 Alrighty, let's watch this here. Oh, okay, I still feel like that sound cracks me up here. That one. There's something about the combination of that with a hit sound missing and then how it flies off here. This seems very fast. Actually, is it flying? It's behind this. I'm not quite buying the physics of this piece here. I'm gonna turn off the sound. And it's also a bit tricky now with this A at a piece here of the tree. Not like super tangents, you have overlaps into a little bit of a tangent there. And I guess it helps with the silhouette but I will give this a different color than default green. I'll actually take this out and maybe just keep it lower and have like maybe surrounding elements and just keep that silhouette nice and clear starting to lose some of those elements. Again, it kind of works with the color as a silhouette but I feel like in terms of clarity I would just take that off or just blur it. I don't know. There's something where even this feels almost too busy. I mean, I can see clearly this has texture and it works. It's just something where it feels like the compression of this video you have these artifacts here, then you have same thing here but simpler look. This almost feels like a bit of a blurry texture there. A lot of detail. It seems like separate elements slap together that don't quite fit together. This is super picky in terms of looks. I mean, I should be concentrating on the animation but that's kind of, I don't know, I was going to bring that up. Maybe we can do something else with that. Camera wise, watch out. There's some wobble right there in Z. And I'm not quite sure. I'm seeing a little bit of a changer. I'm not quite sure if this is just the lens. There's not too much of a parallax. So this might just be a lens change but once we get to here it is a translate out probably so we can see this whole creature. I'm not a super fan of the camera. At this point, there's just something about the sudden rotation where I would wait. I would wait for the creature to really motivate this. We're a bit too in sync with it. With that slight change in horizon as well we're kind of tilting over dipping here. With that sudden translate out it just feels a bit too CG or physically to have something like that. I would do something where you do a lens change. You just zoom out to just the wider lens. And maybe what you'll have to do is lens that with the lens that you like and then just zoom in which will flatten the image to get this composition. If that makes sense. Cause I think this seems okay. It doesn't have a crazy distortion towards here or any type of scaling issues or not scaling but where it feels like it starts to scale because of the distortion. So to me it feels like keep this lens then go to here without that forward translate just zoom in to get to that same composition. Yeah, just for the camera. This one has some fly path issues a little bit. There's a bit of a sudden stop right there. Just generally not talking about even the angle and the physics of this is just boom right there. Watch out. There's a forward translate that has a sudden stop. That seems pretty good. I think that seems all right. And then that feels if that's the push off area it would be here. It feels like we're suddenly translating forward through there. That's probably my dog in the background. Probably as in you probably hear this. And then you have a sudden stop through there. Again a bit of a hiccup stop there. And at the end it feels better path wise. Although I sense a little bit of a sudden acceleration and a change there. That exit is nice with that line on the tail. But as you go down here you can see how that base of the tail boop suddenly goes up. So there's a bit of an upwards pop there. Watch out. It feels like the wings are going up slower than the flap down. And sometimes it's a bit even. You want to make sure that with wings on the way down they're slow because there's more wind resistance as this is open. And then on the way up it's going to be faster because let me get to a frame where you have it here. Because they are folded in. There's less wind resistance. So up fast, slow down. And then you can start offsetting these a bit. They're a bit too in sync in terms of when they go up. Yeah, it's okay. The drag of that seems okay. But this going up here it's a bit straight on a path. You can draw that line. It just kind of follows where it feels like even that dip down, even though that's cool you can do a bit more complications left and right with a bit of a rotation. It's going to make that a bit more complex and not just on one straight axis. A path wise and here rotation wise down and up. And you might have to come in maybe a bit like that. Just give this a bit more interest. Same would happen. It would be happening with the tail. So everything feels a bit too one axis. Don't forget the offsets there. That seems pretty cool though. Watch this. You're a bit locked in this head pose right through there. You get to this point. Then there's that path hiccup. And then here we're locked, locked, locked. And then you go up. So keep going with some post changes there. And then it feels a bit too less of a drag but more I am willingly putting my head up here for that drag over that impact versus a natural up. Like a post change, a nice line of action through there. And then a bit of a drag. Just feels a bit too exaggerated, overanimated. But I do like the offset maybe a bit strong. Let's say let's keep it for now. And then I would try to find a way to have a bit of a sharper impact through the hips on the backside and to the pelvis in the backside there. Just as you land to really feel that impact and stop. I know it's gonna be a good amount of cushioning but right now feels just a bit slow up. It's a little bit smooth on that background. This watch out your path, a couple of things. We're going out this way and then it suddenly stops and goes straight up. And then it's a bit too, even though it's a cool silhouette just looking at this, it just feels a bit broken through there with looking straight at us. I would still keep a little bit of a three quarter look like that where you can see this side of the cheek but it still feels a bit fast. That section through there, fast. And even this down a couple of things. Hey, I think I would ease into that a bit more. So just that a bit slower then. And you can have a perceived speed by opening the jaw there fast. But the overall head move that will be a bit slower and watch out it's really, really fast. And then suddenly really, really slow through there with a flat path. So feeling a bit like this, pathwise versus where you can go not that low but just smoothing out that arc. And then again, some complexities through there where it feels like that's just the head here. So maybe don't go as open. So maybe only till here, but with some variations and then get some sideways tilts and shakes and that I will probably lead a bit more with it sideways tilt in there versus leaning with the chin. And so that's making again that head change turn here, that path a bit more interesting. And here you can see how it's a bit too open. It gets very straight here. It's almost like there's a translate down with the jaw. I'm not sure. I keep spending a long time since I used that rig. I almost cheat that we're teaching up here. So it doesn't feel like this big open two with a translate. I don't know if you have shape controls here. I know it's a membrane, but giving this maybe a bit more of a curvature will take away that blocky feel. And then watch out that up is a bit straight up and then stop again. It just mainly when you have moves like this, I will play a little bit more with side rotations and Y and an X or and whatever and Z whatever rotations you have in there. And I feel like again, when you have this here and it bounces off and this feeling super light, especially with the contrast of this being super light and this over there, I don't buy that the weight of this is going to hit the head and make it go this far. You know, move over this far. Not quite buying that. I would reduce this by a lot, but still give this a bit more weight and then watch out. Pathwise really, you're going here to here. Hold on, let me get a bit of an onion skinning. So you're down here and then up here. And it's only low here than the impact. It feels like the next key will be here. To really, whoops, to really get that path. Even that first one feels too low. Go higher here, keep that one. That one would be a bit higher or globally. I mean, reduce everything down so that it hits here, but just watch out for that path. But yeah, not quite buying that. This will be affecting the dragon that much. And then we are a bit broken. Watch out. Pop in the shape through there. Right through there. And that starts to feel a bit too broken. Gotta watch out for your overall body lines. I'm still a massive fan of this though. It's great. And yeah, the camera, also the speed of all of this just kind of kills the weight. Give this a bit more frames in the turn, but then delay the camera. Still like that hop though, that's cool. It's both a Wyvern dragon, as I believe, as they use wings and arms. And then he got that, what I said before. That is a bit too much forward, keep that on that path and maybe a bit slowed down. But this feels better in terms of how low it gets and then with the push off. That's interesting. I do kind of like that. I was gonna say maybe curl this, but no, maybe that's kind of like a, because you haven't curled before and after. I'll keep that kind of cool. Yeah, and then like I said, the sudden forward, a little bit of a hiccup there. And even that could be a tad slower, couple of frames slower and then watch out that sudden bump up there. And that is that. It's cool stuff though, little picky things here and there. Some general notes regarding just past stuff. And that's that, thanks. 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.