 Alrighty, let's watch this here. Da-da-da-da-choo! It's the womb of my face over there. Da-da-da-choo! Whoa, I like what he's doing there. There's not gonna be too much of a back and forth, but now I'm wondering if you're a bit too strong with the shoulder left-right. I don't think it's a shock-hiller, just throwing it out there. If you personally felt it was too much, I would not disagree. But again, it doesn't, it doesn't kill the shock. This is extremely picky, but your hat is very straight to the horizon line. Oh, it's the edge there of the frame. I would just give it a slight slant, just for diagonals. It's not so flat and even. I don't know, picky-picky? But why not? Asymmetry and everything. But I do like what's going on there. Da-da-da-choo! You might even start opening the mouth a little bit here, since it's not always that perfectly closed mouth here, especially through here. I mean, you can do, you can open it through here a bit. And then, hmm, close for that. Or open a little bit, and then as you do this, open even more, because the head goes up, and that brings up the, brings the, the jaw into an opening position. Totally up to you, but that's the only thing. It feels a bit always kind of nicely closed there, against some contrast. Rest is cool. I like your change with the arms. Again, it's bringing my face somewhere else here. Shwoop! That's cool, cool hand poses. Actually, I like that. Hey, hey! My hat, my hat! Great, with that little exit there, that's great. I like it. She comes in, shwoop! Ooh, I like that too. Yeah, absolutely. Probably blew my mic here. Shwoop! It's cool, I like that. I like the change in the arms. It doesn't feel like a 2D card anymore. I think that's all very cool. She turns. Still feel like this is a very, very sharp stop there. Shwoop! And I know you got a continuing move in the arm. There are a couple of things. I don't know, to me, body-wise, subjectively, I feel like we're a bit sharp. You might stop sooner around here and then feather into that wire rotation a bit more in the overall body and then that arm is there a bit even in timing there. Shwoop! And I will probably keep it further here for a silhouette. It's a bit more like that. Now, you might say, well, but then I can't go up or go higher. I think you can. You're just always in here and then as she lands, you can even go a bit, well, go that much higher. Well, am I being too picky? See, I'm always kind of looking at this hand, for instance, right? The color shape, we kind of lose the hand. But if you have that a bit lower, so on this, imagine that elbow, it's just a bit lower so that when this happens, the hand is actually here. So you have a color silhouette. I don't know, that's just kind of my thoughts. Because this reads clear. So to me, this would be that a lower thing. And then coming out, that thumb is right there, forming over the tangent. Arm further out for a nice silhouette, which then ends up being a bit more here for a nice silhouette. But then, the argument is that well, but then there's nowhere to go. Because I like what you're doing. I like that she goes up there. But maybe what you can do is, since you're already here, go up a bit more, but then she starts to potentially bend it. Maybe, you know, that where she... I'm just going to give her some foreshortening where she starts to bend towards us, that arm. And then she'll have the idea of the arm going up. And we see the bends. But still coming out of a pose like that. I don't know, that's what I would say. Subjectively. It's fairly fast. I think if there's anything that I would do is the timing. It just feels very even in timing. Is the rest a shock killer? I still personally would tweak this. This is probably less of a note. Just because you have nice contrast of out with color silhouette. Out again. So that's not huge. But at the same time, you're also paying me for my thoughts. And you can then take these thoughts and do whatever you want to do with them. So I just want to mention what I'm seeing here. The hat movement, or the hat arm is better. There's something sharp here though, on the landing. There's a bit wobbly and sharp through there. I think that up and then that move over. Watch this hat again. Something a bit odd there. The landing is good. Let's see the legs here. Cool. Maybe a bit stuck through there. To that. I would probably go this. I like how it goes down and then up to here. I would now at this point be, well, not that straight, but somewhere around here with that foot maybe further out. Just goes out a bit and then come back down. Personally, there's something weird about this foot here. Going suddenly, right at the very end, it goes to the left and the front foot goes to the right. Watch this. It goes click. There's a bit of a, I can see more here. A bit of a clap there. A fast move. Personally, I would keep that up front so then that this toe is here and then move this a bit further back so that toe would be here. Imagine you have something more like that. They're not so parallel. There's a slight offset, but you can still do that. It might even help so it's not this massive huge step back. Cool. Turn is cool. Not to show me. I still feel like the end is a bit floaty off. Meaning that she floats off very softly. So it's either going to be into, imagine, this was over there, she would go out. I can't even draw. There's my other toe here. Out like that. As an idea, right? That's what she would do even if she's off screen. Or you turn and then these, the wings get so strong that you still feel more of a pull. Imagine that chest gets pulled up by those wings. They'd be less over this. They'd be a bit more curved this way with the hips coming up because the chest is being pulled up. But I feel like you want to feel either the wings are going and that pulls the chest up or a bit of a jump. Right now it just feels like it's just so kind of floating away. Now it's at the edge, at the end. Is that a shock killer? No. But again, something that I would explore. It's an interesting dynamics of the wings doing something. I think that head turns a bit fast. Right there. Just that turn. I know you're following notes where she looks longer and then turns, but I will probably and you want to avoid the chest and head move or moving as one. I would just delay or slow down the chest by 2-3 frames and add those 2-3 frames to the head as well. So watch the head turn. A bit fast. Also mainly because after that turn then it feels like it's locking. That gives it that extra that extra speed there. Speed lock. That's just cool though. The impact and the look is cute. The arms great. The only thing I would tell you just because I was a fan of engaging all axes is when she comes down here, right? Imagine that head is always the same orientation like that. Boom! And then watch out. That's a bit sharp. How you go back into this. A bit sharp on that impact. But through all of this even through all of this she's always like that as opposed to maybe she's floating and has a slight tilt and then as she goes back might be slight tilt for the head like that and then tilt over the other way to get around. I'm trying to find a bit more left and right rotations there tilting over. So it's not always that straight one axis through all of that. It'll be kind of cute. A bit of a head tilt to do that and then straighten up into that. That's it. Picky, picky, picky. But we're also very, very close to the end so we're going to get some more picky notes. Alright, thank you. 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