 All righty, let's play this in full first Now if you know what you're worth that go out and get what you're worth But you got to be willing to take the hits and not pointing fingers saying you ain't where you want to be because of him Or her or anybody Cowards do that and that ain't you you're better than that Alright now the weird thing is this is really technical thing. I'm only hearing this from the left Headphone side here, but I checked when I record this and then I when I save this whole thing out It does play on both sides. So whoever's listening to this. I think you should get this on stereo wise, but Dustin if you could check on your end that your file is playing on both sides Maybe just my recording, you know puts the whole thing together as a stereo Something something. Well, I don't just check if you could check on your end now If you know what you're worth that go out and get what you it sets the cool render and You talked about the render here, I told them says only find the show me like this doesn't have to be a play boss It's a neat render, but the thing that happens when you look it like this Hey, it's very long, right? So we have now if you know what you're worth that go out and get what you're worth But you got to be willing to take the hits and not pointing fingers saying you ain't where you want to be because of him Or her or anybody Cowards do that and that ain't you you're better than that Yeah, it's really long. I'll have to play this Friends I didn't good switch to seconds here, but what is this like between 15 and 20? Seconds come my main and this is I think this critique is gonna be less detail focused in terms of Animation I mean there's some things like when you go through something like this where it feels like this Whole part of the character is moving as one piece See this everything's kind of parented and kind of a driven by this swing And then as you come back here to For all this is now one piece with this countering. I think it's generally it's not that I have Problem like animation wise you got some nice shapes. You got offsets Maybe sometimes I'll maybe bring down that arm a bit lower and it's one of the higher to not have Just not that it's tangents right there, but the silhouette could be just a bit cleaner Lots of bimbos blurs nice where you want to be maybe it's a bit much. I think this is where we cut that in half or anybody It's just most of the time. It's very locked to The whole thing moving as one piece with a little bit of breakup, but it just feels a bit stiff Same thing like through here and the other main things if you scrub you see Arm gesture arm gesture double arm gesture arm gesture arm gesture again One arm gesture double gesture and then that's it So I have a couple things to me. It's very gesture heavy Even though it's not waist there and I appreciate that it gets a bit closer, but it's still one of those where it's from here on up and He's I mean he's if you take the gestures out. He's basically locked in one spot on Um, I don't know if the if the background helps. It's not like you have to show Someone here. It's just to me seems more like a typical Shot where there's a character in a either empty background or in this case like a big big environment And just doing his lots of gesture thing with a very long clip so Like you mentioned that you're okay with all the notes. It is very destructive but to me my first impression was just 20 gestures, I would just rethink the acting choices and I will cut this up It's just not making as long. It's just it's just very very long to look at someone that just stands there and gestures if there's something where You know if it's if at one point maybe he would walk further away and we just see his back And maybe he leans on this like you can you can use the set if look at why did you use this set? And how could we use this to your advantage is there maybe? You know a bench where he could sit on and then you can change your mechanics a bit Now if you know what you're worth that go out and get what you're worth But you got to be willing to take the hits and not pointing fingers say you ain't where you want to be because of him or her or anybody Cowards do that and that ain't you you know I could be a moment where him or her or anybody He goes or anybody like this could be a moment where he turns away where like he's almost done with the conversation Towers do that and he says all of this until And that ain't that it's still from the back and that's when he turns again you You're better than that And that's when he turns again towards whoever character is there and then he says like I'm trying to find moments where We can get away from this where maybe maybe he's pacing left and right And he turns away, but it's also be mindful like this is the loan. This is per specific acting Style and look and I'm curious what he's doing. I Think this is one of one of the Rocky movies. I would have to check You know, what is he doing in the scene? I'm curious how the scene is filmed so that yeah, we are avoiding You know avoiding copying things, but That's kind of my broader critique So it's less about I'm less. I'm not really worried about you know, your your animation You can get it to fine-tuning things, but it's it's in a good spot. My main reaction is it's just a lot of gesturing It's a lot of movement like there's never really any contrast because he's constantly moving around, right? So if we do this you have a big gesture here, and then you got a big gesture here like this already To me is just as big That's what you have at the end. It's even bigger Like this could be almost the biggest thing. That's not even halfway through the shot So my thing is what can we do to make it more interesting in terms of The character using the space also the character in terms of mechanics. So that's not just standing and gesturing This is something where we want to start potentially, you know for like this, but something more more Close-up and then he walks away so that he ends up maybe in something like this, right? He starts off closer has all this and it's just all in the face and then he walks away turns around and Maybe you know again if there's a bench, maybe he could turn around and sit down does all this and at the end He stands up to say this I just looking at stuff like this I don't want to dictate the whole thing, but I would I would think about how could we break this up in terms of More visual interest which in turn I think will force you to abandon all those gestures You just have to meet it to any gestures. It's very subjective, but that's just my impression there And I still feel if he could cut this up Like half the length. It's just a very very long shot Now if you know what you're worth that go out and get what you're worth But you got to be willing to take the hits and not pointing fingers saying you ain't where you want to be because of him or her or anybody It's already really long, but that could be just a section towers do that and that ain't you you're better than that And that ain't you Anybody powers do that and that ain't you You can't use that ending which is mostly yelling not pointing fingers say take the hits and not Fingers say you ain't where you want to be because of him or her or anybody Worth, but you got to be willing Now if you know what you're worth that go out and get what you're worth Cowards do that and that ain't you Try to find a moment where now if you know what you're worth that go out and get what you're worth That could be a section right you can cut it just from this and it's it's either less yelling That's the other problem. He's constantly yelling. There's not much room for contrast either performance wise But let's just say we use that section, but you got to be willing to take the hits and not pointing fingers Say you ain't where you want to be because of him or her or anybody Cowards do that and that ain't you you're better than that Yeah, it's tough to use other sections Now if you know what you're worth that go out and get what you're worth that You yeah, I don't know I don't see how you can use That beginning part and then use another smaller part is worth. It's such a contained thing except this small piece there So I would say I'm gonna leave it at that. Let me know what you think. Let me know if you're willing You know if you want to explore Adding things to the set so you can use a set more potentially different camera angles You know, maybe it's also something where we can we can think about well What if we start on something like this and then we cut to a wider shot, you know and maybe Maybe you could start on something where imagine this is more your framing and then you have The other person Foreground, but it's all blurred out. Right, but he is talking to someone and then as he gets into something I'm gonna take the hits and not pointing fingers and all of this where he gets into his diatri where he starts You know yelling and yelling yelling What if that turns into a profile wide shot where one character is just standing there listening and and now This character is here and pacing around left and right and it's a full-body shot You show walks and everything and then He let's go back here. Maybe at the end again, like I said, he turns his back towards this guy This is the back, right? We're watching this in a wide profile view and then we cut back to Courage do that and that's not what I said before where imagine we're like this But that it's the back of the character of this guy, right? This is back and it's the back of the other character, but then you give it a turn Where it turns towards us. We're then now Now he's like this again the back of the other character And you say all that last line maybe without a gesture and it's just all in the face So I don't know I don't know I was throughout some ideas, which is what you think Because you know, it's very destructive and it's it's a lot of stuff. You would have to redo It's just these are just my general impressions. I could be totally wrong I would definitely ask other people as well should never just get one opinion, but my main thing is it's really really long It's stuck in one spot and it's extremely gesture heavy. You can see this as you scrub It's just constantly like there's no contrast. It's always always on 10 yelling yelling doing things And there's no there's no change of any energy You know, it doesn't it never goes into any form of a more of a rest or neutral pose So that so that this makes a bigger impact because it's always like this. It kind of takes away You know from any any moment of oh, that's that's a big contrasting moment that he's making a point there So, you know, he's constantly flailing around and that's a bit it's a bit of a bummer All right, that's kind of what I have. Let me know you can email you can see what we can do with this. 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 a like and subscribe would be awesome. All right. Thank you