 I am back. Thank you very much for waiting. You are a very patient man. I am looking at this guy first just because it's short and sweet. There's nothing to say because it looks awesome. I still absolutely love this whole beginning. You know, it's doing all that stuff and then you got the tree thing you wipe with this guy slowly coming in. Super cool. That's neat. Oh, that's cool. Slamming. Boom. Getting ready. And title. Be awesome. I love it. Love it. All right. Here I'm watching this guy and when exclusively look at the panther only. I'm just kidding. Now I got a question. So watching this, what do you think about? It was my thoughts and I was probably not clear enough that and it's not something that you have to go just throwing ideas that at the beginning when this guy is eating this guy here. What if my thought was that as he goes back, you know, this guy might come up a bit here has a slight slump to it and then boom comes down and he has his little bite stuff with the meat. And then he does that thing here, which is cool. I love the rest. Now as I'm watching it, it might just be too much. I think it could be cool contrast. I just wish maybe there was just a bit more. This was just would just be a cool beginning. So they're not just there and would be something where even if he just goes up, for instance, and instead of like that low, the head would be a bit higher so that when he goes back, you can still have the back motion, but imagine he's just a tad higher with this here and you can see maybe he has the foot in his mouth here. Foot in my disease, the foot of the tiger, whatever, in his mouth. Let's go and this plumps down, which has, you know, shaking stuff here. Something, I don't know. Um, it's kind of the only thing here. But let's go into your notes. You said you managed to get a T-Rex feedback implemented and animated the rest of the shot. I think that the head turn could use a bit of love and the arms right at the end of the pollute. That I get properly. All right, let's watch just the head here. All right, for this guy, I feel that this still feels a bit too too flat in its arc. Not that they have to make it cartoony, but it's very, very y-rotation-y if around here, right? A couple of four frames earlier on that turn. So by now, imagine he's doing sideways tilt this way. So you see a bit more of the top of the head, right? Goes over this way. And then into the, you know, imagine where then right now this is the orientation of the head, but it might just be a bit more like this at the end here. Stops if it gets into this orientation, which is cool. It's back into this. That's cool. I think that's cool. The only thing I would do here is that when the head gets down to here, so it's not just the closing of the jaw in one axis, it would be out of here. I would say on this frame, Mish, around here, I guess, goes forward and by the time he's here, he could have, again, a tilt either towards us or away from us. But it's the sideways thing where imagine you want to bite down, down here. So imagine like his jaw line is like this, right? Head, eyes, jaw line like this. This would work if, for instance, the leg would be like this. Now imagine there's something where the leg is like this, right? And he wants to bite down on this. He would have to turn his head so that it's more like this, eyes are here, open mouth, right? So first he comes in like this and then has a turn this way, which, again, you can turn it the other way, you know? I would say if you go, if he turns here, I don't think it matters too much because if he turns towards us, we see more of the eyes, which was my first instinct. But if he turns away from us, we see more of the underside of the jaw, but that would mean we would see more the inside of the mouth and the teeth, you know what I mean? So I'll leave that up to you. I think either way would be interesting. And it just gives you contrast of movement, so it's not just down in one axis. And then careful when you have such a bend that you might want to bring up the chest a bit more. So it's not so like that, but it's a bit more fluid. And that way it doesn't feel like this is the side, the part of the action here that's moving the most. I don't feel like, during all this, that's a massive head translation forward. I don't feel like it influences the chest enough. So that's kind of what I have on the head here. And you could probably delay the mouth opening so that it happens around here, but then have the maximum opening here, just so it's a bit more not so slow. It's more like he's starting to yawn, which is as opposed to opening, same thing here, where once he's done here, that's cool with the tongue and everything. Yeah, at this point, even you can have a little sideways tilt where we see more of the top of the head coming towards us. I'm a big fan of little changes in the head for more contrast. But again, this I would delay the opening, but keep it where it's at its biggest opening. So it's a bit more of an aggressive type of thing. Not like that, so like I scare her. But so it's not just like a slower ease out in the arm. All right, the arms are at the end, pull a bit too roughly, let's watch the arms here. All right, let's watch arms from the beginning. It's OK. Don't be very careful with the movements you have here. How slowly they go back. Just make sure they're not too swimmy. You can have quick movements where those fingers curl in a bit more, and this goes back just like 30% faster. Even this here, even that wrist movement. Three delicates, not, you know, I don't know. There's no reference for these guys, but this just feels, to me, it's just kind of, it would be, you know, it's simply for human, like a lot of people do character animation with humans where hands are moving very slowly, and the gestures, especially when they're just milling and standing around, it's very swimmy. And you don't really do that. You don't really have swimmy, slow arms, fingers, wrists like that, excuse me. But if you do move your wrists slowly, right now you can tell it's, you're doing it on purpose. It's not a natural move. You're kind of adjusting your wrist a bit faster, especially fingers. A lot of people have very spliny, slow fingers. And the fingers are a lot of muscle twitches, movements, spasms. At the moment you're moving slowly, it's a gesture. It's a very control. There's a thought behind it. And to me, this is more instinctual, you know, primal, reflex, muscle stuff. So that type of slow, spliny stuff, I think it's too much into a guy in a suit trying to act out a dinosaur type of thing. And I think when he goes down here, I would bring up those arms a bit and bring them in. So that, you know, they're up. When he's up, arms are kind of downish. When he goes down, he kind of brings them up and close them in a bit. Just again, just for contrast, change of posing. Now you're mentioning arms right at the end pull up a bit too abruptly at the end. Now are you saying these guys here? Or are you talking about these guys? I actually think at this point, again, they're too slow and they have too much of a beautiful arc. Because you're doing creaturey stuff, so you want it, again, like more muscley and reflexes and instinct and stuff like that and not nicely animated with really beautiful arcs back there. Takes away from the, hey, from the creaturey feel and also kind of the weight. I feel like it's getting, for some reason, a bit too light. I would treat those more, you know, it's post changes with, you know, a somewhat amount of a quick change between poses, sometimes just their dangling, not that it has to be like floppy, what's the word, ragdoll type of thing. But I think this is a bit too much. To me, this feels a bit too animated, too controlled. So I'm not sure if you mentioned these guys, but that's kind of what I'm seeing here. The animated dead body reacting. You should talk about the beginning. Like I said, something with his leg would be cool. The rest is cool, I love that. Tried to make a start on the panther, but I have been, oh, all right, sorry. That is your panther fix that's coming. It's coming. As you get into it though, what would be cool as you reveal the guy is that A, it wouldn't be in a twin pose like that. It would be like one guy down, and then one guy would be up, where, you know, it's just finishing the last step until here as he moves forward. So you would have a bit of a different pose, and then the next foot can come up, next paw, where the doggy like, but so you can push it. You know, I would probably keep this guy low and have this guy then up, all right? So you're switching it, so it's one and then the other. And also because that leg is towards the camera, you can see more. So I wouldn't do what you have here where the left, his left goes forward first, but keep that guy planted and do the right one up, and then reach and do the opposite, which might screw you over, but only just because it feels for contrast, you would see more. But, you know, it's not a shot killer. So if you're already far into it and you do the opposite, that's fine. My main thing would be coming on a non-twint pose. That's it on your note. So for me, I'm watching, for instance, now, feet. Is that, I'm just curious if there's any way we can cheat this leg? It's a tricky thing that leg, it's silhouette-wise. Like, this is cool, but even here it feels like this arm flows into this. So you have kind of a tangent, overlapping tangent type of thing, where you would, it will feel better when, you know, with that arm kind of here, and this arm could be here, so that this leg is standing on its own visually. So that wise, going back here. As this piece goes up here, that hip piece here, you want to definitely have that part of his butt, you know, pelvis top part here. You want to see that rotate over. You want to see a little twist, turn over with a little tiny bit of shake. You know, it might go up and then you can see a little belly shake. Right there. Also, if you would do that, if I'm looking at the height of this, it feels like you're doing this and it feels like you should be doing it down and then up. Because he's taking us, like he's in the normal stance, right? Let's put in here, normal stance. Takes one leg up here, this guy, right? So the root dips a bit and then he plants the foot down here, which pushes, you know, that part of the leg up, which pushes the hip up, which then has this go back up. This makes any sense. So that's cool, right? Goes down, that's cool. And then, oh, push up here, which you have in this, right? But then you want to rotate the top part over and at the same time, bring it up a bit higher. Just a bit looser, not crazy enough because you want to make it, you know, too light. Just a bit more, so it doesn't feel so isolated. And I think in terms of now that we got all the action stuff in here, it feels like this leg is also really IK-ish planted throughout the whole thing here. It's never moving. And I think what could help you? How about this? I got an idea. What if, so you wouldn't have to move those arms forward too much, but you bring that leg fairly back, right? So they're fairly close together. So that when he takes his step back, now it's a bit more balanced. At this point, again, the leg is a bit further back, but we're still getting kind of a triangle pose. It's a little more balanced. So that when he goes forward here, right, on this, you can take the step forward to what you have and maybe a bit further back because you're also forming a tangent right here with the toe and his head. So if that foot would maybe get up to here, that could be a good thing so that you have enough room for your arms for all the clean silhouette. But that way, you have a little bit of a step forward as he goes forward with his body because as he leans forward here, you could argue that then he's taking a little step again to be more balanced with those movements. And that way, you don't get that feeling of when I'm scrubbing. That leg doesn't move at all. So that way, we'll keep it just a bit looser. And probably at this point, I would have the tail around here this way. It's because it feels like there's a lot of up and down on what an up and down one axis. I think there is some more side to side through here, but you know, goes down, up and down a bit, side to side, but it still feels up and down and down and up again, down and up again. It's very repetitive. And you know, the thing is, and this is because the supervisor on Jurassic Park 4 that she showed us some sketches and stuff where he was kind of me drawing some things. And he had a lot of the tail actually down and he reserved these guys really just for specific action poses and tension and everything. And you know, he's relaxed, kind of looking around, he's eating. I think we can reflect that in the tail by keeping this low. So it's more in this kind of pose. And then you can bring this up here, which at this point would be the first type of contrast. So it's kind of low-ish. And then you can have maybe a little side to side, come back down to his low here as he goes back. He does a little side the way you have it coming towards here. So imagine before that, he was a bit more like this, right, down. And then you come into this way, you might even curl a little bit more so you have somewhere to go. Hook into this that you have here, keep this the way you have it. That's cool. And then keep it like that. Like that's kind of a, that's a cool pose for the very beginning. And instead of going up here, you would go back and swing it a bit more towards us. It's kind of a, it's still kind of a downwards curl. So that way, again, overall it has, he has that kind of relaxed pose. You know, there's, that's a lot of muscle, muscle and whatever fat, I don't know. So it's a lot of weight on it. Oh, my mouth is freaking out. So it's like, I like you have it here. It's more of this type of thing. And then once he gets attacked, tail can go back up and do more aggressive swings. I think that could be a cool contrast. And then as he goes forward, if you take that little step here on this guy, then as you get into your detail stuff, you can have a little toe up on this. And then back down, you know, where it's kind of a re-grab almost, like re-digging into the soil, just a little tiny little adjustment. So it's not just always flat, flat, flat in here. Also, as he goes back here, you would then have a little bit of, you know, as he moves back and potentially a bit sideways, you would have a slight tilt over this way on the foot. So like this part of the toe will be flattened, but then this guy here will be a bit higher, if that makes sense, right? So it's kind of flattened here. This guy's more like that. And then the other guy starts to have this pose because the whole thing here rotated this way, if that makes sense. And then you got here the rest of the foot. I don't know why my drawings have a delay. Good times. Yeah. I think that is it. Yeah. As always, let me know if you got any questions and if something makes no sense. But that's it for me. Nice work. 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.