 Okay let's play this in full as always but there is no sound this time. Let's watch the whole thing. Another entry in the parkour submission. All right there's some cool stuff in there. I got some thoughts here and there but generally it's pretty neat. What I would say this is a good entrance. I'm always a big fan of Ascent and a surprise entrance. I think that's pretty cool. It's always interesting and dynamic. I wonder if at this point we could also, since it leads with the head, bring up the head a bit higher. The character would have to know where to go. This feels like we're looking at just down at that stone structure to maybe higher, like rotate up the head so we can see the face, good facial expression. Then on this, the only thing here is that we're, I feel like there's a big energy of those legs coming up right into that. But then it's kind of stumped and just kind of does this where it's almost like you want to go further out with those legs, stretch them out and then bring them back in. That's kind of, just feels like like that. Probably pushing the silhouette maybe a bit more on that arm. So maybe that arm holds a bit longer there over just sort of two frames, maybe a bit longer. So we're not stuck with where is it? Is it kind of back there? Maybe that could be pushed a little bit. Same thing in here so that we're not stuck kind of there and kind of there. Then same thing with this, that arm swing feels like it's going to swing more, more forward, so that it's potentially further there. Now character might not be low enough, you might have to lean over more to get this on the ground. There's just, there's also something about this being a bit mirrored and twins. And then same thing again, she seems serious, but then it still feels a bit defaulty in the face. I think we push that just a bit more. On that run, it's a slight feel of shoulders not really engaged or the chest with such a back and forth. I mean, I see a rotation, I see it in there, but it feels like we could push that more, including the rotation in the hips. I'm not sure if there's any right, why rotation going forward with that and then here. So it feels like this whole rotational section, hips, chest and even the push in the shoulders that could be could be tweaked a bit more. Careful with the silhouette, I would bring that arm either lower to hand is here or whatever, you know, back there, whatever the pose would be, but just not overlapping. So I would think I would keep that as a clean silhouette. Even on something like this, I would extend that arm. So there's a gap between these two, but that's cool. That's a good rhythm to it. Maybe because the overall style is not super cartoony. So maybe that feels a bit sausagey, fingery or it might potentially reduce that amount of drag and then some picky things in terms of how this flops around a bit, but it's not crazy. What I really like is this. I love that during that moment, there's also a bit of a keep looking this way, stabilized head a little bit, but not too much. And then I like this that the arms go together into this bullet pose into this. I think that's really cool. I think it was like a cool moment in there. The whole thing I would say on the land is that if you track the butt as it goes down, bam, that's a little of a lock there. If she hits that ground a bit hard, I would continue to go there into a bigger squatty potty type of thing and then come back up. So that gives you a bit of a bit more room to go down and back up into this. Because once we get to here, it feels a bit locked. I wish it was a bit of a bigger up and then down and then stabilized through the speed, but it feels like we're going right through there. It's a bit flat through this. Then a bit stiff in the chest and head where they kind of wobble some harsh spacing moments through there. I think that could be loosened up, be loosened up a bit. That's all cool. Maybe the hands are a bit draggy, floppy. I kind of miss attention there a little bit. She feels just a bit lazy in her arms versus some more straights or just a bit of a longer hold potentially there and then faster over there. Just a bit more energy. She dies a little bit there. Then the last thing I would say is in the cut. I don't mind all of this. Maybe that camera move is a bit anticipatory where it's almost too earlier, definitely synced with the body. I would wait, have her lead, then the camera catches up and then carefully if you're doing this, it could be cool to actually, there's momentum going this way. How do you stop that momentum? Well, this leg can push this way, but we're landing straight. So where is that momentum going? She would technically still continue and I would probably on that land have that leg more out this way, bring up that arm, but there's a force that can push this way to stop this left momentum. If that makes sense. I'm asking about no one, you know, there's no live feedback here. Then you got that and I feel like that last shot is a short. Oh, we're going to be back to the beginning. Now there's a frame limit, but it could be interesting where that could be just pushed longer or maybe shorten areas. Maybe this is the mode where we could steal some frames, make this a bit snappier and faster and add those frames at the end. Still wet, it's a bit of a bummer. I would probably continue with this idea of seeing the upper body, lower upper body, a bit more upper body, knees a bit lower, maybe even see, imagine you would have, you know, this lower so that you can see part of the thigh and then into your head and that arm. It's kind of pushing that a bit more. Even this, I wouldn't cover that. I would go either break frame and then bring that foot higher, but we still see part of the hip and the pelvis and all that stuff just kind of working on that silhouette a little bit. And then spacing wise, watch out. It feels like we're doing a straight, visually straight down, but then sideways again and then down again, and then up again. Just kind of cleaning that curve up a little bit. And that's that. Cool dynamic, cool stuff. As always, little picky notes here and there. And that is that. Alrighty, there is sound, also Link. I love how long we've rested. Of course, if you know me, this just straight into my pleasure center where you have Link, you got the music, you got kind of voxel-y pixel art sets. I know this is just so what I love, but it's fun. It's really cute. I really like the whole setup. This goes back to what I said in the previous critique. I'm always a big fan of, we can look at where we are, we understand where we are and then bam, entrance of a character. I think that's always, I don't know why I really respond to that type of stuff. Obviously, in terms of demo reels, you can have your title, name and everything, background not quite there yet, then background fades in and then the text fades out right as the character comes in. Could be kind of neat. Nice and clean silhouette throughout. Potentially could push that for a lower bit to see a cleaner structure of this arm, but it's nice sometimes as much as I love the background. There I say, every now and then it's a bit busy when you have a darker boot that leads right into this or here. We kind of lose a little bit of a clean silhouette. Super picky over a couple of frames, just throwing it out there. Maybe this could be added with a slight background. I know it's all gray. I mean, it kind of makes sense, but maybe you can put in hardware fog to just give a bit of a haze, to push that out a bit more into the forefront, but it's cute. Again, I like the contrast of, or I like, again, have I said that before, but I like the silhouette and then the contrast into another clean silhouette. The change of arms. Maybe I would say that down is a bit together. You could offset those arms a bit and again, it plays a little bit into the busyness. That's the only thing. As much as I love it, I wish we could have a cleaner view, but great. I love that little detail. A little flick in the hand. I can actually bring in that closer. There you go. Into that, this one. So when you just play this, right? This has an ever so slight fast feel right there, this frame, where if I look at this, the style is not super extreme, and it could even potentially for contrast have this go higher up here. So it's, why, it's a little contrast of timing and general look. So it's not so even, if it's super picky. This just feels, why I was saying this, because the style is fairly non-pushed. And it's only, we have a really fast move here. And if I look at the rest, especially this landing, it was really nice. Still steps there. All feels fairly naturalistic. All of this, including that, even this doesn't have a massive whole smackdown. And that's why to me, this feels slightly out of place. It's almost a bit poppy in there. That's the frame that I would tweak. Other than that, we start here. Again, maybe the silhouette muddied because of all of this, as much as I love it. Let's start to kind of miss some of those. What am I looking at? Glove or background? So some of that stuff could be neat. That would be tweak just a tad, but I do really like this here. So ignore the fast move, but that land is nice. Maybe on that drop, because it's so fast through here. Maybe a slight bigger drag on the head, and maybe even on the shoulders, and then shoulders down, head down a bit. But this was really nice. That's a really cool, cool moment. It's also very montagey. And at the, at the beginning, I felt like this is the moment, this is the continuation. And then, whoa, this makes no sense. We're down here. It looks at us, and then we're suddenly up here. But then this happens, and then we're somewhere else. So all right, maybe this is the continuation, even though this is a lighter background with the blocks and they're not here. I mean, I think it is generally like these ones are not here. So generally, it's a montagey thing. It's just the way this cuts together doesn't quite feel like it. And at the very beginning, I felt a bit confused at that cut. Maybe I'm also old. Just confused. But it's nice. Again, nice offsets, asymmetry, especially in here, all of this nice pose. I like how overshoots a bit, some looseness in the hair. Then you got to deal with the glasses for coolness. And that's also a nice jump with the fail. Got a nice weight there. And just comedic sake, just to hold. Again, if you bring back the music. I was like, I don't know, that always works for me. This is always the thing that gets me easily. People slapped into face and stuff like that, or it just holds. Maybe it could have been like cool cliché. So it's a classic thing of something happens, silence, and then a twitch, or I'm okay, like it's a bit overdone. But still, maybe a twitch in the fingers or something or a toe, like a boot thing. I don't know. Could be overused. But again, I do love seeing all of this. And that is that. It's really cute, really nicely animated. It'll pick you things for me as always here and there. But it's super cool. Alrighty, let's play this in full, but there's no sound. So you're gonna have to do with my random sounds. Cool dynamic stuff, though. And this is why I picked it. It's neat. I also like the incredibly good animation. I like the scale of the buildings, especially once we hear. It gives a really big sense of scale, how slowly they move in the back. And there's some really cool stuff, general posing is neat. And then picky stuff. I think the main thing I would say, if I had to change two main things, it would be, I feel like this is just too much. There's constant, constant white stuff, wings, especially this here. It seems like he is just so full of dust that wherever he goes, there's constant dust coming off. It almost feels a bit overdone in terms of constant, constant stuff everywhere, including potentially, what is this here? You got a whoops. Yeah, there's a whoops in there. It just starts to get a bit, like the contrast is missing, because it's always there versus there's a moment, there's a moment, there is an accent. Like during something really fast, like through there, you'd almost have multiples with some eyes and the head trailing. It goes into this, and maybe right through there would be the moment to add some. And then leave it at that. This just feels, I don't know, to me, I'm not a massive fan of the amount. Even this here, it starts to feel like what is there like laser beams? Is there energy shooting out? Is it not just smears? Because this makes more sense with its red, and it feels like a smear with that, but then you have suddenly added yellow to it. So to me, it feels like it's keep it. I say, let's keep it. Not that you have to change anything. It's not doing it for me. Anyway, I'm just saying the red I will keep, I wouldn't have the yellow and just reduce the amount of white. But then at the beginning here, they're also darker, so might as well keep it within that realm where it's, this makes sense because of the surface and the color of all this versus that. I don't know, that's just me. Other than that, there's some nice clean poses throughout. Maybe this feels a bit, even the way it's it takes a long time to get through this awesome pose right there. And then there's something where it just feels like one, two, three, four. I don't know. There's something where we could potentially shorten it. This feels a bit slowish into that. It's a short hold. Maybe this could be held a bit longer and potentially cheat the stretch that arm, bring my head up here, fingers out so that the knee is here, but then the thumb is here. It's a cleaner negative space for what's going on there. That's all cool. Maybe even pan and tilt over a little bit. We are super edgy on the right. And if I watch this, I think just a little bit more balanced. I like that it comes back. We're a bit more in the thirds, but it could have also added some neat maybe handheld effect or something. It's not so locked camera, even though I like how then we can see that receding skyline. That's cool. But as for framing, maybe a bit of a change there. This here where I felt like, okay, hold on. We're going back, back rolls here, but then suddenly we are turning the pivot. We're still going backwards, but now we're just facing somewhere else low into this. I feel like that could have been tweaked a bit with like a sideways cartwheel into a roll. I'm not super sold on what's going on there, physics-wise and mechanics-wise. Clean poses though. The only thing I would say it's a bummer that we're suddenly having a dark building. It's not only one, so maybe it's an inverted normal, some texture problem, but it feels like that would be a great moment to not have it. Keep it grace. You have a nice silhouette seeing all of this. That's cool. This feeling-wise feels like we are dragging and then going forward. It's weird. Why am I saying dragging? It made me think of, what's the name of the actor? Does the dragging, am I leading, am I dragging in whiplash? We also play as J.K. Simmons in the Spider-Man. Anyway, I'm blanking on the name. Apologize to the actor. It's such a great actor too. Anyway, it feels like lots of energy there. It goes forward, but then it feels like you would chupi go forward a bit more. That's also why the leap, so we would be pushing this in my awesome drawing, so it's not all this energy and then we're locked here. It feels like momentum-wise. I'm going to pull this guy forward. That's cool. Into this. I really like this though. That is fun. That to me is just fun. This, the pose here, into that, maybe working on this silhouette a little bit. I like this that we can see the elbow. We understand the structure there, but then here it gets a bit muddy. It's a little tangent there. I would bring that out. See the forearms? You understand the structure of that arm into this. That's cool. I like that. I like that little sideways land into this and maybe this offset where it feels like we are now in twin lands. Not that twinning is always bad, not at all, but given that everything else is so dynamic, maybe an offset arm and maybe not in the face, so that offset would benefit right there to put the hand here and this a bit lower, so we clean this face into that, into the exit. That's that. Pick your things as always here and there. Dynamic, lots of cool stuff, and as always, subjective notes on things here. That is that. All right, let's play this in full. There is no sound and it's nice and short and sweet. They're actually going to bring up my head up here since the action is below. There's really not much that I can talk about until you're asking, well, why am I picking it? Just because I think it's super cute, has a nice feel and especially the ends. I love the whole, all of that has a nice weight to the manhole there, that cover. This all feels nice. The reason why I'm picking this because I feel like we want to go 10% further in the timing where this is all cool and I will probably go potentially even lower so that there's a, let me just see, you're doing this into that. So it's almost like, oh, higher, sorry, higher where we start higher. So we have a bigger contrast of entrance to compression to back up a little bit into this, just kind of pushing that that has no timing, but just a bit of visual contrast. I do love all the shapes there. So here's the moment. So you have the turn here into this and there's something about this is nice. This is nice. And then I feel like on this, you can pop into a straight. So it's not curve, curve, we're already extending, but we're still curved into the extension through here. I feel like we could do something where let me go crazy, pick out some dark green and imagine, right? This is your shape right there. And this is your shape right there. And then you got curvature through here, curvature through here. Then we hold, which is nice with the arms coming up. But then we go into this straight, your backpack here. And then we can already be in a curve back backpack that leads into this curvature that even curves the backpack. I know the shell. But if you watch this, will this work? Does it register? In my mind, it feels like, there's a bit of explosive stretch on that spine. I think we're really cool. Then it feels like here's a moment where either we do a faster and let me go back just because we can see it better, hopefully a faster twirl, then hold and then faster into a land. I feel like this is the moment where we want to do a bit of a exaggerated timing moment instead of a white, white, white, white land. It feels a bit even because here you have a nice chouchon and I like this here. I like that into that. That's super cute. Into that, into this, this could potentially be closer into a triangle as it comes out of these. Well, can't go together. There's a hole there or there's a division, but just visually you can be closer and then open up into this and maybe even drag that a bit longer and then get into this and maybe a slide offset, slide offset into that because the moment here, white, has just enough of a hold, drop, hold, drop with this cute stuff into this. I feel like that's the moment where actually I wouldn't do a fastest, fast hold drop just because we have it already. We would have it here, we would have it here and that's just a different property. It's not character stuff, it just has a nice little, into that. That's all I would have to say. Short and sweet. You might argue well by not having that exaggerated timing here, this stands out even more. Agree. So then it could be even pushed further where it's really fast, long holds, really fast and then this is just kind of split the difference where it's just not normal, but not too exaggerated kind of the middle. So keep this and then this would just be more. That would be my counter-arguments to the contrast, non-existent discussion that I have in myself or non-existent with anybody else that wants to discuss this with me since I am talking into the void. And that is that. It's really, that's it. I really like the setup. It's nice and clean. I thought this was just really cute and maybe this could just be pushed a little bit more. And I believe this is the Animator Starter Pack set piece, which I love. There's so many pieces in this. If you haven't checked it out, check out the Animator Starter Pack. It's actually an animation buffet on my rig website. There's a link there too. It's constantly being updated, so it's awesome. But that is that. I'll leave it with this and that's it. All right. New shot with sound. Oh, they take it hard. Violent. All right. So overall, that's some cool stuff. I'm going to turn off the sound. Some cool dynamic stuff, cool action. And this to me falls into the realm of pushing it a bit further. And let me just see as I'm scrubbing through, because I finished the previous critique with my head up here. I'm going to bring it back down so you can see more of the action. So I think it's cool. And actually just the previous critique is the same thing. Push it 10%, maybe 15% in terms of posing. Even this here coming in, unless the intention is for a, you know, samurai sword or whatever sword, you have your surprise, I would even push that arm out and then show that. Come in here with that sword. They're going, oh, someone means business. Because up until then, we don't quite know what's happening. And then it's just kind of there. So even then I will go with, it's pretend maybe that arm is here and the sword is back there, right. But then you bring it up for a big slam into this. Just a bigger moment. This feels a bit floppy on those arms. Now you might argue he's already dead at this point. So it will be floppy. But then I would do a pushed, it's tricky with silhouettes. It's also dark. My thought was maybe a struggle or arm back there, something where we can see tension and there's still life in this character and a struggle, then hit. And maybe those arms are higher. Shoulders are up, especially shoulders. I will bring up and then that's when the shoulders really slump and the arms go down for just a bigger push of there's life, there's no life. And then the rest is fine. So let's go. That in terms of material is, I mean, again, it's very gruesome, but I like it in terms of pulling this out and the body reacts to it. You can argue some blood, something could be added, but that makes it even more gruesome. But then we go back into again the posing where we go out into this and then watch out. We're kind of losing the silhouette for a moment. It's also dark and this feels a bit, this works. I would still bring it back further. This is my awesome arm, by the way, right? But you would have it here or something where it's just you push those moments nice clean. I like this slightly covered. I just felt you can go further. Again, we're missing the arm. I guess that's the sword here, but this just feels like a stump silhouette versus what if either higher or lower. We can see this and then we understand the sword up there with my awesome drawing. We're just kind of pushing those poses more like this feels nice. But then I would almost go not if it was okay. Let me see real time. It's always one thing when you just look at it frame by frame versus what that's not what we're looking at. We're really looking like this. Yeah, looking at this, the retreat here or change feels just kind of almost lazy and kind of psychally versus maybe even stay lower dynamic pose. Go up, run, run, run, run. So that we have a higher position, low position for a squash anticipation. Go up here into this. This would really benefit from some splatter here. Push the energy over. This again feels soft. This feels like it's massively based on reference and even potentially reference where a real actor was on wires because this just feels soft. So I would even like overall it feels fairly real where I would push it give it that 10% slightly enhanced realism where hold a bit longer, a bit of a faster drop, a bit of a bigger compression there to go into this. The other thing too is where I would make this thinner and maybe a lighter color. We're starting again to lose silhouette, the sword all of that. Given all the structure here, I will clean that up and not have that there. And even here that arms and the body we lose the silhouette. Maybe these guys would have a different color. Just every now and then readability to me could be pushed. Even this feels like a very clean, elegant turn versus a jump. Maybe that's intention, but then it turns into turn, turn, where just there's no contrast in it. I mean, obviously there's contrast in terms of height. I get that. But looking at this, it just feels a bit nonchalant. Like, let me just turn around and I'm pushing that is the bit more same with this bit of a longer hold, give this two more frames, take two frames out of this. So this doesn't feel so slow here into that turn. I do like this, though, that little bent leg hold into the drop here into that. That has a nice feel. But then it feels like a weird cut where I'm seeing a rotation this momentum in the drop. So I feel like compression up rotation. But then we are straight forward versus, I mean it does go up, but I feel like it could continue a bit more that rotation. It's a bit of a weird cut there. That's okay. Maybe a bit of a, at least it gives you a nice silhouette with the sword in front of it. Again, this I'm starting to, I understand what's going on, but I wish this would just be different color or not at all. So you don't have all those darker lines for messy background. So we can see what's going on there. This feels, that's the only thing I mentioned is I felt a bit odd. You have all this momentum going back hold and it's kind of a floaty, especially here where the arm is stuck into the space while the rest goes forward. This feels a bit wonky there spacing wise. That's cool. And that's cool where you have a slow into fast. So yeah, that is that little picky things as always here and there. But dynamic stuff, I think it's just so dynamic that you can push it. It's kind of pushed a moment more. You can even afford a tilt up a bit. We will still see this, but we won't be so edgy there. And even here, although the focus is here, maybe a cut off arm. But then here we're a bit high. And then I feel like by now we can potentially tilt up again and then tilt back down. So maybe a little camera work here and there. But that is that. Alrighty, as always, let's play this in full, but there is no sound. So you have to watch it while I make sounds. Alright, there's a lot of cool stuff in there. I got a little bit of a camera comment here and there. And then just action wise, the ending I'm not super smitten by subjectively. But there's lots of stuff I love. I love, as always, an entrance. I think if you watch a couple of these, especially in this combination, a lot of entrances and I like that. I like when you see this set and someone just comes in. I'm a big fan of this. The lens here, there you got an offset. Maybe we could hold on moving in the movie a little bit more. Maybe lower that leg so we can see more of the upper leg and the whole structure of the leg. Maybe it's fairly fast. Got a full extension. This I will probably tweak silhouette wise, because this really looks like a pirate arm cut off. And even this here, where I would bring it lower. So we see the bend. I think I've been seeing this in a couple of critiques now. So you'll understand the structure and the length of those arms. So it's not that. If you take the sets out and in Maya, or these my people in the rake, I can't remember, whatever you can have lights where it just turns all black and just silhouette it, you can see that we don't quite understand what it is. Unless it's intersecting. Oh, wait. No, this is me being an idiot. Hold on. This is the roof. Ah, hold on. This is intersecting with this geometry. And now it's underneath. And it's intersecting here. And now we see it. I don't know. This might be it. So maybe if this would extend, it would be better. But then I would still tweak it on this side. I don't know. Just whoever did this, I mean, whoever I see the name here. Pavel, please check. I would check that just bit of a bomber at the beginning. Check your intersections. But what I like a lot about this is the continuous momentum into this and the nice little asymmetrical pose. And then this love that love that it'll hit move out rebalancing of this drag with the fingers. This just feels really nice. This has me super smitten right off the bat. Whoa, it's great. I would only say that the camera is a bit too complex in terms of there's a translate in them. This is not I see the perspective changes. It's not a rotation. There's a translate in there with a sudden move to reframe. That's fine. But then we reframe a bit quickly over there. And then we're almost the bit first person third person view locked to the camera. I would decouple the camera from the character bit more. Just a bit a slight tweak. This is really extremely picky. There's just something about just that move. It's even like that reframe wouldn't be needed. She just hops into frame where maybe we could have it where the camera just maybe no, I don't know to me. It feels like that's it. Leave it there because we're so high here that all you would have to do is start to just tilt up to follow her through a smooth follow. This is all cool. I like that a little way to the only thing I would say here timing wise, this feels slow. There's something slow and also almost sticking in 2D space again. Again, it's maybe this locked camera feel where there's a lot of movement down there. But then the body's kind of upper body is locked. Watch this. It feels a bit odd. There's something where maybe you need to go higher, push off and then drop versus a straight and then we are kind of locked here on the buttons. And then it goes down. It's a little moment. It's a bit wonky there. Then watch out. It feels a bit overextended arm with a bit of a break in that wrist. I would soften that and not go more than like this even slight bend is always okay. Has a nice little little hit there that feels really nice. I like to look over to the character's focus on where to go. It's a situational awareness that comes with that. This I would say it's such a sideways jump which is a cool move that I feel like once we're here, that sideways, if this is the building from the top and she's holding on here, that she would swing more this way. So instead of straight down, I feel like we would swing more so that this leg would actually be here and the other one up there. And then she would kind of wring little back towards us. So watch this in real time. It's fast. It's not like it's not a shot breaker. It has a nice hold into this. So you can argue. Well, there is momentum, but she's pulling herself down so quickly with this nice shape here that there's not enough time for that momentum to continue. But she pulls herself into that straight pose. That I can see that as a counter argument. Watch this again. But I think to me would have been a nice little complexity detail added there. This I really love. This is the other reason why I love that shot. That whole beginning was cool. And then this, the idea of thawing, thawing. This is cool. Maybe a bit fast. You have some push timing. No, it's fine. Maybe I'm reacting to maybe having a couple more frames here because there's so much pull down that this almost feels too quick. I'm going to give this one more frame. Two frames. Let's see. Yeah. One or two frames. Hold a bit longer there. It may be playing a bit more with the shapes of the compression. She does go back, but then the legs don't. It's like this leg to me will go here. Bam. Impact already lower. Bam. Fold it in. Fold it in and then out. That's a bit mirrory. Maybe push that contrast a moment more like you have it here. It's kind of funny how the high is right there. It's kind of funny. But it's a cool idea. Thawing. This is fun. Nice end there. And then it feels like there's so much energy, right? And then it's a very slow look where it's almost, I see movement in the upper body here. I feel like we could push this a bit more. Get rid of that asymmetry or symmetry. Push the asymmetry a bit more. And then after that, it's so slow. Slow motiony into a very soft exit where it almost feels like was that is the reference and it was kind of a copy reference, but sometimes when you stick to reference and you kind of copy it, you lose that zest of the timing and it gets a bit floaty. And if I take this and I make it twice as 50% faster, ignore this, but to get up, maybe 50% faster on that exit, even 25% faster is better. This is the only thing where I feel like awesomeness in terms of asymmetry and complexity. All super cool. That's an even little bounce and great weight. That's creative. I love this. And then we go, that's a bit of a simple head turn. And slow. Is she wiping her hands? Yeah, a little bit. So maybe have to push it into a bigger window and we can see that's a little bit more. It gets a bit lost, but maybe given that she does the wipe, it could be more of a, a bit more of an exaggerated walk of, I did this. I'm okay. I can go now. And you know, like something where the personality that you're hinting at here is also seen in the animation, in the rhythm of how she walks away and even gets up. Maybe that up boopy more sideways. Let me see. I could bigger off. Not that you have to do the whole one leg rip and then go like whole step, but something to push that personality a bit more. I would say, I would say that's that. And that's my Roomba going off in the background. Perfect timing for me to stop. Alrighty, new clip here. This has sound. Let's play some full and this. And that's that. All right, sort of sound. So this is pretty cool. I like all of this. There's some cool stuff in there. I like the that elongation there. You can see by the dolly zoom there, right? You look at this here. See the elongation in the set, the lens change. It's also cool. I like that there is a, like a crossover. It comes in from the left, goes to the right, is a little dynamic energy. I do like all the cloth drag, especially here on that turn right there into this. It's really nice. Now looking at this though, since we are into this moment, the only thing here is that, and I haven't animated with this rig. So I, I don't know the extent of the facial features. I can't remember. I thought I looked at it at home before, but I just can't remember. So I apologize if I'm going to say something like, well, you can't do it or you could, I don't know. But the character feels somewhat bored, where that could be the moment of, since you're already in slow motion, now is the time for a wide eye, maybe a blink or like a hinging, like a smile or whatever. Anything in there could be a cool moment just to push that, since we are lingering on it. This starts to feel more like a toy, a mannequin, bored into this. But that's cool. I like the timing of into that fast move. I think that's super cool. Like also that drag on that arms into that. This is super cool. I like the detail here on that right there. The only thing I would say about this section is that we have like a run, run, run, jump, land, run, run, run, jump, run, run, run into this. And I could have been potentially need here. So it doesn't look like it's just basically on the, on the ledge here. What if that arm is up and has the fingers out and with that material does kind of a sparks fly, or it does that and then maybe pushes off more and then grabs one more time up here, tricky with silhouette, but that could be a moment. This is cool. I like all of this. Same thing for contrast. I would say maybe we're stuck a bit in this pose, this pose, reverse this pose, but then back into this pose where maybe it starts off like this, but with that land, there's a bit more of an offset potentially since it's really leaning. And then that could lead into, well, arms already up into a grab pull up versus the tiny, no, there's no grab on the ledge here either. So maybe that arm will be pulling the character up. That could be something. What I like about this, though, is the clean silhouette, the land into this. I like that we're on one leg. The one comes up for the momentum to do this. Although we might argue maybe that could be helped with the leg like that. That's what I'm actually thinking where this leg is here. And then goes up. That's my awesome leg drawing into that. That leg going up helps momentum to go back there. And then it could straighten into this. Maybe. But I like that it's a backwards jump. That's cool for contrast. Streaks are always nice. And then this here, I understand that when you go this way, it's the character is going to look forward, which character is doing it here. But I think that's kind of weird. It's super weird, picky, but I see this structure. I see this opening cut to sky and just this plane. And then that's it. And it's probably because we're too low. We can't see the perspective. But given that there is this and even this down here, it would have been cool to just connect those shots a bit more with whatever you have. Maybe it ends here, the lower pieces here or something and maybe skyscrapery for a nice silhouette. Maybe it suddenly feels so simple. Like this is cool. Not that it's super complex, but it adds something to it, even this, that here maybe a railing and then a skyscraper that we understand the structure where we just came from. Just to connect visually the shots. I know it's maybe super picky, but that's kind of my reaction for that moment. I do love those details. Always into that. Streaks are nice. Don't think about the end. It's almost a creepy look, but maybe something different with the face. Maybe not just a smirk. Again, feel like maybe a pushed moment. And the only other thing is that we actually end here. So we have one, two, three, four, five, five. Five frames of no animation. Bit of a weird thing of stop. We just registered that stop. We'll just cut out sooner. So we just end on that last little moment. Other than that, it's all cool. The cloth there, all that is great. Yeah, it's overall super dynamic. There's some really cool stuff. Timing is really neat. To me, it's just kind of posey contrasty changes. And that's that. As always, let's put it in full and there's sound. All right. And actually let me bring up my face. Turn off the sound. So there is room. Actually bring up my face to the left, mainly because all the action there is on the right. There's lots of cool stuff. It's cool to see Zelda. I like all of this. I just have one bigger-ish note. This is why I am choosing that one. There's some cool stuff. I like the style. We get into more twos. I think every now and then you could potentially push how far back the leg goes. There's something about it feeling slightly contained in this box in here. Just visually where I feel like maybe even that beginning pose could be higher. Just give it a bit more of a dynamic pose. And even this is nice. Where's the other arm? Comes out. It's a bit hidden with this. Maybe it's kind of pushing a little bit the arms. I know it might take away from the contrast of this, right from this to that. I feel like maybe in the legs then we can push just that moment. It's something that just feels too contained in there. But it's nice in terms of run down. We anticipate this with this going down. That's nice into that jump. And here's the big thing. This is weird thing of we are actually rotating, turning, going right to left. We see this. It's a bit of a flop there. And then we go left to right. And it's just the 180 rule being broken here. It's just weirdly jarring. Where it feels like, wait, is this a move where she is still turning and collapsing? Because that's what it feels like because we have the knife here continuing, right? If you follow the move of the knife and it's right there, it's like, okay. Well, maybe it isn't the camera move. And it's just her doing a land like this. It just felt a bit weird. Because we are losing the structure of whatever is going on here, right? The whole set pieces. We go up and then it's lost. So now we can be anywhere. So maybe having pieces that will help us orient us so we understand what's going on a bit more. And maybe just a slight change in how she lands. There's just so much right to left momentum that suddenly, whoa, we go slightly off of that into the compression left to right. That would be my biggest thing. So it's like, at first I thought, wait, is this a cut? And we're going now suddenly different way. But then I see, oh wait, there's the knife and also maybe potentially a bit of a cheat in how it flies. So it's slightly parented to the camera. But that's to me the biggest thing. What's clever too, but this is that you have the knife here, right? Let's go up, you have the knife here, knife here, knife here, no knife. That's a visual cue, but where's the last one? And in the poor mentor rig here, squarely lands and dies. But that's mostly that little posing thing at the beginning for energy, slight confusion there. The more you watch it, the more I get used to it. But the very first time I thought that's odd what just happened here. But other than that, mechanically, it's really nice. I like the crossover on the legs that for her speed, all this makes sense. You got a nice multiple here in this. And then a compression is nice. It doesn't feel really, you know, poppy or too soft. Like in terms of mechanics, if we can order direction, it's really nice in how far she compresses. And then goes out into that has a bit of an overshoot. Let me watch and storing get just enough with some breathing. And then a reaction, maybe eye line, a bit wonky there. You could argue about that. So you have to look a bit lower. It's not a shock killer really, but that could be something. And I also like that it's actually slow breathing with the eyes closed using their zen moments. So maybe an open mouth a little bit, a little slight more complexity in the face, potentially. And then if you go back to the sound, that sound, this reaction here, and then look up. So maybe if you don't have the sounds, right, because you can't always rely on sounds, she reacts a bit early, you might argue well, she can hear really well, she's tuned to all dangers everywhere, she would react right away. But you could argue that maybe only here on this frame, she starts to look up and then maybe up and then dart down, that could be an added thing. Throwing that out there, I don't know, and if that's too picky, there's a little thing at the end that could be tweaked potentially. And that's that. It's really fun to watch. I also like the set. I like these cubes and everything. It's a cool setup. I don't know, it works really well. I'm actually curious. If you watch it the first time and you felt like, nah, it's fine. Maybe it's just me. Let me know. Anybody can reply or comment and we're curious. And that is that. So that's it from me. Thank you.