 All right, let's play this info first, there is no sound, and there you go. So in the email you got some thoughts about, it's just not feeling great, it doesn't know why. I think overall it's cool, I think there's a moment right through there where we can push the timing a little bit. But definitely some cool poses, look at the front view. It all depends if you want to have this at one point from a three-quarter perspective. I think you know in terms of complexity you could have something where as you throw the ball, the ball will go, that's the wrong tool, will go like this. As instead of going straight up and down, the ball would end up here, so he has to jump. So it's a bit more of a sideways jump, just for complexity of direction there. So if I put Union Scanning on and he throws the ball, let's see. Right, that's the line of your ball, it stays pretty much there. So that could be one thing, but I think looking at your front view, the side view, again it depends on where you want to end up. Seeing this or if it's just an exercise, you know you just don't really care, just want to work on general timing and how it feels and stuff. You could work on silhouettes by not having this overlap so much, you can keep one arm a bit higher through there. And then even on this, could have even a bit of a just the clearing out of that arm out into you know body here, so you have a clean silhouette there. And maybe this is a bit, since we're still in step mode here, but you know as it shoots up here, it kind of locks at that height and then you just have kind of a pop in the wrist. That then kind of comes down so you can kind of have that a bit smoother in the return. To me it feels like you could have this and then get to a pose like that, maybe between here and here and even there when he comes down. I suppose it's just a bit broken on that turn. And then as it relaxes, I think maybe in a bit lower. It's not too bad though because it's then you go then you snap back. I do love this here that we are in such a pose here, both arms. I think that's great. Here I will bring this up just a little bit so that we have a separation between the leg and the arm. So it's not overlapping there and having some tangents. Cool stretch, same here, bring the arm maybe a bit further out. So it's not that close. It's a nice silhouette though. This, it could be something where we could even go further with that elbow back here and then maybe move your head forward a little bit just to clean up that overlap there. And then with this we can almost hold one more frame of something like that where he's compressed. Let me just see what that arm is doing. Well you want that from here to here for a snap. I can see that. The problem is that you're going, well once you would spline this it might feel very strong and then you lock it in that same orientation. That's why I feel like what if we had further back into this then maybe into a bit less and then into that. And then on this same thing with silhouette just kind of cleaning out like someone's arm back even here bit separation between these. There's never a frame kind of check on the clarity of it. But the biggest thing to me is it would be a through this section here hold. Kind of like how you hold the ball to be great to have. It's definitely snappy if you have it on an immediate stretch. But the thing is what's happening now is that it's kind of there and then disappears. And I wonder if it would feel stronger if you don't hold that here. But this would be like a full squash so that we have a big stretch here. So we can feel that. But I would have three more frames during this section here to have a longer hold. Because right now it's kind of shrimp on and then that's it versus because there's enough cool exaggerated poses that you could push the timing just a little bit more. It's fairly actualistic. It's not like super cartoony but it's also not super real. You're kind of in the middle-ish where I feel like we could kind of push that a little bit. So I mean that was my feeling obviously also subjective. But when I was watching this it felt like you're almost not rushing through this moment. But it's almost like you could squeeze out a bit more heft by going like you want to feel that that moment of inhale and the exhale you go just hold a bit longer and again it's just two frames three frames. But I do miss that ball and then with some dust and if you hold longer through there on this you can even have a slight stronger compression where imagine even that arm both would be a bit more further forward so that on this they would actually swing back and he will compress more with the body for a moment of boom and then come back up. It's always a bit of a limited compression like it feels very relaxed. So maybe you know again that's not that that's wrong. It's just a different attitude in terms of how this guy goes about it. It's more like all right practice okay that's okay for today versus I'm you know smacking this ball as hard as I can. It's just a different type of attitude and then if I look at just quickly even from from the front view it might even be something where you hold that a bit longer like so like you can say like hold one more frame and then come back down and if you had it from the front view I think because if you were bringing the ball over instead of straight have a little bit of a move this way you could jump and have a bit of a sideways hop as well. Not sure that would read enough in this in an orthographic side probably not but that's kind of that that's what I have all right thanks. 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