 All right, let's check this out. Well, I need it. Okay, okay. It's good. It's definitely better. I think we can push it. It's basically you do the same thing again. It sounds horrible. Do it again. It's like a drill sergeant. Do it again. Basically, so the couple of things here, just from a technical point of view, it still feels a bit stiff. There's a good rounding here in the body, but just, I know it's very beginning, it feels just a bit stiff coming in. Also with the tail up like that, even though tails are not technically extremely drag, overlapping, something with a curved thing coming up here, and then getting into this into reverse would be good. The head kind of pops over one frame down and boom, one frame up. You can lead this with stay low and then here at the time of tricky, you would have to almost go down with the head first. And then on this frame, you would rotate the head up. So then the snout goes up first to lead. You know what I mean? Like you want to be in this position before this goes up. Then this is all great. I would just slow it down again. 50, 20, 15, 20%. I'll push it just to see then you can always speed it up. You can do like a rough key scale. Forget about paw placement and messiness and you can always send me that if you want for a quick just timing look. A lot of times I just take this and I work at a scale of the keys. Does that general timing feel right? And I kind of squint and I ignore all the crappiness that will happen when you scale things. I'm just kind of looking at general body parts, how they feel. Right now, let's go back here. Comes here. I feel it, but you can just push it a bit more, especially through here. And then you want to feel that push off more. And then watch out what you're doing. Also arch wise, your legs, especially here, look at that, you got a little strobing here. So you got one leg paw here, boom, on the next frame, the same position, which creates strobing, right? So you want to be, I will be, I don't know if you can be lower, but you know, I will bring that potentially lower and then bring down those paws. And then at this point, this might be here, paw lower, and this guy might be here, paw a bit lower. So there's no strobing, you can see my red drawings. And then as you get into here, you might be here and then this guy might still be low, right? Because we're low, then you stretch out, really stretch out. But I will probably, actually this is probably wrong here. I don't do my things, I can't. Go a bit higher, and then get higher. And he will probably have to land more. So basically what I'm trying to say is, so watch out your spacing, watch out for strobing, but watch out, this is also all in a straight line. So if I go back here, see that? Those paws are in a straight line. You want to do something where this is exaggerated, but it might be this, or they might just be like that, but there's something about these guys being straight, and then look at this, boom, suddenly down. And you want something where it feels like they're reaching forward basically. And that's why I think, again, with the slight paws and then explosiveness of this, see this is also funky, if you look at his ass, and this sounds weird, but look at his ass. Here, here, here, look at that, it's always kind of the same thing on this game back. So you pop from here, here, and then you're stuck, and then you suddenly pop over here. Ooh, and then you slow down a lot. See that, that's your spacing. You go pop, and then hold, pop again. And you want to make sure that your spacing goes from something with smaller to pop. Get out of there, and then boom, this might slow down a lot through here because legs are touching and it's compressing, like that, I can buy that, but even then it will probably be the chest spacing, be big, and then suddenly slow down a lot while the pelvis will slow down a lot less. That's your first thing that touches the ground and then that comes in later, if that makes sense. See that, so your spacing will stop more here, but this will continue with the momentum as to carry you over, boom, and only now will it slow down. So again, you might end up with the head here. You know, in the worst case, you just take this cube and extend it and bring this cube over here, right? So you can basically do keep your animation, adjust the leg, but you can take the overall controller that moves the whole rig and do a little bit of a cheat on a different node or anim layer to move the dog much further, but you don't have to change any of your animation. So then he just lands globally here, and then you continue with the same animation. And because you shifted the cube edge around, you can preserve all that animation basically. That makes sense. And this still feels very stiff here. You got this line and you got this line. I don't see any break up in the chest or head. There's no lead in or anything as he goes around. So I would still watch out for that. So even this here, you wanna be careful when you do reversals, when you have, that's your axis orientation of the head. I think it goes down a bit, which is cool for a drag, but look at this, it's mainly the same. So if he goes down, you can have a bit more of a drag, boom, impact, maybe more of a drag, you know, like just something like that, or you save that and then do the opposite where now you go up and he leads with the head up. You know what I mean? Where it's always kind of like that leading. So that could also be a way, it's just different, different active ways. And then don't forget, this feels a bit poppy. So as you go up, again, tells how usually doing all kinds of crazy stuff, but you could still do a bit more of a drag and then only by now you do your drag here. So there's a bit more of a whippy overlap. This is what you have here. Alrighty, and then you're thinking about putting the dog in a lava world. You could, you could, what I would do then. And it's a bit tricky with the angle. When I see the lava world, I'm thinking, you know, I would probably move this over here. That's your framing, right? Use my overall drawing tool. So this would be, whoa, what happened here? Hold on, I just moved everything over on myself. This is your framing up to here, right? So imagine dog comes up and you got your lava spike here, there's a lava spike here, maybe something broken up, and then it would be cool. If you, like just hear me out here, you got your human here holding on to this and you have the mouth going, help, help. He has his hand out, help. And maybe there's a leg here and then there is like a stone or something on his leg. Right, something crashing, he can't move. There's some lava flowing here and it's basically the dog doing, psh, psh, psh, psh, psh, psh, psh, psh, psh, to come and rescue, right? So you don't have to do crazy animation. You can almost hide the face a little bit. Just having open mouth and arm will tell the story. But it's the dog rescuing his guy. So, you know, anybody that is a pet owner is gonna go, oh, that's cute, good dog, blah, blah, so you have some story to tell. And it's not just putting the dog in a different set. Like this, this works, I mean, this all works. I kind of like the lava thing, why not? Then you can give him a bit more of a stern look, like he could be here, there's a bit more, errr, I'm gonna get to here. The face opens up because he's close to his master, trying to save him. Or maybe a spy dog. You could, obviously. Brings me a bolt, careful, some bolt comparisons will happen. Yeah, I mean, the park definitely works. I think the thing would be cool, the lava thing, only because I'm thinking in terms of, you know, put some bottom lights and red, get some nice lighting on the white here and the guy going, ah, and he got some smoke coming up and some ashes and amber going around. Just from a VFX point of view and look, design, point of view could be really cool. But to me, what I like about your lava thing and why I said there's a human is because it gives the dog an objective, right? Because you want a character to do something. You want them to want something, right? Every character should have an objective. I want, what is my objective in that scene? What do I want? And by having the dog, I need to save my master. That's his objective. And then being, you know, having the human in peril, that could be a guy or a woman, obviously, or a kid. Well, you wonder why a kid would be there. So maybe you just can have a woman with a helmet and like, spelunking gear. She's, you know, she's kind of, what's the word? She's kind of exploring this area and then there was an accident. You know, and maybe he has a vest on and also a light. You know what I mean? Like they're both together and they have the same similar costume. So it doesn't feel like, whoa, where is this dog coming from? No, they're in this together. And you might argue, why is she bringing the dog? But maybe exactly for that reason, it's the helper dog. You really put a red cross, red cross vest on it. Maybe it's a helper dog and blah, blah, blah, whatever, right? But in that way, the dog has an objective. There are stakes, you know, there is danger. There's a conflict for the character there. I know there's all kinds of stuff. I think, I think you're right. Putting the dog and all that stuff in the lava environment would enhance the story, even if it's just a little thing. But I think that could be cool. And it will make it, you know, potentially less, less of an exercise. And then you can have a little bit of a pan on the camera. Little bit up, tilting up and a little pan to the left again. Just following the dog a bit. And you can almost have a little bit of handheld. I can show you that if you want to. But that could be cool. Yeah, I'm all for this. I'm all for this. You can have some really simple smoke and ember. You know, the thing is you can do, even if it's just flat spheres where transparency is like at 10%, right? And you can just pretend that it's very graphic shapes of smoke and the same thing where you have round, orange, spheres, flat, you know, 5% again, kind of floating around that will do the ember and then more opaque ones in the back. I mean, I'm not saying you need to do effects and fluids and all kinds of stuff. You can be super simple, but it still tells the story. Then you can always render these on an alpha channel and then that way you can blur them, right? You can do a, what's the word? Whatever an effect you put on, you can just blur them and do a little compositing. Or you do a viewport 2.0, which you might have already in here. Give me the look. And then do a depth of field and you can just track the dog and then the foreground will be automatically blurred. So with the background. Anyway, rambling. I think it'd be a cool idea. I'm immediately going places with, ah, how would I do this? This sounds like so much fun. I usually have equal amount of fun dressing the scene versus, or compared to animating. Anyway, rambling, that's enough for me. Thank you very much. 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.