 Alrighty, let's check this out. I actually want to zoom in because I don't want to see more than I need to. All right. Picks it up. I like that. Okay, all right, I got some notes and questions, but I do like this a lot here. Mmm, that's clean silhouette. I like this. So what I would say, I like your little move back, lift, down into, oh, what is this? And then let me just go, I know you're, you're struggling a little bit with kind of the post-to-post aspect of things. And I think this already works. There's enough speed for him to continue. Potentially lean him forward a bit more. He'll be super picky, just because he is not quite over this leg and you're already letting go. But if you look at that in real time, it kind of works. You're a bit slow and then spacing-wise you suddenly accelerate through here. So it's just the whoops, only fast. It feels like it's almost a little bit like that, spacing-wise. The reason I mention this is because if you don't have enough speeds going forward with this leg pushing off, you would feel a bit more off-balance there and it wouldn't quite make sense physically to make that move forward. Also, watch out. So what I'm saying is that in order to, don't go this far, but in order to re-balance this, you would move forward so that even if this leg is now off the ground, you do a totally different knee, then it's still balanced. But imagine you're like this and imagine now you're taking the leg off, you're gonna fall backwards. If that makes sense. Just because you're letting go here and he's already, he's not quite enough over this for balance, right? So either your leg is like this and the body's like this or your leg is still like this, but the body's forward like that. It's just like a general thing for balance and and all that good stuff here. Watch out the spacing of your root here going to the left and boom, stop. Right there, right? This is your wall right there. Let's put the bunny in the skin there and BOOM! So watch out for that. You got to ease into this. You can overshoot and come back a bit. Then as you go forward, I like that you have there's a bigger move in this, but watch out. You have your your arms together here and then it feels like they're both going down at the same time, especially through here. It was like the spacing here is fairly even on all of them. But again, it helps that suddenly the other arm goes out, but it's it's ever so slightly still everything's moving at the same time. Meaning if you look at upper body, head and arm, arms, they go down at the same time versus what is this? And also watch out. This doesn't work. Eye line wise. Even this looks a bit too to the left. That feels better. So watch out for that. Even this feels like it's here and now it's like that. So in order to help you with offsetting things so it doesn't feel so pose to pose in everything, you could have this, then again, watch out for the spacing here. So it doesn't suddenly accelerate, but then you can have a more distinct head down move. I'm breaking the rig here, but you know, it would be chest down, upper body and head and everything. But imagine this goes down first. So he has to look more like, oh, what is this? Then you could take this arm first. So when you're here, imagine during this move, it might get a bit convoluted in terms of silhouette, but I just want you to practice offsets. Head goes first. Like during this move, you have the head that rotates down very distinctly, and you can always push and exaggerate and make it like way too overanimated. But then at least we can pull back a bit. Then after that, the important thing is that this guy grabs this, right, and he's grabbing it with his right hand. So that is the driver. So first of all, you're moving your head down to indicate to the audience, I'm looking at this. So now the audience understands this connection. Then leave this arm up here, but this arm goes down, right? Even through here goes down. So now you understand, oh, okay, I'm gonna grab this. Then by the time you're around, you know, maybe here's your whatever, then this arm goes back for balance and clean silhouette so that you end up around here-ish. Slight tension, not really. It's nice. It's nice. I like the the breakup in all of this. It's a nice clean silhouette. So now you grab this and then let me see. Yeah, not too bad, but it still feels like we go down, stop. Now, see this? Head rotates, wrist rotates at the same time. Helps that this is not moving, but that's a bit twin-sing. So the next thing is that he's getting up. So I think what I would do is once you get down here, don't move the head. Do something with this first where it might, you might do this. You know, it's okay to overlap things where he grabs this and gets up at the same time. But again, to help you with offsets, you would be here and then he could maybe lift this, you know, where it's more upper arm and elbow and he lifts it up all the same pose, but this goes first. That's number one. Then number two is the route going up. Then this, which you kind of have, see that works a lot better. Route two, three, and then again to this. But again, it doesn't quite work, I align. So either you bring the head lower, which might be tricky, but you know, also feel free to just move those arms forward. And now it's here and then lower the head a bit and now you got the right eye line. Then this you're back into pose to pose. Like you're hitting this. Okay. And then what happens? All right, like that. You got movement, movement, head up. This comes a bit later, which is good, but generally if you watch this in real time, it feels like arms and head at the same time versus, huh, I wonder what's in here. So you could technically turn the head first because you don't want the guy to, you know, pop this into his face. So you imagine you're rotating the head first. So you're doing this first and watch out spacing wise, you're going up a little bit and then suddenly it pops over. That's a linear key right there. Also your arc is very flat there. That's your arc or lack of arc. So imagine you're rotating up a bit and then why, so that the head is like this and almost there. And then you bring this up. So again, you're showing to the audience, oh, I'm going to turn my head, close my eye so that I want to listen to this. And then the arm, both of them go up into this. All right. All right. I like that transition of that. We're like totally different. Like you was hitting and whoa. I like that. Nice offset too, in terms of just, it's not super twin. Like it just has just enough of asymmetry there. Watch out that, that feels a bit stiff there, but linear there. I think that's not too bad. I mean, it's a bit of an overlap, but a tangent with the pinky in this part here, but it still has the structure of the arm here. And then you definitely go into clean silhouette, which is good. I think if you have your pinky, I know you have it. I was going to say you can relax those fingers, but you are. Then see that feels again a bit, even though you're moving with the head first, it feels like head is moving and I see this moving and I see the chest tilting forward. So it feels a bit and everything moves versus what is he doing? He's going to look at his foot. So you might do something where you're going to, was, you know, he's looking here. So the audience might be stuck here visually. So you're going to start relaxing those fingers, bring the elbow down a bit, relax that shoulder and then turn the head. Not like in massive like one second, two second, three second, but versus a couple of frames, right? So that the eye goes here because this is, if you look at this here, he goes, huh, I'm looking here, clean silhouette. He's looking here. That's where my eye is stuck. You want to bring the eye back to here. So imagine your fingers curl. Your eyes are here. The elbow goes down. The eyes travel here. The shoulder goes down. Eyes travel here. Now the head turns. The audience is here to look at. Don't go down yet. Just move the head over so that, you know, you're at this angle, but not so flat towards us. He needs to be angled a bit more here. So you'll be slightly more three quarter, just a bit. So imagine after all of this, the head turns and looks down. So now you're indicating to the audience, I'm looking here. Then you're ready to do this. I like that you're shifting the weight first. That's important for balance. You're not lifting your leg up yet. So that's great. You're doing this. Then the foot goes up. It's a bit straight. You can probably work on the arc. It's a bit more. Also really comes to a hard stop there. Versus, you know, with an arc and then the root might go a bit left and right for balance. And then it feels like, hold on, if your foot is here, look at that. You're straight back into the same pose. Don't do that. You don't want to go A to be back to A. It will be A, B, C. So your landing might be here. Again, in a different pose, you might even have a slight shift. The thing that's confusing at the end to me, and again, you're doing arms moving at the same time. The head is a bit earlier. That's good, right? So you watch this, you go, oh, I like that. See, that's a good separation, head first. But then your arms are moving at the same time. And they don't even, they don't rest enough. You have like a pop. Suddenly they pop down. They both go down at the same time. There's no asymmetrical timing there, you know, in your offset. They hit this at the same time. I don't know. It's just, it's just, and then you're bending your spine towards camera versus he might do this and take a step. And then you are into something where he's like that. And now you have a nice, you know, change in your spine versus anything that bends towards camera. We can't tell. You're just shrinking visually the heights, but we don't quite see the contrast in the spine and the C curve. That's just in terms of posing and camera stuff. But the confusing thing is that he goes, oh, what's this? Okay. Huh. Now he's doing this. Like after we've all realized, okay, you got a costume on. That's a pretty big thing of, okay, what's my foot? So I'm expecting, oh, he's going to do something where he's going to go, you know, something where he might lean over and go, all right. Well, I got, what's up? It's my leg here. I'm going to go back here and go, I can stomp this with my super suit. And that's what causes this. It's totally confusing to me that he goes, oh, foot, fist smash. This is so super weird to me. Like that to me, like he's going to go like that. And then he might even pivot off the heel in dramatic fashion, bring out the leg like that and goes, guess what guys, I am ready. And then goes into like a sumo type of and then as he has this, you know, it's much more exaggerated where he's really, really low and like type of stuff. Anyway, these are my thoughts. As always, these are subjective. Feel free to take whatever you need. But that's what I would tweak and change. And again, definitely better. Still room for improvement or you're getting better at it though. So really, really, really look at what are the actions of the character, what's the next action and where do you lead the audience's eye to, you know, the body parts and everything that will make the storytelling clear. Alrighty. 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.