 All right, new shot here. There's no sound. This is between kind of blocky you mentioned here, blocking and splining and at the end. Cool. Yeah, fun stuff. I like it. I'm not sure. First thing just because of the camera. I don't mind this, handheldy looking for something. I think it snaps up a bit too soon like it knows that she's about to appear here. So I would keep it handheldy through here. To be honest, I'm not sure you need to handheld. You can just have her enter. Imagine we're here. So you go one, two, three, four, five, six, maybe six or seven frames. And you just start here on a static camera. And then she appears. So you'll be maybe around between here and here. And then the camera pans and tilts up to to reframe. But that's only up to you. It's a bit of a, you know, there's nothing going on, but I can, I can see the appeal of kind of looking. Oh, what's going on? Surprise. If you want to keep it like that and you want that much time without anything happening here a second, then all I would do is stay down here and then have her appear. And then the camera adjusts. Even here, we are dropping a bit, a bit too soon. And I'm really talking at two or three frames. I know she get, she'll get pretty close to here. And it's fine. I can actually bring this up here. It's fine for characters to break frame. The camera is always going to be somewhat late, unless it's a very specific story point you want to tell. And that's okay. That's all cool. Then I'm not super sure about this translate. It's such a attention grabbing move with the camera that just therefore potentially a better three quarter view. So my suggestion could be if we look at where we are ending here, I mean, that's pretty similar in terms of the angle. So I'm not sure when you go that we need to be so head on with the camera. Now I understand that if you do stay more three quarter, that she might end up being, you know, too far over there. But I think you can easily just have her basically I'm saying is keep this camera angle and just do everything with your pan and tilt blah, blah, blah. This is your tilt. This is your pan, right? And don't do any of that translated move. Very subjective, but I'm not sure you need it. And it's it's a bit too, too drawing attention to itself feeling to me. So if you mentioned, if you imagine this is the camera that you're using here, no translates, and you just tilt pan to reframe her, I'm saying is that when she gets to here with a camera like that, she might end up too far to the left. So obviously the remedy will be when you get to this, she just has to slide more towards camera. And then it's okay because then you can have her to a little bit of a curve that way. Hope that makes sense. And then the other thing is it's a very long pause. And I don't see anything in the email. And the prison guard comes to stop them from behind the camera. I mean, that is that is this section here. So I would just go into cuts. But even here, I would have her move go like they caught us and play up the the lights. So one thing you can do if you want to keep this for a second, you can have to make this super obvious barbed wire here. And then you have a really strong spotlight going from, you know, from here to here, or from here warrant to here. So immediately we know, Oh, this is some secure facility, maybe a prison. Again, like, you know, you have stuff here where they're not supposed to climb and you have spotlights, something is going on. And we can read all of this, we get to see the set, we understand the spotlight like, Oh, this is where we are. And then she comes in here. Then we have all this action, which is also super cool. Like her little what? That's all fun. I think I got some notes on this potentially, but just to finish that thought, and then that light could go this way, could also go up whatever it is, but something where we don't quite catch them, except maybe parts of this or maybe parts of her head. And then the light does a very dramatic shift. Imagine the light goes this way. And then that's illuminated, but catches just enough of this stops a bit. And it's always like its own character and timing and then goes, and has a really strong and you can even have that like over there. And then a second spotlight comes in, like, we got them, we got them. And she has a stronger reaction of, Oh, crap, they got us. And then cuts. Because this feels a bit, the light just kind of comes in and stops. And she has a bit of a she's very relaxed about this. Unless I'm missing something, or you have some other ideas, or something at the end is missing, that explains that move and the timing of it. And then at the end we have, if I bring this up here, we have a lot of time where nothing's happening here, right? So we just go cut. Again, unless there's something happening at the end that I'm not aware of, I don't see it in the email listed there. So something you can let me know. That would be that in terms of the animation. I think this is all fun. I do like that little hand, the arm up, down, and that little adjustment there. I think that's a cool little, whoa, classic three point landing. Why not? That all seems fine too. It's a bit magical in terms of body mechanics in terms of how she slides forward, meaning that she lands here, puts her weight on this for not that long, and then whoa, wait a minute, this leg is now suddenly going forward. So I'm not quite buying that she is going so far so quickly after one frame of contact. So to me, it would be she could be like this goes back, but you know, leans on this leg for an anticipation, then pushes herself forward. So then that leg might be, you know, could already be stretched out this way and then catches up on the need for whatever, you know, changes you want to do in terms of mechanics, but you want to make this look like there's even if it's stylized and cartoony and snappy in terms of timing, that there's still the basis for the mechanics are still correct. And this doesn't quite work to me where she gets over there. And yeah, to me, it's like that's the step she's taking. And then whoa, one frame going there really fast. That's all cool. I love that turn. And I love that she turns around so we don't see her eyes. So we look for new eyes. He comes in. I like that he's the clumsy guy with all the weights. He can keep him pinned. Was he so heavy? Again, I love that little exaggerated stop into this. The thought that I had here where he lands there, then it just turns into a just pull, pull, pull. What if when he lands instead of this, even though I like the silhouette, it's a bit twinned the whole pose. So what if he lands and he is slightly more three quarter or maybe like he falls really clumsily. And imagine this arm is underneath him. And he has his head here. This arm is like that. And then maybe only, you know, only one leg came up. The other leg is over there. But he's laying on his side so that when she comes here, and it's a bit tricky, I'm unraveling things. So you obviously feel free to ignore any of this. But imagine the head is here. That arm is underneath. And then this arm is there. She comes, you know, running to over this grabs this arm so that she has to unroll him. So it's not just a pull like this. But this whole section is him getting turned over. Now, I know it changes a lot because then he will be on his on his back looking up. But then you have a broader move because there's a contrast in terms of where he is in terms of laying here, rotating. She has a change where she first has to roll him off the guy. And once he plops down, she can readjust to then just pull him. And then maybe because of that, with that head, he can slowly wake up. And now we actually get to see his head versus here we can't. So when that spotlight comes in, he can also wake up and have an expression. So they both have an expression of Oh, oh, or you know, whatever silly reaction you want to have on him. Alrighty, that's kind of what I have. And again, potentially destructive notes, feel free to grab whatever you want from these. These are just my suggestions. Alrighty, thanks. Alright, 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. Alright, thank you.