 All right, for those who haven't seen this, let's play this in full, there is no sound. You can make some cheesy sounds. All right, cool action. Towards the end and then at the end we have that. There you go. So looking at this, there are a couple elements that I feel like you could push a little bit, but overall it's very cool. There's some cool moments in terms of the action. I love this just because it reminds me of a shot that I did that I started a fighter landing and Obi-Wan jumping out. Not that it's similar like this action happened over there, whatever, but it's it's this action. That's so similar. That's awesome. Starting off here, I think when the first time I watched it, I saw something. Oh, wait, there is something flying there. What is this? And then we kind of lose it. And I think we could make this potentially clear since we are here. And I don't know if that's something with the camera where maybe that ship comes from here and lands a bit closer. So at this point, we're just a bit closer, could be something like that. And then it slides past camera into that vanishing point. And the reason why is that if we're closer, so imagine we're here, but we are just a tad, let me go here, tad closer, you can imagine that at least for me, subjectively, I think it would have been cool to see the stormtrooper potentially here fighting already and Grievous is there holding it. And then you have that nice, you know, somewhat gray grievous, a bit darker and the white stormtrooper as a full silhouette. That way we immediately know something's going on. There's a pilot. We know there's something white in there. And then that way it's already there. You can have some flailing arms to really draw attention. And that way this is a very clear moment. Then we kind of lose it after this. And I think we could cheat this drop here by having the stormtrooper fall this way. I know it's going to feel like it's kind of sideways on its left. And then it falls in front of it visually to the right. But I think there's a moment of we're going up here and then we land. Let me just go back here. This is normal speed here. See stormtrooper and then gone. And then there's a good amount of beat here. Nothing happening in the stormtrooper falls. Not that it doesn't work, but I think it would be worth exploring a bit of a cheat where that stormtrooper falls through there as a as a connective tissue, basically, and then it lands and it can always fall a bit this way and it bounce off. Because the thing is here we are starting to stack things even if you have a slight tangent there. And I think if that character would land and be around here, you would have a really nice silhouette versus this kind of overlapping. And then even here you could take these characters and bring them maybe over a little bit. That way you have a clean separation of this is a group. This is your main character, the guy that just landed and so on. There's nothing else is happening in the shop. So I think separating this into a cleaner is kind of grouping would be interesting. Other than that, let's go back here and look at the the ship physics and the bounce is a bit light. I think doing that bounce. It's again can work. I will probably give this a heavier drop for this less of a bounce, but you can always open the wings. It's a lighter element than the main hull there. And then you can have, you know, that weight will feel have just have a bigger impact of the drop. And then you can have lighter pieces like this kind of open flap if you want just a little bit. Jump is cool. This gets a bit tricky silhouette wise. This could be a moment where we potentially cheat a bit lower something like that and some offside of the arms gets a bit muddy here, silhouette wise. Cool, though. Cool rig. It's cool to see that character again and drop is fine, too. Again, I don't mind, like I said, like the bouncing is here on the ship is not too bad just because this already has a slight cartoonier feel. Just the way it drops, you got smears here. So it's not it's not bad. It's not that it doesn't work, but it could be a moment to play with. Then we got these guys shooting. I think you can have a little bit of a not that they do that, but a slight flash is really can see where this comes from and a slight recoil is giving us a bit more action. So the thing is, as this goes forward here, there's a slight feel of weight. Did this guy just shoot the thing or not? So again, not that it's massively confusing, but my first viewing is where did it come from? Do we want to play this up a little bit? Either way, I would have a little bit of recoil that is in the movie. They have a little slight recall in the blaster and then you can have the arms and the body. So a little bit and put up a little bit on this one. Yes, it is somewhat a robotic, but it's kind of organic robotic, but it feels this is too for me robotic in a sense of pieces can move separately and rotate as the character does. But this is almost a bit too much where I would have already like after frame or two, broader movement in the chest. Just a bit. He's going up and then suddenly down. So I think you could still have the upwards movement continuing and then into a drop. So you have motion across the cut again to connect those shots a bit more. And then for him to go, who someone's shooting at me. He still has a pretty broad silhouette. And I think if he's going down to like where I got it cover, I will bring those arms down and in and like even like these pieces can come in. Like this is a moment of, oh, I'm too exposed. Let me go in a set situation. I'm a smaller target now. My silhouette smaller. And then you go into into all of this. I think for that action here, I would add some sparks. So it's really clear what's going on. But again, one first viewing feels like, Oh, I mean, again, this could also be the intention of goes through. And then suddenly we see this guy falling because he's that fast, but it could be kind of fun to have some sparks and hit some metal of the weapon here. Just kind of push this moment really showing the like a clear death there. Also careful, as you go into that last one, that drop happens behind Grievous. So you could also have a bit of a again, that might be too much, but imagine he slides through and then that pushes the stormtrooper over and then drops here again for clear silhouette. That could be too cartoony, but something to think about. I think this you might as well push and go and really go high. This guy is down here, you know, legs are here and he's really dangling. That's cool. I love all this. That's also cool. I think you could potentially cheat this guy. It's good composition, but maybe just cheat him a little bit forward. Why? So that when he drops, so when we get to this is that we have potentially this gun a bit further there. I don't know how far you can push this, but that way we have just a clean stormtrooper clean Grievous without that overlap here. And then this one felt also a bit muddy. Like I'm not quite sure what he's doing here. Is he grabbing him? Feels like the hand on the throat. And he's trying to get out of there and then he pulls him up and then throws him up here. So this could be also maybe you could have a moment of that arm down here just for a moment. And then you can see Grievous's arm and the claws around here. So it's a very clear thing of, oh, that's what's going on. And then the stormtrooper's arm goes up into that pose. Again, if it's just for a glimpse, you want to just read quickly what is going on here. There's a lot of overlapping shapes there. And then lastly, I would say we have a throw where we feel like this is where it's going, right? And then suddenly we're stuck here. You can see where that drawing is with some onion skinning. We're kind of stuck here. And then it drops versus a bit more of this. And since we don't see Grievous at the end, we should also copy something where after that Grievous could stand and maybe it might be weird to probably peek out there with his arms, but it could be something or he exits here because he's off to some new mission. But I think you'd be okay by throwing and having a proper arc this way and then just pan to the left. And then actually, if we do this, it's a royal weave, if you would do that, imagine you can throw, keep that proper arc into this. We pan over so that we're here, exposing my background here, but imagine that could be, I mean, we will lose the hand and stuff, but imagine we would be maybe somewhere here and no tendons trying to have no tendons there. And then with a different tool, you then have a continuation of this set, right? And then Grievous could be here. So you actually could still see him at the end, strike and cool pose, maybe bringing in the arms together, getting to a standing position, like whatever you want to do there. And then that's that. And then you have the end where we still see the character. That's the only other thing too is after all of this, all the action, bam. And then that's it. Like there's no more, there's no more Grievous, unless I'm missing something, but I don't see anything there. Unless you would do like a jump up and he starts like a spider scaring away this way. Could also be cool, but that's something to think about about the ending potentially. Yeah. And that's kind of that for me. So yeah, thanks again for that submission. It's awesome. I love it. Cool action. And that's it.