 Alrighty, let's watch this in full first. Okay, hold on, hold on. What? That's funny. It looks like it's a bit of a slight change from what we talked about in the planning. Let me just check your mail. Alright, so I just paused and checked out what you were writing. So what I would do, so basically the idea was that he steps to the side and then the legs come in to open the door. But now we have that exit. So what I'm seeing, the first thing I'm seeing here, just visually, we're very low. This is kind of your half in the shop and everything somewhat happens in there, besides maybe this crossing over, but so if this is the case, right, we only have this. Framing wise, I will go closer and then you can easily just cut this off like that. You don't need to see the top part here, and we are just a bit more within the action. Ends up being a bit more in the third, upper thirds, lower thirds. We don't need that extra space there. The tricky thing though is, I will probably, since we only have those arms, what I'm seeing right now, like you have some kind of exaggerated moving holds or almost drifts in your animation where it kind of goes from this to some fairly fast, not zippy, but you know, good move. But then it turns into a bit of a slow motion move through all of this. If I look at the rotation and it's translate up into that. The other thing too is that we're only working with arms. Watch out where your breakdowns are not overlapping, where the fist and the hand is not from the forearm or up arm to that point. So to me, it's almost like you can start here and even this, I would probably rotate this whole thing in a bit more to see more of the forearm and the hand and then the flower and the flower could be. It's almost like tilted towards where it wants to go, but avoiding that tension there. And then the question is, why are you making a fist here? Is that to indicate that? OK, I'm nervous. This is like a date thing. And I'm going to bring up the courage. Let's go. Tensing up before. All right. Or is that just an anticipation because you're making a fist to do this here? So I'd be careful how you want this to read, because if it's just a fist to get to this, I will keep the hand more like that up until around here ish. And then you just get into a fist because that's the fist here. I do like the idea of communicating that. OK, let's go. But then I will bring up the shoulders a bit. It's almost like you want to visualize the body as well here. And then not that you have to do all kind of sidesteps and stuff like that, but I would still think in terms of shoulders and and if you want to go, by the way, again, if this is like a tense ending up, maybe, you know, shoulders up, you understand, like an inhale, exhale. And then let's do this. Once you go into that, I'd be careful. This is really fast in terms of that arm move. This is a precious object. This is a gift to whoever is in here. So moving this really fast. I would see those pedals flying around and I should probably at this point change color so you can see anything in front of that white wall there. But to me, at that speed, those flowers, they'll be dragging and then flying off it would destroy that flower. So to me, I would keep that up and almost like have a. Imagine almost a bit of a sidestep here. I am saying sidestep and then but can keeping the flower up here. And now it's almost like making way. Let me take a sidestep here to really focus on this. That makes sense. It's a tricky thing here since we're just pantomimeing, because you're not forever is watching this, but they're not going to be adding body or legs or anything. That's the whole gag and the idea of I'm only animating this and only animating this, I would still go in terms of imagine it's there for structure because that is going to help you to get away from this locked ball here in screen space. That's that makes it feel just a bit weird where this is so locked in here. So but you let me know if that's because you had some specific ideas about this. So you let me know to email me what your thoughts are in terms of how far you want to take this and then in what way. Because again, I would bring in shoulder shrugs. I would add a little bit of sidestep, like a perceived implied sidestep to then also give this almost broader silhouette like that ball could be then here. And you can still do this when you do stuff like that. I would still involve the forearm a bit more, just a bit. So it doesn't feel so I say dislocated even though it's just dislocated shoulder. But I don't know. That's like the term that I use when it's so separated. And then look at the the knocking, right? It's one, two, three. And then you have again that that slow, drifty holds into that. So I would look at I like that you bring it in threes. It's good rhythm when you do things in threes versus twos or fours. But then I would go pop up as a one, two, three, where you have a bit of a change set of one, two, three. It's one, two, three. Just give this a bit more of a timing contrast. For that, but then the thing too is that I like this here. I like this is more the idea of involving shoulders. So I would bring in this into what you have at the beginning. And this could be again, bringing the idea of if you do that perceived side step, then you can come back into the middle of all right. I'm going to stand straight and then do this. But then I would almost actually almost go a bit more to the right. But, you know, that's nice. I like this, but here again, we're losing the forearm with the upper arm in the in the in the way there. So I'll find a way and again, I will probably bring the shoulder lower and then maybe bring this higher just so it's visually perceived up and low up is higher, more important. It's like, what are you going to read into this? But anything that will bring this out in a way to give this more space to show I have a flower here for you. And then we have that. And I wonder if it is all right. Now that this is gone, I wonder if at the end there will be a bit of a bit of a exhale, shoulder down, lowering the arm a bit, slight droop in the flowers like, oh, the, you know, the date is not answering. Just to kind of bring it back to this. That's what I have for that, I would say for now. The other one, you are talking about clamping this down. I'm just curious how this happens. So let me know you can help you with the process there. But unless these are just, you know, there's a key and you hit spline and that's your spline bump. But let's make sure these are actual IK legs. Just curious what your process is there. But it still slides around everywhere. So make sure these are IK legs. So let me know. Let's email me. Let me know what you're, how you do this. And then I will look at how can we make this a bit more interesting. So watch out. Hey, you have this feels like it needs to come out like that. But then you have legs out low already, where they kind of slide over and then it pop up where it feels like this is probably how you wanted it to start the door open and then it just comes down. I would still probably do something where I would shorten this wall. So that's how that's the wall. That's the thing so that you have a bit more of an arc to play with such as to straight down and then it feels just a bit normal in terms of its landing. Like this, there's no offset there. And I'm saying offset just because you are talking about this where it's fairly polished. So if this is more towards the end of how far you want to go with this, I would still think in terms of offsets, locking that feel like you said. But then here's the thing. So you still have to think in terms of there needs to be a side to side way shift hips. If you do this, the hips are going to go up this way. All the way will be on this. You can potentially straighten this. I would just play around with a bit more focused body mechanics of this. Just because there are legs, there's nothing else up here. That's what you should kind of ignore the way shift the aspect and the hip aspect of what's going on here. Right now, personality wise, like this is cute, especially this, I like that. Just watch out how you have just to come back quickly. You have this thing of everything is moving and everything stops. And that's kind of the last thing that just kind of moves. It feels a bit straight as like an IK arm. I'll give this a bit of a overall settle. So it's not just move, stop. And this is the last thing that moves. Just going to throw it out there, but it has personality. There's something to like, all right, let's go. It's kind of cute. I think you can play around a bit with the jumpiness and the kind of like the bounciness of the shoulders. And again, imagine the character is there and gets on its tippy toes. Like, all right, it's going to hop up and down. Just kind of, again, imagining visually what this character looks like and then play around in your head. Like, how would this character move and just try to showcase this all through this? But we're not Bob, but and do this for this character as well. This character doesn't have any personality. It's just kind of down, turn it off. But is this character kind of really freaking out, wants to avoid the date? Is it sliding and lots of scrambling in the legs and out? Is it jumping down and then tippy toying off? I don't want it to hear that I'm that I'm escaping here. Like, what is how far do you want to go with this in terms of personality and how we're supposed to perceive this here? So before you focus on the mechanics where I would definitely, you know, like, like you said, to lock down this and I kill legs and no crazy sliding around here. I would look at how can we give this the same amount of character that you gave this? And I'm going to leave it at that. You got some other questions, but these are workshop questions. And I will reply to these in the email via text. 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.