 All right, let's place the full first. There's sound all right Can I please do the house salad? Yeah, you got it and then I do a piece of bread on the bottom and on the top Okay, maybe maybe throw in a piece of meat in the middle with with a bit with some cheese on it Yeah, why not? So cheeseburger. No, I said how salad All right, can I please do the house salad? All right. All right. Let me bring down the volume just a tad So watching this Can I please do the house salad? Yeah, you got it. My impression is that there's a help it with a constant back and forth with just the general feel of the posing of this character that makes sense like you're here and then you kind of look over and back and then look over and back and then Over here and then over again and then just if there's constant back and forth like that type of stuff here to here and And sometimes it's also a bit too in sync alone Like that Just watch out when he says yep, you got it. It's just it's it's right in sync with this Move here and I think What do you could do here's just thinking out loud because I'm I'm just concerned that there's this constant Movement that we never have any type of contrast and still moment It's slightly accentuated now that we're in the spline ear mode What I like is definitely this here that is there's this feeling of Hunch over and then towards the end like this in terms of the confidence It might end up being a bit fast going back here So this could already be instead of that straight and only this lean You could potentially already start to have him lean back. So he's a bit more shoulder up a bit more like hey What do you think and they just has a bit less distance to go back and it's almost a bit of a Less back but more to the right and back adjustments. It's kind of just kind of leaning back a bit more You might also get away with Maybe on that max this almost feels like he's super reclined and that hurts the neck a bit Because then imagine how is he getting up here? That's like it. That's a ginormous ab contraction there so you might also have to Press that elbow down and maybe parts of here that he pushes himself up through his arms as well I would think of the mechanics of this And this wouldn't be clean. I mean you can totally be Leaning over and pushing mostly with this arm getting a bit flustered so that That type of pose is maybe more around here ish and then you get to that because right now you're in this and if I put in onion skinning and We move forward see there's no real difference besides going up with the head and down So imagine that this is more like more like that So there's there's a bit more of a lean and then when you do this Then you have just a slight more of a lean this way so you have a bit more contrast. It's not just the raising of shoulders and the head down But I think what if what's going back what I was wanting to say before There's something about potentially what you could try minimizing the amount of movements through there just a bit more So he's a bit more fidgety a bit more nervous But again, he doesn't want to draw too much attention to himself and he says has little head turns little arm gestures Which offer framing to a fairly high on that arm So I think that's a good idea. I think that's a good idea Watch out for framing to a fairly high on that arm I mean, it's clear in terms of silhouette. That's the good thing Okay, maybe So maybe what you couldn't do because I don't want to you know, like take everything out I think it might just be you do this And now we'll then reduce that I'll probably go from here Yep, you got it So thinking out a lot. It's a bit of a Tiny changes and bigger changes, but obviously also objective and you can you can let me know what you What you want to keep not slowly up to you obviously so you would keep this But then keep him here It's almost like and also watch out how much we go with the pupils you want to cheat those a bit more towards us Even if you have someone standing here, you know, I'm just going to actually help bring those eyeballs a bit over there But imagine he's here and he's waiting for approval Yep, you got it until it says yet. We got it. So you could have something where he's here And then once he says yet, we got it Then you go back only maybe this much just this So none of that here So that imagine So right, he's here get so maybe this pose like that's that's as far forward as he as he gets from here So you don't go further down further down further down none of that And then so there we go. So once you have this reaction of oh He would already be This far right so then you just had that reaction from here on and just go a bit more to the left And that way again, it will minimize the amount of movement you have from here to here And then we can keep that Watch out in your between is there Well, that's okay. I was looking at the eye line, but okay And then it will be the same thing here. So he is here And that's you know, that's the amount of lean he has and he's he's getting a bit more confidence, right? I'm like actually keep that line Since I'm on on his kidding here and then instead of going all the way back here to avoid this constant back and forth he is here and then That moment of thinking is kind of just within here Maybe maybe this much of a change and it may be mostly in the head less in the body. You can have a bit more of a head turn And then when he comes back You know, he can be slightly back and when you get into this give back to this pose Maybe a bit further out So it's almost also if this is the waiter And he starts off hunched over he gets a bit more confident and it's it's kind of leaning towards the end a bit more Towards the waiter, right? This is your dividing. Whoa. This is me moving this This is the dividing line. I'm gonna be all super messy here. How about this? this is the dividing line of your character and then At the very beginning he's more in this area away From the waiter. He doesn't want confrontation doesn't go too close. He doesn't have the confidence And then as the shop progresses And he gets you know, straighter more confident. He's also Leaning more let's go with this guy Leaning a bit more Towards the waiter. This looks so messy. I hope that makes sense So when he does that the throw in Then you're you're starting to really lean towards the guy It's almost like he wants to grab his him and bring him close like, okay, listen to me I want to add this this and this See it in that way Imagine how he does this you you you will be still in that lean And it might potentially also help you with The pose potentially it gives a bit more of a nice silhouette But he will be there so that when this happens, it's less of a move Over right from this line To this line. It's more like he is already there But the arm is up and all he does is kind of like plopped down He's already in that lean. He's already that confident and that close to the waiter Who's here and then he can just kind of plop down into huh. Yeah, right and into this I hope that makes sense and then when he's oh, no, no, no, no The solid that's when you go from here to here Into back into the straight and then at the very end You're back into the hunched over the other way. I hope that makes sense But again, we're all suggest subjective But that's my main impression when I was watching this again that there's just a lot of Either from where you are back to the same spot or where you are a bit here And then again in the mid over you just that wavy back and forth Is a bit my concern But of course you can totally overrule and just keep it That's just my thought there. Let me know what you think. 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