 All right, here Dragon thing. Oh, hold on, hold on. So this helps, but I would still have, if you take this out, your grid, I have no idea what's going on. And especially here, like, are we looking, this seems to be where we're on the same level and now we're tilting down to see a top view. But if you take all the grid out, it's gonna be a bit tougher to see. So I would highly recommend you have, like actual volumetric, do you put some spheres for clouds or something? Or even if you, maybe it's like on a hillside with really tall trees and things can go fly by, so that when you do wrong, you have a clear perspective change with things coming at us to show what's going on. That'd be my main concern. As you go up, I mean, this is still pretty rough. Your wing poses are right. Just chest involvement, leg drag, stuff like that. But as a general idea, that's cool, yeah. I mean, here it seems like he doesn't care anymore that this is flying by. So you can do this and then he might do like a, and then bring up his legs and tuck in his legs, right? And then do this. And then I will probably wait since this ball, this is almost hitting him, right? It looks like it's hitting him. You could wait a bit and maybe at this point, maybe lower the camera a bit sooner. My point is that when he goes down, it's all very simple. So what you can do is he goes like this and then on this, this turn, this flap, the making go down, he actually spirals. And that spiral, as he goes away, might also help that he, you know, like this, all this whole thing turns this way and then the next rock comes through. So it's just kind of spiraling away from that, that guy. That way it's not as simple. This is cool, but you're really hugging the lower right frame. I would bring this over here, this guy over here, so that his head is here. It's a bit more balanced. And a tricky thing is I would then, okay, I would do it differently actually because he's so huge, he drops them, which is cool. So what I would do is, compositionally, I'm gonna reuse this here. And that should be better. So your guy, all right, so now I'm gonna draw over this where your head is here. So a little bit higher, still around there, but keep this size, right? And then that way the legs, the feet are here. So we see what's going on right now, the stuff is hidden. So I would actually, sorry, that's actually wrong. Keep your head here. But since this is the middle, I will bring in your other dude around here, catapult here, and then you can kind of keep the dragon ish where it is. But that way, you definitely have a clear view of the feet so that you can come out, bring out those claws and really grab them. We get to see what is going on. Right, and then even as you go off-screen, you would still have enough of the head in there. So that way you get a nicer, cleaner composition. And it's not so forming tangents here and clipping that with the legs, you don't know what's going on. I don't think you would see enough and it also cuts the dragon off, whoops. Where is it? Cuts the dragon off, like right there. So you would, damn it, you would by zooming out, you would give this a lot more room. Again, head will be here. And then you would see more of the wings, just be a lot cleaner. And then as you move forward, that'll be all okay. Now probably you can always swing it and chuck him over it its way. So you have head here, dragon here, little guy, ah, it's always like here. I'm gonna throw you back into your castle or whatever. But compositionally, I think this will be better because otherwise you're very right heavy. Like everything's going on in here, which, I mean, you might argue well, but if the head is here and looking, that nose is gonna point nicely at the dragon and this falls, he could drop here. You could, you could try it. I mean, I'm not opposed. You can also, if you do all this and drop him, start panning the camera over. So at the end, there's a slight camera move that motivates the audience to go and move with us to the right and follow these guys. And you know, it can also take a little step at the end so that maybe the guys at the end is here looking this way, dragon's here and then the guy goes this way, which could also be really cool. Because if you look at the dragon, flap, flap. You know, like during all this flapping, it's not as interesting because it's basically just flapping. So you could easily have this guy change. You'd be like, whoa, he turns around and does a little bit of a move over to the right. And then you can do like a big, a big, maybe he stops a little bit and yells and then drops. So when the dragon goes this way, we're looking here. The human moves over here, the bigger human moves over here. So the audience is not looking here. How do you get the audience back to the dragon? You stop the dragon a bit to like a crazy move or something like, whoa, what's going on? And then he does a very deliberate throw away. And then it gets out. Something like that. I don't know, food for thought. Let me know what you think. 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.