 This is all hard to find again, man. Alright. Why is this all hard to find again, man? I'm trying to find what the difference is. Why is this all hard to find again, man? Why is this all hard to find again, man? So, I am not sure what is different here. I think there's an arm intersection that gets a bit different through there. 77, no. 83. I don't know if you sent me the same stuff. It says 14 and it says 15 here. I'm desperately trying to find a difference. I'm looking. It's like those drawings were supposed to be the same and you look left and right and try to find a difference. I am also old. So I might be missing something really obvious. And the sound, sound is synced up like I have no idea. I have zero idea what's going on here. This is exactly the same thing. I don't know. I'm very confused. So, so yeah, let me see the email. The audio possible times. That's fine. 14 is original. The auditors move down a little. I mean, it's so really minimal. I mean, you're saying, I don't know. It's it seems it's still super in sync. I'm not sure. Looking at the shot. Let's pretend this is the shot. I guess this is 14. It doesn't. Again, it's I don't see the difference. It's not, you know, it's not like it's three seconds off or something. The tricky thing is that this is a pretty big slide down like she would already start to kind of lean over here and she might readjust to be up here. It's just a big drop. And the problem is that this is all cool. She comes in, takes a couple steps here, but then then she is this big in frame, right? And we have all of this here. That's a waste amount of space. And then she talks and we don't see her face like she's already looking down, but then just that our movement. I don't think that will be in terms of body mechanics enough and interesting enough to look at. It feels like you want to do this in her peeking out. It does that mean that it's the end of a date potentially like you could it feels like you want to almost bring that door just a bit more open that door up. She has her hand here. She gets a little bit here and you could see like just another guy taking a step or two away and then she closes the door. And then we understand. Okay, someone's leaving. She's closing the door. She turns around. She slides down and I would wait with the sound right. She can slide down, but I wouldn't really lean on this here. I would just have her lean backwards against the wall and then she leans down. And then when she gets to this point, it's more like if that's a side view, she's like this and she wouldn't be her legs wouldn't be out like that. Like her legs might would be out almost like this. You know, and she could have whatever pose only because like basically, I want her to lean against the wall. I mean, you can always lean go sideways with her legs while she's leaning against the wall, but it's something where she's leaning against the wall so she can have her head against the wall. And then what I would do is bring that camera in and then that's your framing meaning that can be turned. So imagine she's on the on the ground now and I don't think I can zoom in enough or can I can I do this? No, I can't hold on. It's going to be very complicated. You're going to get this here. Still not big enough, but hold on. I can I can do something live trying while I'm trying not to hit the X button. Oh, it won't let me make it bigger. Oh, I won't let me get hold on. Let me try something. Can I interactively make my critique windows smaller? Hold on. Boom. How about this? And that would be your framing at the end. So you have your wide shot. You see the guy go away. She closes the door turns around starts to slide down and then cut and you can almost have like the very last adjustment of her landing landing like coming down to the ground in this view. So her head could start here and then ends here. Right. So she just finishes that slide down and then that's while she would be like that would be basically that would be the framing. Probably better. Right. So you always kind of want a third type framing. So even that might be too much. She should be probably over here ish and then the line is when she's like this, her arms would be wrapped around her arms could be like her knees could pump it. You should have her hands around her knees or something hold her knees and then she would be here and then will be delivery. Why can't I find a find a good man where the line is and that would be the close up acting. So you have two shots. You can show off body mechanics and then you can show off facial stuff. If that makes sense that is what I would do because otherwise it's a bit of a waste. If I go back and make this a lot smaller is the craziest readjusted framing critique of ever done because then once you're here, like I said, it's just we don't hear face. You brought the face down. So I'm looking. I'm starting to look everywhere else but not face because we don't see it. So that would be my idea. That would be my thoughts regarding this composition that has against so much space. But the line is good. So and I think it'd be cool idea. Subjectively you can see him walk away one or two steps closes the door turns around slides down cuts right when she's done sliding and then we focus on close up and then she has that line. Yeah, maybe maybe not. Let me know. 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.