 Alrighty, let's go here. No sound for now. Took it hard already. That's cool. All right, oh, took it hard as well. I would love for that horse to stay like that all the time. Like this is super polished, super polished. You got effects on lighting and sound effects, everything. And then the horse comes in. Wait, where is it? Comes in like this. That'd be so awesome. It's super cool. Yeah, okay. So let me quickly check because I got some thoughts on some of the animation. Let me just see where you're at and what your plan was for the creatures and humans. So there will definitely be sound design and cloth. Let me go beat by beat. Let's start with this guy. I think for frame one, what do you wanna do? I don't see anything in the email regarding the background. It helps to have this here, but I would already have either some, I don't know what you wanna do, like some mountains in the background or if you just wanna do temp, you know, spheres, poly stuff in the back just so we can see what the camera's doing. It's not for long because we're getting straight into this, but I would think in terms of what do we see are the clouds here, the sun, maybe something in terms of the composition. And then think of frame one where this is a bit of a tricky silhouette. We don't see much in terms of what here the neck is doing. And I think like this being frame one would already be better. So I would probably, since he is, or the dragon is kind of gliding down, this feels almost like on action, like something happened before, as usually something is happening before. But I would probably just bring the wings out and then maybe keep that tail here and have that head down. That's already looking. It's tracking this guy already, while we are from the very beginning in a nicer pose. I know this is cool in terms of contrast, of getting into this pose. So I understand that there might be an issue of where we're always in this and it could feel static, but it could be something where maybe it's already higher up in a bent pose where it's doing an upwards flap, you know what I mean? And you can still have something like this. And then we go up into that. I would just make sure that the beginning silhouette is cleaner than this. That might be tricky because this comes out of the head, like something like that, but it could still be lower. You can still have the classic fold on upper wing flap here, or you know, recovery flap there. That, whoopie that. In terms of the animation, I feel like right around here, what is this frame? Get that over here, frame 22 for me. It feels like we're hitting an invisible wall. And this could just be because the camera is stopping as well. And this is why we want objects here to understand the camera move, but this is already coming in here. So if I look at this, it might be just a bit harsh, how we're tilting down. If you look at the horizon line, it's not linear, which is good. I think you can overshoot down and come up a bit. So tilt down and up to reframe. Because what's happening for a moment here, you're getting into this beginning and right around here, if I put my ocean skinning, my onion skinning here, see how that head is locked? So we're getting into this spot and then boom, head is locked, head is locked. And even here, you could draw a line right there, right? Head goes up and then see how that head is locked on that line. So watch out for that. So it's tricky sometimes to animate a character especially flying to a moving camera. So it's gonna be a bit of a back and forth. So what I would do is I would make sure that from a different view, sides, front, static, nothing with pen and tilt and blah, blah, blah. Make sure the path is all correct. So there's no sudden flattening or like the head goes down, comes back up, the chest will follow that path. There's all the correct dragon overlap for the creature. And then you put in the camera, how you wanna lens it and how you want the handheld feel. And then you can decide, okay, well, technically, the dragon is correct. Do I want to then cheat the dragon animation to camera to make it look correct? Or do I cheat the camera to make the path look correct? Sometimes it's a bit of both, sometimes you can do whatever you wanna choose. But right now the animation and the camera fighting, creating that locked feel in some points there. And we also, I think you are, that's my horribly drawn middle here. See how we're always in there. We're leaving a lot of room left here. I think you can also imagine, it might be to a destructive change in terms of like how much you wanna move this. But what if this guy comes in like this, comes down to the left. You know what I mean? It comes this way to then almost exit right. So we're not stuck in basically, see that we're a lot in this area. It's almost like it's staged for social media where you might have something that's widescreen, landscape mode, but then at the same time, you wanna post this somewhere, TikTok, Instagram Reels, and it's framed like that. Which there's nothing wrong with that. Nowadays, sometimes, depending on where you wanna post things, you can almost plan for both. But within that line, if you would put in your own safe title, you know, the, just kinda, what's it called? My English is escaping me. The camera, whatever. Imagine you got your mask. That's what I was gonna say, your mask. Your mask is left, right. You still have room within that. So within that mask, well, fancy with two colors. You can still move. I mean, you can still have edge-to-edge movement in there a little bit, just to kinda push that a little bit more. Then on the exit, I think we're panning over too fast. If you look at a stone here, or whatever you wanna have as a track, and you look at this line here, see that how we're suddenly moving in. It's not like a super broad linear key, but we're panning pretty quickly to the right. And I think for this character, we can easily be here. Like that far to the right. Usually the camera person is late. So whatever is on camera is driving the camera action, if that makes sense. And right now it feels a bit like that camera person knows. To some degree, it's not like that dragon's gonna make a crazy change. Like it's weight and path and flight dynamics. You know it's gonna go to the right. But I think we're just a bit too early and dissipating that camera move. And I think given that we're resting here, that's the main action is this. I think you can pan later. Later, later, later. And then we get to right around here. When this action happens, they might be here. And I think that's fine. Was then we settle on this. I think that should be fine. The tricky thing too, this is for you, you might have to explore either templating, so we understand what your plan is, or different colors, or starting to add hardware fog. Because the tricky thing is, the hue and value, the colors, everything, all of this here, except this guy and this, really starts to blend in. Like that, we don't quite understand what is going on. Like all I'm seeing, if I just watch the dragon, I'm seeing this. And then this, that's what I'm noticing. So could this be, could there be fire? Haze it out with lots of smoke, put some hardware fog, haze it out, put some red lights in there. Maybe have some like right, right red geometry that you just copy paste, copy paste with on, off, on, off or flickering. So imagine this here. All of this behind them is on fire. Again, I'm not saying that's what you should do, but think in terms of maybe lighting, there's something going on back there. And because of that bright color, it silhouettes the foreground characters and gives them rim lights, where we really understand all the edges and the silhouette just a bit better. Just think potentially. And if you don't wanna go that far, maybe just like within the play blast, the key lights, this could also be the sun could be setting. So you have a nice rim light through there. And then as all of this happens, there's just a very strong red rim light like this. It will highlight and separate those characters and we'd still put in obviously the skies. It's not all gray and hardware fog to haze it out a bit, just for foreground, mid-ground, background layers. And then for this, it strikes me with this guy. He's very, I know you want it to be real, real-ish, but I think it's okay for stuff like that to go a bit further. Like this is what I'm looking at. This is some creature-y orc something, some creature, it's not human. So that gives you a license to go, you know what, I'm attacking this guy, but I'm gonna be like, maybe even one arm, and then over time, two arms and just push that a bit more. While this guy is the stiffer because he has metal plate here, he is an armor and he's human, that could be an interesting contrast. What I would avoid though is stuff like this, where the head and the chest are fairly aligned in the orientation. I see that the head is doing more, but he looks more like Batman, Michael Keaton Batman, where he can't turn his neck. So the body and the head are just kind of moving as one. Watch out for that. And again, because you have this guy move in front of it, we're losing all of this in terms of silhouette. So you have to work a bit more into a stronger silhouette where we don't have like this overlaps, this overlaps, this gets in this guy's face. We just gotta work on something like this. That's a clean moment. But we're losing this prop in this set. So with lighting and everything, this will hopefully stand out more, but you might have to consider, and this might be lower. And then he drags it up with more of a drag like this, up like that. So we don't have overlapping shapes like this. I know it's fast, but on something, again, because of the colors and the proximity and everything, I think you wanna keep every frame as clean as you can for silhouette. Even here, when he goes into, we wanna enjoy this moment. He's already up there covering this guy. And now we got overlap, over overlap with the same value here. Again, hard to understand what's going on. This is cool. This almost works as like a 3D piece, 3D glasses. Like past camera. I think one of the thing you can do is give those weapons a bit more weight. This is pretty small. I get that this goes up and immediately into this. This guy feels like paper. So it would have to be, and hold this a bit long into this. And if that means you gotta slow down a little bit of a moment through there with these guys, that's okay because you just hit this guy. So this guy could go, maybe bring up a hand here to maybe pull out the axe. And this guy is already looking back, but because maybe this might be staged over here. So this guy would be here and then the human would be here. So there's separation because we're kind of missing the fact that this guy's looking back and is ready. Like one frame, then we don't see him. So just watch out. You might have to globally stage this guy over there or tweak the camera bit if this is all fairly fixed. This here, we have no idea what he's doing. He goes down and he still has his axe, something in there. And then it's like, I don't see. Is this a sword? Okay, it's a sword. So don't quite see it. This would have to be here, but then this character is more here. And you can stay there and it's more like, you know, it's maybe not that close, but it's just camera-wise we're not human or creature whatever camera. Camera would have to be here. So there's a bit more cleaner silhouettes because you're overlapping all three characters. I mean, we're missing everything because this guy's still struggling. Obviously still has the thing in him. That's awesome. I like this. So once we're here, that's cool. It's all clean. I think given that this guy is struggling, you could also do something and go like, and he's already slowly bent on his knees. He's kind of like back here, one arm trying to get this out. The other arm is trying to hold on to the sword, but the sword is heavy. It's gonna drag this arm down. And this guy is trying and trying, like, he's trying to get this out. And it's kind of the mercy. Get out of here. This watch out, this feels more like, he's about to hit someone else. It's like, he knows, but we don't know. That someone's there, watch out. Looks like he's looking into my soul. Gotta get him to three-quarter bit sooner. But yeah, this feels like, oh, are you attacking someone else? Wait, but there's no one here. What happened? And then, so it's almost like you wanna do this and then keep that sword low. Like, it's almost like he can have that sword down here. And it's not distracting. So we can focus just on the face and you can have like open mouth going, ah! Shoo! Into this. I like to hand off, though. But, hold on, hold on. What is he doing? This guy gets hit in the stomach and then falls back. Since this is so far away, personally what I would do, it's tricky, I would actually not do this as far as it's destructive. I'm just speaking out loud and you can obviously do whatever you wanna do. I would have this guy almost roar. Like he's mad that his friend died, right? We pan over and this guy is more like this. I'm mad, you killed my friend so that there's nothing up here. Why? Because, boom! This then turns into, oh! And then here's the axe. Is he throwing the axe? Yeah, all right. So then the axe is here. And hits him in the head and that's a clean silhouette to see the axe. Blood spatter out and you can just go, boom! And then fall on his back while maybe this guy, I don't know, don't do that because it's way too much work. But as he falls down, this guy jumps over him or steps on him. Like he doesn't care. Like, dude, you're dead. I'm gonna kill this guy. Maybe he steps on him or as he is kind of falling backwards, this guy, American football style, tackles him, rugby style, like pushes him over, like get the fuck out of here. I swore. But anyway, you know, push him over. But that would be a cool dynamic of, these are not soldiers where they care for each other. Like, oh, you're dead. Get out of my way. I wanna fight now. So you can push that with a little bit of personality of this guy. It just goes, boom! This feels suddenly a bit slow. So he goes, I'm gonna kill you. And then it slows all down a bit. This loses a little bit of energy. He's back into being super stiff here. I know some stuff is early animation, but just watch out that we have more twist if you can. And the head will be over, head could be down, you know, like really loosen up because this looks more like a collar. Like, I think he has room to move around. So definitely push that a bit. And what is he doing? He swipes this off to then grab this. It's a cool move, though. I think if possible, you would have to find a way for this guy to not swing this around so much. And if possible, show like big arm back, anticipation for a stab. And then again, this would be, the body would be really forward. Like he tried, he was running, and he had so much for momentum that he's really leaning forward. And maybe because of that, you know, the body might be here, head is here, and he just has to kind of slice down this way. Perhaps the thing, same with this here, this feels a bit too, watch out, broken wrist here. It feels a bit too simple. In terms of that upright pose, you can definitely have a stronger twist. Even this here, that's definitely super broken. So you would have to adjust, obviously the wrist rotation, finger posing in here. But twist this guy a bit more. If I look at his root, there's not much going on here. I know he has a bit of twist in there, but this could be, he is in full force. I'm gonna go, and he's, you know, imagine his whole back is towards us, extended arm, and in that way, he can pull it out much stronger. And what he could do, maybe he sees the horse, maybe not, but as he pulls this guy back, instead of waiting for so long, you can go, stop, pull right now. And by pulling him back, it pulls this guy forward, into the path of the horse, and then the horse hits him down here, legs up into this. Oh, but a horse takes it hard. That's some interesting horse action of, I regret nothing. Do you have, I don't see it in the email, is there a rider on this? Shouldn't there be a rider on this? Because why would the horse go straight for this guy? I mean, in your reference, you have, so I'm gonna assume, and I don't see anything in the email. So there could be a rider on this. Boom, gets hit. This guy's back, and that's fine because we are moving the camera and you can end up on the left. We are switching right, left, left, right, but that's all you find, I think at this point. And then I would have him like step in the frame too, to get ready. Whoops, that's me moving my frame here. Step in the frame as I move my frame. I wouldn't cover this. This guy might not be the smartest, so go be, and on this, that arm just comes down. So when he's like this, that arm will be down here. You know, the weapon could be off-screen, it could be slightly on-screen, but lower, there's weight. You know, you wanna make this look heavy and, and he's just, and maybe it could be something where he stomps the ground or he kinda puts those fingers and pulls them back. You know, maybe can make him more animalistic to veer away from the reference, because if you look at that reference, it's a soldier just kind of the, but what if this is more animal driven of, where is he here? You mean like goes almost on his, like puts one hand down. You imagine like you dig your hands and fingers in and pulls this back. And it's just, it's not just the biped with the weapon. This is some weird animal creature. Anyway, and that's that. Lots of thoughts, lots of destructive thoughts. Feel free to disregard whatever you want, but these are my thoughts. My main thing is, you were concerned about adding more overlap follow through. I would, even if it's just, maybe it's not overlap follow through as much as you think that would destroy the shot, just adding a bit more, but I would push the poses to get away from the rigid aspect of it. And then think of just visibility and silhouettes and how we can separate foreground, make around background for some cool stuff. All right. Yeah, that's kind of that. It's gonna be super cool. It's a really cool sequence. 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.