 Alrighty, here, let's play this in full. Sound. Shababang. All right. Okay, got a couple thoughts here. First of all, if you do have a camera move with a, I'm not sure if it's part of the move or it's part of the rotation, if it's just a translate, it's just the character's moving, but it's tricky when you have a plain color. This helps that change to see if it's going up and down, if there are any horizon changes, you know, anything in Z axis. So what I would do is either make this a grid or start adding stones or cube structures or something. So that when we do have something like this, we fully understand that the character's doing a turn, that the camera is doing a translate and potentially stopping or whatever the camera is doing. So that's the biggest thing right now for me in this shot. Then the cut is a bit wonky just because we're not changing hugely in terms of size. I know the placement is different, but it feels more of a bit of a weird cut. Yeah. And then here, be careful, we're having Guy left, her right, and then we are cutting it, even though it has a beginning look of right to left, we go fairly quickly into something where it feels more left to right. That makes sense. See all of this telling us the left to right into the punch left to right, even at the beginning, right to left. And then after this, shabba boom, we're back to right to left, and then the end. So you would have to take this shot and flip it. So if I can do this in, can I do this in real time? Can I play and flip? Okay, let's see if I can do this. Okay, this is like that. Like that. Didn't quite work, but hope that makes sense. So what I would do, and there are a couple of things, let's go one by one here. Animation wise, she feels a bit slow with her run, feels a bit labored. I know there's a lot of weight on this, but there's a combination of A is really far away, kind of slow, low energy, and it goes on for quite some time. I mean, that is 50-ish frames, so if not much going on, you could easily start to shot here. Just for seeing a couple steps here, it's a 39 into this, and that already has a lot more energy. That is a very like eye rolling comment because I know you worked a long time as you see an email on this beginning, so I hate to be the one that goes, well, cut it. So what you could do is keep it, take the camera, like what is he doing? You know, and do something where A very much closer, and to be honest, I wanted to zoom in even more so that we're basically like this, my tool is doing a zoom so far in. Like we're just seeing the legs. Now, this might not be demo real worthy of just seeing legs, but it could add, if you speed this up, let me just speed this up by, let's say 200% here, look at this here, it's a bit fast. How about 50% faster? So imagine you have that speed on her, and then you can already, it's already shorter, you could still add potentially, well, let me just think out loud. Again, these are very destructive notes, so it could be something where, if you're thinking about, and you're gonna add some pieces here so you understand the camera, why not have a set piece or something? Is she coming from behind something? Or is it where she jumps down into a run? Or we are starting the shot just on the legs for some really high intensity energy, and then into her that way, and then into this. So we have a lot of, it's a lot more cuts, and I hate to just add stuff to it to make it more energetic, but just that's my current impression is it's a bit slow, repetitive. Wait, is this full speed? Is it that slow? Okay, no, no, it was 75%. So this and then that. Once we hear, for this animation, he feels a bit like he's on a path, whereas they're gonna curve, and he just has that run, and then turns without leaning into that turn. Also, it's a bit odd that he's just looking kind of straight this way. I would have him like look at the character that he wants to fight. So this feels a bit disjointed in terms of what they're doing. Then once we hear, it's almost like you wanna just keep turning the camera until you end up in this composition. So for me, it's like one shot, combining this into this. Once you're here, then it gets a bit fast. It's almost a bit jump, move, move, move, move, punch, and then that's it, where there's a bit of a rhythm missing, where it could almost be a run-up into like this. No turn just yet, or maybe like a half turn or something, and then go into or it could be a turn, hold, and then go down. It's a bit more rhythm into all of this, and then it could be a bang. You know, for her, I mean, she goes, this is a weird combination of she's shielding herself, but then it functions as anticipation. Mechanically, it doesn't quite work because it's a bit too post-posed. She goes back, leg and arm at the same time, and then both go at the same time. Like there's not enough time spent on this leg being back there and pushing her forward. I mean, like there's physically, you can't really move your whole route like that to the left with this leg already off the ground. Gotta keep that leg on the ground a couple of frames longer, gets more extended leg there, and then gets into this. But what I would probably do is, he does this moment of hold, comes down, and then you gotta decide, I don't know, does she need to cover? Because it's, he's not hitting this just yet. It would be cool if maybe he would hit this and go, he would land, take a step back, and then she goes, or you don't do this. And she just waits there, arms down here, looking at him, going, come on, you can fly at me. And then boom, punch. But then what I would do is punch, slight hold for him to go, whoa, back, and then almost off balance. And then she comes in with the second barrage of, into that. Again, just to give it some rhythm. To me, this goes into, and then we cut. And it's just a lot on both characters at the same time, but back to back. That makes sense. And even this here, this almost needs just a broader, maybe not as close framing wise. And when she goes back, this, you just sense a bigger anticipation where that arm is further away from her. And don't forget, I don't know if this rig can move eyes. I don't know how much animation you could put on this, but I will keep the eyes on the prize, so to speak. This just feels a bit just kind of randomly moving there. And I will probably, it's at all, watch out your spacing, we're going slowly towards us here, spacing wise. And then whoa, you got one frame of a pop into this. So I would extend this shot. It's almost like, again, like you wanna zoom out of it. And then give this list of a pop, but just a couple of frames and then two or three frames of an actual beginning of a leap, it might be a double cut, but, or just not have that last frame, but then it doesn't feel as ramping up energy wise. You have a couple more frames here where that arm might be here, and then here, and then here, and then here. And then this shot. This I feel like is also very fast where I will keep her in the air a bit longer. It feels like there's so much energy from this to that, to that, which is nice. But then we're kind of same height. You know, if you look at what the head is doing, we're here, and then we're suddenly at the same height. So she wants the head, she wants to be higher here and go boom, boom. Right, that feels boom, boom. She goes up and then hold suddenly and get stuck. See that, we're stuck in the air versus doing a boom, boom, land. And even here, I would have a bit more of a compression. This feels really stiff, how that leg goes down. It almost hurts my hip here to land on a straight leg. I would have a little bit of compression and up. The guy on the left, boom, boom. Again, it's almost like two things happening at the same time. I wanna enjoy this while this guy goes in the air. And when she lands, he comes down. And technically that's what you have, as I'm saying this, but when you watch this in real time, boom, boom, boom. It's like, ah, it's just, it's just, you wanna separate the moves just a bit more. So you can easily go drop doing that hold. He will be higher, maybe hold this pose a bit longer. She drops and then he has that fall. Careful, it gets a bit too twin there. Or if things just kinda, I'm not quite buying those arms. If they fall like this and they drag and then you got compression, watch out in this section here, but the head would be up, boom, boom. Arms would be here, here, yeah. But then down here, that would flap down. That wouldn't be held up there. That just feels like someone is holding those arms. It's giving us a bit more asymmetrical offsets there. And even the ending, it feels a bit, boom, it's very quick. And it kind of locks in and that's it. No wonder if that could be a bit of a different, one bounce and maybe some roll, something a bit more complex potentially. And even her, she feels very fast. Is this, is my speed wrong? No, no, this is normal speed, okay. If you look at her settle at the end, that feels really fast, boom, like that. So it would slow that down. And I would probably for now not move the camera just yet. I don't mind having something in there. We could probably play with it a bit more with a bit of a tilt up, depending on how high you go with him or depending on what you're gonna do. So I understand these are a lot of destructive notes, a lot of changes. And as always, you can take whatever you want, filter all these notes, do whatever you wanna do with it, ignore whatever you wanna do. These are just my subjective thoughts and that is that, all right, 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.