 Welcome to a new series called So Good where I talk about things that I love and this could be covering movies, TV shows, games, whatever you can find. And I'm going to start with Raya and this is going to be a massive spoiler because I'm going to go through the whole movie. But thanks for tuning in. I am your nerdy host JD and let's start right off the bat with this. I love the look of this. I wouldn't mind a whole movie with that. I love that little flick with the hair and then as you switch over I love that transition. That is just so super cute. The cat took took. Come on, that is so cute. The weight, the drop there with the influence on the hands. And then moving forward I love this. I don't know if I animated this but that moment. The expressions, the gestures, the hands and fingers is so great. And then her hop. Look at how she goes whoop, this cracks me up. It's just so good. Look at that. I love how she's out with her arms like this. It's such a great moment. Such a great hop and run over. Next up we have this here where I really like her thought process and just that reaction to this. Let's play this here. She goes what? And just that look. The scanning of her dad. I love that. I love that. Move back in her body holding the plate and just this. How she keeps on looking and that big moment of wait what? And then looking over and still scanning that expression. It's a really nice shot. Very clean, really nicely done. With this one I like that she does this here just because she does that throughout the whole movie as a kid and as an adult and it's a kind of a character trait that goes throughout the whole movie and it's kind of rare to see this where it's usually a shot where someone does something and it's always kind of shot specific. Of course it's still consistent throughout the whole movie but I like that this continues on throughout the whole movie and I just wanted to play that out because I love it. This is a really nicely post sequence here. I love the contrast between the two. I'm gonna play out the whole thing here. I love how she has that lean forward hands on the thighs. It's kind of that change. Let's go back here. I love how she has that moment of which was something slightly sad that she was just talking about and that change. I look at their head accents up and then it's a little bit of a texture in the move and how she lowers the plate. It's just really nicely done and I love that little hop there. Just that change into that and just a really nice pose and just all the gestures and the leans and that. I love that with the shoulder. Just a really nicely animated shot. All right, droons. I don't even know where to begin. They are so cool and I love this when it envelopes the character that change there. I got some of the shots I want to show about that but this was so super cool. I love this here. Look at that. I just wanted to go. This is one of the frame by frame. What is going on here? All that stuff and I wonder how this was done if it's like, you know, just like a simple sphere animated through so you can get the timing in the general position and then effects just takes over and does this massive awesome job. These are so cool. Look at the beginning here. I just really want to highlight these. So cool. I'm going to highlight them again. Just because you can see a full transformation here all in slow motion and there's something else I want to show here but on first I'm going to go through this here. I love all of that. I love the look of this, how it starts here. The lighting and the glow, it still pulls them over. It's really nice weight to it. And then all of that. I love the effects in this. Then it gets pushed up here and then drop into that pose. It's really cool. This one, I just wanted to add that just because water is usually fairly clear in movies. I don't remember anything that's kind of dirty or cloudy in this moment. I don't know why, but I love this. I love the look of that. It's just not super clear. Camera is really cool. The water is really nicely done. Just a great sequence too. This shot is absolutely bonkers just because it's so long and you can see here there. I'm going to play the whole thing out. It's going to get some copyright strike probably because of the length of it uninterrupted but I love the slow pushing. You get close and closer to the face. The changes in her emotions there, how she starts to slowly break down a bit, crying. I love that wipe. I felt a clean swipe with the hands. And especially the corners. There's something when we cry that the corners of our mouths, they go down. It gives you a specific shape and she has that throughout. You can still feel the breathing in there. So good. Let's go in there. There's so many great moments. Again, to me it's mostly as you get to this. The whole build up is really, really great and how she stays in that shape here throughout. It's really such a long shot. So hard to do that. There's the complexities of how that hand comes up here. The fingers like that. We stop a bit and then it's a wipe like that. Curling of the fingers there. Just like when we get to the first wipe. It's not like a clean arm up, but you have that push on the skin. You can feel that and you get that slight rotation down over and it's just nerding out on something. We're an emotional shot, but it's just such a great shot. It's just so good. And it's time for CeCe's intro and I could include every shot. It's so well done. And what I highlight here is the hello, that I love that to that shape. Just really expressive shapes in dragon and human form. But I love this, that and then the closing of the lips into hmm with the move of the eyes over here. Let's play this again. Just every shot you can frame through with her and just look at mouth corners, the blinks, just how she moves is so well done. Whoever animated this is such a good job. For this one is when she grabs her tail. I mean, I talk about creatures in my classes. I talk about just look at the attributes of a creature and then what could you use, right? She has, she can stand and she can be an old force. You got the long tail. You got the hair. There's so much you can do with this creature. I love that, that she is, you know, there's fear in there and she wants to hold on to something. It's like, you know, like a kid holds on to a teddy bear or you're in the bed after you're blanky to protect you. It's just, there's something and I love that little squeeze too. If you go over there frame by frame, just that moment there. Just great usage of the anatomy of the character and just the walk, just everything about that character. She's just so well done. And this one, it's the nose wrinkle. I know it sounds silly to point something out that small, but I love that as she goes and goes through our awesome expressions, really expressive facial expressions. This, that thing here, it's played the whole thing again. As she goes through there, like it's a great shot with head accents and just expressions. But that little thing caught my eye. I thought that's really cool to see. And it's rare to have that when you have on rigs, when you bring the eyebrows up to have those fold either through the geometry or pop map or textures, however you want to do it. It just adds a lot to the characters. And I love this. It's a tiny little thing, but I want to point it out. You know, they're going to bring up props and sets, but I love the two things. Well, I'm going to go to that second part later. But this here is that she has her line and she still has to do this, but she goes back and forth between looking at the character she wants to talk to and looking at what she has to do here. And the reason why I'm pointing this out, and if any students are watching this, it's because you have to start practicing usage of props, sets, whatever you have, because in the movie, the character is going to be surrounded by all kinds of things, including handling props and interacting with sets. And it's something good to practice, but not every character can just be in an empty background. So that was really cool. And I love that secondary action of looking back and forth. And then this. This was a crack me up. Oh, this is when I would say so good. It's such a fun move. The hops, the arms. Oh, it's so well done. I love it. And now we get to human forms issue. And I mean, the highlight really just continues. Calm on that shot. It's just absolutely bonkers. Again, the expressions, the peel of their face, everything's great. Beautiful hand poses. Again, frame by frame, you can go through this and it's so awesome. But that I love this. And I love that with the long sleeves, there's a lot of playfulness with letting the sleeves out. I feel bad for animators who post out their fingers and then you can't see them throughout a lot of the movie. But watch this again. I can just, I can watch this over and over and over. That move. And I love that her eyes are closed throughout that whole thing. And then this. Oh, just how that hand comes up and touches the cheek here, but it doesn't rest there. It goes over into this and then goes down with a slight pull. You can see the elongation here in the face. And then holding up and how the fingers are still reacting to the cheeks there and they're all connected. It's just absolutely bonkers. I love this. I don't know who did this. Whoever did this, thank you. This just made my day. It's such a great job. This one is actually really great to watch without the sound. I mean, I can't put in the sound anyway for a double strike or something, but the head accents, the rhythm and the hand gestures. And you can really, you can tell what's going on. And I'm also a big fan of gestures that are off screen. You can see what's going on, but it's not fully composed and clean to the silhouette. And I love that. I know that might just be me, but I love when it's just something that an actor does, right? And you just have a frame like that. Love this, just the rhythm and the holds. The move over there, settle with the head right there. And then that. Again, I got to go through there and look at hand poses. It's very, very clean. And that look at the complexity of that. You got a really nice triangle hand pose, even through that. It's nice and clean. Then you got that change into this, with the complexity here, into that nice close. Again, the head tilts, just a little rhythm of up with eyebrows, down and over. And then that she hears the sounds of her enemy. And then that look over. There I say, you're going to hear it a couple of times, but so good. And this is probably my favorite shot of the movie. It's hard to pin down, but a lot of really well animated shots and a lot of great acting shots. But this shot, especially, there's so much to love. A, I love this here. How that finger stays there. The change from this to this, not in terms of a technical thing of whatever, I can fingers her, however she did this, but that just the posing and the acting of that with the fingers and the thought had that little finger moving across her chin. It's so great. And this too is because she's wondering, oh yeah, yeah, I did find her. And it's not like she has a thought process with a lot of eye darts. And she realizes, oh, but she's right there. And it works so well because she is pretending. She's so condescending to the other character that's off screen. That change makes so much sense. And you got that such an appealing gesture and the facial expressions. And then I love this, that the change without a dart, really, and it's kind of a little bit there, but without the blink and into that stare. And then, oh, that is so good. I love that stare. The look, the winding of the eyes. And look at the hop and see, so here, how she comes over. And then that expression there, that mouth shape, it just works so well. Gotta play this again. That whole thing with the hands to look over. Oh, hey, look, it's right there. Oh, that is absolutely bonkers. I have to say so good. I'm going to say it is a lot, but that's, I've got to say, it's probably my favorite shot. It's just so well done. This is a really great picture shapes in dragon form, but even this in human form, so great, wherever model those shapes and how they dialed in. It's so great. She has to see what droons and cats have in common, because they have no soul. It talks about the water, but I want to go through that and highlight. I mean, the whole animation is great. They'll subtleties on the cameras. There's a lot to really, really like the sim and the hair in the cloth. But if I stop on the facial shapes, that, like that to me, I see this and I just feel how you cranked up the shapes. I just want to, oh, I just want to get that rig into the same thing. Look at that expression. And then the change and thought moving over. Look at that face. It's so, so good. Look at that. That little explosion of soul, squash and stretch in the face into that. It's like, look there. And then she goes back into just binding your lip there, right hand poses. That goes back almost what we have. I mean, she said, hello as a dragon. Very consistent in the dialing of the shapes here and how she looks across both forms. Yeah, it's great. This time it's not about animation, even though, again, it's great. It's the water, like that shot. The lighting and rendering, the look of this. Just the color of it. I don't know. I'm just fascinated by Sims. Just the overall lighting, both of these shots. Again, I can watch this over and over and over. There's something about mixing cartooniness designs in more photo real environments. I always think about, ah, that's just a clash. I don't like it. And then I see it go, I like it. Yeah, I could watch this forever. And I know you don't want to watch this forever, but love the Sim. Love the look. Also, just the camera work. That little slight wobble, as if the camera person is on the boat and with the waves, they create a bit of a wobble in Z. You can see that if you look at the horizon line. It's not any type of shakes. It's mostly in Y and X, where your rotation's there. You're going to be careful about Z. You're changing the horizon line, but depending on where you are and what surface you are when you operate the camera, it all makes sense. It's subtle there, but I love it. It really, really flows really well and it's really well done with the camera move there. Anyway, I'll leave it that. I love it. There's a lot to love about Cat and Boon, but I wanted to highlight that one turn and play out the whole thing just because, again, it's really well done to rhythm, all of that. The hair sim and just everything. You can watch these frames. I mean, you can just pause on this. The pose, the expression, the offset, all of that. Just, you can really go frame by frame and study everything and it's so well done. But whoever did this, that turn, it cracked me up. So, whoever did that, thank you. That just made that moment. It's such a great moment there. Back to water and now we have CISO swimming in it and I had to bring this up for so many reasons. Wet fur, the look of this, random that water, the interaction. That, sorry, I got a frame by frame on the plate in full, but it's so fast because it needed to do a blur, but the sequence is where she is swimming when she's on the water. The first time they take off and she flies, so good. And even that, the lighting and the look of the hair, the flow of it, you can feel the weight of the hair. I mean, come on. That, going to the other shot here. Just fascinates me. Again, watches over and over, but I will not because I won't stop so you don't have to watch this with me forever. I just want to bring it up because it's great. This one I want to bring up not just because the whole thing is really well animated. There's the crossing over those arms and let me just play it out in full. But there's something that CISO is right there. There's something that I tell my students that if you're going to go for a shot for your reel, you've got to make sure that, and you're going to showcase body mechanics. Everything is really well done, but you want to have a moment in your shot for your reel that kind of stands out. Like, oh, that was cool. Like, for me, I like this. The crossing over is really, really fun. But the highlight to me is this, how she goes up the rhythm, the rhythm of her fingers, her hands and arms with the head going down into that. And again, you can really push the facial shapes into that moment. I mean, there's more, even when she goes over here and look at that, the pushing of the shapes. Oh, this is such an extreme element. And just the overall pose. Again, the sleeve, the seam, how that is being used, just how they come together for kind of the whispering. But that moment here, let's go back here, it's here. That going up, that to me is the moment. I mean, that shot is full of great moments, but where we did this, like, how do you come up with that? I want to see all those acting takes and how the anime ended up with that moment. So, so good, I have to say it. And here's another one with just a great moment for me. It's the sleeves. It's a great flow there. It's very naturalistic here. Now she stops and looks over. But the moment for me is this. Because, you know, the anime didn't know as well, the sleeves are going to be droopy and hang over. It might as well do a move here, how it makes that turn around. Let's play this again. Love that. I mean, love the hair. And then into, hey, into that. It also adds her playfulness. She's very optimistic all the time till the thing. It's not a long shot, but it has that thing of, oh, that was cool. I love that moment. Right there. All right, the monkeys. Come on, we have to talk about the monkeys. And that intro, that role. Oh, I know how you go over there. Just the contrast of the faces, how they're all different. I just want to bring that in here. But love this playfulness of this guy. This guy is eating and cleaning. Totally asleep there. And just the complexities too. If you go frame by frame, I mean, that's an animating enough to go through there. You got your take, the scramble. And it's not just all in one axis. It's how they jump around. It's great. But I want to go through this frame by frame because it's cracked me up. All of the tiny little feets he's doing. You got, so it goes to the side. We know what they did here. It goes to the side on the stomach. Okay. Scramble over. They go over the face into a roll. They're rolled down. Uh, come on. How can you not say so good? Such a great intro for those characters. We're animated this. Bravo. I love it. I love it. And you know that if I bring up the monkeys, you got to bring up the baby. And there's a lot to love about whenever they're on screen. But come on, that walk. Look at this. Cracks me up every time. It's so good. Those arms out that waddle. It's still fast and agile. It has to go places and it's faster than the choopy for the baby. But it still has that baby walk. Again, I don't know why I made it this, but holy moly did it crack me up. That whole sequence. If you watch that movie, just look at that whole chase sequence. There's so much to go through. I'm only showing up, showing the shot here just because I love that walk. But you got to watch that whole sequence just in terms of action and staging camera. So well done. Okay, I lied. I'm going to bring up one more thing. And it's not just the bunzies. That was funny. Why I'm showing you this here is when I watched it, I didn't notice this when I was watching the movie, but when I recorded this, I noticed this. That it's actually starting to unrope there. I never caught that. And that's why I bring this up here. I love it. It starts standing at pace. It starts already there. And then she goes, whoa, diapers. Oh, look at that. Just on that. I love this. Look at that. I love all of this. And then of course you got the funniness here of bringing this back here. Look at that. I love that crossover. Who holds the diaper? I don't even know. Then you got that landing into this. I don't like that. Look at that. You got a squeezing of the buns too. Squeeze here and then out again. That's why you got to go frame by frame. Look at that. You got the drag in the fingers. Sorry. And I'm going back into frame by framing here, but so well done. This is not a sequence that I just want to play out and then I'm going to go frame by frame because there's so much to look at. You watch this and you go, wow, there's so much in there. The rhythm is great. I'll post that at the end. But then the sequence is over. It's like, all right, hold on. I got to go in there frame by frame. And yes, this is going to be a frame by frame. This is basically all about bouncing balls, right? So your basic principles are back. And I love the holds. Whenever you have a bit more exaggerated timing, you get the squash and stretch, but the hold and the apex and both of these guys, the small one and this guy, clean silhouette there. So great. But there's so much growing this is where I want to go in there. Again, like as an animator, I look at this, okay, you know, imagine you got kind of a default pose, however they have it there, over there. And then you go into, all right, well, let me push this character to see what I can do with it. And I see stuff like this and just makes me laugh. Like, I just want to go in there, open that rigging through the same thing here. Look, holy macros. See, this is the stuff. This is why I'm framing through this. That's the lip. Wow. Come on. This is so good. That is the epitome of so good. Wow. Bouncing is the shapes of this little guy here. Okay. Oh, then it cuts out. And then you can see it comes back in here frame by frame here. Calm on. That's just at this point, every frame is sculpted. Computing in between? Nope. Like that's how he waits here just to grab that tail. Even just this here, just an appealing mouth shape. Again, whoever dialed in and modeled those shapes and then how you can dial that in is so great. Drag here and slap on the hands. Love that too. Just this crambling and then getting into that line, into that, just the squishiness on all of them. You can see that all the way down to the lips here. You got to change in the fingers. That's what I'm here for. Awesomeness frame by frame. And then just that pose and that shape. Yeah. It's a banana shot. It's literally a banana shot. All right. This is going to be super weird bringing this up here. And you're like, what? But I want to highlight this. I know this is super weird, but during the summer, during the whole lockdown, nothing else to do here, I started growing up my hair. Clearly it wasn't that long, but I had this as well cut short here and just a bit long. I don't know how long my hair was. I was, I mean, it looked silly, don't want to know what I looked like. But in my horrible job of cutting hair, this is one like that. It had just long little moments or moments, little pieces of hair out there. So this is the only reason why I bring this up. Oh, wait, I don't hear the little longer pieces there that reminds you what I did. And that's the only reason I'm bringing this up. And that's it. You can thumb me down here for that one. But I love it. Back to the monkeys just because of two little things here. Again, this is something where this great moment, like the whole shot is well animated, but there's always a moment that stands out. And I love this guy, how it disappears here. And also this one, if you look at that guy, got that awesome path into this, but it's not just going up. And I love this asymmetry too here. It's not flat. As it goes down, the eyes, it's not just done here. Looks around, turns into that. And then that's it. So watch this here, this whole thing. Securely extra detail is contrast and timing and what's going on. And then just generally, that I love how it bounces. It just the weight and squishiness of it. And then the timing of getting in there, that last frame going out to watch just that one. Looks around. Then with that little extra thing coming up here, they're great. It's so funny. This moment I want to include because of posing. So any students watching here, let's talk about contrast and posing, especially when you have multiple characters. And I love that at this point, she noticed that, well, you really can't trust people. She has a bit of a shock that she trusted that person. And it's something went wrong. Whereas she gets confirmation of, yeah, I told you, you can't trust people, the world, that's how the world is. And the reason I'm showing you is because it's the confidence, right? The openness of the pose because she's very comfortable. It's a reassurance of, yeah, you see, this is what I've been saying all the time. And even if she goes back, you know, she's playing hide and seek with the other characters. But throughout that, she has that pose versus she has the knees up, arms around, closed up because there's a betrayal. It just feels less comfortable. Again, this is me just reading into those poses. Who knows what the anime was thinking. But that's how I am interpreting the scene. And that's how I'm going to tell my students, think about that. What is their state of mind? And why would you have them open like this and close like that? What is the reason besides just contrast? Did something happen before? Is something informing the characters or the choice of that pose for the characters? It's really neat. Back to facial shapes. And this character showed up to, okay, okay, I got to look at this frame by frame. That is the moment I love this. That change with the tongue. Yeah, look at this. Yeah, it's just, I can look at this character again all day. Not that I'm going to have to suffer through that, through my preferences there. But I got to go and look at this and look at the pushing of the shapes. That's where a lot of rigs falter to get a really nice shape like that. But the squishiness of the face and the expressiveness and then going into that. Yeah, it's a shot I wanted to show you because I love it. And at the same time, there's a really nice subtleties here. She's asking for help. That is just so well done. A, I love with her as she goes down here and just has that little move over. It's tiny. It's subtle, right? She goes down with a slight move over here. Again, it's my tiny for you, but it's those little texture changes in your posing and timing. Just love it. And then just him, the weight of him. Just that look. Dad, just how he drops down has that. I don't know if you can see down in the capturing screen. Capture it. It captures all the frames there. Also, seeing the creeper shot, how big he was with his eyes and the, and the mouth shapes and everything. And then seeing him like this, it just, it worked so well. That tiny thing in the eyebrows here. It's so tiny. It's so subtle. And this is why I love it. How you can have a character that was so pushed. And then you have that inhale, massive inhale. And then that little nod. And then bam, that going down. Again, it's not huge in terms of dialing crazy shapes, but these shots like that, that they're just just as impressive. Oh, so good. This is really cool because it combines in a way both the things that we talked about before, that I talked about. Now we hear this is me talking to myself, but it's the big moment rising and then the growl. And then that, just love it. Love that moment, how she's just in awe. She sees a dragon for the first time. Spoilers. All of this. I love this. I love going from all of that into getting up the camera move, the focus on it. This, just the physicality of the breathing, but how she's just locked, locked on Cece's face. And then that, of course, I love all the, you know, the influence of the ground, the hair and everything will detail stuff, technical details. That little flare in her eyes right there. And then that, that change, you can see the change in the pupils and the slowing down. Even in the camera, everything kind of slows down for that moment. And I don't know why I made it this, but so, so good. I love when you have a big change like this and just the thought and just look into their faces. So well done. This one, I want to bring up the whole fly sequence being really, really cool. I love this. Just the field. Hey, the idea of this with the raindrops being able to control this and then having that weight on there and then use that to be able to travel through space. It's not just flying around, but it's hopping and using the raindrops. I thought that was really clever. Just that whole sequence. Again, I can't play the whole thing. It's a long sequence, but watch it. Watch the whole taking flight sequence. I got another shot coming up though, but really, really cool. That's the one right there. Besides the animation being really neat, just the fluidity, the path and how she gets up there. But for me, it was that moment here, the closing of eyes and the camera. Again, I'm not sure if you can notice this given the screen capture and how kind of degrades the quality, you know, maybe skipping some frames, but A, the face and love, how it's just the de-blissfulness of, just enjoys it so much. That was a great moment going through the clouds and again, the animation with the nice lines and curves. But see if I can play this again. You can see this slight camera shake, a little vibration there, right there. I don't know if you can see this, but it was a neat little touch. The camera worked through all this was really, really cool, but that was a really great moment. Again, the lighting and rendering is great. I mean, that whole thing is just great. This is what this series is about, because it's called so good. And I had to bring this up. This is a short thing, but I love that. And Ken's idea of how they're going to infiltrate the whole thing is this, this dragon design, muscle arms. Oh, it cracked me up. And I love this here too. Just that. It's such a kid thing to just completely exaggerate and act this out and look at those faces. They love it. And then that'll clap there. It's a great transition. It's great animation. This I wanted to include just because of the mirroring of the poses. I don't know what the animal was thinking. This is probably me interpreting something that was intended or not, but there's something about, and you pay attention to that for yourself, when you have multiple people and one character, one character in your real life could be whatever circle of friends or family, whatever. And they're in a specific pose. There comes a point where you will adopt the same pose because you agree with that person. This is a known thing is the mirroring of the poses. And that's what made me think here, where throughout the sequence, you can see her in this and then he gets into this. Also love how he gets into this. The mirroring of the poses there. And you can see, you know, the baby's going to, you know, monkey and mimic the whole thing. But at the end, you still end up with three characters who agree with each other in the same pose. I know that's why I wanted to bring up. I don't know if that's the intention of the animator, but I like this. I like that. I'm going to stick with this interpretation of those choices there. And I had to include this one just because of the intensity, the cold transition of her throughout these three shots. You can really feel the tension in the chest and the breathing, how she ramps up into this, especially at the end with that look there. And I love that too, just because throughout, you know, she has her doubts, but she's fairly optimistic. You know, there's a specific tone to the character. And this is the big shift, the big shift into all right, well, this is now something where it just drove me over the edge. And it's really well animated and feel that tension and that shift in their emotions. It's really cool. There's some really good camera work throughout the whole movie, but for some reason, this shot just stood out to me. I just love, I love the energy of the chaos and they're going this way, while she goes this way, nice and centered with the great silhouette. But there's something about that handheld, it's just nice and subtle. A bit of a camera shake as stuff happens off screen, but really nicely done, nice and subtle. Love the little wobble in there. That's really neat. This one is another one where I thought the camera's really, really neat, nicely done in terms of just the action and how we focus around other characters. It has just enough handheld to make it like they're part of the running group of people, then how it comes down and lowers itself so we can look up at the characters from nice staging there. It's really neat. Again, it's obviously the animation is great, but I'm always interested in camera work, how things flow and for staging, it's really neat here. This shot is short, but I wanted to bring it up just because I love the energy and I wanted to go through that frame by frame. I just love the arms down, the intense, I also love how it's partly covered here. I don't know why I just love that. The image goes up with her arm. You don't really see that, it's all just in her eyes. There's intensity in all of that, but just that move, the move in her arms, how she leans forward and then that recovery to bring up the sword. It's really, really cool. Short, but very sweet. As I said before, I'm a big fan of thought process and characters looking at things and processing information, kind of making choices based on all that and that whole sequence there. I love everything about this, the looks, style of reach and then how she gets back into that, again, because of the transformation and just the effects of it are really, really cool. But that, I love the, there's so much about it. The colors, like the blurriness, like with the lens, the depth of field of it, the slight handheld, like the slight energy that you still have in the camera, like the effect here, what's going on around her, but also just her look, the darts looking that, that quick little right there. Love that. Breathing. Again, this is simple here, technically, right? But look at all the different moments and twitches in the fingers, the contact, even just that. Love that shot and just this. Amongst all the craziness, how just Raya has that soft look up there. That's what I'm going to do with that. And then, no, slow motion and this here, I'm going to frame my frame here. Love all of this. Love how it obscures her just for a moment there. You got the glowy light into, into that. Almost like the dragon there. Really, really cool. Yeah, it's a great end sequence. And I'm going to end it not with animation, but actually with original score by James Newton Howard. I thought the score was really, really cool. Something else that I, that I really, really liked was really, really cool. Brought the whole thing together. This is a really nice score overall. And that is that. So again, a series that's not quite lecture, not quite a reaction, whatever people are doing nowadays. This is just me. I picked out those shots. Again, that doesn't mean that the rest is not good. It's just that the animation is just really well done. But I wanted to pick out certain highlights that I really, really liked. But look at the sequence when Sisu is swimming for the first time or the whole sequence when she is running and flying. More at the end when they all come in. I mean, there's so much you can point out. The whole monkey sequence is great. Just make sure if you can watch the movie, there's so much animation. That's awesome. So great material. I'm also doing this for my students as I tell them, pick out something you really like and then study that. Take out certain elements, just a shot or a moment. Put that into your reference library and study that. So maybe that is helpful for them or anybody watching this as a little highlight selection for that movie. I want to do that. Again, this might just be for me, because I like this as well. I do this for other movies where I learn from them. So this goes into my reference library. And I'm going to continue with other movies. This was originally intended to be for Spider-Verse a long time ago. I never got to it. So I'm going to go back and do this with all the movies and TV shows and things that I like and create a new playlist with just highlights that hopefully are helpful to you, maybe inspiring to you. And that is that. Thank you for watching. I don't know how long this is yet. It's the first time I got 40 clips. So if this is long, then thank you for watching this until the very end. And hopefully I'll have you have your eyes for my next upload.