 All right, welcome back to another animation analysis and this time is the trailer for raya and the last dragon And if you need this channel, I'm gonna preface this this is a moment where I will analyze things but also react And now it's not the the kind of overdone animator react type of thing But come on sometimes there's some cool stuff and you're gonna hear me say oh Instead of this frame has a line of action of blah blah blah So it's gonna be a bit of a mix and yes, I do those things and if you new to my channel I do things like animation also like these I do after analysis clips I do lectures and rig reviews and proc reviews all kinds of things So if that's something that you like, maybe you watch this in full you feel like that's cool You can subscribe of course if you want to but let's not waste more time Let's go back to the beginning and I'm going to take a look at this trailer We have a tweak on the Disney castles for the castle up here though That's cool. I'm always a big fan of changes in logos. Why not? All right, we got our first glimpse of a character. We know it's D character But I'm looking at things like that's cool. I'm always a big fan of little extra piece of animation That's cool too. You got to look at the properties of that how it's animated There's a bit of a give there however that structure is of this But you have to look at it's a slight move this way I talk a lot about one axis to my students about movement so that you don't just move out your arms One axis and then your body kind of stays put you can see There's a little bit of a move this way A bit of a settle there even on a small shot like this Not fully extended to be a pop on those shoulders. It's all important mechanics. So look at we have a wall That's not much I can say about this wall here Finger animation Yeah, it's cool. You can see the The overextension on the fingers and then coming back and settling into another pose with a slight hold You can see a little bit of movement there Same thing here. This is also just showing you the full Mechanics of if you will be not uncommon for a student shock to pull this and you have our movement going this way And you might pull cloth or anything and maybe some movement there But you have to think in terms of it's not just pulling this up here It's also this arm pulling down to get that that Cloth piece glove whatever you want to call this. I'm gonna be really about the term here Pulling up there, but if you push that arm down It is going to also have an effect On the chest now This is a bit exaggerated in terms of how much the chest and arm move because as you can see it's also A lens change also kind of zooms in a little bit for extra dramatic effect But it's cool to see you can also see how the fingers are Slightly straight here going into a squeeze and a bend And you can see with a little relaxation and change in those fingers This goes all into the frame by frame work on a close-up that you want to do and again Full body mechanics of if I move my arm it is going to affect the chest and the torso That's cool. Cool to see here That is going to be always a pain to animate wherever did this I was full back for props And constraints there, but it's still you can see this here. It's not just Arms moving to do this there all kind of stuff going on here that is really important for students to look at in terms of Little details. It's all very fast. You don't have to be super precise on those fingers It's also in shadow and dark, but clean silhouette here at least it's not so much important here But clean silhouette on extension for the re grab and you can see this as a re grabs and arm goes up It is all going with the shoulders going up and also common that students do a lot of shoulder movement Actually, not enough shoulder movement in student work but when they do There's a big danger of just animating those controls up and in that sit and you can see here How is there's a stretch in the chest here in the upper body region and moving forward a bit? So again, we have to think about if you move an arm it is going to fan out Throughout the rest of the body in terms of influence. So you can see this here. All of that is moving. It's not a separate move Just in that arm. You got the shoulders going up You got a little adjustment in the head and because the head is moving You can see all of that is moving as well. It's cool That I'm assuming I wonder if anybody who did the the trailer can comment here curious Is that something that gets in later? This seems simple where you have a controller here to move out the cloth here It'll snap zoom or cut there actually Into that or you can see this here again not one axis. You don't want to go down You can see this and as the hands off-screen let go and maybe go up You can see how this goes up as well You have to think about what are the mechanics of Holding this and even if it's off-screen and you take them Nearly let the grip go. How is that going to affect the rest of the prop there? Hold on. I'm framing through this seems to be like a full stop. Maybe they cut out A bit late. This is like nothing going on here a little bit tiny bit or not I might be looking into things more prop stuff This might just be animated by hand scale But you can see this is not a solid piece This is how this is going to have a bit of stretch and you can see this here how the hand Comes out and overshoot boom and it comes back a bit A slight settle there all kind of detail stuff you want to look at and by now You know what? I will say you pull this it's going to affect the chest the shoulders the head All of that's going to do an overall change in the body You can see how all those things are moving actually even you might have a push on that fist on the ear And as that goes away you can see that ear expands there That's cool asymmetrical because you don't have it here. So lots of little stuff to look out If you're doing If you're doing that type of body animation and detail work You can see this here a slight ease in on the eyes there and of course the secondary Stuff with some dragon overlap there. It's cool All extra things Not distracting it's a little dark enough that you still have to focus with the light to be on this Is a little bit of animation there It's cool to seeing that that close up. Then we got this very bottom mechanics heavy trailer This is there's not much to see here. It's all in the shadow silhouetted Still cool to see That's always good to see when someone jumps don't forget You need a full extension for the push-off on the leg That's again something that I comment every now and then on student work Make sure that when you jump and you know if you go into a squash for like your that's a horrible drawing And not that i'm better at this here, but you squat and to push off But what you don't want to do is then jump and have your legs still be bent Like that's super weird to jump like that. So whenever you jump you still have a full extension on your legs Which is happening right here. You got your asymmetry and clean silhouette. You got that That drag on the fingers with that arc there That's cool. Nice hand pose there slightly broken up It's still technically simple for a clean shape but a little bit of complexity there as well It's for any of you doing hand shapes and you can see there's a difference between this one and this one again for asymmetry Ooh, nice there at the end nicely posed out. It's a clean silhouette Same here nicely done with the lighting you can still see the character the slight stretch there Into this almost reminds me of a animation mentor character Is in terms of there's a ponytail the character. Anyway, that's could be any type of character, but just give me a I thought saw something similar on a animation mentor show real But clean again clean silhouette. It's also blurry So you gotta be very careful in what you accentuate because you can't see anything too much Just like stretch again full extension on the landing. You could offset by one leg or not There's a slight offset there And then you have that's cool too. This is for anybody who's doing any type of jumping stuff You have to think in terms of that's your arc and the weight and momentum of this coming down It can't just stick and it's cool to see how it squashes and goes back up But again, it can't land. I mean it could land and go this way I guess because that's your surface and goes this way But there's still a bit of a forward momentum in there and you can see this here How it goes up to the left. Ah, we cut out too soon. It's a bummer I would have loved to see more of that settle there But you can see this even here slight movement in this you want to have a slight compression and a squash in there You can see it pivots off the toes with that ankle out. It's really nice. Lots of cool detail Even at the end slight negative space there It's all very clean. It's cool Environments always always like seeing stuff like that Goes into backlit for silhouette. It's a tough shot though. It's not Super clear with the background. It's a tough one to bring in your silhouette So probably standing nicely still to see all of this. You're definitely clear here All the little draggy overlapping stuff on her hair This almost cool tightest and full here That's also pain to animate whoever did this Painful but cool. You feel the change in elevation That change in the fingers. That's cool And even at the end when it settles and pushes you can see a slight compression there It's always always tricky all that detail stuff in the fingers getting into another view and a full view Nice. Look at that. You can see how that cloth is going to pull down the nose tip. You can see this here That's the bit of that if your rig allows for that type of nose control or stretchiness We could even be pushing the lip down a little bit and come back up. That's cool Extra all little detail there Slight ease in on the eyebrows nice and subtle Think a little bit more of a Concern face there cool too. Don't forget breathing Little exhale there not that the mouth is open But again for anybody doing that type of stuff most of you have students are watching this You gotta really think about this might be a close-up But you can't forget the rest of the body even if his frame like this Think about what is your arm doing as this arm comes down You still have to continue with that arc so we can see this and as this arm goes back It is going to take the chest over this way and bring down that shoulder a little bit Just don't forget just because it's off screen. You can't just ignore that. There's not much to see here Indiana Jones Oh close call. She needs to get a Jones hat to pull back here Cool. Yeah, definitely very bottom mechanics heavy very silhouette heavy In this trailer. You can see this also nice with the toe up there and you can see Going back and see all the drag that has to happen in the hair That must be a pain to animate whoever did this Rolling with stuff like this. So it doesn't intersect and has just enough movements That's also cool cool post to a little extra bend there Still clean We'll stretch and a change in the body there. You can see how the chin moves just a little bit That's cool. I was like that. That was a cool thing in the place in real time to see how it settles See that it doesn't stick. It goes strong. There's enough because again, it's it's organic. It's fleshy. It's muscly A little and it's not a foot down that has pressure where it might be like this might be in the groove here This is going to slide a little bit It's very cool It's a little extra settle there again. Nice clean hand pose Give it something new and you get your Disney sidekick. That was really cute. Lots of cool stuff here. I look at this and I think oh cool You're gonna have all those plates moving all those controllers. I have to look at this. I want to animate this And cute. Oh, it's so cute Look at that space in real time. You can see the unfolding Super cute. You can see all the offsets and that look at that. You got a little Jaw arc there and this Big dilated pupils for cuteness. Super cute. I'm already a fan of this Nicely framed you can still see the head but you can see that little let go Of the hand coming off a little bit off the ground if I scrub That's too fast when I look is there even stuff in the knee probably All kind of body stuff, but it's cute. This will be super cute to animate. You got your arc Going into this a little bit of a Stretch there feels like a little bit of a stretch storing or squash there cute This could have been an intern probably a one who animated this or a senior person who got this done 10 seconds roll Rolls that ball cute Nice look too. It's just cute there. Let's play this in real time Now look at that. Yeah, even on something simple like this, you think ask me a ball You got that forward momentum and it's going to stop Hold that for weight. This still has to have enough weight to change direction and come back And it changes into a different orientation because he wants to go into this cue opens up so we can see The eyes first and you can see that the lean is going here Just enough again just enough weight to go back hold and then come forward That's cute too. I like this that it goes half first Into a slide here offset with this one staying in this one sliding Cool, that's cool. I like this plays in real time It's great rhythm if you look at this just the the overall rhythm of the roll going back unfold and move forward run well Little steps cute little soft cute steps because you got the head and the whole shell moving as one Give you that cute little waddle. It's cool. Let me look at this one. Let's get must be moving at one point, huh? Let's see move those moves Yeah, there you go. You did Little sound there which freaks him out. You can even see a bit of a squash and stretch there goes up with a little bit of a flutter for contrast And the steps are a bit fast. Let me just check Look at that A bit fast. Yeah. Yeah, it's all about changing in timing and contrast. It's cute Even have those little guys moving separately. I don't I like that stuff. You might go who cares all of that detail stuff Again very bottom mechanics heavy. Here's your Move forward you can see how the elbow all of that is moving I just actually had to talk about this today and yesterday in my q&a's Uh for the classes this talking about the amount of frame by framework that is needed and thinking about if this body Goes down the compression on this all of that how it's going to change the wrist. It's going to change the fingers All that extra detail you got to be able to go in there frame by frame and look at the mechanics and what is needed It's cute. Let's go back here Just a lot of work, but even something like this you got your anticipation to go back Even just a little bit will push off on those legs to come back up and then close the shell For a roll there of the slight lean as well on the side Even that see I love stuff like that where it's this could be tempting to just go a To b and then that's it. That's my b. But now he got a little bit of here Actually, it's not that what does she do? Oh here it hits this and goes up and bounces there And again, just adds just a little bit of contrast something else a little a little change I can show this to one of my students like a student is doing something very similar Where there's a cat here and there's a little rolly ball that hits the paw of the cat that bounces back It's a good reference how that bounces back there Again, we roll back. Ah, we cut out too bad Q q q and you can see the timing of the roll and hold What and drop it's cute this how much faster drop here going into this Really stopping pretty into this super cute. I love that too. Just that little delicate handling You can see how she goes around it doesn't want to grab the face just goes around that For a cute little term. There's so much out you can see She does that move right it's going to move that elbow up Which you know, it's going to change that shoulder you can see all the changes here in the body all of this It's still animated as they're leaning weight shifts pivoting off the side of the upper body And then you have that push forward still a slight change in the thumbs and in the wrist That's just the amount of detail You're going to put in it's cool cool cool weight shifts Always someone going to do weight shifts where you're going to have your Change in posture and your pelvis as you push this Cool, look at that. Look at that. I'm always when I see shots like this I go straight for fingers and details you can see the details there offsets in the fingers This is very classical. I don't know why but that's especially for female characters I mean two fingers in and the outside are out Seems like a very very common pose you see all the time. Well, here's you another Body mechanic shop again, this is something that I would show to the students you bring your arms up I'm repeating myself, but it bears repeating was it's something that a lot of people miss where you bring your your arms up It's going to bring your shoulders up as well and you can see that the compression they're going back It's going to change the upper body all of that again going back into you move this arm It's going to influence the rest of the body. Even the head has a slight Offset they're not offset, but a tilt back and then moving forward for that You want to stretch forward bring this out give room Right, it's going to be easy to pull this and give make a room here So you move that forward and bring the head forward with that. It's great Clean silhouette on everything. It's very cool. Let me see the impact on this here It's cool. Look at that. Look at that It's compression. She leans forward. That means she has to hold this tighter And you can see the grip you can see the change in the fingers. It's subtle. What is there? Very cool This could be your modified weight assignments She still has to pull and push And again, nice. You got that lean or at this way for a nicer line of action. It's asymmetrical. It's not all static Close up there Title Even this I know I'm harping on this but it's taking pose than that. It's something also very common for students. It's asymmetry Don't mirror your poses You can see this this goes down this goes up even though it's somewhat mirror It's okay. It doesn't always have to be crazy in terms of asymmetry But it already helps that the movements are different and a slight Slight turn in the wire on the head so it's not default straight towards us I mean also she is looking Right to left like that's the established language throughout all of this right to left right to left right to left So even on something like this It is consistent in terms of right to left even it's almost looking at us That's the screen direction. It's been established. Should they're very consistent with that? Oh, yeah As far as the love animation, I love seeing effects and the renders. That's cool Also really interesting. Let's play this in real time It goes up Look at this here. This is actually a stream that goes up. It's cool. Now, you know what's going to happen here. I'm looking at Detail you can see here a little slight change in the toes here and the compression you can see right there Compress on the toes coming off with a nice again not One axis a foot roll in your channel activated has a move up and then a slight twist this way pivoting off of here I don't know to me all that stuff matters just giving it a more of an organic I don't say random feel but just not the typical mechanical one axis CG feel now she goes up. You can see that lean back here slight move there In the feet again Technically it's your triangle hand pose to some degree as I can sloppily draw this But within that you still have a detail so it's not too complicated But still complex enough to not to be too simple And you can see that slight little change of slight little rotation there a bit higher there Even a bit bigger on that eye. They're giving us a slight triangle opening up looking this way Clean silhouette otherwise I'm saying it all this by the way. Of course, it's got to be nice. Disney animators. They know what to do I'm just this is for me an analysis their reaction to things because I like it and I want to talk about it But if there are any students watching this actually today a student mentioned that they're watching my Soul trailer analysis and hopefully this is one of the reasons hopefully this is helpful to Students watching this. I'm not lecturing any professional animators here. They know exactly what to do This is more for people who are learning and maybe my subjective insight here Or objection that'll be action but observation could be helpful here Cool here. Look at that That's what I talk about in terms of color silhouettes, right? It doesn't always have to be all presentation in terms of yay clean body silhouette This darker in front of that lighter piece there gives you the color silhouette We still understand that that is the shape of the hand and the fingers Cool. Cool. Cool. I like it again slight asymmetry change in the face Tricky to do let's put this in real time. You got your very subtle move with the weight shift and then The stretching it's almost like you want to stretch into like an awe thing So you bring down the shoulders and you bring down those arms. It's like arms out ready to fight Somewhat an awe maybe distracted where everything kind of streamlines everything goes up into a bit of a softer look, but then concern. Oh, well, this is a time jump here, but Got that looking to reveal tata clean silhouette, of course See that to me totally fine. Definitely mirrored, but totally fine also has a very strong triangle pose for stability Like a double triangle. Why not? That's cool. I'm always a fan of close-ups here. You can see a little slight tilt I'm a massive fan. If you listen to my analysis, especially if you remember any students watching this that I have in my class You know, I'm a massive fan of head accents and slight twists and things So it's not a not one axis, but just like a little little head accent is always cool Little double thing here with the eyes. This is in real time. Watch him Nice just a little look here. What was she doing there? Tricky it's called keep alive Still enough going on and you can see the slight changes in the mouth shape Still enough to make it squishy and alive. You can see this even here Slide changes. Yes. Yes. Yes fingers. Love it. You got your offset there Squeezing and you can see how it changes the prop You can see it here. Elbows go back. Everything is moving little detail stuff that just gets overlooked This is totally a trailer for me close-ups on fingers Look at that. Here you can really see the offset of what each finger has to do And as it compresses you can see the roll the roll in the prop That is going to move backwards and you can see here the tension all in this it even squeezes the cloth a little bit crazy crazy detail nice clean silhouette and definitely going into heavy heavy bottom mechanics and this is cool because one of the things that I mentioned when people do Creature work or any type of action It's very common in student work to do a flat surface Because it's easier and you can animate that easier and football is better everything But that is cool. Like I look at this go. Oh, that's cool. I want to look at this frame by frame Because now the animator has to look at where does it fall? Is it slippery? I mean, it's also wet right? It's going to look at the consistency or the uh the texture What this is all made of you can see this in some of those moves It's cool. That's definitely a Foot contact cool. Look like that too little nice silhouette there going up pivoting off of that toe Again always clean silhouette Nice bottom mechanics into a turn. He is very relaxed. It's a test. It's a test Ah, so subtle, but you can see that lean over Give it a bit more compression on those toes. Uh-oh Electric you can see that little spreading here of the toes as it goes up into a foot roll Again, this is so a trailer made for me. That's for close-ups on compression There I say I would put it more more. I want more. I'm greedy more compression on the toes as all of this Moves over that foot here. You got a little compression there Maybe even a rotation. I know I think the foot roll goes out this way and then goes this way If it's off like that cool, though, I'm still doing this Here you can see The change again lots of detail working the toes there. I say push it push it push it I know it's very arrogant lecturing here people are doing I just love all that stuff here got your Drag in your cloth again. Let's go back here clean. This is so made for clean silhouette there I say I'm gonna be very sassy here and say move that wrist over with a slight change in the finger So it's not like this. Oh I said it. I said it. I would change something. I know they're picky. This is cool, too. I love seeing this here. This seems to be Probably later. I'm gonna assume this is when she is younger because she clearly looks older if I go forward here That is an older face and what we have here. So training also If that's not a a tip off young and little And then where is it here? Where is it old? And older there you go. So clearly time has gone by But it's cool. It's cool to see it's go back forward here the change of environments and we get into more quick cuts and different changes here You got the weights don't forget as it comes down That's enough weight to go down Come back up and you can see you can see the squeeze in the fingers This is really really heavy of phone hands and fingers and toes This was cool. Let's look at that in terms of camera. So as you Think the characters on this it's going to be uneven the surface uneven This is the shell creature here uneven. So look at this. This is a poe from the character You can see how the camera has a slight wobble up and down because they make sense That's where she is on right on that thing one It's nicely done. It's nice camera. Oh boy. We are back To toes and fingers you got that On there I can push there I can see that you got a squash You can see how it's spread out for that compression on that. Oh nice Into this, you know one of these days I would love for disney to do a star wars movie fully animated lightsaber Fully animated disney style star wars movie. Come on. Nice. Look at that It's blurry. So you got to really push those Those eyes, but you can really still see that that intensity. I mean people are really low here But you read it you got to push that on something that's really fast Nice. Look at that held Very cool. Sorry. I'm going to nerd out on this and just go frame by frame And look at this. Look at that nice It's a nice little stretch. You got the curvature still in all of that Into that impact. Oh and you can feel that here too. Watch that Goes back. It's very cool It's very cool. I love all this stuff. I don't see this now Now it turns more into a trailer reaction than A trailer analysis, but I love it even here just It's tricky because you have stuff going in front of the face But you can see this we can still see the eye still see the eye at least one eye It's not completely hidden. You still see there that Going into That shape you can see the line here really exaggerated face But you got to push that in a shot. That's very fast and blurry It's very cool. Ooh Different things that is the crowds team That could be again a shot for interns. All right, I want you to place 50,000 characters put in a facial expression and some keep alive. There you go. You're an intern. Let's go Gotta do that though. Someone has to do it. Ah, we're back. We're back to more mechanics Again, again, even with the blur, you can see how it's not really covering the eyes It's gonna be very careful when you do something where with any human I mean also creatures, but we look at eyes We want to know what the character thinks it feels and you do too much that covers eyes It's gonna be tricky. This is cool to see how even this like I said here It's not really covering the eyes too much even on that turn Look at that. There's an eye. It's always there. We can always read the emotion of the character. Look at that That's awesome. Love that pose clean Nice stuff there. Anyway nerding out here. I love this As much as I tell students, you know, like when you do martial arts or dancing It's not that interesting just because it's mostly movement I'm the first one to say if you do some cool action scenes and you still got emotional You know, you can see what the character feels. It's still super cool It doesn't always have to be all super character driven with decisions. It's I can absolutely Nerd out of martial arts or just action scenes Stuff like that full extension. Look at this nicely posed all the way down to the toes Into that and then you can see that impact Get a drag in the head change of direction toe goes up. Look at this. You can see all this all of that Has an absolute Tweaking of every frame Ooh tricky one here has to go frame by frame with that foot lock here Oh, she means it She is it. Oh, we go back. All right, but back into the other place seems like two specific locations Oh, it goes back into crazy stuff. I know this just really has devolved into just me Reacting I'm just a fan. I gotta say this like for me this trailer just all mechanics eyes and feet and fingers in details You still want to see All of that Even something like this. It's not too simple. You still got Each frame here is thought out into the lines and silhouette and movement. Oh, let's see here. Oh The compression and impact. That's cool. Put us in real time. I like how the head states watch this end Ah, it's very short tough to see But it was cool where it's not even touching like there's nothing The ripple she's still in enough control to not touch this. Oh, is she touching it? Is there something about the water that doesn't react? Is that a story point? I don't know fingers Fingers fingers fingers, but there you go offset. It's not your typical default rake finger with even Um distance between the fingers and all of that you got to think about There we go. We're back Think about the fingers or my my train of thought was cut off because I'm seeing detail You get all the facial shapes there And she has to go down as it's a patient to push up even if you don't see it That's still the mechanic of going down and pushing Pushing up here Let's see. Let's see again Quick frames blurry. You still got to push. Oh, nice. Look at that full extension stretch Nice Into that. Look at that. Also beautiful pose again Sometimes you can't pose out for a clean silhouette, but the lighting here is helping for a somewhat lighting color silhouette It's very cool Slow motion and It's a hard hit there. It's very fast. That's what you want to animating that fast Trailer cuts Action action action, and then we have this come to a stop. I'm not putting in the sound, but she says my name Is raya, but she's not really saying it. It's a voice over But I don't put in the sound just because Copyright reasons, but hey, hey, hey fingers offset. Yeah, yeah, you know, I love it Even on the unfold you can see how much more the index is doing here Again back into a simple shape, but within that still enough complexity It's cool Cool design looks cool. I love that world. That's cool. I'm I'm definitely intrigued. I love this Oh Transition That's nothing. That's nothing the animation, but hey, look at that. You got your pose. It's not default You got a slight lean over there. You do something like this a slight tilt For anybody watching this any students you can analyze every frame. You can always get something out of each frame raya and the last dragon and then we got the cutely sidekick Like that I look at this ago. All right, if a student on their reel is missing a weight assignment, there we go Here's the weight assignment. It doesn't have to be a character lifting a box and it's Boring to watch probably also boring to animate Then I would say just find something like this and I mean don't copy But it could be a creature or something else and look at that I mean this covers a little bit, but you can tell that there is that push Going forward compressed here nice line of action pushing this up Into that pushing off and again, she has to push long enough To then let go of that foot to have enough momentum to go forward because you can't let go of that foot too soon Because then there's not enough push and drive in terms of the balance to make this work But the thing is this becomes more about a cute moment there, especially when they collapse here for probably you can see how collapses you got the Settle there arms comes down here arms come down for the for the swing But also the compression on the creature. Look at this cute little wiggle on the feet on the legs here Compression on this come back up here into that super cute. That is just fun to watch and again technically for students This is a weight assignment Then you get a little bit of pantomime lip sync. You think you can't quite I see pantomime We can't really see the lips in too much. It's that small Acute there with the sound here Again, you're not hearing this but It's a little thing. So, yeah A student goes, I want to do a weight assignment. What should I do? I would say listen Focus on like don't do a weight assignment where the box is here and the character is here As in we don't see the change in the spine as you go from Grabbing something for a verse reversal on the spine right as you lift something really heavy You want to see this more in profile at least three quarter. So that's great. It's great staging And it's not a boring box. It's something where whatever is a push or a lift Has a specific property because it's round and as you're done with the pushing It's going to roll and because of that this is going to happen. It's just the fun extra little detail or just like a fun little Added, you know objective or just or a tweak on the weight assignment as I'm Trying to find my words here And that's it. What what what? In theaters march 20 21 bright quote-unquote theaters. We'll see hopefully things will be better or Disney plus at one point probably maybe maybe not. I don't know. But I'm pumped. I like this. I like this the content I like the character. I'm already intrigued And you might go another psychic character, but you know what? I love it. This is on brand. This is what they do But I love it. I love the look love the creatures. I'm in there. I say I'm in and that's it. I'm out as well. But that's the end That's the end of my analysis slash Reaction as some people say you're not really commenting. This is more reaction. It is I'm totally reacting and here's the dragon Hmm, we don't see too much though Nice that was the patient there and Doing this and that tail is going to follow our path It's very cool. Awesomeness till the very ends. I'm in. I don't know. I think it's awesome Let me know the comments. What do you think? I don't know like and subscribe. You know the usual drill This is the end like and subscribe if you want to or comment or not But that is it for my analysis. Thanks for watching