 All right, here's a new one with sound. You have no idea what it's like to be a card. See these horrors and do nothing. You have no idea what it's like to be a card. Okay, cool. I think we could, since we are like this, it was just me having something else in mind. I think what I would do is, I know it's tricky with that, like this is just, there's not enough in there to warrant that and I'm a big concern about character being here and then we cut. And then it's, it's a bit different, but also, you know, like not far enough. I mean, this guy's too far to the left then, but then it feels more like it's an odd cut because we're looking left to right and then we're suddenly right to left. It's just, it's a weird It's a weird thing. You would have to, I think you are starting and then finishing. You cut out a couple of frames. I think what I would suggest that might be a version where it's a bit more like this, a bit further out and we are showing, you know, a bit more of the character. He might even get a bit bigger. Maybe it doesn't have to be that big, but still something. It might just be this again, just for balance because right now it just feels a bit odd just that's bigger again. Piece of shoulder there and then make sure the cut really is you go from, you know, whatever angle you have to that zoomed in but not a screen direction change. This is jarring and then for this just to make it really work. It could be just a bit closer like that. See these horrors and do nothing. Yeah, to me that way you have a really clear where is the other angle, you know the angle? I mean, you have to me a bigger change from a close up like this to a bit further away. I'm not sure this is enough of a punch in to make enough of a difference and then that angle changes. Those two things really throw me off. I mean, not that you want to be that close, but I see these horrors like that. I think that's okay. Even with that composition. I don't mind again giving him not enough room. But then on the other one a bit further out. How far does he go? He's all the way up to here. See to me, he could be framed like this. That way you're in your thirds, right? Nicely. And then you have the other character would be somewhere here, head here, filling out the rest here on the left. I have to go and change my tool. You have all that filled out for a little foreground. I could blur it foreground basically. That just quick in terms of composition. The thing that is striking me right now is that there's a lot of really busy work in the mouth. You have no idea what. There are a couple of things where the mouth is really high. Let me change the scrub here. Hold on, I've got to change something. Just so I can scrub. Just that's a massive change to me for going from up here. All the way down here. It's almost like off model. Like I can see from here to here. Max to here, but this gets too low. I have no idea what it's like to be. Unless you keep it, hold on, let's scrub it off. Unless you keep it that low and don't go that high. You know what I mean? You've got to find a good middle ground to go crazy. You have no idea what it's like to be a card. And then in all of this, you can see like big changes over one frame that one frame and then you got corners going in, stopping and then popping over one frame out. This I would probably have them off a little bit more open for that sound. That's a bit too sharp. The shoulders and then here. All this. There's a really a lot of breathing, but with your mouth closed, which is odd all through there. There's so much breathing. So keep that mouth open and here we have the thing again of of really really big distance going up and down with the shape. See these horrors and then we're back to a lot of like one frame pops and stops with the jaw and then shapes coming in and it kind of changing direction as well kind of goes up and then down. Then again, really a big scale difference there. But you can you can hear all that breath. This is a mouth. That's mouth breathing. It's not nose breathing. And then do nothing again. It's just really big pop in here. Almost feels more like a translate versus a rotate. But it goes like one way and then it goes down the other way and it goes back down again again with some pops there and then watch out. There's a little bit of separate stuff going on on this side and then usually I treat the outers fairly stiff. Like if you raise this, it's a bit odd to have. It's like the opposite. So you have a little bit of movement. Actually how I approach the eyebrows where there's a little bit of movement here for some flashiness, but everything else is through this and this section, the middle and the inner and the mid and not keeping this lock and only the outer is going up. That's that especially feels weird with that big shape coming up here. And then at the end, we have them go down again, but then separate this here, but nothing here and it's only here a bit more here. It feels a bit wobbly. You have no idea what it's like to be a card. And then watch out your eyes. They go over there and right at the end, they go back to the left. But then it feels like this eye travels more than the other. See these horrors and and then your blinks are really, really fast. Like you have a one close and then the open locks. He doesn't ease in to a stop there. And then we have like separate flutter or like some movement in one eyelid here. Yeah, that's all busy work there. Nothing where I feel like generally it just it just makes it all very busy. Like that's my main impression that I have where I like what the body is doing some movement. You could probably even I think you can go further, but maybe a slap more lean, but just a lot of little quick moves in like anything that moves except for me for this section. That's a bit too fast and all these are too fast. I don't mind like, you know, going into fine detail terms like a quiver, but then that would be concentrated around here while we still have the mouth open for some mouth mouth breathing. You have no idea what it's like to be a card. And then careful that we don't have things kind of starting something at the same time is a little bit of a move over stop and shoulder up stop at the same time and it gives us a bit of a like hitting a wall with this as well. See these horrors. Yeah, the biggest thing is that like how that doesn't connect to the sound at all do nothing. And then if you do know stuff like again, this feels separate on something like that. Like once you go down like let's pretend you will go down this far that to me is when you will go down and that's when those now the nostril corners go down a little a little bit. Not too much of the nose tip will go down and a little bit in here because it's the jaw going down that that pulls that skin down as well. That's how you get that fleshiness around here or right now it feels just too separate. So I think as an idea still works. I can rework the camera a little bit as mentioned at the beginning, but then the the facial work is too busy. I really watch out listen to the sound because of the the mouth opening and then simplify things a bit more so it's not so it's not that much jitter in there if that makes sense. All righty, 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.