 Let's check this one out. You're in the previous email you were saying about character being even nervous. Let's see here. So I was looking at your email, right? So we're talking about her being even nervous, jumping through the pool, and then she panics and darts her head around before realizing she's okay. Yeah, it's a tricky one because there's no beginning to that. I've got the slipper as well here. I'll have her kick off her slippers before she runs. She adjusts the motion. It's to simplify and make her super excited. So the tricky thing is watching this, right? She just goes right away into it, and she seems pretty happy. Everything is great. Then it comes, she comes out. Then it gets confusing if you don't add anything at the beginning, meaning we just see her come in, she's happy, everything works out. So we don't know if she can swim or not. If you're not supposed to swim or jump in or not. Unless there's a big sign here that says no jumping. And then you have her kind of look left and right. So we're kind of maybe connecting that. Obviously you don't have to write because it says no jumping, but then she jumps anyway because she loves jumping. And then she checks, ha, did anybody see me? Good, no one saw me, yes. So that's the only problem. So right now we're just jumping in, and to me as an audience I'm going, what is she looking at? Who is she looking for? Weirdly freaked out. And then she's relieved, but why? And then and so on and so on. Other than that, these are my acting questions. Just the performance questions, so that this makes a bit more sense. You would have to add something a bit bigger, or she just goes out like that, cut all of this and go straight into that. Maybe she comes out, doesn't look over, she comes out and you go straight into that move. Head up, leaning back, and this. So she's basically just overall super happy. That could be something. Animation-wise it feels like your timing here is a bit accelerated. It feels like you want to go up, hold this a bit longer, and then come down, because right now it feels like you're going up and straight down, versus whoa, have a little bit of a hold and zip down with better art than my drawing. But that just feels a bit too short and to accelerate it to rush through here. A longer hang time. Comes out, same thing here, and then suddenly, I buy that you want to go up, hold, hold, hold, then zip in, just for the zippiness and the cartoon feel to it. But then that feels a bit weird where you come out and you kind of zips down again. I would keep that a bit more traditional and just come up and drop, just a bit more whoa, just a bit slower on this drop here. If you want to keep this, it greets well in terms of, oh, what's going on? Well, where is everybody? It's one of those, but then again, then you would have to add something here. Let's pretend we're cutting this, so you come out straight into that. Same thing here, this feels a bit fast. It also feels like you're zipping down. It's a funny expression here. Zipping down and then boom, look at your spacing. Get your nose here, here, here, and then bam, it's in the same spot. Let me bring this back here. So you can see, it's hitting a massive wall. So you would have to, if she goes like this, you go and start going there versus yours is just doing this. It feels like it hits solid concrete down there. So watch your spacing for that and that it makes sense water-wise. Also, you're going to have to potentially swing these guys up a bit higher and potentially push the legs down so she feels like she's trying to get that forward momentum. It's a bit of a magical rotation forward and move forward so that comes a bit late. I think you could try to, as she goes up here, she's already pushing forward a bit higher to arms so that you have a bigger swing. And then she does that a bit and then it's okay and you can push those legs in. And then it's just overall, it's a bit clunky in terms of how things move, meaning it's very big. That beginning feels better, but it's just a bit harsh in how you go back and then suddenly stop and go forward. So it feels like a first or second rough pass and there's a movement spacing-wise and also posing-wise like that. It's a bit of a weird pose. We could have a bit of a lower shoulder and an offset that arm a bit. Offsets are good here, but then it feels a bit too twins. There's a type of offset there, but it just feels still too twins. It's not like you're breaking a shoulder. It just feels a bit much there. It's just some more appealing poses throughout. But then this gets cut all this going into here. So that just feels a bit clunky. So it hits this in a harsh position there and it feels like arm, chest and head are kind of one piece. It feels all of it locked. The root is very locked. There's the pointy up and down. You could have a bit of a side rotation. She feels very clean. This feels like one ginormous unit, meaning it's like one piece rotating off of here. The whole thing just kind of moves versus kind of dragging a bit and getting a bit more detailed in the movement. Spacey-wise as well, like the legs hit a very, very harsh frame here. It's like a one frame direction change. It's underwater, so it's going to be no pun intended. Swimmy. Just a bit more. Just overall, stuff like that. It feels a bit clunky. Same thing with the arm coming down and then suddenly stopping on a dime here. So it just feels actually rougher than that beginning here. The overall thing about this, it feels like you're suddenly getting into a cycle and go, go, go. This is where you could have some variation. It goes in here, comes back up and then that's a bit slower. It gets into this and then faster and faster. So she gets a bit more contrast in the movements here. It goes also a bit fast and poppy like stuff like this where that leg goes up really high and it's probably a bit high as well. Maybe not go out as high. Swimmy-wise like that. It seems a bit, a bit better distance-wise. Work on your spacing. And an overall thing, that is going to screw you over, but just overall, it feels like it's completely in one axis, which it is. It seems like all straight, straight, continuing on my nice straight, straight in a straight line versus whatever you want to do here acting-wise if you want to do something, but yeah, the coup, I know it's a pain, but a little bit of an arc getting in there just sits a bit more organic, a bit messier then that's fine being one, one axis. But then when she comes out, so she lands here-ish, there, comes out here. You know it could be something where she lands and it lands a bit more out on the side. I mean, you might argue, well, if that's her path, you don't really swim over, but it's just something, something that's a bit, a bit off and also the rotation so she's not looking straight forward again in that straight axis. So she could come out, you know, a bit more to the side and maybe overall globally rotate a bit more this way. And then when she does that, here it could be, you know, down maybe a bit more towards us again. And then as she starts swimming, maybe she changes direction or you know, something where she does all this and then actually starts going this way because it's, it's a massively huge pool that you can almost imagine. Well, it's longer this way than this way so she could jump in and start swimming out this way. And then maybe, you know, she starts going this way. I don't know, there's something where, to me, it would be a bit, I'd say messier, but it's a bit more lifelike, more gang, not so computer-y where it's stuck within one axis because that's, it's easy to animate along that path. That makes sense. But it would change some things but could potentially just have global translates, right? So control that with the whole character just come up, you know, since it is floating around. You could cheat off-screen here and never come up this way and then potentially even try as you do this, have a global offset where she starts changing a path or whatever it is, right? It's whatever you want to do but that would be my overall a bit animation destroying note that it just feels simple in its one axis direction. Alrighty. That is about it. Thank you. Alright. 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, the like and subscribe would be awesome. Alright? Thank you.