 Alrighty, new version of this one. Let's check it out. Oh, the head things are up. Yeah, that's cool. And then, oh yes, and just enough extension at the end. Cool. Oh, I like this. Yeah, there's a lot of really cool stuff in there. The whole thing that caught my attention was the lifting of this. And it's not, not that it's wrong. It just feels overly soft and separate, but then in a way where these two go at the same time, and then it feels like these two are fairly linked, even though there's a slight offset. And again, you might argue, well, that's how the creature works. And the only thing I would do is just offset one of these two by like a frame or two. Take away that, that 20 aspect of it. But then it's just, I guess you have to think in terms of, is this, because the reason why I'm saying it's not wrong is because the softness gives it almost a bit of a curiosity feel to it, which is fine compared to an alertness, where this feels a bit faster, which to me makes sense because it's just something like, oh, what's over there? Like that, that's more alert. So if that'd be super picky, I would take like two frames out of these. So it's slightly more alert to calm. And let's get out of there. Oh, that's cute. And then keep that the way you have it, in terms of softness, but just offset one of these two. And then when you go into that, I will probably shoot these down faster. Because now it seems like now there's some more caution. It's almost submissiveness because of this where, and that would also probably super biggie bring one a bit higher. I know it's nice and clean, but it's almost to align with that back side line there. I would break silver a little bit, that is with one back there, maybe this can come out a little bit, just retaining that shape. But yeah, it was like, that feels now a bit too soft, given the sudden alertness, or caution almost, if that's what you're going for, unless you're going for like ready to play, I don't know. That's kind of what I have here. It feels to me like, wants to be careful, but then decides, that's fine, I want to play. And again here, I will probably break up the shape a little bit, get a bit higher, just a bit. It feels so aligned, this helps. And again, offsetting these a bit, not crazy, not this like separate finger, you know, this goes first and five frames, this goes then, I would just like one or two frames, little, just little, little polishy stuff. Same thing with this, I feel like they come out at the same time. And the only thing I would say here, again, this is all really cool. Like I like all of this, here I would say on that push, I feel like, again, this is super, to me, this is done, like this is not like super polishy stuff where I would just kind of tweak little things, like these two come out fairly at the same time, also the same distance. It feels a bit too much where it's too mirrored, same with these a little bit. I'm really talking like one frame or two, maybe not as much on this side. But then also pushing that tiny bit down, especially the middle one, because when you see all of this movement, I don't see anything happening, especially in this one. See some pixel movement in here, but going from here to here puts a lot of pressure on there and then you want to see these go down a little bit as well. Because the thing is we're doing squash, that's why they go out, but then when nothing moves here and not really go down, either that feels a bit weird. Not that you want to get super intersect with the ground, but kind of play around with the feeling of this will still push down and maybe, you know, curve it more like that if there's any way possible. And then polish your things again, offsetting one. I like that this guy is higher than the other, but then I will go stronger with that foot roll, paw roll, whatever, than this. Because now I feel like they both curve at the same time. Just little tiny things here and there in terms of spacing or like this guy goes up, up, up here and then goes down into a bit of a sharp arc. Hold on, what's the speed here? Not a time. I was going to give this a little bit of one like ease in frame, but I think it's okay. But what you could do is rotate this out this way and why? So that push off has a bit of a push and then a slight lean this way. Let's see if you're going up this way. Yeah, slide, take that ankle a little bit. Again, super picky, super picky, because to me this is like this is the last comment there. You know, just kind of loosening up those ankles. Not soft, but giving this like this is cool. I like how this goes from here, the slight lean forward, like stuff like that is great. Same thing here. I'm probably lower these a little bit. I know it goes up and that's why you raise this, but it feels a bit stiff there. So a bit of lean back to the left will help. And then when you move all of this, again, there's so much weight shifting from here to here that when you look at this, nothing is really moving. I know I see toes here, but it would be flattening this and maybe incurving or tensing up those toes. So it doesn't feel like there's nothing going on there. That's pretty much it. I don't remember if those has eye control to whiten the eyeball socket, anything here to give this a feeling of changing looks. Am I seeing a blink here? I'm not sure. You can tell me how far you can push this in terms of the shapes or anything. Just kind of whitening. This goes back into the thing of the looks. It's like you want to see that moment of, oh, what's this? Which is that, but I'm missing it in here. If that makes sense, it feels like that. The face stays the same. So I don't know if there's anything or you want to, I don't know how much you have. Are there any corner shapes? Again, I don't remember the rig. But if you want to close the mouth more to not see that black line, and then as it opens here or as the head goes up, then you have it here. So it feels like the jaw opens a little bit. I see jaw movement. I don't see anything else really in here at the corners. The robot is cute too. Yeah, the return is great. That's all great. Yeah, to me, this is like one last pass. Again, it's not like crazy horrible stuff that's wrong. Like once it gets to just that level of polish, then that's when I start looking at really all the last details on squishiness and just ankle movement and stuff like that. But with the one overriding note, we'll be just addressing these guys just for final polish. And then I would do ankle thingies and fingers. It's really cute though. Like that works so much better. I love that timing is great. Maybe you knew there was one more. That head tilt could be at the end, maybe a bit sharper. Like he's back to being alert. And it feels like right at the very end, those last frames, it feels even in timing and just kind of versus like a fast little quick look up, taking maybe two frames out of that. That move up. It just feels like you have life, life, life at the very end. I know I'm really talking about the last one, two, three, four, five, six, seven, eight, nine, nine frames maybe. It would help. It was actually frame 192 for me. It feels like you have animation here, but is there anything going on in the last couple of frames? I think your guy dies at the end. You can see how it's just the head right there. It feels like you extended the shot for this, but then just add an only rotation there. Just make sure that you when you add this, even if you take a couple of frames out to make it a bit sharper, it will still affect the rest. You still have going to be little things here and there to move. All this is just me, but I am now closer to the screen scrubbing and all I'm seeing here is a head rotation. So make sure it doesn't die. Same with your camera. Again, it feels like your camera just goes up and stops. You might as well continue with that little keep alive on that camera. Just kind of dies a little bit at the end because your robot guy continues till there. Yeah, just keep going with the camera and the rest of that. That head moves, influences the rest. And that's it. That would be the last pass. I say this now and picky, picky, picky. It just feels it's so cool. And you're paying for this. I want to give you all information. Of course, as always, feel free to just grab whatever you want to do. You can do all that good stuff. It's obviously your schedule as well. And that's it. 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, a like and subscribe would be awesome. All right. Thank you.