 So you worked on the first 184 frames, you're saying? I'm assuming with this starting... I don't know if that's the whole thing. Oh, yeah, I get it. I get it. Pretty fast here. Watch out. You got some intersection going through here. You can easily push this and then the fingers come through. You see how he goes up here? Doing this section. I think that's good for kind of like a peeking in. But don't forget that when you do this with the foot forward, there won't be any weight on this, meaning the weight is on this, it's going to fall and quotation marks forward. So when he puts his leg here, that's going to be quite the recovery. And that weight is going to shoot up here. So you want your hips to go up there. And you want to feel that a little bit in the body as well. Mechanics wise, it feels a bit soft. This feels a bit too pose to pose where everything starts moving. I can feel his legs, his arm, his body, his head. Everything starts moving. So you can, since he's peeking and it's mostly, you know, a mental thing, you can look potentially maybe, I know if you want to extend this a tiny bit, like for a dart or blink. And then I would delay all of this and it's the head that moves first. Head is leading everything. Then the body comes in. This is a bit fast. And by this, I mean right there, this translate. This way, if you look at your root here and I can. Let me do my onions. Getting right there. So this line, you can see through these frames here, the hip is exactly there. And then it feels like it's a linear key as you shoot to the right. So I would just ease out of that a bit more. This way, that's cool. Same thing here, a bit fast, but you are easing in a bit more. It just feels a tiny bit like he just heard something. So he's kind of, whoa, what was that? Right. So like, you hear like, bang, or I was a preacher or something. So I would probably soften that because it doesn't quite read. Like he's kind of nervous and hesitant and like, OK, where should I go? This feels more like, what the hell was that? So just be mindful of how speed tells a story and then what story you want to tell. Also on the technical note to watch out your foot is this orientation. It's pretty much the same. So you could go with this and then potentially bring it out a bit more and then bring it back in or end on the on the further out or something where it's not the same orientation. So you want to change poses a bit and then don't forget on whatever you do, even if you keep this and you slow down the timing, whatever you want to do, acting wise, don't forget hip action, meaning that as you lean over, you're going to have a very clear definition of this hip going up here versus at this point is up here. But that's kind of it. I mean, you know, from a feeling point of view in terms of what's going on, how is this person coming across to me? This all works because I like how he slightly speeds up here, but then slows down there like, OK, I want to do it fast, but I don't want to be loud in closing these doors. And that's great. The only thing I'm confused about is this, this sudden bam, like he heard something. Now, let's pretend that's what you want to do, which I don't think you want to. But just in case, as a general thing, even in your blocking, let's pretend, bam, something happens. It will be, to me, a bigger turn with the head, meaning almost slightly faster, but delay this, right? So be head, I don't know, four or five frames total looking and then this, which won't be too much. And we three to four, there's something where if this was the case and I'm totally random, it would be headfirst, just a bit more, even though instinctually, you would just get away in general. But to me, it would be like, what the hell? Anyway, this is totally random. That's kind of though. Yeah, watch out fingers at the beginning. This sudden body move is a bit weird. That's all OK. Happy, super big key. You know, if you scrub through this, it feels like this whole section, including the arm, it's like one big piece. There's nothing dragging, overlapping, leading, except the foot there. Big, big key. Same thing here on this rotation. It's like all of this arm head, I think kind of rotates in Y. Whoops, at the same time, like as one big piece. Same thing here, again, being super big key. This goes up, but then this whole chest, lower neck and head thing feels like it's one blocky piece. I think it's better. All righty, that's kind of it. 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. The like and subscribe would be awesome. All right, thank you.