 All right, let's play this in full here. It's a cycle. We have other views though, so let me just see. All right, yes, you're talking about knee pops. I can see that Simon is mostly from this view, but let me just quickly check something from this view here. Okay, so what I would do before anything, because it's a classic thing to do this from the side, but what's missing, if you don't check the front, is the side to side of this. You can see here. Let me just double check. Put a line there. Yeah, we're fairly close to this all the time. So you have to imagine that. I would probably also reduce this. I don't mind this going in. I wouldn't stay default, but maybe just a little bit, because you need room for the ball to transit over for the weight shifts. But if you're ready this far in with the foot, then it's going to be something really crazy. So I would take this. I do like this though. I was going to say, usually a lot of people forget that in the front view to be offset. Offset as in like a slight rotational change. Take onion skinning off, right? So you're here. This watch out almost feels like it's going to go and intersect. Watch out. This is not really pivoting off of here. It feels like you have this higher with a little bit of a gap here into that, but it could be wrong. That's cool. The only other thing would also say is this is a default rotation at zero in Y. So it just brings those toes out a little bit. And then one more than the other. You can see how straight that is. So imagine this might be here. We can see the backside just a bit more, but then the other one would be more or less whatever. So it's a bit, you know, this asymmetry even on both sides. And then generally just keeping these maybe here. Whatever that default is, it's pretend the default is here. You might like split the difference. Then once you have that, every time you go as you go over, then you would have a bit more a movement translate over this way for the weight transfer. And then this doesn't have hips, but I think you can push that rotation more to make it look like there's all the weight is on this here shooting up. That's that we're not going full cartoony where it's like exaggerated where it's actually the other side of that kind of walk. So I think that is correct to be like this, but I would just push that more. The other thing I would do when I'm still not answering your question, but these are things that will change your knee pops anyway. This forward move besides the little move out over there is fairly straight and you can potentially go further with your outward swings just a bit. Also, once you have, you know, your y-rotation, this foot roll, we will see more of it, you know, like that because this feels a bit too straight on and then we have that bend here. So that y-rotation is going to help you, but you might even have to have a little bit of a different peel off where maybe, you know, imagine if this is your knee out like that, it's a shin. The foot peel off might be like this. So you might have to sweep the rotation as you peel off there, but again, this is great that it's aligned with this. So to me, it's that the side to side a bit more in hip rotation, being the feet out a bit more, but not default, just put the difference. So slightly bigger arcs. This feels a bit fast right there. Like it's right at the very end where you have the outward arc. It almost feels a bit too snappy there. And that's going to change a bunch of stuff. I can see your stretch here that you mentioned. Something I would also try in your step. He feels like, or it feels like it's walking taking a step and that's kind of it. And it might be interesting to just extend that foot even further. Not for a super straight. I don't think you need a super straight, but slightly bent, but a bit more than this. It feels just not enough. And then spacing wise, we'll watch out. You're here and you shoot over right off the bat here. And then we don't really. And then we have the peel off in a way. That's what you want to do here. You're going to be here and you're going to stay here for a bit longer until the foot peels off. And then you got that move forward. And it seems like you have enough y-rotation going forward. I think that's enough. Maybe like 10% more, but up and down is fine. You can do a little bit more hang time potentially. So it's slow on the up because there's effort in gravity. Slightly, maybe a frame or two more hang time. Hold so that the drop is a bit faster. So slow fast. This is going to be slower. It's going to be faster. Again, the drop, the gravity and also work century for contrast. Right now the up and down is a bit even, but I'm also seeing like a slight pause. Is it here? So you got to find a way to bring that up hang time and down. Even if it's the frame or two, but still keep the forward movement constant. Because it's not like a special walk with a special forward translate, but there's something about, hold on, turning on audience getting here. When you go here, it is going to be a bit of a pain. Hold on. Let me expand this here. And then I shall drag this down here. So if your body is here, it's going to be painfully boring to watch, but just for my own sanity. There it is. There's a slowdown. There's a slight up here. And I don't mind contrast, but it's tiny, tiny. Right through there. There's a bit of a slowdown. Again, it's fine to have contrast, but there's something in this when you watch this all where it feels like there's a sudden acceleration right through here, but you can't suddenly stop because again, the momentum is going to continue. So it just feels off to be fast and suddenly slow and fast and slow. So it's suddenly fast, sudden pause, fast, sudden pause. And I would keep this fairly even. It's going to be going kind of for a vanilla walk, as we're saying here. And I think that is that. And again, all those changes are going to change your, not that you have pause, but you're asking you want to extend this further. So this here. So if you want to, I mean, you have to practice, check out like raising the root, basically, if you want this to be straighter. But again, watch out for the timing that it, because it's, if you're going to go higher, it's going to make this again faster. You could again look out for your spacing that it feels so fairly, fairly, not even. Again, I like that there's slight contrast. And the more I watch it, the more I'm getting used to this, but there's a little bit of a slight, slight hiccup and it's super minimal. But I would not worry about this. I would worry about it at the very end. I would get all to all those changes first and see what that gives you. And you can always submit it then before you do a change to the forward move, or you can still tweak that after you do it. All right. I think that's it. Actually it's not, hold on. I'm seeing a difference here. Okay. Hold on. What is this? Is that the other foot? Is that what I'm saying? It is the other foot. Okay. Sorry. I was looking at this, right? How that toe shoots forward of that foot. But then I was looking at the other one. You're getting off the ground here. You're going to have to keep this pivoting off of here. See that? There's a bit of a mistake there. It goes up and then suddenly back down again. So this is a nice peel, but here it's a bit too high. Bring those toes down, but then you can still ease into this a bit more. Also silhouette wise, I would separate that foot so you don't have an overlap here. And that will help you with the spacing to further back. And then that's okay here. Even though here I will bring that foot further forward so you don't have a tangent there. I know this is super biggie, but might as well go from my frame there. All right. I think that's that. Although we are slightly starting to second guess myself. One thing you can also do is move the globally the ball forward a bit more. So that versus slightly more in leaning forward, just there was a slide so we're not so super leaning back. Again, super tiny. Don't worry about this. This is like a second to last note or last note versus the forward translate. But that is that mainly to me. It's more the spacing of this and all the notes from the front view. And we'll see what that gives you in terms of just overall, you know, pop changes or anything there on the knees. And again, for free to submit in between. All right. That is that. I'm gonna stop noodling. Let me know what you think. 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. Like and subscribe would be awesome. All right. Thank you.