 Alright. Let's check it out. Play it in full. We switched to two gorillas and by we I mean you. I didn't do anything. Alright. Cool. I think once you get to here. I think it's okay. I think since we already have a traveling camera so this is a quick thing. What I would add are a couple of rocks here and things and later on if you can like little set trees whatever you have. But it will also help us in terms of just the travel of the camera. So once we get to here, this seems to be like a translate pan and tilt. And in here it looks like we're suddenly going this way. Translate wise. And then we go back here that also looks like a translate. So what I would do top view of those are your gorillas. You can translate the camera for a while. Then I would just ease in and stop and then do the rest through just tilts pan and tilts. Meaning you translate till here. And then once you're here, I would just stop the camera. All the translates in the graph. Come to a stop. And then through here, when they go this way, don't translate the camera, but keep them framing wise to something that's more like that or something like this that might as well be centered. But I would just reframe just to rotate. So if they go here, again, no translations but rotate in Y so that they he doesn't crowd that corner so much that side of the back will be maybe here. So there's a bit more that this starts to feel a bit uncomfortable where I'm not sure why we're needing this much space. This would work if something else would come in stomping or an explosion or something. And then here that's fine. And then the exit is fine. All right, that's just for staging. And I think generally the idea works. I'm just going to have to really look at the reference in terms of weight transfers and the speed of it, especially through something like this. So once you get to here, and I'm looking at this one, sorry. So as you have this, when you start taking those steps, right, and I know this is an early pass and it's rough, but that's when you're going to have to look at the reference of how does this massive creature handle a jump back and a compression. But once you get to here, you can see how nothing is moving in the hips, the chest, that arm, those locked moments you're going to have to work on. Or moments like here when both arms kind of go up with the chest at the same time. So those are all the refinement passes you're going to have to get into. Even on something like this, after he does, bam, sideways slap, like that force is going to impact him a bit more. There will be some shake in there. And then this drop down here is almost a bit slow. It's not too bad, actually. It just suddenly seems. It's almost too relaxed. So by slow, I meant it's more like, and then it's okay. You don't mean it's just there's something where and I'm asking you mean and it's not live. You can't answer me. It's always so silly. But after this massive confrontation and slap, this drop and then one to starts to feel almost casual versus stronger drop and then maybe a faster, stronger, more tense move forward and then mouth open like a roar. So so you can start deviating from the reference and get a bit more confrontational and a bit more creature reacting at this point here. Then on stuff like this, when you have arms that are somewhat bent, right? I don't think that what is this one frame of a push up this way is enough to bring that gorilla all the way up here. So you're going to have to play a little bit more with a drop and anticipation. Maybe he leads with the head up as well. But you want to make sure that those mechanics and the weight works and something like this. And then especially something like that where this feels like the gorilla is on wires and is being pulled up and then kind of drops. It's not clear if this is a push off that sense the gorilla over here, but then it will be initiated through here, right? Because that impact seems to be here. So then it will have a rotation back with less of a lift. This is really high. If you want to jump, then you're going to have to show that there's a bit more of a compression and a jump off. You know, it's not going to probably as high. And that is also a bit soft that landing, especially with here. It feels like you're easing in almost with hands. Same thing with here eases in. So I would just kind of look and push the reference and moments like this, I would tweak it where maybe that leg would be further out with a foot roll. So you have, you know, you have a bit of a cleaner silhouette, even if it's cheated. So you have nicer negative space, you know, so it's not so overlapping here. And then like this is a bit unfortunate with a shape like this and they're very twins. Pose is just that that step out just feels slightly weird. Then you got the upper body all connected as one rotating. And I know this is rough. I'm just pointing out the things that I would look at as you continue on stuff like here. And this one gets hit feels like you have a fast move away from us, right? Which makes sense because that's the force that pushes that one over there. But then after this, you can see how you have that rotation in the root over there and it stops. And then it's only just translates down. So as you initiate and move over here, it has to continue with our momentum and slowly recover. And how is that going to work? So it's going to be more of a side step because that just feels mechanically a bit impossible to have such a quick move. And then suddenly it stops and there's no recovery. There's no bigger change of direction that's initiated through maybe this step for balance. And then moving over this way is the same thing. You move towards us, towards the camera. And then it just suddenly stops. So that sudden stop of momentum and movement is always a bit weird, loses the weight. He's really off balance here and takes too long for that step there to regain the balance. So there's just a little bit of some issues of weight here and there. Same thing on that. On this, having the head here. Hey, that head is a bit too IK because rotation is the same. This, this, there's no rotational change. It seems like the chest goes back and there is like a head align or head IK function on on this rig. So that just feels a bit disjointed. But overall it feels like the momentum is initiated to go back this way. But then suddenly it stops and it just a quick translate forward. And it doesn't quite work physically because technically the way, you know, if it's right over this leg, there's no way he can advance so quickly. That leg would have to be a bit further back so that there is a force that can push this way. Right now it's so much straight on that that amount of speed doesn't quite work. They would have to be more leaning forward, maybe a swing up and then the leg has to be further back to get that directional force there. All right. So that's the stuff I would look at. But it's cool. It's cool to see. And again, I would add some background pieces so we can understand the camera moves a bit better. It's always tricky when the surface is just one color. And then like I said before, once you get to hear ease into the stop of the camera translate and then don't move and just keep it all under rotations. And then I can do a pass once we're closer on the stage and everything if you want on a handheld camera. And I can show you how that will liven up the whole thing a bit more and give it a bit more of a realistic feel. All right. That's it. Thank you. All right. There's an email. You can sign up. You can start whenever you want. You can submit whatever you want. 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