 All righty, I want to check this out here Okay, got one a snake for a tongue. You are so bad at this Would you rather have a snake for a tongue or lobster claws for hands? Well snake tongue Rose what how is it more gross than lobster hands? Sorry, yeah Guess things are still a little raw for you He ain't out of the woods yet. I know but Well, you've come a long way body, and I'm proud of you Look, you know, I ain't going nowhere, right? What are you saying? D What'd you find? I'll tell you later. I don't mean to interrupt your chat with your girl friend But we got to get moving All right, sorry. It was boring for you to watch this. Um, yeah a couple thoughts. It's pretty good Um Let's see a little bit. I think that's okay. I mean the way it started I was looking kind of what's going on and then I found them and then we cut right to them You could potentially linger a bit longer on the shot just a bit Okay, that's cool Okay with that snake for a tongue. You're so bad at this. Would you rather this is a strange cut Because we're moving with him and we end up with him here Excuse me, but then we suddenly hear he's edging the frame. It's just a strange cut I mean you're you want to be at least 30% different between cuts So we are slightly closer, but there's something about this where It doesn't feel like a needed cuts like this framing doesn't tell me more. So storytelling wise You're so bad at this. Would you rather have a snake for a tongue or lobster claws for hands? You know since he's doing this, I think I will be We we establish where we are we establish where they are So bad at this would you rather now what I would do is bring up his arms And I would do a single Because he's explaining things. We know who he's who he's talking to now. It's about arms, right? What what would you rather have blah blah blah and in that way? We're not constantly on the two character shot have a snake for a tongue Or lobster claws for him, you know, and when she says awful You don't always have to see the character who says something right his her awful could be Visible in his view. So like, you know, if that's the character like this and your camera is like this right now What if the camera is like that? So we're slightly three-quarters. So we see more of the face So imagine he's acting it out and he's almost looking at his hands and when she says awful You would have a slight blink and I dart up looking at her and then and then he keeps on talking So he reacts to what she's saying, but she's saying it off-screen See and then we cut back to her which is great. So first you go to him now. We on her Her lobster claws for hands. Well Yeah, and that's cool too was then you go to You know before that we're medium and now It's a pretty close-up and the closer one him which is great snake tongue That's okay What how is it more gross than lobster like here? This seems very similar to this It's pretty much the same. So if she's here and that's your camera I think I would change your camera to be a bit more on her just a bit to gives you a different camera And we're we're more towards the face. We're more involved because Because she's the mostly more invests like there's more stuff going on. So we want to be more on her face to read a lot of stuff Sorry, and this was weird like I know we now we started to repeat shots So it could be where he's more head-on and we they could beat over the shoulder where she's here You know and if he's looking at her hand, I'm sure the context is here You know, he could look down and It's implied it looks down here, and it's more of a You know, maybe we're he would be taller, but what I'm saying is that the camera will be here looking up Maybe and I guess like implied POV behind her shoulder. Yeah Guess things are still a little raw for you because she can still do this Right imagine cameras behind it. We can still see that hand on there You can still see the head drop. We still see what she does Peripherally in here, but we still see his performance hit straight on now We're missing all the face because it's always in profile He ain't out of the woods yet Which means that that would be a bit of a repeat You ain't out of the woods yet. I know but see but now he's more comforting So to me I open and punch in so we can read more of his face and just a single on him Well, you've come a long way body See all that stuff you want to read his eyes and his emotions everything so definitely close here Which is then cute on her and you can get close as you can read eyes, you know that little smile in there But this is not too bad like this is maybe a bit tighter Look, you know, I ain't going nowhere and that's cool because he's getting close Just now we want to see the two shot because we want to see how physically to get closer What are you saying? And then that's great because she comes in and builds a divide between the two. So that's great Watch out though. She's coming right to left. He's looking left to right So this is correct. I like That Yeah, I think that works, but then it's weird then I would have him here and her here So she still continues right to left and he still continues left to right and when she exits, right? When she goes away and he looks this way, you know She can easily again imagine. He's here. She's here. She can easily walk behind him As a more interesting parallax and depth of the of the seeds right now They're almost the same distance and makes the seed very flat So imagine she will go behind him that will you know, you can rack focus using depth of field And then he looks at her and Again, this and this is very similar Or is it here this and This is whenever I'm trying to find it. There you go. So on her Just that's really like what that she's whispering so I'll be even closer Right make that a really a close-up and get rid of the body so we're closer again It's a different shot. So don't repeat yourself like here. So it's a closer But it helps with the whisper you don't want to whisper and be far away from character I mean you could obviously but I'm just saying and then that's okay and maybe a tiny bit closer Because then we're back on a wide Because then here I will Whatever look you can do and then you can start turning around And you finish that turn and this and he starts walking and she's walking And this is good. This is good that you're moving away with the camera kind of showing Well, the scene is done. We're moving away from you All right, that's kind of what I have obviously all subjective take it with a grain of salt Um, but that is it. 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