 Alrighty, got a shot here. Swash swing, okay, short and sweet. What is this, 108 frames? This is based on reference. Let me check here. Swash swing, swing, swing, cool. MC Hammer pans, I love it. Now let me quickly double check something. If I bring this and say viewer horizontal, bring this in here. Swing, swing, swing, swing, okay. It's not exactly sticking to the plate, which you don't have to, of course. And it's taking what, the first step pose here, then you go up, which would be on the right side, something around this. I do love how it's kind of a slight shuffle over with a long, like a lean into it. Look at that, that's cool. I like that, when I bring it back in, but then I would almost go, back in there. In your case, you're bringing this up like that, which would be this one, and then, turn, turn, turns, turns, which in your case, you have that in there. Yeah, where are you taking this pose on the right, which is there, into, up, and that's on the right side around here, right? Swing. Not sure you need this pose here. Let me go back to the other one. So if I look at this here, I think what's probably gonna help you, like the way I approach this sometimes, that's when you have reference like this, right? I mean, it's actually people boring and bringing it back up. There's some good stuff here, right? You got all of these. And since the camera is not moving too much, I know there's a bit of a follow, especially at the end, there's a pretty good way to just put that into Maya and then just trace this and get most of this into your scene quickly, and then you can start deleting things. Right now, I feel like we don't have enough information. You're talking here about, let me see, you got the golden poses, you need fresh eyes in terms of appeal and timing. It's just some of these are fairly rough. I don't mind when you have, but then here, it feels like I'm really dragging. This needs to have either more information to understand why he's lingering back so far here for so long. It just feels like it's dragging out. And then is this, is this a swing? There's another sword here. Swung, was that a move down with an arc in whatever way to deflect another sword? Because then after that, it's this, but it's not this as in, I'm here, swinging now, swing, to move someone's sword away so that the person is now, you know, whatever it is, like, oh, it's over there. The sword has been pushed out this way. Oh, and the person is open. So now the character, put the on and skinning on here, can go swung, but not this, right? So if I take this and I draw this fantastically as I always do, sarcasm. And then do this, I would not go back into that pose. I would now go forward with like a nice, long, elongated here, and then swaw, sword into the face, sword into the chest, you know what I mean? And then really lean forward to attack that person. Like I would, basically if you're looking just for an exercise, I would look at taking those poses and just pushing it in terms of the timing and the intent and all that good stuff. So what does this guy do? Right, so he's got a little bit of a taunting stab and then he is shing, potentially, there could be a sword hit here. Sure, that he's blocking, but the thing is he's doing this to nothing. So the timing wouldn't really work because I would go shaw, hold, and to this. And then what is that? Like I would take that away. That's more like you do block and get away. And then it doesn't do much to me. That's more like a posturing. It's more like you wanna go into this and then straight into shaw, into that. That makes sense. Actually, let me open this in quick time. And I always wish that someone would read you a quick time to allow for the copy, paste, and edit function in players. I can now take this and say, all right, well, I like this. I don't like what he's doing in the middle here. That's a bit boring. Go straight into this. I like that little double step there. It's gonna pop, obviously, but still, I want him to go from this to up here into the next. Where are we gonna have anything before? No, it's not really that usable. So it's gonna be from this to a pop. Cut this out. And it's more like taunt, to block, and shaw. You know what I mean? Even this, you would really need to taunt. You can basically start from here. Like it's just started on action, right? Then it's back, block, get away from me, shaw, shaw. Death strike. But even then, I wouldn't even have that pause. It would just be going into shaw. What is he doing? He's get away into straight into that thing. Yeah, I mean, you can even, then I get it's obviously even poppy-err, but cut out even more just so that you have this feeling of shaw, shaw, shaw, right? Okay, I looped this. It's the hockey for looping. Oh, I got it. But when you edit things, it messes up the footage that you worked on. See that, all the skipping stuff? Yeah, that's good old quick time. Shaw, shaw, shaw, shaw, shaw. That to me is what I would take in terms of the ideas. There might just be a return, right? And even this starting pose could be tweaked, even though there's a good, let me change tools here. It's a good lean forward, but I can't go frame by frame with that tool. But anyway, you have that. And then I like this idea of, when I like that he is, like I said, there might be blocking of another sword, but he's doing this while leaning forward. So there's still weight towards the opponent. I think that's pretty cool. Then it could be almost like get away from me and then right into that, right? All that flourishing into the next one. So to me, that's what I would take. Don't save. And when I look at this, it gives me kind of a, okay, so that's the first top, but then it goes immediately back into a block where it's almost like I need to go backwards from this to this to this. Just timing wise, it's gonna be, I'm attacking and immediately back. Like that's gonna take a lot more time in your animation because you're moving forward. Now this leg has to push the body back. And you don't have, obviously, I know this is just stepped, but even if you add stuff, it's gonna take a while for that. Let's go back here. From this, the root goes screen left, then has to stop and return and on top of that, push up to go into this pose. And then it feels almost a bit boring where you go up with that lean. And then we stay where I would almost either you go further and he has like a broader get off into a strike down which would now be more in the middle. And then even this would be leaning forward into take this out into that. But that, like I said, would be really leaning forward. That's kind of the thought that I would have looking at this, where I was kind of looking at what are the actions, what are trying to push? And then think in terms of rhythm, timing wise, where it's am I attacking, go back and show. And that last thing where you're blocking or retreating from something, hold for a block and then flourish into show into a fast attack. That type of thing. And actually speaking of pushing reference, funny enough, I just emailed someone. Let's see, do I still have that link in my, I do not, hold on, I have it here. I had someone that just asked me about pushing poses and someone else that was asking about how to have the workflow be faster. And my question was based on what they sent if that was based on reference. And the reason why I'm asking all this is because Ricky did this fantastic thing here. Just turn this off just quick, where you see like that type of thing. And I frequently do the same thing here where you take the reference and I just wrote with a reference. This is so much faster, just put that in there. And it's usually kind of like, eh, it's okay, but it's not pushed, right? Like he says, your rapid rotoscope always lacks energy when you do that. And then you start pushing the timing and cameras and ideas and he pushes even more with cool stuff like that. That's really cool. I love all that. So then you can see here, this is halfway through where to push things, line of action and so on. So that's what I would recommend for some reason that I have just a frame in here. I wanted to see if I had the links in there. But so if you take this reference, look at what's in there and then push that. So that it's not just taking, I would say random pose, I think you have good pose in terms of what's happening, a stab, a block, a flourish into the next attack. That's fine. But looking out, maybe have in mind what's going on there and then what is the other opponent and make sure that you think about that when you adjust the timing, right? So when you do have something like this, give this enough time for going back to the mechanics but also for a imaginary strike and then return here. And then something about just the energy and pushing that over. Someone has retreat, right? You go back and then pushing forward that this doesn't go back, right? The root shouldn't go back at the end. Because otherwise are you saying, is this the main strike? Because you are going forward. He's at a downward slash. And then you just go back to what? A defensive but aggressive pose or is that the last pose in terms of attack? So that's just not quite clear if that makes sense. So anyway, I hope that all of the thing makes sense. And if not, let me know. 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.