 All right, you got a shot here. Let's check this out. Oh took it hard. It's a cool robot Done done All right First thought is what are those robots? There's our cool heads too. Of course. I want to ask you what is this all in Maya Who's this blender and if it's Maya, what is that rig? I love it So watching this There are a couple of things that I was I thought was really cool sometimes timing may be a bit fast But sometimes also a bit confused and I think there's a general feeling of the camera being too low Even here if you look at if that's the very crappily drawn half there you go already pretty low more on the lower side and then even here we are Low we are against fairly centered Staying pretty centered gets a bit better right through there But then we're still kind of lost if as if we're low looking up, but then giving us so much room I was expecting something to come in And then especially here Middle middle middle Really low like I'm waiting for like choppers or jets or something in the background So if I would this is going to mess up some of the framing here, but if I would bring this Well, I'm trying to grab my frame. There you go. So if we have Trying something here. I know this is going to be a bit odd But and some stuff will be miss frames, but if it's like that And we're a bit more in the upper third Even here we're low and centered again But I think that it's like something like that to me framing wise feels just a bit more comfortable Then what we have here that would be the first bigger comment in terms of Discompositionally what's going on then shot wise and bring this up a tiny bit So we have he does move to the left fairly quickly. It's okay It feels also a bit center right heavy with nothing going on here And it's almost to me like you want to have that character bit three-quarter here again I generally is like a rough starting point. You can always composing differently But having things in in third helps in terms of the composition and the balance. So to me if that guy is more three-quarter running towards him Could have a nice right left dynamic there and Also kind of free up the silhouette a little bit. It's already a bit crowded and then we go straight into an overlap Where we kind of miss things and then watch out the shot starts with a bunch of stuff and it's a big I'll take a few sec. I know what's going on. But if you want to be super clear, I'll be careful because we have Imagine this is a different shot. We're ending and we're cutting into a new shot like by now I'm like, okay. I get what's going on and then I'm gonna be confused about this more about that later But it starts with I have to register right away. This is a guy running or is this a robot? Okay, it's a robot cool. Okay, but then it's so from behind and not three-quarter that we're missing some of the silhouette aspects Where this gets a bit muddy a bit muddy there and then whoa now we're overlapping like what is going on at the same time While I'm trying to register this I'm seeing a turtle that jumps back Okay, wait, why is the turtle jumping back and then I'm seeing this here That comes from different angles meaning that this comes from up here This comes from a bit higher This comes from the middle like what is shooting here? I'm fairly confused and then as it continues. We never really get a resolution as to what was that? So you start off with one two three things right away that you need to understand where it's not super clean and clear Then while this is happening This took me a while and I needed to step frame through it when I was watching for the first time I saw this guy running and it uh suddenly falling down. It's like what was that? It's like a manhole. Is there something in the in the street? There was the hole. Did he just fall in? Like what happened here and then watching this and framing through this I'm going wait, what? What's that? Oh, okay. There's something. Oh wait. That looks like a weapon wait. That's his and then I frame through back and Only then did I realize what happened. So the couple tricky things As he goes back, it's never really clear that he grabs it. He suddenly has it Here that's probably the cleanest frame that you have but even this seems to be busy Is this a double thing and what is going on? I don't know what What that is Do you have two or is that a multiple? I'm not quite sure what is going on there But this this is your chance to be as clean as you can because the next one we're overlapping with this again So silhouette wise we just have this and then you have a bit of a tangent with that building there And that's that's the only time we kind of see the weapon So again, if you go by thirds and imagine we had on this frame Turtle would be down here Shell body arm silhouetted weapon robot That would be cleaner But also if you shoot something this strongly and again, this is the confusing part But there's so much going on you already have weapon weapon So I would wait with multiples and what's going on There's some stuff going on till here and if you have something this strongly from the side The head wouldn't continue on that next frame that head would be down over there And not back because it's maybe it's a lens But it's so flattened that I'm not getting that this guy is way in front of this guy to cause a backwards move So me this would be sideways which will also help because if anything is flat to camera and you're rotating forward or backwards We don't really see a change in the line of action But if you have this guy going to the side by now the body could be over the head would be over You know arms up and it's it's a rotation this way that would be cleaner Also watch out. It's a bit strong in that in that drag there a bit floppy after that The jump itself is cool also comes a bit out of nowhere I think he's kind of leaning back and then suddenly feels like there are strings like a stump person being pulled up Versus you're doing this and then moving down to compress squash anticipate Full extension jump up. So I will have it down and up The timing of going back Landing is cool. I don't mind that And going straight into this. I think given that he's immediately fighting. I'm not sure that he needs to check I Think it could be cool to be here Here next frame already three-quarter this frame almost profile and then we're definitely profile He's already looking at this and not down. You mean that there's this thing of We're looking down for too long. I would already have the head up. So you you show that he's super aware Spidey sense almost of what is going on. He knows this guy's done I'm already looking over to the left and looking up like I contact towards this That's cool. I like all of this And then I registered the weapon more here. Maybe it's because of it helps with the color change This helps all of that. I'm probably just bring that building down or tweak it So we don't have tangents an overlap stare and I do like the That pull down all that's great. I think from here on Could work It's a bit strobe through there and I think what happens is that you have That turning maybe she Stabilized that a bit sooner because what happens is that you have an angle this way Angle this way now we're initiating a turn this way But it's kind of staying put but now it's going the other way and Then it's suddenly gone. So I would just keep this Cleaner in terms of like this like this like this and then like that and then down I mean like it really you into this This guy coming in Watch out that we're not too Too overlapping Stuff like that is nice and clean This one had a bit of an odds quiet moment of It's like we're what is he doing he's pushing him off up like this going back And I feel like there's there's a lot of momentum in him going to the right and then he suddenly hits his wall Feels like we so much movement backwards and no leg back there to compensate and stabilize and balance This is an odd frame Where we can see that angle this way Momentum this way. How is he suddenly stopping and moving forward? This is a there's some linear keys in there I keep it a bit sharp. I think if you do something like that and that leg Actually goes back so that we are crossed like this Kind of like it is like this, but yeah the other way We'll be just mechanically just a bit stronger to read and I think if you're doing this with him and then just kind of rests here It doesn't help that he's like the exorcist dead here. This could be the moment of him going like Like he's being badger like come on come on. What are you doing here and then imagine him almost yelling enough and After making space he just pumps himself up. It's almost like the mission possible You know bicep pump whatever you want to do here where it's like enough to if you have shapes here I can remember But something where at this moment of okay, I created space Let me finish this and then he goes into that a bit light. It feels a bit light how he grabs him Into this and we're kind of missing what the other arm is doing down here. We suddenly have hands here Into that throw It's almost like you want that hand up here Here here Into that maybe the hand out here. So we really understand and see that flow Right now, it's kind of we in it. That's it. I mean I understand what is going on It just it's just a bit more for clarity and it might help you to have More buildings here in the back, but then put a hardware fog and just have him hazed out So they're barely visible, but so that we understand what the camera is doing once we're here and we're losing this line Let's go back here. All right any lines like this Here we don't know what the camera is doing Is the cameras only stopping reversing translating only now when he comes back we understand So it's gives a bit of a an extra floaty feel. I'm not quite sure is that because of the camera is that him That's how it felt so light too. I like the alertness here. That's all cool You just seems very cross-eyed worried And even here where I would really push like determination. It's it's very it's very mirror It's very symmetrical, but also he's always worried sad Kind of bored kind of bought the fight so this could be a bit of a stronger Like I like this just because there's also a Diagonal in there Not bad Then we're getting a bit too straight straight, which is it's just a bit flat And I think you can have this a bit more at an angle and that's kind of that Yeah, having stuff in the background is gonna really help to see what are those camera changes and depending what I mean You could also kind of how violent you want to make this But if he you know if you do the whole thing of yeah enough finish And this could be the moment of grabbing this the other hand is here And then he just rips this guy apart just kind of pulls the the torso off So imagine this is now cut off cables coming out Leg is here cables out here some sparks sure this falls over this way What else right to the next that could be kind of cool But that's kind of that alright as always subjective notes feel free to take whatever you need and that's it for me Thanks. 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