 Alrighty, let's play this in full. Hoo-choo! Hmm. Nice. Okay, okay, okay, okay, let's see. Okay, so you are, I'm checking your mail, talking about moving the keys around. I think this is all very successful. There's one little moment where you're still a bit pose to pose. And I think the only other thing is, I don't know if you need this. This is purely subjective. I don't know, because he has that moment of, I really like this. And to me, it could end there. It's almost like, after all of this, that's your biggest contrast, right? He starts up here and he ends down there. That's his whole journey through this shot. Like, whatever happened, he's disappointed. But then suddenly goes, hmm. And that to me is almost the beginning of a new idea where he's gonna do something, stand back up and walk out this way. So I think from a super subjective storytelling point of view, I would just leave it like that and not do that. The other thing is, I know you talked about this being in the reference and that's how kids do it. I still feel this is just a really awkward pose just because the fingers are so even. It just feels like it's lightly placed there. It doesn't, this feels like he got hurt. Imagine that arm would be somewhat dangling with the hand here and you would have some blood running down. Like he just got shot or something or punched. Or maybe like, okay, it's a kid, it didn't get shot. But maybe he got punched by another kid on the playground and like he's just mad at that. Like it's like a classroom or something and or this is the principal's office, right? And he goes, ah, and that's kind of what this feels like. So generally, I'm gonna say you have to fix it because I think we're pretty much done with the shot. Just think in terms of what does this pose tell us and how do we feel about this, if that makes sense. And the biggest thing is for me, that moment of he turns and then this just kind of, this is almost like a vampire-like if you imagine he's in a coffin here and he goes, I must sleep now. And it kind of ends at the same time. I know those arms go here before the head but it's so close together. But then everything kind of stops and then he goes forward and it's, I feel like the whole body starts to go down. So what I would do just for that moment might be this. And again, watch out, you got your chest. Imagine there's an arrow pointing this way and the head arrow pointing this way. And then as you do this, let's go fancy here. This points and this points. See how they're pointing the same way and this feels too locked at that point. I think everything else is, it's really working a lot better. I wish that's just like your remnants of pose-to-pose or just the stiffness. It's not really pose-to-pose at this point. It's more the stiffness. So have this and then turn your head two, three frames earlier, then the body catches up. Then you do this and then both arms stopping at the same time. Again, it's the two, hitting that pose. I know there's a bit more in the head, but you want to put, imagine you're, is this going underneath? No, it's holding the elbow. Just think in terms of this might go there first, clenching with the fingers and then a couple of frames later, this arm finishes and the fingers adjust and grip. So it doesn't feel like this is a pose. See how your fingers are already curled and then to get into this and once you hit that, there's nothing else in the fingers. There's no adjustment. There's no gripping. There's no nothing. So that's now the extra level step you need to put into your animation. So you get out of that blocky feel, pose-to-pose feel or that stiff feel. And then don't forget at the very end, you end up being very one-axis in its rotation there. So this is all going to help you where you have that coming to a stop at a different point, that rotation, it might still be, you know, maybe not completely turned. Like he starts, it leads with that head more. Maybe it overshoots or maybe it doesn't go as far, right? He leads that turn before the chest, but doesn't go as far with the head. And then during that move, you finish also in a wide rotation. So it's not just one-axis. And then we have all of that. And I think on such a strong sit, then it's a bit more in terms of mechanics of one, two, three during this time, the shoulders will have a little kick down the hands will go down, there might be a slight adjustment again in the hand, it might move down a bit, change in the fingers, because that's a big stop into some of the roots. So that downward momentum continues in everything else in the body, and not saying the ears would flop down, but you know, would it be something more floppy like on a hat that would flop down? So I think in terms of, so it doesn't just go down and then that's it here. Because here I like when you go up, that is not one-axis, because you're turning slightly in wide to look at us a little bit, love all this. And same thing here, you're not going down in one-axis, you're going down with a slight rotation over, which is great. So that's the stuff you want to put really everywhere. And then in the end, like I said, it's kind of a subjective thing. If you would do this, then it could be something where you do that, and this actually the arms go out, and they hold on maybe to the chair, you know what I mean? Again, this to me seems like a new idea, it's a new thought, and that would be represented in everything. So maybe, you know, like, the legs come closer to the chair, he's just stiffer, it's like, hmm, I have made the decision. But again, this is why to me it feels like this leads to a new idea. So generally I would say, when you do have a change in a pose, like even this, disappointed, imagine that's the end. Again, I would loosen the grip in this, maybe the knees go out a bit more. This goes from, I'm feeling one way, and I'm feeling another way, and what if this is like ultimate disappointment? How do you show this not only in the spine and the head, but in the rest of the body? That's definitely something you need to add, and think about in your future animations, like the overall body language when you go from pose to pose. And then little things like not having things end at the same time, one axis movement, or stiff movement here, you gotta think about what body part leads, right? And then spacing things like that arm goes forward, and it kind of has a bit of a stopping point here. Right there, you can see over these frames kind of locked in screen space here. Then you go back, and then it goes back to here, and then it's kind of locked again, and then suddenly going to the right, and that arc is okay here. So just little clean upy things in terms of spacing and all that good stuff. Alrighty, but definitely better. I think you're always improving, which is great. So anything that my bullet point list of things is for this shot, but it's also a general note for upcoming shots. 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.