 Alrighty, let's check this one out. That's a lovely accent you have. New Jersey. So looking at this here. That's a lovely accent you have. Definitely better silhouette. New Jersey. But I think you can still, there are a couple of things. You can still push the acting in this section. That's a lovely accent you have. Because he's, I'm not gonna look at the lip sync just yet. I'm still kind of focused on body mechanics and head accents so that his movements are more tied into what the audio is doing. That's a lovely accent you have. So when he goes, that's a lovely accent you have. It's your kind of staying puts in that lean, which is, I mean, the orientation is good. But when he goes, that's a lovely accent you have. That's a lovely accent you have. If you listen to the ups and downs of the audio, you can go, that's a lovely accent you have. You can have a good up and then you have. A bit of a turn towards the character. So if you, the imagine characters, if you imagine you're the tracking of his nose here. That's a lovely accent you have. He could start here but end up with that nose tip here so that he advances throughout this whole section and then goes, you have, he has a little dip and then goes back up, right? So that's a lovely accent you have. A little bit of a move there. New Jersey. The accent you have. New Jersey. I do like this here. New Jersey. New Jersey. Like he's even more interested. So it would be New Jersey. But even here you have New Jersey. It just kind of goes up and maybe has a slight hint of coming up there, yeah. But you can do New Jersey. You can have a little, like a little, and it's the patient almost of New Jersey. A little moment where he, you know that the wheels are turning, he's thinking about this. Lovely accent you have. And then looking at this you're careful you have this big arm move that seems totally disconnected where I see a little bit of movement in the shoulder here but there's nothing going on in the chest. So if he's too close to my table but if I'm like this and I go and I kind of bring it down you don't just have it mechanically rotate down rotate down like a New Jersey robot. It's a bit too simple. He is leaning on this at this point, right? So all the way it's going to be through this section. New Jersey. But as you do this, is he going to, is he pointing on this? And then New Jersey, is he going to lean even more? Is that going to give us a slight change in the body? The shoulder might go up there with a little bit of change in the head because of all that, all of this is going to change. Maybe this elbow is going to drop. So I would look at that mechanic and you can maybe shoot some more reference for this. New Jersey. And then I wouldn't bring that moving hold back. I will bring the moving hold forward. So he goes, New Jersey. And he's still interested. He's still looking at connecting and figuring out who she is, where she's coming from and everything. So to me that interest is towards the character. He's still going towards her. And then on Austria, I would delay that by maybe five frames. You want to have the character here, Austria and then react to it. Right now it's a bit too in sync. Austria goes right back a bit too early. But then it's good that he goes backwards. But I think you're dipping here down a bit too soon. I will go up a little bit longer and then go down on Austria. So you have time for him to think where he goes back and either stares at her or back, the blink maybe a head tilt or back and just kind of darting, thinking and then Austria and then snapping out of that thought. Now let's see, as you go back, same thing here, I see, I don't see quite an effect of this hands here. Not that he has to put his hand down and push himself over so that this rotates and this pushes up, but I think you can still push it a bit more. Watch out, and just here seems a bit, a broken arm angle here. You can see how that forearm goes this way, where that wrist goes this way. So watch out for the IK hands here, especially through here and you have a lot of movement, but nothing's moving here, but that's detail stuff. So going back here, it's not too bad. You just have to look at, is he going back there? Austria to kind of lean on this and maybe push then more on this arm to give this a slight raise. I know we want to be straight here, but you can have a slight raise with the head and slightly tilt it back for balance, which might give him still a bit of an interest by having that head tilt a little bit more. Just right now it feels like that move, especially towards the end, it's a bit disconnected from the rest. Now, here it comes back, pretty big here. In fact, I mean, such a big move and I do see the shoulder going up, but it doesn't really connect with the rest of the body through here and even through here as he leans, the back just kind of stops, this arm comes down and this arm goes down this way. There's a slight adjustment in the chest through here, which is good, but it doesn't quite feel yet how he comes back, puts his arm back and then kind of sinks into this. Right now it feels a bit too clean where he goes, and then that's it, versus I'm like this and I go back, ah, yeah, then you can maybe imagine it that he would slide his butt forward a bit and then that arm gets kind of, it's hooked up into that chair and then he would be a bit more grounded in that chair. And through all of this, this is a bit too loose here, the head. It's a bit too simple how he goes back here and then it just kind of goes, but the head kind of follows the chest, it's a slight separation, which is good with some accents, but it just all seems too simple and especially through here, as you do this, you can see the rotation comes out of the upper part of the neck, there's nothing engaged in the lower one or nothing here. So he might go, well then, you know the moment of, well then, and then he can say his last line of, can I make like a little bit of a head tilt, just a bit more involved, a bit more attitude so that you have a bit more contrast at the end as well. It feels a bit too subdued and timid. And then careful here, you see some sliding there. So you want that, if that arm is there, really connect and stay put, like it's resting on that backside of the chair, so there would be that much sliding. Alrighty, I would focus on that first and then next time, I'm gonna take a look at the lip sync in the mouth, there's a lot of open shapes that kind of stay put where there's not a lot of contrast and kind of not enough connection to the audio, but for now, I would still kind of focus on that body part first, so you can really nail the mechanics, the way shifts and get that settled there. All right, thank you. All right, there's an email, you can sign up, you can start whenever you want, you can submit whenever you want, you get 16 submissions, either way, a like and subscribe would be awesome. All right, thank you.