 Right, let's watch this whole thing here. Alright, let's see. So there are a couple of things here. So if you want to swing, this might destroy some things, but this is picky things. Movies nowadays are not super critical anymore about direction changing. At this point, there's only one Spider-Man. It's not like we're confused, but you are keeping a fairly consistent right to left. This kind of works because you're straight on, and which gives you another freedom to go either way, which then you go left or right. But then here, we're a bit in a right to left, the minimal right to left, and that is from behind on the right side, almost implying a right to left, and here you are right to left. So to me, the most screen direction is right to left. So I personally would take this, and I don't know if you can just flip the image, but there's something where I will go this way. Now this is picky, and I think I don't know how many are going to care about this. But let's give you a more consistent right to left view. And then my question is, is this your safe action or your actual framing where this will be your mask or is this your mask here, and that's your action safe? So I don't know, but I think you can have him just a bit more screen right, just compositionally. So it's a bit more in the thirds. Even here, you could have him, the head will be here. So the whole action will be a bit more on that right side. Imagine he lands here and a villain is here, or whatever, just for composition, which means even through here, it's a bit straight on, and it might give you a nicer silhouette if you're just a bit more here, and then he lands here. Not that he lands here, but I'm saying he starts, you know, frame-wise here and here. Hold on, depends, depends where you're going. It's a bit tricky. I mean, from here on, you can go, let me revise everything I just said here, because if that's your frame, let's get a nice composition with him here. Even if that's your frame, it's nice. Goes down, and then here, we are kind of middle to middle. It's not too bad. And if he would exit this way, it's not too bad. Yeah, if you start here, it might get a bit jarring. This is just, we're going this way, and then he will go right to left. So I would say you'd almost have a little bit of camera move. I think we could afford if he lands here to be a bit more here, so you can go right to left. And then you could have him start here-ish, landing here with a little bit of camera pan so that we're still ending up here, right? So that in frame, he ends up here. That makes sense, right? So you, I would start with him around here-ish in frame, so move him over a little bit, but land here in frame. But throughout that whole thing, you do a pan to the left so that eventually he actually lands here, which then is a nice overlap for this. Piggy stuff, piggy stuff. Again, it's a fairly empty background with one Spider-Man. It's not like at this point, we're confused, but I think it could be an interesting exercise in making that flow work a bit better. Now, animation-wise, you are mentioning here, I used reference for the earlier part of the shot where he jumps for the rest. It was based on the moves for the movies and trailers. I think this shot is very successful, but I would give this more impact. Boom, this feels fairly stiff right through there. And I'm not sure why this is happening here. Arm is in front and this is in the back. I would take this and move it backward so that we see him here in front of that building, whatever that is. But anyway, this impact could have a lowering of the elbow. This is cool. I like that. Has nice momentum going in because of that impact. So this feels a bit stiff. And he falls fairly straight down-ish, even though he will come more towards us. The piggy thing for me will be land with a few adjustments, but it's not super crazy. It's not like he's going like super far and then just sticks where he has to have some bounces. I think we can buy this sticky landing. It's a nice shot. I like the pose. Again, I would just make that a bigger impact in this. And that kind of works. Again, it depends on where you're framing is. This is just a little bit of a tangent. Same with the thumb. It's kind of okay to cut this off here, but I will bring up that arm. But it's a nice offset. It's a bit pose-to-pose, so you can get some more offsets and then you can potentially get. I like how you have this here like that and then it gets more flattened towards us, but you can push that rotation in his reposing. He's like this, you know, you can almost get this shoulder in front of us, this away from us, this arm is away from us, and this is in front of us, maybe even the hand is in front of us. It's like a bigger post change. So it doesn't feel like, well, I'm just going up, mostly translate with a little bit of rotation, you know, especially in the root or hips. It feels like that rotation is always the same. So I think you make that a bit more complex. Impact there. Well, let me start at the beginning as I should, right? Here, some weird hand poses. So next pass, watch out for your hands, get this a bit more, you know, he seems fairly relaxed in his crouched pose here. So I will bring in the elbow a bit lower, arm a bit out, and then you can have just a fairly relaxed hand pose. Same thing here, because you get a nice red on blue color silhouette. So you can have both hands fairly relaxed and then they can tighten up a bit as he gets up. And then what I would do is I would, I will personally have him lean forward a bit. It's always like you want to anticipate, like right now he's just here and then gets going. And I think you can have a little bit of a lean forward and then arms up and then jump. It's just a bit more, so it's just not just out of that straight pose. This is a bit slow for realism. That section is a bit too floaty hang time. Also, if you look at your momentum here going this way, that's a lot of movement. And then suddenly we're sticking, especially through here. So it's not just the slow move, but also the momentum will be, he will be going a lot further. See that he lands here, where to me he will be here. You have to kind of extrapolate, well, if I do this at that speed, at that angle, you know, it could be something more like that. So that feels a bit stunted there. And he feels like he is almost ready and athletic, even though that's a bit of a, I would offset those arms, so it's not flowing all into one stump. So you can have some offsets there and then offsets and how they swing back. So they're not moving in twin fashion here. But then, once you get into this, this feels as if you got knocked out. Like the feet are too parallel. I would bring those feet back. I would bring the feet together. Probably you could get away with those, but I would definitely bring those forward and you can potentially have one a bit more bent. I don't know, whatever you want to do acting wise, but something a bit more elegant. This feels like it's just only a sack of potatoes falling, especially through here. His arms just kind of, there's no readjusting in the pose here. The head doesn't really straighten. It just kind of gets into a pose and then kind of dies. And this feels more, I'm falling out of control. Even though that's a nice pose, it just doesn't feel quite right. Where here it gets a bit better, just that. But then what's missing here is a clear pose and a clear beat of him. You would have to turn this around a bit faster and a bit more in control so that once you're here, you get to this a bit faster. Well, that's not the bad. It depends on what you want to get. I think that turns okay, but this to me would be, what's missing is the beginning beat of him straightening his arms, shooting out the web. You want to see a beat of, I'm rolling and then kind of staying in this pose, shooting, then the web shoots out and then tightens. And that tightening is what propels him forward here. So that you can have a regular rotation and then just that will make a bit more sense, a bit of a faster pull because that spider web thing is pulling towards him here. The weird thing too is that in his current form, it rotates in this straight fashion one axis and starts to translate over this way instead of feet staying here and it's being pulled, it's being pulled over there. So even through this, the legs would be here. They would drag a lot more. All of this would be more this way. Speed wise, again, that's on acceleration. I would buy if there was a straight arm with the spider web out and it's being pulled. But again, then I would drag the legs more even in downwards fashion and left. It's just the arm that's being pulled. So everything else is being pulled and it fades out. So it would be arm, chest and root, in that order. But then once you get to here, that's only way too fast. You're killing your realism here. Because as you start to shot, you're setting up the style and that seems pretty real. Even though I would make this faster, not by much but still faster, especially given how quickly you jump up here. And again, the speed I could buy if it's the pulling of the spider web. Whoa, but then that's way too fast. Right there, you're killing realism. Goes to the cartoon land. Even then it'll be too fast. You'll be really stylized to get that much of a speed up over a couple of frames. Because that feels a bit more real. Even though it could probably have one or two more frames hang time and one or two more frames on the drop. Just tiny, tiny, tiny adds. Frames just a little bit too fast right through there, one or two frames, two frames hang time, two frames drop. I know it's picky but just a bit. And then offset legs, you know at this point I will bring the legs together and then you can separate them and then one will go soon on the other. So offsets and timing. Because that is fairly realistic timing here. I can buy all this. So based on this, which I think is cool, based on that beginning, which is cool too with some tweaks, I will keep the rest within that style and realism of timing. And here I personally would add another seconds, at least half a second, probably seconds. Because we're getting, whoa. So it's a bit fast, you can probably slow it down a bit and it's almost like you want a moment of settle, like he gets up and is ready. So imagine, you know, there would be sound and you can hear, you know, whatever, creature, villain, whatever, attack, whatever disturbance on block, blah, blah, blah. And here's this, you could almost have to head down or you can have the head looking up here and then it'll head start down. See here's the sound it looks down. Okay, that's my cue. Then he jumps again with a little bit of a lean forward and then jump. And then that's here when we have a creature, maybe could be a big robot guy or slow, you know, slow moves and people running away. Ah, skyscrapers. And then I'm here. Unless you want him to keep this, I would still add a second, even if you want to keep this timing, maybe one or two frames, but still with a settle, but there's still enough urgency in there. Depends how, you know, how badass you want him to be. And then this could, you know, cut to a next shot where Spidey's here, big robot is here, that's your framing. Whoa, that's your, what am I doing here? All right, let's pretend this is your framing. Ground plane, Spidey's here, ready. Big creature, robot, mech, whatever, guys here. People running away, big legs in the foreground, running away, so there's stuff in the foreground and background while these guys have their standoff. Like that could be a cool shot. Not saying that this could be an interesting thing for your demo reel, but just in terms of a sequence and kind of ending it, kind of neat. If you want to add something here. All right, I think that is it. Good stuff, 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.