 Let's go watch the whole thing here. Just quick, he comes in, and it's always kind of the same width. JyC, through all of this here, this whole thing, she hasn't changed her mouth. A bit of a change, that's a good change. But it's always kind of the same width here. I'll just give this a bit more, it's your opening shot show. So this should be really, really good and sell emotions and this different character stuff. Yeah, in terms of, it's a thinking character and it still feels a bit stiff. In terms of this, it's just kind of like a puppet. Like, body mechanics are better, but the thing, that's great, I still love that whole turn. Ooh, I love this, by the way. I don't know when you added this, but. That, going back, that dissipation is great. Same thing here, she's always kind of locked in this same shape, making this very stiff and puppet-like. He or she gets a bit too crazy as you're starting to show white. And it's like, ah! But there's a bit, a bit much. Again, she's locked in this shape all the time. That's weird. You're zooming in on this hand, that's a weird focus. So when the moment you start zooming in with the lens, you gotta go up to her face. And even this is too low, like her eyes. To be here. What you could also do is have some bits and pieces of the food. Just so we know, like right now, if, just in case someone forgot that there's a plate and doesn't understand what happened, so let me back here. I know this is orange is a good indication of what that is, right? But, just some crumbs here, so we understand. It was again, this is centered, it's weird. Like, I don't know what I'm looking at. So I would change the camera so that this is more your framing. Meaning that this is gonna end up being your center. You wanna show that there's an empty spot, if that makes sense. Otherwise, we're not quite sure what, where we're supposed to look. So a couple of crumbs and the focus. And again, you can cheat, you can just have this here. The bowl here, so it's in frame. And then you can have something like that. It's kinda in center. It works, you understand, it comes back. Puts it back down. Not sure you need this, I don't know why there's black frame, take that out. I don't think you need that anticipation. You can go straight to here. Oh, cut, straight into this. Picks up the phone. You don't need that anticipation with the hand. There's still nothing. What's weird about this is this angle. It just seems to be really, like a, hold on, let me just zoom in for myself. Symmetry frame, it doesn't have any lens information. So this looks like you're in a 35 or lower. I will make this the lens, the FOV, at least a 50, if not a 60, and you should be fine with a 65, even a 70. And then just translate the camera backwards to keep this framing. But it feels a bit distorted. It feels a bit of a weird, wide lens. Just to go back. Because the thing is, you can do quick cuts and like jump cuts where she hears something and grabs the phone and that's fine. Like we don't need the black frame to say, time has passed. For here, you might just, you might do the same thing. It works a bit better here, although you could do a fade out instead of a cut out. This has to move faster, just slow, okay? Again, I don't think you need it. You can easily cut, because we understand that time has passed here. I would do a version with taking all those black frames out. We're assuming she hears the phone. You know, we're always seeing this angle. I wonder if in this angle would be, if the camera would be here. And the phone is in the background still. You know, like imagine, right now we're looking at her. So imagine we're looking from this angle, stuff like that and the plate is in the foreground. She's here and in the background, we see the phone and she's looking behind Leon away from us. And the phone is still shaking. Just to give one more indication to the audience that that's the phone, that she's not now reacting to something else, just as a reminder. And that way it tells the audience, oh, look, look here. We are going to move over here, which then this makes more sense. And you could probably, you're zooming in here. So what I would do is I would bring this table over here, the window here, the wall will be here. She is here. Then this is here and the phone is still here. And that way we understand, ah, okay, in the shop before we saw the phone, here's the phone, we understand. She went there and then you can still kind of zoom in. Do a bit of a different move. I can help you with that later. That's too slow. I would go, like, you know, it's an animal, it's gonna be fast. He wants to eat and it knows he doesn't have time. She might come back at any time. So this would be all like twice as fast. That's all good. You know, anime ear, I don't know if I'm blocking, but yeah, okay, she gets that. Oh, too low. You might have to bring up the camera to here, here-ish, to give you his eyes here. That's what would happen, right? So you go this far up, this goes this far down. Yeah, that's better framing for his head. Too close to the border here. Here it's okay. Here I would actually leave the fade out. Because now this is a long time, it's a different story in a way, right? It's a different thing here. I think then it's okay. Dude, she's finally eating. And I would hold this. This is too fast. Hold this so we can, give it another two seconds. It's like, what's going on? Oh, she's letting him, oh wait, it cuts. Like for the audience, we're thinking this. Okay, now she's eating. Okay, cute. Wait, that guy's over there. Oh wait, they're smiling at each other. Oh, she's really nice. And oh, and now they're eating together. You wanna have the time to think about that while seeing all this. So at least two more seconds of them eat. They can smile. She cannot, she can say yes. He can say yes. And then the end, 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.