 All right, let's play this once through here. There's some sound No, no, no, no, no, no, no, this is very very bad. This is really bad Alright, so I like your new idea. I like the audio choice and everything I like the animal so I got a couple thoughts Mainly is that you could technically start the shot here No, no, no, no, no, no, no, and then technically you You just add whatever set you want. The reason why I'm saying this is because When he goes back here It's a bit I'll be careful that he doesn't look at the camera. So breaking that fourth wall unless that's something that you really want to do where You know the specific reason for looking to the lens for comedy or something But it's a bit subtle. They almost like what is he looking or not looking so be I don't I personally don't think you need to But again, he goes back needs to escape. It doesn't happen. The animal doesn't get it. He waits He was oh come on again. It's to camera But my main reaction is that He could say this to the creature and it would still work or he could say to himself and it would still work We don't need this but Since you are having this I would I would have a bit more fun with it meaning We see this There's no no, no, there's no an action. I mean you could add potentially an action But again, since this is clearly, okay, we're on the set and this is an actor pretending what I would do is Have that character in a different in a different attitude. It could be it could be whatever whatever you all I could be Totally bored looking at the watch or you know cleaning fingernails or whatever a classic thing that you're not there and then an action Or just doing nothing and then then changing into this or Almost like Jack Nicholson style in that Shining making of I brought this up here. Let's play this Look at how he That type of thing obviously it's much more How the guy here you have to go. Whoa. Hey guys. What's going on? Anyway, he continues on there Not that he has to be that emptied up But it's something where he's maybe hopping up and down and shaking his arms just getting ready and then Get into character and then you do all of this all of this all of this gets into character And then here he still tries to be in character realizes something's wrong But also with this I would have the creature just you know take one or two steps and maybe move towards us Or a bit away from us. Maybe a bit more. Maybe probably a bit more profile and then It's more him frustrated Looking up and then looking around and not not at us is looking at the set looking at You know stagehand at the director might be off-screen over there. So I would use that a bit more and then Come on and then oh come on because to me it would be Profile you can do the big thing of he's looking at the creature creature goes down And then you do the big C curve reverse. Oh come on So it's kind of push those poses a bit more or since you are having control over the auto And you're adding your own pauses it could be more like anger and then he gets off The thing and then stomps away or just something where we can see again a clear break of he's trying to stay in character He's trying to act and now he breaks character He's back to his own self and this would be just a fun thing of showing the differences between This is the actor in character and this is the actor normally and now freaking out So that's my main reaction because if you just keep it like this again, we don't really need this You could just basically do that have this reaction You know and that's it well, that's again totally up to you Other than that if you keep it like this again, I would just push this a bit more. So it's not just this rock Even I'm even just even if it's just lowering the head and maybe Bringing the butt a bit up and maybe one step just a bit more life It can still have this kind of not so smart demeanor, but And then go back It's almost like you could have Getting ready and he thinks okay now that I can continue and it gets back into character or gets back into being alright Let's go. Let's go and that was just the anticipation To go down there and then realize oh man, and this could be something where maybe what does he say? Oh, come on could be head down Holding on to this You know how to just to hit the creature but like oh come on or just you know I would just look for a bit of a bigger change at the end pose wise, but it's not just this Seems a bit bit little And again, I think the fun of having a character in green screen and Us as an audience knowing that this is on a film set I think you could push the fun of it a bit more and doing just a few bigger things And especially here either way character not in character when he gets here It's just weird that it just stops I Understand that potentially you want to go for a big whooping move and then contrast But I would still probably go and then maybe a little bit of pause and then maybe You know hitting the the boots in here or maybe tapping the creature just like one more thing of like come on Let's go go and then it's really that big pause of hmm what it's gone Those just to me don't be the biggest things if you keep everything the way it is a bit more movement that have a bit more fun with the creature So it's not just so still and then sitting down and it's something where he gets on there and with one more One more thing of come on. Let's go. Let's go through either a reshuffling getting maybe closer to this or or sitting back up again Something where it's a bit over pose adjustments, and then that's it even though it's will make a bigger thing out of the end And it's up to you if you want to look into Into the camera, but yeah, so these are all my overall thoughts from a technical point of view careful, these are clearly I care hands with Everything was very translating. There's not a lot of rotations, especially on this You can see how this rotation. There's no rotation. It's basically all goes down and the wrists they put the notice It's just early There's something to to look out for later on especially once you have this elbow movement without affecting any Rotation of anything in the wrist is an I can sign at this point. It's pretty broken the top view probably be like this the wrist Just throw a little thing I don't think you want to you want to start the shot with something like this or go That was not quite there. So once you're you're further along You know going up and then maybe yes to tighten here So it's so finger stuff and I know this is not now I'm just saying for the final product that would just get some good detail stuff in the fingers there Alrighty, 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 you get 16 submissions either way like and subscribe would be awesome. All right. Thank you