 Alright, let's take this. For a spin here, you're going, um... You made a massive difference... Aside from the end. Wait, what? It feels vastly different aside from the end. Okay, alright. So you experimented with some things. I like it. Internet activity over the last 10 years is being scrutinized and kept in minute... vivid detail. It's cool. Um, I got like two comments. Well, three. Hey, big one. You know, you have to start getting out of that mixed step mode... linear mode type of thing. There's some really poppy bits that are tricky because there's some moments where I don't know if that's your acting choice or if that's part of how you block it out. You can see how his eyes are completely locked with the head. So it looks more like he's totally on drugs versus, would it be better if you do this and you keep looking at him and then at the end you blink over for this, for this start. You know, where he keeps his focus on the guy and only at the very end looks away. So there's a lot of acting stuff that's kind of nebulous. That'll be my big overriding one. The second one is that you start with nothing and you get into this, which feels very much like and action. So what I would do is see how he takes a step here, go back, boom, go back, which means that at this point this leg stays here, right? And you're doing too much here, but he's taking that leg here, he's taking the step back. That makes sense, right? If you look at this, it's right leg forward so I'm going right leg back, left leg back. So by now it'll be more like this, right? This leg here is back, this leg here is back here. He will be for the back. So roughly block that out and then you can cut on action. Basically I would cut around here, which is there is no frame counter so I'm starting at zero. So to me it's, I start this. Your internet, your internet acting. You don't even need to have all that before the audio. Maybe just a little bit, but it's, the main thing is to start on action, meaning he's already in movement here for that step, so just backtrack and take one more step backwards. Cut in a bit later, that's my big note here. Your internet activity over the last ten years is big. And then again, watch out, you're hitting a very hard edge here, especially if you track the nose, pounce on it to the left. So just that stop and lean down is a bit harsh. Over the last ten years, just very very rough and it doesn't, it doesn't match the audio at all. There's no strain or anything in the audio. The audio doesn't change. So even if this is rough, I would make sure that the timing still reflects all those ideas. So I'm not sure if this is suddenly your acting choice where you want him to be drastically faster, or if that's just really rough. Over the last ten years is being the same thing here. I'm going back to the rough thing where you go back and you blink, but you don't really finish. So this is supposed to be really the long half blink. Not sure, but then here you stay with his eyes locked to the head, which is weird. And then you dart. But you don't really look at him, and only now you look at him. But even now it looks like he's chin. And then it feels like at the end he goes here into his eyes. I'm slightly confused. I'm not sure if that's your acting choice. That's just rough. And then, you know. But the rest is cool. So much is again. Yeah, it's neat. It has a really, really good flow where he just comes down and the thing is it just comes down to really smoothing out your transitions in the body and what the head is doing and really playing with what are your eyes doing? Are you staring him down to quite a little dart? You know, in this turn, like I said, if you hold on him it's so much more threatening. And then at the end you look away. So there's a lot of stuff that's going to play in the head. Then here you've got your first little accent here. And then you've got the big thing through here. You know. So I think it has a really good flow. The canyons go from the stands down to this. I don't even wonder if after this one he goes here. Just to add a bit more punch he goes into this, right? And then when you go up into, see how your body goes up a bit and your elbows go up a bit. Push that where your root actually goes up to here, actually here. So that much higher but also to the front. So I imagine he's almost getting up on his toes almost for something leaning on this. Pivoting forward so it's really more like that. Exaggerating but going up in vivid detail where it's just lifting himself up a bit more. So visually you have something where this shape, like that's your current exit that's very close to what you had before. Meaning like that, because like a second before, versus if he goes up, like I said, up and forward you end up in a position where he is maybe more here and then leaning forward whatever his arms are doing, right? But you have such a difference in where he ends up going. Because right now if you don't do that you end up, once he's done walking and leans on the chair, you end up being boxed in literally into that area. There's not much more that he does and I think for contrast, for visual contrast to change it up a bit as that ending could be good for him go up a bit more and lean forward to get outside that box to get into a new visual thing. Not that he has to stand up and be totally different which he could do, he could get up but I don't think he had enough time. It might be too much but he could go crazy and after this he stands up and ends up being here arms still on that chair but because he's so high and standing or whatever he slides his head low so that he can really look at the guy. It could be weird, it could be way too much movement I'll probably not do that but yeah that's about it, it's very cool, cool update I would definitely try for the next one to be much smoother in your body and eyes and hey just really do a spline pass because it's going to be a lot about small that is that deliberate look away without a blink but then you come back it's just too much poppiness I'm sure if something like this is an intentional move or not in terms of eyes and everything. So for your next pass I would really smooth out and be very very clear in terms of your acting and storytelling. Alright? 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