 Alrighty, let's play this in full here. There is audio and sound. Let me be painfully clear. Some things can't be bought like me. Alright, let's check it out. Alrighty, there's some cool stuff here. I'll bring down that sound just a bit. There are a couple of things I would say here. Let me be painfully clear. Let me be painfully clear. There's something that might be subjective but clear. I know you're going for the Ur, clear. But I would still have a little bit of a higher shape to show the teeth. Because it's still a remnant of clear. See how you have it at the end? I would have that at the beginning when we hear. And then you can always show more. And I know it's clear. You're going to the R, but... I would still have a little bit more. So it's less of a... Not that it's an U shape, but it's a bit much personally. Let me be painfully clear. And this is a bit of a pop there. Painfully this one. How are you getting into this? Painfully clear. Painfully. To me, I would... It might also be the lighting. I don't think what's helping you is the lights that expose the sound of the apology where you have a lot of harsh edges and then it suddenly pops away. And this is a bit strong there. So if you watch this in real time... Painfully clear. Painfully clear. It's just a bit of a pop there. You can soften that a little bit. Painfully clear. To me, it's fine to have the P painfully. Painfully. Painfully clear. To be so sharp. Painfully clear. But the painfully clear. I think the Foo could just be a bit softer. And again, I mean you want it to be creepy but then you got that contrast of now it's actually talking to a dog. But again I will probably tweak the lighting a bit so you don't have all those big lighting changes. Same thing here when this starts to glow around here. Let me be painfully clear. Let me be painfully clear. The other thing that I'm noticing and this is throughout the shot is that there are moments when you go up here with the nose which is good. But there's something like here when you go all the way down here I would have a bit more of a stretch on that nose. And on something like this when you go up again a bit more in here just keeping that a bit fleshier. Same thing here like right now there's nothing going on through there. And you can always have a wireframe on shaded to see what parts of the mesh is moving or are moving. And then you can see where we can pull things down a bit if you have on the side nostrils or even the tip a bit. Like on this that's a big move up with a big squash that would bring up these sections in the tip of that nose just a bit more. That's to me a general note. The other thing is like me. Like me. And it goes me. All those big shapes when you go me I would find a way to even stretch it out this way and bring out those ears. They're really big ears. And for them to not move is a bit strange. I would experiment with a bit more fleshiness and you can always tone it down afterwards if it's too much. But on the me I would bring up those ears this high and rotate them just back a bit and why just a bit to see what we get. The other thing is there's a lot of big movement of the eyebrows where the whole shape is moving. And I would still try to focus on mid and the inner tip section there and leave this area not untouched. Not untouched but if this goes up 100% then this will go up maybe 10-15%. You have to be careful how high you go with these. You don't want that to be at the end like this. But I would look at this just coming along for the ride with fleshiness. But the main driver is going to be the middle with the inner side taking it as well. So when you have something where it's a frown you will bring the middle parts in. And as these guys go out you would separate the brows so that the inner ones are maybe here. That makes sense. So it's not always going up like that but you have a bit of a furrow and you have a bit of a spread at the top there. That's my main impression when I was seeing this. There's some really cool stuff and I like the somewhat off-screen gestures. Just overall it felt like some of the pieces there are a bit stiff and they're not quite reacting to all of this. I think you can sometimes push the asymmetry of the shapes a bit more. These guys are a bit dead and the eyebrows are moving a bit much as a general shape up and down. Let me be painfully clear. Like this is cool like how far you go. But you can always go potentially a bit more and then you have one eyelid a bit more open. And even to a point where I don't know how far you can go with your nose shape to bring it over to get a bit of an overall line of action there. Whoa, in your head. Let me be painfully clear. Painfully clear. The other thing that I noticed is especially at the end here there's so much movement here in the head. But the eyeballs feel kind of locked as if your eye box is like this close as opposed to way off-screen behind the camera. So that there's less rolling around or you're maybe adding in a potential eye move I'm not sure. Like me. It's quite the stretch in the iris as well. I guess it's okay there. Like me. A quick exit. Yeah, it happens right when you do this. It's fine. It's just for me, this is feeling of the eyeballs are there and then the face shape and the skin kind of glides around it. And that just feels a bit odd and it's mostly at the end. Let me be painfully clear. Painfully clear. Although I'll be careful with too many darts here. You have a bit of a dart or some movement there. A little bit of movement there and then a big one down there. Some things can't be bought like me. Yeah, the rest is better there. Can't be bought like me. Let me be painfully clear. Some things. Some things. Shaking in shapes, they're symmetrical, but they float together nicely. Some things. Some things. To me, the things, yings, I will probably bring up the upper lip a bit more. Some things. Some... Hold on, actually, I do have a scrubber. Some things. From here to here. Some things. There's, to me, not enough in that upper lip. There, upper lip in that shape. Some, some, things, things, things. I feel like you want a bit of a pull. Snarl. There's a little bit something in there. A little bit accentuate the nostrils there. Can't be bought. Can't be bought. Can't be bought. I like that you have that. That's that. But... Can't be bought. I would hold the bot. To be honest, one or two more frames longer. Could just be one frame. The bot is just a bit short. And the biggest thing is this. This seems completely out of sync here. Like me. Like, I don't know what's going on with the tongue and everything for the like me. Like me. And the me is maybe a frame or two late. But this whole beginning, I know what's going on there. At least for me, my player. Like me. There's a lot of stuff going on with no sound. So just watch out for the end. That is a bit funky. Let me be painfully clear. Let me be painfully clear. Watch out. There's a bit of a harsh hit in your brows there. Be painfully clear. How they come down. You have that accent. It's fine. But bam. How they come down here. I would soften that by maybe two more frames. Some things can't be bought. Then you're getting a bit busy in your eyebrows. Some things. Especially that little drop there at the end where it's all isolated in there. Some things. Yeah. You have one down, up and down again. And then this section moves around. I'm going to stick the scrubbing off here. Some things. It gets a bit busy. Just watch out. I would simplify these guys a bit more during that section. Especially then as you go up here. It has that up where then this section kind of drags. And then you have that middle section coming up. It seems very noodly and snakey there during this moment. All of this. Some things. Can't be bought. Like me. Rest seems fine. This is a bit sharp again when you go down. And you have that. Just gets a bit complicated where you have a lot of wiggly moves in here. Then it really goes up here and then flattens a bit. And it gets also a bit too post-to-post. That was supposed to be a bit of a twin there. And all of the shapes activate at the same time. So just watch out for that as well. And then the dog. Watch out this whole beginning here. It's all very cute. I like the contrast in it. But there's a slight feeling of this going up and down. Up and down. Up and down in one axis. I like this. I like your change. There's a bit of contrast there. But it could be up and down. Every time you go up it goes. It has a slight overall rotation like this. And every time you go up the nose goes up a bit higher, higher, higher. Knowing my dog. Sometimes he waits for something. And then he has a slow raise of the head. And then it will give you, it will go away from the repeat. See that your head up and down. All that feels a bit too A-B-A-B-A-B. And then your tail. To me I would go the opposite. If I go backwards. Tail feels right. Okay. Let's go back here. All right. Backwards you see how the base leads the whole thing. And then the tip drags. But if I go forward. You have, it's the opposite. Like you're leading with the tip in like a snakey way. I would just take this and just reverse it. And if you're doing such a big tail wag. I'm curious if you could cheat a little bit. And have this line here. That's probably somewhere attached and influenced by the tail base and the hip. If you can have a bit of movement. So imagine your tail goes away. This line will go in just a bit more. Goes out there. This line goes out a bit more. Just so that tail wag is really influencing the pelvis. So that to me feels like this section is kind of dead. You have breathing and everything. But this piece of geometry. There's nothing moving. I think we can cheat that a little bit by implying that. The tail wag is so hard. Left and right, left and right. That it's moving that backside. And then on this turn. This is for the dog. A different type of. Okay. What? Like it's a bit of a change. So you might go something in between these two frames with the lids. I'm not saying it need to be closed like that. Although it could be funny. Maybe slightly less. The one guy slightly more. But my point is that when you go into this. A slight change. So either one eyebrow more. One of it closed. There's a bit of a change then in your facial expression. So it's not just the head. But I want to see something in the head as well. Because to me that's almost a different thought process there. Like he's thinking one thing. And then he goes. Okay. What now? Am I cute? Am I not cute? Is there food or not? A bit of a change. And you can show that in this section there. It's very cute. All right. I think that's it. Picky, picky, picky. That's cool shots. I just want to give you my subjective two cents as always. 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.