill the scale. I would just do everything in pen and tilt so stay here You know throughout the shot like I said you translate forward so that we end on this And then when you go You just tilt up if you feel that will because of that I can't frame as nicely um Then I would choose your end framing that you like And just get to that end framing, you know by the time you get around here So we finish the translate forward throughout the whole shot by around here And again the translate will be like a gradual move forward You try that gradual move forward and stop around here At the end framing that you want here But then throughout the whole thing you only do pan and tilts all just rotations to readjust all of this You know and the animation is going to be all the same is going to be all awesome Because it's not a crazy change in the camera So at the very end you can always take the whole thing out with the camera or change a little bit I think I would just do that at the very end Probably the best thing you can do now is to keep everything a bit further away for good framing here And actually not move the camera. Let me concentrate on the animation And then at the end we can do a couple camera passes. You can email me your scene And I'll do a camera pass and I'll show you what I have in mind And then you can you can decide what you want to do We want to keep that style embellished on it or change it And that way we just concentrate on the animation All right All Okay, that's it for me. 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