 All right, let's put this one in full first here. There is no sound. So good. All right. So there's a lot of good stuff in there. And my main comments would be, even though this is super stylized, it would still be interesting to have a moment of when that arm comes up during all of this. And I love the multiples here. Great. That is a great moment there. And I'm curious to see how much it will break the stylization of adding slight rotation and just a little bit of wiggle. I'm just really talking a couple of pixels. It's just slightly alive. And even when you go on something like this, going up, not that it has to have, you know, a massive body change going up and everything, but I'm really talking super minimal. So it's not completely only one arm. I'm just curious if that would just break it. Cause it is really funny that it's just only the arm moving. I like the smears. All that stuff is great. And I like that it's the only time at the end that the character is blinking. He was great. I was curious. I'm just curious about that. That could be an interesting change just to see how it will break the cartooniness. Now, when he actually does hit the guy, the only thing I would potentially examine is he's always kind of like, if I put in the onion skinning here, once he gets hit, let me just see. I didn't go in there frame by frame. If that's the head, here's the head. That's cool. And then we're in the middle. So it's always in a different spot, but then we're getting a bit similar. It's not super different. And then we have the ends. So my thought was, what if on these, as he's progressively hitting him, that it would also have him go down more and more and more, meaning that he's here. He gets hit, that's here. Bam, next one he might be here, but maybe a bit more on this side, really pushed that contrast. Then when he's up here, imagine on this one, he's lower. And if you want to go ta-da, that nice pose, then maybe it would be a lot higher. And then when that happens, now he's a lot lower. And after this one, he might go up. So there might not even be too many moments where I was thinking where he goes lower and lower and lower. But maybe it's just, to me, when you watch this, boom, hits, hits, hits, hits, hits. I know there are changes, but it's overall feeling within this bubble. I wonder if it could be something where it's more exaggerated and then the ups and the downs and left and right potentially. Other than that, a lot of cool moments here where as he turns, he's got a really nice, clean silhouette. I would potentially look at, I know he has to go higher because the gun is here, but maybe it could be an exaggeration of something with the hat, the flap up here and this here and this like that. Just so you have a cleaner view of the upper arm, even something like this on the hold. So when he goes on here, and I'm talking just one frame, but something where we just at all times have a clear view of that elbow. Like that is nice as it goes down and we're resting on that. The smears are cool. I like, so much that's good here in terms of the holds, the squishiness and the bounciness here, thawing, that's all cool. When he does this here, the same thing, I'm just looking for contrast where even when he grabs the gun here and goes, huh, it could be a, oh, I'm in trouble. So it's not just down here and watch this, goes down, squash and stretch up here, but it could be with a slight bend back. Maybe even that foot goes up. Not that you have to do a reversal, but just something where it's a bit more, whoa, it's going away from the threat, but now this guy's threat is he has the gun. And you might as well go a bit lower and then separate those fingers. So you don't have that overlap there. But again, the animation is great. I like, it all reads really cleanly because you have a lot of clean shapes during all of that. Bum, bum, bum. And again, I love the weight on this, duck on that, how the legs stop and that little swing on this, I think this is a really nice moment of hang time. See how this drags, this goes down first. And as it lands, it has that warrant, the arc down onto this. And when this goes down, I only kind of moves that forward into that. The only thing I would say here is that it's a bit convenient for the head here to land on this. And I will probably do something where it's sideways, like flattens with the head like that, nose here. So it's not just on the chin, just give it a bit more of a flattening. And I know you want to have that come out, but I think there might still be a way of, even if the head is like this and flat, it could just come out like this. And then that way it comes out kind of in the angle and not straight down. It's diagonal, so it could be a bit more appealing as well. And that's kind of that. It's a very, very cool clip. Okay, let's play this with sound. There's a lot of awesome sound in this. Get ready. I'll bring down that sound for myself here. It's so good. So good. There's so much to love. I mean, it's not that much of a critique. It's more going through in terms of what's awesome. Already you have that coming in. And I like that it's the names of the rigs. And then it goes straight into, I love this. You got that little keep alive there, right? Let's go back here. All of that works. You got classic game, keep alive on him going back and forth. I think that's great. There's even a lot of detail in the shoe here. It's not just cut off on the IK foot here, but it has movement. That's great. This might be the only thing where it's a bit odd. It's almost like I would pivot off of here and go up with the foot and not go back and then lean that foot forward. That might just be me. But this is cool. Let's go back to the left guy. I like that. Immediately move with that foot. And it might be something where instead of having just a translate, I know this is extremely picky because everything is really so good. It could just be where maybe it's a foot roll and then into flat or you start with maybe the toe goes up and then into this. So it's not just this whole shape moving over. That could be something where maybe it pivots off of here and the backside moves this way and then the whole thing moves. There's little things like that. I love this. These are all nice clean shapes. You're getting already into smears and multiples. You know, the hair. I'm just going for my frame. I love it. I love how the head drags, how the body goes first, but there's still enough movement to not make it super stiff. That's great too, how the hip goes up here. I love that. I love all those shapes. There's so many great moments. And I like that. It keeps that arc with the multiples. This goes right into a wheel, which is awesome. I love that it kind of just goes out of here. That's your pivot right there. Look at that. We can just go frame by frame and look at all of the awesomeness. It's so good. It would be fun for this guy. I don't know if this rig allows it. Right around hereish, maybe, to have a frame or two of just huge eyes going, whoa, what is going on right before the hits. But then you just kind of play with that a bit. But I also kind of like that. This is the one that is super cartoony, where this one is just a bit more restraint. I'll look at that. I'll look at the awesomeness of all of this. This is so cool. Love that. Look at the little effects in there. And then we got the pah-pah going in there. Shapes like this. You still got the effects there. I love your pops. Like you one frame pops out of that pose into the rest. We're still falling through with that, ooh, with the momentum energy that that leg still goes up with that foot here. And then hold so we can concentrate on him. And that's cool too. Love all that. I just transitions into that. It's a nice quick camera move to make it all work. Clean finger poses. Again, I'm just going through mentioning what's awesome. Love all that. Super picky, maybe this here or here, but not right where that leg is for tangent or a little overlap. I know this is a ridiculous comment, but it's awesome. Also look at him about how he is trembling here. Just enough. It's great. Also love the idea that he comes in from the other side. Maybe a picky thing would be the eye line. This seems okay. Then you go to here. It seems like it's a bit above. And really, unless you're saying it's going to look at himself, or maybe that could be something to look at, maybe with some darts or even a blink through this. Or as you go back, maybe a more evil bigger eye or a drag on those eyeballs to accentuate the, ah, I'm going to get you. Just something here could be fun. Dragging that ear maybe this way, stuff like that, but it still has all really nice arcs in the flow of that drag coming back in here. Love this. I love just those three lines there. Mish, that at the end. Love that, that shape too, like this, did he? It's just, again, I can only go through and mention how awesome this is. It could be something where as you lean back, maybe this has a little bit of roll over. You can see how it's cut off here. Since everything has enough keep alive and movement throughout, this could be something to kind of push that. This one maybe more of a pivot at the top or maybe the top part of the foot goes up. So it's not a complete slide. I'm looking at how much all of these are sliding, especially at the end here, but both feet are sliding. So maybe that could be a bit more of a slide step, maybe lifting up like this and exaggerating. Not that much, but as a thought, pivoting off this side. And if that's the ground, this side comes up in a very minimal way. Super, super picky things here. And again, something where, again, I don't know if that rig allows it but pushing that smile, maybe making the pupils bigger, just dilate them, making everything to spin. Oh, how nice of you to be here. Maybe potentially pushing that a bit more. This maybe bring the shoulders and the longer, bigger drag. And it's just the neck. Probably at this point, I would flatten those fingers, maybe even stretch them a bit. Just push that moment in there. That's the whole thing I would say here. And as you go here, I love that he goes from this to slap straight over the hair. That's so good. And that is such a great idea too. I love that too. You could potentially, let me see. I know it's short, but potentially exaggerate the chest shape of the inhale. And then as you thinning this out a lot more, so you really feel like inhale, and that air goes through there. Maybe even with a little bulbous thing through the throat. So almost like feeling like that air goes into this. Picky, but that could be something. It's great. This one, not that it's wrong. This is one of those where it's just a different opinion. This could have been fun too. I mean, I see the wobble, but there's something about this with the sound to make this just straight. I don't know, that might just be me pushing that into a straight. This I will probably bring those arms if that Rick can do it. Just kind of break the Rick into duplicates, but stretch out just for that frame. But it's such a direction change for that character to really stretch out a bit more. I'm even here one more, and then it gets into what it's doing here. And that's that. And then we got KO, and that's the end. Super cool. That's all I can say. Repeat myself. It's a super cool clip. I love it. All right, let's play this in full here. There is no sound. You got a long silhouette look here. Da-dong, da-dong, da-dong, da-dong. Cool, cool, cool. Jump, getting ready, and bam. It's cool. I picked this one too because it's not your typical cartoony rake. It's not what you would really expect. And I do have a couple of notes in terms of clarity, but other than that, there's a lot of cool stuff in it. So right off the bat, I love this. I love the very graphic look at that beginning. The only thing I would say is I personally would reduce the vignetting. It just gets a bit dark. It's not too bad. We can still clearly see what's going on here with the character, but it just gets a bit dark in moments like this here when we go over there and we start to lose what's going on. Personally, I feel like, oh man, it's a bummer. I will make that just a bit cleaner. Maybe reduce maybe just for the slight corners there. That'd be my only thing here. This one, the only thing I would say is that it's the run and then we cut to the same run until here. So it's more than half. We are like 60% into the clip and it's the same animation over and over and over. So that could be something where, I know this is adding a lot more work. I'm just saying for future things. We're seeing the run, that's cool. And by now we get it. To me, after this, the repeat has to change because now it's really getting to repetitive stuff where it could be where now we have a slight jump with the gun going this way and then shooting and then bam, that's what causes this. So you have a bit of a difference of run, run, run, run. So it's not just the same thing over and over and over. This gets somewhat saved because we're seeing it from this angle and you have a turn that adds more interest and now we get to see the front part of the character, which I think is neat. It could still be something where, I mean, if I be super picky, it would be run, run, run, run, jump, shoot, bam, explosion, but still in the air, landing in this, shoot, boom, boom, maybe even with the camera tilt down and then into a run. So right after the landing, the camera starts turning and we get into this, that could be something to consider. So it's not so repetitive. I would also look at since, I mean, it's okay silhouette with the color, potentially giving this a bit of a different color to help us see what's going on here. It gets a bit, even with these things coming out here, we don't quite understand what is going on there. I think it could just be a bit clean even here. I'm starting to lose what, what is what here? Then as you jump, I will cut out sooner because we get to string and then we linger and I'm going, okay, am I supposed to, it's something gonna come out here. I would just cut out soon out of that. We don't need to linger on this, almost setting up something that doesn't happen. Then getting into this, that's fine. What I said before, I would just reduce the vignetting a lot and potentially keep more of that in terms of the clouds and not go super dark. Because again, we're starting to kind of lose things a little bit here in terms of clarity. Again, it's not super, super bad, but it would be nice on something like this on the pose that you hold. So you just, why not just have more white clouds and keep the darkness here, but really make this as clean as possible, like the way it is, you know, I mean, it's not like here, anyway, like how the whiteness here, like that is nice and clean. And all of that is really great. And I would just kind of keep that approach for here as well. I like how you change from the posing here into this. All that's cool. Don't think at the end, tricky angle, where are we getting that gun over that knee and all the dark shapes there? That is a bit better. I like this. I think we could hold on this longer versus that. And even this here, we kind of miss this. So maybe on that, could be a post change where we lower that leg potentially. Now that has to be a crazy post change, but maybe just keeping that as clean as possible. And then that is almost too short. It's a good rhythm though. But it's almost like you want to do our second kind of a, as it comes out, it's almost like comes out here. And this maybe the propellers come out and start turning for a kind of exaggerated hold into that. And for your last, probably have this here, this here a bit longer, a bit lower, and then one more where it's really up here and then that into this. Or it's throwing it out there, it's totally different. I know you're having this where we kind of, she shoots into the POV of where I was watching this, could be security camera, whatever. But completely changing in what if this is, the camera is a bit more three-quarter, so we have a bit more of a body, gun, leg pose. That's a very fat, it's almost here. But imagine we just have a cleaner view and silhouette of that gun. So imagine it would be three-quarter and shooting and then maybe whatever the trajectory is that, and it's not this, because the camera broke, but it's, I mean, it could even be a bit smaller, but like she could be smaller here, but that project that could come here and it's an explosion that with debris that wipes out the frame into that. So it's not a static, because the camera broke or the recording device, but it's an explosion, debris, smoke, whatever that causes that as an ending. Throwing it out there, I know this is a massive change. It's just for food of thought, so different ideas subjectively, of course. Other than that, it's very, very cool and that's it for me. As always, let's play this in full first year. There is no sound coming in. Shoo, mm, that smells yummy. And getting ready, wait for it. All right, that's the clip. Nicely done here, cartoony poses, good timing. I love the idea of the how he stops getting into this, arms up into war, into that with a turn to then lean over into this. I think it's really cool. Also not a walk or run, but it's a float into that where we hide the eyes for a moment. I like that you come in here and it's basically just looking at this, hiding and then again, mm, my biggest note is for this and it's not something where something is wrong, it just be something that's exaggerated and just a different idea. So it's very subjective. And it's something at the end in terms of the posing. So mainly what I'm gonna look at is, this is all cool. And there are some moments when you have transitions getting into this, but then it feels like it's almost a bummer that this is right there where that nose is, where I would feel or like that with the hair, exaggerate and maybe lengthen that arm. So that hand is here. This is a bit below the nose. So you have a clean separation between that and that arm and all of this, kind of forming a lot of somewhat tangents. It's just kind of too overlapping. Same thing with this right there. I know I'm talking single frames here, but anything to kind of separate things and keep things a bit cleaner, even here potentially separating that hand and this hand, maybe this arm would be higher, this one would be lower. Just looking at moments like that. That's fine because now you're into like one clean pose with just hands sticking out there. That's all cute. Love all that. That's all fine too. You could even exaggerate and curve those fingers. Everything kind of follows that path including the fingers was even have the hair kind of doing that. Then as you come in here, I will probably still have maybe a drag more on those legs instead of feet, instead of being down. I don't know if how it will play if those legs would be up and then snap that into this. Minimal things, nothing crazy to change. My biggest thing here, this is what I was talking about, is when he gets up here, again, this is purely an idea difference. There's nothing wrong with what's going on right there, but it could have been fun to do when this happens, instead of with arms, you go, I mean, you sniff this, you really exaggerate and make those nostrils huge and then have that chicken be like this where it's like the sniff is so strong that it starts to move parts of that chicken up and then as you go up, that chicken is up floating with it sniffing. And then it might even be stuck on the nose and sniffing there and then maybe those arms would then come up as be on the side of the chicken. What does you do here? It drops down. So maybe there's just a quick moment of where during all of this, the chicken comes up, trembles a bit, goes up, is up here and then drops back onto the plate. And as it drops, then your arms come up into this for then that, that could be a slight change, but that's almost when I was watching this, since it's so cartoon exaggerated, I was secretly hoping that you would do the sniff and that chicken comes up and floats and gets stuck on his nostrils. No, not get inside, but kind of stuck on the nose and rest there. That's the main thing for that. As you come into this here, the main thing I'm seeing is that the head is always profile. I know I'm saying this and it's not profile, but as a whole through all of this, I feel like we can do something where, and by me that we, that's a royal we, it's you, if you consider this. So as we go down here again, keeping me at foot a bit lower, separating things a bit more. It's a nice little wet for light and dark, but I don't know, I still feel like we could separate certain elements. This is fine too, but you could push this and bring this here so that knife is separated from that. He brings in what knife and forks, even with this, so it's not too overlapping here. It's a bit of a bummer. Like all those overlaps are with the thumb on those separate frames. Even this is kind of lined with that chin. Might just be me, but I would separate these as much as possible. Even this, the tangent with the nose and that, separating just as clean as possible in terms of silhouette and you're in between here. That's all cool. What I would do here is that we can have all of this goes that ready. And then when that, that's awesome though. I do like this, but when he's done, we're back into that profile pose. And I feel like this is a certain state of mind where he is sitting, looking at this, getting ready to eat. And this is different now because he's done, he's done eating. And it could just be when he's doing that, it's a bit more three quarters. So we go back and maybe, maybe like this, that's the angle of this or even more, where it's kind of almost facing us. Maybe one leg out here, one like this. I know the foot would be off screen and maybe more of a lean this way, holding on to this three quarter. Ah, maybe head up and maybe like that on the fingers. Maybe that could just be something, but that's the only thing I would say at the end, it's a bummer that we are profile and at the end profile again, where we kind of push that end pose to be a separate state of mind and just kind of the end of what he has done. And again, we are a bit closer, forming a bit of a tangent there between the chair and the thumb. And I know I'm talking about single frames and moments in there, but being picky, just mentioning things that I'm seeing. Other than that, that's it. It's a cool clip. Just giving my tooth sense, my two cents, thanks. Alrighty, as played as in full here, there is no sound. Headed towards the fridge, a green fridge. Getting ready to drink and wait for it. Storing. It's a nice, nice facial pose there. Storing. All right. Cool stuff here. The reason why I'm picking this one is mainly for clarity of silhouette and posing. And that's mainly it. There's some really great moments. I think the timing is good. It's everything is like somewhat, I say somewhat clear. I know what the character is doing. I'm just looking at posing in silhouette, but tired, opening this, makes sense, grabs that. I like that little somewhat like soft little, just a little bit of that. That's great. Drinking this. And then I love that. Just that little moment here. Nice posing on the fingers here. You got that going this way and it goes into, and then that bottle. I think the biggest thing animation wise, I think is that bottle. Like everything else, animation wise and timing wise, I like all that. It's cool. The draw, all that's cool, but the bottle actually has a, let's go back here. Goes up, up, up like that. It's a bit of a weird trajectory. And it's almost, I would do a, whoa, not my head. Let me bring my head over here. As I go with, that's the idea of. So I will go up, hold, twirl, and then down. Let me bring my, my head over here this way. That's the biggest thing animation wise, is this bottle. There's just something slightly odd in that path. As it goes up this, it even goes up here and then goes back down. That'll be the biggest thing. Now, that's all good. Love all that. Now, when you open the door and you're covering everything, then to me, I know the big thing is not what is drinking, but it's almost the missed opportunity of if we're covering everything here and then it's kind of a, ba, ba, reveal. Hey, that arm is covering the bottle here. It's not a super clean view. And it has, there's no change in the face. It's nothing really super surprising regarding the bottle here. And I know this would change everything because you are holding it like this, but maybe there could be a different way of, maybe comes in and it's this arm that opens. I know it's a tricky thing that opens the door, but it will go behind him and it has to go past that head or maybe brings the head back a bit. And then as he closes, it could be then the other arm that grabs it around him to then close it. I was just extremely cumbersome, but I'm mainly reacting to a missed opportunity of that having no reveal and this arm covering that. This is clean again. I like this a lot. And even when you do this, bringing down that elbow to keep that really clean. Like right now you have the wrist and that forearms all aligned. It is a bit of a break here. We understand somewhat the length of the arm, but it could still be pushed to give us a bit of a cleaner silhouette. Anything kind of like that. That's all okay. And this is fine too. And to me, just the bottle. So not that I have a great solution for this, is I understand that well, if the hinge is here and this arm opens, I mean, you could, right? And then you open it and maybe just brings the head back a bit or it's just a shorter length. Now the width of this would be different so that you can actually open. I'm not sure how much this, you know, it doesn't intersect with the head, but I don't know if that hinge would be here if the same thing would be happening there, but it could. But I understand that if he grabs this, you can't close it. But the thing is, if you're not going for a reveal, the thought could also be that this arm is opening it and that that door is now behind him and he doesn't close it. You just, this arm is the one that goes and grabs the drink and it's kind of the opposite of that. This arm is that one doing it and this arm is this arm holding the bottle. I mean, again, might be tricky at this point because I do like this because if you drink and you have that here, it could still work silhouette wise. I'm not saying it doesn't. There's something nice about this, having this arm here free and this arm back there, but worth a thought. Now, I know this would change everything because you have to change your animation both arms. I'm not saying something you have to incorporate but it's something for you and whoever's watching this to consider if you're doing this, it's almost like you're setting something up for reveal that's not there. And then that is a bit of an unfortunate overlap for clarity because now once you close this, this is the reveal of this and you want this to be as clear as possible. And that is that from me. Thank you. Alrighty, let's play this in full first year. There is no sound. Gonna go for the gun. Ta-ta-ta, twirl. Almost shoot. There you go. And then react. Super boom. All right. Cool stuff. I like the posing. Everything is clear. For the most part, I got some comments here and there, some nice lines, but the main reason why I'm picking this one is because of the timing. Everything feels a bit too drawn out. No pun intended here with the draw, but this is all takes a bit too long. This could be condensed into just doing the twirl, going for the gun and even this here could just be grabbing this a lot faster. You can shape a couple of frames out of this and also getting potentially a bit more of an arc into this. It follows into that twirl versus this that feels a bit straight here as it goes just straight up there. And I like how you have the head move out here. But what I would do is the tricky things that you have a lot of covering the face. It seems all very overlapping. You wanna keep this as clean as possible. I would consider something where that is a bit more the case of the line of action of the body where you have the head way out here is out here. So the twirl happens like this and you still have some separation between all of that and the head and that way it's not. So I'm gonna go back here straight with that. You can have a bit more of a curved body line. And that way when you go like this it's not just that but because you are potentially this far back let's just pretend this is where you're at if you put on on the skinning here. Well, let me just delete this, it's cleaner. So you have that, let's pretend this far out and then you go into this and even that might have a potential bigger move shoulders up here. You can see if I'm going fancy here with different colors you can see the amount of distance that the characters covering here versus now let's go super fancy and go with what should we go with? Let's go red. You see right now you have this line where his body is and then this line where his body is it's just a smaller distance of travel. It just in terms of contrast it's just not as exaggerated as it could be. Let me switch back to this here. So imagine like those moments would be more exaggerated where you have from here to here maybe in between being lower with the breakdown just pushing those elements but going back to the timing that takes a bit too long. That's not too bad if you zap into this fastest that's cute, I like that. That's good timing there but even this could have just bit faster I would shave a couple frames out that especially once you get into this I would find a way to lean him a bit more over there so that we have a clean separation between the head and those arms. So it's not so overlapping there. Like all of that for me it takes way too long to cut in half at least and if you go from here to here it might even have a little bit of relaxation in those arms to go lower, to separate that not that you can go lower than his beard but trying to find moments where we don't get too close where it's almost a tangent here with that line and that mouth line there just kind of free things up and keep it clean. So again imagine the head would be for the back you wouldn't have that overlap you would have a clean view of the gun, the arms and then that hat could be somewhere here and the head could be here and that would just be cleaner not that my drawing is awesome but hopefully that makes sense. So that's not too bad but I would still go whoa this into maybe a bit more exaggeration in what the root is doing to go whoa, it's a bit more of a down and then up with the push on that leg and you can potentially speed this whole thing up by 10% it's a bit more potentially even wider in terms of how far you're going you're going pretty far or maybe just a bit more maybe it's just the speed I'm reacting to just feels like I'm really seeing all those multiples versus it's so fast that they serve as multiples and smear frames it feels like it's just a tad too slow and even this drop could just be oh, and just a bit faster. That's the main thing I think there are a lot of cool moments in there but just overall again I picked this one where I feel this could really benefit from just a bit snappier timing and watch out when you go down here I'm not sure if this is the foot sliding if you started to add some camera moves because it's not uncommon to add camera movement stuff but when you have no background, no lines, no nothing you don't know if it's the character moving or if it's the camera moving so watch out, I would if you do this potentially with a post change might even pivot off of here just to a rotation over but watch out for feet just kind of sliding around like that and that's about it