 All right, so let's check out what you have here. I think it's really cool. And I'm gonna look at your left guy first. And I'll leave the sound on just for myself here. Let's go again here. I love everything, it's so cool. And I love that little impact there. Just that little, it's not too big, not too crazy. If I would be super picky, I would say the both shoulders go at the same time. So I would reduce one by 30-40% and also make it a frame or two later, probably two. Maybe one, suppose it's so small, one might be enough. You just want it to twin, but... And that way it doesn't make it that big, it's great. Once you loop it, it feels a bit big. But the first time around, I was more looking at his face. So that would be my picky note there. And then on anything, while this happens, that little moment, they could be like, the thumb could come down a bit, the fingers could just kind of clench a tiny, tiny bit. Almost like a little pixel movement on the knees, like he's doing something. Again, not to do it, oh, I don't see my camera. This is nostril view today. So something where his hands, they do like a little, just a slight adjustment and the knees can just kind of come in. Just something where you can see that it is moving. Like I'm going through here, as I'm scrubbing, you can see how it ends here. So just for your next pass, but this is so cool. I really like it. As you look down, the different looks after that are great. Let's watch this again. Yeah, it's really cool. One more time. It feels like, watch his chin, I mean super big here. He goes back, forward, stops a bit, and forward again. And right now it feels like a little pop. But I like that he stops like that. It's not all spliny up and down. So if it looks like your curve is doing something and you get like a double key or something, maybe going up a bit and down, I would just make it so that it flattens out of it and it continues. So you actually have that pause, but it still kind of drifts down and it continues. So it's a bit more deliberate. And again, by like two frames, three maybe, something super small. But just to get a bit more than that little stop there. All right, so look at her. Not sure about that blink. Like I love all this. I love the timing of this Mac. You got good stuff there in the legs. The breathing's great. Yeah, to me the big things are her blinks and the way she stops her hands. It comes to a fairly quick stop. You can track her fingers. It goes back, goes back, goes back, boom. And then pretty much nothing. There might be like one more thing here. No, not even. So it feels like that goes back, boop. And give this like something. And then she can go back. Like, and she can go back and then have kind of a stop, a soft and then adjust her hands like that, potentially. If you want to get away from that super flat pose. All right, drawing mode here. Let me get out. There you go. So she goes back and then she has which could still work. So that way her hand, the fingers could be here when the hand goes up. She can kind of lower those other fingers. So it feels like, right, back. And then a little grip. Again, I'm talking tiny, but just to get away from, and then that stickiness and then nothing going on in the fingers. I feel like if I go back, it might be one more, like one more pause and a little clenching of the fingers. So like because of it being tight, just kind of a little adjustment. I think that would be really cool. It's great. Love the breathing. Stuff on the hips that goes back. It's great. I'm going here. I mean, there's little things I mentioned. This guy's done. And for her, I think the biggest thing are her blinks. It feels like she's doing, where my camera is. So it feels that deliberate. She was, you could have, you know, it starts off like that. And then you got that ease into halfway down closed. And then hold that probably for the same amount. And then you want to open up where it's just really easing out of that. And then you go halfway. And my eyes get smaller and smaller in this regard this guy. And then you get to, you know, around here. And then it will go all the way up to here but over like five frames. It's kind of like, they get that close, slowly opening, opening, but then soft with the ending. Otherwise it feels again a bit too mechanical. And given the range that you have, you know, you're ending on something like this. So when my top of the eye was like this, just adjust accordingly. It's the same principle of easing out of that, close in a soft, old, soft opening, open with the soft ending. That makes sense. If that makes no sense, by the way, you can send me the Maya file and I can go in there. And then I feel like just for contrast, the understand could be bigger. Only because right now, the mouth is kind of the same value in terms of how big it gets. And the stand is right here. And I feel just, she's kind of looking straight here. She's shaking. We wouldn't quite see all the shakes because there's a lot of movement. And here she relaxes and gets kind of profiling. You can imagine that lower lip, you know, she's being lower. She's opening the jaw a lot more on stand. I don't understand. And it's kind of also an emphasize for her. I don't understand. And that will give us a nice little contrast, good little silhouette there. And you're probably for cartoony's sake, you know, she hits that pose mouth wise. And then once you get to here, it's kind of even could be, you know, one side is a bit more in that makes no sense. This drawing makes no sense. Basically, it's more like, like, you know, one corner out more. And the second blink, same thing. It was the opening. I will break it a bit faster. And it feels like your whole, this is kind of a, I will make the first one to hold. It's kind of like, and then it's just, it's a blink. And he's observing him waiting for his answer. So I will keep this to, let's see if I can cut that out. I will cut out the closed part. All right. It gets the close. And then that guy cut this, sorry about her. And now it's easy into the ending. It still feels a bit mechanical on the opening. Pretty, you know, kind of relax into it. But for this, I cut out, as you can see, it goes from 78 to 81 on the blink. I love her finger moves, by the way. She relaxes the fingers as I will move there. Yeah, just what I mentioned there. And this guy's done. It's really cool. Picky, one more thing. Watch out. Once she hits that back part here, I feel you rotate too much out of this point. You can do more in here and a bit less in this. It's like a crane coming down right there. This feels a bit big. She has such a big long neck. And then track her nose. Just during this section here, it feels a bit drifty. Like, and it feels less like a move that's on purpose. She goes back. That could just be a bit sharper and then ends with a roll down on the head. Yeah, just a bit drifty there. And if you want to push it, you can argue that she can go down and do like a bigger head cock there. So he goes back and that's a more deliberate look. Maybe not that deliberate, but something where she goes back and has a bit of a contrast at the end. Again, I'm saying that's a shop right here, but you could try it. There's a little bit of it in there and you can just make it a bit more deliberate. So go back and then it's a bit more deliberate. All right, come on. What's going on here? Let me cut this out. And then you mentioned you just hit spline on that guy. See, watch this. My frame's here. What did I do? There you go. You're looking down. See, watch out. She's looking. No, this is the, I guess, I guess. Yeah, she is looking around here. Where, yeah, I was slightly reading it. I was still here because she goes back and goes, and she's watching him. You're like, what's your reaction to all this? I just told you all that stuff and so what do you think? And I think you could start like that where she is higher and has a moment of looking down and then back up. See, you know, she could be looking at him and go, friends are supposed to feel good and back up. Like looking really, I think, but you know, you know where she looks at him, waits for the reaction, goes down, has that realization and looks back up to finish it. So it could be, on the field, she could go back up to look at him. Just a suggestion. So right now it's not massive. I see a sideways with a tiny up. And I think that would be cool because that way, it doesn't look like she's just delivering a line. There's more of a thought process in there, like really, oh man, well, ah, and then explains that. I think in terms of the way you got spine, it's already in a good position. I think what you have with the head accents is good. I would just tighten it up, especially having them. Just having them and then it's kind of drifting down. But there's nothing major that I would change. That, you know, technical things like those adjustments, which is doing with her fingers, poppy moment. This might be a bit big, how you go up with this shoulder and down with this shoulder. It's a bit like, okay, okay, okay. It's a technical term. Just happening at the same time, it feels more like a massive, massive rotation in both guys. And at the same time, you have this drag in her hands. I feel like it pivots off those fingers. If you scrub through, she kind of freezes in there and it's kind of pivoting off that. So you would have to change the speed of this hand to not make it stick as much. Now, in terms of overall gesture, I think, yeah, there's maybe two on the notes. I was thinking that on point, she makes the bigger gesture. So she goes, yeah, no, I guess, it's probably good on the point of having them. It's having them could have a, that's right, let's see. I think you could shrug more on having them. Yeah, I mean, like what you have, probably just on having them, like ha, to drive also that sound, but having them, so I think that I would add. Yeah. And then, you know, face-wise, as you, and this, this is a very inquisitive, like so, like what's going on here. She's a bit wall-eyed, like the Simpsons, bring your eyes in a bit, and think about how you want to end this. With that, so right now, she's like a tight little hint of a smile there. You know, I would, it's up to you. I'll give it some sort of, it's a concerned look. You know, it's a mother, so she's going to be worried. That's kind of direction I would go. Anything away from this curve, like a smiley face, because you are ending on that pose, and it's a long, held pose as well, right, how I'm scrubbing through, like that's the whole time there. Just think about how you want the audience to perceive her. How much is she worrying? How much is this, like an interrogation? A little exhale, like you have this great breathing at the beginning, in the first shot, you bring that into this guy as well. I think the lower lip in this current stage is a bit too poppy. I feel there's a lot of in and out and lower lip stuff that you can soften or take out. It feels a bit too like you're hitting every note. Friends are supposed to make you feel, friends are supposed to make you feel good. Like I would go with these three big ones. Friends are supposed to make you feel good. Yeah, she does a lot of stuff here, but friends are supposed to make you feel good. Make it Muppet style, keep it simple. She'll be looking and then friends, friends are supposed to make you feel good. Keep it broad, and then having them, like that I would really enunciate. Point of having, like one favor, one side, having them, and hold them, that pose, having them. And then having them, and then you exhale and you open up the mouth. Something like that. Again, those are all notes and suggestions that I would try out. All right, thank you. 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.