 All right, let's check it out. I was watching this before. I think this is super close. Some really good stuff that you have, you know, through things like here. It's nice movement so it doesn't feel stiff, but you still have proper contacts on back legs for stabilizing. Let's see here. This one's a bit tricky. Hold up. I think everything is really, really good. There's a lot of good stuff in there. Offside in the mouth pieces. That has a nice arc. My dad, I mean this. That has changed. I would say the only thing that's still a bit harsh is the body. So I have no problem with these guys, you know, shooting over and then coming back quickly. But body wise, this guy goes from here to here to here and I like that he's in there. But boom, then he comes right back. This is as if, you know, either there's a wall or he gets pulled back or she hits or like the legs are super strong. But you know pointing this way, they're really absorbing the momentum going this way and you can just shoot it back. But looking at what these guys are on, at least these guys plant in before he stops, so for it to stops, kind of on the same frame. That's the thing I would change here, just give this, eases in like one more in and then one back and then a bit more back and then you can get into where you're now. Because the back is pretty even. See that, that move? Shoots over, hits that wall right there, right? And then comes back pretty evenly, like the spacing is pretty even. So you can steal some frames in here to add a bit more of a back to them what you have. There's a bit of a softer body transition just because this is already so much heavier than these guys and you want to make sure that it doesn't look too light. It still has that sharp hit when coming back and then let me see the body here. Same thing here, you can track his eyes. Over there. Tracking, screen left side. So it has a little bit of an arc, but looking at it, you know, especially if it's in real time, it has that feeling of like this versus a bit more of a softer thing and you can towards the end, like before it ends the position here, it translates over, you can start rotating the body where it goes from this to like this. So it goes over, that's the orientation of the body, right? It's like this, like this, and then it starts to shift over and then it starts to get up and then as it stops it shifts back to this position. I'm not sure if that makes any sense. It's in this rotation, right? You can see how the eyes are and starting around here-ish or whatever, you start rotating the body over this way. So that by the time it's here, those eyes are not like that, but they're more like this. Then it goes up and then maybe a frame or two after this, you are around where you are now, maybe a bit less. Then as you come down, you end up there. There's a bit more than just translate over going up, but also rotationally it's staying put. So you have a bit of a variation. So I don't know if my my hands can show this, but let's pretend my awesome time cop! DVD is the level, like imagine this is this is the creature and you got the eyes here. So right now it's doing this and I'm looking at something where it probably will be going this way, right? So it goes over and starts to rotate and then goes over and down. It starts to rotate over before it stops translating and translates up with an arc like this, not that. Like that, over, and that. Not super swimmy, I might have acted it out too strongly, but something so that it doesn't A, stops so harshly and has a bit more complexity in its rotations. And speaking of rotation, same thing, you want to track that tip here. It goes up, up, and then boom, goes back over one frame. So again, the spacing is go straight back versus a little bit of a ease in. And then you can always come back faster and my scribbles are not. I would just be very careful with anything that involves the one frame direction change on something that's that big. And I know in the grand scheme of things, you know, I don't know, that's a human foot and that's the leg and this is light, but in this world, I would watch out. One frame direction changes I can almost see in these legs. Even here, same thing here. I like that you have a little bit of rotation this way, like the point you can track the tip. But there are a couple of things. A, you go from here to here to it goes back. All right. But then also goes back in the same direction. So it feels a bit repetitive in CG. So you want to have if you're initiating momentum up and at the end over this way, it has to be all fancy. It has to go at least like that. A little bit of momentum has to continue and now I can change direction. Even if it's small, brutal or red, all right. So even if you want to go back and end up here, you say, oh, and then come back versus this. That's just too harsh. But you know, you can easily go over this way and it comes back this way. And as it comes down, have a bit of a straightening on one of these guys or pushing here so that that initiates them back. So the body comes back this way and ends where it is here. That's all cool. Got the body in this one. It's a little bit harsh. Look at this line here. Right there. So on this guy, you want one more frame was rotated back a bit more. And then a little bit. So it's a bit harsh, but it's better. I mean, it's not like I don't want to take the snappiness away. And then the overlap on the on his on its arms helps, but except this guy. So this is where the body stops. So this continuing helps, helps, helps, all that helps this one, especially because it's holding something that's even heavier. It's going to take more time for this pincher and this to come back. So on this body stop, this one would overshoot a bit more and then come back and be the slowest out of all of them. And I think that's okay because you have ample time. So this one would lay that this guy. So this would stop maybe this would stop and then one frame ease in and one frame ease out again. So this one seems better. Let's see. Yeah, because you have big shooting up, but then you ease in. Although you might argue that it's usually at the same heights. You could potentially go a bit higher, but then you softly come back and back up. So it has that bounce that softens the momentum stop. So that one I buy a lot more. So stuff like that, that idea in all the other big moves. And I think that should be it. I know that's going to change, you know, some of the pincher stuff because I don't know, I'm not sure how the body is rigged and how it's going to influence the legs. But I would say do that and then we can do one last pass on the legs if needed. So far the legs look pretty cool. So I would just do that body pass for sure because that's going to change some little things here and there. All right. Thank you. 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.