 All right, let's play this from the beginning. There is no sound. Dragon Slayer, modeler. It's cool looking character. What is that? Oh, that is the wrong tool. There you go. My question immediately is can this character not open his eyes? Is that part of the ring? Is that maybe why he's constantly missing? Just curious because that might change some some ideas and how you would approach things in terms of the fight. You know, is that just the model like that? Can you open the mouth, but especially the eyes? The other thing, too, is as a beginning, when we start, it's kind of hard to see what is going on. I'm not sure what this shape is. I get this and then it gets a bit muddy. But I have no idea what's going on. Is that the body? Is that a weird head? Is that the chin? Is that eye going to open here? So I think right off the bat, you want to be just a bit cleaner in terms of of the posing. This also feels just a bit curved back. I know what is he doing afterwards? He gets up. I don't know. You could, to me, it would be something where he's more bent over and he's just you have a nicer C curve like that. And then as he's getting ready to attack, that's when he straightens and then it can go from that and reverse it into this and then into that. And then looking at the right one. Let me just bring this in because I'm slightly at the edge here. But it's a bit edgy there, having a tangent. Again, we don't quite understand that pose. So the question is, is there a reason why you're not showing the face? Basically, I would keep things a bit more, you know, visible where we understand what we're looking at. And then potentially maybe zooming out a little bit. He just has just enough room. He just feels a bit cramped. But then when you do this, again, we have, let me go a bit lower. We have the edge right there, right there. Everything is so cut off and it's already difficult to understand what that character is. We don't see the sword here. Then watch out. You got I will clean this up where, you know, I don't know how far you want to go with the foot. Or because right now we don't see the knee. This has it overlapped there. Again, it's it's I know it's so rough and step poses, but you want to keep things as clean as possible. Even all of this is to me, overlapping where there's so much stuff going on with his detail there on the rig that it's just I think you want to keep things as clean as possible. Even this, that arm that flows into the leg. This has an overlap there. The knees overlap. Could we get this a lot cleaner? This forearm gets into the thigh. Almost a tangent there and then let me hold on. I will show parts of the player here. Again, we're having a tangent right there. Still right there. It's just it's I think it would help you to zoom out the camera. So anyway, I have a nice pose where you can see a bit more of the swords. This is a bit too at us. You want to I will bring out that foot like this or maybe make it I don't slightly broken in like that. But when you have a knee coming towards you, this just feels more like a peg leg, like a pirate leg versus actually seeing the foot, understanding the structure of the thigh, the knee and the leg that gets a bit. Well, again, like we don't I don't see his arms at all. I just see something in a sword where you could maybe keep that here. We can see the negative space there, hands and then the sword there. What is he doing? He's doing this is a strange thing as well, because he's back there and now suddenly he's back there. Has he? Where is the swinging frame where I would have a few more breakdowns to show this? This is a cleaner. Be nice to have the head here. But at least we see a bit more. We understand the structure of it better. Again, some tangents there and we're losing. Kind of the structure of it all. Still got some tangents. That gets better again, a bit close here. We're kind of losing the elbow. Be nice to get that full structure of the arm. There we have that. That's OK, being here to look at the timing. It seems OK. I mean, you have the again, that just needs more breakdowns. That's so incredibly fast. And then you want to look at. I mean, he has such skinny legs. I mean, his arms are, I guess, OK, like yourself. You want to play with. Hey, in terms of like the silhouette, I would rotate that sword a bit so it's not so flat. We always see a bit more such a huge structure so that we're not in this. You have another one here. Hold on, frame by frame. So as you do your silhouette with the body, it would also be adjusting the sword rotation so it's not so flat here. And that's the one where it's in front of the body was really flat right there. So rotating this a bit to get more of that flat shape, you know, something like that. But then you have to play with is this heavy for this character because when he swings like this and now he has that on one arm and all the weight is here, is that going to fall down more, maybe drag a bit on the floor? Because now it just only goes from here down and then up again. If you would spline this, it would be really messy. And with the tip straight and not dangling down again, to me, the weight is gone for this. For a jerk, it's okay. Okay, there's a jerk. Goes out, but it's a bit, he gets so small, I don't kind of lens you have there. If you look at when he goes over there, it just doesn't feel like he takes such a huge step away from camera. But then I look at the head scale, it's so different. But I mean, he's generally okay. I'll probably also bring out that arm maybe, but at least there's a color silhouette. But then your fingers form a tangent right there. That sleeve line forms a tangent there. But he reacts to it. I think that's a fun pose where I will probably again bring out that arm just a bit more and then maybe the leg a bit higher. So it doesn't look like he's stepping on the sword there. This just feels a bit all the way. He pivots off of this foot here, right? And then we go back and it's pretty much in the same place. It's good that he takes a little step, but it almost feels like I need to be in this spot. Let's put some onion skinning here, right? So he's here, takes a step, and then he needs to almost try, he's trying to be almost back in the same spot, which feels a bit unnatural where to me, if he goes like this, why would he come back? It's almost like you wanna stay there and he will try to hit him over there. But then he would jump back and maybe you would see him here and then he would jump. But I hope that adds more work to you because now he's not off-screen. You have to animate him. But just the thought there. But then even once you get in here, it's good that the character's break frame first and camera's catching up. But again, there's so many areas where we're cut off and I'm curious if there's a reason for it. Because even here the sword is up fully inside the frame. So could we not just zoom out just a bit so that we have, I can't zoom out there, but we just see more of the shop. I'm just curious, I don't know if that's something that you could consider if there's a reason for your framing. I don't see any. Let's see here in your email, there's no history. I don't know what this is for. It's just an exercise, is there specific guidelines that you're following? You have a question over here. I'm gonna talk a bit about the pose and timing. Timing overall is okay. Again, I would look out for speed, but it's generally looking at how heavy this is and how you wanna approach that. That's gonna change the timing as well. The camera would just zoom out. I don't know if you need the camera move. That's okay. It's a bit strong in terms of your tilt there. I would keep that level fairly steady where I would just rotate and why and not translate. It seems like just to rotate. I don't know if you need that touch horizon there. But to me it's more about generally zooming out globally so that it's just the framing is a bit better. Motion blur, I guess if you render, there's a tool, I suppose that way back, I can't remember who it was. I don't know if it was Cameron Fielding who had in my viewport Play Blasts blur tool. It's not the name of it, but that's something you could use. For smears, I don't know. I mean, you could have something when, even if you add one more breakdown where the sword would be after this would be here. So maybe here and then there you could have something where some smears, but to me it would seem, I don't know, to me like I would do everything to make the shot read as cleanly as possible and then look at the fastest moves where smear would be appropriate. Sometimes I feel like smear and multiples is a bit too used where the shot isn't as cartoony. You know, it's just because it was a fast move I'm gonna add smears. I don't know, to me smears, it goes into a specific style and cartoonyness that I don't think is here. You could also explore after zooming out a little bit of a handheldy feel where the camera almost kind of tries to reframe a little bit, because that's the other thing. It's almost like everything is so static. Everything is moving and we're breaking frame so many times without reframing that this is almost us to suddenly have a camera move here. It's a general question for you then. Why do you have this? Do we need this? Is that what he's looking at? Because we don't see the face, they all have their eyes closed. Are they reacting to the sword or is that just something else? Do we need this? Can this be shown in a different way without a camera move? I don't know, just questions. Questions that I have here. I mean, this framing is okay. I like how close we are there and see the face, but then the question is how good are the face controls and how much do you want to show there? Because if he can't open his eyes and that's all he can do, then I wouldn't do a close-up but I would just keep everything more something where it's like that, if it zoomed out so you can see the character a bit more. Anyway, it's good with that. Couple notes and couple questions. So let me know. Thanks. 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.